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DAMAGE NDltU

Sacred art of Tibet

70M -9 4^ SACK

Type:

LIBRARY
SAU SALITU PUBLIC
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SACKeD

art:

of rifeer
Tarthang Tulku

Introduction by Herbert V. Guenther

Dharma

Publishing

First issued on the occasion

the Sacred

and Film

Festival at

San

of

A rt of Tibet Exhibition
Lone Mountain

Francisco,

December 1972.

Reissued for the Sacred

A rt of Tibet

exhibitions at the Berkeley Arts Center,

and

College,

March

1974,

at Grace Cathedral, San Francisco, June-July 1974.

Copyright

1972 by the Tibetan Nyingma Meditation Center

Second edition 1974 by

2425

Dharma

Publishing

Hillside Ave., Berkeley, California

94704

ISBN 0-913546-00-3
Library of Congress Catalog Card Number 72-96555
Layout, composition

5856 Doyle

St.,

andprinting by Dharma

Emeryville, California

Press

94608

Printed in the United States of America

Cover.

Mahakala,

the protector

and guardian of the Buddha's

He transforms negative energy, subduing

Frontispiece:

Tara

illusion by

teachings.

wrathful means.

(Drol-ma), one of the special protectors of the Tibetan people.

She saves those who pray to her from the eight great dangers.

Tara, or Savioress, was introduced into Tibet by Atisha in the tenth century

and is

revered as the

"Mother of All Buddhas."

Foreword

am

very

happy

to

have

this opportunity to share the tradition

many people. This exhibition is the

me.

result

ofgreat

ofsacred art in Tibet with so

on the part of many friends who work with

efforts

and I very much appreciate all their help. Two years ago we had a similar exhibition which was

very successful. Once again I

still preserve

am glad that so many people can

something of the vanished religious culture of Tibet. In their homeland these images

were considered very meaningful

receiving

them

visually. It gives

everywhere in people's minds

The
esoteric

view these very sacred images, which

specific details

and powerful, and we

believe that there

me a wonderful feeling

to

great blessing in just

think of these sacred images going

and hearts.

of these images are very complex and of interest primarily

to students

of

Tantric Buddhist practices. Unfortunately, very few people today can even explain their

meaning. Mostly they correspond to various

practices.

specific

meditations, visualizations,

and other advanced

We have attempted to explain these details generally in our introduction; by and large,

images have symbolical meaning related to the study of the

human

well as

much longer and more detailed explanations. This

in time

andfunds for such a

religion, art.

present age.

large undertaking.

We

the

consciousness.

Hopefully in the future we will present a catalog which will include

where

is

many prints

in color as

we were

too limited

time, unfortunately,

strongly believe that the Tibetan tradition,

and culture are closely bound together, has much to say to people suffering in the

May this exhibition, humble as it is.

bring benefit to the

Tarthang Tulku, Rinpoche

Head Lama, Tibetan Nyingma Meditation

("enter

lives

of sentient

beings.

A cknowledgements
This collection of Tibetan
1973

at

art

Lone Mountain College.

exhibitions.

As always,

is

an outcome of the Sacred Art of Tibet exhibition in

Now we

this exhibition

is

are reissuing this catalogue for

the collective effort of

our 1974

many people who

are

united by their generosity and openness in helping us preserve the Tibetan culture.

Through

the associations

we made with

private collectors for the Sacred Art of Tibet

exhibitions of 1970 and 1973, and in the generosity of

we have again assembled

lenders that

we

this exhibit

would not be

this respect

we

Bronson, Field

Without

their kindness trust

assistance for this catalogue

Oliver

who

to the

participate,

came from many sources and

in

Newark Museum; Bennet

of Natural History; James Cahill, University of California Art

Museum; David Roach, American

and

It is

possible.

Society for the Eastern Arts; Teresa Tse Bartholomew,

Center for Asian Art and Culture; and Alex Nicoloff, Lowie
for their advice

and museums,

and willingness to

are especially grateful to Valrae Reynolds,

Museum

collectors

unique collection of Tibetan Tantric Buddhist Art.

are grateful.

Encouragement and

many new

assistance.

We

especially

donated their photographic

Museum

of Anthropology,

wish to mention Fred Stross and Charles

services.

Introduction

The Development of

A rt

Tibetan

The beginnings
art

are

inextricably

as well

as

the unfolding of Tibetan

interwoven with the history and the

geography of Tibet. History here

is

to be understood in the

narrower sense of dated history, which begins around 600 A.D.,

when under

the rule of the king Srong-btsan sgam-po

(as-

cended the throne 634 and died 649 or 650) Tibet shared and
even began to influence the destiny of the Asian nations.

Geographically Tibet was surrounded by countries having high levels of civilization.

oasis states

To the north lay a string of small

whose inhabitants spoke an Indo-European

guage and whose religion was Buddhism.

states

Kucha upheld

Among

lan-

these oasis

the Hinayana tradition, while

Khotan

adopted the

Mahayana form of Buddhism and became the

centre of the

Avatamsaka teaching that spread and became the

Hua-yen and Kegon schools

Between 666 and 692 these

in

China and Japan

central Asian oasis states

temporarily occupied by the Tibetans. Even

yielded

to

remained

Uighurs
barbarity

Chinese suzerainty,

until, in the

cultural

when
links

were

these states

with Tibet

ninth century, the Turks and,

settled in these areas.

and violence.

respectively.

later,

the

Their names are associated with

To the west lay Ta-zig which, roughly, refers to Iran. Often linked or
Krom/Phrom (the east Iranian Hrom or From), which originally was the name
was used to denote the Seljuks of Anatolia,

later

the carvings on the end

beams

for

Byzantium and

seems to have been the source for

situated under the entrance portico to the Jokhang.

recumbent lions with human or animal heads.

from

this area of Ta-zig

interchanged with

It is

well

known

They

are

comes

that the folklore of the lion

Iran.

There were other countries

theme

preserved the Midas

as well in this part

of Asia: Gilgit ('Bru-sha in Tibetan), which has

that has been incorporated into their ancestry by the

where Rin-chen bzang-po (958-1055) was sent to study.

and founded

several temples in

all possibility,

Tabo and Nako

Graeco-Roman
however,

is

Guge (dGu-ge)-Toling
in Spiti.

(Hellenistic) art form;

also linked

Then

On

his return

Bonpos; Kashmir,

he was active

as a translator

(Tho-ling, Tho-lding, mTho-lding) and, in

was the ancient land of Gandhara with

there

and Uddiyana (Swat

valley),

home

its

of Padmasambhava who,

with the country of Zahor, sometimes located in northwestern India,

sometimes in Bengal.

In the east was China which, at the time of the ancient Tibetan monarchy, was acquiring a
dynasty, the T'ang (618-906),

and dignity, while

which

intellectually

it

in its art

new

soon was to display an incomparable vigour, realism,

soon became intolerant and formalistic, which may have been the

more towards India from which

contributary reason that Tibet was looking

it

is

separated by

formidable mountain ranges.

In the south was India with Nepal, developing a civilization of

two

centres were of particular importance for the Tibetans, the

Ganges region

in northwestern India

where Buddhist Tantric

under king Harsa,

ideas prevailed at a time

when

own. In India proper,

its

kingdom of Kanauj on the upper

who promoted Buddhism, and

Bengal

the Pala kings had to pay tribute to Tibet

around 755.

Since
traits that

no culture develops

derive

Tibet,

it

vacuum,

from the neighbouring

began when the country was

that Tibetan art

in a

it is

only natural that the art of Tibet reflects

civilizations. It also

and culturally

politically rising

was 'influenced' by the art-forms and

would be

is

an historical

receptive.

And

of Tibet

fact that the art

while

it is

many

correct to say

styles that prevailed in the countries

around

mistake to understand 'influence' as mere 'imitation'. Rather, influence acted as

a powerful stimulus, arousing creative activity.

The

rich material that flowed into Tibet

was not

merely received passively, but became the playground of free creative activity.

The bKa'-thang bde-lnga

(a

work

that

is

said to

have been rediscovered in 1347) has preserved

the awareness of rhe Tibetans incorporating the art forms

It

records that,

when

and

styles

developed by their neighbours.

the bSam-yas temple was built, the lower part was done in the Tibetan manner,

while the middle part had a Chinese roof and the upper part an Indian roof.

ame work
ts

that a castle to the Southeast of bSam-yas, built by king

ground

floor, the

two-roofed

first

floor

It is also

stated in the

Mu-bhri btsan-po, was Tibetan

Khotanese, the second Chinese, and the third Indian.

SHAKY AMUNI

BUDDHA
At the time of his
supreme
His

left

realization.

hand symbolizes

meditation while his right

touches the earth as he

overcomes the beautiful and

terrifying apparitions of Mara,

or illusion, which surround him.

This description, coming from a 'rediscovered' source, may not be quite reliable and

problem

how a Chinese

All that seems certain

Chinese and Indian

may

pillars,

roof-styles. Also, the fact that the

and be topped by an Indian

Indian roofing

is

said to top the

roof.

and signing

a peace treaty

821/2) invited skilled craftsmen from India, China, Nepal, Kashmir, and Khotan.

particularly impressed by the

The

Its characteristic feature is

Chinese one,

which made India seem to be the greatest contributor.

that king Khri-gtsug lde-btsan (reigning 805-838

invasion into Khotan.

remains

that there were buildings that combined a purely Tibetan architecture with

well reflect the change of emphasis

we know
in

is

roof could be built without walls or

it

Khotanese craftsmen and demanded

tradition of the

Khotanese

art

Still,

with China

He himself was

their services at the threat of an

school lasted well into the 15th century.

the use of a fine weavy moustache in portraits and the representation of

architectural groupings in a sort of bird eye's view.

The

first

flowering of Tibetan art in the

and 12th centuries

fine arts.

Due

to

Kashmir, which

West

in

its

of painting and sculpture took place in the 11th

Tibet where the king of

geographical position,

itself

fields

West

Guge (dGu-ge),

in particular, patronized the

Tibet became deeply indebted to the style of

was influenced by elements of

art

forms developed under the Pala rulers (ca

730-1200) and under the preceding Gupta rulers (ca 300-600), thus combining both Eastern and

Western

art

Pu-rang,

is

elements in India.

The

last

phase of this

West Tibetan

style,

found

in Spiti,

Guge, and

connected with the monasteries and temples of Tsaparang (l6th-17th centuries).

Equally important

15th centuries.

The

is

the development in South Tibet which took place during the 14th and

centre of Gyantse (rGyal-rtse) absorbed the Nepalese traditions

porated elements of Pala

art.

This

style is

known

as Beri

(Bal-ris)

or 'Nepalese

which

incor-

style',

which

according to 'Jam-mgon Kong-sprul (1813-1899) was the mainstream of Tibetan painting up to the
15th century.

AVALOKITESVARA

The Bodhisattva of
Infinite

Compassion.

He holds in

his

hands

the indestructible
jewel, the lotus,

prayer beads.

and

Tibetan

Lastly, the East

surrounding

In the

areas.

style

must be mentioned.

It

was cultivated

Derge (sDe-dge) and the

Don-grub of Sman-thang

half of the 15th century, Sman-bla

first

at

Lho-brag founded the Menri (Sman-ris) school which incorporated Chinese elements of the

(Yuan) period, among them the elegant embroideries and

The following

century saw the

rise

Mongol

tapestries.

of the Khyenri (mkhyen-ris) school, founded by 'Jam-

dbyangs mKhyen-brtse'i dbang-phyug (born 1524). This

style, too,

makes use of Chinese elements

of depth, the treatment of backgrounds, and the attention to

in the representation

in

detail.

The school

seems to have declined with the waning fortunes of the Sa-skya branch of Lamaism, and in the 17th
century merged with the

'New Menri'

(Sman-ris gsar-ma) school, which

is

attributed to Chos-

dbyings rgya-mtsho (flourished between 1620 and 1665), and which, blending Khyenri, Gadri, and
late

Indian

styles, is

represented by the Lhasa or Central Tibetan style (dbus-bris) of the 20th

century.

Out

of the

classical

which

sGar-bris) school,

Nam-mkha'

Menri school came the Gadri (sGar-bris) or Karma Gadri (Karma

in its later phases

shows the

greatest Chinese influence. Its founder

The main

bkra-shis (second half of the 16th century).

distinctive use of colours

and shading, and innovations

features of this school

in the treatment of

was

were

backgrounds and

compositions.

This account, of course, does not exhaust the

art styles in Tibet.

mostly derivative from the major styles and remaining more or

many

schools Tibetan art has not

the content. This

is

due to the

growth

that

Mahayana Buddhism

becomes
is

Tibetan

fact that

inseparable from the philosophical

spiritual

become fragmentary and

art was,

styles

and

accessible to an understanding
its

known

technically

The

its

being

as Vajrayana-tv*/ra

through symbols. The complexity of

man

towards true being and

Mahayana Buddhism

as a

dynamic process

its
its
is

symbol of the indestructible nature of Being, and

yana the symbol of the pursuit of Being. Thus, Tibetan

it assists

is

emphasis on man's

Sutras presenting the intellectual superstructure, and in

existential character of

particular, and, bein g visionary,

lesser schools,

in spite of these

basically a visionary art that

background of Mahayana Buddhism with

revealed in

But

and schools were subordinate to

still is,

Tantras explicating the existential foundation and the growth of

appreciative awareness.

There were

less 'provincial'.

art is representative

in bringing the things of this

of the Vajrayana in

world into perspective, rather

than subordin ating or reducing them to fictitious schemata of mere postulate s Bein g 'existential' in
.

thelense of communicating values and meanings

assigned, the beau ty of Tibetan art

something
of Bei ng,

and

lets

is

it

is

not so

much

that are intrinsic to

Being and not

arbitrarily

a quality, or characterizing particularity by

which

distinguished from and contrasted with something else; rather, as the 'manifestation'

adds, in manifesting

itself,

the beholder be fascinated by

something that increases the charm an d the value of Being

it. _

Introduction to

Tibetan Sacred A rt

To

appreciate

Tibetan

quality of his awareness and

art
all

one must appreciate himself, the fact of his being, the

that

is

manifested therein. Tibetan art

miraculous process of manifestation, not a

alternative to

If

it.

in a Buddhafield.

one

If

comment on

it

is

a part of this

or an attempt at an entertaining

Buddha

then he

is

aware of being

one fully understands himself, then he

is

aware of being a Buddha

fully

understands this

art,

in a Buddhafield.

In each case, then, and in

is

Buddhahood.

Can you

deceit intended by

if

what

constantly being

is

Can you be tricked into looking

see it?

or confusion involved in

already Buddhas." "All beings

Buddhas." But

all cases,

must

the

two

"made manifest"

for

assertions that:

it?

There

is

"All beings are

strive to transcend their state of delusion

and

to

become

these statements only inspire confusion and uncertainty, then one

instead safely and confidently follow the path to

no

Buddhahood illumined by Vajrayana

may
art.

The Ground ofSunyata

The Sambhogakaya, of which

this art

is

one aspect, bridges the distance between many

apparently contradictory statements, between different levels of awareness and forms of existence,

between the ultimate and the conventional

not separate.

it

is

that

the
is

not

is

entities

aware of

very uniqu e bridge

it

links

but does

manifests an essential connection without thereby individuating things or

It

asserting that there exist things

Sambhogakaya

themselves
its

whose differences stand

some subtle medium

in

which

all

in need of reconciliation.
entities are suspended.

The

Rather,

standing open and fully revealing themselves to an awareness

and their "sunya" character.

Sunyata

is

an imp ish challenge_to man's insistent desire to

to classify, to discriminate. It refuses to give

him

or limited awareness. It deprives

driving

fears.

Man's ego

is

him an excuse

of any basis for his most gripping passions and his

alarmed b y such

a justifiabl e "fear of the void

."

can be mistaken for something

to conceptualize ^

rei fy,

to b e lost in a sleep of fascination

But sunyata

else, for a

and declares

a merciless foe,

not something in the

is

"void."

It is

nothing

its

first

nothing

alarm to be

place,

properties, nothing to be possessed, nothing to understand or to achieve. Its greatest

consists in telling

man

that he

to be taken as an insult to
'his

is

nothing too. In doing

man, or

doctrine points out that man's

a siniste r
self,

his

this, the

it

impudence

sunyata doctrine

attem pt to impoverish him or

mind and

that

to possess specific

is

not

his world.

the objects of his attention are

GREEN TARA

A Sambhoghakaya
of

emanation

Amitabha.

Green Tara

is

the most venerated

female dcitv in Tibetan Buddhism.

all

expressions of a field of limitlessly rich possibilities. Assertions that certain things exist,

unique and independent

or that they possess a

what they

self or essence that

makes them exclusively

and stipulation process. This

are asserted to be, are only part of a selection

process involves a specification of one type of awareness (rather than others), and of the

type and extent of the world that one

that

apparent

is

potentiality.

is

is

to

be aware

also manifestly the "ultimate" reality

one does not, then the "world"

If

is

one

If

of.

there

is

no hidden or unactualized

a trap in the very

midst of paradise.

Unfortunately, verbal explanations are usually not enough for one to

Tibetan

art, as

demonstrates

an expression of the Sambhogakaya, does not need to

The sunyata doctrine urges man not

The Sambhogakaya

of solid, brittle "things."

us to choose freedom rather than traps.

is

at play.

If all

is

we need

compassionate action

who

Unencumbered and

unfettered, the

it

Sambhogakaya

would seem that unity

it

is

The Sambhogakaya's

for

"doing" and "achieving," and the existence of an

can be benefited.

Without "doing"

or

changing anything, the

Sambhogakaya's light reveals the sameness of the ultimate and the ordinary
this

us in our isolation, revealing the fulfillment of connectedness

and unity. Sunyata denies the need

independent "doer"

But

realize this.

one anything

and mutable. Sunyata warns

totally fluid

not accept an imposed "separateness."

may comfort

tell

to concretize his world into a container

boundaries and distances are sunya, then

available to us, that

the world

realizes this,

its

light

is

"sameness." The logic of sunyata exposes the relativity of such concepts as "space"

and "time." With direct experience of the Sambhogakaya, one transcends these

Although we have been emphasizing the Sambhogakaya

as showing

what the doctrine of

sunyata implies, sunyata can and must also be experienced directly, and
of the Sambhogakaya's action. If

we wish

to distinguish

them, we may

and the Sambhogakaya are mutually complementary. Even a

more

will render the other

accessible to us,

which

little

in turn will

relativities.

is

itself the basis

say that sunyata

understanding of one

deepen our understanding

of the former.

Vajrayana Tan trie

The foregoing
thanka
these

art.

two

Tibetan

"tone

discussion

art

insights,

and

and

Form and

well as

down"

or

some

its

is

fundamental to the methods, purpose and nature of Vajrayana

associated practices were consciously developed according to

literally

art is therefore not

or sunyata.
least as

The

A rt

embody both

of

them without

distorting their significance.

merely a prelude or preliminary to meditation on the Sambhogakaya

color

may

express the "emptiness" of sunyata, and

insipid blank.

hamper the

painted scroll,

if

may do

so at

properly understood, need not

endlessly pervasive expression of the

Sambhogakaya. Instead
of extrapolating beyond the given, of searching behind and beyond appearance
for the ineffable,

one would do well to

if it is

just look

much

true that there remains

As an
on thanka

thanka. This

at a

we may

consider the

either lacks any specific source

central figures in such a

way

that their existence and their qualities are naturally revealed

These

figures or beings

extends throughout the infinite space

this light

emerge,

as

were, from nowhere, from anywhere.

it

foundation or origin. They consequently appear to lack any restrictions

What

on what they may become or what they may accomplish.

What

transformations

in their scope of action,

the realization that

may they

we too

communicate
open

are free in a field of

forms

transformations

or apparitional

is

possibilities.

"Your awareness may

worlds," they say.

in endless

quite distinct from seeing

it

empty of

as

and compassionate intercession. The former can be an

from

world of appearance the source and actualization of

enough,

it

open

is

into focus. This focus destroys the double-vision

separate.

We

to us to adopt this enlightened vision,

are freed to take

all

on being, knowing
one's

however, discovers in the

meaning and

itself

phantasmagorical

means of disentangling

latter,

all

technique or lesson of any kind, and has no goal beyond

as

restrictions

effective

world created by delusive projections. The

they

by awakening us to

to us

must here be pointed out that the technique of seeing the world

It

may

not effect in us? Mutable in form and free

their radiant presences

also be expressed in endless

self

emanates from the thanka's

or

they dwell

not undergo?

is

may happen, and where. Light

coming from everywhere

and are revealed wherever

to lack

and

in

The element of space

representational style.

art's

in their light,

They appear

to begin, even

to be discovered.

used to suggest a total openness of possibility as to what

in.

good place

is

example of the influence of the Sambhogakaya and of sunyata

initial

art,

even

value.

fulfillment.

it is

to use

it

It

not a

is

Remarkably

to bring our lives

which makes our goal and our path appear

paths as invitations to an effortless and all-accomplishing

non-doing. As we employ the Buddha's vision, we perfect

it.

Explorations into the avenues revealed by this mutability of form and freedom of expression
are not

games

and of our

The extent

or escapes for a neurotic mind.

of our realization of this freedom

ability to utilize this mutability corresponds exactly to the degree of our selflessness

and our compassion. Complete freedom comes only with the maturation of an enlightened
attitude into the omniscience of Buddhahood.

our freedom

Both before and

may only be meaningfully used

way, the light of the Sambhogakaya may also

Such themes of thanka

many ways. Even

may easily fall prey

in

step towards

we

all

create,

as

act

that

we

fi

in
it.

in the art.

itself to others.

may be mistaken

accordance with

In this

art

o ffers

or misused

true meaning,

its

Rath er than taking

one e xample of what th anka

nd

dawn of this awakening,

others in their turn to awaken.

stir

to a subtle attachment to
as

communicating

in

the mutability of form

we understand and

Buddhahood,

the stan dard for

distances

if

art

after the

it

as

we may

take

But the Sambhogakaya does not span

and thwart our best attempts

we

merely one

at clinging to egoistic responses,

it

all

as

the

merely

* V

to lead

us to a long-term

some

infatuation with

realization

even

genuine one. Nor

does thanka art exist merely to serve up some "truth" to us in a quaint or colorful manner.
In preference to this attitude,

not exist for any purpose at

it

might almost be better

and that

all,

it

recommends

to

the

maintain that the

same course

up the childish pretend-games of "being-in-order-to," and

us to give

to us.

art
It

does

advises

to learn to just be.

These cautionary remarks should be applied to whatever we subsequently say about what
Vajrayana

art

is

or does.

Beauty as a Manifestation of the Ultimate

Man

who help him negotiate

the Sambhogakaya realm. One is beauty, and the

has at his disposal two ambassadors

through Tibetan

art into

mindfulness of sunyata. The

we know of

highest goals

into

It

reminds us of the emptiness of

It

further points out that beauty

something that may be possessed,

we

of appearance that

once been aroused by

it

is

will be lost.

this,

we

then

specific concern.

Beauty

is

Tsong-Ka Pa
(right)

in the

we should

it,

awaken

also

learn to extend our awe and reverence to

to beauty,

awaken

center with his

and Gvaltsabje

(left).

to a

When

to the sort of beauty

that

much deeper understanding

and on

his left

is

Pa.

On

Towo Atisha

two

greatest disciples

Kedrub Je was most

while Gvaltsabje was foremost

emanation of Tsong-Ka

objectified

only that particular aspect

in the Sutras.

is

learned in the tantras

Manjugosha's right

who

started the

is

is

an

Tsong-Ka Pa again

Kadampa

sect

which Tsong-Ka Pa

reformed. Clockwise from there are Tsong-Ka Pa enthroned. Dombhipadaja Arahasiddha,

Dorje Shug Dan. Vaisravana, Mahakala. Vamaraja, Palden Lha-Mo. Tsong-Ka Pa on an

elephant, and Manjughosha.

The thanka

is

new and

portrayed in the Mongolian

style.

Having
aspects

the Vajrayana's

of sunyata.

Kedrub Je

Manjugosha (above)

all

we've learned to

Da ramsala
is

subject, object

if it is

TSONG-KA PA

20 th Century.

a cultivated

readily accept as a manifestation of the ultimate in our world.

truly

We

self,

"empty," and that

also

of appearance as being equally expressive of an ultimate reality.

do

is

given time. Sunyata tempers our approach, forestalling our

crude rush towards ethereal goals.

and "achieving."

other

beauty spurs us to action, and inspires us to seek the

art's

at a

the subtle entrance

Sunyata

far

is

more than

a device or doctrine for regulating

the highest beauty, the ultimate sunyata.

we understand

the statement: "If

The "beauty"
is

referred to here

Only with

the right

way

this in

mind may we
everything

to look,

not that which beckons and

is

correctly interpret

is

entices.

seen as beauty."

The

right

to appear as negations.

The Nature of the

As an

Deities in Tibetan

A rt

essentially religious art, Vajrayana art

must

in

some way be concerned with

such notion's as "the unsatisfactoriness of worldly existence" and "salvation."

commonly observed

two
to

states,

is

failing

people follow this pattern.

why

that,

somehow

certain savior or doctrine will

other hand,

man, when confronted by the need

fact that

He

often given to clownishly extreme antics.

some "salvation" and,

reasons

way of

not merely a stubborn determination to like everything, or to overlook things

which threaten

first

us and the sunyata that cautions our initial efforts towards spirituality are not

attracts

seeing

our behavior. The beauty that

Our

totally surrenders

carry

to choose

Now

it

is

between these

tries to forcibly seize

and cling

himself to a blind faith that a

him through. To some degree

discussion of the Vajrayana and

its art

or other,

many

may suggest some

the Vajrayana does not lend itself to such crude treatment, and why, on the
it

may

harmlessly accommodate

it.

Tibetan

art supplies the

which, considered in the light of the sunyata doctrine,

augmenting the

ego's greed,

one may give one's

self

and with

deities to

whom

may
(as

devotee with objects

be "taken" without thereby

Sambhogakaya manifestations)

without creating an unhealthy dependence. In this case, any over-

enthusiasm on the devotee's part does not result in an exhaustion or degradation of either

him
to

or of the deity involved.

these deities.

One

But regardless of

depth of experience expressed

is

not expected to fixate on

CELESTIAL BEING

deva ascends back to the

celestial

in these

as a relic

of his enlightenment.

and

images and their attendant practices will sustain

realm

carrying the freshly cut hair of the future

or slavishly surrender

one's initial stance, the subtlety of understanding

one through a vast range of discoveries.

Buddha

The

curse of man's ordinary

mind

into a polarized subject-object field.

Thanka

this condition.

separation.

we may

At

first

we

is

engagement

his

in the activity of

Most "objects" of such an awareness only perpetuate

will necessarily

view them

well reverse positions, according

as objects,

them the

but

more exclusively on the

us surprise and

unmask

our meditation progresses

it

we cannot

should be obvious

how

the

denial of any absolute basis for boundaries, "essence-difference,"

its

influential in our

is

as

status of "subject." Eventually

help but give up such fictional posturings altogether. Since

or relative positions

reality

however, supplies us with "objects" which actually heal this

art,

doctrine of sunyata, with

warping

dropping

this duality,

we may now

significance of the deities in thanka art.

who

that nimble contortionist

concentrate

These deities will help

delights in a solo playing of the

"knower," "knowing" and the "known." The sunyata doctrine warns us that he and

drama

The

are not

what they seem

to be... thanka art reveals the full

import of

this

his

warning.

Practice of Visualization

In the beginning of our efforts at meditation, however,

with revelations. The problem of dealing with the

immature minds presents

and treatment. As the

first

itself as

of

its

being in

many

lazy,

we cannot be quite

so concerned

dull and vicious qualities of our

much more immediate need

of consideration

ministrations on our behalf, meditation or visualization

involving Vajrayana art both points out the

extent of this problem and supplies us

full

with the proper remedy. Grasping, ignorance and tightness are most clearly exposed when
contrasted with unlimited openness,
of

life

knowing and compassion. The shabbiness of

characterized by the former qualities

with the

latter.

up the other
level of the

is

On

is

way

starkly pin-pointed in the light of one replete

the other hand, the only

to begin,

way

and to begin on the

to forsake the

from which

level

one way of
all

life

and take

qualities derive

the

mind. The Vajrayana therefore places great emphasis on the practice of visualization,

of mentally embracing and eventually realizing a oneness with the deities introduced to
us by thanka art.

precise correspondence exists

between the forms, colors and postures

of these deities and the types of awareness which they are considered to manifest.

bodies are the embodiments of our characteristic

deities the

and

its

embodiments

own

consciousness,

deities present to us.

It

"becoming" that the

is

we may

first

we

we

entertaining and perfecting these

become them,

and virtues which these

and

it

is

by implementing

speak to us in the Sambhogakaya fashion. At a certain

point in this process of self-perfection, however,

transcendent revelation that

by

actualize the awareness

in this sense that

deities

consciousness, and so too are Vajrayana

forms of "divine" awareness. Both this quality of "divinity"

corresponding forms are quite accessible to us

forms in our

this

in sensible

human

Our

we may become worthy

recipients of the

already are the deities, that there has never been a time

even in our most black or vicious moods when the deities and their qualities were not
fully actualized

by us and

fully exemplified

by our every thought and

act.

This

is

the

ultimate realization offered by Vajrayana practice, and the ultimate sense in which the

Sambhogakaya communicates
perfection, but

what

is

to us...

awakens us to what

it

actually our complete

we

call to

"great" doing and appropriating.

practice does not,

we

until

it,

great leap to the realization that

and

deities reside fully at ease

We

exist in a

It is really

in

are

as

neither of these. Visualization

tempered and strong enough

momentary spots

abandon the beauty of our

to

us.

as

to

we

make

the

such notions as "changing," "remaining unchanged,"

all

"virtue" and "vice" are "empty." Like

tempt

a remedy. Since

merely involve putting a new mask over our old ego

therefore,

changed and perfected by

are

Sambhogakaya

the

we

Since

itself.

and appropriating, we eagerly respond to the Sambhogakaya

are involved in doing

being a

appears as the path to

and ever-abiding perfection

we welcome

are preoccupied with unsatisfactoriness,

first

lives

harmony with

world of causes and

before our eyes, they should not

pursue or avoid them. Thanka

in order to

their

effects.

It

world

is

their presence

is

their "doing."

therefore inevitable that our initial

interchange with the Sambhogakaya influence follow this same format.

The

between

relation

the visually perceived characteristics of a given deity and the quality of awareness that
at

is

nurtured by meditation on these characteristics

first

same sense

and world-views.
is at

a "causal" one,

is

mold

that any thoughts are said to "cause" other thoughts or to

On

this

work. However, the

level of visualization practice,

and transcendent realization

is

final

in about the

personalities

kind of psychological science

and reveals

eternally uncaused,

that types of awareness, their associated manifestations and these manifestations' evocative

power

all

have sunyata as the ultimate source and basis of their relationship.

These general remarks should make several things

variety of deities in Tibetan art do not

make up

clear.

The

incredible

pantheon"

a "religious

ordinarily understood), and do not derive from a desire to invent a

world

for us to lose ourselves in.

It

is

the status of such deities?" In reply,

is

we

for us. Since

Our

as they do.

exist, they

often

perhaps,

first

become manifest. Since we

much

complex imaginary
just

what

point out that these deities are here

exist as

we do, they become manifest

what we

persist in overlooking.

and confining status that man appears to have.

to enact only a tiny part of our true potential

larger field, then

stubborn

is

It

question the status of such "divine messengers" and at the same time

to naively accept the dreary

enough

term

and misery makes necessary and inevitable (since they

state of confusion

silly to

this

somewhat heatedly asked: "Well

we may

are aspects of ourselves) their appearance as revealing

is,

(as

numbers and

in thrusting

we should

not be surprised

if

and

If

we

are

stubborn

to accept only a section of

the "exalted remainders" are equally

themselves upon our attention. Thanka deities, then, do not exist

independently of us and our qualities. .they are relevant to us

.

in

such a way that, while

they do not indulge our old games and habits, neither do they lead us on a course which
ignores the "facts of life."

They do not

Do
it

they

They

are neither

inventions for fun nor vehicles for escape.

need to be invented, they are a direct and uncontrived response to our condition.

What is their ontological status? In reply to these questions, perhaps

asked: "What is the ontological status of a way of being}" For, Vajrayana

'exist?"

should be

deities

embody ways

of being,

instantiation in the world

not things.

Nor

are these

ways merely potential, awaiting

they are already fully active. Vajrayana visualization practice

does not involve a three-term relation between a man, a tantric deity and some thing

which

this deity

and

this

meditation are instrumental in helping him become. Visualization

does not involve a relation between things at

all.

We

are

of a fixed picture according to which some "things exist."

in

adding some new things to the

list

accustomed to think

The Vajrayana

of existents; rather,

it

is

in

terms

not interested

urges us to give

up our

preoccupation with "things" altogether, and to also either give up this picture or to realize
that

it

is

just a picture.

Tantric Buddhist deities are admittedly not "things" that are

AMITAYUS YAB-YUM

Amitayus

the

is

of Amitabha

Amitavus
as part

is

Sambhoghakaya

who

is

reflex

seated above.

visualized in this form

of the sadhana. or religious

practice associated with

him

human

limited to "existing" in a so-called objective world, but then, neither are

Without any break, interruption

awareness, spanning

all

or hardening into isolated things, awareness opens unto

To

the possible realms of experience.

visualize

dwell in this continuum. Tantric deities exist, therefore, in a way that

human beings to exist in. They

that we know ourselves as human

for

are

known by

the

In fact,

beings.

ourselves in this manner. Speaking pragmatically,

in

beings.

guiding us until we reach the realization that

same means and

it

is

to consciously

is

also important

same manner

in the

knowing them may help

we may

us to

know

say that their utility consists

and that we have no

they are not tools

ends that need to be furthered. Thus we learn to respect both them and ourselves.

The Ultimate Nature of the

Although responding
to

Deities

to our situation

and appearing

them, the forms and actions of Vajrayana

deities'

participation in ultimate reality.

in

forms that encourage our access

governed by these

deities are also equally

They

are glorious

and awesome, therefore, not

merely in contrast and as a remedy to man's inglorious and dismal predicament, but because
ultimate reality

is

"hidden reality." This

art points to a

not divorced from our

still

see

glorious and they are not separate from

by

it

human

that

What

as seeing.

whole of

we

it

them

their due,

are usually

art. It is

then

all

all

but only by

not sufficient that

and

as cut off

we

our other senses, then

We

cannot see the

summoning

relate to

we may

fully experience the

them

it,

we tend

as vast a

its

everything

initial

being responses
If

we

are

range of significance
this art.

Since

value as being above or behind

to interpret thanka deities as pointing

beyond our

as

enrichment afforded by

determined to devalue appearance, to find

rather than in

them merely

from their relation to ultimacy.

of our attention, and to allow

In reality, they only point

The

is

This suggests the kind of involvement that we must bring to the deities

are.

willing to give

we

vision, but

by taking every element of our being and our

just a part of ourselves,

to a part of our total situation,

is

human

hidden to ordinary

Vajrayana visualization practice teaches us to

nature.

finally

often said that thanka

is

once was hidden then becomes clearly revealed.

by exerting

reality

and worlds of thanka

as

is

It

seeing the art with our mind's eye, then through

first

with our energy center (cakras) and

world

reality

it.

beyond themselves.

comprehension of them.

Deities as Guides to Perfection

Thanka

man and

for

art

and

its

deities are effective,

but what do they effect? They interact with

him, but what does man need? In meditating upon the deities and upon

our identity with them, we are not trying to become, to restructure or to change anything.

Thanka

deities are not

showing us something

to be

our nature

is

that of sunyata,

not

that of a substance

which can be molded, added

show

that these deities

am

really the

same

be very subtle.

It

us

what we

must guide us

How

to perfection

without encouraging us to

we

"doing," and must lead us to appreciate what

are

without merely

fall

more

into

our egos.

titillating

of Vajrayana practice therefore consists in very strenuous efforts that remain grounded

Much

"pre-view" of ultimate truth,

in a

more inappropriate responses "Oh,

nice!" Divine inspiration must of necessity

are, only trigger

beings?

as these divine

to or subtracted from. Furthermore, suggestions

change.

Among

the

many

the assurance that nothing will or needs to really

in

we may

things that

believe about ourselves

and our purposes,

there are perhaps a few that are tentatively suitable for visualization practice.

We

begin

with ideas about ourselves, the deity and our goal that have no validity and no other
value than their capacity to rouse us to set to work. If

we
of

we

attain our initially cherished goal

who we

we

At

are.

will instead

we

however, before

are fortunate,

wake up

new understanding

to a

this point,

we

will no longer believe ourselves to be anything. In fact,

we

are

nothing (sunya). At this point true Vajrayana practice

will be quite sure that

begins, and proceeds with our having no purposes or intentions, whilst engaging our energies

and attention

We

away.

fall

in such a

work

manner that

until

some

all

our latent tendencies toward ignorance or imperfection

part of us "knows."

Then we dwell

It is

to

them

accomplish such an

effortless

are "all-knowing."

power and character that enables our attunement

the special quality of the deities'

to

and

in this insight

we

allow our continued action and attention to purify themselves until

and unconcerned purification. The

deities naturally

appear in such a way that their appearance calms our inclination toward confusion, shows
us the perfection of which this confusion
perfection

itself.

which need

However,

is

but an inversion, and simultaneously

soon as we outgrow the disposition to seek abstract

as

to be illustrated or represented,

we

to be healed or transformed,

and

which we

to isolate conditions

feel

its

which

role as illustrator or healer,

very effectively. This process continues until there

is

nothing

in

left

here from

partly in our need

some other world

and partly

they have always been with us.

in our perfection,

and

it

we

on our

then plays

us that needs to be

convinced... further offers of revelations and assistance do not tempt us.

come

need

perceive the deities quite differently. Both they and

part immediately recasts the deity in

the

realities

are understood as naturally self-sufficient. Again, any remaining vestige of delusion

not

is

The

They

deities

do

are anchored

are appropriate manifestations for either

condition.

One
labors.

practices the Vajrayana with the intention that everyone will benefit

This intention

to the idea

is

built into the practice in

and execution of visualization. The

many ways, and

is

deities are visualized

limited point of view of our ego and our position, but in such a
their

promise of enlightenment to

deities as

one

is

though everyone

is

all

sentient beings.

One must

from

his

certainly fundamental

way

not just from the

that they extend

learn to experience the

simultaneously experiencing them with him. In this way,

taking a step toward truly communicating with a deity in the Sambhogakaya fashion,

where each "speaker"

is

expressing his participance in the totality of what

is

real.

A more

elementary purpose to

this,

however,

perception, to "purify appearance."

or enriched, but

men, appearance

we must

still

simply to force the ego to relinquish

is

Of

aspire to strike

up

a proper relationship with

obscured and laden with ego-projections. In such a

is

it.

for

and must temporarily be replaced by an "expanded vision" of the worlds,

deities

If

we imagine we need and

obtain what

we

art.

are imprisoning ourselves in our

of a correct point of departure.

we avoid

tutelary deity,

By

we develop

the

own

our meditation,

and qualities

power of meditation

to perfect the persons

we

delusions. Meditation

For most

our world,

state,

our body, and our perceptions cannot provide ego-transcending objects

of awareness depicted in thanka

hold on

its

course appearance does not really need to be purified

in order to

believe ourselves to be,

is

harmful in the absence

relating to appearance from the point of view of a

further scribbling on a picture that's already overworked, and use

our awareness to promote integration and harmony instead. The worlds conveyed in thanka
art offer us great

freedom to explore, to rediscover the newness and open

possibilities of

our environment. At the same time, they provide us with a firm guidance that prevents
our explorations from degenerating into egoistic flights of fancy. Thanka
consists in the generation of elements

As long

as

we

which can only prompt one

we grow

may experiment without hurting

which we may perfect our awareness, and a

intention to awaken

all

the liberating expression of the

man

and grows

ourselves,

It

and beauty

is

it

than he does

may

a training

we

offer us a

ground

in

carry out our

creative vision involved in this

Sambhogakaya

not some grandiose

itself,

the very source of our delusion.

plays no part in the generation of this vision

greater involvement in

it

in significance

thus sustains us through each of the

Buddhahood. The

production of the imaginative faculty which

not to say that

level

of activity from which

field

beings to enlightenment.

three stages in our development toward

is

own

penetrating clarity of mind. At various times

in

play-pen in which we

development

to develop that maturity.

carry our limitations with us into the deity's realm, the brilliance

of that realm will elude us. This art meets us at our

precisely as

great science

art's

in his fantasies.

he

must have

The meditator never

This
a

is

much

forgets that

the entire process of maturing to enlightenment begins, proceeds and ends in sunyata.

Consecration by the Deities

Ancient texts on Buddhist

ait declare that the deities never enter

those of the prescribed proportions, with their

stand this to

mean

forms other than

numerous designating marks.

that religious depictions cannot introduce us to the

We

may under-

Sambhogakaya action

unless they are executed so as to correspond exactly to both ultimate reality and to the
specific

may be

way

in

which human beings must approach and grasp

restored to

When we

its

it.

proper significance and dignity through the agency of thanka

therefore invite a particular deity to consecrate us

a request that

Every aspect of our existence

and our world,

this

art.

being

he invest us with his qualities and ways of being, the art shows us what

we should

expect.

The

unmistakably convey
enced

body

deity's

his particular

as limiting or acting in

is

made

exactly to the proportions and attitude that

kind of awareness to

us.

Our own

bodies are often experi-

opposition to our minds, and as standing as a barrier to

mutual understanding and recognition among us and our fellows. The

of a piece"

it's

deity's

understood to be equally aware and "knowing" in each of

its

body

is

parts.

"all

Our

bodies are conglomerates of specialized parts whose different functions tend to confuse and
distract us.

Whereas we

For us, light

is

are

engaged

in helter-skelter doing, the deity

a precious gift

from outside (above)

and status

an uncertain world.

reveal our location

in

us,

is

in vibrant repose.

and which we depend upon

What

is

not alight

is

to

unknown and

The

feared.

deity radiates his

own

which illumines the entirety of

light,

which

is

uniquely expressive of his character and

his world, every direction

being an unfolding of his

vast possibilities. (Very often, space only emphasizes our feeling of smallness

We

own

and inadequacy.)

plagued by isolation from others and alienation from ourselves. He, on the other

are

hand, manifests his completeness in ecstatic embrace with his essential nature. Whereas

we
to

cling to objects, his consort in this embrace

upon him

fix

that

as

an object, his awareness

may

sentient beings

all

is

is

sunyata.

While we

are even inclined

directed totally outwards from

attain to this center.

its

sunya-center,

thorough and minute correspondence

may

obtains between us in our world and his being in his own. In this way, appearance

be reinstated to

its

primordial splendor.

Once we have developed some understanding

some of our more

relevance to us, and have freed ourselves of

we may extend
work of

the

the visualization to include our

stabilizing appearance in

its

of the deity's

own

mode

of being and

constricting associations,

bodies and perceptions. At this point,

essential sanctity

may proceed

very quickly.

emotions, our senses and their objects, our perceptual categories, space and time,
their one-valueness,

empowerment, we

us his

moment
The

ground

the

for

both Buddhahood and bondage.

will experience

of our past and future, through

entire

to extend

it

all

GUHYASAMAJA

secret.

refers to the representation

of outer, inner and

Guhya

is

the Sanskrit

This

is

because the Anutara Tantra class to which

internal.

this deitv

belongs

is

word

for secret or perfectly

the secret or perfectly internal tantra.

Vajravana Buddhism contains within

itself practices

which

do not

necessitate changes in the

outward form of the

tioner.

One who

in the perfectly internal

Tantras

is

accomplished

may seem on

the outside to be no different from any

ordinary man, but on the inside he

yogi.

Above Guhya Samaja

invited

practi-

Padma Sambhava

is

is

a perfectly

accomplished

Dharmaraja Tri Song

to Tibet, while

below

is

De Tsan who

Mahakala.

Our

reveal

moment

to every

and

futures.

their pasts

laid bare of sunyata.

18th Century, Central Tibet

Guhva

all

all

If the deity grants

through the present

other beings and

round of rebirth and causation will be

its

There

standing of

may need

where
is

it

changed by

common

and our

Appearance, our ordinary under-

this great course.

reactions to

comparably

art that is

no limit

one that does not exhaust

rich,

understood to be a

is

yet,

we

But

transcendence.

We

that this art

is

is

not separate from the reality

Thanka

the reality, are complete.

possibilities to light for us. Significance

only stipulated to possess

it.

one

If

it

significance because

we

our every experience, the art

it

is

alive

not "stored" in the art, nor are the art's elements

tries to "retrieve"

the art's

meaning

in the

same manner

mockery of the Vajrayana's

are ready to live in our full potential,

may

is

perceptions, and brings these

that one fathoms a phrase by referring to a dictionary, only a

true import will result. If

The knowledge
.

many levels of
our moments and

is

it.

brings to our attention. .the art,

art has

inherent in each of

to the possibilities

might say that there

not merely a container of such

profound knowledge, and does not exist solely in order to convey

there because the art

lame attempts

and yogic meanings expressed in every detail

must be emphasized

it

itself in

art is the very quintessence of appearance,

call to

to the levels of philosophical

of thanka art.

The

And

are all the ultimate reality.

it

some aspect of appearance. Vajrayana

appearance

all

is

the art to see this. In fact, to learn to appreciate the full richness of appearance,

we need an
to capture

nothing that

is

finding

meaning

in

teach us a great deal.

Significance of the Deities

Depending upon

one's character, his level of maturity at the time of beginning the

Vajrayana path and the turns that his ego takes in fleeing the inevitable ascendancy of

Buddhahood, one

will find reason to invoke the aid of various particular deities.

responses to meditation practice change, the qualities of different deities

As our

may be used

to

advantage in maintaining the balanced perspective upon which continued progress depends.

Not

all

practice consists in ego-taming,

plateau from which our time

in further beating

who may

assist

is

however.

better spent in exploring reality's deepest mysteries than

worn-out ego structures. At

set

in

this point too,

there are specific deities

motion the dharma wheel which unfailingly counteracts

delusion by generating innumerable enlightened

Him

quite possible for us to reach a

is

our development.

Sakyamuni Buddha

of

It

men and

enlightening doctrines. Depictions

help affirm our basic orientation throughout a many-sided course of development.

The

arhats exemplify the refinement of character

which Sakyamuni stressed

as the

founda-

tion for enlightenment.

As the models
limitless compassion,
all

for all Bodhisattvas,

Avalokitesvara, Manjusri and Vajrapani exhibit

wisdom, resourcefulness and power

beings to Buddhahood.

in their selfless efforts to

awaken

Having attained

to the

supreme comprehension of reality, the Mahasiddhas

spontaneity and power in their every act.

as

"power") consists

of appearance.

They

in their

having throroughly experienced the ultimate in every aspect

are blissful not because they have

man

because the fullest expression of the ultimate in

Representations of

who

on our
state

of existence.

level

all

in

to pleasure-seeking

"Great Bliss" (Mahasukha).

human gurus

an invitation to the

must we understand
full

in Tibet

Since they also taught and granted blessings directly from a

still

approach and learn from them.

are inspired to follow these lineage teachings to their conclusion

nature. So

but

direct our attention to the source of the Vajrayana's energy

embodiments of an understanding of sunyata,

sunya

is

succumbed

of the long lineage of

which transcends space and time, we may

We
as

Padma Sambhava and

preserve His teaching,

reveal reality's

Their "siddhi" (often misleadingly translated

all

by dakinis who,

are beautiful to behold but are entirely

appearance to be beautiful, where beauty

is

experience of sunyata.

Standing astride the corpses (portrayals of "deadening" influences) of the sleep-inducing

attitude of eternalism and the "souring" doctrine of nihilism, the wrathful deities fling

The ego

off all the limiting shackles of the ego.

unbridled
lust

tight and small but they are free and

they trample and burn away even the most deeply entrenched remains of ignorance,

and hatred. Their purpose

but to open

is

us.

No

is

not to activate emotional ego-responses such as fear,

Vajrayana art derives

its

power

or

meaning from

stirring

up emotional

impulses of any kind. Wrathful deities, therefore, are not creatures of vengeance

who punish

us for our wrong-doings, or our enemies for their disagreeableness.

Dhyani Buddhas unravel what

Buddhamind. They obligingly stand

to

them

individually, until

pristine awareness of

we

which they

is

for us the

as separate

impenetrable mystery of the omniscient

Buddhawisdoms while we become attuned

finally effect their synthesis to regain the irreducible

are the

and

Sambhogakaya manifestations.

Tutelary deities maintain a most intimate relationship with us, fostering our development
until that

time when they bid us to draw near to them and to the knowledge that we

and they share the same

essential nature.

They bequeath

us the heritage of their

own

able patterns of being and knowing, proving beyond question that we may

unsurpass-

realistically

adopt them.

Mandalas of vast arrays of peaceful and wrathful tutelary

deities, dakinis

and Dhyani

Buddhas, provided that we are given the key to their inner significance, put to
fears that

are

our

our minds, perceptions, bodies and world are fragmented and bewildering. There

no "loose ends" that need to be retrieved or accounted

in the

rest

midst of an harmonious unfolding of

that loses track of nothing

all

for.

mandala places us squarely

beings, Buddhas, and realms, from a center

and explains everything.

The primordial Buddha Samantabhadra

deities, conflicts

and resolutions. ..He

is

oversees this unfolding of myriad forms, beings,

unconcerned, even with the reflection that there

has never been a departure from perfection, never an isolated sentient being or

Buddha.

"His" overview and unconcern with narrow views and pretenses are simply features of that
experience of enlightenment which

The Vajrayana
elicit ridicule rather

considers

its

open to everyone.

is

art to

be very sacred. Such terms as "sacred" sometimes

than reverence, since they are taken to designate objects which must,

under pain of censure, be regarded with no attempt

piety. Vajrayana art has great

and

ness,
as

human

beings. It

profound transformations in our

therefore easy to respect this art, just as

is

way does

In what
is

to effect

in pointing to a "divine" realm it clearly indicates our

and deliberate attempts

what

power

what

"art,"

what reasons

is

not to

do

so

make no more

its

is

something

to be taken as

"good"

art?

own

art.

its

message" and our

own

dream

art

value and significance

easy to respect ourselves,

from other

sorts of appreciation?
art,

And

and

for

Vajrayana philosophy has very definite

It
.

makes

also

.the

fully possible

moment

infinitely

what

for

of appreciation, during

experience merge in the light of a deeply

comprehension of a universal insight, may be

The

it is

level of conscious-

purpose, which class of things are to be taken as

other aesthetic traditions remains an unrealized

art's

own

and with strained

sense than does masochism.

aesthetic appreciation differ

answers to these questions, at least for

which

at critical evaluation

felt

personal

extended by Vajrayana practice.

and the world of our experience inform and enrich each other until an all-inclusive

continuum of understanding

is

established.

Tiring of abortive attempts to specify the exact extension of the class of "art" objects,

some Western

artists

and aestheticians play with the notion of accepting everything

being "art". Unfortunately, they find

it

as

very difficult to do this in any nontrivial or interesting

way. They have an equally hard time reconciling the belief that art should reveal "profound
truths" with the assertion that in no case should
ourselves with meta-perceptual ends.
so problemmatic.

It

path, nothing could be

art,

and

is

art for

The Vajrayana does not

And

more obvious

or

to

anyone who has

the "given," concerning

find these points to be quite

which involves accepting

teaches a very sophisticated technique

objects and perceptions as "art."

is

we look beyond

fully

all

mastered the Vajrayana

more profound than the discovery that everything

no other reason than that everything

is

what

it

is...

that

is

enough.

Catalogue

of
Plates

In these brief descriptions of the thankas

we decided not
aspects

to delve

and

rupas,

immediately into the more esoteric

of Tibetan art and

religion.

At

the outset,

long intellectual explanations tend to lessen the depth

of emotional impact that color and form -devoid of rational

categorization can provide.

visual presentation of sacred subjects such as this

allows the senses to experience the art directly. While

explanations as to implements, attributes, symbologies,

tantras, colors

and mandalas

are important for a total

appreciation of this art, the purpose of this catalogue

an introduction

to

Tibetan sacred

art coupled with accurate scholarship,

and to provide

is

simply to present

both

immediate aesthetic appreciation and an avenue for further study.

Note: All diacritical marks have been
Sanskrit,

and all Tibetan has

left

off the

been spelled phonetically.

LORD BUDDHA

7
1

8th Century, Central Tibetan

Lord Buddha

is

represented in the "bestowing mudra." Overhead

Panchen Rinpoche, probablv Lozang Yeshe Palden,

His disciples surround him and
Sect.

Below Lord Buddha

emanation of Manjushri
is

is

all

the

represents perfect

an emanation of Samantabhadra

who

born of perfect Wisdom. Below him

is

beneath Manjushri

is

To

Vasanta Rajni,

left

is

the

lived in the 18th

represent great scholars of the

Vaishravana.

who

who

Gelugpa

of Lord Buddha

wisdom and

Century

is

in

to the right

represents perfect activity

another emanation of Samantabhadra and

female Dharmapala.

ic

'Zt.jA&i

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VV4

s*^

"i.

v-

5^

"a.

Detail of S

u.ibhadra Bodhisattva

7b.

Detail of Vasanta Rajni

8
1

AMITAYUS
8th Century.

Kham

Amitayus, a very important manifestation of Amitabha,

the

Buddha of Boundless

Light,

is

portrayed in Sukhavati,

or the Western Paradise, a place where those

who

have

sincere belief in

Amitabha can be reborn.

In Sukhavati

conditions are perfect for spiritual progress.

all

Amitabha and

his reflex

Amitayus

are the spiritual sources

which Avalokitesvara and Tara emanate. As such they

guiding principles of much of Tibetan religion.
All the

Buddhas surrounding Amitayus

representations of Amitayus.

are also

from

are the

?**<-;

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CHAKRA SAMVARA

18th Century. Gntral Tibet

One

of the main Yidams of the

tradition.

the

Samvara

Kagyudpa

is

sects.

New Translation

especially revered

(Sarma)

by the Gelugpa and

Samvara's home, the top of Kailas

in

the Himalayas, coincides with Mt. Meru, the center of

the Universe. Kailas and the surrounding area

one of the most sacred

Tibet. Milarepa spent

places of pilgrimage in

much time

is

considered

Western

there with his disciples

and displayed the superiority of Buddhism over Pon,

an indigenous shaminism of Tibet.
the Dalai

Lama while below

Above Samvara

rides Vaisravana.

is

10
1

GUHYASAMAJA

8th Century. Mongolia

Guhva Samaja

is

the central deitv and the main subject

of a Tantra of this same name. This

is

one of the main Tantras

studied and practiced by the Mahasiddas of India.

These Buddhist yogins attained highest perfection (Mahasiddhi)

by turning their work into meditation.

Upper

left is

Dorje Chang, the Adi

Buddha of the Gelugpa, Sakyapa and Kagyudpa

is

Amitavus. Boundless

previously discussed.

Life,

sects.

Clockwise

and two forms of Mahakala

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YAMANTAKA

li

19th Century. Central Tibet

Yamantaka

wisdom

is

the wrathful form of Manjushri and represents

that subdues death. In Vajravana, death

is

actually onlv a

seemingly stable existence to an unstable one.

from

truly

understands that each passing

moment

If

one

represents the death

of the past one and the birth seed ot the next one. then through
precise

wisdom one

ceases to have

the
a

attains

power over death, or

rather death

power over the person. Clockwise overhead

Panchen Rinpoche. White

Tara.

Chang Kva Rol

very great scholar. Usnishavijava and

\valokitesvara. of

whom

the Dalai

are

Pai Dorje.

Four-Arm

Lima

is

an incarnation.

change

12

VAJRAPANI

19 th Century, Central Tibet

As

the unfolder of the Tantras, Vajrapani

Buddhism. Overhead
left

is

is

important to Vajravana

Padma Sambhava with Vimalamitra and Amitabha

to the

of him while Tri Srong Detsan and White Tara are to his right.

Below Vajrapani

are

from the

right:

four-armed

Avalokitesvara, the Bodhisattva of Divine Compassion, a

representing the

mind of the Buddha,

Vajrasattva of

Choden

immutable

and Manjushri, the Bodhisattva of Divine Wisdom. The thanka

Nyingmapa from

purification,
is

probably

or around Mindroling Monastery in Central Tibet.

13

YAMANTAKA

18th Century, Mongolia

The

central figure

is

Yamantaka. the wrathful form of

Manjushri, and the peaceful uppermost head of Yamantaka portravs

the

Buddha of Divine Wisdom. Tsong-Ka Pa

Upper

left is

one of the

is

pictured above

left.

probably Jetsun Tragpa Gyaltsen,

five great

Sakya Lamas and an incarnation

of Padma Sambhava. Bottom clockwise are Yamaraja,the Lord

of Death,
five

who Yamantaka

animals represent the

subdues, a tantric offering, in which the

five senses,

and Vaisravana.

14

YAMANTAKA

18th Century. Central Tibet

The most

notable of the Gelugpa Yidams. Yamantaka's sadhana

was spread and made popular by Tsong-Ka Pa who

Below Yamantaka

is

Yama whom Yamantaka

Gelugpa Sect was usually made

logical analysis
a

monk was

of the Sutras.

is

enthroned above.

subdues. Tantric initiation in the

possible only after long study

and

Once accomplished,

allowed to enter one of the Tantric colleges.

Such colleges were maintained by

all

large

most famous of these was the G\udto

Gelug monasteries
in

the Jo

Khang

in Lhasa.

15

PADMA SAMBHAVA

19 th Century.

Kham

This thanka represents the deities and Lamas of the N'ving Tig
lineage of

Nvingmapa. Around Padma Sambhava

wrathful manifestations. Jig

reincarnation of

(far

L ng Chen Pa and probablv

of the 18th Century. Jam

Med

movement, which

isophv of

all

upper

left)

the highest

Yang Kentse Wang Po

rhe bodilv incarnation of Jig

>nsectarian

Med Lingpa

are his peaceful

(far

was

and

Lama

upper right)

is

Lingpa and the initiator of the Ri Med.

prescribed the impartial studv of

four major sects of Tibetan Buddhism.

mm
*Ot'

u\

>

16

PADMA SAMBHAVA

18 th Century, Batang Monastery,

truly beautiful

Kham

thanka depicts the coming of gteat

iambhava to Tibet
people Padma Sambhava

to bring the

is

>ns

tr.r

demons. Other
in the

Lower

to the Tibetan

in

Nga Yab h ma Padma Sambhava's

represent

Dharma

Guru

of the

paradise.

Guru

to

The wrathful

subdue the

figures

local

parrs illustrate various other episodes

Guru's Biography.
left

peaceful

the

Guru

gives the teaching of the Bardo and the mandalas of the

and wrathful

deities.

Lower

right the

Guru

Sambhava was the founder of the Nvingma

gives his blessing.

Sect.

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PADMA SAMBHAVA AND THE EIGHT MANIFESTATIONS

17

18 th Century, Western Tibet

Surrounding Padma Sambhava are

each relating to

Overhead

To

is

his eight manifestations,

portion of the Guru's

a different

Urgyan Dorje Chang, or Padma Sambhava

Chang

the right of Urgvan Dorje

Guru Endowed with Understanding

is

seated

Guru Padma Gvalpo,

Mandarava

offers

manifestations of

is

pictured

as the primordial

Guru Loden Chog

the Highest Wishes.

the Lotus

is

Guru Dorje

Drollo, one of the wrathful

Padma Sambhava. Clockwise from Dorje Drollo

manifestations and

the one he principally used in subduing the local deities

to

Senge Dradog

is

Nyima Odzer

of Padma Sambhava. Above

is

Guru Padma Sambhava

the

Guru

as

in

when he came

disciple of

highest Lamas. Just above her

the form of a

voung monk and above him

Shakva Senge, or the Lion of the Shakvas, the clan that

lord Buddha was born into for the

to Tibet.

the Yogi manifestation

Yeshe Tsogval the other female

Padma Sambhava and one of Tibet's

is

Under him

King Guru. Below Guru Pema Gvalpo,

Guru Senge Dradog, another of the Guru's wrathful

Next

Buddha.

Se, or the

Amrita to the Guru. Mandarava was one of the Guru's two

female disciples. Below her

is

life.

last

time.

is

18

GREEN TARA

18th-century. Khatn Province

Here. Tara

is

again depicted saving one of her devotees

demon which

from

form

of T.ua

is

is

very unusual for Tara

standing. This reflects

stvle

out of the picture

is

in this detail.

This

rarely portraved

some of the Chinese elements

in

Kham

thanka painting. The leaves under Tara. instead

of the more traditional lotus,

stvle representation ot

come down from

Buddhist

deities.

the

The extreme

grace of both figure and robes and lack of complete

laments also

reflects this influence.

Tang Dvnastv
Samboghakava

--*

MOHBSffl^P'J^"^

^
^^j^S^
19a

19

the
Detail of the Bodhisattva descending into

womb of Maya.

THE BODHISATTVA'S LAST BIRTH

ry,

Derge

thanka
in the 17th Century, this
Painted from a set of blocks carved in Derge
who is to become the Lord Buddha.
represents the h st birth of the Bodhisattva
of a white elephant
Upper left he leaves Tushita heaven and in the form
from the side of
born
is
He
enters the womb of Queen Maya, lower right.
Indra with three faces who receives the

Maya, center, and

Ihisattva.

it is

Lower

left,

the Bodhisattva takes seven steps and

nointed by heavenly beings as he declares his

last birth.

2*

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NAROKHACHODMA

20
1

8th Century, Central Tibet

Kha Chod Ma,

special

or

Naro

the sky cleaver, was the

form of Vajra Yogini propitiated by Naropa. She

central deity involved in the Six

was

Mahasiddha and

Milarepa. Nai

pa was

twelve great and

his disciple,

famed
ir

is

the

Yogas of Naropa. Naropa

Marpa, was the Guru of

for successfully
lesser trials

undertaking the

under

his

Guru

Tilopa,

another of the Eightv-tour Mahasiddhas. Dorje Pagmo, another

orm of Vajra Yogini,

successively incarnates as the

Sam-Ding Monastery

in Central Tibet.

Lama and below dance

Abbess

Above Naro

the Citipati.

is

the

21
1

KURUKULA

8th

Qntu n

Kurukula
-.inces

is

Cen

both

iw

is

at Tibetan

wrathful manifestation of Tara and

a

Yidam and

Dharmapala. Above

is

considered in

is

the 7 th Dalai

Palden Lhamo, the protector of the Dalai Lamas.

some

Lama

22

FOUR ARHATS

19th Century, entral Tibet

Clockwise from the top

disciples:

left are

pictured four of Lord Buddha's

Angja. Ajita, Vanavasin and Kalika.

an attendant of Ajita and

lives in a smaller

In the upper right corner

is

disciples

of Lord Buddha

The

who

is

reside until

saints

follow the path of Hinayana.

compassion

arises

is

hut than his master.

Ratnasambhava. Arhats are

enlightenment of an Arhat can be compared to

where they

central figure

and

The

a resting place

and Buddhahood

accomplished for the good of all beings.

22a. Detail of Kalika being presented with an offering.

23

ABHAYA KARA GUPTA

Early 20th Century, Central Tibet

Abhaya Kara Gupta was the fourth Indian incarnation of the

Panchen Rinpoche. Also known

Tashi Lama, he was declared

as the

an emanation of Amitabha by the 5th Dalai Lama, a disciple of one

of the Panchen Rinpoche's incarnations. Abhaya Kara Gupta lived

in the

9th century and was attached to Vikranashila monastery

in India. Vajravogini

(upper

appeared to Abhaya Kara Gupta

left)

and proclaimed that he would receive the siddhi of fore-knowledge

in the bardo, the

intermediate state between death and rebirth.

Over Abhaya Kara Gupta's head

is

one of the Eighty-four Maha-

who also

siddhas, probably Luipada,

Below Abhaya Kara Gupta

is

lived in India

Mahakala

in the

about

this time.

form of a Dharmapala

(Religious Protector) propitiated by the Gelugpa Sect.

The snake around Abhaya Kara Gupta

expresses that he had

over the Nagas and obtained the siddhi of curing snake

monk (bottom left)

liberated

The

holding the door open shows that Abhaya Kara Gupta

many beings from

This thanka belongs to

cut in

power

bites.

the lower realms.

which came from blocks

a set

Narthang Monastery

in Central

Tibet during the 17th

Century, and represents the incarnations of the Panchen Rinpoche.

Narthang was the Gelugpa's

greatest printing establishment.

blocks were printed onto cloth and the cloth painted.

set

The

of

thankas painted in this manner were taken to Peking by His Holiness

the 13th Dalai

Lama around

the Peking weavers of the

on

their looms.

Stylistically, the

Manchu Dynasty made woven

This thanka

whole

the turn of the 20th century and

is

from

set reflects

a set

copies of these

of those woven copies.

the Chinese influence

present in Central Tibet during the 17th Century.

TARA

24 C

Central Tibet

Early I9tb

Green Tara
She

is

is

the

"-ale

Mother of all Buddhas. She

r

deitv

worshipped

an emanation of Avniokitesvara and

he thanka she
rhose

who

is

is

also the

is

Yum

in Tibet.

considered the
reflex

of Amoghasiddhi.

represented in her paradise, blessing and

prav to her.

*i&6^-

From

the great ocean vapors

Reaching the vast

rise,

sky.

They form great clouds;

causal law governs the transformations

of the elements.

In

midsummer, rainbows appear above

Gently resting upon the

Of the

plains

The rainbow

I,

the

the plain.

hills.

and mountains,
is

the beauty and adornment.

Yogi who

desires to

remain

in solitude.

Meditate on the Voidness of Mind.

Awed by the power of my concentration,

You jealous demons are forced to practice
Of the yogi, demonic conjurations

magic.

Are the beauty and adornment.

Milarepa

25

MILAREPA

20 th

Century,

Milarepa

is

Padma Ling Monastery

often referred to as Naljor

Lord of Yogins.
can lead to

growing

old,

one of his
it

or the

proved that for an ordinary person Vajrayana

Buddhahood

he was since

show

He

Wang Chuk,

in

one

lifetime.

disciples asked

Once when Milarepa was

him whose incarnation

was inconceivable that an ordinary person could

such strength of purpose. Milarepa denied that he was

anything but an ordinary person and stated that this kind of

thinking only displays
the Vajrayana.

a lack

of faith in the short path of

The Kagyudpa

his closest disciple,

Gampopa.

lineage

is

traced through Milarepa

and

26

HO SHANG AND GUARDIAN KINGS

19 th Century, Central Tibet

Taken from

a set

of blocks representing the disciples of

Lord Buddha and the Four Guardian Kings.

shown
is

as the

Chinese

monk who

and

rules over the

Protectors of the

is

(above)

is

loves children. Virudhaka (lower

the guardian of the south and the

Dhritarashtra (lower right)

Ho Shang

King of Khumbanda.

the guardian king of the east

Ghandarvas. The Four Guardian Kings are the

Dharma

in the

Four Directions.

left)

d.

Derail of V

->.
<L *y

\
J

W^J

fhi7

\
s*SJ^

^*>

~V

-2

26b. Detail of Dhri

ash

27

MANDALA OF USNISHA VIJAYA

18th Century,

Vi)a\

a is

Kham

Province

an emanation of the Usnisha, the victorious aspect

of the Mind of the Buddha. This aspect cannot be conquered

since
are

it is

not concerned with whether positive or negative forces

brought to bear

situation itself

bad and

is

in a particular situation.

Onlv the

considered without judgment of good or

as a result

anv

movement

is

response to the

situation rather than a reaction for or against

Vijaya

is

an aspect of the

n in the center of the

it.

Mind of the Buddha,

Because

she

Choden which symbolizes

is

often

the Mind.

28

DANDA MAHAKALA

Early 19th Century, Tsang Province

Mahakala

is

represented in the form of a Gelugpa Dharmapala.

Mahakala was an Indian Siddha

who vowed

with wrathful means when compassion

of

skillful

forms

to protect the

failed.

In this exercise

means. Mahakala transforms himself into

in order to

some of the

emanations Mahakala assumes to meet

left,

Mo Me Tseg.

many

different

meet the requirements of any situation. Around

the central figure are displayed

he deitv above

Dharma

different

this purpose.

Exceptions are

Hevajra with his vum, and above right.

'TIPATI (thanka

detail)

19 th l Uury, Central Tibet

The

Citipati represent death in

its

dancing form.

Two

figures are portrayed because death always deals with dualism.

In the

background

is a

carnal

ground with carniverous

animals searching for corpses. Herein

The

is

the end of all existence.

Citipati play a very important part in the monastic

nces and their appearance to ignorant observers has helped

to the gross

misnomer of "devil dances."

SHAKYAMUNI BUDDHA

31
/

9th Century, Tsang Province

mi Buddha

Shak

which

c;

is

of the temptress Mara

tree

on the Diamond

that he

here cast in the "earth-touching

earth to witness that he

Kama

unmoved bv

Deva. As the Lord

Seat at Bodgava.

might swerve from

for rhe welfare

is

sat

Mara came

his goal or ultimate

under the Bodhi

to

tempt him so

enlightenment

of all beings. But no matter what forces Mara

imposed upon him the Tathagata was unmoved and

virncss this tact.

inswer.

mudra"
the forces

The

called the earth to

eatth trembled and shook in six wavs

'

<*

vtA /^

v
'*

ft *r'r.-'r
-^*^ A *

Mlllfftl
-

^^^^^^^^^^C

NAGESVARARAJA

This

is

one

thirty-five

ordained

-Tibers

Bug

monks

of c:

and chant the Prattimok~,

in a

of the

m. Every full

ceremony of devotion.

and new moon,

:; ner together
precepts of the bikshu.

fl

*r

33

SIMHANADA AVALOKITESVARA

18th Century, Peking

This particular form of Avalokitesvara represents the piercing

insight aspect of limitless compassion.

guided bv

and the
ot the

which

clear

:\

most
is

True compassion

awareness of the situation under which

of compassion

etf(

symbolize

is

is

it

arises

guided b\ complete awareness

means. This knowledge delivers a

bv Avalokitesvara riding

on the

esentation of the fearless proclamation of the

mation

is

also all-victorious, for

once

fearless quality

lion, a

Dharma. This

realized,

longer any obstacle that can be found to hinder insight.

34

HAYAGRIVA

IHtb Century.

Known

Kham

as the

Province

"horse-headed one, Havagriva represents one

of the deities of the Nyingma

Gyud Bum

Thousand Tantras of the Nyingma

set

of Tantras and within them

lie

Sect.

revere this

The

represents the Tantras translated at the time

of Padma Sambhava.
started

Hundred

Only Nvingma

some of the most profound

insights into existence ever written.

Nyingma Gyud Bum

or the

The Sarma

or

New Translation

bv Lotsawa Rinchen Zangpo

tradition

in the 11th century.

was

^1

YAMARAJA YAB-YUM

19 th Century. Central Tibet

picts

Yamaraja, the Lord of Death, embracing

consort Yami.

hi>
is

ride the Bull of

na and represents

the

the aspect

totality oi

in its

Death. This

outward

in the

aspect.

form of

the bardo and determines the proper

ju

rebirth for each per;

viewing the

Death

common man. Yama,

bv

Dharmaraja.

neutral.

Thev

g into the Mirror of

ns,

His decision detern

:<

istence the person will be reborn.

Karma and

good, bad and

h of the six realms of

TSONG-KAPA

36
1

7th Century, Central Tibet.

Tsong-Ka Pa was the founder of the Gelugpa

established

known

as

Gaden Monastery

east of Lhasa.

Lo Zang Tragpa, but

Rinpoche or Precious Lord.

blished the

Tsong-Ka Pa was

also

Tibet he was simply called

Manjushri incarnation, he

Gelugpa philosophy of the slower and

path to enlightenment in his two greatest works,

le.-

the

in

Sect and in 1409

L~:

(The

-:o

The Great Stages of the Path) and the Ngag-Rim

r<-om

and received

Kadampa

Tsong-Ka Pa was born

Stu,

sects.

He

established in the 12th Cti

>f

reform the
.

Amdo

byjowo

Kadampa

in

1357

fhe "Shar ser" or Yellow Hats.

Sect

which was

Atisha and changed the

their hats to yellow. Thereafter, the

as

in

Lamas of the Nyingma, Kagyudpa and

Gelugpa became

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