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32 A fine extant Ming-dynasty cloud-pattern kāṣāya can be found in 47 They are similar but not exactly the same size (the Vajrabhairava
the Capital Museum, Beijing, on display in the ‘Ancient Capital: thangka is just slightly larger at 79 x 62cm) and differ in a number of
History and Culture of Beijing’ gallery. iconographic particulars, notably the elements composing the
33 It was once even larger, but it has apparently been trimmed. ornamental arches surrounding the central figures, the framing of
34 About the frontal orientation of portraits, see Fong Wen 1995; the secondary figures, and the shapes of the auspicious coloured
Siggstedt 1992, 721–3; and Stuart and Rawski 2001, 83–8. clouds.
35 Wang Yi 1960, 42, pl. 7, and 51; Ou Chaogui 1985; Jiang Cheng’an 48 Ching 2008, 349.
and Zheng Wenlei 2000, vol. 3, no. 55; Xiong Wenbin 2014; Henss 49 MSL Taizong shilu 256.1a, 21/2/乙卯. On Ming zhusi 苧絲 as
1997, 36–8; Byrd, Hamilton and Johnson 2003, 44–7; Kyūshū damask, see Watt and Wardwell 1997, 139.
Kokuritsu Hakubutsukan 2009, 148, pl. 100; Watt and Wardwell 50 A gold-bordered Five-Buddha Hat was among the gifts he received
1997, 204, fig. 88. from the Yongle emperor in 1416. Ngulphu 2015. Ou Chaogui
36 Xiong Wenbin 2014. identifies the hat as a gift of the Xuande emperor presented along
37 Ching 2008, 343–50. with monk’s robes at the time he ennobled Śākya Yeshé as Da Ci
38 Sperling 1983, 148–9; Ngulphu 2015. Fawang. Ou Chaohui 1985, 126.
39 MSL Taizong shilu, 159.3a, 12/12/癸巳; 163.1a, 13/4/庚午; 176.1b, 51 Linrothe 2004, 31; Watt and Wardwell 1997, 60–1, 95–9; Jing
14/5/辛丑; 185.1b, 15/2/戊午; Karmay 1975, 81–2. Anning 1994, 3–54, and figs 6–7.
40 Chinese: 萬行妙明真如上勝清淨般若弘照普應 [慧 in MS]輔國顯 52 Henss suggests it was given to Sera monastery after the master’s
教至善大慈法王,西天正覺 如來自在 大圓通佛. For the Tibetan death. See Henss 1997, 37. On kesi as a diplomatic gift in later times,
version see Byrd, Hamilton and Johnson 2003, 46. see Kares 2008.
41 Xiong Wenbin 2014, 155–8. 53 See Henss 1997, 31, 37–8; Henss 2012, 55–6. For an example of kesi
42 The portrait was reportedly confiscated along with other cultural Chakrasamvara, see http://www.himalayanart.org/items/90916
artefacts from Sera Monastery during the Cultural Revolution and and Christie’s Lot 84/Sale 1115, Indian and Southeast Asian Art,
taken to the Palace of Nationalities in Beijing; it was returned to 19 September 2002, New York. Examples of embroidered
Tibet after the Cultural Revolution and received by the Cultural Vajrabhairava are in the Metropolitan Museum of Art, New York
Management Committee of Norbulingka Palace, where it remains. (1993.15) and in a private collection, see http://www.himalayanart.
See Zhang Chunyan 2011. Another version of the thangka, titled org/items/99088. For an example of a Hevajra thangka in a private
Daci fawang xiang kesi tangka 大慈法王像缂絲唐卡 (Kesi thangka collection, see Yu Lu 2014.
image of the Dharma King of Great Compassion), was offered at 54 Xiong Wenbin 2014, 159.
Huaxia Auction, Fujian, Lot 0069, on 18 July 2015. Zhang 55 Xiong Wenbin 2014, 155, 159. Xiong considers the images made
Chunyan mentions the replication of this thangka in 2008. About together with the kesi missing.
this see also Fan Yuming 2009. 56 Christie’s Lot 84/Sale 1115, Indian and Southeast Asian Art, 19
43 On the Vajrasattva headdress, see Huntington, Bangdel and September 2002, New York.
Thurman 2003, 224. 57 Christie’s Lot 84/Sale 1115, Indian and Southeast Asian Art, 19
44 On the vajra and bell, see http://www.himalayanart.org/search/ September 2002, New York; Henss 1997, 37.
set.cfm?setID=563. 58 See Zla-ba-tshe-riṅ, and Zhongyi Yan et al. 2000, vol. 3; also
45 Comparable arches are carved in relief on the stone Diamond Linrothe 2004, 24–31 for a good overview of the types of Chinese
Throne Tower (Jingang baozuo ta 金剛寶座塔) at Zhenjuesi 真覺 luxury goods in Tibetan monastic culture and depicted in Tibetan
寺 (True Enlightenment Monastery) and on the wooden ‘revolving’ arhat paintings.
sūtra case at Zhihuasi 智化寺 (Transformation of Wisdom 59 The shoes are typically but not invariably shown in Chan master
Monastery) in Beijing, while glazed-tile versions once framed the portraits: the Chinese artist Wang Zhenweng (fl. 14th century)
doorways of the famous ‘Porcelain Pagoda’ of Da Baoensi painted the Japanese monk Kokan Shiren with an empty footstool
Monastery 大報恩寺 (Great Filial Gratitude Monastery) in in 1343. See Watt 2010, 97, fig. 128. For roughly contemporary
Nanjing (see discussion by Clarence Eng in Chapter 20 of this paintings of arhats with shoes below their seats, see Linrothe 2004,
volume). Notable precursors are found on the late-Yuan dynasty 52–60; also Arhat Cudapanthaka, c. 1500, in the Museum of Fine
Cloud Terrace stupa platform at Juyong Pass 居庸關 northwest of Arts, Boston (08.176).
Beijing. 60 An extraordinary example of magical realism from the Sino-
46 Jackson et al. 2011, 133, 178–9. In his essay, Christian Luczanits Tibetan Buddhist sphere is the handscroll recording the miracles
dates the ‘perception of the contemporary Tibetan teacher as the that attended the rituals performed by the Tibetan cleric Deshin
equal of a Buddha’ from the second half of the 12th century in Shekpa, the Fifth Karmapa, known in Chinese as Halima 哈立麻
central Tibet and mainly in a Kagyü context. See Jackson et al. (1384–1415), for the Yongle emperor. See Berger 2001, 145–50,
2011, 178. 158–66.

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