Page 22 - Himalayan Art Macrh 19 2018 Bonhams

3013
A THANGKA OF VAJRAPANI
TIBET, CIRCA 14TH CENTURY
Distemper on cloth; recto with gold Tibetan inscriptions identifying various figures, and a
single-line dedicatory inscription at the bottom edge of the painting; verso decorated with
a drawing of a stupa, and with Tibetan ‘om ah hum’ invocations behind each figure apart
from behind the six garudas having the single letter ‘a’ instead.
Himalayan Art Resources item no.58542
20 3/4 x 20 1/2 in. (53 x 52 cm)

$80,000 - 120,000
西藏 約十四世紀 金鋼手唐卡

Brilliant blue Canda Vajrapani strikes the warrior’s pose (pratyalidha) before a crimson
flaming nimbus surrounded by scenes of the charnel grounds. Chains of gold necklaces
and a varicolored garland of freshly severed heads tied around a snake adorn his
formidable body. His sense of overpowering command intensifies with his three bulging,
bloodshot eyes.

The teaching lineage within the surrounding registers begins with Vajradhara in the top
left corner and follows with Tilopa, Naropa, Marpa, Milarepa, and Gampopa: the five
founding masters of the Kagyu order. They are followed by five lamas of the Dagpo
Kagyu lineage, starting with Pagmodrupa, Karmapa Dusum Khyenpa, and Dorje Gyalpo.
Descending on the right register from the top are Wangchug Dragpa, Jigme Dragpa, and
Lobzang Dragpa, and on the opposite side are Chodrag Zangpo, Chojewa, and a series
of illegible lamas presumably from the same lineage. The teachers that descend on the
right and left registers represent the different branches of the Kagyu tradition such as the
Pagdru, Karma, Drigung, and Taglung, including two teachers that appear to be related
to either the Sakya or Shalu monasteries.

A dedicatory verse is written along the bottom border of the painting:

“Om vajra chanda maha roshana hum phat. By creating this painting to protect the
sponsor, the surroundings and wealth, bringing good fortune, long life and an increase in
wealth like the waxing moon. May all beings, including my parents, be born in the Dong
race [of Tibetan peoples].”

The painting’s rich palette, energy, and stunning detail showcases the high artistry of the
Newars. For its elaborate decorative scheme and rare Dagpo Kagyu lineage, the thangka
compares favorably to a related example of Mahakala Panjarnata in the Rubin Museum,
New York, published in Linrothe & Watt, Demonic Divine, New York, 2004, p.55.

We are grateful to Jeff Watt of Himalayan Art Resources for his assistance with translating
the painting’s inscriptions.

Provenance
Private European Collection

20 | BONHAMS