Page 36 - Bonhams Indian and Himalayan Art September 2013

35
A thangka of Red Tara
Tibet, 18th century
Distemper on cloth; Tara with the right hand in the gesture of generosity holding a gilded red
vase of power extended across the knee, the left holding the stem of a red and blue utpala flower
blossoming at her left ear, adorned with flowing green silks, jeweled ornaments, and gold tiara
with blossoms, seated with the right leg slightly extended in a relaxed manner and the left drawn
up on the lotus platform, directly above the goddess is a Panchen Lama and Amitayus, Vaishravana
and Palden Lamo in the lower corners, and the twenty corresponding forms of Tara surround the
principle figure in identical poses and prescribed colors identified by inscriptions.
Image: 26 1/2 x 18 1/2 in. (67.3 x 47 cm); With silks: 49 x 32 1/2 in. (124.5 x 82.6 cm)
$30,000 - 50,000
Tara is a completely enlightened buddha who had previously promised to appear, after
enlightenment, in the form of a female bodhisattva and goddess for the benefit of all beings. Her
primary activity is to protect from the eight fears. Practiced in all schools of Tibetan Buddhism her
various forms are found in all classes of tantra - Nyingma and Sarma.
From the tantra known as the ‘Twenty-One Praises of Tara’ spoken by the Buddha Samantabhadra
arises a system of practice with 21 Tara emanations, one for each verse of praise. Each form of Tara
has a specific color and accomplishes a specific activity. Based on that, there are three well-known
and distinct lineages for the set of twenty-one Taras: Pandita Suryagupta, Lord Atisha, and the
lineage from the Nyingma Lama - Longchenpa. In the Atisha system all the Taras appear in the same
basic posture with equal faces and hands and only differ in the color of the body and vase held
in the right hand of each. Green is the primary color of Tara, however green is not included in the
enumeration of the twenty-one. There are four red Taras, six white, three yellow, four orange, two
red-black and two black Taras.
This composition is superbly arranged to accommodate all the aspects of the deities, yet remain
open to reveal the fine details of the landscape and floral forms. Compare with a single form of Red
Tara in the collection of Rubin Museum of Art (F1997.17.4, see HAR#294).

34 | Bonhams