Page 106 - Bonhams May 11th 2017 London Thangka Collection

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A THANGKA OF HAYAGRIVA
Tibet, circa 1900
Distemper on cloth, the reverse with an
inscription in Tibetan letters, ‘om, ah, hum’, Mahakala, and Begtse.
framed and glazed.
62.5 x 42.5 cm (24 5/8 x 16 3/4 in)
西藏 約1900年 馬頭明王像
Referenced 參考: Himalayan Art Resources
item no.2183
Provenance 來源: The Jongen-Schleiper
Collection of Fine Thangkas
Published and Illustrated: A.Neven, Etudes
D’Art Lamaique et de L’Himalaya, Brussels,
1978, pp.58-59, no.30
出版及著錄： A.Neven著，《Etudes D’Art
Lamaique et de L’Himalaya》，布魯塞
爾，1978年，頁58-59，編號30
Hayagriva, readily recognisable from the head
of a horse issuing before his hair, enjoys a
special but not exclusive cult in the Nyingma
order of Tibetan Buddhism. Hayagriva is
originally of Hindu origin.
The wrathful deity appears in the centre with
his consort, surrounded by the flames of
pristine awareness. The hands hold various
attributes including lotus flower, skull cup,
sword, and noose. The deity is surrounded
by four dakini or ‘sky dancers’, four forms of
The upper register of the painting is occupied
in the centre by Amitabha Buddha above
Padmasambhava on the left and a teacher,
on the right. These divinities and teachers are with three eyes, twelve hands and two legs.
more closely related to the Nyingma order;
however, the two figures occupying the far
corners are more strongly associated with
the Gelugpa order. The Yidam on the top
right is indeed Vajrabhairava, protector par
excellence of the Gelugpa, while the figure
on the far left wears the typical yellow cap of hands holding a vajra and bell at the heart.
the Gelugpa. A.Neven argued that the figure
is the ninth Panchen Lama, Thubten Choekyi
Nyima (1883-1937).
Neven also argued that the heads that
made up the garlands around the deity
were distinctly European in appearance,
which he believed was a reaction to the
increased conflict and incursions into Tibet by Worlds of Transformation: Tibetan Art of
Europeans, in particular the British expedition Wisdom and Compassion, New York,
in 1903-1904.
A THANGKA OF KALACHAKRA AND
CONSORT
Tibet, 18th/19th century
Distemper on cloth, with silk mount, framed
and glazed.
95 x 66 cm (37 3/8 x 26 in);
With silk mount: 170 x 98 cm (67 x 38 1/2 in).
西藏十八/十九世紀 時輪金剛擁妃像
Referenced 參考: Himalayan Art Resources
item no.2167
Provenance 來源: The Jongen-Schleiper
Collection of Fine Thangkas
Kalachakra (meaning ‘the Wheel of Time’)
and his consort Vishvamata are the principal
deities originating in the Sanskrit text known
as the Kalachakra Tantra. The concept of
‘time’ was used here as the metaphor to
symbolise the process of transformation
from mundane existence to complete
enlightenment.
In this painting, Kalachakra is both slightly
peaceful and wrathful. He has four faces each
The first pair of hands holding vajras embrace
Vishvamata. The remaining hands hold various
attributes.
At the top centre is the primordial Buddha
Vajradhara, blue, with one face and two
Kalachakra is surrounded by various deities
of the mandala, sparsely-clad mahasiddhas
wearing long black hair and red meditation
belts, lineage teachers above and protectors
below.
For a related thangka of Kalachakra Buddha
in yab-yum, see M.M.Rhie and R.Thurman,
1999, pp.372-373. Compare with another
related thangka of Kalachakra and consort,
19th century, illustrated on Himalayan Art
Resources, item no.81435.