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A THANGKA OF VAIROCANA
CENTRAL TIBET, 14TH/15TH CENTURY
Himalayan Art Resources item no. 4740
89 x 70.5 cm (35 x 27 3/4 in.)

HKD650,000 - 950,000
藏中 十四/十五世紀 大日如來唐卡

Depicted at the center of this thangka in full royal regalia is Vairocana, one of
the five cosmic buddhas, surrounded by a field of small golden buddhas. The
tight composition, with the entire surface plane covered in rich ornamentation
and held in geometric symmetry is resolute. Layered on top, and softening the
dense registers, are gentle folds of billowing fabric draped in naturalistic patterns
along with beaded jewelry raised in gold. The flattened composition of decorative
detail, combined with the more fluid silks and gold jewelry, portrays a marriage of
aesthetics – an interlacing of traditions between Nepal and China within nascent
artistic developments in Tibet during the fourteenth and fifteenth centuries.

The artistic narrative between Nepal and Tibet blossomed in many regards from
the murky demise of Buddhism in India. The continuity of Buddhism held within
the Kathmandu Valley, along with continued trade and commerce between Tibet
and Nepal during the 13th century, provided the environment for strong Nepalese
elements in Tibetan paintings, a legacy that would last centuries. The pervading
Nepalese aesthetic, characterized here by scrolling patterns, an intensification
of the blue background behind the central figure, and an elaborate throne back
architecturally supported by a pillar of elephants, lions, rampant vyalas at the
sides, and makaras with foliate tails climbing towards a garuda at the throne’s
apex, are all shared by a thangka featuring Akshobya in the Rubin Museum of Art
(P1996.20.21).

Close relations were established during the 13th century between the Mongol
rulers in China and Tibet, and the patronage for Buddhist works of art by the
reigning leaders necessitated a merging between the Nepalese ornamental style
and a naturalistic outlining inherent to Chinese traditions. The lower leaves of
the lotus throne curl out in ribbons of color and the rhythmic layering of fine silks
around Vairocana in a variety of embroidered patterns are delicate, smooth, and
lend themselves to an ethereal air. Both of these previously mentioned features
appear on another painting of Amoghasiddhi (see HAR 66703) and illustrate that
by the late 14th century, the array of fabrics derived initially from the Tang dynasty,
become even more conspicuous. The styling of looped swags on the waist
band and the U-shaped pleats of the lower garment draped over the calves also
indicate an influence coming from the early Ming period, where these elegant and
decorative details, as seen on a Yongle period gilt-bronze of Vajradhara located in
the Tsuglakang Temple, Lhasa (HAR 57394), are featured.
Provenance
Private London Collection
Private California Collection, acquired in the 1980s

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