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The painting was executed in the same Tibetan style as that seen in China’s early Ming dynasty court ateliers, including the use of fine gold detailing in the deity’s red throne back and the cloud patterns of his blue clothing. The central composition is framed by an attractive embroidered mount decorated with the Eight Auspicious Symbols above (left to right, top to bottom: dharma wheel, white conch, victory banner, parasol, lotus, golden fish, treasure vase, and endless knot) and the Seven Treasures of the Universal Monarch below (minister, jewel, queen, wheel, elephant, general, and horse). While in the painting the central figure’s hair forms the conical shape of a royal Tibetan turbin, the minister in the embroidered border is depicted as a Chinese official, reflecting a visual language of rulership from both cultures.
Agni, God of Fire
OriginChina
Datefirst half of the 15th century
Dimensions17 1/2 × 6 3/8 × 3/8 in.
MediumPigments on cloth; embroidered textile mount
Classification(s)
Credit LineRubin Museum of Art
Object numberC2004.4.1
Himalayan Art Resources Number65270
DescriptionThis banner is part of a set of works dedicated to the various deities found in the mandala of the Medicine Buddha. Agni is the ancient Indian god of fire, and in Tibetan Buddhism he is also the guardian of the southeast.The painting was executed in the same Tibetan style as that seen in China’s early Ming dynasty court ateliers, including the use of fine gold detailing in the deity’s red throne back and the cloud patterns of his blue clothing. The central composition is framed by an attractive embroidered mount decorated with the Eight Auspicious Symbols above (left to right, top to bottom: dharma wheel, white conch, victory banner, parasol, lotus, golden fish, treasure vase, and endless knot) and the Seven Treasures of the Universal Monarch below (minister, jewel, queen, wheel, elephant, general, and horse). While in the painting the central figure’s hair forms the conical shape of a royal Tibetan turbin, the minister in the embroidered border is depicted as a Chinese official, reflecting a visual language of rulership from both cultures.
Not on view
First half of the 15th century
20th century
19th century
15th century
19th century
late 19th century
early 20th century
17th or 18th century
19th - 20th century
late 19th century
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