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This painting is from an important transitional period in Tibetan art when painters were transforming the Indic artistic traditions they received to reflect their own aesthetic interests. Many of the stylistic elements, including the faces, the scrollwork background, and the hierarchical organization of the figures are reminiscent of early Tibetan art, which cleaved closely to its Indian roots. In contrast, the fullness of the deities’ garments and their patterns, the Chinese-inspired flowers and clouds, the gilding of all the figures, and the figures’ sense of movement are later (15th century) developments. Especially notable in this painting is the use of raised gold to decorate the central deity’s ornaments, halo, and body nimbus.
Buddha Vajradhara with the Great Tantric Masters (Mahasiddhas)
OriginCentral Tibet
Date15th century
Dimensions35 1/2 × 29 1/4 in. (estimated)
MediumPigments on cloth
Classification(s)
Credit LineRubin Museum of Art, Gift of Shelley and Donald Rubin
Object numberC2003.50.1
Himalayan Art Resources Number89
Project Himalayan Arthttps://rubinmuseum.org/projecthimalayanart/essays/jivaramas-sketchbook/
DescriptionThe primordial Buddha Vajradhara is the root-deity of many Tantric Buddhist teachings, and the great adepts (mahasiddhas) who surround him in this painting are exemplary Tantric practitioners of those teachings. They represent meditators and yogis of great spiritual attainment from all castes and professions, who were often unorthodox in their behavior.This painting is from an important transitional period in Tibetan art when painters were transforming the Indic artistic traditions they received to reflect their own aesthetic interests. Many of the stylistic elements, including the faces, the scrollwork background, and the hierarchical organization of the figures are reminiscent of early Tibetan art, which cleaved closely to its Indian roots. In contrast, the fullness of the deities’ garments and their patterns, the Chinese-inspired flowers and clouds, the gilding of all the figures, and the figures’ sense of movement are later (15th century) developments. Especially notable in this painting is the use of raised gold to decorate the central deity’s ornaments, halo, and body nimbus.
Not on view
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