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This painting exemplifies the “Khamri,” style of southeastern Tibet. Khamri paintings feature deep blues and greens in the landscape with thicker applications of pigment than other local styles. Some elements, such as the bluegreen crags to the main figure’s right and the flowers and leaves beneath her lotus seat, derive from the parent New Menri style in central Tibet out of which this tradition grew. However, other elements, such as the sky fading into blank canvas and the depiction of the clouds back-shaded with indigo are not found in central Tibet, but rather are regional characteristics borrowed from the other major local painting style. One hallmark of this Khamri style is the dramatic twisting rainbow lights seen in the scene at the upper right.
Tara Protecting from the Eight Fears
OriginKham Province, Eastern Tibet
Date19th century
Dimensions26 3/8 × 18 in. (estimated)
MediumPigments on cloth
Classification(s)
Credit LineRubin Museum of Art, Gift of the Shelley & Donald Rubin Foundation
Object numberF1997.15.1
Himalayan Art Resources Number237
Project Himalayan Arthttps://rubinmuseum.org/projecthimalayanart/essays/tara-who-protects-from-the-eight-great-fears/
DescriptionTara is one of the most popular female deities in Tibetan culture. She is particularly associated with protecting from a group of calamities known as the Eight Fears, depicted here as scenes surrounding her: ghosts/sickness (bottom center), drowning (center), fire (mid-left), false imprisonment (bottom right), bandits (top right), wild elephants (top), snakes (bottom left), and lions (top left). Although these dangers center on the worries of secular life, they also have a more esoteric meaning, namely associations with inner obstacles that prevent spiritual progress.This painting exemplifies the “Khamri,” style of southeastern Tibet. Khamri paintings feature deep blues and greens in the landscape with thicker applications of pigment than other local styles. Some elements, such as the bluegreen crags to the main figure’s right and the flowers and leaves beneath her lotus seat, derive from the parent New Menri style in central Tibet out of which this tradition grew. However, other elements, such as the sky fading into blank canvas and the depiction of the clouds back-shaded with indigo are not found in central Tibet, but rather are regional characteristics borrowed from the other major local painting style. One hallmark of this Khamri style is the dramatic twisting rainbow lights seen in the scene at the upper right.
Not on view
14th century
18th - 19th century
ca. 1415-1435
15th century
18th century
Dated by inscription 1842
17th century
17th century
19th century
First half of the 15th century