Roof of Asia: Art from Tibet, Nepal, and Kashmir

vlRTS TIBET.
FROM1HE NEB4L.
ROOFTOP KASHMIR
OF.4SIA
Tl~e Metropolitan Museum of Art

Acknowledgments
I wish to express my deep gratitude to Mrs. Vincent Astor, Trustee

Chairman of the Visiting Committee of the Department of Far Eastern Art,
for her encouragement and help in connection with this exhibition. The
illustrations in this check list and the color reproductions in the May, 1971,
issue of the Museum Bulletin would not have been possible without her kind
assistance.
To our generous lenders and donors, two of whom have pledged their
fine collections to our future permanent gallery of Lamaist art, which will
present a more comprehensive display than the present exhibition, the De-
partment is greatly indebted.
To friends and colleagues - especially Mrs. Antoinette Gordon, for-
merly Associate in the Department of Anthropology, The American Museum
of Natural History; Miss Eleanor L. Olson, Curator Emeritus of Oriental
Art, Newark Museum; Dr. Pratapaditya P a l , Curator of Indian Art, Los
Angeles County Museum; Mr. Robert Skelton, Assistant Keeper, Indian Sec-
tion, Victoria and Albert Museum, London; Mr. Phintson Thonden, Repre-
sentative of His Holiness, the Dalai Lama - grateful thanks for their un-
stinting advice.
My heartfelt appreciation to each and every one of my small staff for
their devotion and unfailing support.
Fong Chow
T h i s small exhibition is devoted to p a i n t i n g s , sculpture, and jewelry, drawn
mainly from the Museum collection, produced in and around T i b e t , Nepal, and
Kashmir, three countries in the shadow of the mighty Himalaya, the t a l l e s t moun-
t a i n s in the world, which dominate the roof of the Asian continent. T h e art of
t h e s e mountain countries - with snow-covered summits, barren and rugged high
plateaux, narrow v a l l e y s , untamed r i v e r s , deep gorges, subject to extremes of cold
and heat - is largely religious. Its main function is to serve a s i c o n s for worship
or a s aids to meditation. The major religions involved are Hinduism, Buddhism,
and a T i b e t a n form of Tantric or Vajrayana Buddhism popularly known a s Lamaism,
where Hinduism and Buddhism are often so intermingled that they share the same
philosophy and art forms, and sometimes the same g o d s .
Hinduism owes its origins to the religion of the Indus Valley civilization
(ca. 3000-1500 B.C.) in northwest India and that of their conquerors in the second
millennium B.C., the Aryans. It absorbed the lingam worship, the Mother G o d d e s s ,
the serpent gods and g o d d e s s e s (nagas and naginis), the tree gods and g o d d e s s e s
(yakshas and yaksbis) of the pre-Aryan religion. It a s s i m i l a t e d the b a s i c c o n c e p t s
of the Vedic or Aryan tradition a s well a s the Vedic gods of the elements: Agni
the god of fire, Surya the sun-god, Prthivi the earth g o d d e s s , and Indra, the chief
of the gods. In time Hinduism evolved a large pantheon of gods. Chief among
them are the trinity of Brahma the creator (no. 46), Siva the destroyer, Vishnu the
preserver (nos. 6, 7, 24). The G o d d e s s Devi in her manifestation a s P a r v a t i , con-
sort of Siva, had two s o n s : the elephant-headed G a n e s a (no. 20), god of good for-
tune, and Karttikeya (no. 4), the god of war.
Buddhism was founded by Gautama Siddhartha (ca. 563-483 B.C.), who w a s
born in Lumbini, Nepal, in the foothills of the Himalaya. He taught the Four Noble
T r u t h s : life i s suffering, the c a u s e of suffering i s d e s i r e , the suppression of suf-
fering can be achieved, and the way to achieve r e l e a s e from suffering and the cycle
of rebirth (samsara) and to attain nirvana (extinction of all worldly d e s i r e s ) is by
following the Noble Eightfold P a t h .
By the first century A.D. two schools of Buddhism had developed, known a s
the Hinayana (Small Vehicle) and the Mahayana (Great Vehicle). Hinayana Bud-
dhism is dedicated to the proposition that each person has to work out his own
salvation through monastic self-discipline; Mahayana proposed salvation for the
m a s s e s through the intervention of B o d h i s a t t v a s , divine beings who, out of com- ^
p a s s i o n for mankind, refuse to enter nirvana until all sentient beings have been r-
saved. A later development of Mahayana, Tantric or Vajrayana (Vehicle of the
Thunderbolt) Buddhism, w a s introduced into Tibet in the s e v e n t h century. There —
the e s o t e r i c Indian system, with its mystical overtones, i t s use of magical r i t e s ,
v
s p e l l s , and incantations, its worship of the female e n e r g i e s in conjunction with
male d e i t i e s , incorporated elements of the older, native, shamanistic religion of
Bon. It is this e s s e n t i a l l y Tibetan fusion of Vajrayana and Bon, commonly called
Lamaism, that forms the core of religious belief of the Himalayan regions. It i s s
the source of inspiration common to the art of Tibet, Nepal, and Kashmir from the
eighth century until the present time.
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The highly complex Lamaist pantheon adopted the Buddhist d i v i n i t i e s , many
of whom were derived from Hinduism, and added c o u n t l e s s more of its own. In the
beginning was Adi-Buddha, the Primordial Buddha. He is worshipped in the form
of Samantabhadra, Vajradhara (no. 58) or Vajrasattva (no. 2), the latter two repre-
sented holding the vajra (thunderbolt or diamond scepter), the supreme symbol of
Vajrayana, and the ghanta (bell). The vajra i s the male symbol, or compassion;
the ghanta is the female symbol, or wisdom. The vajra r e p r e s e n t s the means
(upaya), and the bell, the doctrine (prajna). Together they are the realization of
the Absolute.
From Adi-Buddha emanated five Dhyani-Buddhas or Buddhas of Meditation,
each of whom is author of a different world c y c l e . They in turn evolved the Dhyani-
B o d h i s a t t v a s , who are the actual creators of the universe. Of particular importance
among t h e s e are the first triad: Manjusri, the Bodhisattva of Transcendent Wisdom,
who can be recognized by h i s a t t r i b u t e s , the sword, the book, and the blue lotus
(nos. 3, 3 3 , 34, 35, 92); Avalokitesvara, the Bodhisattva of Infinite Compassion
(nos. 8, 10, 30, 3 1 , 36, 37, 40, 42, 9 D , who h a s 108 forms, including one with
eleven h e a d s and a thousand arms (no. 32); Vajrapani, the Bearer of the Thunder-
bolt, who personifies power (no. 48). The human manifestations of the Dhyani-
B o d h i s a t t v a s are the Manusi-Buddhas or Mortal T e a c h e r s , who live on earth for a
time to teach mankind. Sakyamuni, the historical Gautama Siddhartha, is the
Manusi-Buddha of the world cycle we live in (nos. 11, 14, 15, 2 1 , 78).
In addition to t h e s e main divinities, the Lamaist pantheon includes other
Buddhas, B o d h i s a t t v a s , feminine d e i t i e s , Dharmapala, Yi-dam, and l e s s e r gods,
some of whom are apotheosized historical p e r s o n a g e s , like Tsong-kha-pa (1358-
1419), the great reformer who founded the powerful Ge-lug.pa s e c t in Tibet (no. 51).
First among the female d e i t i e s is Prajnaparamita, " t h e perfection of the virtue
(paramita) of the enlightening transcendental wisdom (prajna)", consort of the Adi-
Buddha (no. 18). The most popular goddess is Tara (nos. 12, 38, 49) who, a c -
cording to one tradition, was born of the tears Avalokitesvara shed for the suffering
of mankind. The eight Dharmapala or " D e f e n d e r s of the F a i t h " are terrifying or
wrathful d e i t i e s designed to repel enemies of Buddhism and to frighten people
from committing s i n s . The Dharmapala Mahakala in no. 25 is a fierce, angry,
frightening deity. Depicted in blue, surrounded by red flames, he wears a crown of
skulls and a garland of severed h e a d s . His right hand brandishes a chopper, while
his left hand lifts to his open mouth a skull cup brimming with blood. He stomps
on a human figure prostrate on a lotus pad floating in a sea of blood. Containing
the red s e a i s a wall of s k u l l s . Yi-dam are tutelary divinities with the rank of
Buddhas divided into two c l a s s e s - the benign and the angry t y p e s . They are
usually shown with their sakti or consort in the position called yab-yum (Tibetan
for father-mother), symbolizing the o n e n e s s of male and female, the union of the
spiritual with the material.
The art of Tibet, Nepal, and Kashmir s h a r e s a common development. Like the
religion of t h e s e Himalayan countries, the art forms, iconography, and techniques
were evolved, for the most part, from India. The last stage of what has been called
the Golden Age of Indian art, the Gupta period (ca. 320-530 A.D.), when both Hindu
and Buddhist painting and sculpture came to its c l a s s i c a l perfection, inspired the
first great period of Kashmiri art, just before and during the Karkota dynasty (7th-
8th century). Several p i e c e s in the exhibition, the seated Buddha (no. 1), Vajra-
178800
s a t t v a ( n o . 2), Karttikeya(no. 4), Vishnu(no. 6), and Varaha(no. 7), can be ascribed
to this period, which at its height was under the famous ruler Lalitaditya (ca. 725-
756 A.D.). The n a t u r a l i s t i c , rounded forms, the s e n s u o u s n e s s coupled with spirit-
uality, the solid and undulating modelling unmistakably reveal the influence of
Gupta style, modified by Gandharan, Central Asian, and Chinese elements. By the
ninth century, the influence of the Pala-Sena culture (ca. 730-1200 A.D.) of Bengal
and Bihar, in North-eastern India, center of Vajrayana Buddhism, w a s on the a s -
cendancy. The earlier a s c e t i c forms of Buddha were replaced by bejeweled and
crowned Buddhas, and images of Bodhisattvas and a host of other d e i t i e s v a s t l y
outnumbered those of Buddha. The art style was a continuation of the Gupta style
but more stylized and more ornate.
In Nepal the Gupta style was prolonged until the end of the eighth century. It
can be clearly detected in the seventh-century Padmapani (no. 8). For sheer beauty
and eloquence few p i e c e s can s u r p a s s this stately, superbly modeled image. From
the ninth century Vajrayana Buddhism brought Nepal into intimate relations with the
Pala-Sena school. Its iconography and art forms became the dominant mode in Nepal
a s well a s in Kashmir. T h e crowned Buddha (no. 11), the Vishnu s t e l e (no. 24),
and the Tara statuette (no. 49) are in the tradition of that last phase of Indian
Buddhist art. After 1200, with the Moslem conquest of northern and eastern India,
Buddhism practically disappeared from i t s country of origin.
From Kashmir and Nepal, principally, and from such other Himalayan regions
a s Ladakh, Lahul, Spiti, the religion and art tradition of Pala-Sena reached Tibet.
In the eighth century the famous Indian Buddhist teacher and Tantric sorcerer Pad-
masambhava (ca. 750-800 A.D.), from the university of Nalanda in Bengal, traveled
several times from Kashmir to Tibet bringing Buddhist texts and Kashmiri crafts-
men. Monasteries in Guge, in western Tibet, contain bronzes and wall paintings
undoubtedly of Kashmiri origin. In the eleventh century the Indian Pandit Atisa,
the most distinguished teacher at Vikramasila, which had replaced Nalanda a s the
center of Vajrayana Buddhism, invited by King Chang-chup-o of Guge, proceeded
there by way of Nepal. Nepali icons-refined, sophisticated, Indianized copper and
bronze images of the most exquisite workmanship, gilded and often inlaid with pre-
cious and semi-precious stones-and Nepali craftsmen were exported in ever greater
number to T i b e t . The most celebrated artist-craftsman of his time w a s A-ni-ko
(1244-1306), whose works are said to be found in every monastery in Tibet and
China. In 1260, in spite of his youth, he headed a contingent of eighty craftsmen
from Nepal to erect a golden stupa in Tibet. Later he served in China at the court
of Kublai Khan (r. 1260-1294), where he was in charge of the imperial studios.
In Tibet the Kashmiri, Nepali, Pala-Sena art traditions intermingled with that
of Central A s i a and China, which since Kublai Khan keenly felt the Lamaist in-
fluence, particularly in the provinces bordering Tibet. In the Museum's collection
the beautiful twelfth-century Kuan-yin (no. 91) may be a s s i g n e d to Yunnan, and the
so-called " t h o u s a n d - a r m e d " Kuan-yin (no. 42) to Szechwan. The Kuan-yin in the
eleven-headed form (no. 30) was probably made in Peking, the center of the Lamaist
cult in China; a s well a s the only dated piece in this exhibition, no. 57, inscribed
in C h i n e s e c h a r a c t e r s , and dated 1770, during the reign of Emperor Ch'ien-lung
(r. 1736-1795), a staunch supporter of the Lamaist church. The Chinese influence
in Tibetan art is perceptible in the feeling for landscape and the use of C h i n e s e
-3
decorative motifs in the paintings or tankas (literally, " s o m e t h i n g that is rolled
u p " ) of the fourteenth century and later. Archaistic T ' a n g (618-907 A.D.) and Sung
(960-1279 A.D.) blue-and-green l a n d s c a p e s enlivened with gold drawing dominate
these paintings. And the outer borders of the tankas are invariably made of fine
Chinese brocades of the Ming and Ch'ing d y n a s t i e s (14th-19th centuries).
The fully developed Tibetan sculptural style a s exemplified by Vajradhara
(no. 58) shows how the Pala-Sena s t y l e , combined with other influences, h a s been
transformed into a distinctively T i b e t a n idiom: rigid frontal p o s e , abstracted broad
face, small mouth, slim waist, stiff drapery, elaborate jewelry carefully d e l i n e a t e d ,
use of semi-precious s t o n e s , e s p e c i a l l y blue turquoise, in the jewelry. In painting,
the well-ordered composition, the bright primary colors, and the linear, decorative
style are in the tradition of the three Nepali manuscript illustrations (nos. 16, 17,
18), which is derived from the miniature palm-leaf paintings of the P a l a school.
The Tibetan style became the dominant L a m a i s t type, which found its way back
into the Himalayan regions, China, Mongolia, and Central Asia, and was perpet-
uated with regional variations but little change through the c e n t u r i e s .
T i b e t , Nepal, and Kashmir excel in two main art forms: " b r o n z e " sculpture,
which includes objects of copper and b r a s s , and scroll paintings or votive banners
called tankas. Bronzes are c a s t in the cire perdue or lost wax method (like the
four-headed Brahma, no. 46); or they are done in repouss6 or beaten copper tech-
nique (see no. 32). More often than not the metal images are gilded, sometimes
painted. Tankas are painted on cotton, in some i n s t a n c e s on paper, sized and
rubbed smooth. Bright mineral colors are used together with gold pigment, a-
chieving a gem-like vibration. A third art form developed to a high degree of ex-
cellence by the Nepali a s well a s T i b e t a n s is jewelry and ritual implements in gilt
metal, gold, or silver, inlaid with precious and semi-precious s t o n e s . Many of the
earplugs, diadems, n e c k l a c e s were probably made not for mortals but for icons like
the large head of a Bodhisattva (no. 64); practically all contain religious symbols
and religious thoughts.
Strict technical and iconographical rules for the making of images were made
in India a s early a s the Gupta period. C a n o n s of construction and composition,
proportions, colors, symbolism, garments and ornaments of d i v i n i t i e s , their hand
g e s t u r e s (mudras), their sitting or standing p o s i t i o n s (asanas), the throne on which
they sit, their mounts or v e h i c l e s (vahanas), their attributes or objects they c a r r y ,
were all codified in manuals. The tendency of the conservative Lamaist world to
adhere to t h e s e canonical rules for centuries without marked deviations makes it
extremely difficult to date Lamaist art o b j e c t s , of which only a few are dated and
virtually none is signed, with certainty.
In the v a s t , difficult, and still little known field of Lamaist art, the problems
of provenance are complicated by the mobility of the artists-craftsmen and the
portability of the images which were carried from one monastery to another, from
one country to the next, to be worshipped and copied. For the most part one must
depend on artistic and s t y l i s t i c grounds, national flavor, and unrelenting r e s e a r c h .
In this exhibition, whenever the geographic origin is not evident, the objects have
been labeled " L a m a i s t . " P i e c e s which may have been produced in Kham and Amdo
(where Tsong-kha-pa was born), regions in e a s t e r n Tibet actually part of C h i n e s e
provinces, are labeled " T i b e t a n " b e c a u s e culturally they belong to the T i b e t a n
Lamaist tradition.
4 -
More important than iconography, dating, or provenance are the art objects
themselves. The sculpture and paintings of Tibet, Nepal, and Kashmir speak to
us with a d i r e c t n e s s and a force that is unique. As an instrument of religion, i t s
production in itself a ritual, the art is a visual representation of the ultimate,
transcendental reality conceived by the inner vision and the inner experience of
people who live in almost complete isolation, exposed to hostile elements. The
harsh physical conditions may account for the richly original rendition of the
demoniac, and explain the hieratic quality of the benign Yi-dam, T a r a s , Bodhisat-
t v a s , and Buddhas who protect and succor. The sacred images inspired by one of
the great religions of the world overwhelm the viewer with a mystical and magical
intensity, in which the initiate finds infinite b l i s s .
Fong Chow
April, 1971
1.
Buddha
Kashmiri
6th-7th century
Gilt bronze with polychrome
Height: 4 inches
Anonymous Loan L. 1971.9.1
The Buddha is seated in meditative pose (dhyanasana)

upon a simple double lotus throne. His left hand holds a
loop of the garment, while the right hand is in the gesture
of charity or varada mudra. T h i s image probably was wor-
shiped in Tibet - a s the face i s painted in " c o l d g o l d , "
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lips red, and hair blue. K.vv<-:
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Vajrasattva
Kashmiri
8th century
B r a s s with inlaid silver e y e s and copper lips
Height: 6 1/2 inches
Anonymous Loan L.67.81.4
T h e Adi-Buddha, or Primordial Buddha, is s e a t e d on a

single lotus throne atop a rock b a s e in the posture called
lalitasana, with the right foot supported by a small l o t u s .
In his right hand he holds the vajra (thunderbolt or diamond
scepter); in h i s left hand the ghanta (bell with vajra han-
dle). The thunderbolt symbolizes the male a s p e c t of life -
compassion, while the bell the female aspect of life -
wisdom. T h e union of wisdom and compassion is Buddha-
hood. There are three small Dhyani-Buddhas on the three
l e a v e s of the crown. The back of the crown r i s e s above
t h e s e three l e a v e s in a culminating peak to the h e a d d r e s s .
The unusual feature of this element is another seated
Buddha figure on both the front and back. Two protective
serpents (nagas) tie their t a i l s to the narrow part of the
rock b a s e .
Manjusri
Kashmiri
9th century
Bronze inlaid with silver e y e s and urna
T h i s is a Tantric form of the Bodhisattva of Transcendent

Wisdom, with three heads and six arms. He can be identi-
fied by his symbols, the uplifted sword (khadga), which
c l e a v e s asunder the clouds of ignorance, and the blue lo-
tus (utpala). The missing attributes are probably a bow
and a branch of ashoka. Manjusri belongs to the group of
eight Dhyani-Bodhisattvas. He wears Bodhisattva orna-
ments and garments, and has the urna or third eye, symbol
of transcendent knowledge. He s i t s in dhyanasana (medi-
tative pose) on a double lotus throne. His original hands
are crossed in a variant form of the Buddha supreme and
eternal or vajrabumkara mudra. Through ceremonial han-
dling, the surface of this image has been worn smooth.
Karttikeya
Kashmiri
8th century
Bronze with silver inlay in e y e s
The War God, Karttikeya, known a l s o a s Skanda, a son of

Parvati and Siva, is shown in lalitasana, with one leg
pendant, on his vehicle the peacock Paravani, whose head
is now missing. K a r t t i k e y a ' s attributes are the club and
the rosary.
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5.
Buddha
Kashmiri
8th-9th century
Bronze with silver inlay on urna and e y e s
The crowned Buddha s i t s in meditative p o s e (dhyanasana)

upon a lion throne, flanked by a pair of tiny donors in
adoration. The left hand holds a loop of the garment,
while the right i s in the gesture of charity (varada mudra).
A fringed triangular shawl worn over a simple monastic
robe covers the shoulders and the c h e s t . Through worship,
the e y e s and forehead of this image have been wiped and
abraded.
Vishnu Group
Kashmiri
8th century
Bronze with inlaid silver e y e s
Height: 11 inches
Vishnu, the Pervader, preserves and r e s t o r e s the universe.

He s t a n d s in a slight tribhanga (thrice-bent) p o s e . His
two proper hands hold the lotus (missing) and the conch,
while the other pair of hands rest on the h e a d s of gada-
nari and cakra-purusa, personifications of his great wea-
pons - the mace and the d i s c u s . The tiny figure between
his l e g s probably r e p r e s e n t s the Earth G o d d e s s , Prthivi.
The spout on the side of the b a s e s e r v e s a s a draining
device for ceremonial pouring of liquid over the images.
Repeated wiping h a s worn smooth the group to a golden
glow.
Varaha
Kashmiri
8th century
Dark green stone
Lent by Dr. Bertram Schaffner L. 1971.8
Vishnu a s the cosmic boar Varaha is shown here rescuing

the Earth Goddess Prthivi, who was submerged in the
ocean. The missing part below this fragment probably de-
picted the s e a serpents upon whom Vishnu tramples.
8.
Padmapani
Nepalese
7th century
Bronze with t r a c e s of gilding
Height: 15 inches
Anonymous Loan L.1970.10
Padmapani, the Lotus Bearer, is a form of the Dhyani-

Bodhisattva Avalokitesvara, (literally, the Observing
Lord), known as the Bodhisattva of Infinite Compassion or
the God of Mercy, the most worshiped deity in Mahayana
Buddhism. Avalokitesvara is known in Tibet a s sPyan-
r a s - g z i g s , pronounced " C h e n r e z i , " in China a s Kuan-yin,
in Japan a s Kannon. T h e sacred syllables (mantra), "Om
mani padme hum," are a d d r e s s e d to Avalokitesvara. Here
he is shown standing on a double lotus b a s e in a slight
thrice-bent (tribhanga) p o s e . His head is backed by a
handsome oval flame-halo. He wears a high crown (muku-
ta) of three l e a v e s and heavy earrings. His upper body is
bare except for a simple necklace and the sacred cord.
His left hand probably supported the stem of a lotus (miss-
ing), while the other hand is bent near the c h e s t .
Vasudhara
Nepalese
7th-8th century
Copper
Ik
Anonymous Loan L.1971.9-5
The Goddess of Wealth and Abundance, consort of Kuvera,

the God of Wealth, s i t s in lalitasana on a simple rectangu-
lar throne supported by two guardian l i o n s . She is depicted
with six arms, of which the first two on the upper left are
broken. Two of the hands hold a fruit (or v a s e ) and a book,
while the upper right one is in the gesture of praising the
Buddha (tathagata-vandana mudra), and the lower right one
in that of charity (varada mudra). The missing attributes
are probably a sheaf of jewels and an ear of corn.
10.
Padmapani
Nepalese
14th century or earlier
Sandalwood with gilding and polychrome
Height: 6 inches
Rogers Fund 47.108
The Dhyani-Bodhisattva Avalokitesvara a s the Lotus

Bearer is standing in a slight tribhanga pose on a double
lotus b a s e with his right hand in varada mudra, denoting
charity, and h i s left in the gesture of argument (vitarka
mudra), holding the stem of a lotus. A small s e a t e d figure
of his spiritual father, the Dhyani-Buddha Amitabha, is
behind the crown - in front of the high coiffure. Images of
sandalwood with original gilding are extremely rare.
11.
Gautama Buddha
Nepalese
14th century
Gilt bronze with rubies, turquoise, and lapis lazuli
Lent by Mrs. Vincent Astor L.1971.27.1
The historical Buddha, Gautama Siddhartha (ca. 563-483

B.C.), was born in Lumbini, Nepal. He is also known a s
Sakyamuni, sage of the Sakya clan, to which he belonged.
His left hand is in meditation (dhyana mudra), while his
right hand is in the earth-touching gesture (bbumisparsa
mudra), calling upon the Earth Goddess to w i t n e s s and
support h i s rightful seat under the Bodhi T r e e . The refer-
ence is to the episode of the Great Enlightenment when he
successfully overcame the a s s a u l t s of the Demon Mara.
The Buddha's crown has a flower with banner over each of
his elongated e a r s .
12.
Tara
Nepalese
12th-13th century
Gilt copper with turquoise
Tara, called sGrol-ma, the S a v i o r e s s , by the T i b e t a n s , is

one of the most popular g o d d e s s e s in Nepal and Tibet.
She has five main forms and many variations of each form.
The consort of Avalokitesvara, she is also known a s the
Goddess of Mercy, and the lotus is her main attribute. The
two Buddhist wives of the seventh-century T i b e t a n king
Srongtsen-gampo, the Chinese P r i n c e s s Wen-cheng and the
N e p a l e s e P r i n c e s s Bri-btsum, are believed to be incarna-
tions of T a r a , and are worshiped a s the White and the
Green Tara r e s p e c t i v e l y . Here she is shown a s Syamatara,
the Green Tara. Slender and graceful, she wears the gar-
ments and ornaments of a Bodhisattva. She has the third
eye on her forehead and one eye on the palm of each hand.
She is s e a t e d in lalitasana with the right leg pendant, the
foot supported by a lotus. Her right hand in the varada
mudra denotes charity, while the left hand is in the argu-
ment or vitarka mudra.
13-
Indra and Consort

Nepalese
13th-14th century
Gilt copper with rubies
Height: 8 inches
Indra, King of the Gods, is shown with his consort s e a t e d

on his lap in the Indian fashion. He is wearing his typical
crown, the broad kirita mukuta, fastened by bands that end
in c l u s t e r s above the e a r s . His third eye is placed hori-
zontally on his forehead. The open flower of a lotus on
his left shoulder supports his thunderbolt or vajra. His
right hand is raised in the gesture of exposition or vyakky-
ana mudra, while his left arm encircles his beautiful con-
sort, who is gracefully posed.
14.
Gautama Buddha
Nepalese
15th-16th century
Terracotta
Height: 20 inches
Seymour Fund 62.207
The historical Buddha, Sakyamuni, is seated in meditative

pose (dhyanasana). His left hand is in meditation (dhyana
mudra), while his right hand is in the earth-touching gesture
(bhumisparsa mudra). He wears no ornaments, only a
monastic robe (samghati) draped over the left shoulder
and part of the right. There is a sacred pearl (cintamani)
on top of his ushnisha (protuberance on the skull, sign of
divine wisdom). The body and the head are contained by
two flaming aureoles (prabhavali) with borders of heart-
shaped s c r o l l s .
15.
Gautama Buddha Shrine

Nepalese
13th-14th century
Terracotta with gold lacquer and paint
Height: 10 inches fiftf
Anonymous Loan L. 1971.9-11
The shrine is in the form of a s t e l e , molded in clay and

i •ss»i sm '*u»l
|L«
fired to a very dense hardness. The Buddha is s e a t e d in
dhyanasana under a canopy of the Bodhi (enlightenment)
T r e e . T h i s and the begging bowl (patra) he holds, identify
him a s the historical Buddha, Sakyamuni. Sea monsters,
'llnr
lions, and e l e p h a n t s flank the Buddha on either side within
the mandorla, which comes to a small point on the other-
wise fairly blunted top. The Buddha's hair is painted
blue
•<
L J KJPK3BB ftriH'.
;
1. " * -.£> '.jfA
16
Mahapratisara
Nepalese
13th century
Colors on paper
Anonymous Loan L . 1 9 7 1 . 9 7
Mahapratisara is one of the five P a n c a r a k s a , who are per-

sonifications of the Buddha a s well a s spell g o d d e s s e s
against d i s e a s e and evil. The color of this goddess is
yellow, her location south, and she protects from physical
danger and sin. She s i t s in the lotus position, and wears
a skirt of white, yellow, red, and green patterned stripes.
She has four h e a d s , of which three are visible; the center
one is yellow, the others blue and green. The fourth one
should be white. The arms hold an axe, a wheel, a pea-
cock feather, a sword, a thunderbolt, and a v a s e . The
original hands are in the charity and meditative mudras.
17.
Mahamayuri (red form)

Nepalese
13th century
Colors on paper
Mahamayuri is one of the five P a n c a r a k s a , who are per-

sonifications of the Buddha a s well a s spell g o d d e s s e s
against d i s e a s e and evil. The skin of this g o d d e s s is
red, her halo blue, and she wears a blue skirt with red,
white, and yellow patterned s t r i p e s . She p r o t e c t s from
snake b i t e s . She s i t s in dhyanasana or the lotus p o s t u r e .
She has four heads (of which three are v i s i b l e ) , the center
one is red, the others white and blue (the fourth head in
the back should be green), and twelve arms. The hands
hold a mace, a thunderbolt, a l o t u s , a bow, a peacock
feather, a sword, and a noose. The two original hands
against the chest are in the teaching gesture (dharmacakra
mudra), two hands in her lap are in meditation (dhyana
mudra), while the lower right hand is in the charity or
varada mudra.
18.
Prajnaparamita
Nepalese
13th century
Color on paper
Height: 5 inches
The Goddess of Transcendent Wisdom has one head and

four arms. She s i t s in the yoga position (dhyanasana) on
a single lotus b a s e . Her original hands are in the teaching
gesture (dharmacakra mudra); while the other two hold the
rosary (mala) and the book (pustaka), symbol of the most
important text of Mahayana Buddhism, Prajnaparamita (Book
of Transcendental Wisdom), of which she is the personifi-
cation. She has the urna on the forehead and wears a
Bodhisattva crown. Her body is painted in flesh t o n e s
(rather than white, blue, yellow, red, or green). Finely
drawn reversed scroll design d e c o r a t e s the mandorla and
the b a s e of the throne.
19.
Cover for Kanjur Volume

N e p a l e s e or Western Tibetan
14th-15th century
Carved wood
Height: 11 inches Width: 29 inches
Gift of Allison V. Armour 26.213
The main decoration c o n s i s t s of three enshrined Buddhas,

two of whom are crowned. The middle one perhaps repre-
s e n t s Prajnaparamita (See Number 18). On the altar and
mandorla protective beings and animals abound, like the
garuda (sun bird), lions, and monster m a s k s . Medallions
and scroll work fill the surface within a gadrooned border.
T h i s type of elaborately carved wood covers for the 100 to
108 volumes of the Kanjur (sacred canon) are sometimes
lacquered in gold, of which traces can be seen on this
example.
20.
Ganesa
Nepalese
16th century
Copper repousse with gilt
The four-armed God of Good Fortune is a son of Parvati

and Siva. He holds the rosary (mala), the elephant goad
(ankusa), the lotus (padma), and the sacred pearl (cinta-
mani) to which h i s trunk curls. He is seated on a lotus
b a s e and flanked by two standing attendants in adoration.
A rounded prabbavali (flaming aureole) forms the backdrop
for the group. T r a c e s of sindur (vermilion) powder are
evidence of worship.
21.
Gautama Buddha Stele

Nepalese
I6th-17th century
Unglazed grey pottery
Height: 4 inches
Rogers Fund 30.76.113
The historical Buddha is in the g e s t u r e s of meditation

(dhyana mudra) and earth-touching (bhumisparsa mudra).
Above the Buddha's head, contained in medallions, are the
three sacred s y l l a b l e s (mantra) in Sanskrit: Om Ah Hum.
22.
Mahakala
Lamaist
18th century
Bronze with polychrome
Rogers Fund 23.185-1
Mahakala, the Great Black One, one of the eight Dharma- &!&'' ( w2
pala, Defenders of the Faith, in the Gom-kar form with six
arms. He stands on two prostrate elephant-headed gods,
the demon Vinayaka. His original hands hold the chopper
(karttrka) and the skull cup (kapala). His other attributes
are another karttrka and the skull drum (damaru). Two
missing attributes are probably the elephant goad (ankusa)
and the trident (trisula). The hair of the Dharmapala stands
on end in a flame shape. He wears a crown of skulls and
a garland of severed h e a d s . A scarf r i s e s stiffly from his
shoulders. He h a s the third eye and his expression is
angry. The piece was purchased near Chao-yang fu, Inner
Mongolia.
23.
Mahakala
Lamaist
17th-18th century
Colors and gold on cotton
A flame mandorla outlines the Great Black One, one of the

eight Dharmapala or Defenders of the F a i t h , in the Gom-
kar or white form. He is standing on two elephant-headed
gods, the demon Vinayaka, who are prostrate on a lotus
pad. He wears Bodhisattva ornaments and has the third
eye, but his expression is angry. In his proper hands he
holds the cintamani (flaming pearl) and the kapala (skull
cup). His upper left hand holds his special symbol, the
trisula (trident), while his other hands hold the ankusa
(elephant goad), the karttrka (chopper), and the damaru
(drum). Five female figures occupy the upper corners and
the bottom of the tanka. Directly above the central figure
of Mahakala is Tsong-kha-pa (1357-1419), founder of the
Ge-lug-pa s e c t , seated in meditative pose (dhyanasana)
and in the gesture of turning the Wheel of the Law (dhar-
macakra mudra), signifying preaching. At his shoulders,
supported by a lotus, is a sword and a book, attributes of
Manjusri, the Bodhisattva of Transcendent Wisdom, whose
incarnation he is believed to be. The figures are set in a
blue and green mountain l a n d s c a p e , scattered with ele-
phants carrying flaming jewels, mongooses disgorging
jewels, and other a u s p i c i o u s symbols.
24.
_ , M " r •„
Vishnu
Nepalese
13th-l4th century
Dark grey stone
Height: 36 inches
Gift of Harry Denberg 67.264.2
Vishnu the Pervader, who preserves the universe, stands

on his vehicle Garuda, the sun bird. Vishnu is sculptured
in the round and set against a boat-shaped mandorla. His
four arms hold the following attributes: the mace, d i s c u s ,
lotus, and conch.
25.
mGon-po (Mahakala)
Tibetan
16th-18th century
Colors and gold on cloth
Height: 72 inches Width: 46 1/2 inches
Florance Waterbury Bequest Fund 69.71
The dominant blue figure is that of Mahakala, one of the

Dharmapala, Protectors of the Faith. He is standing on a
prostrate human figure. He wears a crown of skulls topped
by a hali-vajra and a girdle of severed human h e a d s . In his
right hand he holds a karttrka (chopper) and in his left
hand a kapala (skull cup). Surrounding Mahakala are five
forms of Yama in black, yellow, red, white, and blue to-
gether with other deities and four lamas of the Ge-lug-pa
or Yellow Hat Sect. An inscription in red ink on the back
of the tanka in Tibetan script reads: "My humble saluta-
tions to the most loving, compassionate of all times - the
past - present and future. The great Protector, Maha Kala,
the fierce God who is inseparable from my Lama (Guru).
To the Upper Tantaric college, I present this tanka of the
Great Protector, Whose true spirit is ever present in the
precious painting and is inseparable. To you (Maha Kala)
I pray that my good deeds be of service to all living beings
from now until the time when all have achieved Buddha-
hood. May you the Great Protector always be near to us
(never leave us) and help us to follow the path of right-
e o u s n e s s . " Between the lines of the inscription are the
three sacred s y l l a b l e s : Om Ah Hum.
26.
Mahakala
Nepalese
I6th-17th century
Dark grey stone
Lent by Paul E. Manheim L.68.30.1
The Dharmapala Mahakala in his Protector of the Tent

form s t a n d s on a supine figure with long hair. He wears a
crown of skulls and a garland of severed h e a d s . His right
hand holds a chopper (karttrka), while his left hand holds
a skull cup (kapala), and his left arm hugs a magic wand
(khatvanga) with two heads and a skull topped by a thunder-
bolt (vajra). Inside the flaming mandorla is a band of
skulls and a band of vajra.
27.
Garuda
Indian or Nepali
16th century or earlier
Bronze repousse*
Bequest of Kate Read Blacque 48.30.18ab
Ex. coll : Alice E. Getty
The sun bird, Garuda, half vulture and half man, is the
vehicle of Vishnu. " E n e m y of s e r p e n t s , " he is shown
holding a serpent in each hand, standing on a round lotus
and set over a rectangular b a s e , surrounded by a detach-
able prabhavali (flaming aureole).
28.
Mahakala
Lamaist
17th-18th century
Anonymous Loan L. 1971.9-10
Red flames encircle the central figure of Mahakala, the

Great Black One, one of the Dharmapala or Defenders of
the Faith, in the Gom-po nag-po or black form. He is
treading on an elephant-headed god, the demon Vinayaka,
who holds a flower in one hand and a skull cup in the
other. The top two hands hold the paws of an elephant
skin that hangs down Mahakala's back. The top right hand
a l s o holds the mala (rosary), the left one his s p e c i a l sym-
bol, the trisula (trident). In his proper hands he holds the
karttrka (chopper) and the kapala (skull cup). The re-
maining two hands hold the damaru (skull drum) and the
pasa (noose). The figures surrounding Mahakala are
Dharmapala. At the bottom of the tanka three d e i t i e s ride
a black bear, a white horse, a black horse, respectively.
The center figure represents Lha-mo (Sri-Devi), the only
female Dharmapala. Her right hand holds a sword, her
left a skull cup. The haunch of the horse has an eye, de-
noting the wound inflicted by the arrow shot by Lha-mo's
husband, the king of Yakshas in Ceylon, when he dis-
covered she had flayed their son alive and drunk h i s blood
and eaten his flesh. Lha-mo had done this b e c a u s e she
had failed to convert her husband to Buddhism and had
vowed to extirpate his race. The figures are set in a blue
and green mountain l a n d s c a p e , Chinese in character, with
a small stupa, lion, tiger, bear, fox, birds, and dead hu-
mans scattered about.
29.
Mahakala
Lamaist
18th century
Height: 6 7 / 8 inches
Bronze with polychrome
The Dharmapala in the Gom-po nag-po form with six arms.

He is standing on the elephant-headed god, the demon
Vinayaka, who holds a skull cup and a flower. Mahakala
wears a crown of skulls and a garland of severed h e a d s .
His two top hands hold an elephant skin which hangs
down the back. The top right hand a l s o holds the mala
(rosary of skulls), the top left the trisula (trident). The
middle right hand holds a damaru (skull drum), the left a
pasa (noose). The original hands hold the karttrka (chop-
per) and kapala (skull cup). The piece was purchased
near Chao-yang fu, Inner Mongolia.
30.
Kuan-yin (Avalokitesvara)
Chinese
18th-19th century
Height: 7 inches
Rogers Fund 23-185.6
The eleven-headed Bodhisattva of Infinite Compassion or

the " a l l - s i d e d o n e , " the god who looks in every direction
to save all c r e a t u r e s , is shown in the Merciful Lord form.
The nine heads in three tiers have a benign e x p r e s s i o n ;
the tenth head wears an angry expression; the head at top
is that of A v a l o k i t e s v a r a ' s spiritual father, Amitabha, with
a sacred pearl (cintamani) over the ushnisha. The deity
has eight arms. The original hands are in prayer (nama-
skara mudra); the upper left hand holds the lotus (padma),
the lower left hand the v a s e of ambrosia (kalasa). The
missing attributes are the rosary (mala), the bow (capa),
and the wheel (cakra). The lower right hand is in the
charity gesture (varada mudra). An antelope head and skin
drape the left shoulder. The piece was purchased near
Chao-yang fu, Inner Mongolia.
31.
s P y a n - r a s - g z i g s (Avalokitesvara)
Tibetan
18th century
Height: 11 3/4 inches Width: 8 7 / 8 inches
Gift of Albert Angel Southwick,
in memory of Mrs. C h a r l e s Waterbury Clark 60.43.6
The Bodhisattva of Infinite Compassion in his Merciful

Lord form a s in Number 30. Of h i s eight hands the central
pair are in a variant form of the prayer gesture (namaskara
mudra); five hold his attributes, the l o t u s , the bow, the
v a s e , the rosary, and the wheel; while the eighth hand i s
in the charity or varada mudra. A Grand Lama s i t s above
the main figure, surrounded by four s e a t e d Buddhas.
32.
Thousand-armed and Eleven-headed Avalokitesvara

Nepalese
17th-18th century
Copper repousse" with rubies, turquoise, and green s t o n e s
Height: 15 inches
Ex. coll, Alice E. Getty
Bequest of Kate Read Blacque 48.30.19
The Bodhisattva of Infinite Compassion stands on a lotus

b a s e in the center of the trefoiled mandorla. There are
three tiers of three h e a d s , each of which wears a Bodhisat-
tva crown. The tenth head has no crown, and the head at
the top is that of the Dhyani-Buddha Amitabha. The ori-
ginal hands in a variant form of prayer or namaskara mudra.
Five other main hands hold the lotus, bowl, v a s e , rosary,
wheel, while the sixth is in the gesture of charity (varada
mudra). Behind the main figure three circular t i e r s of
hands, denoting the multiplicity of the thousand arms, are
edged by a flame mandorla. Eighteen-armed Durga a s
Mahishasura-mardini, the Goddess slaying the buffalo de-
mon, and two small attendants flank the main figure. The
repousse" group is skilfully hammered out from several
p i e c e s of copper and joined together.
33.
hJam-dPal (Manjusri)
Tibetan
18th-19th century
in memory of Mrs. Charles Waterbury Clark 60.43.9
The central figure is that of Manjusri, the Bodhisattva of

Transcendent Wisdom, with his hands holding the book
(pustaka) and the sword (khadga). Surrounding him are four
other forms of Manjusri, including at the lower left Man-
jusri on a lion. Seated above the central Manjusri is
Tsong-kha-pa (1357-1419), founder of the Ge-lug-pa sect,
who is believed to be his incarnation.
34.
Wen-shu (Manjusri)
Chinese
17th-18th century
Bronze
Height: 4 inches
Rogers Fund 23-196.2
Wen-shu is Manjusri's Chinese name. He is s e a t e d in

dhyanasana, with the right hand brandishing the khadga
(sword), to cleave asunder the clouds of ignorance, while
the left hand in the argument gesture (vitarka mudra) holds
the utpala (blue lotus), supporting the pustaka (book).
Manjusri is said to be a deified sage from China, who
c a u s e d Nepal to arise where once there was only a blue
lake by cutting the surrounding mountains with h i s sword
and thus draining the water into the plains of India.
35.
Bodhisattva
Tibetan
18th century
Gilt bronze and polychrome with p e a r l s and semi-precious
stones
Lent by Mrs. Vincent Astor L.1971.27.2
T h i s may be a rare form of the God of Wisdom, Manjusri,

who belongs to the group of eight Dhyani-Bodhisattvas.
He s i t s in meditative pose (dhyanasana) on a double-lotus
throne. His six heads are in three tiers: on the lowest
tier four heads face the four cardinal directions, on the
middle tier a small head faces frontally, and a still smaller
head at the top a l s o faces front. All the heads wear the
five-leaved crown, have the urna between the brows, and
elongated earlobes decorated with earplugs. The proper
hands are in an unusual form of the gesture of meditation
(dhyana mudra): each of the index fingers is bent to meet
the thumb. A lotus on the left shoulder holds the Prajna-
paramita (Book of Transcendental Wisdom), while another
on the right shoulder probably supported the prajna khadga
(sword of wisdom), now missing. The image is brilliantly
gilded, and the jewelry finely set with colorful s t o n e s .
36.
sPyan-ras-gzigs (Avalokitesvara)
Tibetan
17th-18th century
Colors on cotton
in memory of Mrs. C h a r l e s Waterbury Clark 60.43-5
The Bodhisattva of Infinite Compassion in the Sadaksari

form is seated in dhyanasana on a lotus throne with his
proper pair of hands in the gesture of prayer (namaska-
ra mudra), while the upper pair holds a full-blown lotus
(padma) and a rosary (mala). The high coiffure is topped
by a flaming pearl (cintamani). Full sun and moon appear
in the sky, and an offering of sacred jewels is in the fore-
ground. Mongolian script in blue silk is appliqu^d on the
mount of the tanka.
37.
Chinese
17th-18th century
Gilt bronze with traces of polychrome
Height: 7 inches
The four-armed Bodhisattva of Infinite Compassion s i t s on

a lotus b a s e . One pair of hands is in the gesture of prayer
(namaskara mudra). The upper right hand holds a rosary,
the upper left probably had a lotus, now lost. The top of
the headdress is surmounted by a representation of Amitabha
(head only), Kuan-yin's spiritual father. An antelope skin
drapes the left shoulder of the Bodhisattva.
38.
Syamatara (Green Tara)

Lamaist
15th-16th century
Bronze with gilt and paint
Rogers Fund 50.138
Consort of Avalokitesvara, the Green Tara is seated on a

lotus throne in lalitasana, the right foot supported by a
small lotus, the stem of which is attached to the throne.
She is dressed like a Bodhisattva and wears a five-leaved
crown. Her right hand is in the gesture of charity (varada
mudra), her left in that of argument (vitarka mudra). There
are t r a c e s of red, blue, and green paint on the hair and
jewels. This figure is the center one in a set of three.
39.
Bodhisattva
Lamaist
15th-l6th century
The Bodhisattva s i t s in the position of royal e a s e (raja-

lilasana). The right hand r e s t s behind the right knee on
the lotus throne. The stem of a lotus flower encircles the
right arm. T h i s figure is one of a set of three.
40.
Padmapani
Lamaist
15th-16th century
The companion piece to Number 39- A form of Avalokites-

vara, the deity is seated in the position of royal e a s e
(rajalilasana). The left hand l e a n s , behind the left knee,
on the lotus throne. The stem of a lotus flower (now bro-
ken) encircles the left arm. Over the left shoulder is an
antelope head. The central leaf of the crown is missing.
There are t r a c e s of red, blue, and green paint on the hair
and jewels. This figure is one of a set of three.
41.
Unicorn
Tibetan
15th-l6th century
Gilt bronze
Gift of Mrs. John D. Rockefeller, Jr., 1942 42.25-34
In Lamaist art the unicorn sometimes r e p l a c e s the deer

which usually are shown in pairs with the wheel, symbol
of Buddhist Law, between the two animals. The reference
is to the Deer Park in Benares, where Gautama Buddha
delivered his first sermon.
42.
Chinese
l l t h - 1 2 t h century
Gilt bronze
Rogers Fund 56.223
The Bodhisattva of Infinite Compassion is shown here in

Tantric form of one head, three e y e s , and twenty-four arms.
He wears a high crown (mukuta) and his primary hands are
in the gesture of prayer (namaskara mudra) Some of the
attributes held in his other hands are: d i s k s of the sun
and moon, lotus buds, thunderbolt (vajra) and bell (ghanta).
One hand holds a seal with the two Chinese characters
Ta-chi (grand a u s p i c i o u s n e s s ) . Other attributes are am-
brosia v a s e s (kalasa), rosary (mala), and noose (pasa),
which binds all evil and s a v e s the soul from the ocean of
illusion.
43-
T s ' a i Shen (Jambhala)

Chinese
18th century
Bronze with traces of polychrome
Ex. coll Alice E. Getty
A manifestation of Kubera, the Lord of Wealth, Jambhala

rides a scaly dragon. His left hand holds a jeweled club
(danda), while his right hand should hold a trident (trisula).
now missing. J a m b h a l a ' s headdress is painted black-
blue, his garments orange with silver inlay. The dragon's
head is painted red and green.
44.
Yamantaka with his Consort

Lamaist
18th century
Wood, lacquered red and brown
Ex. coll. Alice E. Getty
One of the eight Dharmapala or Defenders of the Faith,

Yamantaka is the ferocious manifestation of Manjusri, the
God of Wisdom. He is particularly venerated in Tibet be-
cause he saved the country from Yama, the Lord of Death,
who was destroying the population. He is the yi-dam
(tutelary god) of the Ge-lug-pa sect. In his Vajrabhairava
form he has nine heads, thirty-four arms, and sixteen l e g s .
The center head is that of a bull, a red head with a terri-
ble expression is above it, then the head of Manjusri. He
holds the karttrka (chopper), the kapala (skull cup), and
other Tantric symbols. He is stepping on animals, birds,
demons, and Hindu d e i t i e s . He h a s a skull diadem, a belt
of severed h e a d s , and the third eye. Down his back is the
skin of an elephant. The consort has one head and two
arms, and holds a chopper and a skull cup. T h i s sculpture
is lacquered in colors and gold to resemble a gilt bronze.
It is a remarkable piece of wood carving.
45-
Yamantaka with his Consort

Lamaist
18th century
Gilt bronze with t r a c e s of polychrome
Bequest of William Gedney Beatty 41.160.95
Yamantaka in the Vajrabhairava form a s in Number 44. T h i s

piece is in gilt bronze.
46.
Brahma
Lamaist
18th century
Gilt bronze and polychrome
Height: 6 inches
Lent by Charmion von Wiegand L.69-77.1
Four-headed Brahma, the creator, is riding his vehicle,

the hamsa — the c e l e s t i a l gander. He holds the flaming
wheel (cakra) and the ambrosia v a s e (kalasa). The piece
is brilliantly gilded and the faces painted in " c o l d g o l d "
and colors.
47.
Yamantaka
Lamaist
17th-18th century
The Dharmapala Yamantaka, the conqueror of Yama, the

Lord of Death, is the ferocious manifestation of Manjusri,
the God of Wisdom. He is shown in h i s Bhairava form.
He h a s a b u l l ' s head and two arms. In h i s hands he holds
a karttrka (chopper) and a kapala (skull cup). He has a
diadem of s k u l l s , a third e y e , and s t e p s to the right. Down
his back is an elephant skin.
48.
Vajrapani
Lamaist
18th century
Gilt bronze with polychrome and semi-precious stones
The Dhyani-Bodhisattva Vajrapani, the Bearer of the

Thunderbolt, a s a Dharmapala in the Acarya form. He
wears a skull crown, a belt of severed h e a d s , and has an
animal skin down his back. A necklace has a medallion
of six-petal lotus in front and back. A snake drapes his
right shoulder. His expression is angry and he has the
third eye. In h i s uplifted right hand he holds his attribute,
the vajra. His left hand probably held the pasa (noose),
now lost. T h i s piece was purchased near Chao-yang fu,
Inner Mongolia.
49.
Tara
Nepalese
13th-14th century
Gilt copper, semi-precious s t o n e s , and paint
Louis V. Bell Fund 66.179
The consort of Avalokitesvara h a s the third eye on her

forehead, and one eye on the palm of each hand. Her right
hand is in the charity or varada mudra, and holds a lotus
bud or lemon. Her left hand is in the argument or vitarka
mudra. At the left shoulder is the padma or full-blown
lotus, with a turquoise in the center. Her garment is in-
cised with sharp folds and decorative motifs.
50.
gShin-rje-gshed (Yamantaka) with his Consort

Tibetan
18th century
Colors on cotton
Gift of Mrs. Robert W. d e F o r e s t 31.128.3
Yamantaka, one of the eight Dharmapala or Defenders of

the Faith, is the ferocious manifestation of Manjusri, the
God of Wisdom, and the conqueror of Yama, the Lord of
Death. In his Vajrabhairava form, he has nine h e a d s ,
thirty-four arms, and sixteen l e g s . The center head i s
that of a bull, above it is a red head with a terrible ex-
pression, then the head of Manjusri. His hands hold the
karttrka (chopper), the kapala (skull cup), and other Tan-
tric symbols. He i s stepping on animals, birds, demons,
and Hindu d e i t i e s . He h a s a skull diadem, a belt of
severed h e a d s , and a third eye. T h e consort h a s one head
and two arms. The Buddha Sakyamuni p r e s i d e s near the
top center. At top and bottom of the painting are thirteen
d e i t i e s with their c o n s o r t s .
51.
Tsong-kha-pa
Chinese
18th century
Cloisonne" enamel on copper
Gift of Edward G. Kennedy 29-110.79ab
Tsong-kha-pa (1357-1419) was the reformer who founded

the Ge-lug-pa or Yellow Hat sect in Tibet. He is seated
on a lotus throne, d r e s s e d a s a Ge-lug-pa monk, wearing a
removable yellow hat with red five-clawed dragons on ei-
ther side. His hands are in the dharmacakra mudra (ges-
ture of turning t h e Wheel of the Law), symbolizing
preaching. The face, arms, h a n d s , and feet are gilded.
T h e robe is blue and yellow enamel with polychrome flower
design, bordered by aubergine bands decorated with bat
forms and clover scrolls. The same motif in l a p i s blue ap-
p e a r s on the red scarf over the left shoulder. At the back
of the b a s e are two green phoenixes and two red dragons
r
on a turquoise ground. ^^a&m&mss&m^
52.
Buddha
Lamaist
18th century
Gilt bronze
Seated in meditation (dhyanasana) on a lotus throne, the

Buddha has his hands in the gesture of turning the Wheel
of the Law (dharmacakra mudra), indicating preaching. He
has the urna and elongated e a r l o b e s , and his ushnisha is
topped by the cintamani ( s a c r e d pearl). T h i s p i e c e w a s
purchased near Chao-yang fu, Inner Mongolia.
53.
A Grand Lama
Tibetan
18th century
Colors on cotton, framed
Gift of Mrs. Robert W. d e F o r e s t 31.128.1
The main figure is that of a Grand Lama of the Ge-lug-pa

s e c t , e a s i l y identified by the yellow cap. He is s e a t e d on
a richly draped throne with dragon headed arm-rests and he
holds a bowl in the left hand. The miraculous rainbow light
that connects Manjusri, floating in l a n d s c a p e , with the
Grand Lama shows that he is inspired by the God of Wis-
dom. Amitabha Buddha p r e s i d e s at the top, while a Lama
is to his left and Yamantaka and his consort are to his
right. The lower portion of this painting shows three
guardians on horseback, the middle one is the Dharmapala
Lha-mo (Sanskrit: Sri-Devi), the chief p r o t e c t r e s s of the
Ge-lug-pa sect. An inscription near the lower edge in
Tibetan reads: " D u e to the kindness of the great Holder
of the Vajra: Dorge Jigge was able to hear the t e a c h i n g s
and be ordained. Dhorkham Wangmo was made the reli-
gious Guardian. And Losang Yeshi the protector of the
fortune of beings. Such lives a s the number of s u n s ,
May form a council of guardians and friends. Help main-
tain the dharma (good deeds) And let it flow like the end-
l e s s flow of the G a n g a . "
54.
Jataka Tales
Lamaist
18th century
Gift of Joseph Heil 1970.398.1, 2*
Mrs. W. Murray Crane Gift, 1971.24.1; 1971.25.1,2
The jataka (Sanskrit: " j a t a " born) t a l e s are a collection

of some five hundred stories of the Buddha's various l i v e s .
Each jataka painting shows a large figure of the Buddha in
the center surrounded by a number of small s c e n e s set in a
typical Chinese " b l u e and g r e e n " l a n d s c a p e . The illustra-
tion* reproduces the central tanka of a group of nine, of
which five are on exhibition. Buddha is flanked by his two
chief d i s c i p l e s , Sariputra and Mahamaudgalyayana. The
bottom scene shows Gautama Buddha right after birth,
taking his first seven s t e p s after which he made the pro-
nouncement, " I n the heavens above and the earth below, I
am the honored o n e . "
55.
Pavilion
Chinese
17th-18th century-
Gilt bronze, cloisonne and enamel
Lent by Arthur J. Campbell L.65.82.3
The hexagonal structure with a double roof topped by a

triple finial is typical of the type of Chinese architecture
depicted in the tankas of J a t a k a t a l e s . T h i s piece is
brilliantly gilded in combination with fine cloisonne and
blue enamel roofs.
56.
Marici (Vajravarahi)
Chinese
18th century
Gilt bronze
Height of figure and chariot: 7 inches
Bequest of John L. Cadwalader 14.58.187 a-m
Marici, Goddess of Light, accompanied by two a t t e n d a n t s ,

rides in a chariot drawn by a team of swine. She is shown
with three faces (the one to the viewer's right in the shapeof
a s o w ' s head) and eight arms. The upper right hand holds
a round disk inscribed with the Chinese character for moon;
the upper left one holds a disk with the character for sun.
Vajravarahi means "Adamantine s o w " . Legend has it that
a certain a b b e s s h a d an e x c r e s c e n c e behind her ear
shaped like a s o w ' s head. A Mongol warrior wanted the ab-
b e s s to show her protuberance, but when the warrior and
his men broke into the monastery, they found only sows
and pigs led by a sow bigger than the rest. The warrior
was so amazed at the sight, he stopped his men from pil-
lage, at which the sows and pigs became transformed into
monks and nuns, and the large sow into the a b b e s s her-
self.
57.
Ch'ang-sheng-fo (Amitayus)
Chinese
Dated 1770
Gilt bronze
The Buddha of Boundless Life should be holding the kalasa

or ambrosia v a s e , which is l o s t . A trilobed nimbus with
flames r i s e s from a high square stand. On the lower front
of the stand an inscription in Chinese characters r e a d s :
" R e s p e c t f u l l y made in the cyclical year of Keng-yin during
the reign of Emperor Ch'ien-lung of the great Ch'ing Dy-
n a s t y . " T h i s corresponds to 1770 A.D.
58.
rDo-rje hchan (Vajradhara)

Tibetan
15th-l6th century
Gilt bronze and semi-precious s t o n e s
Height: 18 1/2 inches with b a s e
Bequest of William Gedney Beatty 41.160.97ab
The Adi-Buddha or Supreme Buddha is seated in dhyana-

sana or meditative pose on a double lotus throne. He
wears the Bodhisattva crown a s well a s the d r e s s and
ornaments of an Indian prince. He has the urna and the
ushnisha, and his earlobes are elongated. His arms are
crossed in the vajrahumkara mudra (Buddha supreme and
eternal). In his right hand he holds the vajra (thunderbolt
or diamond scepter; Tibet; dorje), in his left hand the
H)*
ghanta (bell). The thunderbolt symbolizes the male a s -
pect of life or compassion, while the bell the female a s -
pect of life or wisdom. The union of wisdom and com-
p a s s i o n is Buddhahood. The crown and jewels are orna-
mented with lapis lazuli, turquoise, and clear yellow
stones.
59.
gShin-rje (Yama)
Tibetan
18th century
Gold
The Lord of Death in the Chi-dup form is framed by an

open flame mandorla. He has a b u l l ' s head and s t e p s to
the right on a bull. His two attributes are the skull-
topped staff (danda) and the noose (pasa). He wears a gar-
land of human heads and a chain necklace with his dis-
tinctive mark, the cakra (Wheel of the Law). When Yama
was ravaging Tibet, the people appealed to Manjusri, the
God of Wisdom, to protect them. He assumed the ferocious
form of Yamantaka and conquered Yama. T h i s piece is
wrought in solid gold.
60.
Buddha
Nepalese
18th-19th century
Gold
Height: 4 i n c h e s
Buddha is s e a t e d in meditation (dhyanasana) with a begging

bowl (patra) in h i s hands. A flaming aureole (prabhavali)
forms the background of the p i e c e . The ornate flames and
the stiff pose of the Buddha indicate a relatively late date.
61.
A Group of Sixteen Arhats

Chinese
18th century
Gold and silver gilt, bronze with polychrome
Lent by P a u l E. Manheim L.1971.25-1-16
The Chinese name for arhats is lohan, men who have at-
tained enlightenment and are no longer subject to rebirth.
They p o s s e s s transcendent knowledge, sight, sound of
others, and the power of working miracles for mankind.
The one illustrated is Pindola Bharadvaja. He holds an
alms bowl and a book of sutra. He is Number 12 of the
group. The sutra is silvered, while the rest of the p i e c e
is gilded and painted in " c o l d g o l d " . From the original
16, the number of arhats increased to 18, then 108, and
from 300 it grew to 500. It is not always p o s s i b l e to iden-
tify them.
62.
Vasudhara
Nepalese
13th-14th century
Wood and polychrome
Height: 48 inches
Lent by Dr. Bertram Schaffner L. 1971.6
The Goddess of Wealth and Abundance is shown in the

rare form of four arms instead of the usual six. Of the at-
tributes only the book held by the top left hand has been
preserved. Two of the hands probably once held a v a s e and
an ear of corn. With her upper right hand she p r a i s e s the
Buddha in the tathagata-vandana mudra.
63.
Dancing Yogini
Nepalese
16th-17th century
Colors on paper
Fletcher Fund 38.103
The exuberant dancing deity b a l a n c e s by a foot on a cloud-

supported pad against a Pompeiian red background. He wears a
floral crown, a double-strand necklace also with floral
decorations, and banded trousers of green, red, and gray.
His body is encircled by fluttering draperies. His left
hand holds a lotus, while his right b a l a n c e s six of the
Eight Glorious Emblems: the lotus, pledge of salvation
and symbol of divine origin; the e n d l e s s knot, mystic dia-
gram and symbol of the e n d l e s s cycle of rebirths; the
wheel, symbol of perfection, its eight spokes representing
the eight-fold path of self-conquest; encircled by two
fishes, symbolsof h a p p i n e s s and utility; the white parasol,
which keeps away d e s i r e ; and the conch, symbol of b l e s s e d -
ness.
64.
Bodhisattva
Nepalese
18th-19th century
Gilt copper repousse with semi-precious s t o n e s
Height: 20 1/2 inches Width: 13 1/2 inches
Kennedy Fund 15-95.157ab
The Bodhisattva is represented with the sacred urna on the

forehead and a cintamani (flaming pearl) on top of the high
coiffure. He wears a five-leaved crown, which is encrusted
with turquoise, coral, and garnets. At the lower portion of
the center leaf is a demon mask with two hands, a u s p i -
cious emblems designed to ward off evil. There are miss-
ing parts to this head, but similar jewelry acquired by the
Museum in 1915 show how large decorative earplugs and
neckband fit in such an image.
65.
Necklace
Eastern Tibetan
19th century
Gilded silver with coral, jade, and other semi-precious
stones
Length: 18 inches
Gift of Mrs. Anne Archbold 54.132-5
T h i s necklace is of the type worn by Sherpa women. The

long string of coral beads terminates in a gilded silver
filigree butterfly pendant set with s t o n e s . Hanging from
the butterfly are five bead strings, alternately finished
with mottled jade and aubergine s t o n e s . It is probable
that the necklace was made near the C h i n e s e border.
66.
Earrings
Tibetan
17th-19th century
Gilt metal with turquoise
Length: 3 1/2 inches Width: 1 1/2 i n c h e s
Kennedy Fund 15-95-91-92
The leaf-shaped segment of t h e s e earrings is paved with

turquoise in pyramidical style to produce a sacred flower
pattern. By contrast, the circular b o s s has the turquoise
applied smoothly, effecting a radiating design. A small
bud is similarly set with turquoise at the b a s e of the orna-
ments.
67.
P l a t e for Temple Use

Nepalese
18th-19th century
Gilt metal with precious and semi-precious stones
Diameter: 8 1/2 inches
Kennedy Fund 15.95-168
An inlaid rosette of jewels, representing the sacred eight-

petalled lotus, is set in a central field of rock-crystal.
Concentric rings of jewels lead to the rim, where eight
roughly quatrefoiled b o s s e s ( a l s o of rock-crystal) form aus-
picious monster masks (kirttimukha). The features are
defined by carving with eyes and head band of gilt, and
what may be rubies and an emerald.
68.
Belt with Chain Attached

Tibetan
17th-18th century
Gilt metal with silver, set with precious and semi-precious
stones
Length (with chain): 68 inches
Kennedy Fund 15-95.166
The girdle and strap of this woman's ornament are made in

a s c a l e pattern, with s o c k e t s and braces set with turquoise
at either end and in the middle of each section. The square
and leaf-shaped ornament and the leaf-shaped portions of
the c l a s p are set with turquoise and other s t o n e s . T h e
chain, composed of a number of flat silver d i s k s of shou
(longevity) emblems, is fastened at one end to the ring on
the strap. In u s e , the strap would be turned up and at-
tached to a brooch or c l a s p on the right breast.
69.
Amulet C a s e
Tibetan
17th-18th century
Gold with precious and semi-precious stones
Length: 4 inches Width: 4 inches
T h i s c a s e is designed in the form of a square, with four

triangular " w i n g s , " suggesting a square plaque, set diag-
onally behind it. The c a s e originally contained an amulet
or charm designed to ward off evil, and was worn around
the neck on a string of beads.
70.
Earrings
Tibetan
17th-19th century
Gilt metal with artificial coral, turquoise and other s t o n e s
Length: 6 inches
Kennedy Fund 15-95.164-165
T h e s e earrings are probably the precursors of the type of

earring worn today in Tibet by high officials, although
nowadays only one earring is worn (in the left ear). The
uppermost plaque is leaf-shaped, representing the triratna
(three jewels), which stand for Buddha, Dharma (The Law),
Sangha (The Assembly of Monks); from this are suspended
a complex of pendant and upright lotus-petal p a n e l s and
b e a d s of artificial coral and blue g l a s s . Tradition dic-
t a t e s that the coral be artificial and the terminal " s t o n e "
be blue g l a s s , rather than turquoise.
71.
R o s e t t e s ( P o s s i b l y part of the Adornment of an Icon)

Nepalese
17th-19th century
Kennedy Fund 15.95-94-95
P o s s i b l y used a s buttons or brooches, t h e s e sunflower-

shaped r o s e t t e s have their foliate rims marked by a small
four-petalled flower set at each indentation. The rest of
the ornamentation c o n s i s t s of concentric c i r c l e s of pre-
c i o u s and semi-precious stones set around a large central
stone.
72.
P l a t e for Temple Use

Nepalese
17th century
Kennedy Fund 15-95-169
Three concentric rings of jewels - coral, turquoise, and

what may be rubies - enshrine a large turquoise, carved
into the l i k e n e s s of the eighteen-armed Durga on the pros-
trate form of the buffalo demon. Eight r o s e t t e s of jewels,
each showing the eight-petalled l o t u s , surround the central
motif; and concentric c i r c l e s of jewels fill the remaining
area to the rim.
73.
•M&H>
Ear P l u g s (Intended a s Votive Offerings to an Image)
Nepalese
17th-19th century
Gilt metal with precious and semi-precious s t o n e s
Height: 6 3/4 inches Extreme width: 4 inches
The large d i s k s are decorated with a central conventional

flower, surrounded with concentric rings of various s t o n e s .
Above each disk, a leaf-shaped ornament contains a cen-
tral figure of a garuda (sun bird) with l a p i s body and coral
wings, flanked by nagas (serpent demi-gods). Above one
garuda is the vajra (thunderbolt); above the other are the
triratna (three jewels) signifying Buddha, The Law, and
The Assembly of Monks in a floral setting.
74.
Ear P l u g s or Hair Ornaments (Intended a s Votive Offerings

to an Image)
Tibetan
17th-19th century
Length: 8 inches Extreme width: 2 5/8 i n c h e s
The upper leaf-shaped plaque is dominated by a l a p i s mon-

ster mask; the central disk contains a jewelled lotus sur-
rounded by concentric c i r c l e s , which represent p e t a l s ; and
the final element, resembling a pendant fleur-de-lis, con-
tains the v a s e of ambrosia (kalasd).
75.
Earrings
Tibetan
17th-19th century
Gilt metal set with turquoise
Length: 3 3/4 inches Width: 1 1/4 inches
The two top s e c t i o n s of t h e s e earrings are in the form of

the sacred jewel; below them i s a rounded segment; and
the lowest design resembles an inverted fleur-de-lis.
76.
Ear P l u g s or Hair Ornaments

Nepalese
17th-19th century
Length: 9 1/2 inches Extreme width: 4 inches
The dominant feature of t h e s e ear plugs or hair ornaments

is the large, lozenge-shaped plaque, topped with a jewelled
trefoiled ornament, its surface covered with conventional
flower patterns and the Eight Buddhist Emblems in t u r -
quoise. The central motif is a lotus flower of precious
s t o n e s . Attached to the lower point of the plaque, on the
summit of a jewelled ball, is a garuda (sun bird). Pendant
from the ball, with the intervention of a coral bead, is a
filigree ornament with a fringe of s e e d p e a r l s and l e a v e s ;
the final pear-shaped pendant is probably l a p i s lazuli.
77.
Ornamental Plaque
Nepalese
17th-19th century
Gilt metal with precious and semi-precious s t o n e s LCirr<<<<«<<<<<<<<«<»>>"v>>>>>>>>>w:>S
Length: 8 1/2 inches Width: 2 3/4 i n c h e s
Four figures - two of coral and two of turquoise - wearing

the five-leaved crown and other ornaments of a Bodhisattva
dominate this p l a t e . Interspersed between them are five
symbols: the two end elements are the kalasa ( v a s e of
ambrosia or immortality); the next two emblems are the
padma (lotus); and the central motif i s the vajra, or thunder-
bolt.
78.
Temple Plaque
Nepalese
17th-19th century Lg ^
Height: 14 1/2 inches Width: 12 1/4 inches : -•„'• ''••»• •,-*%>• .A" ? *• • v".:•. • 2 ;
..r.< t,
•
The lower left side of the picture (to the right in the
photograph) shows the scene of the birth of Gautama
Buddha: Buddha's mother, Maya - with her handmaiden - my P .
holds the limb of a tree a s the Buddha springs from her
right s i d e . At the top of the picture, the newborn Buddha
stands triumphant at the summit of a pyramidal tier of five
lotus thrones. On either side of the newborn Buddha hovers
an apsaras holding a wreath of jeweled flowers. Below, to
the right of the newborn Buddha, stand three B o d h i s a t t v a s
^-':riht-w!«*'
on l o t u s e s . Other Buddhist figures and symbols complete
the composition, which is framed in the same style a s the
icon.
\m\
' . •»•«•«•••»»»•••••»•••»•«•••••••«.
"-*. •• » •. « - - - . « • • UK „••••. • • .-• t * „ ' L
• ... .... « ' ~ •« . ». "" »

79.
C l a s p or Buckle (Probably an Adornment of an Image)

Nepalese
17th-19th century
Length: 7 1/4 inches Width: 2 5/8 inches
T h e square plate in the center of this buckle h a s a s i t s

center a b o s s of a large stone set with two concentric
b a n d s , the inner of eight jewels, the outer of turquoise,
possibly emblematic of the padma (lotus) or the cakra
(wheel). Behind this are two crossed vajra (thunderbolt),
and in the corners are four conventionalized birds. Each
trefoil terminal plate carries a-demon's face and forearms.
80.
P l a t e (Probably part of the Adornment of an Image)

Nepalese
17th-19th century
The b a s i c a l l y trefoiled design of this plate i s emphasized

by its three-tiered construction. E a c h section, of similar jfc*£v
outline and diminishing s i z e , carries a different ornamental
pattern. ft»
81.
Head Ornament (Perhaps a Portion of a Crown which Form-

ed Part of the Jewelled Ornaments of an Image)
Nepalese
17th-19th century
^wwrfcr
Length: 10 inches Height: 2 3/4 inches
*??•
Three Bodhisattvas are the main motif of this bowed band

(the central deity is made of turquoise; the flanking deities,
of coral), each lotus-throned, and each wearing the five-
leaved crown. A naga canopy surmounts each figure, the
central with seven, the others with five h e a d s . Alter-
nating with these images are four lotus blossoms made of
various jewels. Along the entire lower edge is a fringe of.
small gold l e a v e s .
82.
Ornaments with Bangles ( P e r h a p s Belonging to an Image)

Nepalese
17th-19th century
Each broad, leaf-shaped plaque (the Buddhistic jewel) con-

tains a turquoise figure of Vishnu, the Preserver of the
Universe, in one of his four-armed forms, surmounted with
a naga hood. He is seated on his vehicle, Garuda, which
is made of lapis and coral. The ornaments are fringed at
the bottom with seed pearls and small gold d i s k s .
83.
Chatelaines
Nepalese
17th-19th century
Length: 13 inches Extreme width: 2 7 / 8 i n c h e s
T h i s type of chatelaine is worn chiefly by women, and is

hung from the belt. The main design in the upper plate rep-
r e s e n t s the eight-petalled lotus; set into the lower plate
i s a monster mask and arms. Hanging from the lowest
edge i s a set of small toilet implements.
84.
Amulet C a s e
Tibetan
17th-19th century
Extreme widths: 6 inches and 5 3/4 inches
Kennedy Fund 15.95.172
T h i s square c a s e has a leaf-shaped ornament projecting

from each side. The filigree ground is set with monster
i f i o *&
faces in the center of the box and on each of the four pro-
jections, with two types of floral ornament alternating in
the remaining field. The c a s e was designed to hold a
precious charm or amulet, which would ward off evil; and
was worn by women on a string of b e a d s a s a talisman
against harm.
85.
,:>
Brooch or Clasp
Nepalese
17th-18th century
Gold with precious and semi-precious stones
Kennedy Fund 15-95.93B
Set on a beautifully worked ground of gold filigree, the cen-

tral emblem on this brooch or c l a s p is a turquoise monster
mask (kirttimukha). T h i s a u s p i c i o u s emblem may have its
origins in the C h i n e s e t'ao t'ieh. Above the monster- «=.-• . a - - m r
": '.. .._.-•
mask head is the crescent moon and sun emblem. Of par-
ticular note is the feather effect bordering the outer con-
tours of the face.
V
86.
Box
Nepalese
17th-18th century
Gold with gold filigree, precious and semi-precious s t o n e s
Length: 6 inches Height: 2 1/2 inches
The central figure on the lid of this box, carved of quartz,

is of a deity (probably a fusion of Vishnu, the Hindu sag* TgJttswgaaBfOGEB'gc f
deity, and Avalokitesvara, the Buddhist deity) seated
upon the lotus. The figure is adorned with Bodhisattva
ornaments, and has four arms: the upper hands hold the
club and the d i s c u s , the lower hands hold the lotus blos-
som (now missing) and a conch (here made of a pearl).
There are two lapis attendants - one dancing on either
side of the central figure; they also are crowned and each
holds a d i s c u s and conch (made of pearl).
87.
Amulet C a s e
Nepalese
17th-18th century
Gold with precious and semi-precious s t o n e s
The center of this c a s e shows Vishnu, the P r e s e r v e r of

the Universe. His five-leaved crown is set with what are
probably rubies, and is surmounted with the hood of the
naga (borrowed from Gautama Buddha). In h i s two lower
hands he holds the lotus and the conch; the upper pair of
hands holds the d i s c u s and the club. He is s e a t e d on h i s
v e h i c l e , Garuda, which h a s outspread hands and a serpent
coiled around each foot.
88.
Altar Object
Nepalese
17th-19th century
Silver gilt ornamented with gold filigree, precious and
semi-precious s t o n e s
Height: 13 1/2 inches Diameter: 6 1/8 inches
According to Lamaist tradition, there are certain " b a d

y e a r s " in man's life (namely, the a g e s of 13, 25, 37, 49
and 61). This "Symbol of L i f e " is p r e s e n t e d on the
occasion of t h e s e " b a d y e a r s " to a very high Lama by h i s
followers a s an inducement to prolong his life [ a s he has
the power to live or die at will]. The leaf-shaped element
shows the kalasa ( v a s e of life), and i s topped with the
atapatra (parasol). The back of this element shows the
cakra (Wheel of Law).
89.
Ch'ang-sheng-fo (Amitayus)
Chinese
18th century
Silver
The Buddha of Boundless Life s i t s in dhyanasana with

his hands in the gesture of meditation (dhyana mudra)
They should hold the kalasa or ambrosia v a s e , which is
missing. He is d r e s s e d a s a Bodhisattva with the thirteen
precious ornaments.
90.
C h i n e s e , Yunnan Province
12th century
Gilt bronze
Gift of Abby Aldrich Rockefeller 42.25.28
T h i s is a C h i n e s e non-Tantric form of the Bodhisattva of

Infinite Compassion. Tall and slim, he s t a n d s on a double
lotus b a s e . He is shown here with an image of h i s spirit-
ual father, the Dhyani-Buddha Amitabha, on the front of
h i s high coiffure. His right hand is in the gesture of ex-
position (vyakhyana mudra), while the left is in that of
charity (varada mudra). Heavy earrings, n e c k l a c e , head,
arm and waist bands decorate the image. His upper body
is naked but he wears a slim skirt. The expressive face
and body of Kuan-yin are those of child-like innocence.
This piece is exhibited in a niche of the north-west bal-
cony, second floor.
91.
Manjusri
Tibetan or Chinese
17th century
Applique of various C h i n e s e s i l k s , silvered and gilded
leather s h a p e s on satin ground; embellished with couched
silk cord and embroidery
The Bodhisattva of Transcendent Wisdom supports on a

lotus in one hand the Sword of Wisdom and in the other, the
Book of Wisdom. He is s e a t e d on a lotus throne borne by
a roaring lion. He is d r e s s e d a s a prince with the thirteen
precious ornaments: a five-leaved crown, an earring, a
necklace, an armlet, a wristlet, a bracelet, an anklet, two
s h a w l s , two g a r l a n d s , a girdle, and a s a s h . His mandorla
is outlined by flowering branches and topped by a small
Akshoba Buddha. A smaller image of the Akshoba Buddha,
Manjusri's spiritual father, is also centered in the Bod-
h i s a t t v a ' s crown In the upper corners a group of c e l e s t i a l
musicians, with the sun and moon above them respectively,
are borne toward him from either side on clouds. The
small s c a l e l a n d s c a p e has a lotus pool in the center, a
kneeling female adorer at the left, and a small standing
blue Manjusri on the right. It is set with deer and birds in
flowering t r e e s .
Ibis piece is exhibited opposite the landing of the escala-
tor, second floor.
92.
Pair of stirrups
Nepalese
18th century
Gilt bronze with inlays of coral, l a p i s lazuli, and turquoise
$•3"
Lent by Iris Love and Kay Maunsbach L.68.153-1, 2
T h e s e stirrups were probably made for or presented to some

important personage in Tibet or Nepal for use during public
ceremonies or p r o c e s s i o n s . In the center of the foot rest
is the Wheel of the Law, surrounded by l o t u s e s . T h e top
of the stirrup is decorated with a lotus throne above which
the three sacred jewels (triratna) are set on both s i d e s of
the stirrup. Below this elaborately c a s t top section are
monster m a s k s . The side p i e c e s of the stirrup are em-
bellished with dragon h e a d s , a flower garland with inlays
of stones (many now missing), and terminate at the b a s e
in smaller dragon h e a d s , out of whose mouths the whole
elaborate structure above e m a n a t e s . T h e underside of the
footrest has a lotus medallion in the center surrounded by
lotus scrolls. Each flower originally had a colored stone
in its center.

Roof of Asia: Art from Tibet, Nepal, and Kashmir

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vlRTS TIBET.

Tl~e Metropolitan Museum of Art

I wish to express my deep gratitude to Mrs. Vincent Astor, Trustee

The Buddha is seated in meditative pose (dhyanasana)

T h e Adi-Buddha, or Primordial Buddha, is s e a t e d on a

T h i s is a Tantric form of the Bodhisattva of Transcendent

The War God, Karttikeya, known a l s o a s Skanda, a son of

The crowned Buddha s i t s in meditative p o s e (dhyanasana)

Vishnu, the Pervader, preserves and r e s t o r e s the universe.

Vishnu a s the cosmic boar Varaha is shown here rescuing

Padmapani, the Lotus Bearer, is a form of the Dhyani-

The Goddess of Wealth and Abundance, consort of Kuvera,

The Dhyani-Bodhisattva Avalokitesvara a s the Lotus

The historical Buddha, Gautama Siddhartha (ca. 563-483

Tara, called sGrol-ma, the S a v i o r e s s , by the T i b e t a n s , is

Indra and Consort

Indra, King of the Gods, is shown with his consort s e a t e d

The historical Buddha, Sakyamuni, is seated in meditative

Gautama Buddha Shrine

The shrine is in the form of a s t e l e , molded in clay and

Mahapratisara is one of the five P a n c a r a k s a , who are per-

Mahamayuri (red form)

Mahamayuri is one of the five P a n c a r a k s a , who are per-

The Goddess of Transcendent Wisdom has one head and

Cover for Kanjur Volume

The main decoration c o n s i s t s of three enshrined Buddhas,

The four-armed God of Good Fortune is a son of Parvati

Gautama Buddha Stele

The historical Buddha is in the g e s t u r e s of meditation

A flame mandorla outlines the Great Black One, one of the

Vishnu the Pervader, who preserves the universe, stands

The dominant blue figure is that of Mahakala, one of the

The Dharmapala Mahakala in his Protector of the Tent

Red flames encircle the central figure of Mahakala, the

The Dharmapala in the Gom-po nag-po form with six arms.

The eleven-headed Bodhisattva of Infinite Compassion or

The Bodhisattva of Infinite Compassion in his Merciful

Thousand-armed and Eleven-headed Avalokitesvara

The Bodhisattva of Infinite Compassion stands on a lotus

The central figure is that of Manjusri, the Bodhisattva of

Wen-shu is Manjusri's Chinese name. He is s e a t e d in

T h i s may be a rare form of the God of Wisdom, Manjusri,

The Bodhisattva of Infinite Compassion in the Sadaksari

The four-armed Bodhisattva of Infinite Compassion s i t s on

Syamatara (Green Tara)

Consort of Avalokitesvara, the Green Tara is seated on a

The Bodhisattva s i t s in the position of royal e a s e (raja-

The companion piece to Number 39- A form of Avalokites-

In Lamaist art the unicorn sometimes r e p l a c e s the deer

The Bodhisattva of Infinite Compassion is shown here in

T s ' a i Shen (Jambhala)

A manifestation of Kubera, the Lord of Wealth, Jambhala

Yamantaka with his Consort

One of the eight Dharmapala or Defenders of the Faith,

Yamantaka with his Consort

Yamantaka in the Vajrabhairava form a s in Number 44. T h i s

Four-headed Brahma, the creator, is riding his vehicle,

The Dharmapala Yamantaka, the conqueror of Yama, the

The Dhyani-Bodhisattva Vajrapani, the Bearer of the

The consort of Avalokitesvara h a s the third eye on her

gShin-rje-gshed (Yamantaka) with his Consort

Yamantaka, one of the eight Dharmapala or Defenders of