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Red Tara, Secret Accomplishment according to the tradition of Dzigar Terton Dragpo Tsal (1740-1798), the 4th Dzigar incarnation [P691].

At the center is Red Tara, peaceful in appearance, with one face and two hands. She holds in the right hand a hook of gold and jewels. In the left hand held at the heart she grasps the stem of a red utpala flower blossoming at the left shoulder. Wearing all of the ornaments and garments of a peaceful deity, she sits in a relaxed posture with the right leg extended forward and the left drawn up.

The paintings in this gallery belong to a Lamdre Lineage set created at Ngor Ewam Monastery in Tsang, Tibet. The Sakya School, of which Ngor is a sub-school, maintains hundreds of lineages of Buddhist teachings that were propagated by Indian scholars and siddhas. Considered the most important of these teachings is the 'Path Together with the Result' (Sanskrit: Margapala. Tibetan: lam dre bu tang che pa). The set presented here probably totals approximately thirty in number. More than twenty paintings are known to survive.

The important iconographic elements of each composition are:

1. Central Figure (and lineage affiliation)

2. Surrounding Lineage

3. Deity/ies in the Bottom Register

4. Miscellaneous ornamentation, throne decoration, minor deities

Each composition depicts a single figure from the lineage of teachers of the Sakya Margapala/lamdre lineage. The set as a whole depicts the entire Lamdre lineage up to the time of its creation - likely in the late 16th century based on the last two teachers often being the 8th abbot of Ngor, Muchen Sanggye Rinchen (1450-1524), followed by the 10th abbot of Ngor, Ngorchen Konchog Lundrub (1497-1557).

Each and every Buddha is said to have their own pureland or sacred geography, as do the Eight Great Bodhisattvas and Tara. A small number of meditational deities also have specific and unique locations associated with that Tantric logic system; examples are Vajrayogini and Kalachakra.

Types of Purelands (& Sacred Geography):

1. Buddhas & Founding Figures (Shakyamuni & Tonpa Shenrab)

2. Bodhisattvas (Eight Great Bodhisattvas & Tara, etc.)

3. Meditational Deities (Kalachakra & Vajrayogini)

4. Padmasambhava (Oddiyana & Copper-coloured Mountain).

Pema Lingpa (1450-1521) was a Treasure Revealer of the Nyingma Tradition of Tibetan Buddhism. (See a short biography).

'The Very Condensed Essence' Avalokiteshvara has one face and two hands, red in colour, seated in vajrasana posture. In the right hand he holds to the heart a lotus garland (mala). The left hand is in the lap and holds a nectar vase with a lotus flower above. Seated in the lap is the consort, the great mother, Sangyema, red in colour and holding the same objects as Avalokiteshvara. In the literature describing in full the appearance and surroundings of Avalokiteshvara there are a number of other deities and figures.

This form of Avalokiteshvara is commonly mistaken for the deity Amitayus Buddha.

The Mountain Sanctuary Collection is new to the HAR Website. It is a private collection that contains over 700 paintings and approximately 700 sculpture. Additional images of paintings will be added as they become available. The collection is a treasure house of iconographic forms, portraits, life story narratives, along with peaceful and wrathful deities of all types, comparable to the collections of the Rubin Museum of Art and the Hahn Foundation.

Yellow Jambhala: these four images of the deity are each based on the same original model for depicting the basic form. The third image, HAR 60616, is a variation on the model with the added figure of the consort Vasudhara.

The Mountain Sanctuary Collection is new to the HAR Website. It is a private collection that contains over 700 sculpture and approximately 700 paintings. Additional sculptural images will be added as they become available. The collection has both early and late pieces and is particularly fine in its quality and breadth.

Padmasambhava is commonly seen depicted at the center of a Copper Coloured Mountain painting composition. Although all of the many paintings look generally the same, they are in fact all different and belong to a variety of different Nyingma lineage traditions - along with some Kagyu traditions.

The Namcho Tradition of 'Revealed Treasure' discovered by Mingyur Dorje (1645-1667) presents a variation on the theme of Amitabha in Sukhavati with the addition of a number of Tantric elements which differs from all of the other depictions.

Amitabha depicted in a circular format is the second of the three format composition types. This format appears to have originated in or around Tashi Lhunpo Monastery of Tsang Province, Tibet. The subject of the composition is dominated by a large circular enclosure containing the essential elements of the painting. The large figure of Amitabha Buddha is presented in the middle along with a tree and palace, accompanied by the Eight Great Bodhisattvas.

Amitabha depicted in the Sukhavati Heaven is a common image in Himalayan and Tibetan art. It is an iconic symbol and subject representing Mahayana Buddhism in general. The basic figures, characters and scenes are common for most representations found in the different traditions despite having several composition and artistic styles and types.

There are three main composition types with the first being the [1] square format followed by the [2] circular format and finally the depiction of Sukhavati based on the [3] Namcho 'Revealed Treasure' Tradition of the Nyingma School of Tibetan Buddhism.

Who is the God Kubera in Tantric Buddhism and why are so many deities identified as Kubera?

The sculpture on the left is not Kubera - it is Vaishravana Riding a Lion!

Kubera is a name for a God of Wealth in Indian Buddhist literature. He is also closely associated with Vaishravana, the God of the North, who inhabits the Northern slopes of Mount Sumeru in Pali and Sanskrit Mahayana literature.

Unfortunately, almost all figures identified as Kubera in Tibetan and Himalayan art are not accurately identified. The name Kubera has essentially come to be used as a category for a type of deity, a designation for all deities that have a certain appearance but have not necessarily been precisely identified. The problematic way in which the word Kubera is being used in the West actually has a more proper designation and definition in Tibetan Art. That designation is 'King Appearance' which is one of the traditional figurative forms in Tibetan art. It also has a prominent place in the modern system of the Eleven Figurative Forms.

Maitreya is quite often found depicted in a standing posture. He can appear in either Bodhisattva appearance or in Buddha appearance. There are also many regional artistic styles from Kashmir in the West, Ngari to Central Tibet, Nepal or Pala India. Each of these major regions have different artistic expressions and aesthetics. Even the jewelry and slight twist in the body can be different.

Maitreya is still identified by the unique and shared attributes such as the stupa, water flask, wheel and krishnasara deerskin draped across the left shoulder. The deerskin is a shared attribute with Avalokiteshvara.

Maitreya is depicted in a number of standard postures and iconographic forms. On occasion Maitreya is shown in a seated posture with the right leg pendant similar to forms of Avalokiteshvara.

In these representations Maitreya is identified by either the stupa on the crown of the head or on a flower blossom, the water flask, a wheel, or krishnasara deerskin over the left shoulder. He can also be tentatively identified through a process of elimination by noting a lack of attributes associated with Manjushri or Avalokiteshvara. The example above is identified by the stupa on the crown of the head which is unique to Maitreya.

A Bodhisattva in a 'relaxed posture' is a way of describing the sitting manner of the figures of Manjushri, Avalokiteshvara, Maitreya and the God Indra. These four in particular, and with examples, portray a specific look and attitude of a seated bodhisattva (plus one god). It is possible that other bodhisattvas in the same posture will be identified.

 Maitreya along with Manjushri and Avalokiteshvara are sometimes depicted in a relaxed posture with the left leg drawn up and the right knee raised. The right arm and hand are casually resting atop the knee. This posture is also found with the Nepalese depictions of the worldly God Indra. 

 Avalokiteshvara, like Manjushri and Maitreya, is sometimes depicted in an almost identical relaxed pose with the right knee raised.

 Avalokiteshvara, as a sculptural representation, in a 'Thinking' posture is commonly found in North Western India, Kashmir and Western Tibet. The form is characterized by the figure seated in a relaxed posture typically with the left leg pendant and the right drawn up. The most significant characteristics are the right arm with the elbow resting on the knee and hand raised with the index finger placed against the side of the face - head slightly tilted to the right. There are a number of different variations shown with the examples on the gallery page.

From among the many sculptural depictions of  the figure of Manjushri, some have the right leg or left leg pendant. In these depictions the general appearance of Manjushri portrays him holding a sword and book, or sometimes with the hands in the Dharma Teaching gesture.

There are several Tantric texts describing Manjushri with this general physical appearance. One such text is from the Bari Gyatsa of Bari Lotsawa Rinchen Drag (1040-1112) and further elucidated upon by Konchog Lhundrub (1497-1557) in his edited version.

[8] "Vidhyadhara Pitaka Samkshepta: [Above] a lotus and moon is white Manjushri Arapachana. Holding a sword and a book, the same ornaments and garments, seated in the lalitaraja [posture]."

The important points in this very short translated description are the mention of the sword and book, and more importantly the 'lalitaraja' posture which states clearly a non-vajrasana posture and non-sattvasana posture. 'Lalitaraja' is sometimes translated as a posture of 'royal ease' which is characterized by one leg, left or right, extended forward.

Of the ten images below six of them have the hands folded in front of the heart in the Teaching gesture. Four of the depictions have a sword and book either held directly in the hands or placed above utpala flowers with the stems held in the hands.

Manjushri as a sculptural figure fashioned from metal, clay or wood, can be depicted in a standing posture. The majority of such images represent a non-iconic (non-Tantra) form of the deity that simply portrays Manjushri as an important figure and student of the Buddha from the Mahayana Sutra literature.

Standing representations of Manjushri might also be created to accompany statues of the Buddha where a bodhisattva figure would stand on the right and left side of the central Buddha, or possibly the figure of Amitabha Buddha. The most common accompanying figures are Avalokiteshvara, Maitreya, Vajrapani and Manjushri.