Entries Tagged as Sets

Sarvadurgati Tantra Painting Set - Added

November 19, 2014 ·

These Two Mandala Compositions belong to a twelve painting set depicting all of the mandala subjects of the Sarvadurgati Parishodhana Tantra.

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Shakyamuni Buddha & the Jataka Tales - Art Museum of St. Louis

October 31, 2014 ·

A set of paintings depicting the Jataka Tales - Previous Lives - of Shakyamuni Buddha.

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Shakyamuni Buddha Life Story (Penn Museum) - Added

October 31, 2014 ·

An unusual set of paintings depicting the life story of Shakyamuni Buddha resides in the University of Pennsylvania Museum of Archaeology and Anthropology.

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Shakyamuni Buddha Life Story Painting Set - Added

October 31, 2014 ·

A set of paintings depicting the life story of Shakyamuni Buddha following a Himalayan art style has been added to the database collection.

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Tangtong Gyalpo Life Story Painting

March 18, 2012 ·

A painting depicting the life story of Tangtong Gyalpo, along with details, has been added to the Tangtong Gyalpo Main Page. This composition along with three others from the same set are currently the only known examples of the subject. A large mural painting of the life story is known to have existed in Tibet and it is very possible that other mural depictions might be identified in Bhutan.

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A Vajravali Set of Paintings

December 04, 2011 ·

This Vajravali Set of Mandala Paintings were created to commemorate the death of the 11th Ngor Khenpo Sanggye Sengge (1504-1569) [TBRC P2510], head of the Ngor sub-school of Sakya. They were commissioned by the 13th Ngor Khenpo Drangti Namkha Palzang (1532-1602) [TBRC P777]. The paintings were made after the death of Sanggye Sengge and even up to several years after. Therefore the date of the creation should properly be between 1569 and likely 1575 at the latest. The set of paintings, following a Newar style, is very late and shows how the Ngorpas of Ngor Ewam Monastery were still invested in the Newar artistic style at this time and even into the early 17th century.

Tags: mandalas · Sets

Tara & the Eight Great Fears - Updated

September 26, 2011 ·

Tara, a meditational deity in either her typical green or white form, is also associated with the Eight Great Fears originating with the early literature of Avalokiteshvara and Amoghapasha. The Eight Fears are: (1) water, (2) lions, (3) fire, (4) snakes, (5) elephants, (6) thieves, (7) false imprisonment and (8) ghosts are meant literally, but also have a deeper significance. Tantric Buddhism commonly presents an interpretive model having three and sometimes four levels of meaning: 1. Outer, 2. Inner, and 3. Secret.

The outer meaning of the eight fears are exactly as described above which are real fears experienced in ancient times and even now in the present day world. They all relate to the physical person and the fears presented in a physical material world. The inner meaning relates to passions, ego and negative emotional characteristics. The inner meaning relates to the mental world. The secret meaning has to do with tantric techniques and philosophies to transform these negative mental states into enlightened, or realized, states.

From Indian sources Tara is a completely enlightened buddha who had previously promised to appear, after enlightenment, in the form of a female bodhisattva, a peacful deity, goddess-like, for the benefit of all beings. In one Tibetan tradition, based on the apocryphal text called the Mani Kabum, Tara is described as emanating as a tear from an eye of Avalokiteshvara in his form with eleven heads and one thousand hands.

Practiced in all Schools of Tantric Buddhism Tara in her various forms are found in all four classifications of tantra, both Nyingma and Sarma. Her ten syllable mantra and the short tantra text known as the Twenty-One Praises of Tara spoken by the buddha Samantabhadra are memorized and popularly recited by all Tibetans from the time of early childhood.

Tara & the Eight Fears: Types & Compositions:
- Single Composition (this page - below)
- White Tara Single Composition
- Green Tara Set 1
- Green Tara Set 2
- Green Tara Set 3
- Green Tara Set 4
- Block Print Set
- Others....

Tags: art · iconography · Sets

Twenty-one Taras of the Atisha Tradition - Updated

September 26, 2011 ·

From the tantra known as the 'Twenty-One Praises of Tara' spoken by the Buddha Samantabhadra arises the system of practice with Twenty-one Tara emanations - one for each verse of praise. Each form of Tara has a specific colour and accomplishes a specific activity. Based on that, there are three well known and distinct lineages for the different sets of Twenty-one Taras: Pandita Suryagupta, Lord Atisha and from the compendium of practices called the the Sadhanasamucchaya. The three lineages do not share the same iconographic forms. In the Atisha system all the Taras appear in the same basic appearance and only differ in the colour of the body. Green is considered the primary colour of Tara based on other teaching lineages describing Tara in solitary form or with the accompanying deities Marichi and Ekajati. However green is not included in the enumeration of the Twenty-one Taras of Atisha. There are four red Taras, six white, three yellow, four orange, two maroon (red-black) and two black Taras for a total of 21.

The Twenty-one Taras according to the tradition of Atisha is one of five Twenty-one Tara Sytems current in Tibetan Buddhism. The oldest system is likely that of Suryagupta. The Atisha system depicts all of the Taras with the same single face and two arms, in a sitting posture. The variations are in the Atisha system are in colour only. Each of the individual Taras holds a vase in the outstretched right hand. The vase is the same colour as the body colour of that Tara. Some of the Taras are described as being slightly fierce meaning they may have an open mouth with slightly enlarged canine teeth and furrowed brow above the eyes.

The Atisha system of Taras is probably the most commonly found in Tibetan painting. It is interesting to note that there is no Green Tara or a White Tara of Long-life (Chintachakra). These two forms of Tara originate with separate lineages of transmission and different Indian and Tibetan teachers. Also, the Tara known for removing the eight great fears is not associated with any of the five systems of Twenty-one Taras. Tara and the Eight Great Fears is a separate and distinct system. (See the list of colours & functions for the Atisha Twenty-one Taras).

Types of Composition:
- single composition with all twenty-one #672, #1049, #50952, #65257, #74081, #88656, #94461, #58870
- single figure per composition (twenty-one painting set) Panchen Lama Set
- three figures per composition (seven painting set) #66298, #48954
- others....

Tags: art · iconography · Sets

Detail Images of Shantarakshita of the Lamrim Lineage

September 20, 2011 ·

This subject page contains detail images of the Indian Buddhist teacher Shantarakshita, founder of Samye Monastery and included as a teacher of the Gelug Lamrim lineage.

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Painting Set: Birds (Dalai Lama Set)

September 18, 2011 ·

A page of detail images of the various birds from the seven painting set depicting Dalai Lamas and previous incarnations.

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