Maharakta Ganapati

There are a number of very good paintings and sculpture of Maharakta Ganapati. This however has to be the best of the late paintings, likely to be 18th century. As for the provenance, it was owned in the 1960s by the Kumar Galleries of New Delhi and later sold to the Guimet Museum in Paris sometime in the early 1970s. Also during this period the painting was made into a poster and offered for sale in both Europe and North America.

The painting was commissioned by someone of the Sakya Tradition. The composition has several unique features such as the Ratnasambhava Buddha at the top center accompanied by several Sakya teachers, the special form of Bhutadamara Vajrapani unique to the Maharakta practice, and the Yugu Chesum - three wealth sisters - at the bottom center. It is really a fantastic example both for art and iconography of an important Power Deity in the Sakya Tradition.

Virupa Page on the HAR Website - Updated

Virupa, the Lord of Yoga, 9th century (Tibetan: bir wa pa, nal jor wang chug); foremost in magical attainments amongst the 84 mahasiddhas of India. He can appear in a number of different forms and colours. He can also appear in different contexts such as a set of lineage images, a narrative scene, the set of Eighty-four Mahasiddhas, as a Guruyoga meditation form, etc. Virupa is not unique to any one tradition of Tibetan Buddhism and therefore can be found almost anywhere. In the Sakya Tradition Virupa is typically depicted in one or all of six textually documented forms that follow the major events in his life story.

The image of the sculpture on the left is from the Lamdre Lhakang at Gyantse Palkor Chode in Tsang, Tibet. In this form Virupa is displaying a teaching gesture (mudra).

When depicted with the right arm raised in the air and performing a wrathful gesture Virupa can easily be mistaken for the Nyingma teacher Shri Simha who appears in a similar posture and gesture.

"Reversing the Ganga and subduing the evil king; while holding the sun - drinking the liquor of the entire country, without being drunk; completely shattering the Linga and subduing the Chandali; to the renowned Lord of Power, I bow my head." (Sakya liturgical verse).

Bhutadamara Vajrapani

A new challenger has arisen to contest for the title of Best Bhutadamara Image. Those of you that are familiar with Bhutadamara and this website know that top spot has traditionally been held by the painting from the American Museum of Natural History. The strength of that painting is really in the form of the deity, the arms and legs along with the proportions. The image of Bhutadamara from Gonkar Choede Monastery is also good but not quite as wrathful. However, we have a new contender from the Gyantse Kumbum in Tibet. This form of the deity is very wrathful with great proportions. It now has the title of Best Bhutadamara Image.

Chaturmukha Mahakala of the Sakya Tradition

In the Sakya Tradition this form of Mahakala cannot be shown to those that do not have the initiation. Unfortunately for Sakya other traditions have adopted this same practice and have loosened the restrictions. There are also numerous paintings and sculpture in museums and private collections around the world. This particular painting is very likely to be the earliest known painting of Chaturmukha Mahakala yet seen. Identifying the last of the lineage figures places the composition in the late 15th century. (See the Himalayan Art Resources website for more on this early painting of Chaturmukha, the Chaturmukha Main Page and Brahmanarupa Outline Page).

Mahakala, Chaturmukha (Four-faced Great Black One) associated with the Guhyasamaja Tantra along with the Twenty-five and Fifty Chapter Mahakala Tantras. This form of Chaturmukha with the side faces white and red in colour identifies this iconographic form as belonging to the 'Accomplishment' category from the Five Categories of Chaturmukha.

The painting was created by the Gelug Tradition of Tibetan Buddhism. The subject and the lineage is Sakya up until it was incorporated into the Gelug Tradition. Within the Gelug Tradition it is a minor protector deity however within the Sakya Tradition it remains the 2nd of the two principal Mahakala protector deities - after Panjarnata Mahakala.

Lineage: Vajradhara, Nagarjuna, Balimtapa, Buddhajnana, Marmedze Zangpo, Shrideva, Drime Bepa, Ratnavajra, Ratnakirti, Risula Dakini, Nyen Lotsawa, Lama Nam Ka'upa, Sachen Kunga Nyingpo, Sonam Tsemo, Dragpa Gyaltsen, Sakya Pandita and Chogyal Pagpa. etc.

This list of names from the Sakya lineage corresponds with the figures and names written in the top register. Due to the abrasions and losses on the painting only three other names can be read, Tsongkhapa, Gyaltsab and Kedrubje. The last two names belong to two important students of Tsongkhapa.

At the upper left is the meditational deity Manjuvajra Guhyasamaja. Chaturmukha Mahakala is the special protector deity associated with Manjuvajra Guhyasamaja. At the upper right side is the meditational deity Ekavira Vajrabhairava. This meditational deity was also special for the teacher Tsongkhapa.

The painting contains five forms of Chaturmukha. The name Chaturmukha means 'four faces.' The five forms are known as [1] Approximation, [2] Accomplishment, [3] Performing Activities, the [4] Four Families (or activities) and [5] Demon Faces.

The large central image of the painting depicts the Accomplishment Chaturmukha identifiable by the white and red faces on each side of the central face. Slightly to the right of the head of the central figure is a smaller Approximation Chaturmukha identifiable by the two green faces on the right and left. Immediately to the right of the trident staff is Demon Faces Chaturmukha identified by the wrathful blue face, the elephant face, the buffalo face and the lion face. At the bottom center and bottom left are two more forms of the deity likely to be the Performing Activities Chaturmukha at the bottom center and then the Four Families Chaturmukha at the left.

To the lower left of the large central Chaturmukha are two female attendant figures, black Dombini and red Rakshasi. On the right side are yellow Singhali and green Chandali.

Descending at the middle left are the Sakya protectors Panjarnata Mahakala, Shri Devi and the five figures known as the Putra Mising Nga. Descending at the middle right are four retinue figures belonging to the Demon Faces Chaturmukha.

At the bottom right is the protector deity Yama Dharmaraja - related to the meditational deity Vajrabhairava. Next to him is the wealth deity Yellow Jambhala. On the bottom left side, next to Chaturmukka, is Black Jambhala.

At this time, this is the earliest known Tibetan painting of Chaturmukha Mahakala. Based on the lineage and the last two figures one of which is Khedrubje Geleg Palzang [1385-1438], it is reasonable to assume that the painting was created at some point after his passing before the lineage became longer with the addition of later lineage teachers. A date of mid to late 15th century is perfectly reasonable based on the lineage figures and identifiable names.

Hevajra Chapel, Gonkar Monastery

Incredible detail images of the Hevajra Chapel of Gonkar Monastery, Central Tibet, have been added to the Ariana Maki Photographic Archive on the Himalayan Art Resources website. This monastery belonging to the Dzongpa Tradition of Sakya is known as the home base of Khyentse Chenmo who is believed to be the founder of the Khyenri style of Tibetan art.

Sakya Monastery, Rajpur, India

Images of the main temple of Sakya Monastery, Rajpur, Dehradun, India. The SRG site was down for a few days in mid April but was then back up without any problems.

Sakya Deities & Lineages Painting Set

Images of various Anuttarayoga Tantric meditational deities accompanied by the initiation & teaching lineages of the Sakya & Ngor Tradition.

Sakya Anuttarayoga Iconography Painting Set

Images of various Anuttarayoga Tantric meditational deities of the Sakya Tradition. The paintings are from the Kham region of Eastern Tibet and likely commissioned and created in the Dege area.

Sakya Paintings: The Field Museum, Chicago

The Field Museum of Chicago has a large collection of paintings and sculpture collected between 1908 and 1909. Displayed here are the few Sakya paintings and subjects found within the collection.

Bhutadamara Vajrapani

I know I have posted this image of Bhutadamara in the past but this image today is a different scan and possibly better than the previous images. As we all know it is very hard to find good iconographic representations for Bhutadamara. I believe this image is probably the best painted example currently known to exist. The physical painting itself belongs to the American Museum of Natural History in New York City (see full painting).

A new Bhutadamara painting from the Field Museum in Chicago has been added to the HAR webpage - HAR #54374.

Bhutadamara Vajrapani:

In Vajrayana Buddhism there are the three famous bodhisattvas, elevated to ishtadevata - Buddha status - which represent the essential characteristics of all the buddhas of the ten directions and three times. Manjushri represents wisdom, Avalokiteshvara compassion and Vajrapani power. All three of these deities have many Tantric forms and practices associated with them.

According to Vajrayana, Vajrapani is the caretaker and guardian of all the Tantra teachings and texts taught either by Shakyamuni or in the form of Vajradhara. Vajrapani is also the special deity for removing the various types of obstacles that arise during intensive Tantric practice.

The practice of the specific form of Vajrapani known as Bhutadamara is found in the Kriya, Charya and Anuttarayoga Tantras. Within Anuttarayoga it arises from the exclusive explanatory tantra to the Hevajra called the Vajrapanjara Tantra (chapter two).

Within the Sakya School in general and the Lamdre Tradition in particular Vajrapani in the form of Bhutadamara is the foremost practice for removing obstructions on the path of a practitioner. The basic meditation and explanatory teachings of Bhutadamara used in the Sakya Tradition are based on the ritual text (sadhana) of the Indian Pandit Trailokyavajra and the teachings coming down through Sachen Kunga Nyingpo, the sons Sonam Tsemo and Dragpa Gyaltsen, and Ngorchen. The standard meditation text is written by Ngorchen Konchog Lhundrub, (1497-1557). The Tibetan commentary most commonly used was written by the great Zhuchen Tsultrim Rinchen and called the Shining Sun. A shorter commentary was written by the Tsarpa teacher Zimwog Lhagsam Zangpo.

Historical Background from the Shining Sun Commentary

"...generally it is said, in the precious Tantras of the great secret Vajrayana there are immeasurable deities of great accomplishment and deities for accomplishing the increase of activities; this is the main [method] of the deity accomplishing the increase of activities, making firm the common attainments. Practicing this is also the method for the arising of the supreme attainment. This is special for pacifying obstacles, daemons, hindrances, bhutas, rakshas, and the like - commonly, and the four maras which are obstructions to enlightenment - [specifically]. All the great superior teachers [of Sakya] say; 'before entering any retreat it is foremost to do the Achala or Vajrapani retreat first.' To elaborate, of the six great [Vajrapani practices]: the Powerful [1] Great Wheel [Mahachakra], [2] Fierce Garuda, [3] Dharma Protector for the Benefit of Beings, [4] Tantra of the Great Stick, [5] Mantra of the Wrathful Acharya and the [6] Subduer of Daemons, the latter one, the Subduer of Daemons Bhutadamara is the most well known and found in many Tantras. The [long] Bhutadamara Tantra of 160,000 verses has remained in Oddiyana." [(See Kriya Tantra Toh.747, for the short Bhutadamara Tantra)].

"...of the many mahasiddhas to come to Tibet, Acharya Tathagata Rakshita made famous the teachings of the short Charya Tantra of Bhutadamara. In the Vajravali of Acharya Abhayakaragupta there are three mandalas of Bhutadamara, these, extracted from the Tantras contain the essence letters, the long mantra is not taught. Both Trailokyavajra and the Omniscient Buton Rinchen Drup wrote from this Charya Tantra..."

"...now, for the Non-dual Anuttara uncommon explanatory Tantra to the Hevajra, called the Vajrapanjara, it is said; Trailokyavajra's greater and lesser Bhutadamara meditations are based on this - which is found in the Sadhanasamgraha [Sadhanamala]. For the lineage of Atisha the text is found in the Narthang Gyatsa, a very famous collection of teachings. Also, there are the texts of Ngorchen Konchog Lhundrub and Panchen Drangti who wrote the abridged Sadhanasamgraha. Again, Lhachen Shakya Palwai who actually saw the face of Bhutadamara wrote a meditation and initiation text. From the various meditation texts, that of Ngorchen Konchog Lhundrub is used as the basis for the explanation of the practice." [from the commentary of Zhuchen Tsultrim Rinchen].

Jeff Watt, 12-1998 [slightly updated 11-2010]

Vira Vajradharma - Unique Sakya Iconography

This painting is iconographically unique because it is the only known composition depicting Vira Vajradharma as a central figure and the only painting known that depicts the two figures of Vajradhara and Vajradharma paired together in a single composition. Vajradharma originates with the Chakrasamvara cycle of Anuttaryoga Tantras and is another form of the Tantric Buddhist primordial Buddha. Vajradharma is red in colour and has two different iconographic forms. The first form, shown in this painting is considered common, Vira Vajradharma, and the second form is regarded as more profound, or uncommon. The second form does not use the initial term 'vira' meaning 'hero' (referring to the appearance of Vira Vajradharma with hand drum and skullcup) and simply goes by the name Vajradharma. The profound form of the primordial Buddha Vajradharma has the same identical appearance as Vajradhara except Vajradharma is red in colour rather than blue. (The primordial Buddha Vajradharma should not be confused with the red form of Avalokiteshvara also with the name Vajradharma [see image])

Unique Iconographic Features:

1. Vira Vajradharma (red) as a central figure.

2. The group of three Vajrayogini figures: Naro, Indra & Maitri.

3. The group of three power deities: Kurukulla, Takkiraja & Ganapati.

4. The inscriptions written on the cloth hangings in front of the two thrones - specifically the Kalachakra monogram.

5. The two Pamting brothers seated on the same lotus.

The Village & Temples of Tsarang (Charang), Nepal

The village of Tsarang is just south of the walled town of Lo Monthang, the capital of the Kingdom of Mustang in North Western Nepal. The village of Tsarang (Charang) has numerous stupa structures, a monastery with a main temple (gompa) and a fortress (dzong). The monastery is made up of several buildings and structures. Some are in the process of being renovated and others are in a state of serious disrepair. The inner walls of the main temple are painted with murals depicting the deities of the Medicine Buddha mandala. They have recently been cleaned and restored. It has been suggested by some local informants that depictions and rituals of Medicine Buddha are a special object of devotion in the Kingdom of Mustang and can be found in the temples of almost every Mustang village.

By far one of the most interesting buildings in the small walled monastic complex is located at the back of the property, looking like nothing but a ruin, almost falling over a cliff. The structure is referred to locally as the Ani Gompa, or Ani Lhakang (nunnery). Navigating the only entrance, a set of small wooden double doors, flanked by a Wheel of Life and murals of the Four Guardian Kings, arriving inside, it is imediately noticable that the roof has large gaping holes, numerous rafters with blue sky behind. The floor is an uneven surface of mud and dirt and the entire place seems like it could collapse at any momenent. Yet despite all of that, the inner walls are completely decorated with brightly coloured murals, some of which appear to have been cleaned and restored in very recent years. It is like an oasis of colour and palacial grandeur, unexpected, awesome and immediately comforting and strangely well grounded, stable and solid.

The inner layout of the room, clearly a temple or shrine room of some sort, is not completely typical. The main inner wall at the front of the room (across from the door) has a large depiction of the Buddha Vajradhara, the primordial Buddha, surrounded by the lineage teachers of the Sakya Lamdre - based on the Hevjra Tantra and teachings of the Indian mahasiddha Virupa (depicted with six different forms in the murals of the main temple). On the viewer's left hand side is a very large painting of Padmasambhava surrounded by a Nyingma lineage. On the right side of the room is a large painting of a Drugpa Kagyu teacher surrounded by a Drugpa Kagyu lineage. The side walls of the room appear to depict the Five Symbolic Buddhas accompanied by smaller buddhas representing the One Thousand Buddhas of the Age. To the immediate right and left of the entrance are protector deities of the Sakya Tradition on one side and protectors of the Drugpa Kagyu Tradition of the other side.

Despite being called an Ani Gompa, the structure is more likely to be a Lamdre Lhakang or a building created for use during the Monastic Summer Retreat - and later painted. As a backdrop to the monastery, on the steep cliff sides of the valley surrounding the village are evidence of extensive cave dwellings both for religious as well as secular use. Only some of these caves are accessible, most are not. Only a small percentage of the caves have been explored by trained climbers and cultural specialists.

Chicago Museums

I just spent the last three days in collections storage at the Art Institute of Chicago and the Field Museum. The Art Institute had a few things that were Sakya related. The most important piece was a painting of Hevajra that is from a known set commissioned in Ngor in the beginning of the 17th century. It was a set commemorating the passing of an important Lama from one of the four Ngor Labrangs. It belongs to the same set as the Guhyasamaja of the Rubin Museum of Art.

The field Museum had a number of interesting works including a painting of what appeared to be a Sakya Tridzin along with two other lamas. Each was inscribed with a gold inscription although I couldn't immediately identify which lamas they were. All three were likely alive when the painting was commissioned. This was indicated by a long-life vase in each of their hands. There was also a very nice Vajrapani Bhutadamara painting and a Jamyang Khyentse Wangpo guruyoga painting.

I hope to have the Field Museum images up on the HAR website soon.