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4. Cakrasamvara Tibet 14th century Distemper on cloth 16 1⁄2 x 13 3⁄4 in. (42 x 35 cm.) |
This magnificent jewel-like painting represents Buddha Samvara, the ultimate tantric union of female and male, wisdom and compassion. Set against a vibrant fiery aureole, the animated central couple is engaged in passionate embrace. Not only have the figures been painted with precision, but they also possess a powerful aura of energy. Lunging to the left, blue-skinned Samvara as Vajraheruka[1] crushes the bodies of two prostrate figures beneath his feet, Kalaratri and Bhairava.[2] His consort, redskinned Dakini Dzalshambaram, wraps her legs around his waist, encircles her left arm around his neck, and gazes upward to meet the intensity of his gaze. Both figures are covered in delicate bone jewelry which appears sumptuous against their richly-hued bodies. A long garland of recently severed heads hangs from Samvara’s neck as a sign of his victory over egotism, and a more diminutive necklace of skulls hangs from the neck of his consort. Although the dakini has only one head and two arms, the hands of which hold a vajra and kapala, her male counterpart is characterized by four heads and twelve arms. His primary hands cross behind her back in the diamond gesture, holding a vajra and ghanta. Symbolizing his triumph over evil, a series of attributes are displayed in Samvara’s remaining hands: the uppermost pair stretches the hide of the mad elephant of ignorance behind his back; the next pair holds a khatvanga staff and drum; the next a kapala and axe; the next a lasso and vajra chopper; and finally at the bottom a four-faced Brahma head and trident. Samvara’s four distinctly colored faces bear equally intense, ferocious expressions, each representing a unique Buddha wisdom. The central couple is surrounded by a group of sixty-two deities, as is typical of classic Cakrasamvara iconography.[3] However, instead of the more prevalent circular theme for the entourage, the arrangement is horizontal on both sides of the central deity. The upper register is populated by several mahasiddhas, including Nagarjuna who is identified by the mantle of snake heads depicted over his own. At the center of the group, the Buddhas Vajradhara and Vajrasattva are prominently featured. Within the Sakya monastic order, this type of mandala was eventually produced, particularly by the Ngor sub-school. The present example, however, dates to a period earlier than the foundation of Ngor in 1429/1430. Provenance: Dr. Walter N. Koelz Collection, Michigan (acquired in Tibet in the 1930s) [1] An inscription on the verso of the painting specifically identifies the central deities. The first line invokes the glorious Vajraheruka and the Dakini Dzalshambaram as the precise names of the aspect of Samvara and his female partner represented at the center of the mandala. The second line invokes the aspect of Samvara by his name of Vajra (Heruka), the Buddha Vairocana, and all the Buddhas. The third line invokes the dakini and her partner, the deity Vajra (Heruka). We are grateful to Dr. Amy Heller for her assistance and translation of the inscription on the painting’s verso, a copy of which is available. [2] See Rhie and Thurman (2000), p. 217. Both Kalaratri and Bhairava are emanated forms of Samvara. Thus, the deity’s position of power over them symbolizes his conquest of all forms of egotism. [3] For a related Cakrasamvara painting see ibid, no. 69. Although the present example is smaller and slightly earlier, both works are of exceptional quality. Similarities in composition, style and subject are evident. |