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1. Shastradhara Hevajra Central Tibet 14th c. Distemper on cloth 62.4 x 53.5 cm. / 24 1/2 X 21 in. |
This mandala features Hevajra in his form as Shastradhara, "Wielder of Weapons." The eight-faced, sixteen-armed, four-footed god embraces his enlightened consort, Nairatma ("Without Ego"). All eight faces are wrathful, with three on either side of the central face, the eighth surmounting it, enveloped by flames. One pair of legs assumes a powerful stance in which the right is held taut, the left knee bent (alidha); the other pair assumes a dancer's pose (ardhaparyanka). Crushed beneath are the four Maras, obstacles to enlightenment. Hevajra holds sixteen weapons, each indicating his multifaceted powers: the hook, trident, staff, cup, wheel, arrow, sword, vajra, lasso, gesture of argumentation (tarjani mudra), jewel, skullcup, ceremonial staff, bow, lotus, and bell. The first circle of deities include: Gauri (E), Cauri (S), Vetali (W), Ghasmari (N), Pukkasi (NE), Sabari (SE), Candali (SW), Dombini (NW). The second circle includes four deities at the intermediate points of the compass: Vamsa (NE), Vina (SE), Mukunda (SW), Muraja (NW). The door guardians bear the heads of animals: Hayasya (horse-headed, E), Sukarasya (pig-headed, S), Svanasya (dog-headed, W), Simhasya (lion-headed, N). A lineage of historical teachers and deities associated with the teachings of this mandala appear in the top and bottom registers. They include Indian masters Tilopa (fl. Iate 10th-early 11th century), Naropa (956-1040) and Tibetans such as Ra Dorje Drakpa (rva rdo rje grags pa, b. 1016; top register second from left), a respected translator of Indian Buddhist literature. The Tibetan monk in the lower right corner of the bottom register is identified as the sacrificiant (sgrub pa po). A fourteenth century date may be argued by referring to a Nepalese painting of Vasudhara Mandala, dated 1367 and now in a private collection. Although the mandala gateways of the dated painting are more elaborate in design, many details are similar to those in this work, notably the makaras whose watery spray forms an arch enclosing the gate. The variegated floral spray that enlivens the corners of the painting outside the mandala circle may be compared with the later and more developed floral pattern in an early fifteenth century portrait of Kunga Nyingpo. Provenance: European private collection |