~uddhist~rt and ~ i t u a (

~uddhist~vt and ~ i t u a l

fvom ~ y a i a n d ~ i b e t

~ck(andAvr Museum he University o f ~ o t ~ h ~aro(ivra at c h a p e l ~ i l l

Monk constructing a sand mandala. photo: A. Pince Bounds

T h s catalogue accompanies the exhibition Buddhut Art

and Rttualfrom Nepal and Tibet, whch highhghts the way

art funct~ons in a trad~tional Buddlust altar It conveys the

integration of art and ritual that is fundamental to under-

standing the meanlngs of these objects as part of livmg

cultural tradit~ons. As a context-oriented approach to the

presentation of art, it complements the chronological

and stylistic dsplay of painung and sculpture in our Asian

gallery.

For this two-year exhibition, the Ackland Art Museum

at the Un~versity of North Carohna at Chapel Hlll bor-

rowed twenty pa~ntings, sculptures and other sacred

objects from museums with significant collections of

Himalayan art-the Los Angeles County

Museum of Art, the Newark Museum and

the Rose Art Museum at Brandeis Universi-

ty. Ackland curators selected the works of

art and Venerable Tenzin Gephel, from the

Namgyal Monastery In Ithaca, New York,

was invlted to place them in their appropri-

ate setting. The altar funct~oned for dally

worship during the construction of a Me&-

cine Buddha sand mandala in the gallery

from February 25-March 21,2001

The works of art m this altar belong

to the Vajrayana path of Buddhist teachmg,

which 1s also known as Tantric Buddhism.

Flourishing in Nepal and Tlbet, this ap-

proach to the practice of Buddhism cat-

hsh~ng harmony w~tlun and unlry among all living thngs

Buddhut Art and R~tualfiorn Nrpal atd T~brt examlncs the

context in which scroll paintings, called tangkas cpaubhas

m Nepali), and sculptures were created and used by devo-

tees on route to spiritual transformat~on Ultimdte en-

lightenment, achieved through the cultivation ot wlsdom

and compassion, IS a culmmating goal represented in art

by the mergmg of male and female deities In order to

suggest the wide drsseminatlon and vaned lnterpretatlon

of Buddhist philosophy and art In Asla, ~llustrauons of

works of art From the AcMand's permanent collection are

included m t h ~ s catalogue

alyzed the creation of mandalas and other

unique works of art. Tantric Buddhism pro-

vided dsciplines and rituals-interweaving

meditation, visualization and art-for estab- L I

An and the ~volution $the ~uddha's ~eachirrgs

During the course of its 2,500-year history, Buddhism

evolved to meet the needs of peoples from diverse cul-

tures in Asia, and beginning in the nineteenth century, in

Europe and North America. While the basic philosophy

has endured, its practices and methods of achieving the

goal of enlightenment have been adapted and revitalized

through the centuries.

The Buddha (566-486 B.C.E.) traveled and preached

for forty-five years and his followers orally transmitted his

teachings. A few hundred years after the Buddha's death,

a council was called to record h s sermons, which were

later translated into the ancient classical languages of Pali

and Sanskrit.

A Buddhist aims to acknowledge the self, not as a per-

manent, partless entity, but rather as an aggregation of

constituents, evolving and adapting to new environments,

and capable of becoming enlightened. The Buddha

offered teachings and a role model for people to discover

this truth (Dharma) for themselves. Recognizing the vary-

ing needs and capabilities of individuals in their quest for

understanding, the Buddha consequently laid the founda-

tion for several paths or vehicles that offered enlighten-

ment or nirvana. Nirvana means "blowing out" or extin-

guishng the flames of passion and ignorance, a process

that leads to liberation from suffering and perpetual

rebirth. Although the methods of each path differ, their

goal is ultimately the same.

The works of art emerging from these different paths

assume various forms and styles. They are, nonetheless,

linked in spirit as all artworks are alive with the essence of

enlightenment, represented by symbols or images of the

Buddha, and later a multitude of related deities. Commis-

sioning a work of art for home or monastery plays an

important role in all paths of Buddhist practice. Through

t h s process, the devotee garners merit that helps pave the

way towards his or her enlightenment.

Historically, the Buddhist path that first emerged dur-

ing the fifth through second centuries B.C.E. was called

Theravada. Founded in India, Theravada Buddhism

spread to Sri Lanka, Cambodia, Laos, Thailand and Bur-

ma. It was largely practiced communally, confined to the

monasteries and the surrounding lay communities that

provided sustenance to the monks through donations of

food. Within a rigorous, intellectual atmosphere, monks

dedicate themselves to study, contemplation, practice and

the preservation of the Dharma for future followers.

Theravada means "teachings of the elders," indicating

that the followers of this path consider theirs to be the

original Buddhist tradition. In the Theravada Vehicle, the

Buddha is the only spiritual figure represented in works of

art. Free-standing figures of the Buddha and relief sculp-

tures with scenes from his life are often portrayed in a

classical style that developed in northern India during the

Gupta Dynasty (fourth to sixth century C.E.), when both

Brahmanical and Buddhist art flourished. The Gupta style

of elegant, flowing volumes and beautiful proportions

influenced later cultures and generations, including the

Pala Dynasty (750-1200 C.E.) of eastern India, where

Tantric art emerged as a fully evolved style.

Around the first century B.C.E. in India, Buddhism

was revitalized through changing methods and beliefs

that appealed to a growing population. In addition to the

meditative and altruistic practices already established, the

Mahayana Buddhist path incorporated the concept of

deity worship in the form of Bodhlsattvas. Bodhisattvas

are advanced pracritioners who have generated compas-

sion for others. They possess bodhicitta, the altruistic

intention to become enlightened for the sake of benefit-

ing others. The compassionate Bodhisattva motivation is

said to be vast. thus this path is sometimes called the

Great Vehicle.

With the introduction of these deities, works of art

were no longer limited to portraying the Buddha. Now a

burgeoning number of Bodhisattvas, added to the canon

of Buddhist scriptures, assumed their own distinctive

qualities and attributes in sculpture and painting. Bod-

hisattvas, often associated with Cosmic or Primordial

Buddhas corresponding to celestial territories. are usually

elegantly attired in royal dress. Although they assumed

different names after their assimilation into other coun-

tries and cultures, their embodiment of compassion

remained the same.

Vajrayana Buddhism evolved from Mahayana Bud-

dhism and an earlier mystic tantric tradition, becoming

fully established by the seventh century C.E., first in India

and later in Nepal, Tibet, China and Japan. Sharing simi-

lar goals to Mahayana, Vajrayana encompasses a different

body of practices and rituals to achieve a faster route to

enlightenment. In the earlier paths of Buddhism, count-

less eons and rebirths must pass before one can reach a

perfected state of awareness. By contrast, adherents of

the Vajrayancl tradition can potentially attain a state of

complete, perfect enlightenment in one lifetime. The

motivation for the quick path is purely altruistic-to help

others and end suffering sooner.

The word Vajrayana literally means "Thunderbolt

Vehicle" as well as "Diamond Vehicle," symbolic of both

the speed and power of the journey. Art of the Vajrayana

path, often referred to as Tantric art, is elaborate in style

with complex symbolism. Characterized by brilliant col-

ors in both painting and sculpture, the art is used to

liberate consciousness through rituals, meditation and

visualization. The depiction of deities in both fierce

and peaceful manifestations is a distinguishing feature of

Tantric art.

Head of Guanyn

Northern Chinese, 12th-ljth imtury, gilded and painted cast iron,

IJX x 8% in., Ackland Art Museum, Ackland Fund, 88.29,

photo: Jerry Blow

Buddhism entered south China in the second century C.E.

through central Asian trade routes. Guanyn quickly became

one of the most popular deities in this region. This head of

Guanyn, the Chinese Buddhist equivalent of Avalokitesvara, lit-

erally means "Regarder of the Cries (of the World). " Devotion to

Guanyn emerged during the third through sixth centuries C.E.,

a time of social and yolitical instability in China. With the Song

Dynasty (960-1279 C.E.), Guanyn was transJormed and wor-

shiped m a fmale Bodhisattva. Her identity continued to evolve

when Guanyin, as the Bestowt-rof Sons, assumed paramount

importancefbr women, in particular.

In this sculpture, Guanyn i crown bears the image of

Amitabha, the Primordial or Cosmic Buddha of' the West, who

gained a popularfillowt ng in China. Guanyin is believed to fer-

ry departed soub to Amitabha's Western Paradise wlzerr t h y

are peaiefilly reborn. This head once belonged to a 1fe-sized

standing or seated sculpture. Magn~firently plded in gold with a

jewel, now missing, f'or the all-knowing thlrd y e , it was proba-

bly exhibited in a sirmptltously decorated trmple sugestive of a

perfected, pure-land untverse.

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Tantric Art in ~ t y a l a n d ~ i b e t

Tantricism refers to a mystical tradition based on a belief

in the powerful energies of the universe that permeate

and unif) all things. Aspects of tantricism are believed to

extend as far back as the Indus Valley civilization over five

thousand years ago. Its methods and practices of achiev-

ing enlightenment are based on yoga ("union"), medita-

tion, complex rituals and symbolic works of art. Original-

ly, hermits called Tantrlkas practiced it in India outside

the organized faith traditions. Tantricism became system-

atized around 300 C.E. and infiltrated both Vajrayana Bud-

dhist teaching and Brahmanical traditions.'

Sacred texts, called tantras, contain the means to gain

enlightenment during one's lifetime. They instruct devo-

tees in specific rituals, meditations and visualizations

towards understanding particular aspects of deities.

These tantras were kept secret, passed on from master to

pupil through elaborate initiation ceremonies. Art is an

essential component of tantricism. Tangku, mandalas

and sculptures of deities accompany rituals to help

achieve insight into the essence of unity. In Vajrayana

Buddhism, one medtates on oneself as similar in aspect

to the deity.

Although tantricism spread to other regions in Asia,

nowhere has its influence been more pervasive than in

Nepal and Tibet, where it continues to energize and

shape the spiritual and cultural landscape. As a result,

Himalayan art and architecture have evolved in unique

directions and in relative isolation. Art and spirituality are

wedded to life, nourished by daily worship. In the cities of

the Kathmandu Valley, men, women and children bring

offerings to tantric deities-both Brahmanical and Bud-

'Brahmanical traditions refer to a complex of rituals and philo.

sophical ideas in South Asla that later became grouped under the colo- nial term "H~nduism."

dhist--enshrined in public squares. In Tibet, monks and

nuns dedicate themselves to spiritual practices, which

include the creation of artworks intrinsic to rituals. Until

the 1950S, thousands of monasteries, housing murals, life-

sue sculptures and ritual objects, flourished in Tibet.

Over the centuries, the interactions between Nepal

and Tibet enabled both the arts and Buddhist teachngs to

thrive. Nepal, bounded by forests in the south and the

Himalayan Mountains to the north, served as a refuge for

Buddhist devotees during times of social and political

unrest. Indan Buddhists made their way there during the

Muslim invasions of the eleventh and twelkh centuries.

while Tibetans, at various points in their history, also

found a haven for Buddhist practice in the Kathmandu

Valley. Consequently, Buddhism was revitalized in Nepal

after its appearance in the valley around the second cen-

tury C.E.

In Nepal, a place where both Brahrnanical tradtions

and Buddhism coexist, many of the most important

works of art were, and continue to be, created by New-

ars, the indgenous peoples of the Kathmandu Valley.

Under the Malla kings (1200-1768 C.E.). Newari craftsman

created magnificent palaces, temples, sculptures and

paubhas, inspired by the elegant, sensual styles of India's

earlier Gupta and Pala dynasties.

The reputation and skill of Newari artists resulted in

commissions to execute mural and tangka paintings for

Tibetan monasteries beginning in the thirteenth century.

The Nepali style spread to Chna during the Yuan

Dynasty (1260-1368 C.E.) with the Newari artist and

monk, Anlko (or Anige). Living in Tibet, Aniko headed a

delegation of eighty artists to the Mongol Imperial court

of Khubilai Khan (1260-1294 C.E.), which converted to

Vajrayana Buddhism and constructed temples and monas-

teries with magnificent works of art. By the seventeenth

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Art and ors shy The ~iberan ~uddhis t tau

Tibetan Buddhist altar at the Ackland Art Museum

pltolo:]rrry Blow

Although Buddha is not considered a god, he is revered as According to Vajrayana teaching, each person is a

a perfected being and worshiped as the personification of potential Buddha. Once the mind is liberated from ego-

enlightenment. One does not reach awareness by asking centric thoughts and actions are dedicated towards helping

for the Buddha's help, but rather assimilating the ideals of others, the clear light that exists within shines forth as

the master teacher into practice. It was the Buddha's own enlightenment. Art and worship combine as ritual to

belief that individuals must reach understandng for them- achieve this state of being. selves.

Objects on the Altar

Fourth Tier (left to right):

Chorten Central Tlber, late 14th+arly r ~ t h century (seepage 18)

Buddha Sakyamuni, Kham, Tiber, 19th collury

Gilt copper, height: 17% in.

CoUection of The Newark Museum. Gilt of Dr. A. L. Shelton, 1920

(20.4~44)

Vajracchedika Prajnaparamita sutra, Tibet

Wood, papm, leather, 2% x9Xoxjl / . in.

Collection of The Newark Museurn, Purchase 1988 Thonlar L. Raynlolld Bequest

Fund and Mrs. C. Suydam Cutting Bequest Fund

(88.~88)

Third Tier @ft to right):

A Sakyapa Abbot, Sakyapa Monastery, Central Tibet

16th century

Gilt bronze repousse with paint. 1 % ~ 4 % x I % in,

Los Angeles County Musnim of Art. GiJ of Dr. and Mrs. I? Pal in Mary of

Christian Humann

M 81.183.2

Dorje, Tibet, c. 1900

Copperalloy 1% in. length x r l ill. diumetm

Lor Angeles County Museum of Art, Francis Eric Bloy Bequest. AC1994.116.6

Bell, Tibet

Brass m t h steel tongue, height: 7% in. (3% In diametm)

Collection of The Newark Museum, G$ of Dr. A. L. Shelton, 1920

(20.398)

Ngawang Losang Gyatso, the Great Fifth Dalai Lama Cenrral Regions, Tibet, fate 17th century (seepage IJ)

Chakrasamvara and Vajravarahi Nepal, late 14th-arly ~ ~ t h c e n t u r y (seepagez9)

Second Tier (lefi to right):

Water vessel, Tibet

Metal, fabric,pathmr. height: 11 In. (7 in. d i amur )

Collec?lon of The Newark Murum, G# of Dr. WcsLy Halpmr and Mn. Carolyn

Holpmt. IW

(po.297a-c)

Amulet box withfigure of Amitayw Derge, Northeast Tiber (see page q)

The Goddess Tara Nepal, 12th century (see page 27)

Pmden Lhamo (Shri Devi) Tibeto-Chinese, late 17th to early 181h cmrury (seepage31)

Mahakala Cenrral Tibet. ~ p h ccnrury (scepage3z)

Prayer wheel, Tibet, 19th cmrury Brass and wood, length: 1 1 In. (Jiamner:j% 111.) Collpctwn of The Newark Museum, Ci@ of Mrs. E. N. a J Mr. A. hl. Crane. 1911 (I I ,618)

First Tier (left to right):

Set of offering bowk, Tibet

Brass, height: 2% in. (J% in. diameter)

Collection of The Ntwark Museum, Gifl of Dr. A. L. Shelton. 1920

(20.368)

Butter lamp, Tibet

Brass, height:^% in. (4% In. diamem)

Collection of The Ntwark Museum. Gifr of Mrs. E. N. and Mr. A. hl. Crane, 1911

The Boddhisanva Avalokitesvara Nepal, ~ j t h century (see page zj)

Most Buddhist homes, monasteries and temples have

an altar, in some form, dedicated for worship. The altar

houses an image of the Buddha, and often other deities as

well-in sculpture, painting, and more recently, photo-

graphs and print reproductions. Works of art are consid-

ered alive with the essence of the deity after their ritual

consecration.

The altar creates a sacred space and atmosphere con-

ducive to meditation and transformation. Traditionally, an

altar contains reference to the Buddha's perfected speech,

body and mind, symbolized by a scripture (sutra), a statue

of the Buddha Sakyamuni and a stupa (see page 18) respec-

tively. The devotee aspires to the ideals emboded in these

forms in order find inner wisdom and help other human

beings to see their inner light.

Other sculptures are placed in proximity to this central

grouping, beginning with the lamas with long spiritual

lineages, such as the Fifth Dalai Lama. Next in order are

the ydams , guiding or archetype deities of an individual,

family or monastery Figures that protect the Buddhist

faith, called Dharmapalas, are arranged nearby.

Ngawang Losang Gyatso, the Great F$h Dalai Lama

Celrtrnl Regio~ls, Tibet, late 17tl1 cetttl~ry, gilt bronze, 7% x 7 x 5 % it!. Rose

Art Museuit~. Hrandns Univrrsity, W(11thun1, Massuchusrtts. Gi j i of N. L.

Horch to the Kivrrside Musewn Collrctiol~, 1971.267, yhoto:Jerry Blow

Tibetan art is uniquefor the large number of representations of

lamas (teachers) represented in both painting and sculpture.

Some lamas are considered emanations of Bodhisattvas and thus

an extended lineage can be traced through the centuries. The line

of Dalai Lamas is linked to the Bodhisattva Avalokitesvara. The

F ~ j h Dalai Lama (1617-1682 C.E.), who consolidated both politi-

cal and spiritual power to lead a unified Tibetan nation, ushered

in a golden age of Tibetan art. He commissioned the Potala in

Lhasa, a magnificent architectural complex thatficnctioned as

fort, temple, university, monastery and the residence of the Dalai

Lamas (illustrated on back cover).

This sculpture of the Dalai Lama is considered one of the

finest depictions of this important historicalfigure. Artistically,

it represents the height of Tibetan art, showing a n exquisite

equilibrium between naturalism and abstraction. In a gesture of

discernment, the Dalai Lama appears calm, poised and digni-

fied. His idealized head is set o f by a voluminous mound of

drapery, elegantly and abstractly incised with foliage and lo tw

powers. This efect h e i g h t m the stature of thefigure, which is

shown with a ceremonial dagger called a phurba-used in

tantric rituals--at his waist. Infiont, along the base, is a double

dorje, referring to the s w i j and powerfi*l path of the Vajrayana

teaching.

Only a Buddha has extinguished all faults and gained

all attainments. Therefore, one should mentally go for

refige to a Buddha, praise him with speech, and respect

him physically. One should enter the teachings of such

a being.

-His Holiness Tenzin Gyatso, The Fourteenth

Dalai Lama, Tantra in Tibet, p. 30

Each morning, offerings that appeal to the senses-

sound, smell, taste, touch and sight-are given to the

deities who reside at the altar. Flowers, butter lamps or

candles, incense and a small portion of every meal are

usually placed here. Traditionally, seven bowls of water

are also offered, representing the seven aspects of

prayer-offering, confessing, prostrating, celebrating the

positive qualities of all beings, asking the Buddhas to

remain in this world, requesting their guidance for all peo-

ple, and dedicating the merits obtained from the offering

process. Butter lamps, providng light and symbolizing

wisdom, are interspersed among the offering bowls. Dur-

ing important ceremonies, hundreds of butter lamps are

lit in a dramatic show of offerings in monasteries and

around stupas.

The act of offering consciously focuses the mind on

the Buddha's teachings. I t is a means to purify thoughts

and actions. During the process of offering food and

water, the devotee visualizes the end of hunger and thirst.

By sprinkling water on the objects with a twig or kusha

grass, they are blessed by the deities. The mantra, Om Ah

Hum, the seed syllables of the Buddha's body, speech and

mind, is recited.

In addition to fostering the practice of giving, which is

necessary for ultimate enlightenment, the offering ritual

earns merit, helping to ensure a good rebirth in the next

life. If the merit obtained is, in turn, offered up to the

elimination of human sufferings and world peace, the pos-

itive action multiplies.

At the end of the day, the offerings are mindfully recy-

cled. Water from bowls is given to flowers and plants

while food is fed to birds and other animals. People can eat

the fruits and sweets, which may remain at the altar for

longer periods of time.

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,ite\ mcrlt , I I ~ L ~ .In!onr 111~1) ~ L I I ~ L ~ I[\ coll\tr L I C t l o n

A\ cm .Inclcnt \ymbol ot t h e J ~ L I ~ L ~ I ~ I \ ~ trllth rhtl \tilpLl r l l l ~ ~ ~ l c \ to

the rnllghrenc~ei 1 i~1~i i l l i .1 I I ~ I I ~ L ~ 11 '~ l \o lc'fc~ ~ I I C C ' I the \ J ~ I L " ~ h l o ~ ~ l l t

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dlleetlon poults ,llong rhc bll>c ot thc LIP,^ J I ~ \h1111c\ to1 dcltlc\

r l ~ ~ d ~ I I I T ~ ~ I ~ C C \ , ~ I O \ J I ~ I I I ~ .lee t'\\ 10 '1 1i1ghc1 c I ~ ~ L l t l o n ci~nd pcnctl'l

tlon Into the \,lrred \pale

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rncnts ealth u ~ ~ ~ L I . 111c .III ~11~1 c t h c ~ I \ \ ~ ~ ~ l l l y Lll\tl~lcci 111to

bcl\e. mound , ln~l p y r , ~ r n ~ ~ l , ~ l \tc~cplc, \1111~h L I I C . 111 111111, \ C ~ I ~ I C I I I

c ~ l I h e \~ceplc . tont~ilnlng rh11 tccn \tcp\ c ~ o ~ \ n c d h\ 1ctc11\ bLln

ncl\ \ \ r n h o l l ~ e \ ~ h c <t,lgc%.s 0 1 cwllghre~lmcnr St~1pa5 A \ cnihlcm

~ t l c ot thr 13uddhLl \ r n ~ n ~ l ~ r l e ,11\o crc.,ltc~~i on 'I \m'~ll. \ c ~ l l p t u ~ , ~ l

\cdlc to C ~ I I I I I I C I ~ O I CI~C' d l l~i L 11\h1 I I ~ C t h ~ I C . I ~ C ~ I I I \ 01 I C ~ I L \ of 5p11 I

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- -

Ruuddlzanuth, Kathmandu

Hautiilhanr~nrli 13 onc of' thc itlosf glorious stlrpas cvcr rolrslruif-

?ii. Here, N l ~ ~ i d h l s ~ yl lgnmsfiun~ around the world e.~r~-un~rlmbrr-

late c-1ockw1.s~ !he prnmctcr of ~ h c bu~ l r l~ng , w111ch IS slrrrounilcd

by ovcr a hundrc.~f prilyer whrrls. Pzopltl rentc rnurllrrls (syllables

~nfont.d to proLc~.I fht- m ~ n ~ i ) w h ~ l e sylnnlng thi,gcr~r.i, S E I I I I I ~

prayer.<!br criligh~enmrnt I I I mollon. Colorrd y r r~yr l . pay ,

i~l tacht~dfrom r11c bu.ir to 111t. crown of'tht. stupc~, dt'prn[I on the,

f l ~ ~ t t t . r ~ n g winds ~ L I l i ~ l ~ r ~ s l r n~~.ssirgcs of ptrlie rnto t h t r~ttnos-

ylirrc. l)cvo~ci,.i c.cln r~ l sc~ wtr ik (I round tht, .if 11yr1 (11 [I h1g11cr t*li.-

I V I I I O ~ , WIIIL.II C . L ) I I ~ ~ I I I . ~ lo%\ l l l~~ \ l c ' , i~ l~ r c.r~rvc(l .itoni, 'lc~tic~>.

PI-dyer wheels function to set ,I mantr.1 s y m b o l i c , vibr-21- 5cmr-cncloscd struc~~lrc.5, pr.opc.lctl by the fi)rcc 01 rlic

ing syllables \\,hose sounds energize the divine sprl-rt~---rn hurndn body. 111 rhe 1 l~rn,l l~~y,ln Mount,lrn.\, pr'lyel- wheels

motion. Mdntras are embosscd on the rner'~l wheel ' ~nd powcr.cd by the Lv;lter of tol-rcnri.~l r~vcl-s .~ rc common. In

dlso written on paper or s k ~ n ,lnd s c ~ l c d witlirn the cyl~n- c . ~ ~ - l y I3uddIirsn1, the wheel bcc.,rmc ,I symbol of the [ > I I ~ I I - -

der,. Each turn of a prayer \\,heel IS comparable to recit~ng mo or- te'lching. .fhc term "'l'urlirng of thc Wheel" r-clcrs

the mdnrl-J. Prayer wheels ~ s s u l n c many ti)~.nls ,111d to tlie first scr.niorl r)r~cc~chcil hy the 13~1d~ih~1 111 Sdr11.1rh.

sizcs-fi.om small, rnetal or wooci, h'und-held wheel5 to Indl,~. ,lnd other te,lch111~5.

large cylindrical drums, brightly p ~ i n t e d m d h o ~ ~ s e d in

Amulet box withfigure of Amitayus

Dr,rge, ~~ortllensr Tibr.t, sllvtr w~tli hrt~ss, 1% ~ 4 % x ? % 1 1 1 . Ko.ic'Art

h l l r~z~rn~, Rrtl~ldns Utllvsrstry, \VaItht~n~, j~~l t~ssnc~l~~~.~ct t .~ , G!P of N . L.

tforrli to the Rlvt-rs~de Musrum Collt.ct~on, IV~I .D ,J , y110to:Jerry Blow

Th i s gau (portable shrine) contains the image of a n indiv~dual ' s

guiding deity, which is attached to a belt and carried o n long

journeys. W h e n a t home, the gau is placed on the altar. Ami-

t a y w (alto called Amitabha), the Primord~al or Cosmic Buddha

of the West , IS enshrined w i th permanent oferings i n theforrn of

the eight Buddhist emblemr of good luck. T h e elaborate, inter-

connecting tnetalwork design on the outside contrasts u l t h the

more classical representation of the deity.

The g u ~ d ~ n g de~ty Cv~tii~m In 7'1b~tan). whose splr~t IS

embodled 111 a work ot a ~ t , 1s a focal polnr In the pracrlce

of V a j r ~ y a n a Buddh~sm A lama (reather) selects and

~ritroduces the btudent to h15 or her ylriam, who 15 also

evoked by an accompanying mantra Together the deity

and mantra safegua~d the ~ndlv~dual horn ~ntelnal, psy

cholog~cal d~horders and extel nal, phys~cal dangers As an

a ~ d to visual med~ta t~on , a plocess necessary to reach the

goal of enlightenment, the gu~ding de~ty 1s ' ~ l w a y ~ nearby,

placed In an altar or cdrr~ed In a gnu (portable shrine) or

tangku palntlng

Art, In the form of the y ~ d a m , plays a transformat~ve

role In delty yoga, an important practlce that dlstlngu~sh

es V a ~ r a y n n a from the other Buddh~st paths While engag-

Ing In deity yoga, the devotee med~tates and vlsual~zes

hlmself as one w ~ t h the y ldam, thereby dlre~tlng body,

speech and mlnd towards the goal of greater w~sdom and

compa5slon The qual~ties represented by g u ~ d ~ n g deities

are dormant In each person's mind De~ty yoga and ~ t s

accompanying work of art enable these qua l~ t~es to

emerge

Bodh~sattvas are 'heroes of enl~ghtenrnent, ' who have

attained the compassionate motlvarlon to become en

lightened for others They are d~vlne med~ators on behalf

of humans to the Buddhas Because of t h e ~ r psycholog~cal

closeness to ordlnary be~ngs, they are usually worsh~ped

more ~nt~mately than the histor~cal or Pr~niord~al Bud

dhas Appeanng early In the Mahayana sutras and closely

assoc~ated w ~ t h t h ~ s path, Bodh~satrvas are ~~sua l ly por

trayed weanng regal dress and jewel1 y wlth crowns bear

Ing an Image of one of the Pr~mord~al Buddhas to ~denr~fy

t h e ~ r cosnilc 11neage

The Bodhislrtiv~l Avalokitrsv~ra

Tara, whose name means "one who saves," is anlong

the most popular Bodhisattvas of compassion. Wor-

shiped by both Hindus and Buddhists alike, she may ulti-

mately derive from an indigenous Mother Nature cult fig-

ure symbolizing the creative principle of life. She is

considered the Mother of the Buddhas-past, present

and future. Tara's many emanations help humanity to

overcome emotional difficulties that also correspond

to physical dangers-pridellions, delusionslwild ele-

phants, hatredlforest fires, envylsnakes, robberslfanati-

cism, greedlprisons, lust 1 floods.

According to popular legend, Tara was born out of a

lotus that germinated from the tears of Avalokitesvara as

he lamented the world's sufferings. The peaceful White

Tara sprung from the tear in one eye and the more

dynamic Green Tara came from a tear in the other. Tara

is often represented holding a lotus flower, symbolizing

her miraculous birth. The initiate meditates upon an

image of Tara according to the instructions contained in

the Tara Tantra that embodies the knowledge to reach

perfected wisdom.

According to Buddhist teaclungs, a woman must be

reborn as a man in order to reach Buddhahood. With the

influence of Tantricism, celebrating feminine energies as

the universal source of life, Tara emerged as the only

female Bodhisattva in her own right. Although referred to

in sutras as Bodhisattvas, both Tara and Avalokitesvara

are also worshipped in Tibet as fully enlightened Bud-

dhas.

The Goddess Tara

Ncpal, 12th cetitlrry, copper alloy w i th gilt, pigttlt-nr and settu prrctous

stones, 7% ~ 3 % " x 1x6 itl., Los Angrles County Museutn of Art, (;IF o j

Dons and Ed Wietttsv, M. 72.108.8, photo: Jrrry Blow

In her role as a saviottress, Tara is shown with one handfanng

out, offering peace, longevity, and good wishes. Her elegantfirm,

emphasized by the sinuous S-curve of her stance, is characteris-

tic of Nepali art. Holding a lotusflower that refers to her birth,

she resembles Brahmflnical goddesses like Parvati, thefimale

counterpart to Lord Shiva. It is often dijicult to ident~f i , Nepali

goddesses as either Buddhist or Brahmanical, because Newari

artists were responsiblefor the creation of imagesfor both spiri-

tual traditions. Thej igire orignally stood on a lotus-shaped

base.

At thc ~ l t a r he Urliorr L$ wisdom a r ~ d ~ o r y a s ~ i o r ~

In Buddhist teachings and practice, the female deity

emanates wisdom, defined as the realization of selfless-

ness, the ultimate nature of reality. Complimenting and

expandng upon this quality, the male deity embodies

compassion, reaching out to all beings in their quest for

nirvana. The union of the two symbolizes the enlight-

ened mind where opposites merge and freedom from suf-

fering ensues. Buddhists meditate on images such as

Chakrasamvara and Vajravarahi, represented in sculp-

tures, tangka paintings and mandalas, in order to visualize

and experience a transcendent state of being. Many differ-

ent deities are represented in this posture, called yab-yurn

or "mother-father" union, but Chakrasamvara (a form of

the y d a m deity Samvara), is among the most popular.

Through the tantra devoted to Samvara (meaning

Supreme Bliss), the Ultimate Yoga 'Tantra, one can find

enlightenment in a single lifetime. The image of sexual

union is used here in conjunction with meditation and

deity yoga in order to eliminate desire and catalyze a

mental state of total emptiness and bliss. Within this Chakrasamvara and Vajravurahi realm, opposing forces-life and death, dark and light,

male and female, good and evil-become one single ener- (see pugc L I . \ O ~ [lt,srnp~~ui~.)

gy source. These images of yab-yum were viewed only by

a very few of the most advanced initiates. This tangka of Chakrasamvara and Vajravarahi shows the Bud-

dha in his mnnqestation us theguiding deity Samvara entwined

with his consort. Wi th4ur faces and twelve arms, he holds

attributes that aid Buddhlst practice-the vujru scepter; wisdom

bell, damaru tirum-and destroy obstacles to enlightenment-

axe, trident, thunderbolt, skull cup, lasso, m u g c stafl severed

hcud of'god Brahma. Sanlvaru stretches out aflayed elephant

skin behind him, symbolizing the end oj~delusions and igno-

rance. His garland oj ' j j iy- two severed heads is emblematic of'

the dozens of emot~onal barriers to enlightenment. Although a

Huddhist dcity, Samvura shares a number offiaturcs with Shi-

va, the Brahmanical deity.

At the tar $ Protectors of the ~ a i t h

Dharmapalas literally means "protectors of the Dharma,"

referring to the deities who defend Buddhist teachings.

With fierce expressinns, they are represented in both

sculptures and tangka paintings wearing garlands of

skulls, trampling enemies and holding implements in-

tended to cut down evil transgressors. The faces and hair

of sculptures are often painted orange-red, a color associ-

ated with blood and anger. The flames surrounding the

head heighten the destructive potential of the deity and

often symbolize the cremation grounds.

On a more personal level, Dharmapalas also symbolize

the triumph over the demons within the psyche-anger,

hatred and violence-that account for humanity's nega-

tive impulses. These works of art conjure the self-cen-

tered ego whose passions and desires obscure sensitivity

and compassion towards other beings. By meditating

upon images of these deities, the dark forces and igno-

rance within can be directly confronted and no longer

feared, clearing the way for transformation and positive

energies.

Penden Lhamo (Shri Devi)

Tibeto-Chinese, late 17th-early 18th century, gilt bronze with pigment, 7%

x 7% x j in. Rose Art M~ueu~n, Brilndeis University, Wnltkam, Massa. chusetrs, Gi j of N. L. Ho,rh to the Riverside Museum Collection,

1971.267, photo:J€l'lerry Blow

Penden Lhamo is the onlyfemale deity represented among the

eight defenders of the Buddhist faith, called Dharmapalas. She

rides a mule across the Himalayan Mountains bathed in a sea of

blood strewn with human heads and limbs. Lhamo is conceptu-

ally related to the Brahmanicalgoddess Kali or Durga who also

destroy demons. Her origin har been traced to an indigenous god-

dess of the ancient Bon religion of Tibet. Holding a trident and

scull cupfilled with demon blood, Lhamo sits on the flayed skin

of her own son, whom she murdered after her husband, the King

of Sri Lanka, refused to renounce human sacrifice. Representing

the destructiveforces of the Great Mother who clears the wayfor

spiritual regeneration, she stailds in sharp contrast to thepeace-

f i l Tara. Conceptually, thesefierce and peaceful deities represent

the unity and totality of Ife, signaling the end to dualities that

divide the phenonlenal world. Lhamo often appears with

Mahakala and is sometimes considered his consort. She is the

premiere protective deity of the nation of Tibet.

This work of art is believed to be one of thefinest sculptural

representations of Lhamo. Although small in scale, the sculpture

is monumentally impressive. Alive with movement and intense

psychic enerty, Lhamo is perched to spring into defensive action.

Thisfnghteningportrait bristles with incredible details-fanged

teeth,forked tongue, bulging eyes and a tiara and necklacefes-

tooned with scullsdesigned to jolt the viewer into confronting the dark forces latent within the psyche. Probably made in Chi-

na, this sculpture demonstrates the international influence of

Tibetan art and iconography in the seventeenth century.

S'~kyc~pn Monrl~trrv, Crt~frr~l ' I ' I ~ L . ~ , 17tI1 rft~lllry, ~.oyyt.r wit11 fnlct3.i u f . g l f ( ~ t ~ r l pr~ir~f , 4 % x 1 x I %

ill., CIS A~~gt,l~,s L*LIII~IIY MIIIJC,IIIII ,q All, (;I/[ OJ'

DIIIC. Crc~wjbr~l, MI. 70.184

M(~hukula , "The Grec~t Bl(~ck One," is a popll-

L~rprotector qf t he t i~ i th in both Ncprll r~t td

Tibet. Holtl~ttg a c-hopper a n d (I skull carp, ILL.

stantls retlriy to rlire up his enenlit-s (obstc~clt.~

to etzlightenment) a n d swallow thcir blood. A

ring oj-$rr that syntbolizes the earthly realm,

particlrlr~rly the cremation grounds, .surro~rt~ds

h ~ m . Like Penden Lhnmo. he hus a third eve.

P , ,

g v l n g h ~ m the power to see the u l t ~ n ~ a t e real1

ty 01' nonrtuality. Risingfiom a corpse o r

ghost, with knees bent, Mahakala assumes

b this posture a s the Lord of' the Tent in Tibet.

Penden Llamo is sometimes shown a s his con- - - 1 . r

sort. In addition to hisf in i t ion a s a

Dharmapala, he may also be a personal

yidam orguidingdeity. The initiation rites

associated with Mahaka la a r e extremely com-

plex a n d only open to those advanced enough

in the practice of Vajrayana Buttdhism to

handle hisfierce aspects.

111 Kl.pi~l, Nlrtlil111sw1 r111c1 I i r t ~ h i t ~ i ~ r ~ ~ i i ~ l 11.rrt11

llllll.\ '-ol~xl.\l [lll'l tl l l~lt l l l l~~l . \c~~-l l l lg llt,llly\ 111161

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Istn clnrl vi.\lrrrl rcyrt~~t~nlatlon qJ Nhn~r(lv(r t111rl

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c~nil H~nrlrrs w o r ~ l ~ ~ y bofh (lcr11e.s whoji~.\t.i-oil-

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rit'lty.

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Sketch for a Medicine Buddha sand mandala

Constructed at the Ackland Art M ~ ~ s e u m , February ZJ-March 21, zoo1

The Buddha is often considered the Great Physician, diag-

nosing the suffering that plagues the human mind. The

Dharma-through teachings and scriptures-offers the

remedy for purifying the mind and ending suffering. The

Sangha, a monastery or spiritual community, functions as a

nurse by administering the remedy. The Buddha, the Dhar-

ma and the Sangha are thus known as the Three Jewels of

Buddhism.

For over 2,500 years, the Buddha's teachings have

offered a multifold path towards the integration of the

self on emotional, spiritual and intellectual levels. At the

same time, Buddhism offers a guide for more evolved

relationships with others based on love and altruism. In

t h s regard, it is a deeply psychological set of beliefs and

practices, interweaving art, ritual, meditation and visuali-

zation techniques for establishing harmony. Art provides

both an important vehicle and transcendent vision-

through symbolic imagery and intense color-to attain

enlightenment.

Mandalas, sacred compositions created in sand or in

paint, are symbols of the pure, perfected universe, provid-

ing a visual framework for establishing feelings of peace,

well-being and wholeness. Mandala compositions, organ-

ized around a symmetrical design, based on squares with-

in circles, center the devotee by fostering stability and uni-

ty. The psychological dissolution of boundaries, contra-

dictions and dichotomies melt away as the beholder

absorbs the work of art.

The mandala is a visualization of a particular deity in

his or her paradise palace. Its two-dimensional plan re-

sembles a sacred stupa. As a cosmic diagram of Buddha-

hood, it establishes a medtative pattern for achieving en-

lightenment. Although mandala-making appears in many

diverse cultures, Tibetan Buddhists have advanced this art

form into a highly developed and specialized genre.

Although mandalas are constructed to accompany

secret Tantric initiations, His Holiness the Fourteenth

Dalai Lama invited the public for the first time, in 1988, to

observe the making of a Kalachakra mandala as a cultural

offering at the American Museum of Natural History,

New York City. Since that time, he has personally given or

authorized many Kalachakra mandalas, the most elabo-

rate and complex design, around the world. His passion-

ate belief in the transformative power of Tantric Bud-

dhist art to foster wisdom, compassion and world peace is

an inspiration to contemporary culture and imagination

at the dawn of the twenty-first century.

Many people were instrumental in bringing this exhibi-

tion to Fruition. I am grateful to Ray Williams, former

curator of education at the Ackland and currently head of

the education department at the Arthur M. Sackler Gal-

leries and Freer Gallery of Art, Smithsonian Institution,

who helped select the works of art for this two-year exh-

bition. We traveled together, courtesy of a grant from the

Museum Loan Network (MLN), to view Buddhisr sculp-

tures, paintings and ritual objects from collections around

the country.

Lori Gross, director, and Michele Assaf, program asso-

ciate of the MLN, were extremely generous in their time

and encouragement of this project. Support from the

MLN travel and implementation grants enabled the Bud-

dhist Art and RitualJrom Nepal and Tibet project to include

many components: state-of-the-art exhibition display, cat-

alogue and educational programming opportunities, to

name but a few.

I would like to thank Jerry Bolas, director of the Ack-

land Art Museum, who suggested applying to the MLN

and also embraced this project from its earliest stages.

Andy Berner, assistant director of development, skillfully

shepherded through the design and production of the cat-

alogue and web site; Libbie Hough, development assis-

tant, garnered media support. Megan Bahr, assistant cura-

tor of exhibitions, helped organize the lecture series. Joe

Gargasz, Kirby Sewell and Patrick Krivacka created a

beautiful installation. Emilie Sullivan, registrar, arranged

for all of the works to arrive safely at the museum and on

time. Michelle Schaufler, director of development, and

Timothy Riggs, assistant director for collections, also

helped facilitate the exhibition. Thanks to Susan Harter,

museum secretary, for all of her help.

The following people welcomed Ray and me into their

museums, sharing their expertise while showing us ob-

pp ~ - -

jects on display and in storage: John Listopad, curator of

Himalayan art, and Stephen Markel, chief curator of

Asian art at the Los Angeles County Museum of Art; Val-

rae Reynolds, curator of Asian collections at the Newark

Museum; Joseph Ketner, director, and John Rexine, regis-

trar, at the Rose Art Museum, Brandeis University.

The Ackland Art Museum was privileged to have two

monks from the Namgyal Monastery in Ithaca, New

York, construct a Medicine Buddha sand mandala in our

gallery. I would like to thank the Namgyal Monastery

Institute of Buddhist Studies, and Venerable Tenzin Desh-

ek, Venerable Tenzin Gephel, Venerable Tenzin Thutop

and Venerable Tenzin Yignyen for their spiritual inspira-

tion.

Thanks to William Magee, visiting assistant professor

in the Department of Religious Studies, at the University

of North Carolina at Greensboro, for reading the first

draft of this essay and suggesting appropriate changes. I

appreciate the efforts of Suzanne Rucker, the Ackland's

business manager, who edited the catalogue. Carolyn

Wood, curator of education, read and made suggestions

to the text as well. Credit for the design of this beautiful

catalogue goes to Anne Theilgard and Joyce Kachergis of

Kachergis Book Design, Inc.

Finally, 1 would also like to acknowledge the on-going

support of Jyoti Duwadi, who offered important ideas to

both exhibition and catalogue, created the video for this

installation and first introduced me to the arts and rituals

of Nepal and Tibet.

Barbara Matilsky

Curator of' Exhibitions

Ackland Art Museum, UNC-CH

Chapel Hill, North Carolina

October zoo0

p~

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Endless Knot

The Endless Knot is a popular emblem in Nepal and Tibet. Comidered auspicious, it symbol- izes the interconnectedness of all things. The twining form expresses both movement and bal-

ance, personihing the harmony between opposites. Without bepnning or end points, the Endless Knot also sign$es the unlimited knowledge of the Buddha.

&? Copyright 2001 by the Ackland Art Museum

The University of North Carolina at Chapel Hill

,411 rights reserved

Library of Congress Caralogue Number: oo-111537

ISBN: 0-9653805-4-8

This catalogue has been published in conjunction with the exhibition Buddhist Art and Ritualfiom Nepal and

Tibet presented by the Ackland Art Museum from February 25, 2001 through spring 2003.

Buddhist Art and Ritual in Nepal and Tibet was made possible by the Museum Loan Network-a national col-

lection-sharing program funded by the John S. and James L. Knight Foundation and the Pew Charitable

Trusts, and administered by MIT's Office of the Arts. Additional funding was provided by the William Hayes

Ackland Trust.

Front cover: Bauddha, Kathtnand~~. Nepal

Photo: Barbara Matilsky

Book and cover designed by: Kachergis Book Design. Pirrsboro. Nonh Carolina

Printed and bound by: Greensboro Printing. Greensboro. North Carolina

Pnnted in the United States of America

No part of this publication may be reproduced or distributed in any form or by any means without the writ-

ten permiss~on of the publisher.

Published by the Ackland Art Museum. The University of North Carolina at Chapel Hill. Campus Box 3400,

Chapel Hill. North Carolma 27599-3400

www.ackland.org