This thang-ka shows the supreme Buddha, or Vajrasattva, considered as the supreme deity by the monks of the order K”-Gdams-pa, traditionally represented with his blue epidermis. He holds the two main ritual objects of the Lamaic liturgy, the “diamond thunderbolt” (vajra) and the bell. The execution of clothing and jewellery, the geometric faces and body, the stylization of jewellery, the characteristic treatment of the trees dominating the assistant bodhisattva, and the very soft modelling of the concentric ring shapes recall the pale-sena miniatures (VIIIth century). Twelfth-century) of India; it is indeed from this near neighbour that most of the artistic inspiration in Tibet originates.
This thangka or “objects that are unrolled” are painted on linen or cotton canvas, and sometimes on silk. The artist bases the construction of his drawing on a network of geometric lines and fixes the definitive forms by black or red contours. These will be completely covered with colours, mostly of mineral origin. The part of the painted work is then framed by a rich silk mount that allows you to roll it. This piece is actually an old copy of an Indian original prior to the twelfth century. Although painted works are the most widespread, the term thang-ka includes all pious images in two dimensions whatever its technique. They are one of the components that accompany the fundamental political and cultural role that religious orders play in central and southern Tibet at the time.
Text according to G. Beguin.
Details
- Title : Thangka "The Adibuddha Vajrasattva (Dorje Semsdpa ') and his consort"
- Year : First half of the 13th century
- Classification : Thangka
- Medium : Tempera on canvas
- Dimension : 59.6 x 51.3 Centimetres
- Accession No : MA 1089
- Country/ Geo-location : Nepal
- Culture : Buddhism
- Collection : The Guimet Museum of Asian Art
- Credit Line : Don Olivier Corcos