Usnisavijaya

This representation of the goddess Usnîsavijayâ, flanked by two assisting bodhisattvas holding flies, has three faces and eight hands bearing her attributes. His head is golden, while the left is blue and shows a fierce expression. As for its central head, it is white as the body. In the Himalayan and Chinese world, the deity is represented inside a stupa. In the lower register, lions and the four guardian kings (Lokapala) of the four cardinal points are present. On either side of Usnîsavijayâ, medallions contain the seven treasures of the universal ruler and seven of the eight auspicious signs of Tibetan Tantric Buddhism. At the bottom, on the left, appears the donor before various offerings to the goddess. As indicated by the floral columns with decorative treatment, the arches of foliage, the red and blue background adorned with foliage in monochrome or jewellery modelled on the Newar creations of Kathmandu, the influence of Nepalese art is strong. The gold motifs on the garments of the central figure and the Lokapala gun refer to China. This monumental painting also shows great finesse of execution. It was made with gouache on canvas and has gold highlights, appearing sporadically on one of the faces of the deity.

This goddess Usnîsavijayâ or “Victory of Sinciput”, is particularly venerated by the Nepalese and Tibetan Buddhists. It provides a long life, and thus allows to obtain more merits and ensure better reincarnation.

This work is part of the development of a sumptuous and eclectic art in Tibet of the fourteenth century then dominated by Sa-Skya-Pa. At that time this country was entrusted with the direction of the religious affairs of the Mongol empire of Yuan (1279-1368), with which it thus maintained privileged ties favouring these cultural exchanges.

Text according to G. Beguin.