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Sacred Art of Asia > Images (14)

  • <p><span style="font-size: 80%;"><strong>OLD MAN AND ADORANTS-KOREAN PAINTING</strong></span></p><br/><p><span style="font-size: 80%;">INK AND COLOR ON PAPER (BACKED) </span></p><br/><p><span style="font-size: 80%;">LATE CHOSON : CIRCA LATE 18TH EARLY 19TH CENTURY </span></p><br/><p><span style="font-size: 80%;">Image 68.5 cm x 99 cm / 27” x 39 “ </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION:</strong> A spirited painting infused with symbols of longevity (‘Soo’) and those of happiness (‘Bok’). The painting shows a gentle old man-perhaps the mountain spirit or a holy man, with two adorants in a mountainous landscape. Soo is expressed by cranes and turtles; Bok has peaceful birds and animals. The painting may be a reflection of the suppression of Buddhism in which Shamanistic elements became incorporated into the artistic cultural of Buddhist temples. </span></p>
  • <p><span style="font-size: 80%;"><strong>A TIBETAN PAINTING OF DHYAMBODHISATTVA</strong></span></p><br/><p><span style="font-size: 80%;">DISTEMPER ON CLOTH </span></p><br/><p><span style="font-size: 80%;">SOUTHERN TIBET CIRCA 19TH CENTURY </span></p><br/><p><span style="font-size: 80%;">IMAGE 17” x 25.5”: SILK BROCADE 28.5’ x 48.25” </span></p><br/><p><span style="font-size: 80%;"><strong>EXHIBITED:</strong></span></p><br/><p><span style="font-size: 80%;">Ithaca College Museum of Art, Ithaca, New York, Spring 1971 Lycoming College Gallery, Williamsport, Pennsylvania, Fall 1981</span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION:</strong> The Bodhisattva of Infinite Compassion is shown here in many forms. The central figure* holds the jewel (mani) in his primary hands and rosary and lotus in the others. The same qualities apply to the other three forms just below and surrounding the central figure the fourth and the two figures in the upper corners are sitting in the position called ‘royal ease’. At the top of the painting is Amitabha, the Buddha of Boundless light flanked by two Bodhisattvas. * The main figure is shown: Dhyanibodhisattva; Two hands in Namaskara ;other two hands holding mala (beads) and padma (lotus). Tibetan name : sPyan-ras-gzigs (Chen-re-zi) With a Pitying Look Tantric form : Sadaksari : This form is incarnate in the Dalai Lamas and is the god of mercy and Patron Saint of Tibet. </span></p>
  • <p><span style="font-size: 80%;"><strong>A TIBETAN PAINTING OF USNISA VIJAYA</strong></span></p><br/><p><span style="font-size: 80%;">DISTEMPER ON CLOTH </span></p><br/><p><span style="font-size: 80%;">SOUTHERN TIBET CIRCA 18TH CENTURY </span></p><br/><p><span style="font-size: 80%;">IMAGE 48 cm x 71 cm / 19” x 28” </span></p><br/><p><span style="font-size: 80%;"><strong>EXHIBITED:</strong></span></p><br/><p><span style="font-size: 80%;">Ithaca College Museum of Art, Ithaca, New York, Spring 1971Lycoming College Gallery, Williamsport, Pennsylvania Fall 1981 </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION:</strong> A Thanka of the victorious goddess of Usnisa Vijaya Three heads, Eight arms seated in dhyanasana (meditative position). Original hands in dharmacakra mudra (both hands against breast, left covering right). Next pair hold kalasa (vase for holding ambrosia) and varada mudra; that is the palm of the hand down. The next two hold the image of the Lord Buddha and salutation mudra. </span></p>
  • <p><span style="font-size: 80%;"><strong>A TIBETAN PAINTING OF USNIS </strong></span></p><br/><p><span style="font-size: 80%;">DISTEMPER ON CLOTH </span></p><br/><p><span style="font-size: 80%;">SOUTHERN TIBET </span></p><br/><p><span style="font-size: 80%;">CIRCA 18TH CENTURY </span></p><br/><p><span style="font-size: 80%;">IMAGE 11.5” x 15.0”: SILK BROCADE 20.0’ x 27.5” </span></p><br/><p><span style="font-size: 80%;"><strong>EXHIBITED: </strong>Ithaca College Museum of Art, Ithaca, New York, Spring 1971 </span></p><br/><p><span style="font-size: 80%;">Lycoming College Gallery, Williamsport, Pennsylvania, Fall 1981 </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION: </strong>:<strong> A Thanka of the victorious goddess of <em>Usnis </em></strong>Three heads, eight arms seated in <em>dhyanasana</em> (meditative position). Original hands in <em>dharmacakra mudra</em> (both hands against breast, left covering right). Next pair hold <em>kalasa</em> (vase for holding ambrosia) and <em>varada mudra</em> ; that is the palm of the hand down. The next two hold the image of the Lord Buddha and salutation <em>mudra.</em> The other two hold <em>capa</em> and <em>sara</em>. </span></p><br/><p><span style="font-size: 80%;">Tibetan name: <em>gTug-tor rm-par rgyal-ma (tsug-tor nam-pa gyal-ma).<br /><br />Placed in private collection</em></span></p>
     
  • <p><span style="font-size: 80%;"><strong>NEHAN</strong></span></p><br/><p><span style="font-size: 80%;">EDO PERIOD (1603-1868) </span></p><br/><p><span style="font-size: 80%;">Image 35.5 cm x 55 cm /14” x 22 “ </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION: “ </strong>The event is depicted on a cloudy night under full moon in a grove of sal trees, usually eight. The Buddha lies on a platform on his right side facing north with his right hand behind his head. His entourage bears witness in various states of grief, curiosity or calm understanding. The Ten Great Disciples (Ju Dai-deshi); a host of bodhisattvas Kannkn, Seishi, Jizo Miroku , Fugen, Kongoshu and others, The Twelve Heavenly Beings (Juni-ten); the four guardians of the cardinal points; and lay believers, like the old woman at the Buddha’s feet are among those usually included. Many of these followers are labeled with <em>kana</em> characters in rectangular cartouches. The Buddha’s mother, two servants, and a monk appear on clouds at the upper right of the picture. An array of several dozen birds, animals and insects are pictured to emphasize the universality of Buddha’s law (dharma)*. Others include; Ananada , Buddha’s cousin and chief disciple, appears in the foreground sleeping on the ground facing away from the Buddha. “Ananda has evidently understood that the death of the Buddha is a transition to a supramundane state, so he is very calm and does off unperturbed among the distraught mourners”*. The bodhisattva Yajarpani, who threw down his diamond scepter in despair, pulled out his hair , and rolled in the dust at the Buddha’s death’s seen toward the lower left margin </span></p>
  • <p><span style="font-size: 80%;">VAJRA YOGINI </span></p><br/><p><span style="font-size: 80%;">DISTEMPER ON CLOTH </span></p><br/><p><span style="font-size: 80%;">CIRCA 19TH CENTURY </span></p><br/><p><span style="font-size: 80%;">IMAGE 16.25” x 24.5”</span></p><br/><p><span style="font-size: 80%;">SILK BROCADE 24.25’ x 48.25” </span></p><br/><p><span style="font-size: 80%;">EXHIBITED: </span></p><br/><p><span style="font-size: 80%;">Ithaca College Museum of Art Ithaca, New York, Spring 1971 Lycoming College Williamsport, Pennsylvania 1981 </span></p><br/><p><span style="font-size: 80%;">DESCRIPTION: “The red central figure of Vajra Yogini is depicted dancing in pratyalidhansa on a sun disc, trampling the Hindu god Bhairava. She is surrounded by a writhing fiery aureole. The figure is holding a blood filled skull cap. Vajra Yogini is naked and adorned with five skulls in her hair. She is shown gently smiling, imbued with passion and wrath her hair loosened, laughing with bare teeth. While her usual necklace of dried skulls is missing she is adorned with a garland of fresh heads linked together with entrails.” The central figure is surrounded by a pantheon of deities. </span></p>
  • <p><span style="font-size: 80%;"><strong>RAIGO PAINTING</strong></span></p><br/><p><span style="font-size: 80%;">Image 50 cm x 130 cm /20” x 51 “ </span></p><br/><p><span style="font-size: 80%;">Overall 90 cm x 213 cm/ 36” x 84”. </span></p><br/><p><span style="font-size: 80%;"><strong>SUBJECT: </strong>The subject of the painting is popularly identified as a Haya Raigo- or Rapid Welcoming Descent.<strong> “</strong>The subject of the Decent of Amida is based upon the description found in the Muryo-gyo-Sutra, which promised those who followed Amida that, when they die, Amida would descend to receive their departing souls and take them back to the Western Paradise. Paintings of the descent of Amida became popular with the increasing belief in the Paradise of Amida which developed in the late Heian and Kamakura Periods (eleventh to thirteenth centuries).”* In this painting, the Buddha Amida and twelve bodhisattvas, followers and deities on a white cloud descend at a steep angle to a waiting soul below. The Buddha Amida’s size dominates the other figures. The cloud is offset against a dark blue sky which contains stylized falling gold leaves. Gold is liberally used contrasting with the flat pigment of the cloud. </span></p>
  • <p><span style="font-size: 80%;"><strong>TIBETAN PAINTING OF </strong><strong>TARA</strong><strong> OF THE SEVEN EYES </strong></span></p><br/><p><span style="font-size: 80%;">DISTEMPER ON CLOTH </span></p><br/><p><span style="font-size: 80%;">SOUTHERN TIBET </span></p><br/><p><span style="font-size: 80%;">CIRCA 19TH CENTURY </span></p><br/><p><span style="font-size: 80%;">IMAGE 15.25 x 21.50”: SILK BROCADE 25.25’ x 44.25” </span></p><br/><p><span style="font-size: 80%;"><strong>EXHIBITED </strong>: Ithaca College Museum of Art, Ithaca, New York, Spring 1971 Lycoming College Gallery, Williamsport, Pennsylvania, Fall 1981 </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION: </strong>: A Special form of the Sitatara: Vitarka and Yarada mudras, padma (lotus) at the left shoulder, third eye in her forehead and the soles of her feet and palms of her hands. </span></p>
     
  • <p><span style="font-size: 80%;"><strong>SEVENTEEN-DEITY VAJRAVARAHI MANDALA<br /></strong></span></p><br/><p><span style="font-size: 80%;">GOUCHE ON CLOTH </span></p><br/><p><span style="font-size: 80%;">CENTRAL TIBET </span></p><br/><p><span style="font-size: 80%;">19TH CENTURY </span></p><br/><p><span style="font-size: 80%;">IMAGE 16” x 21.75”: SILK BROCADE 26.5” x 44 </span></p><br/><p><span style="font-size: 80%;"><strong>EXHIBITED: </strong>Ithaca College Museum of Art; Ithaca, New York, Spring 1971 Lycoming College Williamsport, Pennsylvania Fall 1981 </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION (PROVISIONAL)</strong>: The dark blue figure in the center of the mandala is that of Guhyeshvari Yogini an emanation of Viajravahi.* This figure is flanked at the corners by four other emanations which in turn are surrounded by a circle of eight other emanations . The four gates house one other emanation each for a total of seventeen emanations and variations of Viajravahi. In addition to the deities contained in the central area there are ten major deities at the top and bottom of the painting. </span></p>
  • <p><span style="font-size: 80%;"><strong>PAINTING OF SITATARA:THE WHITE TARA </strong></span></p><br/><p><span style="font-size: 80%;">DISTEMPER ON CLOTH </span></p><br/><p><span style="font-size: 80%;">SOUTHERN TIBET ? </span></p><br/><p><span style="font-size: 80%;">CIRCA 19TH CENTURY </span></p><br/><p><span style="font-size: 80%;">IMAGE 11.25” x 14.5”: SILK BROCADE 18.75’ x 28.0” </span></p><br/><p><span style="font-size: 80%;"><strong>EXHIBITED: </strong>Ithaca College Museum of Art, Ithaca, New York, Spring 1971 Lycoming College Gallery, Williamsport, Pennsylvania , Fall 1981 </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION: </strong>: A Thanka of Sitatara; the white Tara, or white savioress<strong>. </strong>Around the sixth century the goddess Tara was considered as a <em>saki </em>(wife) of Avalokitesvara. In the seventh century Tara reincarnated as two distinct and are distinguished by the Tibetans as white for Chinese and green for Nepalese. Each are believe to have emanated for the tears of Avalokitesvara. Tara is considered to be the archangelic and archetype bodhisattva representing the miraculous activities of all Buddhas. </span></p><br/><p><span style="font-size: 80%;">The figure is shown <em>vitarka </em>(palm up, index finger touches thumb) and<em> varada</em> (open hand down); <em>mudras padma</em> (<em>padama</em> is a lotus) at her left shoulder. Tibetan name is sGrol-,a<em> dKar-po (Dol-ma Kar-po)</em>; short form <em>sGrol-dkar (Dol-kar).</em></span></p>
  • <p><span style="font-size: 80%;"><strong>TIBETAN PAINTING OF HEVAJRA  </strong></span></p><br/><p><span style="font-size: 80%;">DISTEMPER ON CLOTH </span></p><br/><p><span style="font-size: 80%;">SOUTHERN TIBET </span></p><br/><p><span style="font-size: 80%;">CIRCA 19TH CENTURY </span></p><br/><p><span style="font-size: 80%;">IMAGE 16.75” x 28.0”: SILK BROCADE 23.5’ x 46.0” </span></p><br/><p><span style="font-size: 80%;"><strong>EXHIBITED: </strong>Ithaca College Museum of Art, Ithaca, New York, Spring 1971 Lycoming College Gallery, Williamsport, Pennsylvania ,Fall 1981 </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION: </strong>:<strong> A Thanka of Hevajra</strong>.<strong>in <em>yab-yum</em> with a sakti</strong>: Within a fiery aureole , Hevajra with eight heads, sixteen arms and four legs. The central head is blue, to the right red, blue, blue to the left white, blue, blue head above and the central is reddish brown. There is a third eye in all heads. The sixteen hands all hold<em> kapalas</em> (skulls). The hands on the right hold animals; the ones on the left hold the gods of the elements. He is in <em>yab-yum</em> with a sakti.who has one head and two arms. She has a <em>karttrka </em>(chopper) in one hand and the other is around the neck of the yab. She has one leg around his waist. His four legs are trampling on human beings. Hevajra Tibitian name is <em>Kye-rdo-rje (Che dor-je)</em> which translates as ‘eternal thunderbolt’. Hevajra is an <em>Yi-dam ,</em> or tutelary divinity the rank of Buddha: each lama chooses an<em> Yi-dam</em> as his protector. </span></p>
  • <p><span style="font-size: 80%;"><strong>A TIBETAN PAINTING OF BUDDHA IN MEDITATION  </strong></span></p><br/><p><span style="font-size: 80%;">DISTEMPER ON CLOTH </span></p><br/><p><span style="font-size: 80%;">SOUTHERN TIBET ? </span></p><br/><p><span style="font-size: 80%;">CIRCA 19TH CENTURY </span></p><br/><p><span style="font-size: 80%;">IMAGE 18.5” x 26.5”: SILK BROCADE 29.75’ x 49.75” </span></p><br/><p><span style="font-size: 80%;"><strong>EXHIBITED: </strong>Ithaca College Museum of Art, Ithaca, New York, Spring 1971 </span></p><br/><p><span style="font-size: 80%;">Lycoming College Gallery, Williamsport, Pennsylvania, Fall 1981 </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION: </strong>: <strong>The Lord Buddha (Sakyamuni) in meditation: </strong>In the center of the representation of the Lord Buddha is the symbol of the reintegration process, evoked and realized by mediation with a retinue of <em>changchupsempas </em>and lamas below, Hindu gods to the sides and the seven great <em>Bodhisattvas</em></span> above.</p><br/><p><span style="font-size: 80%;">(Amitabha/Dhyanibbudha, or meditative<em> Buddhaform</em> - both hands in <em>Dhyana mudra</em> (folded in lap) holding a <em>patra</em> (bowl). Tibetan name <em>Hod-dpag-med (O-pa-me)</em> Translated as ‘Infinite Light) </span></p>
     
  • <p><span style="font-size: 80%;"><strong>NIRO SHIRO  </strong></span></p><br/><p><span style="font-size: 80%;">WOODBLOCK PRINT BY YOSHITOSHI </span></p><br/><p><span style="font-size: 80%;">CIRCA MID 19<sup>TH</sup> CENTURY </span></p><br/><p><span style="font-size: 80%;">35.5 cm X 70 cm<strong> /</strong>14” x 271/2”<em>.</em></span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION: </strong>A woodblock print by the Japanese artist </span></p><br/><p><span style="font-size: 80%;">Yoshitoshi depicting “Nita Shiro looking at Shiny Fuji” </span></p><br/><p><span style="font-size: 80%;">The print has been professionally appraised and judged in </span></p><br/><p><span style="font-size: 80%;">good condition ; Oban triptych . ca 1860-1880 active period </span></p><br/><p><span style="font-size: 80%;">*Yoshitoshi (1839-1892): leading ukiyo-e print artist of the Meiji Era: pupil of Kuniyoshi, but also studied with Yosai. <br /><br />Placed in Private Collection</span></p>
  • <p><span style="font-size: 80%;"><strong>NEHAN </strong></span></p><br/><p><span style="font-size: 80%;">EDO PERIOD (1603-1868) </span></p><br/><p><span style="font-size: 80%;"><strong>( </strong>BEFORE 1673?) </span></p><br/><p><span style="font-size: 80%;">Image 35.5 cm x 55 cm /14” x 22 “ </span></p><br/><p><span style="font-size: 80%;"><strong>DESCRIPTION: “ </strong>The event is depicted on a cloudy night under full moon in a grove of sal trees, usually eight. The Buddha lies on a platform on his right side facing north with his right hand behind his head. His entourage bears witness in various states of grief, curiosity or calm understanding. The Ten Great Disciples (Ju Dai-deshi); a host of bodhisattvas Kannkn, Seishi, Jizo Miroku , Fugen, Kongoshu and others, The Twelve Heavenly Beings (Juni-ten); the four guardians of the cardinal points; and lay believers, like the old woman at the Buddha’s feet are among those usually included. Many of these followers are labeled with <em>kana</em> characters in rectangular cartouches. The Buddha’s mother, two servants, and a monk appear on clouds at the upper right of the picture. An array of several dozen birds, animals and insects are pictured to emphasize the universality of Buddha’s law (dharma)*. Others include; Ananada , Buddha’s cousin and chief disciple, appears in the foreground sleeping on the ground facing away from the Buddha. “Ananda has evidently understood that the death of the Buddha is a transition to a supramundane state, so he is very calm and does off unperturbed among the distraught mourners”*. The bodhisattva Yajarpani, who threw down his diamond scepter in despair, pulled out his hair , and rolled in the dust at the Buddha’s death’s seen toward the lower left margin.<br /><br />Placed in Private Collection </span></p>