This magnificent thangka depicts one of the Five
Transcendent (Dhyani) Buddhas, Ratnasambhava.
These are not historical figures, like Shakyamuni,
rather they exist in the imaginary realm and
collectively symbolise enlightenment and the
attainment of Buddhahood. They often appear in
mandalas and are fundamental to Buddhist
meditation practices. Ratnasambhava is
associated
with the southerly direction and is usually listed
third, after Vairocana and Aksobhya and before
Amitabha and Amoghasiddhi. The name derives
from Sanskrit and literally means ‘born from the
jewel.’ Seated in the lotus position, he performs
the
‘varada mudra’ with his right hand extended down,
palm outward. This is a gesture of charity or giving
and symbolises the compassion and protection he
offers to his disciples. He has the power to
transform pride and promotes the wisdom of
sameness or equality. According to this doctrine
all
human beings, regardless of age, wealth or race,
have the ability to achieve enlightenment and thus
equality.
The colour traditionally associated with
Ratnasambhava is a light golden yellow, the colour
of the sun and linked to prosperity and fertility.
The
Dhyani Buddhas are typically richly adorned as a
sign of their elevated status. This example is no
exception; the jewellery includes a crown, armlets
encrusted with gems, a series of four necklaces
and
large gold earplugs. The short striped dhoti is
richly
coloured in red, blue and green. The lotus throne
is
supported by two horses, the traditional vehicle of
Ratnasambhava and symbolic of spiritual journeys,
impetus and liberation. Eight bodhisattvas are
arranged on three tiers, two of which are depicted
standing. These comprise a chorus of listeners
(shravakas). In fact the cult of the Eight
Bodhisattvas
originated in India during the early days of
Mahayana Buddhism and was especially popular in
Tibet. In this painting the standing pair are
particularly elegant, with their hips protruding and
their pose orientated towards the centre.
This work would have originally been part of a set
of
five, each panel depicting one of the five Dhyani
Buddas. These were hung in Buddhist temples and
monasteries, often above the door or on a
crossbeam in front of the main shrine. Visual
representations of Ratnasambhava are extremely
rare and difficult to come by and it is in front of
such images that Buddhist ordination typically
takes
place. The Los Angeles County Museum owns a
very
similar thangka, assigned to Tibet and dated to
the
late twelfth-early thirteenth century (see Exh.,
‘The
Circle of Bliss: Buddhist Meditational Art,’ cat. no.
14). Similar scenes have also been attributed to
Nepalese artists working for Tibetan Buddhist
patrons in the thirteenth century. A two-line
inscription in black pigment is contained within
the
painted red border on the lower edge. The painted
cloth is surrounded by a frame of moss green silk
brocade.
For further references to Ratnasambhava in
Tibetan/Nepalese painting see: S. M. Kossack,
‘Sacred Visions: Early Paintings From Central
Tibet,’
(New York, Metropolitan Museum, 1998), pp. 104,
138-143. D. I. Lauf, ‘Tibetan Sacred Art: The
Heritage of Tantra,’ (Bangkok, 1995), A. Heller,
‘Tibetan Art,’ (Suffolk, 1999), p. 87.
