Buddhist Art and Iconography

A collection showcasing colorful Buddhist artworks including banners, paintings, and tapestries, featuring Bodhisattvas and deities, rich in detail and history.

The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India. The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.

Buddhist Amulet with Bodhisattva andDonor

Painting with a performance of the Archat Cudapantaka ,, 1400 - 1500 Painting with a performance of the Archat Cudapantaka that is sitting on a chair with the legs raised. A number of Tibetan inscriptions on the back. (The paint is worn in many places) Central-tibet canvas Painting with a performance of the Archat Cudapantaka that is sitting on a chair with the legs raised. A number of Tibetan inscriptions on the back. (The paint is worn in many places) Central-tibet canvas

Wrathful Form of the Goddess Saraswati (Magzor Gyalmo) or Palden Llamo 1900-1999 Tibet. Silk tapestry (kesi) .

Banner with Bodhisattva, possibly Mahamayuri. Culture: China (Dunhuang area, Gansu Province). Dimensions: 22 1/2 x 11 in. (57 x 28 cm). Date: 9th-10th century.This colorful banner from the renowned Buddhist cave temples near Dunhuang is an important example of early Chinese Buddhist painting. It consists of two parts that may or may not have matched each other originally. The smaller triangular piece features a Buddha seated on a lotus flower in a meditative posture. A bodhisattva standing on a lotus pedestal, richly decorated with precious accessories, fills the scroll.The banner was likely displayed in a temple or the interior of a cave sanctuary, possibly in honor of the main icon in a complex. It could also have been hung outside a building or carried on a pole in ceremonies of various types. Museum: Metropolitan Museum of Art, New York, USA.

The four-handed Mahākāla as the protector of knowledge. Distemper painting.

The thirty-five Buddhas of confession, in Tibetan Tungshakchi Sangye Songa, with various mythological persons. Chromolithograph.

Two Buddhist elders: sBed-byed (Gopaka), holding a book (above); Mi-phyed (Abheda), holding a reliquary (below). Distemper painting by a Tibetan painter.

The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India. The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.

Yamantaka, Anonymous, 1900 - 1970 Indian miniature. drawing Yamantaka in association with his partner standing on a buffalo, with 6 arms, in his hands he holds various objects. An image from a series of three on which Buddhist saints occur. Tibet paper brush

New Year Picture of characters in the drama, Shuangsuo Shan (Mount Shuangsuo) (left one of a pair) early 20th century Unidentified artist(s). New Year Picture of characters in the drama, Shuangsuo Shan (Mount Shuangsuo) (left one of a pair). Unidentified artist(s) , Chinese, early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Bodhisattvas withAttendants

fine arts, Tibet, woodprint, deified Guru Rinpoche, coloured wood engraving, 19th/20th century, private collection,

Taima Mandala. Culture: Japan. Dimensions: Image: 52 1/2 x 48 in. (133.4 x 121.9 cm). Date: probably late 14th century.This Taima mandala offers a resplendent vision of the Western Pure Land, a paradise over which Amida presides and to which he welcomes all beings who call upon his name. Amida sits enthroned at the center of the mandala, flanked by the bodhisattvas Seishi and Kannon and surrounded by throngs of musicians, dancers, celestial beings, and pavilions adorned with jewels. In the lower foreground is a lotus pond in which the faithful are reborn. Surrounding this scene are vignettes from the Contemplation Sutra that teach the living how to attain salvation. Mandalas of this type are based on Tang-dynasty Chinese images that were transmitted to Japan along with Pure Land Buddhist teachings during the Nara period (710-94). The earliest Japanese version is an eighth-century brocade approximately four times larger than the present mandala, and the primary object of worship at th

Third Karmapa with footprintsThe footprings of the Third Karmapa, Rangjung Dorje (1284-1339) together with a portrait and the eight auspicious symbols. Date/Period: 14th century. Painting. Pigments on silk Pigments on silk. Height: 511.17 mm (20.12 in); Width: 469.90 mm (18.50 in). Author: UNKNOWN.

Bodhisattva Manjushri, Leaf from a dispersed Ashtasahasrika Prajnaparamita (Perfection of Wisdom) Manuscript 12th century India (Bihar or West Bengal) Bodhisattva Manjushri preaching (dharmacakra mudra), with lotus stem supporting a sword, seated on a cushioned throne.. Bodhisattva Manjushri, Leaf from a dispersed Ashtasahasrika Prajnaparamita (Perfection of Wisdom) Manuscript. India (Bihar or West Bengal). 12th century. Ink and color on palm leaf. Pala period. Paintings

The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India. The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.

The Welcoming Descent of Amida with the Bodhisattvas Kannon and Seishi 13th century Japan Embroidered imagesoften the product of pious groups seeking to perform meritorious works-were revived by the Pure Land sect of Buddhism in the Kamakura period. In this rare embroidered raigō, Amida, attended by Kannon and Seishi, stands on descending clouds over embroidered flowering lotuses, which suggest the heavenly reward promised to those who believe in Amida's mercy. Such images were produced for use in a widely practiced service for the dead and often included the devotee's hair as part of the embroidery.. The Welcoming Descent of Amida with the Bodhisattvas Kannon and Seishi. Japan. 13th century. Framed panel; embroidered silk. Kamakura period (1185-1333). Textiles-Embroidered

Hanuman in His Tantric Five-Headed Pancha Mukha Form ca. late 19th century India, Rajastan or Gujarat This is a tantric representation of Hanuman, the great monkey warrior and an ally of Rama. Here, he strides boldly forward, trampling on demons and brandishing an array of weapons and other attributes. Above his crown are five animal heads: a goose, snake, mule, lion, and horse. As a child, Hanuman mistook the sun for a ripe fruit and tried to eat it. Various gods intervened and, in the end, he was granted immortality, immunity from fire and water, and the ability to move as fast as the wind. He was also given a divine weapon, the gada or club, which he holds in his upraised right hand. Images like this example were made for use in tantric rituals, and as a result they rarely survive. This work is especially notable for its vivid colors.. Hanuman in His Tantric Five-Headed Pancha Mukha Form. India, Rajastan or Gujarat. ca. late 19th century. Ink and opaque watercolor on paper. Painting

Roll painting, anonymous, 1500 - 1600 Five Buddha's and eight Bodhisattva's, all sitting on a lottery thron not. In wooden box. Japan silk. ink Five Buddha's and eight Bodhisattva's, all sitting on a lottery thron not. In wooden box. Japan silk. ink

The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India. The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.

New Year Picture of the Kitchen God 1939 Unidentified. New Year Picture of the Kitchen God. Unidentified artist(s), early 20th century. China. 1939. Woodblock print; ink and color on paper. Republic period (1912-49). Prints

Pragyanpti. 1800 - 1899. Scrolls, Indic, Illuminations, Miniature painting, Indic. Spencer Collection

Buddha Sakjamuni ; 1st half 20th century (1901-00-00-1950-00-00);

17th century murals in Thodeekkalam Shiva temple wall in Kanavam near Thalassery, Kerala, India Copyright: xMxAmirtham/DinodiaxPhotox

Sutra Cover Made 1590-1599 China. Silk and gold-leaf-over-lacquered-paper strips, satin weave with patterning wefts; wrapped over cardboard and backed with paper; applied label of silk, plain weave; with inscribed title painted and/or printed with ink; sutra, accordion-mounted .

Bodhisattva Avalokiteshvara in the Tradition of King Srongtsen Gampo. Date/Period: 13th century. Painting. Pigments on cloth Pigments on cloth. Author: UNKNOWN.

'Tszonhava with his Disciples'. China, second half of the 18th century. Dimensions: 34x48 cm. Museum: State Hermitage, St. Petersburg.

Ushnishavijaya in a Stupa , ca. 1400. Opaque watercolors on cloth, 24 1/2 x 20 1/4 in. (62.2 x 51.4 cm). Asian Art ca. 1400

Padmapani, in Tibetan Chenresi, the particular protector of Tibet. Chromolithograph.

The birth of the Buddha Date: 1877

Thailand, General, Yao Religious Painting Used In Taoist Ceremonies

Saints Zosima and Savvatiy of Solovki by Russian icon / State Tretyakov Gallery, Moscow / Russian icon painting / Early 17th cen. / Russia / Tempera on panel / Bible /

Goddess - a good -eyesight guardian; beginning of the 20th century (1901-00-00-1932-00-00);Jabłońska, Antonina (1901-1994), Jabłoński, Witold (1901-1957), Jabłoński, Witold (1901-1957)-collection, care deities (iconogr.), Chinese (culture), gift (provenance), Chinese art

Yi a lao wei pu sa jing, pt. 2, Frontispiece Achamo pusa jing. Frontispieces, Prints. 1850. Spencer Collection. Da zang jing, Buddhism , Sacred books, Buddhist literature, Chinese , Yuan dynasty, 1260-1368

A blue Tibetan demon about to eat a human body stretched between his hands. Gouache painting by a Tibetan artist.

CUBIERTA DE EVANGELIARIO S XIII. Location: MUSEU NACIONAL D'ART CATALUNYA. Barcelona. SPAIN.

'Manjushrikirti'. Tibet, Early 18th century. Dimensions: 131x70 cm. Museum: State Hermitage, St. Petersburg.

Guan Yu ca. 1700 Unidentified artist Guan Yu (d. A.D. 219), a warrior of the late Han dynasty (206 B.C.-A.D. 220) renowned for his valor and faithfulness, was later venerated as a saint in the Daoist pantheon. Elevated to the rank of emperor (di) by the Wanli emperor (r. 1573-1620) of the Ming dynasty, Guandi, as he was thenceforth known, served as a virtual patron saint of the Manchu rulers of the Qing dynasty, who erected numerous shrines in his honor throughout China. In this image, Emperor Guan is shown descending from the heavens accompanied by his two attendants. He is identified by an inscription written in gold in the upper right: Overseer of the Gate, Sage-Emperor Lord Guan.”The painting, which comes from a set of religious images used in water and land” (shuilu) rituals, is distinguished by its high level of craftsmanship, intricate detail, and lavish use of mineral pigments. An inscription in the lower right, Respectfully commissioned by the imperial prince Zhuang,” shows

The life of the Buddha Śākyamuni. Distemper painting by a Tibetan painter.

Mural painting in Wat yai Suwannaram, Phetchaburi, showing praying deities. Ayutthaya school, Thailand

Painted Banner (Thangka) of Green Tara Surrounded by Twenty Manifestations 1701-1800 Tibet. Pigment on cloth .

Enthroned Four-armed Bodhisattva, Leaf from a dispersed Pancavimsatisahasrika Prajnaparamita Manuscript ca. 1090 India (Bengal) or Bangladesh Enthroned four-armed bodhisattva, possibly Amoghapasa, a form of Avalokiteshvara, seated with legs crossed (sukhasana), hands raised in dharmacakra mudra, attended by a female devotee.. Enthroned Four-armed Bodhisattva, Leaf from a dispersed Pancavimsatisahasrika Prajnaparamita Manuscript 74853

Burma/Myanmar: Buddha fresco at the Khay Min Gha Temple (12th century), Bagan (Pagan) Ancient City (2015)

Paper Talisman with Buddha Image early 20th century Unidentified artist(s). Paper Talisman with Buddha Image. Unidentified artist(s) , early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Three pieces of chasuble. unknown, author

Disputations on a Chariot 1650-60 India. Disputations on a Chariot 37927

The Goddess Vasudhara Flanked by Kubera and a Fragmentary Durga. Culture: Nepal (Kathmandu Valley). Dimensions: Image: 11 3/8 x 22 in. (28.9 x 55.9 cm). Date: dated 1651.At left, Kubera sits with his consort, a deity associated with wealth. At the far right are the remains of a multi-armed goddess sitting on a lion who is almost certainly Durga. They bracket Vasudhara, who embodies the totality of Mahayana ideology symbolized by The Perfection of Wisdom manuscript she holds in her upper left hand. While the mala in her upper right hand refers to the pursuit of learning, her other attributes comment on abundance. Her lower right hand is held in varada mudra (boon-bestowing gesture), while her middle right hand holds a wish-fulfilling jewel. Her lower left hand holds a pot overflowing with foliage (purnaghata) and her middle left hand grasps a sheath of rice. The inscription at bottom relates that an artist named Kutu made the work in 1651. Museum: Metropolitan Museum of Art, New York,

Our Lady of Cocharcas Under the Baldachin Cuzco School. Our Lady of Cocharcas Under the Baldachin, 1765. Oil on canvas, 78 1/4 x 56 1/2in. (198.8 x 143.5cm). Private collections in Spanish America included large versions of extremely popular statue paintings,” which featured sculptures that had gained a wide following on account of miracles ascribed to them. In the viceroyalty of Peru, such sculptures included Our Lady of Copacabana (see illustration), a replica of which was brought to the town of Cocharcas, where it inspired a local devotion. Our Lady of Cocharcas is here borne on a cart and sheltered by a baldachin, carried in procession through a mountainous landscape with her devotees of all heritages in tow. Las colecciones privadas en Hispanoamérica incluían versiones en gran formato de las muy populares pinturas de esculturas,” las que representaban esculturas que habían conseguido muchos fieles gracias a los milagros que se les atribuían. En el virreinato del Perú, tales esc

Scene from the Drama "Sazareishi Suehiro Genji" Torii Kiyomasu I Japanese 12th month, 1743 or 1st month, 1744

Mandala of the Bodhisattva Monju (Manjushri) of the Eight Syllables 13th century Japan This intricate painting served a central role in an Esoteric Buddhist ritual intended to prevent natural disasters and illness. The primary deity, the bodhisattva Monju (Manjushri in Sanskrit), appears in the middle of the central white orb. Immediately surrounding him are eight Sanskrit letters written in gold, representing the eight sounds of the incantation at the heart of this ritual as well as Monjus eight youthful messengers. Four protective, wrathful deities known as Wisdom Kings appear just outside this most sacred sector of the mandala. The twenty-four subsidiary deities who occupy the outermost band consist of eight bodhisattvas, eight celestials (corresponding to the ordinal and cardinal directions of the compass), and their eight concubines, for a total of thirty-seven deities across three sectors of the painting.. Mandala of the Bodhisattva Monju (Manjushri) of the Eight Syllables 4013

New Year Picture of the Kitchen God 1939 Unidentified artist(s). New Year Picture of the Kitchen God. Unidentified artist(s) , early 20th century. China. 1939. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

St George the dragon-slayer. Date/Period: 1731. Cloth icon. Height: 1,080 mm (42.51 in); Width: 720 mm (28.34 in). Author: Kassibouri Theodosia.

Vulture Peak Assembly mid-18th century Unidentified artist. Vulture Peak Assembly. Unidentified artist. Korea. mid-18th century. Unmounted; ink, gold, silver and white pigment on silk. Joseon dynasty (1392-1910). Paintings

Ōtsu-e of Thirteen Buddhist Deities 17th century Japan The image of Thirteen Buddhist Deities was hung for memorials for the deceased held at fixed intervals over the days and years after death. Originally, a series of paintings depicting the deities individually was used, but this image combines them into one icon that could be employed repeatedly by less affluent families. The deities halos and mandorlas are woodblock printed with the same block, while a limited number of different blocks were used to give a measure of variety to the faces. The same block, for example, used for the head of the bodhisattva Jizō (Sanskrit: Kshitigarbha) was used for that of the King of Brightness, Fudō (Sanskrit: Achala) such that the latter loses his typically fierce countenance.. Ōtsu-e of Thirteen Buddhist Deities 36112

Buddha Amida's welcoming descent. Origin: Japan. Period: Kamakura period. Colored embroidery on silk panel. Date: 14th century. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Ganga on her transport led by a worshipper, with an upside down elephant in the river. Coloured transfer lithograph.

Image from a Set of Initiation Cards (Tsakali) 1299-1499 Tibet. Ink and watercolor on paper .

Title Page and Front Cover of a Buddhist Manuscript with Manjusri (left) and Mantramanudharani, a Pancharaksha Goddess (right) 1599-1799 Mongolia. Wood, ink, opaque watercolor, and gold on paper, with silk border and dust cover .

Taoist heaven - Pantheon. unknown, painter

Mandala of the Buddhist Deity Chakrasamvara. Nepal, Dated 1490. Paintings. Mineral pigments on cotton cloth

Taima Mandara (Mandala, Mystic Diagram, Based on the one at Taima Temple Taima Mandara (Mandala, Mystic Diagram, Based on the one at Taima Temple, 16th century. Hanging scroll, ink, color and gold on silk, 55 1/8 x 40 5/8 in. (140 x 103.2 cm). Asian Art 16th century

Paul Gauguin, French (1848-1903), Bouddha (Buddha), in or after 1895, woodcut in brown-black on japan paper

Attributes of dPal-ldan Lha-mo in a "rgyan tshogs" banner. Distemper painting by a Tibetan painter.

A page from the Diamond Sutra, printed in the 9th year of Xiantong Era of the Tang Dynasty, or 868 CE. The earliest complete examle a dated printed book, it was collected by Aurel Stein from the Mogao Caves, Dunhuang, Gansu, in 1907. The Diamond Sutra (Sanskrit: Vajracchedika Prajaaparamita Sutra) is a short and well-known Mahayana sutra of the Prajaaparamita or 'Perfection of Wisdom' genre and emphasizes the practice of non-abiding and non-attachment. The title properly translated is the Diamond Cutter of Perfect Wisdom although it is usual to refer to it as the Diamond Sutra. A copy of the Chinese version of Diamond Sutra found among the Dunhuang manuscripts in the early 20th century and dated back to 868 is in the words of the British Library, 'the earliest complete survival of a dated printed book'.

Drzeworyt z Buddą z czarką jałmużniczą. unknown, author

Vishnu and Lakshmi on Garuda, c. 1750. India, Rajasthan, Bundi school, 18th century. Ink and color on paper; overall: 12.7 x 15.7 cm (5 x 6 3/16 in.).

Sutra of Accumulated Treasures (Daihōshaku-kyō): Chapter 45, second half 12th century, Unknown Japanese, 10 in. (25.4 cm), Gold and silver on indigo paper, Japan, 12th century, The painted gold and silver frontispiece of this elegant sutra illustrates the Buddha flanked by two bodhisattvas delivering a sermon in a simplified landscape setting. Decorated scrolls of this type were commissioned in great numbers as a means of accruing religious merit. Based on stylistic similarities, this scroll may have been one of 5,400 commissioned by the retired emperor Toba in the mid-twelfth century. A number of these scrolls remain at Jingoji temple north of Kyoto. The text, beautifully written in standard block script, describes the ways bodhisattvas should conduct themselves in order to achieve enlightenment.

CHAKRASAMVARA AND VAJRAVARAHI, Buddhist, Nepal, 1570-1600, painting, distemper on cotton. Buddhist deity, Chakrasamvara, embracing his consort, Vajravarahi. Chakrasamvara, has a blue figure, four faces and twelve hands. The main face is blue, left face red, back face yellow, and right face white (BSLOC_2017_16_15)

Miniature tsakali with the image of a Buddhist deity cavity from a partner Jami on the bull; 1. PO. 20th century () (1901-00-00-1950-00-00);

The Goddess Ambika Leads the Mother Goddesses in Battle (recto); Text (verso); Folio from a Devimahatmya (Glory of the Goddess). Nepal, early 18th century. Manuscripts. Opaque watercolor and ink on paper

Initiation Card (Tsakalis). Culture: Tibet. Dimensions: Each 6 1/4 x 5 3/4 in. (16 x 14.5 cm). Date: early 15th century.Tsakali cards were used by itinerant teachers moving from one monastery to another in order to evoke Vajrayana Buddhist deities. When laid on the ground in the form of a mandala, as seen here, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards include the Tathagata Buddhas, various bodhisattvas, fierce protectors, and the six possible realms of rebirth seen across the bottom. They probably were made by a Nepali artist for a Tibetan patron of the Nyingma school of Tibetan Buddhism.Tsakali cards were used individually to align a disciple with a deity from the vast pantheon. First, the disciple sought permission from the deity, either through a dream or under the guidance of a teacher. The associated ritual involved visualizing the deity as described in recited mantras (incantations) and with an image--in t

Figure Seated on Lotus, from a Set of Initiation Cards (Tsakali). Southern Tibet. Date: 1299-1499. Dimensions: 16 x 14.5 cm (6 1/4 x 5 3/4 in.). Ink and watercolor on paper. Origin: Tibet. Museum: The Chicago Art Institute, Chicago, USA.

Initiation Card (Tsakalis) early 15th century Tibet Tsakali cards were used by itinerant teachers moving from one monastery to another in order to evoke Vajrayana Buddhist deities. When laid on the ground in the form of a mandala, as seen here, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards include the Tathagata Buddhas, various bodhisattvas, fierce protectors, and the six possible realms of rebirth seen across the bottom. They probably were made by a Nepali artist for a Tibetan patron of the Nyingma school of Tibetan Buddhism.Tsakali cards were used individually to align a disciple with a deity from the vast pantheon. First, the disciple sought permission from the deity, either through a dream or under the guidance of a teacher. The associated ritual involved visualizing the deity as described in recited mantras (incantations) and with an imagein this case, the deity represented on the tsakali.The cards form a mandala

Buddha and Attendants 17th-18th century Japan. Buddha and Attendants 45593

Paul Gauguin, Bouddha (Buddha), in or after 1895 Bouddha (Buddha)

Initiation Card (Tsakalis): Yama early 15th century Tibet Tsakali cards were used by itinerant teachers moving from one monastery to another in order to evoke Vajrayana Buddhist deities. When laid on the ground in the form of a mandala, as seen here, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards include the Tathagata Buddhas, various bodhisattvas, fierce protectors, and the six possible realms of rebirth seen across the bottom. They probably were made by a Nepali artist for a Tibetan patron of the Nyingma school of Tibetan Buddhism.Tsakali cards were used individually to align a disciple with a deity from the vast pantheon. First, the disciple sought permission from the deity, either through a dream or under the guidance of a teacher. The associated ritual involved visualizing the deity as described in recited mantras (incantations) and with an imagein this case, the deity represented on the tsakali.The cards form a m

Mahavira Rides in His Initiation Palanquin: Folio from a Kalpasutra Manuscript 15th century India (Gujarat) Mahavira rides through the streets in a palanquin resembling a portable celestial palace (vimana) prepared for him by Shakra and carried by four celebrants. Two female attendants cool him with fly-whisk fans (chauri), and poised on the pavilion roof are two celestial musicians (gandharvas) blowing conch-shell trumpets in celebration. The depiction fits well with descriptions of festival processions provided in the Kalpasutra. This event marks Mahavira's final journey to the neighboring forest, where he renounces all worldly attachments.. Mahavira Rides in His Initiation Palanquin: Folio from a Kalpasutra Manuscript. India (Gujarat). 15th century. Ink, opaque watercolor, and gold on paper. Paintings

Manichaeism was one of the major Iranian Gnostic religions, originating in Sassanid Persia. Although most of the original writings of the founding prophet Mani (c. 216-276 CE) have been lost, numerous translations and fragmentary texts have survived. Manichaeism taught an elaborate cosmology describing the struggle between a good, spiritual world of light, and an evil, material world of darkness. Through an ongoing process which takes place in human history, light is gradually removed from the world of matter and returned to the world of light from which it came. Its beliefs can be seen as a synthesis of Christianity, Zoroastrianism and Buddhism. Manichaeism thrived between the third and seventh centuries, and at its height was one of the most widespread religions in the world. Manichaean churches and scriptures existed as far east as China and as far west as the Roman Empire. Manichaeism survived longer in the east, and appears to have finally faded away after the 14th century in sout

One of a Pair of Magical Charms (Dharani) Manuscript Covers 1701-1800 Nepal. Pigment and metallic paint on wood .

New Year Picture of the scene of making offering at the pagoda in the drama, Baishe zhuan (Tale of the White Snake) early 20th century Unidentified artist(s). New Year Picture of the scene of making offering at the pagoda in the drama, Baishe zhuan (Tale of the White Snake). Unidentified artist(s) , early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Shakyamuni Triad, c. 1200-1333. Japan, Kamakura period (1185-1333). Hanging scroll; ink, color, gold and cut-gold on silk; including mounting: 226 x 140.7 cm (89 x 55 3/8 in.).

St. Franciscus, Reijer Stolk, 1926 print Sint Francis of Assisi, standing in the water, surrounded by animals. paper founder of the Order of Friars Minor (Franciscans), Francis(cus) of Assisi; possible attributes: book, crucifix, lily, skull, stigmata

If You Love Me, Keep My | Commandments. (Two grades adoring the great spirit); Alais, John (Ca 1778-Fl. Ca 1820); 1803-1820 (1803-00-00-1820-00-00);

Family tree of the gender of Cornets-de Groot, united with the gender of givers.

Page from Dresden Maya manuscript showing section of a 'tonalamatl', a sacred season of 260 days. God Quetalcoatl is represented to left and right, centre ferrying a woman, and bottom left with an axe. Chromolithograph

Canon Table Page.

A deity of wealth with four acolytes; beginning of the 20th century (1901-00-00-1932-00-00);

American 20th Century, Plate 40 St John Nepomuk From Portfolio Spanish Colonial Designs of New Mexico, 1935 1942 Plate 40: St. John Nepomuk: From Portfolio Spanish Colonial Designs of New Mexico

Japan, Kamakura, Nishimikado, Temple print for the Nishimikado in Kamakura, under print on back sheet - stamped, Bodhisattva seated on lotus flower against a circular background in which two dragons., print, prent, prints, Japan (collection), height 115 mm, width 103 mm, print maker, printmaker, paper, woodcut

Buddha and pupils, Uigar period , Silk Road from Ming-oi, 8th cent. CHINA.

Initiation Card (Tsakalis): Mahakala. Culture: Tibet. Dimensions: Each 6 1/4 x 5 3/4 in. (16 x 14.5 cm). Date: early 15th century.Tsakali cards were used by itinerant teachers moving from one monastery to another in order to evoke Vajrayana Buddhist deities. When laid on the ground in the form of a mandala, as seen here, they functioned to create a fixed sacred space like that of a temple. The deities shown on these initiation cards include the Tathagata Buddhas, various bodhisattvas, fierce protectors, and the six possible realms of rebirth seen across the bottom. They probably were made by a Nepali artist for a Tibetan patron of the Nyingma school of Tibetan Buddhism.Tsakali cards were used individually to align a disciple with a deity from the vast pantheon. First, the disciple sought permission from the deity, either through a dream or under the guidance of a teacher. The associated ritual involved visualizing the deity as described in recited mantras (incantations) and with an i

Lady Offering Food to a Monk, From a Set of Initiation Cards (Tsakali) 1301-1500 Tibet. Ink and watercolor on paper .

Diagram of Earth's deities; 1. PO. 20th century (1901-00-00-1950-00-00);

'Arhat Bhadra'. Tibet, 17th century. Dimensions: 77,5x52 cm. Museum: State Hermitage, St. Petersburg.

'Bodhisattvas and monks'. China, Xinjiang, Karashar, Shiksha monastery, 8th century. Dimensions: 144x101 cm. Museum: State Hermitage, St. Petersburg.

Ganesha, c. 1890. Eastern India, Bengal, Kolkata, Kalighat. Watercolor, graphite, and tin on paper lined with cloth; secondary support: 47 x 30.5 cm (18 1/2 x 12 in.); painting only: 43 x 27.4 cm (16 15/16 x 10 13/16 in.). Ganesh, seated here in these two images on his vehicle, the mouse, is the ever-popular elephant-headed deity who is worshipped as the mischievous Lord of Beginnings and Remover of Obstacles. Hindus worship him before they begin journeys, at the start of the day, and at the beginning of any auspicious occasion. Ganesh is the son of Shiva and Parvati, Shivas wife, and is fashioned from the dirt of her body. At his mothers request, Ganesh guarded her as she bathed, only to be confronted by Shiva, Parvatis husband, who was refused entry. Enraged (and not knowing that Ganesh was his son), Shiva beheaded him and entered. Parvati demanded that Ganesh be restored. To appease his wife, Shiva sent his attendants to return with the head of the first creature they encountere

Textile Panel with Demonic Battle Scenes, Likely from the Devi Mahatmya ca. 15th century Nepal, Kathmandu Valley This remarkably fine Nepalese figurative embroidery is a rare survivor of an important genre of textile art. The fragment may have formed part of a religious hanging associated with a Hindu temple. The scenes, while incomplete, likely represent episodes of the goddess Durga battling demons from the Devi Mahatmya, the principal liturgical text devoted to the goddess in this emanation.. Textile Panel with Demonic Battle Scenes, Likely from the Devi Mahatmya. Nepal, Kathmandu Valley. ca. 15th century. Silk embroidery on polished cotton. Textiles-Embroidered

Colored woodcut by an anonymous artist from the mid-15th century depicting the resurrection of Christ, showing figures and composition.

Lotus from a Set of Initiation Cards (Tsakali) 1299-1499 Tibet. Ink and watercolor on paper .

Page of a sketchbook; Heavenly powers helping pious; Sketch for potrait of saint; Decoration of pediment, Jan van der Straet, called Stradanus, Flemish, 1523-1605, Bistre, pen and ink, wash on paper, Horizontal rectangle. Verso, at left side: St. Anthony Hermit, with Tan cross and bell, stands at the right of the bed. Hell is represented in front of the bed. At left are two flying angels and a third person, fragmentary, covering the dying person. The upper one of the angels holds a scroll. Above, at right, the bands of Christ, God the Father, and Mary. The Dove flies before God the Father. Written beside, at left: 'Padre figliolo e maria / spiritu sante.' Written in the low right corner: 'la carte / uno angele in mane.' Caption: 'malata linferno e el paradiso e santi / diaveli fugano e purgatorio langeli / recomandino lanima a dio.' '2' is written above, ar right. Seprated by a strip at right. A monk with two crying women kneeling beside him. Devils are at right. Angels to the left of

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