Tibetan Buddhist Art

Vibrant thangka paintings of Tibetan deities, featuring intricate details, bright colors, and spiritual symbolism typical of Buddhist art.

Thangka of Vajrakila and Diptachakra, late 19th century, 33 3/8 x 20 7/16 in. (84.77 x 51.91 cm) (image), Ink colors and gold on sized cotton, Tibet, 19th century, In Tibetan Buddhist practice, buddhas and bodhisattvas can express both benevolent and wrathful sides. Vajrakila is a wrathful form of the Cosmic Buddha Vajrasattva, a purifying force who valiantly tramples obstacles on the path to enlightenment. Vajrakila is shown in the center, in union with the female deity Diptachakra, who represents wisdom. The focal meditational deity is surrounded by 10 miniature Vajrakila images, their lower bodies in the form of a triangular ritual dagger to peg down evil forces. Vajrakilas garments further heighten the graphic vision, with distended eyeballs representing the conquest over human afflictions, such as desire, illusion, and ignorance. Below are guardian deities of the four directions, and above is Padmasambava, a Buddhist monk to whom Vajrakila is said to have appeared in a mystic rev

A mural of the Tibetan Buddhist deity Amitayus , Tagong Monastery (Lhagang ) - Kham (E. Tibet), Sichuan Province, China

Nepal, Mustang, traditional thangka festival

Mahakala and Companions. Central Tibet, a Sakyapa Monastery, 19th century. Paintings. Mineral pigments on cotton cloth; silk brocade borders

Thangka of Vajrakila and Diptachakra, late 19th century, 33 3/8 x 20 7/16 in. (84.77 x 51.91 cm) (image), Ink colors and gold on sized cotton, Tibet, 19th century, In Tibetan Buddhist practice, buddhas and bodhisattvas can express both benevolent and wrathful sides. Vajrakila is a wrathful form of the Cosmic Buddha Vajrasattva, a purifying force who valiantly tramples obstacles on the path to enlightenment. Vajrakila is shown in the center, in union with the female deity Diptachakra, who represents wisdom. The focal meditational deity is surrounded by 10 miniature Vajrakila images, their lower bodies in the form of a triangular ritual dagger to peg down evil forces. Vajrakilas garments further heighten the graphic vision, with distended eyeballs representing the conquest over human afflictions, such as desire, illusion, and ignorance. Below are guardian deities of the four directions, and above is Padmasambava, a Buddhist monk to whom Vajrakila is said to have appeared in a mystic rev

'Pure Land of Buddha Amitabha'. Tibet, Late 18th century. Dimensions: 45,5x37 cm. Museum: State Hermitage, St. Petersburg.

'White Tara with her Retinue'. Tibet, Late 18th century. Dimensions: 65x39,5 cm. Museum: State Hermitage, St. Petersburg.

Manjushri, the Bodhisattva of Transcendent Wisdom 17th-18th century China. Manjushri, the Bodhisattva of Transcendent Wisdom 58896

'Fortune Telling Icon'. Buryatia, late 19th century. Dimensions: 6x4 cm. Museum: State Hermitage, St. Petersburg.

Bodhisattva Padmapani, early 1700s. Tibet, 18th century. Ink and slight color on cotton; overall: 57.6 x 42.4 cm (22 11/16 x 16 11/16 in.). A

Thanka with Buddha 19th century Tibet. Thanka with Buddha. Tibet. 19th century. Distemper on cloth. Paintings

The Buddha. Gouache.

Miniature tsakali presenting Gowijn Lha deities; 2. PO. 19th century -1. after. 20th century (1851-00-00-1950-00-00);Himalayan (culture), the art of Tibetan Buddhism, Himalayan art

17th century Central Tibeten thanka of Guhyasamaja Akshobhyavajra

Tsuglag Gyatso, the Third Pawo Rinpoche (c. 1567-1630). Date/Period: First half of the 17th century. Painting. Pigments on cloth Pigments on cloth. Author: UNKNOWN.

Thangka of an eleven-headed Avalokiteshvara, late 18th century, 29 3/16 x 17 15/16 in. (74.14 x 45.56 cm) (image)42 1/2 x 25 3/8 in. (107.95 x 64.45 cm) (framed), Ink and color on silk, Tibet, 18th century, This thangka, a scroll painting on cloth, was designed to be hung in a monastery or private shrine. Easily rolled for storage or transport, thankas are used as meditational tools. The central deity is Avalokiteshvara, the bodhisattva of compassion, who takes a form with 11 heads and multiple arms, emphasizing his boundless knowledge and ability to help innumerable devotees at once. The bodhisattva is shown emanating from a chorten or stupa (a structure that holds relicsa model of which is seen in the case behind), which represents the historical Buddha; celestial Buddhas are depicted in surrounding heavenly roundels. Below, earthly beings make offerings to Avalokiteshvara.

The Buddhist Guardian Mahabala, 16th century, 85 9/16 x 41 1/8 in. (217.33 x 104.46 cm) (image)91 1/4 x 46 3/16 in. (231.78 x 117.32 cm) (outer frame), Ink, colors and gold on silk, China, 16th century, The cartouche in the upper left corner of this painting identifies the chief figure as 'Dali mingwang' or Mahabala, one of the ten (or eight) Buddhist guardian kings. According to Esoteric Buddhism, Mahabala is a fearsome emanation of Amitabha and a guardian of the northwestern quarter. In this painting, the powerful protector adopts an aggressive expression and stance. Wearing chest armor, he sits astride a white bull, brandishing a variety of weapons in his eight hands. He is depicted with three heads. While the two faces are pacific, the primary one is wrathful, fanged, and terrifying. His hair rises straight upwards, which heighten the sense of ferociousness. Above him sits an image of Shakyamuni as indicated by the cartouche, which also appears on Mahabalas crown (but according to

'Fortune Telling Icon'. Buryatia, late 19th century. Dimensions: 6x4 cm. Museum: State Hermitage, St. Petersburg.

One of the Twelve Devas: Bonten 14th century Japan. One of the Twelve Devas: Bonten 45612

Japan: The bodhisattva Fugen Bosatsu (Samantabhadra), hanging scroll, painting on silk, Heian Period (12th Century), Tokyo National Museum

The fullness accepts the victims; Qing era (1644-1911) (1570-00-00-1700-00-00);Knothe, Jerzy (1917 -2002), Knothe, Jerzy (1917 -2002)-collection, Chinese Buddhism, Demons, coil painting, Chinese art, purchase (provenance), scrolls, vertical ganglia

'Fortune Telling Icon'. Buryatia, late 19th century. Dimensions: 6x4 cm. Museum: State Hermitage, St. Petersburg.

Tibetan tantric goddess. Kopan monastery.

'Fortune Telling Icon'. Buryatia, late 19th century. Dimensions: 6x4 cm. Museum: State Hermitage, St. Petersburg.

Close-up of one of the four guardians painted on the gate of the Ariyabal Meditation temple in Gorkhi Terelj National Park, which is 60 km from Ulaanbaatar, Mongolia.

The white Tārā. Distemper painting.

Rahula and his Assembly. Date/Period: 19th century. Painting. Distemper on cloth Distemper on cloth. Author: UNKNOWN.

Bodhisattva Avalokitesvara with 1000 hands and 1000 eyes, painting on silk, c.981 AD, Song Dynasty, from caves at Mogao (Gansu), Dunhuang

Avalokitesvara, Bodhisattva with a thousand arms and thousand eyes, 981, painting on silk, China. Chinese Civilisation, 6th year of the Taiping Xingguo Period, 10th century.

Buddhist Attendant, Possibly a Dakini late 18th century Eastern Tibet This dancing goddess, perhaps intended to represent a perfected female being (dakini), honors the Buddhist wheel of wisdom (dharmachakra), which she holds in her right hand, flanked by golden fish and surmounted by a conch, symbols of auspiciousness. In her left she holds a lotus flower, which may relate her to the bodhisattva Avalokiteshvara. This sheet was part of a larger composition (now lost).. Buddhist Attendant, Possibly a Dakini 37819

BuddhaArtist UnknownBodhgaya, Bihar, India

Tibetan Buddhism, old wall painting in the assembly hall, representation of Buddha, Chemre Gompa Monastery near Leh, Ladakh district, Jammu and Kashmir, India, South Asia, Asia

Initiation Card (Tsakalis): Amoghasiddhi 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

Previous Lives of Shakyamuni Buddha. Date/Period: 19th century. Painting. Pigments on cloth Pigments on cloth. Height: 869.95 mm (34.25 in); Width: 565.15 mm (22.25 in). Author: UNKNOWN.

It is estimated that between two thirds and three quarters of the Bhutanese population follow Vajrayana Buddhism, which is also the state religion. About one quarter to one third are followers of Hinduism. Buddhism was introduced to Bhutan in the 7th century AD. According to legend, Guru Rinpoche ordered the Tibetan king Trisong Detsen to have 108 temples built all over the Himalayas. Doing so would aid in subduing a demoness and allow for the construction of Samye Temple in neighbouring Tibet.

Nepal, Kathmandu, Boudinath Stupa. Detail of a Thanka, a religious painting showing the life of the Buddha at Boudinath.

A dakini (Sanskrit: ḍākinī; Tibetan: khandroma) is a tantric deity described as a female embodiment of enlightened energy. In the Tibetan language, dakini is rendered khandroma which means 'she who traverses the sky' or 'she who moves in space'. Sometimes the term is translated poetically as 'sky dancer' or 'sky walker'. The dakini, in all her varied forms, is an important figure in Tibetan Buddhism. She is so central to the requirements for a practitioner to attain full enlightenment as a Buddha that she appears in a tantric formulation of the Buddhist Three Jewels refuge formula known as the Three Roots. Most commonly she appears as the protector, alongside a guru and yidam (enlightened being). Although dakini figures appear in Hinduism and in the Bön tradition, dakini are particularly prevalent in Vajrayana Buddhism and have been particularly conceived in Tibetan Buddhism where the dakini, generally of volatile or wrathful temperament, act somewhat as a muse for spiritual practice.

'Kalachakra with Prajna'. Buryatia, Early 20th century. Dimensions: 14x12,5 cm. Museum: State Hermitage, St. Petersburg.

Initiation Card (Tsakalis): Ratnasambhava. 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

The Abbot Mkhas-grub Rje, late 18th century-19th century, 33 1/2 x 23 3/4 in. (85.09 x 60.33 cm), Silk brocade (Tib: thag-drub-ma), China, 18th-19th century, This exceptionally fine silk brocade was probably woven in Peking for the Tibetan market. Some thankas were made from woodblock prints, painted and brought to Peking where Chinese weavers made copies on their looms. This thanka with its Chinese mounting is from a set of woven copies modeled after an earlier Tibetan painting.

'Sakya Pandita'. Tibet, Early 18th century. Dimensions: 67x41 cm. Museum: State Hermitage, St. Petersburg.

Yellow orange Colourful painting of Gautam Buddha on wall in Tibetan temple Norbulinka monastery, Dharamshala, Himachal Pradesh, Himalaya, India Copyright: xRavixShekhar/DinodiaxPhotox

Deshin Shekpa (1384-1415), also Deshin Shegpa, was the fifth Gyalwa Karmapa, head of the Kagyu School of Tibetan Buddhism. Deshin Shekpa was born in Nyang Dam in the south of Tibet. According to the legend he said after being born: 'I am the Karmapa. Om mani padme hum shri.' Deshin Shekpa was taken to Tsawa Phu who recognized him as the reincarnation of the Karmapa. Deshin traveled extensively through Tibet and Mongolia and taught people about non-violence. After having finished his education, he was invited in 1403 by the emperor of China, because Emperor Zhu Di, the Yongle Emperor, (1402-1424) had a vision of Avalokitesvara. He also required religious ceremonies to be held for his deceased parents. The Karmapa was very well received in China and a number of miraculous occurrences are reported. He also performed ceremonies for the emperor's family. The emperor presented him with 700 measures of silver objects and bestowed the title of 'Precious Religious King, Great Loving One of the

Palden Lhamo ( Ri Devi); 19th century (1800-00-00-1900-00-00);

The Bodhisattva Shadakshari Lokeshvara

Seated Four-Armed Ganesha ca. 1775 India (Rajasthan, Bundi) Ganesha, the Hindu god of good fortune is shown sitting on a multitiered lotusholding in his left hand a manuscript and water pot, and in his upper right an elephant goad. His lower right hand is placed on his stomach. Below him, facing a wheel-like device are two rats; as an animal that can overcome any obstacle, the rat is appropriate as this god's vehicle.. Seated Four-Armed Ganesha 37928

Painting of Buddhist deities on Phyang Monastery, Leh, Ladakh, India. Painting of Buddhist deities on Phyang Monastery, Leh, Ladakh, India. Copyright: xZoonar.com/RealityImagesx 22017986

Tibetan Buddhist Deity Green Tara, Tagong Monastery (Lhagang ) - Kham (E. Tibet), Sichuan Province, China

'Sakya Pandita'. Tibet, Early 18th century. Dimensions: 70x42 cm. Museum: State Hermitage, St. Petersburg.

Amitabha triad. Artist: Unidentified Artist. Culture: Korea. Dimensions: Image: 45 1/4 x 23 1/4 in. (114.9 x 59.1 cm)Overall with mounting: 83 1/4 x 31 1/2 in. (211.5 x 80 cm)Overall with knobs: 83 1/4 x 34 in. (211.5 x 86.4 cm). Date: ca. 13th century.The Amitabha Buddha (Korean: Amita) was the focus of worship in Pure Land Buddhism, which enjoyed great popularity during the Goryeo period. Devotees were promised entrance to Amitabha's Western Paradise upon recitation of his name. Seated high on an elaborate lotus throne, Amitabha is flanked by two bodhisattvas, Avalokiteshvara (Korean: Gwaneum) on his left and Mahasthamaprapta (Korean: Dae Seji) on his right. The identifying attributes of the former include a miniature image of Amitabha in her crown and a ritual sprinkler, or kundika, in her left hand; the latter can be identified by the kundika in her crown. The Buddha's hand gesture, or mudra, represents the preaching of Buddhist law. The symbol on his chest, associated with Budd

Portrait of Taglung Thangpa Chenpo Portrait of Taglung Thangpa Chenpo, early to mid 14th century. Opaque watercolor and gold on cotton, 20 3/8 x 15 in. (51.8 x 38.1 cm). Asian Art early to mid 14th century

Karma Amitayus, From a Mandala of the Ninefold Amitayus. Central Tibet, Phanyul Valley (), circa 1170-1189. Paintings. Mineral pigments and gold on cotton cloth

Asian Civlisations Museum. Vishnu in the form of universe. India, Andhra Pradesh, 19 th century. Paper, pigments, metal pigments. Singapore.

Exterior door detail into a Buddhist monastery, Bhutan.

Mural on wall, Tachog Lhakhang Dzong, Paro Valley, Bhutan

Kālī is the Hindu goddess associated with eternal energy. 'She who destroys'. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Kali means 'the black one'. Since Shiva is called Kāla - the eternal time, Kālī, his consort, also means 'Time' or 'Death' (as in time has come). Hence, Kali is considered the goddess of time and change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation still has some influence. Various Shakta Hindu cosmologies, as well as Shakta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatarini (literally 'redeemer of the universe'). Kali is represented as the consort of Lord Shiva, on whose body she is often seen standing. She is associated with many other Hindu goddesses like Durga, Bhadrakali, Sati, Rudrani, Parvati and Chamunda. She is the foremost among the Dasa Mahavidyas, ten fierce Tantric goddesses.

Previous Birth Stories of the Buddha. Eastern Tibet, 17th century. Paintings. Mineral pigments and gold on cotton cloth

The Mogao Caves, or Mogao Grottoes (Chinese: Mògāo kū) (also known as the Caves of the Thousand Buddhas and Dunhuang Caves) form a system of 492 temples 25 km (15.5 miles) southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years. The first caves were dug out 366 CE as places of Buddhist meditation and worship. The Mogao Caves are the best known of the Chinese Buddhist grottoes and, along with Longmen Grottoes and Yungang Grottoes, are one of the three famous ancient sculptural sites of China. The caves also have famous wall paintings.

Vajrabhairava Yamantaka Anonymous. , 19th century. Color on cloth, Image: 33 x 21 1/2 in. (83.8 x 54.6 cm). This thangka, or painting on cloth, shows the multi-headed, multi-limbed, buffalo-horned god Vajrabhairava stomping on his enemies. Barely visible against him is his similarly fierce (and blue) female partner, Vajravetali. Vajrabhairava is one of Buddhisms most intimidating deities. His worship is only for advanced practitioners. His alternate name, Yamantaka (Conqueror of Death), celebrates his role in combatting both the fear of mortality and mortality itself. Asian Art 19th century

La Boulaye, TEMPLE OF THE 1000 BUDDHAS, founded in 1987 by Tibetan monks. Lamaist centre linked to a university for Tibetology, entrance gate, mural painting on the left flank wall

'Fragment of the depiction of the Buddha and 16 Arhats'. Tibet, Late 18th - early 19th century. Dimensions: 51x32,5 cm. Museum: State Hermitage, St. Petersburg.

Guanyin of the Thousand Arms, Musée Guimet, Paris. Dated AD 981. Tibetan Mandala. Guanyin or Guan Yin is an East Asian bodhisattva associated with compassion as venerated by Mahayana Buddhists.

Buddha Shakyamuni with disciples early 18th century China Commissioned by the Qing imperial court, this stunning embroidery hanging features Tibetan-style Buddhist images. The large central Buddha sits on a lotus throne carried by lions, with his right hand in earth-touching mudra and his left in meditation mudra. The two small figures in front are the Buddhas primary disciples: the youthful Ananda and the older Kashyapa. At the top, Tsongkhapa (1357-1419), the founder of the Gelug school of Tibetan Buddhism, is joined by two disciples. The uncommonly delicate embroidery successfully displays the solemnity of the Buddha and the piety of his disciples.. Buddha Shakyamuni with disciples. China. early 18th century. Silk and metal thread embroidery. Qing dynasty (1644-1911). Textiles-Embroidered

Sakyasri and the Lostsawa of Trophu. Central Tibet, circa 1700. Paintings. Mineral pigments on cotton cloth

Life of Buddha. Temptation and enlightement.

Chakrasamvara. Date/Period: 18th century. Painting. Pigments on cloth Pigments on cloth. Height: 977.90 mm (38.50 in); Width: 673.10 mm (26.50 in). Author: UNKNOWN.

The Deity Vajrabhairava, Tantric Form of the Bodhisattva Manjushri early 15th century China The most popular tantric manifestation of Manjushri is Vajrabhairava. Here, he has a buffalo head, holds an array of weapons, and tramples on birds, dogs, and Hindu gods. In this form, he is sometimes called Yamantaka, or the defeater of death, a deity that ends the cycle of rebirth and provides a path to nirvana. He frightens away egotism and selfishnessthe root of sufferingand in this true form reveals the awesome and terrifying nature of enlightenment. For this extraordinary embroidery, the artist employed fine silk floss to achieve brilliant gradations of color and used horsehair underneath to create three-dimensional effects. The work was likely part of a group given by the Yongle-period emperor Chengzu to a Tibetan monk who conducted Vajrayana rituals in the Chinese court in 1415-16.. The Deity Vajrabhairava, Tantric Form of the Bodhisattva Manjushri. China. early 15th century. Embroider

Virupaksha GAURDIAN OF THE WEST (originally Bon deity), WALL FRESCO to protect gompa (monastery) entrance, LAMAYURU - LADAKH

A painting of LING KESAR one of the GAURDIANS OF THE FOUR DIRECTIONS at the MILAREPA CAVE near NYALAM, TIBET

The Attainment of Perfect Knowledge (Siddha) by Mahavira's Disciple Indrabhuti Gautama: Folio from a Kalpasutra Manuscript 15th century India (Gujarat) The night Mahavira died, his principal disciple reflected on his master's passing and experienced enlightenment. Indrabhuti is dressed in the white robes of a Svetambara monk, carries a cloth face mask, or mohapatti (to prevent inadvertently swallowing even microscopic life forms), over his right shoulder, has a small broom (for harmlessly brushing away even the smallest insects) at his right thigh, and holds a meditation rosary (mala). He is seated on a throne before which blooms a red lotus. The trees are also in flower, as if in recognition of his newly attained siddha-hood.. The Attainment of Perfect Knowledge (Siddha) by Mahavira's Disciple Indrabhuti Gautama: Folio from a Kalpasutra Manuscript. India (Gujarat). 15th century. Ink, opaque watercolor, and gold on paper. Paintings

Fūten, the Wind Deity one of a set of Twelve Devas, 14th-15th century, Unknown Japanese, 38 x 15 1/2 in. (96.52 x 39.37 cm), Ink, color, gold, and cut gold leaf (kirikane) on silk, Japan, 14th-15th century, Fūten, or Vāyu in Sanskrit, is the Wind Diety and, as one of the Twelve Devas serves as guardian of the northwest.

Miroku Bosatsu 14th century Japan Miroku Bosatsu (Sanskrit: Maitreya Bodhisattva), the future Buddha, resides in the Tushita heaven, awaiting rebirth on earth. He usually has a princely appearance and holds a stupa. Legends say that Vasubandhu and Asanga, the great Indian philosophers of the Hoss sect, received teachings directly from Miroku Bosatsu. Shell powder was not used to build up the surface underneath the application of gold, suggesting that the painting was probably produced at the end of the Kamakura period, before that practice became prevalent.. Miroku Bosatsu. Japan. 14th century. Hanging scroll; ink, color, and gold on silk. Kamakura period (1185-1333). Paintings

China, Xizang, Wall painting; Lhasa, Drepung Monastery

Vintage Religious Art. Tantric Buddha Vairochana as Vajrasattva, c. 1150-1200. Central Tibet

Painting of God Vaishravana in Tamshing Goemba, Chokhor Valley, Bumthang District, Bhutan

The Bodhisattva Akasagarbha (Kokuzo Bosatsu) by Anonymous / Tokyo National Museum / 12th century / Japan / Tempera on silk / Mythology, Allegory and Literature / 132x84 / The Oriental Arts

Offerings to Wrathful Deities late 16th-17th century Tibet This black-ground (Tibetan: nag thang) painting was installed in the chapel (gonkhang) dedicated to the wrathful protective deities (dharmapalas), a room reserved for tantric initiation rites within a Tibetan monastery. The exceptional scale and complexity of the composition relate the painting to the offering-scene murals known as sets of ornaments” (Tibetan: rgyan tshogs) that adorn the interiors of shrines dedicated to the dharmapalas. Two wrathful tantric deities are represented with flames emanating from their beings, standing on a male corpse atop a lotus pedestal. They are draped in flayed skins and garlands of severed human heads. Offerings of flayed skins, ritual utensils and objects, and a vast assortment of weapons fill the interior. Framing the scene above is a curtain of flayed human skins and organ entrails.. Offerings to Wrathful Deities. Tibet. late 16th-17th century. Distemper and ink on cloth. Paintings

Mural depicting Life of Buddha, Jogyesa Temple, Seoul, South Korea

Guru Chökyi Wangchuk (1212-1270). Bhutan, 19th century. Paintings. Mineral pigments and gold on cotton cloth; silk border

Green Tara, Folio from a dispersed Ashtasahasrika Prajnaparamita (Perfection of Wisdom) Manuscript. Culture: India (Bengal) or Bangladesh. Dimensions: 2 3/4 x 16 1/2 in. (7 x 41.9 cm). Date: early 12th century.Enshrined image of Green Tara, holding a blue lotus, making the gesture of granting boons, with two female attendants, one holding a vajra; the other, Mahakali, holding a flaying knife and skullcup (kapala). Museum: Metropolitan Museum of Art, New York, USA.

Mural of Yellow Tara in a Tibetan Monastery in Dabpa County, Kham - Sichuan Province, China, (Tibet)

The Arhat Vajraputra 15th century Unidentified artist Tibetan Buddhism, imported in China by Mongol rulers in the thirteenth century, enjoyed further patronage from fifteenth-century emperors of the early Ming period. This work vividly demonstrates how hieratic Tibetan imagery was transformed under Chinese influence into a more naturalistic style, witnessed most strongly in the Sinicized treatment of landscapes. This painting, originally part of a set depicting the sixteen arhats (Buddhist saints), portrays Vajraputra, his hand raised in the teaching gesture (vitarkamudra), expounding dharma to a devotee. Tibetan inscriptions appear on the lower left margin and on the reverse.. The Arhat Vajraputra 41473

Guardian of Yamantaka law, who puts an end to death, Tibet. Tibetan Civilisation, 19th century.

Avalokiteśvara (Sanskrit: वलोकितेश्वर lit. 'Lord who looks down') is a bodhisattva who embodies the compassion of all Buddhas. He is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism. The original name for this bodhisattva was Avalokitasvara. The Chinese name for Avalokitasvara is Guānshìyīn Púsà (觀世音菩薩), which is a translation of the earlier name 'Avalokitasvara Bodhisattva'. This bodhisattva is variably depicted as male or female, and may also be referred to simply as Guānyīn in certain contexts. In Sanskrit, Avalokitesvara is also referred to as Padmapāni ('Holder of the Lotus') or Lokeśvara ('Lord of the World'). In Tibetan, Avalokiteśvara is known as Chenrezig, སྤྱན་རས་གཟིགས་ (Wylie: Spyan ras gzigs) and is said to be incarnated in the Dalai Lama, the Karmapa and other high lamas. Mahāyāna Buddhism relates Avalokiteśvara to the six-syllable mantra: 'oṃ maṇipadme hūṃ'. Due to his association with this mantra, in Tibetan Buddhism Avalokiteśvara is also cal

Tibetan Buddhist Thanka depicting the deities and Lamas of the Geluk Order. Painted silk and cotton, beginning of 20th century. A thangka, (tangka, thanka or Tanka) is a Tibetan Buddhist painting on cotton, or silk appliqué, usually depicting a Buddhist deity, scene, or mandala

Mandarava is, along with Yeshe Tsogyal, one of the two principal consorts of Padmasambhava and is considered a female guru-deity in Buddhism. Mandarava, born a princess in Mandi, Himachel Pradesh, India in the 8th Century CE, renounced her royal birthright in order to practice the Dharma, and became a fully realized spiritual adept and great teacher.

Panel from a Buddhist Ritual Crown Depicting Vairocana late 13th-early 14th century Tibet This panel survives from one of the finest ritual crowns of the high period of Tibetan painting. Guarding the base of Vairocanas crown are lions which also serve as his vehicle. Vairocana, who presides over the five Transcendent Buddhas, makes the esoteric bodhyagri gesture while holding a thunderbolt (vajra) scepter in his right hand. He wears a multi-tiered crown which is broadly contemporary.. Panel from a Buddhist Ritual Crown Depicting Vairocana. Tibet. late 13th-early 14th century. Distemper on wood. Paintings

Mural of Blue Heruka (Hayagriva) yabyum with tutelary deities in a Tibetan Monastery in Dabpa County, Kham - Sichuan Province, China, (Tibet)

Painting with a representation of the Archat Cudapantaka. Painting with a representation of the archat cudapantaka that is sitting with a seated legs on a chair. A number of Tibetan inscriptions on the back. (The paint is worn out in many places)

fine arts, China, Uyghur painting, demon with lamp, fresco, Bezeklik Monastary, 8th/9th century, Museum for Asian Art, Berlin,

Bodhisattva Padmapani, Leaf from a dispersed Ashtasahasrika Prajnaparamita (Perfection of Wisdom) Manuscript 12th century India (Bihar or West Bengal) Bodhisattva Padmapani offering protection (abhaya mudra), seated in royal ease (rajalilasana) and holding a lotus flower supporting a sword. Bodhisattva Padmapani, Leaf from a dispersed Ashtasahasrika Prajnaparamita (Perfection of Wisdom) Manuscript 74886

Guardians of Gompa entrance, Rumtek Monastery, near Gangtok, Sikkim Himalaya, India

Buddha in the Preaching Attitude, 618-1279. China, Tang dynasty (618-907) - Song dynasty (960-1279). Fresco; overall: 49 x 35 cm (19 5/16 x 13 3/4 in.).

Amita Buddha Preaching Korean. Amita Buddha Preaching, early 19th century. Hanging scroll: color on cloth, Overall: 86 1/2 × 35 1/2 in. (219.7 × 90.2 cm). Asian Art early 19th century

Hanging Scroll of Lama 17th century Tibet. Hanging Scroll of Lama 37818

Arhat Nagasena (One of Nine Tibetan Ritual Paintings of Arhats) , 17th century. Opaque watercolor on silk mounted on a paper and wood frame, Each painting: 43 x 25 1/2 in. Asian Art 17th century

Sonam Tsemo (1142-1182) and His Lineage. Central Tibet, Ngor Monastery, early 17th century. Paintings. Mineral pigments and gold on cotton cloth

A stupa (Sanskrit: stūpa, Pāli: thūpa, literally meaning 'heap') is a mound-like structure containing Buddhist relics, typically the remains of Buddha, used by Buddhists as a place of worship. The term 'chorten' is used for a stupa in Tibetan Buddhism, notably in Tibet, Bhutan, Sikkim, parts of Nepal and Mongolia. Stupas are an ancient form of mandala.

Pair of Buddhist Manuscript Covers. Nepal. Date: 1601-1700. Dimensions: 10.2 x 41.1 x 1.4 cm (4 x 16 3/16 x 9/16 in.). Pigments and metallic paint on wood. Origin: Nepal. Museum: The Chicago Art Institute, USA.

Image from a Set of Initiation Cards (Tsakali) 1301-1500 Tibet. Ink and watercolor on paper .

Khadgayogini. Tibet, probably Southeastern Jang District, 19th century. Paintings. Mineral pigments and gold on cotton cloth

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