Tibetan Buddhist Art

Colorful and intricate Thangka paintings reflecting Tibetan Buddhism, highlighting deities like Tara and Buddha, rich in symbolism and spiritual themes.

Sgrol-dkar (The White Tara or White Savioress), 18th century, 64 x 38 1/2 in. (162.56 x 97.79 cm), Colors on sized cotton, Tibet, 18th century, Tara, the goddess of mercy, is one of the most popular deities of Tibetan Buddhism. She is incarnated in two principal forms, green and white, symbolizing night and day, respectively. Both are consorts of Avalokitesvara, the bodhisattva of compassion and the patron deity of the largest school of Tibetan Buddhism, the Yellow Hat Sect. Here Tara holds in her left hand a lotus blossom, symbol of spiritual purity and her standard attribute. Her right hand expresses the gesture of bestowing compassion, the varada mudra. In the upper right corner is Padmasambhava, the great Indian teacher, with Karmavajra on the left and a lama between. At the bottom of the thanka are three protective images, including Mahakala and Lhamo who act here as wrathful guardians of Buddhist thought.

'Sahasrabhuja Lokeshwara'. Tibet, 19th century. Dimensions: 65x41 cm. Museum: State Hermitage, St. Petersburg.

Sgrol-dkar (The White Tara or White Savioress), 18th century, 64 x 38 1/2 in. (162.56 x 97.79 cm), Colors on sized cotton, Tibet, 18th century, Tara, the goddess of mercy, is one of the most popular deities of Tibetan Buddhism. She is incarnated in two principal forms, green and white, symbolizing night and day, respectively. Both are consorts of Avalokitesvara, the bodhisattva of compassion and the patron deity of the largest school of Tibetan Buddhism, the Yellow Hat Sect. Here Tara holds in her left hand a lotus blossom, symbol of spiritual purity and her standard attribute. Her right hand expresses the gesture of bestowing compassion, the varada mudra. In the upper right corner is Padmasambhava, the great Indian teacher, with Karmavajra on the left and a lama between. At the bottom of the thanka are three protective images, including Mahakala and Lhamo who act here as wrathful guardians of Buddhist thought.

Tangka with Buddha Seated on Lotus Pedestal 19th century Tibet. Tangka with Buddha Seated on Lotus Pedestal. Tibet. 19th century. Distemper on cloth. Paintings

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.

White Tara. unknown, painter

Red Yamari flanked by Virupa and Dombi Heruka. Date/Period: 17th century. Painting. Pigments on cloth Pigments on cloth. Height: 568.45 mm (22.37 in); Width: 438.15 mm (17.25 in). Author: UNKNOWN.

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

Female deity Prajnaparamita. unknown, painter

Vajrabhairava, 18th century, 49 1/2 x 29 in. (125.73 x 73.66 cm), Opaque colors and gold on cotton, Tibet, 18th century, This black-ground thangka would have guided an advanced practitioner in meditation focused on overcoming the fear of death. The central deity, Vajrabhairava, is depicted in his most ferocious form with numerous heads, including a water buffalo's as his central head. Each of his 32 arms bears a weapon and he tramples demons and Hindu gods underfoot. The image's ferocity was intended to protect the practitioner from their own fears and delusion when meditating on this difficult subject. Other protector deities surround Vajrabhairava, including the goddess Palden Lhamo on horseback at the bottom center, functioning to empower the practitioner. Five lineage gurus of the Gelugpa (yellow hat) order appear overhead, and the bodhisattva Manjushri is at the very center.

Tibetan thankas, (Buddhist temple paintings) - they were painted by different lama artists employed by the Norwegian missionary Theo Sorensen and came to the museum in 1922. The thankas with their rich iconography present Buddhist teaching and dogmas, both systematically and historically from Buddha's time to the development of Tibetan variation.

'Amitabha Pure Land'. Tibet, Early 19th century. Dimensions: 62x44 cm. Museum: State Hermitage, St. Petersburg.

The monk Hva Shang, early 19th century, 31 3/4 x 21 in. (80.65 x 53.34 cm), Silk brocade, China, 19th century, This vertical hanging scroll is meticulously woven to illustrate a Tibetan legend developed around the concept of the spiritual heroes, or arhats, incorporated into the Tibetan Buddhist pantheon. It recounts the return of the Lama (teacher) Hva Shang, who was forced to flee China after offending a Chinese emperor. When Hva Shang was allowed to return, other arhats gathered to welcome him and ensure his safe re-entry. Considered a patron deity, Hva Shang is shown returning in his boat in the lower- right corner, while Shakyamuni Buddha, seated on a lotus pedestal, dominates the center top of the image. The extremely fine detail in this handwoven thangka reflects a high degree of patronage, as well as a patience and discipline accordant to the pious act of its creation.

fine arts, Tibet, painting, Tangkha, peaceful gods, silk, 18th century, Ethnological Collection, Zuerich University,

First illustration of Fire Lance And a Grenade, 10th Century, Dunhuang. Detail from an illustration of Sakyamuni's temptation by Mara, with the demons at upper right threatening with the fire lance and other weapons while those at lower right tempt with women.

'Fragment of the depiction of the Buddha and 16 Arhats'. Tibet, 18th century. Dimensions: 52x33 cm. Museum: State Hermitage, St. Petersburg.

'Vajrasattva'. Mongolia, 19th century. Dimensions: 36x26,5 cm. Museum: State Hermitage, St. Petersburg.

Tsongkhapa with Biographical Scenes , 19th century. Colors on cotton with fine gold lines, 51 9/16 x 28 3/8 in. (131 x 72 cm). Asian Art 19th century

Mahakala, Protector of the Tent. Date/Period: Early 15th century; Sakya monastic order. Painting. Colors on cloth; cloth mounting Colors on cloth; cloth mounting. Height: 972.31 mm (38.27 in); Width: 667.26 mm (26.27 in). Author: Central Tibetan unknown.

Tashilumpo Monastery, the residence of the Chinese appointed Panchat Lama, Tibet, China, Asia

Amitayus Buddha Thangka by Tibetan culture Private Collection End of 19th cen. Tibet Pigments and gold on textile Painting Mythology, Allegory and Literature

Preaching Sakyamuni, 1000s. Western Tibet, Toling Monastery, 11th century. Miniature votive painting (tsai-kali); ink, color, and gold on paper; overall: 11.6 x 10.7 cm (4 9/16 x 4 3/16 in.). Buddhism was introduced to Tibet in the 7th century, but the persecution that followed in the 9th and 10th centuries destroyed all artifacts of the period. Consequently the earliest existing Buddhist art from Tibet dates to the 11th and 12th centuries, the so-called period of the Second Diffusion of Buddhism, yet few 11th- or 12th-century paintings survive. This miniature painting is one of these rare paintings. Not a manuscript illustration, it was conceived as a separate votive painting, a so-called tsa-kali. It was recovered from the Tholing Monastery, which was founded by Rinchensangpo (958-1055), the famous translator of Buddhist scriptures, who acted on the order of Yesheö, the king of Guge. Yesheö was also the father of "Lhatsun Nagaraja" (active 998-1026) whose name is inscribed on the mu

Tibetan Buddhism wall painting Buddha Jokhang Lhasa Tibet China

Painted Banner (Thangka) with the Medicine Buddha (Bhaishajyaguru) 1201-1400 Tibet. Pigment and gold on cotton .

Painted Banner (Thangka) with the Medicine Buddha (Bhaishajyaguru). Tibet; Central Tibet. Date: 1201-1400. Dimensions: 104 x 82.7 cm (41 x 32 1/2 in.). Pigment and gold on cotton. Origin: Tibet. Museum: The Chicago Art Institute, Chicago, USA.

Padmasambhava, (Sanskrit Padmakara; Tibetan Pemajungné; Chinese Liánhuasheng) or 'Lotus Born', was a guru from Oiyana (modern Swat) who is said to have transmitted Vajrayana Buddhism to Bhutan and Tibet and neighbouring countries in the 8th century. In those lands he is better known as Guru Rinpoche ('Precious Guru') or Lopon Rinpoche, or, simply, Padum in Tibet, where followers of the Nyingma school regard him as the second Buddha. His Pureland Paradise is Zangdok Palri (the Copper-coloured Mountain). He is further considered an emanation of Buddha Amitabha and traditionally even venerated as a second Buddha. He was born into a Brahmin family of Northwest India.

'35 Buddhas of Repentance'. Tibet, 18th century. Dimensions: 63x47 cm. Museum: State Hermitage, St. Petersburg.

Wall painting in Trongsa Dzong. Trongsa Dzong, built on a spur overlooking the gorge of the Mangde River, is the largest dzong fortress in Bhutan.

'Blo bzang Yeshes Dul dbyang Bsodnam'. Tibet, Early 18th century. Dimensions: 65x41 cm. Museum: State Hermitage, St. Petersburg.

The Jina Buddha of Infinite Light (Amitabha) in His Pure Land Paradise (Sukhavati). Western Tibet, Guge, 15th century. Paintings. Mineral pigments on cotton cloth

A Tantric Form of the Hindu Goddess Kali (Recto), Horse (Verso), Folio from a Book of Iconography. Nepal, 17th century. Drawings. Ink and opaque watercolor on paper

Tibetan Buddhist Deity Chakrasamvara in Yabyum, Tagong Monastery (Lhagang ) - Kham (E. Tibet), Sichuan Province, China

Buddha Seated on a Lotus Pedestal 19th century Tibet. Buddha Seated on a Lotus Pedestal. Tibet. 19th century. ink, color, and gold on cloth. Paintings

Padmasambhava, (Sanskrit Padmakara; Tibetan Pemajungne; Chinese Lianhuashang) or 'Lotus Born', was a guru from Oddiyana (modern Swat) who is said to have transmitted Vajrayana Buddhism to Bhutan and Tibet and neighbouring countries in the 8th century. In those lands he is better known as Guru Rinpoche ('Precious Guru') or Lopon Rinpoche, or, simply, Padum in Tibet, where followers of the Nyingma school regard him as the second Buddha. His Pureland Paradise is Zangdok Palri (the Copper-coloured Mountain). He is further considered an emanation of Buddha Amitabha and traditionally even venerated as a second Buddha. He was born into a Brahmin family of Northwest India.

Shakyamuni Buddha Surrounded with Scenes of his Life , 18th century . Color on cloth, Composition: 39 3/4 x 23 1/8 in. (101 x 58.7 cm). Asian Art 18th century

Canada, Alberta, Calgary: Chinese Cultural Centre, Confusian Motif Tiles

The Goddess Doljang, the deified consort of King Srongtsan Gampo. Chromolithograph.

Vajrayogini (Sanskrit: Vajrayogini; Tibetan: Dorje Naljorma, Wylie: Rdo rje rnal byor ma) is the Vajra yogini, literally 'the diamond female yogi'. She is a Highest Yoga Tantra Yidam, and her practice includes methods for preventing ordinary death, intermediate state (bardo) and rebirth (by transforming them into paths to enlightenment), and for transforming all mundane daily experiences into higher spiritual paths. Vajrayogini is a generic female yidam and although she is sometimes visualized as simply Vajrayogini, in a collection of her sadhanas she is visualized in an alternate form in over two thirds of the practices. Her other forms include Vajravarahi (Tibetan: Dorje Pakmo, Wylie: rdo-rje phag-mo; English: the Vajra Sow) and Krodikali (alt. Krodhakali, Kalika, Krodhesvari, Krishna Krodhini, Sanskrit; Tibetan:Troma Nagmo; Wylie:khros ma nag mo; English: 'the Wrathful Lady' or 'the Fierce Black One' ). Vajrayogini is a dakini and a Vajrayana Buddhist meditation deity. As such she i

Panel from a Buddhist Ritual Crown Depicting Vairocana. Culture: Tibet. Dimensions: H. 11 3/4 in (29.8 cm); W. 5 1/8 in (13 cm). Date: late 13th-early 14th century.This panel survives from one of the finest ritual crowns of the high period of Tibetan painting. Guarding the base of Vairocana's 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. Museum: Metropolitan Museum of Art, New York, USA.

The Punakha Dzong, also known as Pungtang Dewa chhenbi Phodrang ('the palace of great happiness or bliss') was built in 1637 - 1638 by the 1st Zhabdrung Rinpoche and founder of the Bhutanese state, Ngawang Namgyal (1594 - 1651). It is the second largest and second oldest dzong (fortress) in Bhutan, located at the confluence of the Pho Chhu (father) and Mo Chhu (mother) rivers in the Punakha-Wangdue valley. Punakha Dzong is the administrative centre of Punakha District, and once acted as the administrative centre and the seat of Bhutan's government until 1855, when the capital was moved to Thimphu, though it still acts as the winter capital for the head of the Bhutanese clergy. It houses sacred relics from the southern Drukpa Lineage of the Kagyu school of Tibetan Buddhism.

Avalokitesvara Mandala depicting the Bodhisattva of compassion in her aspect as Amoghapasa. Nepal 1860

The Yulin Caves are a Buddhist cave temple complex in Guazhou County, Gansu Province, China. The site is located some 100 km east of the oasis town of Dunhuang and the Mogao Caves. It takes its name from the eponymous elm trees lining the Yulin River, which flows through the site and separates the two cliffs from which the caves have been excavated. The forty-two caves house some 250 polychrome statues and 4,200 square metres of wall paintings, dating from the Tang Dynasty to the Yuan Dynasty (7th to 14th centuries). The site was among the first in China to be designated for protection in 1961 as a Major National Historical and Cultural Site. In 2008 the Yulin Grottoes were submitted for future inscription on the UNESCO World Heritage List as part of the Chinese Section of the Silk Road.

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

Religious artwork on the walls of a Buddhist monastery, Bhutan.

Life of Buddha.

Fresco of a Buddhist Temple in Nepal.

Fresco in shrine Chame Nepal Copyright: xJagannathxRaul/DinodiaxPhotox

Wall painting of Buddha with earth-touching mudra at Tango Monastery.

Painting in Rumtek monastery, Sikkim, India Copyright: xAshaxAdatia/DinodiaxPhotox

Buddhist Proector Shri Devi (MagzorGyalmo)

Wisdom King Mahamayur Kujaku Myoo, circa 12th century, silk embroidery, Japan, Tokyo, National Museum

Hang Trong painting (Vietnamese: Tranh Hàng Trống) is a genre of Vietnamese woodcut painting that originated from the area of Hàng Trống and Hàng Nón streets in Old Hanoi's 36 Streets District. In the past, Hang Trong painting was an essential element of the Tết holiday in Hanoi, but today this tradition has almost disappeared and authentic Hang Trong paintings are found only in museums or fine art galleries.

Jiten, the Earth 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

The Buddha Preaching the "Perfection of Wisdom" (Prajnaparamita) Sutra. Artist Unknown; Japanese. Date: 1300-1399. Dimensions: 182.8 x 69.8 cm. Hanging scroll; ink, colors, and gold on silk. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

The Bodhisattva Manjushri (Monju Bosatsu). Culture: Japan. Dimensions: 36 3/4 x 20 3/4 in. (93.4 x 52.7 cm). Date: 13th century.The bodhisattva Manjushri holds his identifying attributes--sword and sutra--and appears, as he often does, as a youth to symbolize the purity of his wisdom. A pair of mystic syllables at the top corners of the painting stands for Mahavairochana, the Supreme Buddha, from the Womb World mandala (right) and the Diamond World mandala (left). Museum: Metropolitan Museum of Art, New York, USA.

Indian ScholarAbhayakaragupta

Mongol prince (Abaday-khan). unknown, painter

Guru Dragpo 18th century Tibet Guru Dragpo, a fierce emanation of the guru-saint Padmasambhava, stands astride a flaming aureole holding a ritual tool, the vajra, and a black scorpion. The skin of a tiger is drawn around his waist while the flayed skin of an elephant is draped over his shoulders. He wears a crown adorned with skulls and a garland of severed heads. In this wrathful meditational form, Guru Dragpo was an important protector deity of the Nyingma School of Tibetan Buddhism. In the upper register are depictions, from left, of Manjushri, Shadakshari Lokesvara, Amitabha, Padmasambhava, and the wrathful deity Hayagriva. In the lower register appear the ireful deities of Guru Dragpos retinue, including blue Vajrapani to the left and the yaksha Jambhala, god of wealth, at center.. Guru Dragpo 682118

Horyu-ji (Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Horyu Gakumonji, or Learning Temple of the Flourishing Law, the complex serving both as a seminary and a monastery. In 1993, Horyu-ji was inscribed as a UNESCO World Heritage Site under the name Buddhist Monuments in the Horyu-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures. The kondo, or great hall of the temple, dating in part to the 7th century, is famous for its 7th century Buddhist murals. Unfortunately, on January 26, 1949, a fire in the kondo caused very severe damage to the murals, many of which were destroyed. The murals of the kondo comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and are kept in storage. Twenty small wall paintings that escaped the fire remain in pla

Yaksha General Anila. Date/Period: 15th century. Painting. Mineral Pigments on cloth Mineral Pigments on cloth. Author: UNKNOWN.

Detail of one of stupas, top Dochu La Pass, Dochu La, Bhutan

Korea: Painting of Chijang Posal (Kshitigarbha) as Supreme Lord of the Underworld, early 18th century, Detroit Institute of the Arts, Detroit

Sarvavid Vairochana, From a Set of the Five Jina Buddhas, based on Complete Purification of All Evil Rebirths (Sarva Durgati Parishodana Tantra). Central Tibet, circa late 13th - early 14th century. Paintings. Mineral pigments and gold on cotton cloth

Chakrasamvara andVajravarahi, 15th-16thcentury, Tangka; Silk with silk embroidery, image: 12 1/2 × 8 3/8 in. (31.8 × 21.3 cm), The ability to visualize the embrace of Chakrasamvara and Vajravarahi is understood to be a skill that can be developed only by an advanced practitioner of Tibetan Buddhism. The couple represents the union of wisdom, symbolized by the female Vajravarahi, and compassion, represented by the male Chakrasamvara, the two most important virtues in all Buddhistpractice. , Tibet, China, Tibetan, 15th-16thcentury, Paintings

Gatten, the Moon 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

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

Lord Shiva Shanker Miniature Painting on Paper Tantrik Copyright: xBhagwandasxRupani/DinodiaxPhotox

The Life of the Buddha, Siddhartha Gautama. Wat Maniratanaram monastery. Wall fresco. Phnom Penh. Cambodia.

Shaka nyorai throne on a lotus; beginning of the 19th century (1801-00-00-1820-00-00);Japanese (culture), Japanese art, purchase (provenance)

Dragon on Silk Robe, 19th century. Embroidery. CHINA.

Shaka (Shakyamuni), the Historical Buddha, with Two Attendant Bodhisattvas and the Ten Great Disciples early 14th century Japan At the center of this richly painted icon is the historical Buddha, Shaka (Shakyamuni in Sanskrit). He is flanked by his attendants, Monju and Fugen, who, respectively, ride a blue lion and white elephant and represent Buddhist wisdom and practice. This holy trio is accompanied by the ten major disciples.Rendered in fine pigments and gold on silk, this workis a testament to the influence of Chinese Buddhist painting of the Song dynasty (960-1279) on medieval Japanese Buddhist painting. The anonymous artist probably modeled his work after an example imported from China.. Shaka (Shakyamuni), the Historical Buddha, with Two Attendant Bodhisattvas and the Ten Great Disciples. Japan. early 14th century. Hanging scroll; ink, color, and gold on silk. Kamakura period (1185-1333). Paintings

Colourful murals, fresco, artistic Buddha, gesture of discussion and teaching, Vitarka Mudra, Maharaja-Iena room, Buddhist cave temple, Dambulla, UNESCO World Heritage Site, Central Province, Sri Lanka, Asia

The Bezeklik Thousand Buddha Caves (Bozikeli Qian Fo Dong) are complex of Buddhist cave grottos dating from the 5th to the 9th centuries. There are 77 rock-cut caves at the site. Some ceilings are painted with a large Buddha surrounded by other figures, including Indians, Persians and Europeans. The quality of the murals vary with some being artistically naive while others are masterpieces of religious art.

Ritual miniature tsakali with the imagination of the deity of Palden Lhamo ( Ri Devi); 19th century (1801-00-00-1900-00-00);

Tsakali miniature with a Buddha representation; 1. PO. 20th century (1901-00-00-1950-00-00);

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.

Descent of Eleven-Headed Kannon mid-late 16th century Unidentified artist The bodhisattva Kannon (Sanskrit: Avalokiteshvara) is one of two bodhisattvas who flank the Buddha Amida (Sanskrit: Amitābha) when he descends to deliver those who call his name to his Pure Land. Here, Kannon in his eleven-headed form descends alone upon a bank of clouds to meet the believer. His right hand is held open to bestow compassion and is encircled by crystal prayer beads, while his left hand holds a lotus in a vase, representing the healing power of the Buddhist Law. Diminutive heads atop his own signal the manifold ways in which he hears, observes, and meets every need of the faithful. The haloed topmost head is that of Amida. Kannons attendant relationship to this Buddha of Infinite Light is explicit here in the standing figure of the crown and the rays of light that emanate in all directions from his golden form.. Descent of Eleven-Headed Kannon 45595

The Fifth Karmapa, Dezhin Shegpa (1384-1415). Eastern Tibet, circa 18th century. Paintings. Mineral pigments and gold on cotton cloth

Buddhist statue in Litang Monastery (Changchunkeersi), Litang, western Sichuan, China

'Buddha and 16 Arhats on the Water'. Tibet, 18th century. Dimensions: 50x35 cm. Museum: State Hermitage, St. Petersburg.

The Ninth Karmapa, Wangchug Dorje (1555-1603). Date/Period: 16th century-17th century. Painting. Pigments on cloth Pigments on cloth. Author: UNKNOWN.

Buddha on old temple cotton scroll from Thailand.

Mongolian Buddhism: Zanabazar, one of the most influental tulku in Mongolia. In Tibetan Buddhism, a tulku is a particular high-ranking lama, of whom the Dalai Lama is one, who can choose the manner of his (or her) rebirth. Normally the lama would be reincarnated as a human, and of the same sex as his (or her) predecessor. However, discussing his own successor, the Dalai Lama has been quoted as saying that 'if a woman reveals herself as more useful the lama could very well be reincarnated in this form'. The Dalai Lama has also said (when speculating about the possibility that his people might have no use for a Dalai Lama after he dies) that he 'might take rebirth as an insect, or an animal..'. In contrast to a tulku, all other sentient beings including other lamas, have no choice as to the manner of their rebirth.

Initiation Card (Tsakalis): Samanthabhandra. 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 wi

Detail of a door panel with a figure of a deity at Wat Benjamabopit, Bangkok, Thailand

Marshal Wang dated 1542 Unidentified artist Marshal Wang, one of the fierce guardian deities of Daoism, is charged with protecting Daoist temples. Like many popular Daoist deities, Wang was originally a human who was posthumously deified and revered as a god. Here, he rides a flaming wheel, vanquishing the evil serpent spirits in the river below. The gold inscription at upper right indicates that this painting was commissioned by an imperial concubine at the court of the Ming emperor Jiajing, a generous patron of Daoism.. Marshal Wang. Unidentified artist , 16th century. China. dated 1542. Hanging scroll; ink and color on silk. Ming dynasty (1368-1644). Paintings

The Life of the Buddha, Siddhartha Gautama. Wat Maniratanaram monastery. Wall fresco. Phnom Penh. Cambodia.

Vajrapani's mandala, fabric painting, Tibet. Tibetan Civilisation, 17th-18th centuries.

HEMIS, INDIA, SEPTEMBER 4, 2011: Wall painting of Dharmapala, Tibetan Buddhism wrathful protector deity. Hemis gompa (monastery), Ladakh, India, Asia

Lakshmi sitting on a lotus being anointed by two elephants. Watercolour drawing.

Quan Am Phat Dai buddhist temple. Bodhisattva. Bac Lieu. Vietnam.

Wall paintings depicting the life of Buddha in the main prayer hall, Pha That Luang, Vientiane, Laos

The Arhat Rob-abyor, 18th century, 24 1/2 x 17 5/8 in. (62.23 x 44.77 cm) (image), Colors and gold on sized cotton, Nepal, 18th century, In this thanka the arhat Rob-abyor sits on an elaborate throne in a landscape setting and blesses one of his disciples. Rob-abyor holds a sacred text in his left hand, and his throne is supported by a lotus rising from the water. Shakyamuni Buddha, in the earth-touching gesture, occupies the upper left-hand corner.

artwork depicting buddhist patron saint guru rinpoche, bhutan thimphu district

Scenes from the traditional jataka, or Buddha life-cycle stories. The Jatakas are amongst the earliest Buddhist literature, with metrical analysis methods dating their composure to around the 4th century BCE. A thangka, also romanised as 'tangka', 'thanka' or 'tanka', is a Tibetan silk painting generally depicting a Buddhist deity or mandala.

Thangka depicting White Tara goddess, Buddhist symbol of long life, Bhaktapur, Nepal, Asia

Wat Yai Suwannaram dates from the 17th century Ayutthaya period. The murals display celestial beings.

Baby girl

Nagarjuna (left), Buton Rinpoche (right), Folio from a Dharani (Protective or Empowering Spells). Central Tibet, Shalu Monastery (), late 14th - early 15th century. Manuscripts. Opaque watercolor and ink on paper

Painting of the life chakra of Buddhism, Thiksey Monastery, Leh, Ladakh, India. Painting of the life chakra of Buddhism, Thiksey Monastery, Leh, Ladakh, India. Copyright: xZoonar.com/RealityImagesx 22016145

Initiation Card (Tsakalis): Vairochana. 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

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