China
17th - 18th century
China
17th - 18th century
This solid and fleshy sculpture of the guardian king Virupaksha is remarkable for its sophistication, bright colors, and well-preserved state. Such large clay sculptures of the kings of the four cardinal directions, garbed in martial raiment, commonly guard the entrances to temples. What is most unusual for this figure is the large size of the five-leaf crown he wears. The shiny eyes of stone inlay grant the stern three-dimensional image a subtle sense of sentience.
A kind of energy that can be used, individually and collectively, to effect change.
A meditation technique primarily used in tantric practice that involves imagining a deity in one’s mind or imagining oneself becoming a deity and carrying out various activities. Such techniques are intended to help a practitioner transform ordinary perception and achieve enlightened qualities.
Himalayan art includes portraits of legendary and historical humans, including accomplished religious teachers (lamas), the Buddha’s original disciples (arhats), and spiritually accomplished tantric masters (mahasiddhas).
Although Tibetan Buddhism was not practiced broadly in China, the imperial centers, such as Beijing and Mount Wutai, emerged as hubs of Tibetan Buddhist cultural production. The emperors of the Mongol Yuan (1271–1368), Chinese Ming (1368–1644), and Manchu Qing (1644–1911) dynasties harnessed Tibetan Buddhist ideas to consolidate their power.
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