This mandala, centered on the sixteen-armed meditation deity Hevajra embracing his consort Nairatmya, was skillfully painted according to the system of the great Indian adept Dombi Heruka (about 9th century), who is depicted at the top left riding a tigress. In the upper-right corner is the Tibetan master Sachen Kunga Nyingpo (1092–1158), who was a pivotal figure in the transmission of the teachings related to Hevajra upon which this mandala is based.In southern Tibet, traditional Nepalese-derived thangka painting, known as the Beri style, reached the height of its popularity in the fifteenth century but flourished into the seventeenth century in some areas, particularly within the Sakya School, even though other indigenous Tibetan styles had eclipsed it elsewhere. In this painting the scroll-pattern backgrounds are visual evidence of this continuation. Characteristics of later Tibetan painting include the continuous landscape in the depictions of the eight charnel grounds in the inner ring surrounding the mandala palace and the blue and green palette.

Artwork Details

Title
Mandala of Hevajra
Dimensions
25 7/8 x 22 3/4 x 1 3/4 in. (65.7 x 57.8 x 4.4 cm)
Medium
Pigments on cloth
Origin
Tsang Province, Central Tibet
Classification(s)
paintings
Date
17th century
Credit Line
Rubin Museum of Himalayan Art, gift of the Shelley and Donald Rubin Foundation
Object number
F1996.1.8
HAR Number
444
Published references
* Martin Brauen. Mandala: Sacred Circle in Tibetan Buddhism. (New York: Rubin Museum of Art; Stuttgart: Arnoldsche Art Publishers, 2009). Plate 29; Fig 1.14; pp. 22-23, 134-135. * Glenn H. Mullin. Buddha in Paradise: A Celebration in Himalayan Art. (New York: Rubin Museum of Art, 2007). Fig. 44; Pp. 98-99.* Rob Linrothe, Holy Madness: Portraits of Tantric Siddhas. (New York: Rubin Museum of Art; Chicago: Serindia Publications, 2006). Pp. 286.* Marylin M. Rhie and Robert A.F. Thurman. Worlds of Transformation: Tibetan Art and Wisdom of Compassion. (New York: Tibet House, 1999). Cat. 173; Pp. 435-437.* Van Alphen, J. Collection Highlights: Rubin Museum of Art. (New York: Rubin Museum of Art, 2014). Pp. 53, 109, 222-223* Pratapaditya Pal, Tibetan Paintings (New York: Ravi Kumar/Sotheby Publications by Philip Wilson Publishers Ltd., 1984). Plate 82.* Pratapaditya Pal, Tibetan Paintings (Chicago: Ravi Kumar, 2000). Plate 82.

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Visualization

Concepts

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.

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Tantrism

Concepts

A religious movement that originated in India around the fifth to seventh century with sacred writings and esoteric teachings and practices transmitted from teacher to student through initiation. These remain an important part of Hinduism and Buddhism today. 

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Meditation

Concepts

A contemplative practice in which a person uses concentration and visualization to achieve aims such as transforming the mind and generating feelings of compassion. Techniques include focusing on breathing or visualizing oneself as a deity.

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Mandala

Figure Type

A geometrically shaped tool used for meditation and visualization in Buddhist practice. It is a representation of the palace of a deity and the Buddhist conception of the cosmos.

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Tibetan Regions

Region

Today, Tibetans primarily inhabit the Tibetan Plateau, situated between the Himalayan mountain range and the Indian subcontinent to the west, Chinese cultural regions to the east, and Mongolian cultural regions to the northeast. During the 7th to 9th century, Tibetan rulers expanded their empire across Central Asia, and established Buddhism as the state religion.

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