Amoghapasha

This painting depicts the Buddhist deity Amoghapasha Lokeshvara at the center. He stands on a lotus, which is said to be the world lotus. He is pure white in color with one face and eight hands. His principal right hand shows the gesture of fearlessness (abhaya), the lower right hand is in the boon-granting gesture (varada), the middle right hand holds a lasso, and the top right hand holds a string of prayer beads. His left hands hold a trident, scripture, white lotus, and water pot. These implements symbolize his abilities to help all beings become free from the cycle of birth, death, and rebirth known as samsara.

He is surrounded by other deities; some are above, floating within clouds, while others are situated within the landscape. At the top center is the Medicine Buddha, blue in color. At the top left is the goddess of wisdom Prajnaparamita. At the top right is Avalokiteshvara, the embodiment of compassion. To Amoghapasha’s right is the goddess Tara, green in color, seated with one leg pendent. She is the protectress from dangers. To his left is White Tara, who has eyes on the palms and soles of her feet and her forehead. She is the deity who grants long life. Two forms of the wealth deity Jambhala are below to the lower left and right. At the bottom center is Vasudhara, the goddess of prosperity and abundance. On either side of Vasudhara are small figures of donors, men on the left and women on the right. These people are probably the family who commissioned the painting as part of the ritual Uposadha Vrata of Amoghapasa Lokeshvara. The ritual, often referred to in Nepal as Astha, is a day when lay people take on the eight precepts for a day to create religious merit. The ritual usually occurs on the full moon or the half-moon days of the lunar calendar.

Among notable compositional and stylistic elements in this painting are the hierarchy of scale, color choices, and depiction of the landscape. The central deity, as the most important figure, is the largest. The human figures of the donors are the smallest, but their individual sizes demonstrate various levels of prominence. Its darker shaded inlets are bordered by a green landmass with several rhododendron trees. The green ground, its edges peaked by evergreen trees, extends further towards the horizon. This landscape is likely representative of the Kathmandu Valley and its environs. Yet, the clouds and flowers framing the Buddhist deities are distinct from this natural background. They demonstrate characteristic conventions of traditional Tibetan painting. The artist’s inventiveness and attention to detail are further evident in the rendering of Amoghapasha’s patterned lower garment (dhoti), flowing scarves, and bold choices of pigments.