Green Tara Location Himalayan Date ca. 17th century Material Gilt copper alloy with traces of pigments Catalog Number C2008.26 (HAR 57009) Collection Rubin Museum of Art Provenance Gift of Ralph Redford
Shrine Cabinet (chosham) Tibet, second half of 20th century, Wood, mineral pigments Buddha Amitayus Tibet, 17th century, Silver alloy with inlaid semiprecious stones Manjushri Nepal, 17th century, Gilt copper alloy Four-Armed Avalokiteshvara Tibet, 16th century, Copper alloy with mineral pigments, semiprecious stones, cloth Ushnishavijaya Tibet, 17th century, Gilt copper alloy Temple Banner with Seven Symbols of Royal Power and Offerings Tibet, 19th century, Pigments on silk, hemp rope, cotton and ink
Ritual Ritual informs the structure of religious life in the Himalayas, defining the daily routine of practitioners and shaping a range of community-based activities. Ritual Merit In Himalayan cultures religious merit is the overarching reason for creating, commissioning, dedicating, and using religious works of art. Merit Secular Aims Religious rituals and the commissioning of art can serve everyday secular needs, the most common being wealth, health, and long life. Secular Aims Religious Goals Tantric practitioners strive to transform themselves by using meditative and ritual tools with the ultimate goal of enlightenment or awakening. Religious Goals Storytelling Many Himalayan paintings serve as illustrations and instructional tools that bring forth stories about the Buddha, Tibetan masters, and more. Storytelling Instruction Instructive paintings can illustrate religious doctrines, medical and astrological charts, or images of ritual implements and meditative postures. Instruction
Stay connected. Sign up for the Rubin Museum’s monthly newsletter to receive updates about upcoming exhibitions, programs, digital features, and more. Subscribe