A rare and large painting of the Cosmic Buddhas
East Tibet, 14th/early 15th century
East Tibet, 14th/early 15th century
Distemper on cloth
241cm x 172cm (95in x 67 6/8in).
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Provenance: a European private collection
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The result of Adamantio s.r.l. Science in Conservation Laboratory, Turin, TSC-HD carbon 14 test, 2007, notes 95.4% probability of the date between 1300-1420 AD.
Monumental in size, this exceptional painting is an early surviving Tibetan example depicting four of the Five Cosmic Buddhas who, from at least the first century AD, were thought to coexist at the same time in various parts of the universe. These Buddhas were considered emanations of the Historic Buddha Shakyamuni, and each was associated with a specific colour, position, gesture etc.
Seated on a lion throne in the foreground is Vairocana, recognisable by his hand gesture of setting in motion the Wheel of the Doctrine, symbolic of the Tathagata family to which he belongs. He occupies the central position in the universe and is associated with pure and absolute wisdom defeating the evil of ignorance. The Buddha Amitabha would have sat on Vairocana's right, while to his left sits Amoghasiddhi, presiding over the northern quarter of the universe and displaying the gesture of absence of fear and reassurance towards the devotees surrounding him. He belongs to the Karma family and is associated with active wisdom defeating the evil of envy. The third figure, Akshobhya, sits in the background between Vairocana and Amoghasiddhi, holding his right hand in bhumisparsa mudra. He presides over the blissful land of the East, Abhirati, representing consciousness as an aspect of reality. To the upper left is Ratnasambhava, belonging to the Jewel family and presiding over the southern quarter of the universe. He is shown with the gesture of giving spiritual riches to the devotees surrounding him and is associated with wisdom opposing evil born of feelings.
The inscriptions on the painting relate to four of the fifteen miraculous deeds performed by Shakyamuni at Shravasti. These days correspond to the first fifteen in the first month of the Buddhist calendar adopted in Tibet. This painting was thus likely to have been commissioned on the occasion of the New Year celebrations taking place in Tibet. The fusion of Tibetan pictorial traditions and Chinese stylistic conventions, noted in the vaporous clouds, bamboo and flowering prunus branches surrounding the deities, probably derived from the several visits paid by the high-ranking members of the Tibetan clergy to the Court of the Yuan dynasty emperors. Two large Buddhist paintings dating to the Yuan dynasty, including a large fresco depicting the Maitreya heavens, dated to 1298, from the Royal Ontario Museum, Toronto (acc.no.933.6.1), and a painting of the Buddha of Medicine, 1320, from the Metropolitan Museum of Art, New York (acc.no.65.29.2), show a similar treatment of clouds and physical traits of the Buddhas that can be seen in the present work. An earlier depiction of the Shakyamuni Buddha, dated between 1181 and 1186 and from the National Palace Museum, Taipei (acc no.n2006110384), depicts a similar foliage surrounding the holy figures.
The first inscription on the lowest margin, to Amoghasiddhi's right, refers to the first day in spring, when Shakyamuni travelled to a field that had been prepared for his visit and sat upon a 'lion' throne. After receiving offerings from his lay follower Prasenajit, the ruler of Kosala, the Buddha planted a toothpick on the ground, which immediately grew into a tree bearing beautiful leaves, flowers, fruit and jewels. When the tree rustled in the wind the sounds of the Buddha's teachings were heard. Embodying the Buddha Shakyamuni, Amoghasiddhi's parasol is depicted hanging from a branch of the miraculous tree mentioned in the inscription.
The inscription on the left, on the lowest margin of the painting, refers to the second day, when king Udrayana presented great offerings to Shakyamuni, who turned his head to the right and to the left, making two mountains emerge on each side, one covered with grass to feed animals, the other with food to satisfy humans. Then the Buddha taught the dharma according to each individual's ability and more came closer to enlightenment by listening. The two mountains are depicted on the present work flanking Vairocana.
The inscription below Akshobya's throne relates to the miracle performed by Shakyamuni on the fifth day, when king Brahmadatta of Varanasi prepared various offerings for him. A golden light shone from the Buddha's face and filled the entire world, reaching all living beings and purifying the three poisons: desire, hatred and ignorance. The golden light emanating from Shakyamuni is depicted here as rays emanating from the radiant face of Akshobya.
The remnants of the inscription on Amoghasiddhi's left, refer to the miracle performed by Shakyamuni on the sixth day, when the Licchavi people made offerings to him. The Buddha allowed those present to examine each other's mind so everyone could understand others' good and evil thoughts. All of them experienced great faith and, after Shakyamuni taught the dharma, thus many attained great understanding and enlightenment and many secured a future rebirth as humans or gods.
Bonhams would like to thank Ernesto Lo Bue and Adriano Fabbroni for translating the inscriptions and Dr. Giuseppe Baroetto for his suggestions concerning their interpretation.
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East Tibet, 14th/early 15th century
East Tibet, 14th/early 15th century
Distemper on cloth
241cm x 172cm (95in x 67 6/8in).
???? ????? ?????????
Provenance: a European private collection
??? ??????
The result of Adamantio s.r.l. Science in Conservation Laboratory, Turin, TSC-HD carbon 14 test, 2007, notes 95.4% probability of the date between 1300-1420 AD.
Monumental in size, this exceptional painting is an early surviving Tibetan example depicting four of the Five Cosmic Buddhas who, from at least the first century AD, were thought to coexist at the same time in various parts of the universe. These Buddhas were considered emanations of the Historic Buddha Shakyamuni, and each was associated with a specific colour, position, gesture etc.
Seated on a lion throne in the foreground is Vairocana, recognisable by his hand gesture of setting in motion the Wheel of the Doctrine, symbolic of the Tathagata family to which he belongs. He occupies the central position in the universe and is associated with pure and absolute wisdom defeating the evil of ignorance. The Buddha Amitabha would have sat on Vairocana's right, while to his left sits Amoghasiddhi, presiding over the northern quarter of the universe and displaying the gesture of absence of fear and reassurance towards the devotees surrounding him. He belongs to the Karma family and is associated with active wisdom defeating the evil of envy. The third figure, Akshobhya, sits in the background between Vairocana and Amoghasiddhi, holding his right hand in bhumisparsa mudra. He presides over the blissful land of the East, Abhirati, representing consciousness as an aspect of reality. To the upper left is Ratnasambhava, belonging to the Jewel family and presiding over the southern quarter of the universe. He is shown with the gesture of giving spiritual riches to the devotees surrounding him and is associated with wisdom opposing evil born of feelings.
The inscriptions on the painting relate to four of the fifteen miraculous deeds performed by Shakyamuni at Shravasti. These days correspond to the first fifteen in the first month of the Buddhist calendar adopted in Tibet. This painting was thus likely to have been commissioned on the occasion of the New Year celebrations taking place in Tibet. The fusion of Tibetan pictorial traditions and Chinese stylistic conventions, noted in the vaporous clouds, bamboo and flowering prunus branches surrounding the deities, probably derived from the several visits paid by the high-ranking members of the Tibetan clergy to the Court of the Yuan dynasty emperors. Two large Buddhist paintings dating to the Yuan dynasty, including a large fresco depicting the Maitreya heavens, dated to 1298, from the Royal Ontario Museum, Toronto (acc.no.933.6.1), and a painting of the Buddha of Medicine, 1320, from the Metropolitan Museum of Art, New York (acc.no.65.29.2), show a similar treatment of clouds and physical traits of the Buddhas that can be seen in the present work. An earlier depiction of the Shakyamuni Buddha, dated between 1181 and 1186 and from the National Palace Museum, Taipei (acc no.n2006110384), depicts a similar foliage surrounding the holy figures.
The first inscription on the lowest margin, to Amoghasiddhi's right, refers to the first day in spring, when Shakyamuni travelled to a field that had been prepared for his visit and sat upon a 'lion' throne. After receiving offerings from his lay follower Prasenajit, the ruler of Kosala, the Buddha planted a toothpick on the ground, which immediately grew into a tree bearing beautiful leaves, flowers, fruit and jewels. When the tree rustled in the wind the sounds of the Buddha's teachings were heard. Embodying the Buddha Shakyamuni, Amoghasiddhi's parasol is depicted hanging from a branch of the miraculous tree mentioned in the inscription.
The inscription on the left, on the lowest margin of the painting, refers to the second day, when king Udrayana presented great offerings to Shakyamuni, who turned his head to the right and to the left, making two mountains emerge on each side, one covered with grass to feed animals, the other with food to satisfy humans. Then the Buddha taught the dharma according to each individual's ability and more came closer to enlightenment by listening. The two mountains are depicted on the present work flanking Vairocana.
The inscription below Akshobya's throne relates to the miracle performed by Shakyamuni on the fifth day, when king Brahmadatta of Varanasi prepared various offerings for him. A golden light shone from the Buddha's face and filled the entire world, reaching all living beings and purifying the three poisons: desire, hatred and ignorance. The golden light emanating from Shakyamuni is depicted here as rays emanating from the radiant face of Akshobya.
The remnants of the inscription on Amoghasiddhi's left, refer to the miracle performed by Shakyamuni on the sixth day, when the Licchavi people made offerings to him. The Buddha allowed those present to examine each other's mind so everyone could understand others' good and evil thoughts. All of them experienced great faith and, after Shakyamuni taught the dharma, thus many attained great understanding and enlightenment and many secured a future rebirth as humans or gods.
Bonhams would like to thank Ernesto Lo Bue and Adriano Fabbroni for translating the inscriptions and Dr. Giuseppe Baroetto for his suggestions concerning their interpretation.
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