Mandala of Vajrasattva
Tangka
ca. 16th century (made)
ca. 16th century (made)
| Artist/Maker | |
| Place of origin |
The central figure in this mandala is Vajrasattva (rDorje sem pa in Tibetan), the embodiment of Buddhahood, from which everything in the universe is believed to emanate. The linear scrollwork filling many of the parts of this painting is typical of a school associated with the Sakya monasteries of central and southern Tibet in the 14th to 16th centuries. This and other stylistic features found in these areas are derived from contemporary Nepalese painting. The mobility of both artists and works of art ensured a steady cross-fertilisation of styles, particularly between Nepal and southern Tibet.
Object details
| Categories | |
| Object type | |
| Title | Mandala of Vajrasattva (generic title) |
| Materials and techniques | Gouache on cotton |
| Brief description | Gouache on cotton, central or southern Tibet, ca.16th century. |
| Physical description | Tangka, gouache on cotton, with central figure of Vajrasattva, the embodiment of Buddhahood, and decorated with linear scrollwork. |
| Dimensions |
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| Historical context | Vajrasattva (Tib: Dor je sem dpa') is the embodiment of the highest state, the primordial buddha (Adibuddha0 from which everything in the universe emanates. He is represented at the centre of a radiating mandala. The linear scrollwork of this painting is typical of a school associated with the Sakya monasteries of central and southern Tibet in the 14th century, which drew its main inspiration from contemporary Nepalese painting. The mobility of both artists and works of art ensured a steady cross-fertilization of styles, particularly between Nepal and southern Tibet. |
| Subjects depicted | |
| Summary | The central figure in this mandala is Vajrasattva (rDorje sem pa in Tibetan), the embodiment of Buddhahood, from which everything in the universe is believed to emanate. The linear scrollwork filling many of the parts of this painting is typical of a school associated with the Sakya monasteries of central and southern Tibet in the 14th to 16th centuries. This and other stylistic features found in these areas are derived from contemporary Nepalese painting. The mobility of both artists and works of art ensured a steady cross-fertilisation of styles, particularly between Nepal and southern Tibet. |
| Collection | |
| Accession number | IS.60-1965 |
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| Record created | February 13, 2000 |
| Record URL |
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