<strong>Sacred</strong> <strong><strong>Art</strong>s</strong> <strong>of</strong> <strong>Tibet</strong> White Tara (3) Tsongkhapa (6) Manjushri (5) Vajrapani (4) 26 <strong>Asian</strong> <strong>Art</strong> <strong>Museum</strong>
Who are the Green and White Taras? <strong>Sacred</strong> <strong><strong>Art</strong>s</strong> <strong>of</strong> <strong>Tibet</strong> Above Avalokiteshvara are the Green and White Taras, goddesses <strong>of</strong> compassion and wisdom. White Tara (3) has a third eye in the forehead as well as eyes on her palms and feet. Green Tara (2), extends her right leg downward. Both Taras hold the stems <strong>of</strong> lotuses that blossoms above their shoulders. Their right hands are lowered with the palm upward in the gesture <strong>of</strong> bestowing boons and gifts. The Taras are both the objects <strong>of</strong> prayer and veneration because <strong>of</strong> their ability to bestow such things as longevity, merit, wisdom, protections from every fear, and spiritual attainments, from the mundane up to supreme enlightenment. The two goddesses have historical significance also. Songtsen Gampo, the <strong>Tibet</strong>an king who was the first royal patron <strong>of</strong> Buddhism in <strong>Tibet</strong> in the seventh century, married two princesses—Bhrikuti, from Nepal, and Wen Cheng from China. These two women helped bring Buddhism to <strong>Tibet</strong>, and the Nepalese princess introduced the practice <strong>of</strong> Tara to <strong>Tibet</strong>. The two queens are worshiped as manifestations <strong>of</strong> the Green and White Taras. Who is pictured at the top <strong>of</strong> this painting? Above the Green and White Taras are three seated lamas. The central one (6) is Tsongkhapa (1357-1419), the founder <strong>of</strong> the Gelukpa order <strong>of</strong> <strong>Tibet</strong>an Buddhism (see slide 9). Tsongkhapa is a human disciple <strong>of</strong> Manjushri, and like the God <strong>of</strong> Wisdom pictured below, he has a sword and book supported by lotus blossoms at shoulder level. He is accompanied by his two chief disciples—Gyal Tsab on his right and Khedrup on his left. Tsongkhapa’s presence in the painting indicates this work belongs to the Gelukpa order. What are the objects below the main image? The group <strong>of</strong> five objects below the main image (9) is known as the Offering <strong>of</strong> the Five Senses: the mirror stands for sight, the silk beneath it for touch, the fruit for taste, the conch shell for smell, and the pair <strong>of</strong> cymbals for sound. This is a typical <strong>of</strong>fering presented to peaceful deities. For wrathful deities, the <strong>of</strong>fering consists <strong>of</strong> a skullcap heaped with ears, eyeballs, nose, tongue and a heart <strong>of</strong> demons. Paintings like this may have been hung behind the altar in a temple in the home or monastery. Real <strong>of</strong>ferings <strong>of</strong> tea, fruit, flowers, pure water, butter and barley sculptures called torma would be made as well. (See Activity 2 for how to make your own torma). How is a traditional <strong>Tibet</strong>an tangka mounted? A tangka is a painting <strong>of</strong> a Buddhist deity, done for religious purposes and made according to strict codes <strong>of</strong> iconography. A tangka must be framed in silk brocade and consecrated in a ceremony by a qualified Lama. It has a pole running across the bottom edge and a cord to hang it at the top. There is usually a yellow silk covering that is hung over the front to provide the deities with privacy. This is folded and draped at the top when on view. This format allows tangkas to be rolled up to be carried from place to place or to be rotated according to annual rituals or festivals. Paintings like this traveled easily with traders, itinerant monks, and nomads. 27 <strong>Asian</strong> <strong>Art</strong> <strong>Museum</strong>
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