yeshe walmo

Yeshe Walmo (Bon Deity)(item no. 85604) Nepal

1960 -

Bon Lineage

Ground Mineral Pigment, Black Background on Cotton

Collection of Ligmincha Institute - photographs

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Yeshe Walmo: a healing deity and a protector, an emanation of Sherab Chamma and Sipai Gyalmo, principal female protector deity in the Bon Religion. Typically there are two common forms of the deity Sipai Gyalmo, Riding a Black Mule and Riding a Red Mule. These two forms are identified by their three heads and six hands. The mules are black or red. The hand objects are different between the two forms. Four celestial beings hold up the hooves of the red mule. In the Bon religion the Queen of the World is the most wrathful manifestation of the peaceful deity Loving Mother of Wisdom (T. Sherab Chamma). Fierce in appearance, black in color, she has three faces and six arms holding weapons and implements of power and control. The three right hands hold a victory banner, flaming sword and a peg. The left hands hold a trident, svastika wand, and a skullcup filled with blood. Each of these symbolically represents cutting the knots of illusion and rooting out the three poisons of greed, anger and delusion. Riding on a red mule, she sits atop a flayed human skin symbolizing impermanence while the brightly burning flames of wisdom fire surround her. The Queen of the World is both a meditational deity and a protector. She is one of the most frequently propitiated figures in the Bon religion, and extends her protection to both religious practitioners and common people. Though horrific and wrathful in form she embodies the qualities of wisdom and compassion. Jeff Watt 5-2005

Bon Deity: Sherab Chamma Main Page

Bon Navigation Pages: Bon Religion Main Page | Culture & Religion | Art Topics | Deities

Satrig Ersang | Four Transcendent Lords | Satrig Ersang/Sherab Chamma Outline Page | Satrig Ersang/Sherab Chamma Masterworks

Sherab Chamma (Tibetan: shes rab byams ma): Sherab Chamma is the principal meditational form of Satrig Ersang of the Four Transcendent Lords. As Sherab Chamma (Loving Mother of Wisdom) she can appear either as a single subject in a painting or can have numerous surrounding attendant figures.

Description & Attributes: Peaceful in appearance and either yellow, orange or white in colour, Sherab Chamma has one face and two hands. The right hand typically holds a vase to the heart, or the lower right side, and the left a mirror in the upraised left hand. Sometimes the attributes are reversed (HAR #85557, #200029).

Posture: She sits in either a meditation posture or a relaxed posture with the right leg extended and the left drawn in. There are two known visual depictions of Sherab Chamma in a standing posture, one is a painting and the other a sculpture (HAR #77189, #85747). Early textual references are also found that describe the standing figure. Observing the images in the HAR database twelve (12) figures are seated in meditation posture, four (4) are in a relaxed posture and two (2) are either standing or dancing. Figures seated in meditation posture: HAR #57333, #65397, #66762, #70117, #73117, #78402, #81493, #81619, #85519, #85535, #85581, #200029. Figures seated in a relaxed posture: HAR #73116, #85548, #85557, #200009.

Attribute Variations: Two images depict her with a yungdrung either on the right side or in the right hand and a vase at the left side (HAR #81619, #200009).

Sherab Chamma (Bon Deity)(item no. 200009) Tibet

1800 - 1899

Bon Lineage

43.18x31.75cm (17x12.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

(acc.# F1997.30.9) Add to My Gallery

Sherab Chamma (English: Loving Wisdom. Tibetan-Wylie: shes rab byams ma) a form of the enlightened goddess Satrig Ersang. Youthful, white in colour, with one face and two hands she holds extended across the knee a gold swastika symbol in the right and in the left, to the heart a golden vase filled with the nectar of compassion, and the stem of a white lotus blossom opening above the left shoulder. Adorned with a gold tiara, earrings, necklace and bracelets, the shoulders are covered with a dark green scarf unfurling at the sides. The lower body is wrapped in an orange and red skirt tied with a blue sash. With the right leg extended and the left drawn up atop a moon disc and white lotus seat above a red and blue throne supported by eight tarkin antelope-like animals of the Tibetan Plateau, she is surrounded by a red aureola and blue-orange nimbus of radiant light. At the four corners are four attendant figures, emanations representing the five activities, red, green, white and blue, each with one face and four hands, holding a variety of objects. Seated on moon discs and lotus thrones they are surrounded by circles of light. At the bottom center of the flat brown landscape, filling a large red bowl, heaps of precious jewels, red coral, ivory tusks and gold ornaments, topped with blazing jewels are offered to the goddess of Loving Wisdom. Sherab Chamma is the name of Satrig Ersang when she is not included in the group of the Four Transcendent Ones - of which she is the first of the four. In her most wrathful form she manifests as the horrific enlightened protector Sipai Gyalmo - the principal protector of the Bon religion. In her semi-wrathful form she manifests as the deity Yeshe Walmo with two different forms, as a protector and as a healing deity. Jeff Watt & Lee Hartline 1-2000

Simple in composition and not overly embellished, sacred paintings of this type are personal and used as objects of devotion, such as the centerpiece for a home shrine. Known as the Five Deity Loving Mother of Wisdom, the central figure is surrounded by four attendant goddesses representing in all the five main activities of the deity, peaceful, bountiful, powerful and wrathful. Associated with the Loving Mother is a system of protection from eight fears similar to the Buddhist system of fears commonly associated with the Buddha Tara. The eight fears of the Bon are; enemies, magic, infertility, serpent spirits, wrong views, harm, death, and the negative effects caused by planets. Youthful, white in colour, with one face and two hands, she holds extended across the knee a golden yungdrung emblem. Borrowed from the Sanskrit language, in English this emblem is known as a swastika. The yungdrung is the principal symbol for the Bon religion. Held at the heart is a golden vase filled with the nectar of compassion and immortality. Wearing the typical dress and ornaments of a youthful goddess, she sits atop an unusual throne supported by eight tarkin, unique antelope-like animals of the Tibetan Plateau. The art of the Bon religion is often populated with strange and wonderful animals of the Himalayas and Central Asia that are not found in Buddhist art, the latter based on Indian models and animals from the Indian sub-continent. As a foundational deity of the Bon religion, in her paramount form she is understood to be the ?Mother of All Enlightened Ones? and is referred to by the name Satrig Ersang from the Zhang Zhung language, currently untranslatable into any language. Jeff Watt 5-2005


1800 - 1899

Bon Lineage



(acc.# P1998.7.4) Add to My Gallery

Additional Images View Reverse

Sherab Chamma: Mother of all the Enlightened Ones. Calm and peaceful, yellow in colour, she has one face and two hands. The right is placed at the heart holding the stem of a lotus flower blossoming at the right shoulder supporting a silver mirror. The left is in the lap in the gesture of meditation holding the stem of a lotus rising above the shoulder and supporting a golden vase. Adorned with a gold tiara, earrings, necklaces, bracelets and anklets, she wears various silks across the shoulders and a lower skirt predominantly of red. With the legs crossed in a posture of meditation atop a moon disc and broad multi-coloured lotus flower and lion supported square throne she is surrounded by a blue-red nimbus and orange aureole. Behind, an elaborate backrest is crowned with a Khyung ([King] of Birds). Numerous minor deities clustered in circular groups of nine surround the central figure, peaceful in appearance, wearing silks and jewels. Jeff Watt & Lee Hartline 1-2000

Packed together in a complex composition of ninety-four figures with the Loving Mother of Wisdom at the center, this painting depicts one of the many traditions and variant systems of practice past down in the Bon tradition. Each figure is painted in gold at the discretion and wishes of the donor for increased merit. Each figure is also inscribed with a name making for easy identification and cross-referencing with an original Tibetan language source text. In Himalayan painting the female form is represented with a unique feature differentiated from the male, generally from the 16th century onwards. The main observation is the face; the female face is oval with a very rounded forehead. A flat hairline and a horizontal forehead characterize a male face. Depending on the regional style of a painting and the age, along with losses on the surface of the paint, breasts may or may not be apparent - generally they are not. For peaceful deities there is no difference between male and female ornamentation and dress. Hand gestures, objects in the hands and postures are the same for both genders. Observation of the face is the main method to differentiate gender. Jeff Watt 5-2005


1800 - 1899

Bon Lineage




Additional Images View Reverse

Sherab Chamma: Mother of all the Enlightened Ones. Calm and peaceful, yellow in colour, she has one face and two hands. The right is placed at the heart holding the stem of a lotus flower blossoming at the right shoulder supporting a silver mirror. The left is in the lap in the gesture of meditation holding the stem of a lotus rising above the shoulder and supporting a golden vase. Adorned with a gold tiara, earrings, necklaces, bracelets and anklets, she wears various silks across the shoulders and a lower skirt predominantly of red. With the legs crossed in a posture of meditation atop a moon disc and broad multi-coloured lotus flower and lion supported square throne she is surrounded by a blue-red nimbus and orange aureole. Behind, an elaborate backrest is crowned with a Khyung ([King] of Birds). Numerous minor deities clustered in circular groups of nine surround the central figure, peaceful in appearance, wearing silks and jewels. Jeff Watt & Lee Hartline 1-2000

Packed together in a complex composition of ninety-four figures with the Loving Mother of Wisdom at the center, this painting depicts one of the many traditions and variant systems of practice past down in the Bon tradition. Each figure is painted in gold at the discretion and wishes of the donor for increased merit. Each figure is also inscribed with a name making for easy identification and cross-referencing with an original Tibetan language source text. In Himalayan painting the female form is represented with a unique feature differentiated from the male, generally from the 16th century onwards. The main observation is the face; the female face is oval with a very rounded forehead. A flat hairline and a horizontal forehead characterize a male face. Depending on the regional style of a painting and the age, along with losses on the surface of the paint, breasts may or may not be apparent - generally they are not. For peaceful deities there is no difference between male and female ornamentation and dress. Hand gestures, objects in the hands and postures are the same for both genders. Observation of the face is the main method to differentiate gender. Jeff Watt 5-2005

Sipai Gyalmo (Bon Protector) - Riding a Red Mule (dreu marmo)(item no. 65269) China

1800 - 1899

Bon Lineage

Ground: Textile Image

(Embroidery)


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Sipai Gyalmo (English: Queen of the World). In the Bon religion the Queen of the World is the most wrathful manifestation of the peaceful deity Loving Mother of Wisdom (T. Sherab Chamma). Fierce in appearance, black in color, she has three faces and six arms holding weapons and implements of power and control. The three right hands hold a victory banner, flaming sword and a peg. The left hands hold a trident, svastika wand, and a skullcup filled with blood. Each of these symbolically represents cutting the knots of illusion and rooting out the three poisons of greed, anger and delusion. Riding on a red mule, she sits atop a flayed human skin symbolizing impermanence while the brightly burning flames of wisdom fire surround her. The Queen of the World is both a meditational deity and a protector. She is one of the most frequently propitiated figures in the Bon religion, and extends her protection to both religious practitioners and common people. Though horrific and wrathful in form she embodies the qualities of wisdom and compassion. Embroidered works of art such as these were commonly commissioned by Tibetans although made in China. Jeff Watt 5-2005 Front of PaintingEnglish Translation of Inscription: No inscriptions on the front or back.

Sipai Gyalmo (Bon Protector) - 100 Faces, 1000 Hands (ugya chagtong)(item no. 70122) Eastern Tibet

1960 -

Ground Mineral Pigment

Collection of Private

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Ugya Chagtong, Sipai Gyalmo (English: Queen of the World, Having a Thousand Heads and A Thousand Hands): principal female protector deity in the Bon Religion. Typically there are two common forms of the deity Sipai Gyalmo, Riding a Black Mule and Riding a Red Mule. These two forms are identified by their three heads and six hands. The mules are black or red. The hand objects are different between the two forms. Four celestial beings hold up the hooves of the red mule. In the Bon religion the Queen of the World is the most wrathful manifestation of the peaceful deity Loving Mother of Wisdom (T. Sherab Chamma). Fierce in appearance, black in color, she has three faces and six arms holding weapons and implements of power and control. The three right hands hold a victory banner, flaming sword and a peg. The left hands hold a trident, svastika wand, and a skullcup filled with blood. Each of these symbolically represents cutting the knots of illusion and rooting out the three poisons of greed, anger and delusion. Riding on a red mule, she sits atop a flayed human skin symbolizing impermanence while the brightly burning flames of wisdom fire surround her. The Queen of the World is both a meditational deity and a protector. She is one of the most frequently propitiated figures in the Bon religion, and extends her protection to both religious practitioners and common people. Though horrific and wrathful in form she embodies the qualities of wisdom and compassion. Jeff Watt 5-2005

Dulwa Shen Drug ('dul ba g.shen drug)

1. God Realm: Lhayi Dulshen, Yeshen Tsugpu (lha yi 'dul g.shen, ye g.shen gtsug phud).2. Asura Realm: Lhamin Dulshen, Chegyal Pati (lha min 'dul g.shen, lce rgyal pa ti).3. Human Realm: Miyi Dulshen, Sangwa Dupa (mi yi 'dul g.shen, g.sang ba 'dus pa).4. Animal Realm: Jolsong Dulshen, Tisang Rangshi (byol song 'dul g.shen, ti sangs rang zhi).5. Ghost Realm: Yidag Dulshen, Sangwa Ngang Ring (yi dwags 'dul g.shen, g.sang ba ngang ring).6. Hell Realm: Nyalwa'i Dulshen, Micho Demdrug (dmyal ba'i 'dul g.shen, mi cho ldem drug).

Micho Demdrug (Dulwa Shen Drug)

Item No. 85502

Tisang Rangshi (Dulwa Shen Drug)

Sangwa Dupa (Dulwa Shen Drug)

Chegyal Pati (Dulwa Shen Drug)

Yeshen Tsugpu (Dulwa Shen Drug)

Micho Demdrug: a form of Tonpa Shenrab and one of the six Dulwa Shendrug. As Micho Demdrug he is the special form that ministers to the beings of the Hell Realm.

The Four Transcendent Lords (bde gshegs gtso bo bzhi)1. Yingkyi Yum Chenmo (dbyings kyi yum chen mo)Satrig Ersang, Lhamo (sa trig er sangs, lha mo)2. Lhachen Shen lha Okar (lha chen g.shen lha 'od dkar, Lha chen)3. Sid pa Sangpo Bumtri (srid pa sangs po 'bum khri)4. Tonpa Shenrab Miwo (ston pa g.shen rab mi bo)

These four are also known as: Lhamo, Lhachen, Sidpa and Shenrab (lha mo, lha chen, srid pa, g.shen rab).

The subject of the Four Transcendent Lords, in sets of four paintings, are typically found in every Bon Temple in the Himalayas and Tibet. These four deities hold a similar position as Shakyamuni Buddha and the Sixteen Arhats, or the Eight Great Bodhisattvas, as is customarily found in each and every Buddhist Temple in the Himalayan regions and Tibet.

Four sets of the Four Transcendent Lords, supreme deities of the Bon religion, along with their combined mandala. The sets are from Tibet, Kham (East Tibet), Dolpo (Nepal) and Dolanji (North India). Two of the sets are not complete.

The subject of the Four Transcendent Lords is described in detail in chapter 30 of the Ziji with the story of the death of Prince Trishang of Tazik. The Four Lords are the principal deities in the funeral ritual for the prince. In chapter 61 the Four Lords are further discussed with reference to the death and funeral of Tonpa Shenrab. The Ziji is a twelve volume, sixty-one chapter, biography of Tonpa Shenrab.

Svastika (Sanskrit Language, sva + asti, meaning auspicious)Yungdrung (Tibetan Language, meaning ever-lasting)

In the Buddhism of the Himalayas, Tibet and Mongolia the svastika is used essentially as a decorative element. In China it is common to find a svastika outlined over the heart of a Buddha figure, painting or sculpture.

The three figures represented below are examples of Bon deities that hold a yungdrung (svastika). The yungdrung is the principal symbol of the Bon Religion, also known as the Yungdrung Bon, Ever-lasting Truth.

Shenlha Okar (Bon Deity)(item no. 86934) Tibet

1700 - 1799

77.47x62.99cm (30.50x24.80in)


Collection of The Brooklyn Museum of Art

(acc. #BMA 77.134, Gift of John Davis Hatch) Add to My Gallery

Shenlha Okar (English: the White Light God of Shen [Priests]): surrounded by 250 Enlightened Ones (Tibetan: sang gye), emanations of himself. He belongs to the set of Four Transcendent Ones.

Peaceful in appearance, white in colour, he rests with both hands placed in the gesture of meditation in the lap. Adorned with a crown of gold, jewels and ribbons, he wears earrings, necklaces bracelets and anklets about the body. A dark green scarf covers the shoulders. The lower body is wrapped with a red skirt. Atop a green, red and orange lotus and elephant supported throne he is surrounded by a blue nimbus and pink aureola of light. Attendant figures stand at the sides. An elaborate backrest of flowers, white snow lions, dragons, makaras and a garuda completely encircle the central figure. Two hundred and fifty identical figures are arranged in rows, in various colours. At the bottom center is Tonpa Shenrab in a standing posture. Below that is a wrathful protector deity, blue, with nine heads and eighteen hands, encircled by orange flame.

Mandalas: An Introduction, Painting & Sculpture

Mandala Resource Page | Mandala Art Topics Outline | Mandala Sets & Traditions | What Are Mandalas? | Mandala-like Circular Forms | Mandala Technical Glossary

An Introduction to Visual Mandalas: Painting & Sculpture (based on the exhibition 'Mandala: The Perfect Circle' at the Rubin Museum of Art)Exhibition Details

by Jeff Watt(New York, August 2009)

Physical representations of Deity Mandalas are created for many different reasons and probably least of all as 'an artistic aid for meditation' as is commonly believed by many Western scholars. The primary reason for the physical creation of a mandala is to have a visual presence when preparing and conducting a ritual initiation for Tantric Buddhist devotees into a deity yoga meditation practice. Initiations, sometimes called ceremonies or empowerments, require a physical depiction, as stipulated in the Tantric texts, either two dimensional or three dimensional in form, of the deity, the celestial palace and the surrounding lotus petals, vajras and five coloured flames. Sand mandalas and painted wooden mandala plates are good examples of objects used for this ritual function. See objects in the exhibition that were created to be used in an initiation ritual.

In Tantric Buddhism, after receiving an initiation, and maintaining a serious and responsible attitude, it is often a requirement, especially in the Anuttarayoga classification of Tantra, that the initiated devotee own and have in their possession an image of the central deity, or of the deity, entourage and surrounding mandala. The painting typically remains in the home or lodging of the practitioner, but must travel with that individual when they are away from home for more than a few days (as stipulated in the specific Tantra). These paintings are generally of a smaller size and spend most of their life rolled up and hidden from the eyes of others. This is also a significant reason why there is so much Tantric Buddhist art in the world.See paintings in the exhibition likely to be created as a required article of faith.

Painted mandala sets, either as scrolls or murals, can also be created for the purpose of sanctification, blessing and making spiritually secure a new temple or monastery. Also, when an individual requesting and acting as the donor for the bestowing of a large cycle of initiations - requiring mandalas - it is considered auspicious at the least and sometimes mandatory to commission a set of either the full mandalas or the central deity figure for each of the initiations. These newly created paintings would hang in the temple hall for the duration of the time while the master bestows the cycle of initiations to the students and the donor.

It is also common to create a mandala or deity painting in memory of an important teacher after their passing. One of the highlights of the exhibition are the three paintings commissioned by Lhachog Sengge, a famous abbot of Ngor Monastery in the 16th century, and dedicated to the memory of three important religious instructors: the paintings of Samvarodaya Chakrasamvara, Vajrabhairava, and Samvara Kalachakra. See paintings in the exhibition that are dedicated by Lhachog Sengge.

The two most important sets of paintings represented in the exhibition are the 'Lama Dampa' Vajravali mandala paintings and the 'Ngorchen' Vajravali mandala paintings (see Vajravali Outline). The Vajravali is a Sanskrit text written in the 11th century by an Indian scholar named Abhayakaragupta. It is a compendium of deity mandalas and meditation practices. In the text he describes twenty-six or forty-two principal Tantric deities along with their mandalas. The difference in the calculation of the deities depends on how the different forms of the same deity are numbered or not numbered in the list. In Tibet in the 13th century the Vajravali became a popular system for bestowing initiations. See paintings in the exhibition that are specifically Vajravali.

The first and oldest of the two sets, in a set of forty-two paintings, known as the Lama Dampa Vajravali Set was created and dedicated to the memory of Lama Dampa Sonam Gyaltsen (1312-1375) by a devoted and obviously wealthy devotee. The second important set, the Ngorchen Vajravali Set in fourteen paintings, was commissioned by Ngorchen Kunga Zangpo in memory of one of his spiritual teachers, Sazang Pagpa Shonnu Lodro (1358-1412/1424).See other paintings in the exhibition created as a dedication in memoriam.

A topic of some confusion are the Eight Great Cemeteries, or Charnel Grounds, surrounding the celestial palace of a wrathful deity. Charnel grounds are ONLY associated with wrathful or semi-wrathful deities, but NOT ALL wrathful deities are surrounded by charnel grounds. Typically mandalas of the two wrathful deities Rakta and Krishna Yamari are not depicted with a circle of eight charnel grounds. (Peaceful deities are surrounded by beautiful gardens). For a wrathful deity mandala the charnel grounds can be depicted either inside the nested ring of concentric circles or on the outside of the nested circles. Both methods for presenting the charnel grounds are stipulated in the original Sanskrit literature of India. In the current exhibition the best example of a painting with an outer set of charnel grounds is the Avalokita Samvara mandala (see a full description). Contrary to the standard system, the Kalachakra Tantra is unique in presenting an alternate system of sixteen charnel grounds, not eight, however only the less common form of the mandala with a slightly more wrathful central figure, the Samvara Kalachakra, depicts the system of the sixteen cemeteries. As a general rule, the eight cemeteries only occur with deities (wrathful or semi) belonging to the highest classification of the four classes of Buddhist Tantra - Anuttarayoga. See other examples of mandalas where the Charnel Grounds are on the outside.

A persistent myth concerning mandalas is that there is a group of Eight Siddhas that are universally known and named that occupy the eight charnel grounds as depicted in art. Each siddha is said to abide in one of the cemeteries and associated with one of the eight directions. This idea just simply isn't accurate. In Tibetan style art the placing of identifiable siddhas in mandala cemeteries is neither textual, Sanskrit or Tibetan, nor is it orthodox. The idea and discussion of eight iconographically identifiable siddhas inhabiting the charnel grounds is entirely a Kagyu and Sakya Tradition phenomena. See a longer explanation about the Eight Siddhas in mandala art.

There are a number of objects in the exhibition that are not mandalas, but look similar to mandalas, and a number of objects that are called mandalas because they are mandala-like. The first are yantras. Yantras are drawings, diagrams, sometimes wood block prints, often geometric and circular, and intended to be two-dimensional. They do not represent a three-dimensional architectural structure with a deity and palace at the center. Also, a Buddhist practitioner does not meditate or visualize a yantra. They are intended as talismans and charms to ward off obstacles, demons, and to bring good fortune, power and a rich harvest and abundance of wealth and happiness, etc. They can also be used to curse and send obstacles to enemies and opponents. Yantras are commonly reproduced from wood cut blocks or simply drawn onto paper or cloth. They are then blessed by the Buddhist clergy or sanctified in a ritual specifically designed around the purpose the yantra was created for; wealth, power, cursing, etc. After that the yantra is folded, sewn into a piece of cloth and worn on the body. Other types of yantras, also created out of paper or cloth, used in malicious rituals would generally be destroyed after the completion of the ritual. They would typically be burnt, or buried, or shredded, depending on the instructions in the ritual text. See objects in the exhibition that are Yantras.

Lotus Mandalas are referred to on the HAR website as mandalas but more properly should be referred to as mandala-like. The objects are a three dimensional metal sculpture of a deity and retinue figures inside a lotus blossom, above a stem which is the stand for the object. Hinged petals can appear closed or open revealing the central figure and deities. The lotus mandala does not depict the palace, outer gardens and cemeteries, double vajra, giant lotus, sphere of vajras and flames of five colours. A lotus mandala cannot serve as an architectural blueprint for a deity, retinue, and surroundings, nor can it be understood as a complete mnemonic device for the source Tantric text and meditational system that the deities and full mandala represent.See objects in the exhibition that are not mandalas.

There are two other subjects where the term mandala has come to be applied. The first is the four elements as conceived in Tantric thought: air, earth, water and fire. Each of these is represented by a specific shape and colour and called an element mandala. The second subject is concerned with a special type of offering amongst all of the different types of offerings that exist in Tantric practice. It is an Offering Mandala, a symbolic model of the Buddhist world presented by Buddhist practitioners to the religious teachers, Buddhas and deities. It can be done simply as a prayer with thoughtful intentions or as a formal ritual practice requiring objects and sequence. An object called a mandala plate, circular in shape, is used for this ritual although anything flat and clean is acceptable. The mandala plate is filled with a heap of rice and then metal, or cloth covered wooden rings, generally three or four, are placed above each pile of rice creating a circular tiered structure. The offering is sometimes topped with a small replica of a heavenly palace or a Dharma wheel. This ritual, imagining the world represented by the circular plate and tiered rice, is called a mandala offering.

In the current exhibition there is a very beautiful metal mandala plate arranged with permanent miniature buildings, figures and object symbols surrounding a central mountain topped with palaces and a stupa. These types of ritual and decorative religious objects where commonly created in large quantities by the emperors of China to commemorate special events and dates in the calendar. The objects would be given away to the most important monasteries and temples in the land usually accompanied by a request for prayers and good wishes.See another mandala plate almost identical to the one in the exhibition.

There are standard prayers and specific mandala offering prayers recited in the various Buddhist traditions when conducting the ritual. The longest prayer was composed by Chogyal Pagpa in the 13th century and is used universally throughout the Himalayas, Tibet and Mongolia. The prayer describes in detail, based on the Abhidharmakosha literature of the 4th-5th century, the physical appearance of the ancient Buddhist world.

Manjushri - Dharmadhatu Vagishvara(item no. 455) Tibet

1500 - 1599

Sakya and Ngor (Sakya) Lineages

72.39x67.31cm (28.50x26.50in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Gyangtse Painting School


(acc.# F1996.15.2) Add to My Gallery

Additional Images View reverse of Image View dedication

Dharmadhatu Vagishvara Manjushri with 219 Deities (Tibetan: jam pal cho ying sung gi wang chug lha nyi gya dang chu gui kyil kor): a complex form of the deity Manjushri, first of the seven principal mandalas from the Manjushri Namasangiti Tantra [TBRC W22003]. (See an almost identical painting composition and subject HAR #87014).

Manjushri is the deity in the middle of the complex circular mandala (center and circumference). He has four faces and eight hands, seated in the cross legged vajra posture. His colour can be either white or orange. The first circle of surrounding deities are the Buddhas of the four directions with attendants and consorts, each in the same appearance as the central figure. Other deities totalling 219 surround the central figures extending outward in descending rank. Along the top register are fifteen forms of Manjushri. The last three on the right are the Six-faced Yamari, blue-black in colour with six hands, followed by Krishna Yamari, black in colour with two hands and Krishna Yamari with three faces and six hands. All three are fearsome in appearance and stand in a menacing posture. The Six-faced Yamari represents one of the seven principal mandalas of the Namasangiti. At the upper left is the mandala of Orange Arapachana Manjushri, orange in colour, surrounded by four retinue deities in various colours. This mandala also belongs to the namasangiti Tantra. At the upper right is the mandala of White Arapachana Manjushri, white in colour, surrounded by four retinue deities all white in colour. This form of Arapachana arises from the Siddhaikavira Tantra. At the bottom left is White Achala, Blue Achala and White Tara. Blue Achala is the special protector of the Siddhaikavira Tantra.

At the bottom right is Green Tara, Yellow Jambhala and Black Jambhala.

Along the very bottom of the painting is a lengthy inscription dedicating the painting in honour of the Five Superiour Teachers of Sakya (Jetsun Gongma Nga) by Rabjampa Tsultrim Ozer and other students of the teacher Sherab Zangpo. The Manjushri Namasangiti Tantra was first translated into Tibetan in the 8th century and re-translated during the Sarma period in the 11th century and classified as both a Yoga and Anuttarayoga Tantra. It depicts numerous forms of Manjushri both peaceful, wrathful and full mandalas with many deities such as the Dharmadhatu Vagishvara. Monks and lamas from all traditions memorize the Tantra in early childhood. Lineage of Teachers: The Perfect Buddha, Holy Manjughosha, Khache Yeshe Dorje, Lobpon Jampal Dragpa, Kepa Palpe Zangpo, Dramze Yeshe Dorje, Sherab Jungne Bepa, Dramze Shepa Dorje, Padmakaravarmin, Shraddhakaravarmin, Lochen Rinchen Zangpo, Lochung Legpai Sherab, Ngog Ge Serwa, Kyangpo Dharma Drag, Triton Kunga Ozer, Khenpo Chokyi Dorje, Kunkhyen Choku Ozer, Pagod Yontan Gyatso, Buton Rinchen Drub, Tugse Rinchen Namgyal, Jamyang Dragpa Gyaltsen (1365-1448), Sharchen Yeshe Gyaltsen (d.1406) [TBRC P3094], etc. Jeff Watt 8-2005

Paintings of the Hevajra Mandala are quite numerous and at times of a very high artistic quality. This painting from the Museum of Fine Arts, Boston, is one of the finest and best preserved in the world. It was painted in 1461 as recorded by inscription on the reverse of the composition and very likely commissioned at Ngor Monastery in Tsang Province, Tibet.

Reading a mandala is often very difficult without insider knowledge and the benefit of the explanatory literature. Painted mandala compositions are generally read from the center out and then all of the figures immediately outside of the mandala circle, followed by the top register, and then finishing with the bottom register. The important sections of the MFA Hevajra painting have been divided into colours; blue for the essential deities, red for the Eight Great Charnal Grounds, yellow for the lineage teachers and green for the miscellaneous deities added by the donor or artist.Please let us know if the coloured image is more helpful than the plain 'greyscale and numbered' images that we have previously been using.

Mandala ofHevajra (Buddhist Deity)(item no. 87225) Central Tibet

1400 - 1499

Sakya Lineage

63x56cm (24.80x22.05in)


Collection of Museum of Fine Arts, Boston

(acc.# 67.823, Gift of John Goelet) Add to My Gallery

Additional Images View Greyscaled & Numbered View Coloured & Numbered

Shri Hevajra Nine Deity Mandala (Tibetan: pal gye pa dor je lha gu'i khyil kor). This painting is dated by inscription to 1461 (Nepal Samvat 581). (See a quick reference chart for understanding the visual and geometric elements of the Hevajra Mandala). Sanskrit: Hevajra Tibetan: Gye pa dor je Within the center of the two dimensional circular diagram (mandala) representing the top view of a three dimensional celestial palace and surroundings is the deity Shri Hevajra, dark blue in colour, with eight faces and sixteen hands holding skullcups, standing with four legs in a dancing posture. The first pair of hands embrace the consort Vajra Nairatmya (Selfless One), blue, with one face and two hands holding a curved knife and skullcup, standing on the left leg with the right embracing Hevajra. They are both adorned with bone ornaments and stand atop four corpses within the flames of pristine awareness. Surrounding the two central figures are eight goddesses of various colours, each with one face and two hands, standing in a dancing posture on the left leg above a corpse seat. Beginning at the top and placed in a clockwise direction is yellow Vetali, multi-coloured Dombini, green Ghasmari, blue Pukkasi, black Gauri, white Shavari, red Chauri, and purple Chandali. They are adorned with various ornaments and each hold their own distinct hand objects. The floor of the celestial palace is divided into four colours ornately patterned with floral designs: red, blue, white and yellow. On the red veranda outside of the palace walls (barely discernible), on each side of the four doors ('T' shaped), are two dancing offering goddesses, sixteen in total. The outer red and white lines forming a square enclosure represent the stylized decorative facade on the four sides of the palace roof; adorned with upright spears, arrows and banners. The elaborate lintels above each of the four doors are constructed of tiered steps topped with a Dharma wheel, two reclining deer, and gold spires with a silk canopy above. Surrounding the palace is a circle of multi-coloured (rectangular) petals representing the enormous lotus upon which the entire palace structure rests. The outer circle, divided into eight sections, containing small figures and objects is the ring of the eight great charnel grounds filled with corpses, fires, chaityas (stupas), yogis, nagas, and wrathful worldly deities. Eight Great Charnel Grounds: according to Tantric literature and the descriptions of wrathful deities and their environments, the eight charnel grounds surround the central palace and deity. There are several different sets of eight names and descriptions for the eight great charnel grounds depending on the Buddhist and Hindu Tantric literature consulted. These charnel grounds also have physical locations in India such as the Laughing charnel ground at Bodhgaya and the Cool Grove charnel ground close by, along with the Frightening charnel ground in the Black Hills of Bihar. From the Hevajra Tantra literature: "In the east is the Gruesome charnel ground (chandograkatasi); south Frightful with Skulls (bhairavakapalika); west Adorned with a Blazing Garland (jvalamalalankara); north Dense Jungle (girigahvaronnati); north-east Fiercely Resounding (ugropanyasa); south-east Forest of the Lord (ishvaravana); south-west Dark and Terrible (bhairavandhakara); north-west Resounding with the Cries Kili Kili (Kilikilaghoshanadita). Furthermore, there are headless corpses, hanging corpses, lying corpses, stake-impaled corpses, heads, skeletons, jackals, crows, owls, vultures, and zombies making the sound, "phaim". There are also siddha with clear understanding, yaksha, raksha, preta, flesh eaters, lunatics, bhairava, daka, dakini, ponds, fires, stupa, and sadhaka. All of these fill the charnel grounds." (Konchog Lhundrub 1497-1557, written in 1551). The final ring is composed of the multi-coloured fires of pristine awareness completely enveloping the entire Hevajra Mandala. Along the top are the lineage gurus for this particular mandala of Shri Hevajra. Starting from the middle and alternating to each side are the primordial buddha Vajradhara, Nairatmya, Virupa, Krishnapa, Damarupa, Avadhutipa, Gayadhara, Drogmi Lotsawa (992-1072), Seton Kunrig (1025-1113), Shangton Chobar (1053-1136), Sachen Kunga Nyingpo (1092-1158), Sonam Tsemo (1142-1182) and Dragpa Gyaltsen (1147-1216). On the outside of the mandala circle starting at the upper left is yellow Ratnasambhava-Hevajra. On the right is red Amitabha-Hevajra. At the Bottom left is white Vairochana-Hevajra and on the right green Amoghasiddhi-Hevajra. Each of these is in the same general appearance as the central deity. Shri Hevajra is a meditational deity of the Anuttarayoga Non-dual classification. From the many Hevajra Tantras and forms of the deity, this representation of Hevajra arises from the root Hevajra Tantra of 'two sections' and was popularized by the Indian mahasiddha (the one of great accomplishment) Virupa. The style of the painting is from Ngor Monastery in south western Tibet evidenced by the strong use of red colours and the intricate circular floral patterns used for the background and flame designs. Mapping a Mandala: Reading a mandala is often very difficult without insider knowledge and the benefit of the explanatory literature. Painted mandala compositions are generally read from the center out and then all of the figures immediately outside of the mandala circle, followed by the top register, and then finishing with the bottom register. The important sections of the MFA Hevajra painting have been divided into colours; blue for the essential deities, red for the Eight Great Charnal Grounds, yellow for the lineage teachers and green for the miscellaneous deities added by the donor or artist. Jeff Watt 4-2001

Numbered & Coloured Image List: Blue - Deities:1. Hevajra & Nairatmya--- [The Eight Goddesses] ---2. East - Gauri (black) 3. South - Chauri (red)4. West - Vetali (yellow)5. North - Ghashmari (green)6. North-east - Pukkashi (blue)7. South-east - Shavari (white)8. South-west - Chandali (purple)9. North-west - Dombini (multi-coloured)--- [The Five Hevajras of the Five Buddha Families] ---10. Vairochana Hevajra 11. Ratnasambhava Hevajra12. Amitabha Hevajra13. Amoghasiddhi Hevajra--- [The Great Wrathful Ones] ---14. Ushnisha Chakravartin (yellow)15. Yamantaka (blue)16. Humkara (blue)17. Prajnantaka (white)18. Padmantaka (red)19. Vighnantaka (blue)20. Achala (blue)21. Takkiraja (blue)22. Niladanda (Blue)23. Mahabala (blue)24. Shumbharaja (blue)Red - Cemeteries (Charnal Grounds):1. East - Gruesome charnal ground (Chandograkatasi)2. South - Frightful with Skulls (Bhairavakapalika) 3. West - Adorned with a Blazing Garland (Jvalamalalankara)4. North - Dense Jungle (Girigahvaronnati)5. North-east - Fiercely Resounding (Ugropanyasa)6. South-east - Forest of the Lord (Ishvaravana)7. South-west - Dark and Terrible (Bhairavandhakara)8. North-west - Resounding with the Cries Kili Kili (Kilikilaghoshanadita)Yellow - Lineage of Teachers:1. Vajradhara2. Nairatmya3. Virupa4. Kanha5. Damarupa6. Avadhutipa7. Gayadhara8. Drogmi Lotsawa9. Seton Kunrig10. Shangton Chobar11. Sachen Kunga Nyingpo12. Sonam Tsemo13. Dragpa Gyaltsen14. Sakya Pandita15. Chogyal Pagpa16. Konchog Pal17. Sonam Pal18. Sonam Gyaltsen19. Palden Tsultrim

Green - Miscellaneous Deities:1. Panjarnata Mahakala2. Shri Devi3. Yellow Jambhala4. Legden Mahakala

Mandala ofKalachakra (Buddhist Deity) - Mahasamvara(item no. 87012) Central Tibet

1500 - 1599

Sakya and Ngor (Sakya) Lineages

50.80x44.45cm (20x17.50in)


Collection of Philadelphia Museum of Art

(acc. #2000-7-1, Stella Kramrisch Fund, 2000) Add to My Gallery

Mahasamvara Kalachakra, Seventy-three Deity Mandala. The painting was commissioned by Lhachog Sengge (1468-1535), the 9th abbot of Ngor Ewam Monastery. Sanskrit: Kalachakra Tibetan: Du kyi kor lo Kalachakra is surrounded by eight couples in embrace. Outside of that are six concentric weapon wheels, jnana, bhumi, vari, jvala, vayu and akasha. Each of these wheels has eight couples in embrace. The mandala palace is circular and has eight gates. Surrounding the palace is the ring of sixteen great charnel grounds unique to the Kalachakra Tantra. The source text is the Paramadi-buddhoddhrta-srikalachakra-nama-tantraraja, Toh 362. Further information for this mandala can be found in the Ngor Mandala compilation of the 19th century rgyud sde kun btus, mandala #98, dus 'khor sdom chen lha bdun cu don gsum gyi dkyil 'khor. Also see The Ngor Mandalas of Tibet, Listings of the Mandala Deities. bSod nams rgya mthso. Bibliotheca Codicum Asiaticorum 4. The Centre for East Asian Cultural Studies, 1991. Again, Tibetan Mandalas (Vajravali and Tantra-samuccaya), Raghuvira and Lokesh Chandra, 1995. Lineage Teachers: Buddha Kalachakra, Chandrabhadra and the Eight Kings, Manjushr-kirti and the Twenty-five Vidyadharas; Vidyadhara Shripala, Kalachakrapada the Greater, Kalachakrapada the Lesser, the Kashmiri Chandra Nata, Gompa Konchog Srung, Droton Namla Tseg, Yumo Mikyo Dorje, Se Dharmeshvari, Drubtob Namkha Ozer, Drubtob Semoche Namka Gyaltsen, Jamsar Sherab Ozer, Lama Choku Ozer, Choje Kunpangpa, Jangsem Gyalwa Yeshe, Lama Kunkyen Pagpa, Buton Rinchen Drub (1290-1364), etc. (rgyud se bkun btus, 2004 edition, vol. 30, pages 171-173). Jeff Watt 7-2003 [updated 7-2009] Front of PaintingWylie Transliteration of Inscription: yi dam dkyil 'khor gyi lha tshogs 'di bdag dge slong rdo rje 'dzin pa lha chog seng ge'i yi dam du bzhengs . mang ga la.

Kalachakra (Buddhist Deity)(item no. 65001) Central Tibet

1600 - 1699

Gelug Lineage



(acc.#C2001.1.1) Add to My Gallery

Shri Kalachakra (Tibetan: pal du kyi kor lo. English: the Wheel of Time): a non-dual Tantra retrieved from the hidden kingdom of Shambala. Sanskrit: Kalachakra Tibetan: Du kyi kor lo Semi-wrathful in appearance, blue in colour, he has four faces, twenty-four hands and two legs. The main face is blue, right red, left white and the back face is yellow. Each has three eyes and an open mouth with slightly bared fangs. The first set of eight hands are blue in colour, second (middle) red and third (upper) yellow. The first pair of hands hold a vajra and bell crossed at the heart embracing the consort. The remaining right hands hold a sword, curved knife, trident, three arrows, vajra hook, damaru drum, hammer, wheel, spear, club and axe. The left hands hold a shield, katvanga staff, skullcup, bow, lasso, jewel, lotus, conch shell, mirror, vajra chains and the four-faced yellow head of Brahma. The Lord wears a long green scarf and a tiger skin as a lower garment. The consort, Vishvamata, is yellow, with four faces and eight hands. They are both adorned with crowns, necklaces, earrings, bracelets and various ornaments. The right leg of the Lord is straight and red, standing atop the figure of red Kamadeva. The left is bent and white, standing atop white Rudra. Above the layered discs of a white moon, red sun and dark blue Rahu (eclipse) they stand on a multi-coloured lotus blossom seat wreathed by the circular orange rays of pristine awareness fire. At the top center is the primordial buddha Vajradhara, blue, with one face and two hands holding a vajra and bell at the heart. At each side are two kings of Shambhala wearing long garments and elaborate headdresses. Slightly below are two lamas wearing orange and red monastic robes. Two celestial figures, white in colour, soar against the dark blue sky. At the left side is Sahaja Heruka Kalachakra, blue, with one face and two hands holding a vajra and bell embracing the consort. Vishvamata, yellow, holds a curved knife and skullcup. At the right is the tutelary deity Mahamaya, blue, with four faces and four hands holding a skullcup and katvanga staff and in the second pair a bow and arrow. The consort, Buddha Dakini, is light blue in colour, with one face and four hands holding the same objects as the Lord. Adorned with wrathful vestments, above a corpse, sun disc and pink lotus flower they stand in a dancing posture against an orb of red wisdom fire. At the bottom center is the special protector for the Kalachakra cycle of Tantras, Vajra Vega (Tib.: dor je shug, Eng.: Vajra Strength). Very wrathful, blue in colour, with four faces, twenty-six hands and two legs he displays the same colours as Kalachakra. At the left is the tutelary deity form of Vajrapani, wrathful, blue, with one face and two hands holding an upraised vajra in the right and a bell in the left. Embracing the consort, green, they stand surrounded by fire. At the right is Hayagriva, red, with one face and two hands holding a stick and lasso. The Kalachakra Mandala belongs to the non-dual anuttarayoga tantra practiced to a greater or lesser degree by all schools of Tibetan Buddhism. The concept of 'time' is used as the special metaphor to symbolize the process of transformation from mundane existence to complete enlightenment. From amongst the numerous lineages to enter Tibet the Rwa and Dro are the most famous. The Sakya school maintains seven distinct lineages of transmission. (See Guhyasamaja and Yogambara from the same set). Rwa Lineage: Buddha Shakyamuni-Kalachakra, the Shambala king Suchandra, a line of 8 Shambhala kings ending with Manjukirti and Pundarika, a Manjushri emanation, Chilu Pandita, Pindo Acharya, Kalachakrapada the younger (Naropa), Manjukirti, Samantashri, Rwa Chorab, Rwa Yeshe Sengge, etc. Jeff Watt 3-99 In the book A History of Tibetan Painting by David Jackson, he says; "Another interesting reference to the mKhyen-ris style from the autobiography of the 5th Dalai Lama refers to the commisioning around 1670/71 of a set of tangkas depicting mandalas (dkyil thang) from the Vajravali cycle. The political ruler (sDe-pa) undertook to sponsor it. Since sMan-thang-pa had been perfectly expert in peaceful deities and mKhyen-brtse in fierce deities and mandalas, in the Great Fifth's opinion it was essential that both lineages should not die out," (pp.159-160).

Kalachakra (Buddhist Deity)(item no. 87223) Central Tibet

1300 - 1399

Sakya Lineage

53.20x51.30cm (20.94x20.20in)


Collection of Museum of Fine Arts, Boston

(acc.#67 821, Gift of John Goelet) Add to My Gallery

Additional Images View Name Key View Number Key

Shri Kalachakra (Tibetan: pal du kyi kor lo. English: the Wheel of Time) and the Vajravali cycle of deities according to the text of Abhayakaragupta. (See a Vajrakila painting with a similar composition, colour palette and date). This is the only known painting where all of the deities described in the Vajravali are depicted in a single composition. It is also likely to be the earliest Tibetan painting of the subject making it the most important single artwork in the study of the Vajravali literature and subsequent works of art. (See the chapter on the history of the Vajravali in the Blue Annals by Go Lotsawa). Sanskrit: Kalachakra Tibetan: Du kyi kor lo Semi-wrathful in appearance, blue in colour, he has four faces, twenty-four hands and two legs. The main face is blue, right red, left white and the back face is yellow. Each has three eyes and an open mouth with slightly bared fangs. The first set of eight hands are blue in colour, second (middle) red and third (upper) yellow. The first pair of hands hold a vajra and bell crossed at the heart embracing the consort. The remaining right hands hold a sword, curved knife, trident, three arrows, vajra hook, hand drum (damaru), hammer, wheel, spear, club and axe. The left hands hold a shield, katvanga staff, skullcup, bow, lasso, jewel, lotus, conch shell, mirror, vajra chains and the four-faced yellow head of Brahma. The consort, Vishvamata, is yellow, with four faces and eight hands. They are both adorned with crowns, necklaces, earrings, bracelets and various ornaments. The right leg of the Lord is straight and red, standing atop the figure of red Kamadeva. The left is bent and white, standing atop white Rudra. Above a red sun disc they stand on a lotus blossom seat wreathed by the red flames of the fires of pristine awareness. At the center of the composition is the complex meditational deity Kalachakra. To the upper right of the central figure is Shri Hevajra, lower right Mahachakra Vajrapani, lower left Rakta Yamari and upper left Vajrabhairava. Beginning at the viewer's top left is the primordial Buddha Vajradhara, white Vajrayogini Jnana Dakini and then four Indian Panditas: Abhayakaragupta, and what is likely to be Punyakaragupta, Lon Shab, Kirtichandra, followed possibly by the Tibetan translator Dragpa Gyaltsen or Chag Lotsawa. Both of these Tibetan teachers were important early propagators of the Vajravali system. Following that are three more Tibetan teachers (in the same top register) and then two more in the register below on the left side for a total of six. Lineage: Vajradhara, Jnana Dakini, Abhayakaragupta, Anusama Rakshita, Vikhyata Deva, Kache Shakya Shribhadra, Pandita Bhumishri, Vimalashri, Bodhi Sidha, Kyiton Jamyang Dragpa Gyaltsen, Dolpo Sherab Gyaltsen, Sazang Panchen Lodro Gyaltsen, Sazang Pagpa Shonnu Lodro, Ngorchen Vajradhara Kunga Zangpo, etc. (See alternate lineages of the Vajravali and Kriya-samucchaya). View Identification Key: 1. Kalachakra, 2. Hevajra, 3. Mahachakra Vajrapani, 4. Rakta Yamari, 5. Vajrabhairava, 6. Vajradhara, 7. Jnana Dakini, 8. Abhayakaragupta, 9. Punyakaragupta, 10. Lon Shab, 11. Kirtichandra, 12. Dragpa Gyaltsen or Chag Lotsawa, 13. Tibetan Teacher, 14. Tibetan Teacher, 15. Tibetan Teacher, 16. Tibetan Teacher, 17. Tibetan Teacher, 18. Hevajra (Two Arms), 19. Hevajra (Four Arms), 20. Akshobhyavajra Guhyasamaja, 21. Manjuvajra Guhyasamaja, 22. Hevajra (Six Arms), 23. Mahamaya, 24. Jnana Dakini, 25. Samputa Vajrasattva, 26. Heruka Buddha Kapala, 27. Humkara, 28. Hevajra (Two Armed, Samputa), 29. Hevajra (Four Armed, Samputa), 30. Sahaja Heruka Chakrasamvara, 31. Chakrasamvara, 32. Hevajra (Six Armed, Samputa), 33. Shastradhara Hevajra (Sixteen Arms, Weapon Holding, Samputa), 34. Vajravarahi, 35. Pita Chakrasamvara, 36. Nairatmya (Two Arms), 37. Nairatmya (Four Arms), 38. Syama Vajravarahi, 39. Pita Vajravarahi, 40. Vajrasattva Chakrasamvara, 41. Kurukulla, 42. Buddha Kapala, 43. Yogambara, 44. Amrita Humkara, 45. Vajra Amrita, 46. Amrita Kundalin, 47. Heruka Vajrasattva, 48. Hevajra, 49. Bhutadamara Vajrapani, 50. Vairochana Manjuvajra, 51. Vajra Tara, 52. Krishna Yamari, 53. Shadbhuja Mahakala, 54. Vaishravana Riding a Lion, 55. Shakya Simha, 56. Dharmadhatu Vagishvara, 57. Vajradhatu Vairochana, 58. Pratisara (Pancha Raksha), 59. Marichi.At the bottom left is the Donor figure. (See a history of the Origin of the Vajravali from the Blue Annals text of Go Lotsawa Zhonnu Pal 1392-1481). Jeff Watt 4-2001 [updated 8-2009]

Kalachakra (Buddhist Deity)(item no. 924) Eastern Tibet

1700 - 1799

Karma (Kagyu) and Buddhist Lineages

52.07x37.47cm (20.50x14.75in)




Additional Images View Reverse View Numbered

Kalachakra, Sahaja Heruka (Tibetan: du kyi kor lo, lhan chig drag tung. English: the Wheel of Time, Blood-drinker) with Vajrasattva at the top center accompanied by four teachers and two further figures at the bottom. The painting appears to follow the Palpung Monastery style of painting and can be dated, based on the last two figures at the bottom of the composition, to sometime between 1770 and 1798. Sanskrit: Kalachakra Tibetan: Du kyi kor lo See Kalachakra Main Page See Kalachakra Outline Page "...Sahaja Kalachakra ... with a body blue in colour, one face, two hands holding a vajra and bell, embracing the Mother. The left leg is white and bent pressing on white Ishvara and the right red and extended on the heart of the King of Desire. The hair is in a top-knot and a wishing gem and crescent moon adorn the head; [adorned with] vajra ornaments and wearing a lower garment of tiger skin. For each hand the thumb is yellow, forefinger white, middle finger red, ring-finger black, little finger green. For the garland of joints, the first is black, second red, and third white; with Vajrasattva as a crown; and standing in the middle of a five coloured mountain of fire. Embracing Visvamata, yellow in colour. [She has] one face, two hands, three eyes, holding a curved knife and skullcup; embracing the Father with the right leg bent, left extended. In union with the Father, naked, adorned with the five mudras, part of the hair hangs loose." (Written by Jamyang Kyentse Wangpo, 1820-1892). At the top center is Vajrasattva, white in colour embracing the consort Vajragarvi, holding a vajra scepter in the right hand and a bell in the left cradled to the side. Seated at the immediate left side is an Indian teacher and below that is Taranata both wearing monastic robes. Seated on the viewer's right is Dolpopa Sherab Gyaltsen. Below that is Katog Tsewang Norbu (1698-1755), dark skinned and wearing a cap. At the bottom left is the 8th Situ, Chokyi Jungne (1700-1774), depicted as a portrait created in old age, grey hair, wrinkles, wearing the typical red hat. (Note the cloud ornaments on the side of the hat - trailing to the back). The two hands are placed in the lap supporting a blue wish-fulfilling jewel. At the right side is the teacher Dragpo Dorje Tsal (1740-1798), the 4th Dzigar incarnation [P691], a student of the 8th Situ. He wears the robes of a monk, adorned with a lotus hat. The right hand upraised holds a golden vajra and the left extended to the side strikes downward with a kila (English: peg. Tib.: purba) decorated with a black scorpion. The left leg is stretched slightly forward assuming a wrathful gesture with the entire body imitating the posture of the deity Guru Dragpo - a meditational form of Padmasambhava. Jeff Watt 11-2000 [revised 7-2010] Numbered & Grayscale:1. Kalachakra & Vishvamata2. Vajrasttva & Vajra Garvi3. Indian Teacher (unknown)4. Dolpopa Sherab Gyaltsen5. Jonang Taranata6. Katog Tsewang Norbu7. Situ Panchen Chokyi Jungne8. Dragpo Dorje TsalFront of PaintingEnglish Translation of Inscription: [There are name inscriptions for each of the secondary figures] Reverse of PaintingSpecial Features: (handprints)

Kalachakra (Buddhist Deity)(item no. 299) Tibet

1800 - 1899

Jonang (Sakya) Lineage

99.06x61.60cm (39x24.25in)




Shri Kalachakra (Tibetan: pal du kyi kor lo. English: the Wheel of Time): surrounded by various deities of the mandala, lineage teachers above and protectors below. Sanskrit: Kalachakra Tibetan: Du kyi kor lo Slightly peaceful and slightly wrathful, predominantly blue in colour, he has four faces, twenty-four hands and two legs. The main face is blue, right red, left white and the back face is yellow, each has three eyes. The first set of eight hands (lower) are blue in colour, second (middle) red and third (upper) yellow. The first pair of hands embrace the consort - crossed at the heart holding a vajra and bell. The remaining right hands hold a sword, curved knife, trident, arrows, hook, damaru drum, hammer, wheel, spear, club and axe. The left hands hold a shield, katvanga staff, skullcup, bow, lasso, jewel, lotus, conch shell, mirror, chains and the head of Brahma. Wearing a long green scarf over the shoulders he is wrapped with a tiger skin as a lower garment. The consort, Vishvamata, is yellow, with four faces and eight hands. They are both adorned with crowns, necklaces, earrings, bracelets and various ornaments. The red right leg of the Lord is straight, standing atop the figure of red Kamadeva. The white left leg is bent, standing atop white Rudra. Above the layered discs of a dark blue Rahu (eclipse), red sun and white moon they stand on a multi-coloured lotus blossom seat surrounded by the five coloured lights of pristine awareness fire. At the top center is the primordial buddha Vajradhara, blue, with one face and two hands holding a vajra and bell at the heart. At each side are lamas wearing orange and red monastic robes and red pandita hats. Next are two mahasiddhas, sparsely clad, wearing long black hair and red meditation belts. At the right side is a king of Shambhala wearing long garments and an elaborate headdress. At the left side is a multi-headed form of Manjushri Namasangiti. The second row of figures, those along the sides and directly below the central Kalachakra, comprise the main attendant deities from the full mandala. At the bottom center is the wrathful protector for the Kalachakra cycle of Tantras, Vajra Vega (Tib.: dor je shug, Eng.: Vajra Strength). Very wrathful, blue in colour, with four faces, twenty-six hands and two legs he displays the same colours and attributes as Kalachakra. Adorned with wrathful vestments he stands above a corpse and sun disc surrounded by the orange flames of pristine awareness. At the left is the protector Panjarnata Mahakala, dark blue, with one face and two hands. He is surrounded by the eight-deity entourage composed of Ekajati, Shri Devi, Kartaridhara Mahakala and the five Rakshasas along with miscellaneous figures of the outer retinue. At the right is the tutelary deity Vajrakila, wrathful, blue, with three faces and six hands embracing the consort Diptachakra. Slightly above is Shri Heruka Vajrabhairava, blue, with a buffalo head and two hands holding a curved knife and skullcup. Below are the five deities of the Krishna Khrodini mandala (Tib.: tro ma nag mo). Each has one face and two hands, standing in a dancing posture. The Kalachakra Mandala belongs to the non-dual anuttarayoga tantra classification practiced to a greater or lesser degree by all schools of Tibetan Buddhism. The concept of 'time' is used as the special metaphor to symbolize the process of transformation from mundane existence to complete enlightenment. From amongst the numerous lineages to enter Tibet the Rwa and Dro are the most famous. The Sakya school maintains seven distinct lineages of transmission. Rwa Lineage: Buddha Shakyamuni-Kalachakra, the Shambala king Suchandra, a line of 8 Shambhala kings ending with Manjukirti and Pundarika, a Manjushri emanation, Chilu Pandita, Pindo Acharya, Kalachakrapada the younger (Naropa), Manjukirti, Samantashri, Rwa Chorab, Rwa Yeshe Sengge, etc. Anupama Lineage: Vajradhara, Vajra Garbha, Vajra Dakini, Kalachakrapada, Anupama Rakshita, Sadhu Putra, Dharmakara, Dharma Mitra, Bikshata Deva, Shakya Shri Bhadra, Sakya Pandita Kunga Gyaltsen (1182-1251), Chogyal Pagpa (1235-1280), etc. Jeff Watt 3-99

Tibet: Lhukang Temple, Lhasa (Yoga Murals)

Lhukang Temple Main Page

Lhukang 3rd Floor | North Wall (Pema Lingpa Treasure's) | West Wall (Pema Lingpa Treasure's) | East Wall, Siddhas | Side Panel (Tsarchen) | Side Panel (misc.)

(See The Lhukang, A Hidden Temple in Tibet by Ian Baker).

On the 3rd floor of the Lhukang Temple there are seven murals - painted wall surfaces. There are three large mural panels and four small mural panels. Two of the large panels document [1 & 2] 'Revealed Treasure' Teachings of Pema Lingpa. These two panels are very detailed and are accompanied by written inscriptions and sequential numbering.

A third large panel depicts the [3] Eighty-four Mahasiddhas of the Vajrasana tradition along with the Twenty-five disciples of Padmasambhava.

Of the three small narrow panels, the first of these depicts various narratives scenes including [4] Pema Lingpa and the discovery of 'Revealed Treasures' in a lake in Bhutan. The second small panel again depicts [5] narrative scenes including Sakya Pandita, Tsongkapa, Tsarchen Loasal Gyatso and Doringpa (see images below). The third of the three panels depicts [6] two deities - a Nyingma Heruka figure above and a wrathful Vajrapani below. The fourth small panel appears to be a continuation of the second large panel of Pema Lingpa.

yeshe walmo

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