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Buddha of the Eternal Life (Amitayus) and Eight Bodhisattvas
Tibetan
13th century
Object Place: Central Tibet
Medium/Technique
Distemper on cotton
Dimensions
41.3 x 33 cm (16 1/4 x 13 in.)
Credit Line
Gift of John Goelet
Accession Number67.818
NOT ON VIEW
CollectionsAsia
ClassificationsPaintings
DescriptionPainting with decorative borders, mounted on support panel. Would have originally been in thangka format.
This painting, depicting Amitayus Buddha, was once part of a series of five paintings depicting the five transcendental Buddhas.
This painting displays the unique capacity of early Tibetan and Nepalese paintings to inlcude stylistic elements of India. The composition and figural types found in this painting derive from Indian illustrated manuscripts dating to the Pala and Sena periods (770-1199) while the Buddha's elaborate throne has parallels in bronze and stone sculptures dated to the same period.
The composition and figural types of this painting derive from Indian illustrated manuscripts dating to the Pala and Sena periods (770-1199) while the Buddha's elaborate throne has parallels in bronze and stone sculptures dated to the same period. However, the awkward stance of the two principal bodhisattvas, the sketchy treatment of several of the subsidiary images and the short squat proportions of the figures suggest a 13th century date.
This painting and a comparable work dedicated to the Buddha Ratnasambhava in the collection of the Los Angeles County Museum of Art were once part of a series of five transcendental Buddhas. Both Ratnasambhava and Amitayus are depicted wearing elaborate crowns and ornate jewelry. This suggests that they are shown in their sambhogadaya (bodies of pleasure) and that these two paintings as well as the three missing images were intended for use in rituals related to the Yoga tantra.
Amitayus' two principal attendants are Padmapani, the bodhisattva who bears the lotus, and Vajrapani, the bodhisattva who bears the vajra or thunderbolt. The six additional bodhisattvas can be identified by the small attributes found in the lotus which they hold. Both Amitayus and Ratnasambhava are accompanied by twenty-three additional figures including eight bodhisattvas, and additional buddhas and protective deities.
In addition, Amitayus is accompanied by seven goddesses seated in an arcade in the lower border, the Pancaraksas or five protective goddesses, white Tara and Usnisavijaya.
1. For an example of the throne, see Asiatic Art of the Museum of Fine Arts, Boston, Boston Museum of Fine Arts, 1982, p.
2. For a rationale for a slightly later date, see Dieux et Demons de l'Himalaya, Paris, 1974, p. 120.
3. For an illustration see Pal, Pratapaditya, Arts of Nepal, Los Angeles: Los Angeles County Museum and University of California Press, 1985 pl 202 and color illustration.
This painting, depicting Amitayus Buddha, was once part of a series of five paintings depicting the five transcendental Buddhas.
This painting displays the unique capacity of early Tibetan and Nepalese paintings to inlcude stylistic elements of India. The composition and figural types found in this painting derive from Indian illustrated manuscripts dating to the Pala and Sena periods (770-1199) while the Buddha's elaborate throne has parallels in bronze and stone sculptures dated to the same period.
The composition and figural types of this painting derive from Indian illustrated manuscripts dating to the Pala and Sena periods (770-1199) while the Buddha's elaborate throne has parallels in bronze and stone sculptures dated to the same period. However, the awkward stance of the two principal bodhisattvas, the sketchy treatment of several of the subsidiary images and the short squat proportions of the figures suggest a 13th century date.
This painting and a comparable work dedicated to the Buddha Ratnasambhava in the collection of the Los Angeles County Museum of Art were once part of a series of five transcendental Buddhas. Both Ratnasambhava and Amitayus are depicted wearing elaborate crowns and ornate jewelry. This suggests that they are shown in their sambhogadaya (bodies of pleasure) and that these two paintings as well as the three missing images were intended for use in rituals related to the Yoga tantra.
Amitayus' two principal attendants are Padmapani, the bodhisattva who bears the lotus, and Vajrapani, the bodhisattva who bears the vajra or thunderbolt. The six additional bodhisattvas can be identified by the small attributes found in the lotus which they hold. Both Amitayus and Ratnasambhava are accompanied by twenty-three additional figures including eight bodhisattvas, and additional buddhas and protective deities.
In addition, Amitayus is accompanied by seven goddesses seated in an arcade in the lower border, the Pancaraksas or five protective goddesses, white Tara and Usnisavijaya.
1. For an example of the throne, see Asiatic Art of the Museum of Fine Arts, Boston, Boston Museum of Fine Arts, 1982, p.
2. For a rationale for a slightly later date, see Dieux et Demons de l'Himalaya, Paris, 1974, p. 120.
3. For an illustration see Pal, Pratapaditya, Arts of Nepal, Los Angeles: Los Angeles County Museum and University of California Press, 1985 pl 202 and color illustration.
ProvenanceEarly 1960s, probably purchased in India or Nepal by John Goelet, Amblainville (Oise), France; 1967, gift of John Goelet to the MFA. (Accession Date: September 13, 1967)