The Buddhist Deities Chakrasamvara and Vajravarahi

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The Buddhist Deities Chakrasamvara and Vajravarahi

Tibet (by a Newar artist), circa 15th century
Paintings
Mineral pigments and traces of gold on cotton cloth
54 x 45 in. (137.16 x 114.3 cm)
From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase (M.70.1.3)
Not currently on public view

Curator Notes

...
In this finely preserved and exquisitely rendered paubha (Nepalese painting), the central blue figure of Chakrasamvara (The Union of the Wheel of the Elements) symbolizing the blissful state of perfect wisdom) stands in passionate embrace with his red-bodied consort Vajravarahi (The Diamond Sow). They are surrounded by a fiery red aureole, with numerous cremation grounds and the deities who preside over them depicted in the background. The upper and lower registers represent other forms of Chakrasamvara and Vajravarahi, along with numerous other deities. Vajrayana (adamantine or diamond) Buddhism differs from the two earlier forms of Buddhism, Theravada (The Doctrine of the Elders) and Mahayana (The Great Vehicle), through its use of incantation and ritual as the primary tools to achieve enlightenment. In addition, through their use, the practitioner can gain power over beings in other spheres of existence, either by dominating them, so that they will do ones will, or by identifying oneself with them, so that one may enjoy their higher states of existence. Paintings such as this are meant to be the objects of intense introspective meditation on oneself and the nature of the universe as one identifies oneself with Chakrasamvara. Tantric or esoteric Buddhist art is symbolic, with each symbol taking on new meaning when it is interpreted to the practitioner. On a conceptual level this dramatic image of Chakrasamvara and his spouse, Vajravarahi symbolizes the union of Wisdom and Means. The four faces of Chakrasamvara and their four colors symbolize the four elements (earth, water, fire and air). The three eyes on each face indicate that he sees each of the three worlds (earth, heaven and hell) and that he is aware of the three times (past, present and future). To symbolize the great compassion which has caused him to remain in this world and assist living beings, with his right foot he tramples the red figure of the Night of Time symbolizing the extremes of nirvana (final extinction) and with his right foot he tramples on the figure of Bhairava who represents samsara (the illusion of this world). The garland of 50 severed heads represents the purity of the 50 consonants and vowels of the Sanskrit alphabet. As the Chakrasamvara Tantra states: "Thus he is flamboyant, heroic, unlovely, wild, fearful, terrible, compassionate, dignified and serene. Such are the nine modes of his dance."
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Bibliography

  • Pal, Pratapaditya.  Nepal:  Where the Gods are Young.  New York:  Asia House Gallery,  1975.
  • Donahue, Kenneth.  X, a Decade of Collecting:  1965-1975.  Los Angeles:  Los Angeles County Museum of Art, 1975.
  • Pal, Pratapaditya.  Nepal:  Where the Gods are Young.  New York:  Asia House Gallery,  1975.
  • Donahue, Kenneth.  X, a Decade of Collecting:  1965-1975.  Los Angeles:  Los Angeles County Museum of Art, 1975.
  • Pal, Pratapaditya. Art of Nepal. Los Angeles: Los Angeles County Museum of Art; University of California Press, 1985.
  • Pal, Pratapaditya. "Art and Ritual in Buddhism." Asian Art vol. II, no. 3 (Summer 1989):  33-55.
  • Dunne, Claire.  Carl Jung: Wounded Healer of the Soul.  New York: Parabola Books, 2000.
  • Huntington, John C. and Dina Bangdel.  The Circle of Bliss:  Buddhist Meditational Art.  Columbus:  The Columbus Museum of Art; Chicago:  Serindia Publications, 2003.
  • Maxwell, Gail.  Visual Art for Meditation:  Resource Book.  Los Angeles: Museum Associates/Los Angeles County Museum of Art, 2005.
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