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Collections

Unknown
The Arhat Ajitacirca 1800

Not on view
Tibetan thangka with central painted panel depicting a large lavender-skinned deity on a rocky throne with attendant figures and deer, framed by cobalt-blue silk borders woven with cranes and medallions
Tibetan thangka painting depicting a large seated figure with pinkish-gray skin wearing a yellow robe with blue dragon motifs, seated on a golden rocky outcrop amid swirling blue-green clouds. A smaller attendant in a blue dotted robe stands at left beside a red offering table with a basket, blue vessel, and white mound. A deer stands in the lower right; a deity figure appears in the upper left within a floral arrangement.
Tibetan thangka painting, detail showing a golden-skinned deity seated in meditation posture on a lotus throne, surrounded by a circular aureole, with large pink peonies and green foliage on a pale blue ground; mineral pigments with visible surface abrasion and cracking.
Thangka painting detail of a seated luohan figure in orange robes decorated with cloud and dragon patterns, wearing blue garments, with a large pale head, set against a stylized blue-green landscape with rocky outcroppings and pine trees.
Detail of a Chinese painting; a standing figure in a blue floral robe holds a peach beside a red lacquered table bearing a woven basket of fruit, Chinese coins with red cord, and a blue ceramic jar, with scholar's rocks and a pine tree in the background.
Aged, creased white paper with scattered small notations in red Tibetan script, and a penciled accession number at lower left.
Artist or Maker
Unknown
Title
The Arhat Ajita
Place Made
Eastern Tibet, Kham region
Date Made
circa 1800
Medium
Mineral pigments on cotton cloth
Dimensions
24 1/2 x 17 3/8 in. (62.2 x 44.2 cm)
Credit Line
Gift of Dr. and Mrs. Pratapaditya Pal
Accession Number
M.71.107
Classification
Paintings
Collecting Area
South and Southeast Asian Art
Curatorial Notes

In both Theravada and Mahayana Buddhism, the arhats are believed to have been the Buddha Shakyamuni’s original disciples, and to attained enlightenment through their own efforts. They were endowed with transcendent wisdom (prajna). Functioning much like saints, their role was to protect the Dharma, or Buddhist teaching, until the coming of Maitreya, the Buddha of the Future.

Arhat Ajita (Unconquered) was a wealthy man who married the daughter of King Prasenajit of Shravasti, the ancient capital in present-day Uttar Pradesh of the Kosala Kingdom (circa 7th-5th century BCE). In a past life, Ajita and his wife had made offerings to the Buddha Vipashyin, who predicted their eventual marriage and joining the Buddhist monastic community (Sangha). He is thought to dwell on Drang-song (the "hermit-sage mountain") along with 100 other Arhats.

Although he is said to have been quite handsome, here is depicted with a gnarled face and crying in anguish. He wears Chinese robes and grasps his hands together below his upraised right knee, rather than holding them in his more common gesture of meditation (dhyana mudra). Ajita sits on a rock formation in a fantastical landscape. An enthroned image of Amitayus, the Jina Buddha of Eternal Life, floats in the air above him. An attendant offers him fruit from a bowl on a low table in front of him. In the bottom right corner are a family of deer, which may reference his riding as deer when he returned to Shravasti to preach the Dharma. The thangka is presently mounted in an elaborate brocade mount adorned with flying cranes.

Comparable Tibetan individual portraits of Ajita are in the Brooklyn Museum (1993.192.4), Nelson-Atkins Museum of Art, Kansas City (2001.5), and Rubin Museum of Himalayan Art, New York (P1994.9.4 and F1997.9.2).

Selected Bibliography
  • Pal, Pratapaditya. Art of Tibet. Los Angeles; Berkeley, CA: Los Angeles County Museum of Art; University of California Press, 1983.
  • Pal, Pratapaditya. Art of Tibet. Expanded edition. Los Angeles: Los Angeles County Museum of Art, 1990.