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Collections

Unknown
Sakka (Indra) Reveals Himself to Maddi, Scene from the Vessantara Jatakacirca 1860-1890

On view:
Resnick Pavilion, floor 1
Thai painting on panel, two multi-armed divine figures — one gold-skinned and seated on a pedestal, one green-skinned riding a golden mythological creature atop a blue-roofed building — against a reddish-brown wall with trees
Painted panel depicting a multi-armed celestial figure seated in meditation on a tiered green and white platform, wearing a tall blue and gold crown, patterned lower garment, and jewelry; a green tree rises at left against a brown background; pigment losses visible across surface.
Thai mural painting, detail showing a green-skinned celestial figure wearing a pointed crown and gold jewelry, riding a gilded mythical creature above a white temple structure with a blue-tiled roof; flat, linear style with visible surface cracking.
Artist or Maker
Unknown
Title
Sakka (Indra) Reveals Himself to Maddi, Scene from the Vessantara Jataka
Place Made
Thailand
Date Made
circa 1860-1890
Medium
Opaque watercolor and gold on cloth
Dimensions
15 1/2 x 15 3/8 in. (39.37 x 39.05 cm)
Credit Line
Gift of Margot and Hans Ries
Accession Number
M.76.112.22
Classification
Drawings
Collecting Area
South and Southeast Asian Art
Curatorial Notes

The Vessantara Jataka, also known as the Great Birth Sermon, is the last and most popular Jataka (birth story) in Theravada Buddhism. Dating from the 2nd century BCE, it tells the story of the historical Buddha Shakyamuni’s past life as Prince Vessantara (Vishvantara) of the ancient Sivi Kingdom in western Rajasthan, India. Vessantara is renowned for giving away all his possessions, including his wife, children, and wealth, to display the virtue of perfect generosity.

In this scene occurring in a palace compound, Sakka (or Sakra/Indra), the king of the gods, reveals himself to Maddi (Madri), Vessantara's wife who was then given to Sakka. Vessantara's daughter and son, Princess Kanhajina (Krishnajina) and Prince Jali, were given to a forest Brahmin Jujaka as servants for his wife Amittada. Sakka is represented here with green skin and holds his right hand in the gesture of reassurance (abhaya mudra). Maddi has white skin and hold her hands together in the gesture of adoration (anjali mudra). She sits on a lotus pedestal, while Sakka hovers above a platform in a flying posture (langalaka). Both characters are crowned and nimbate.

Selected Bibliography
  • Little, Stephen, Tushara Bindu Gude, Karina Romero Blanco, Silvia Seligson, Marco Antonio Karam. Las Huellas de Buda. Ciudad de México : Instituto Nacional de Antropología e Historia, 2018.
  • Little, Stephen, and Tushara Bindu Gude. Realms of the Dharma: Buddhist Art across Asia. Los Angeles: Los Angeles County Museum of Art, 2025.