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Lot Essay
Mandalas are two-dimensional representations of a three-dimensional space; a cosmic diagram used in meditation practice depicting the celestial palace where a specific deity resides. They are usually comprised of concentric circles and squares occupied by the main deity at center, with figures from his or her retinue arranged in order of importance in the interstitial spaces. The practitioner uses the mandala as a guide through the sacred realm.
One of the most prevalent deities in Tantric Buddhism, Chakrasamvara can appear in many different forms, from simple to complex and peaceful to wrathful. Each form relates to a specific type of meditation practice that is appropriate to the particular emotional and psychological characteristics of the meditation practitioner. This particular mandala, which depicts Chakrasamvara in union with Vajrayogini, comes from the tantric system of the Indian Mahasiddha, Krishnacharya. Here, Chakrasamvara represents the male quality of skillful means, while Vajrayogini symbolizes feminine wisdom. In union they embody the highest state of spiritual realization.
The present work shows Chakrasamvara, blue in color, in embrace with red Vajrayogini in a central circle of flames (1). They are immediately surrounded by four circles, the innermost containing four dakinis, the outer three with embracing figures. Animal-headed deities stand guard at the entrance to each of the elaborately arched gates. The entire inner section is bordered by a ring of charnel grounds, which are emblematic of the various realms of existence in which pleasure is ephemeral and death is constant. Protector deities stand at the four corners of the painting including Hevajra, a principal meditational deity of the Anuttarayoga classification in Buddhist Tantra (2), Vajrabhairava, the wrathful manifestation of the Buddha of Wisdom (3), a three-faced Krishna Yamari (4), and a six-faced Krishna Yamari (5), both of whom are also meditational deities of the Anuttarayoga class of Tantric literature. The upper register contains teachers from the Chakrasamvara Mandala lineage (6), while the lower register depicts twelve dakinis (7), various offerings (8), and the donor figure seated at right (9).
Stylistically, the painting embodies the masterful artistry and refined detail indicative of a Newar style. The elegant lines, intricacy of form and rich contrasting palate suggest the painting was created by a Newar artist from Kathmandu working in the southern regions of Tibet. Compare with a mandala of Hevajra from the Doris Wiener Collection sold in these rooms (20 March 2012, lot 124).
One of the most prevalent deities in Tantric Buddhism, Chakrasamvara can appear in many different forms, from simple to complex and peaceful to wrathful. Each form relates to a specific type of meditation practice that is appropriate to the particular emotional and psychological characteristics of the meditation practitioner. This particular mandala, which depicts Chakrasamvara in union with Vajrayogini, comes from the tantric system of the Indian Mahasiddha, Krishnacharya. Here, Chakrasamvara represents the male quality of skillful means, while Vajrayogini symbolizes feminine wisdom. In union they embody the highest state of spiritual realization.
The present work shows Chakrasamvara, blue in color, in embrace with red Vajrayogini in a central circle of flames (1). They are immediately surrounded by four circles, the innermost containing four dakinis, the outer three with embracing figures. Animal-headed deities stand guard at the entrance to each of the elaborately arched gates. The entire inner section is bordered by a ring of charnel grounds, which are emblematic of the various realms of existence in which pleasure is ephemeral and death is constant. Protector deities stand at the four corners of the painting including Hevajra, a principal meditational deity of the Anuttarayoga classification in Buddhist Tantra (2), Vajrabhairava, the wrathful manifestation of the Buddha of Wisdom (3), a three-faced Krishna Yamari (4), and a six-faced Krishna Yamari (5), both of whom are also meditational deities of the Anuttarayoga class of Tantric literature. The upper register contains teachers from the Chakrasamvara Mandala lineage (6), while the lower register depicts twelve dakinis (7), various offerings (8), and the donor figure seated at right (9).
Stylistically, the painting embodies the masterful artistry and refined detail indicative of a Newar style. The elegant lines, intricacy of form and rich contrasting palate suggest the painting was created by a Newar artist from Kathmandu working in the southern regions of Tibet. Compare with a mandala of Hevajra from the Doris Wiener Collection sold in these rooms (20 March 2012, lot 124).