Footnotes

黑袍金剛護法黑唐卡
西藏 十八世紀

Created during the 18th century, when blackground thangkas reached the height of their popularity and quality, this masterful composition depicts Bernagchen, the Great Black-Cloaked Mahakala. The practice of Bernagchen originated from the Revealed Treasure tradition of the Nyingma School, and was introduced to the Karma Kagyu School by the Second Karmapa, Karma Pakshi (1204-1283). The present form of Bernagchen was based on numerous visions of Karma Pakshi. In flawless gold brushstrokes, the artist depicts the dwarfish protector with his black cloak billowing, brandishing a curved knife with his mouth fiercely agape. Each surrounding figure within the bustling composition is rendered spontaneously with equally refined gold outlines and shading.

Important deities and historic lamas associated with the religious practice of Bernagchen Mahakala surround him. Immediately above the central figure, Karma Pakshi is seated with both hands resting on his knees. He is joined by three other Kagyu hierarchs, most likely the First Karmapa above and a subsequent Karma and Shamarpa either side. The group is flanked by mahasiddha Dombi Heruka riding a tiger on the left, and Padmasambhava on the right in his pandita appearance. Below them, in the top half of the painting, Vajravarahi and Jinasagara Lokeshvara appear among clouds and birds.

Within the painting's bottom register, beloved Vaishravana, Guardian of the Northern Direction, is seen right in front of Bernagchen, holding a banner and a jewel-spewing mongoose. He is joined by Damchen Garwa Nagpo, riding a goat on the left, and Shri Devi Rangjung Gyalmo riding a donkey on the right. Below them, an array of wrathful deities and mountain gods emerge from ridges and forests, including Karnag Dorje Gyalpo with a hood of snakes, Trakshe and his consort each waving a staff and a knife, Dorje Yudronma holding a drum and mirror, Tseringma atop a snow lion, lion-faced Shingkyong Yab-yum, and naga Tsogdag riding an elephant.

This remarkable painting compares favorably to two other blackground thangkas of Bernagchen: one in the Rubin Museum of Art (#C2002.8.4, HAR 65083), the other with similar composition in a private collection (HAR 8296). Also see a later painting of Panjarnata of comparable quality sold at Bonhams, New York, 19 March 2019, lot 895.

Provenance
Navin Kumar, New York, 1980s
Collection of Lionel Fournier