Footnotes

藏中 十四/十五世紀 大日如來唐卡

Depicted at the center of this thangka in full royal regalia is Vairocana, one of the five cosmic buddhas, surrounded by a field of small golden buddhas. The tight composition, with the entire surface plane covered in rich ornamentation and held in geometric symmetry is resolute. Layered on top, and softening the dense registers, are gentle folds of billowing fabric draped in naturalistic patterns along with beaded jewelry raised in gold. The flattened composition of decorative detail, combined with the more fluid silks and gold jewelry, portrays a marriage of aesthetics – an interlacing of traditions between Nepal and China within nascent artistic developments in Tibet during the fourteenth and fifteenth centuries.

The artistic narrative between Nepal and Tibet blossomed in many regards from the murky demise of Buddhism in India. The continuity of Buddhism held within the Kathmandu Valley, along with continued trade and commerce between Tibet and Nepal during the 13th century, provided the environment for strong Nepalese elements in Tibetan paintings, a legacy that would last centuries. The pervading Nepalese aesthetic, characterized here by scrolling patterns, an intensification of the blue background behind the central figure, and an elaborate throne back architecturally supported by a pillar of elephants, lions, rampant vyalas at the sides, and makaras with foliate tails climbing towards a garuda at the throne's apex, are all shared by a thangka featuring Akshobya in the Rubin Museum of Art (P1996.20.21).

Close relations were established during the 13th century between the Mongol rulers in China and Tibet, and the patronage for Buddhist works of art by the reigning leaders necessitated a merging between the Nepalese ornamental style and a naturalistic outlining inherent to Chinese traditions. The lower leaves of the lotus throne curl out in ribbons of color and the rhythmic layering of fine silks around Vairocana in a variety of embroidered patterns are delicate, smooth, and lend themselves to an ethereal air. Both of these previously mentioned features appear on another painting of Amoghasiddhi (see HAR 66703) and illustrate that by the late 14th century, the array of fabrics derived initially from the Tang dynasty, become even more conspicuous. The styling of looped swags on the waist band and the U-shaped pleats of the lower garment draped over the calves also indicate an influence coming from the early Ming period, where these elegant and decorative details, as seen on a Yongle period gilt-bronze of Vajradhara located in the Tsuglakang Temple, Lhasa (HAR 57394), are featured.

Provenance:
Private London Collection
Private California Collection, acquired in the 1980s