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A Superb Mongolian Buddhist Thangka Painting Depicting Yamataka 18th Century

This Superb Mongolian Thangka Painting of Yamantaka with his consort. This magnificent scroll painting is of the very highest level of workmanship and would have been intended as an offering to a monastery or for use in a wealthy patron’s home. The name Yamantaka means ‘He Who Puts an End to Death’ and his alternative name, Vajrabhairava, means ‘Indestructible Wrathful One’. Both names give the viewer the impression that they are in the presence of a most powerful deity whose ability to conquer death and its terrors make it a liberating deity, one not to be feared but to be actively used in the process toward Enlightenment.

Yamantaka is the special deity of the Gelugpa tradition, which became the most powerful and influential in Mongolia. His hands clasp a variety of symbolic ritual instruments, including a Dharma wheel, swords, arrows, lances, and corpses of malignant deities. His consort, Vajravetali can be seen offering him a skull cup of wisdom, with her right hand held high in a threatening gesture. Below the pair are (from the viewer’s left): a protector deity riding on a bear, a small white six-armed form of Mahakala, a small Palden Lhamo, and another protector deity riding a horse.

Provenance: The Todd Barlin Collection of Tibetan and Mongolian Buddhist Art & Asian Art

Exhibited and Published:  The Art of Compassion: Buddhist Art from The Todd Barlin Collection. Sydney Australia 2018. Catalogue written By David Templeman, Pages 21-22

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A Superb Tibetan Buddhist Gilt Bronze Repousse Aureole Tibet 14th- 15th Century

This aureole, which is missing its focal image, still retains much of its magnificence. The image might have been a standing Padmapani, flanked by his two bodhisattva attendants. The top depicts Garuda (mythological bird), the enemy of serpents and a general protector and bringer of auspiciousness. In mythology, Garuda took hold of the subterranean serpents, who were churning the milk oceans, and stole the ambrosia that resulted from their activities. In later Buddhist myth, the ambrosia was replaced by the ‘Perfection of Wisdom’ texts, which Garuda rescued and passed on to the Buddhist deities. He is seen holding a snake in his claws and is attended by two Apsara nymphs below him. Also, below, in the corners of the horizontal bars, are two Makaras (water spirits), who are also auspicious. On each side of them horizontally are two vases containing long-life nectar. Below them may be seen two attendants to the main figure (missing), as well as two standing half-human, half-lion leogryphs, and two elephants. The main shrine area is painted in red cinnabar.

Repoussé is a metalworking technique in which a malleable metal is shaped by hammering from the reverse side to create a design in low relief. Chasing or embossing is a similar technique in which the piece is hammered on the front side, sinking the metal. The two techniques are often used in conjunction.
Many metals can be used for chasing and repoussé work, including gold, silver, copper, and alloys such as steel, bronze, and pewter.
These techniques are very ancient and have been extensively used all over the world, as they require only the simplest tools and materials, and yet allow a great diversity of expression. They are also relatively economical since there is no loss or waste of metal, which mostly retains its original size and thickness.

Provenance: The Todd Barlin Collection of Buddhist Art

Published and Exhibited: The Art of Compassion: Buddhist Art from the Todd Barlin Collection. 2018 by David Templeman Published page 16

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Superb Mongolian Bronze Repousse Three Faced Head of Vajrakumara Heruka 18th Century

This superb Mongolian repousse head is in the form of a three-faced Vajrakumara Heruka. Dating from the 18th Century.  All three faces are of a wrathful nature with fierce eyes painted white around the edges and barred fang-like teeth. The finely detailed hairs flow over the heads of all three faces and are highlighted with orange paint.  The head was obviously off a larger sculpture as you can see how the neck fit into a bigger sculpture.

Vajrakumara also is known as Vajrakilaya Heruka,  is the activity aspect from the set of Eight Herukas of the Mahayoga Tantras of the Nyingma Tradition of Tibetan Buddhism and a principal meditational deity for both the Nyingmapa and Sakyapa, later taken up by the Jonang and many of the various Kagyu Traditions.

In the Nyingma (Old) Tradition Heruka generally refers to any male-meditational deity, wrathful in appearance, typically with three faces, six arms, four legs, wings and a consort. There are eight famous Nyingma Heruka deities. Some deities with a semi-peaceful – semi-wrathful appearance, arising from specific Revealed Treasure Traditions, may also be referred to as Heruka.

Provenance: The Todd Barlin Collection of Buddhist Art

Published and Exhibited: “The Art of Compassion ”  2018 by David Templeman  Published page 56

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A Fine Old Mongolian Bronze Repousse Head of a Wrathful Deity Mongolia 18th Century

This finely made Mongolian repousse head in the form of a gagged Wrathful Deity. The head was possibly part of a necklace off a very large Buddhist Deity sculpture.

The fierce facial expression with an open mouth that is gagged with a rope but still showing barred fang-like teeth. The side view shows the fine detail of the hair that is highlighted with orange paint.

Almost all wrathful deities follow the Indian model of a Raksha (male) or Rakshasi (female) demon as described in Indian literature. Raksha appearance is one of the three types of figurative appearance or moods in Himalayan-style art. Rakshasa/si are dangerous male and female spirits, sometimes characterized as demons, of classical Indian literature. Their fearsome appearance became the model for wrathful Buddhist deities such as Mahakala, characterized by round bulbous red eyes, gaping slathering mouths with large bared canine teeth, and flaming hair.

Provenance: The Todd Barlin Collection of Buddhist Art

Published and Exhibited: “The Art of Compassion ”  2018 by David Templeman  Published page 56

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To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

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