Southeast Asia, Tibet, ca. 19th century CE. Hand-painted with rich jewel-tone hues and gold leaf, a large thangka depicting the Red Tara at the center sitting upon a pedestal before a mandorla and holding a lotus in her joined hands. The Red Tara is surrounded by 4 celestial beings who similarly sit upon lotus pedestals with mandorla behind them. First, we have two dhyana Buddhas above; these are mythical extensions of the Adi Buddha and include the yellow Ratnasambhava and the blue Akshobhya. Below, we have the Green Tara and the White Tara. All float among beautifully delineated clouds with a verdant landscape depicted on the lower half and a cerulean blue sky above. All is sewn within a lovely surround of decorative silken fabrics and set with a dowel for suspension. Size: 24.75" L x 18" W (62.9 cm x 45.7 cm); 40" L x 33.5" W (101.6 cm x 85.1 cm) including border
According to Buddhist teachings, Tara was born out of the tears of compassion of the bodhisattva Avalokiteshvara, who wept as he observed the suffering of worldly beings, his tears formed a lake from which a lotus sprung. When the lotus opened, the goddess Tara was within. Kurukulla or the Red Tara means "she who is the cause of knowledge" and is believed to use suffering in order to prompt healing and develop courage. In Buddhism, Tara (Sanskrit for star) is a savior goddess. In Tibet, she is the most important deity and her name is Sgrol-ma or Shyamatara (she who saves). She is also popular in Nepal and Mongolia. Tara is the goddess of supreme compassion, said to be stronger than a mother's love for her children. In addition, Tara is said to bring about longevity, protect earthly travel, and guard followers on their spiritual journey to enlightenment.
Dhyani Buddhas are any among the five celestial buddhas identified as Vairochana, Akshobhya, Ratnasambhava, Amitabha, and Amoghasiddhi.They are oftentimes discussed as meditating buddhas, and are traditionally depicted with the same monastic garments, hairdo, and stretched earlobes, but are distinguished by their colors, mudras, and the physical directions of their faces.
Provenance: private Vero Beach, Florida, USA collection
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#143966
Condition
Painting shows expected wear commensurate with age. Some pigment fading and creasing. Fabric border and backing were added later. Normal darkening and stains to backing on verso. Small tears to upper ends of the border, but the piece still hangs nicely from the dowel.