Object Response #6
Ashante K. Charles
Professor Krista Johansson
Monday, November 19th, 2018
The Gateway to Himalayan Art
Female Deity: Tara
During my visit to the Rubin Museum, I decided to explore The Gateway to Himalayan Art. Several objects from this exhibit were intriguing, however, the artifact I chose is a scroll painting of a deity named Tara. In Tibetan Buddhism, Tara is one of the most prominent female figures of Bodhisattvas and goddess among the Himalayan art. Belonging to the 18th century of Central Tibet, this ancient painting is displayed in the collection of figures and symbols section.
As a deity, in several forms Tara is depicted as painting and sculpture: gold adorned figurines and colorful scroll paintings. In my perspective, at the museum, the scroll enclosed in the frame seemed to be shorter than the length of an arm. The painting composes of dark and warm colors: navy blue, purple, yellow, red and browns. Eliciting a dark atmosphere around Tara, the artwork embodies a chaotic ambiance unlike the other depictions of Tara. Based on a later century, another similar piece of the same media conveys Tara in a chaotic environment, however, it is composed in lively and serene tones. Colors are an important element in Himalayan art, it invokes the tones of the piece, in the context of this painting the reds elicit her power and black for protection.
Tara is posed in various postures and encircled around the central deity which is herself. Each position Tara is presented in encompasses notable postures that encode meaning. These repetitions of Tara essentially signifies the many assets she embodies. As Tara’s arms are enlaced by a plant emerging from a pond she displays a symbolic pose, based on the hand gesture and posture, it is defined as the royal ease. Bodhisattvas postures are commonly bestowed as the royal ease, it evokes a serene and elegant presence.
In the center of the painting, Tara is seated on a lotus flower in full bloom, also known as the lotus throne. This is a profound characteristic inhabited in many depictions of deities, in which they are visualized. The flowers base is either seen singular or duplicated. The lotus flower symbolizes enlightenment in Buddhist art, “…since ancient times has been the symbol of spiritual evolution and perfection among Hindus and Buddhists,” this element connects to Tara’s purpose as a Bodhisattva, “…commit[ting] [herself] to help individuals on their path to enlightenment.”
This painting is formally known as a thangka in Tibetan, also known as a scroll painting. “Thangkas originated in India and evolved, in Tibet, from the nomadic lifestyle of early Buddhist monastics.” This sacred painting style was established as a formal practice for Buddhists, in the worship of their deities.
There are a variety of fabrics used in this painting technique, such as cotton and silk applique, pigmented with paint. Scroll paintings are a Himalayan art style often used for portraits of Bodhisattvas. “Tibetan thangkas are complex objects, with intricate iconography and technical construction.” Cotton and silk are two separate elements used to create thangkas they have a significant purpose in constructing the piece before it is decorated. “Cotton is the most common support for thangka paintings; silk is more often used for embroidered picture panel.” Cotton is generally used in thangkas. This scroll painting is appealing because the illustration is actively intriguing. From the countless variations of Tara I have discovered, it’s interesting to decipher how significant her figure is, spiritually and physically to her people.
Moreover, I have chosen to compare the 18th century artwork of Tara from the 19th-century version. These identical artworks convey two different messages when examined closely. In the paintings Tara is again depicted in several variations with distinct poses. Each painting is unique unto itself however they both have many differences and similarities. The illustrations are relatively close through the actions though they vary between each other. There are certain characteristics and elements in the 19th-century painting that is unapparent in the 18th century. Life is visualized through color and represented by the lotus and stems enlaced around Tara, and flowers surrounding her throne and in her arms. In the 19th century piece, it is dark and flowers appear only in the arms of Tara. Tara eyes are also sealed, this could convey how she is spiritually focused on balancing her surroundings while transcending into enlightenment.
Furthermore, in the 19th century, the painting encompasses eight fears, these fears are illustrated presently within the scenes surrounding Tara. The characters in the painting all have an interaction that contrasts with the early painting, these interactions are significant to the process that is hindered through spiritual progress. An example of this interaction is the two figures in the bottom center. The first image shows their backs facing towards this mischievous creature, as their heads peak over their shoulders their faces show fear, this moment portrays them encountering the obstacles that hinder their path to enlightenment, however, in the second image they stand and confront the demon that taunts them. The posture and facial expressions of these individuals depict their confidence and fearlessness. In the 18th century version, one other example is a female by the terrace on the bottom right of the painting. The female appears to be in distress, from her solemn expression. Her knees are bent while her body stretches upward into a prayers posture that appears as if she is pleading to the gods, however, in the 19th century she is composed into a prayers posture where she is self-possessed.
These two pieces of artwork are two parts to a whole, without one connected to the other, there wouldn’t be any sense to who Tara is as a Bodhisattva. As this component added depth into Tara’s presence within Tibetan Buddhist, it reveals how Tara makes an impact on her environment spiritually, mentally and physically and to what extent the people value Tara.
REFERENCES
- “Gateway to Himalayan Art | Rubin Museum of Art.” n.d. The Rubin. Accessed November 18, 2018. http://rubinmuseum.org/events/itineraries/gateway-to-himalayan-art-audio-tour-itinerary.“Tara-19th Century | Rubin Museum of Art.” The Rubin. Accessed November 18, 2018. http://rubinmuseum.org/collection/artwork/tara.
- Watt, Jeff. “Himalayan Buddhist Art 101: The Four Ground Colors of Himalayan Art.” Tricycle: The Buddhist Review. January 28, 2016. Accessed November 18, 2018. https://tricycle.org/trikedaily/himalayan-buddhist-art-101-four-ground-colors-himalayan-art/.
- Shaftel, Ann, Notes on the Technique of Tibetan Thangkas, The American Institute for Conservation of Historic & Artistic Works, 1986
- Shaftel, Ann, Conservation Treatment of Tibetan Thangkas, The American Institute for Conservation of Historic & Artistic Works, 1991
- Wesley E. Needham, A Tibetan Painting of The Green Dolma, Yale University Library, 1961
