Yeshe Walmo (Bon Deity)

(item no. 85604)

Nepal
1960 Bon Lineage
Ground Mineral Pigment, Black Background on Cotton
Collection of Ligmincha Institute - photographs

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Yeshe Walmo: a healing deity and a protector, an emanation of Sherab Chamma and
Sipai Gyalmo, principal female protector deity in the Bon Religion.
Typically there are two common forms of the deity Sipai Gyalmo, Riding a Black Mule
and Riding a Red Mule. These two forms are identified by their three heads and six
hands. The mules are black or red. The hand objects are different between the two
forms. Four celestial beings hold up the hooves of the red mule.
In the Bon religion the Queen of the World is the most wrathful manifestation of the
peaceful deity Loving Mother of Wisdom (T. Sherab Chamma). Fierce in appearance,
black in color, she has three faces and six arms holding weapons and implements of
power and control. The three right hands hold a victory banner, flaming sword and a
peg. The left hands hold a trident, svastika wand, and a skullcup filled with blood. Each
of these symbolically represents cutting the knots of illusion and rooting out the three
poisons of greed, anger and delusion. Riding on a red mule, she sits atop a flayed
human skin symbolizing impermanence while the brightly burning flames of wisdom
fire surround her.
The Queen of the World is both a meditational deity and a protector. She is one of the
most frequently propitiated figures in the Bon religion, and extends her protection to
both religious practitioners and common people. Though horrific and wrathful in form
she embodies the qualities of wisdom and compassion.
Jeff Watt 5-2005

Bon Deity: Sherab Chamma Main Page

Bon Navigation Pages: Bon Religion Main Page | Culture & Religion | Art Topics |
Deities
Satrig Ersang | Four Transcendent Lords | Satrig Ersang/Sherab Chamma Outline Page
| Satrig Ersang/Sherab Chamma Masterworks
Sherab Chamma (Tibetan: shes rab byams ma): Sherab Chamma is the principal
meditational form of Satrig Ersang of the Four Transcendent Lords. As Sherab Chamma
(Loving Mother of Wisdom) she can appear either as a single subject in a painting or
can have numerous surrounding attendant figures.
Description & Attributes: Peaceful in appearance and either yellow, orange or white
in colour, Sherab Chamma has one face and two hands. The right hand typically holds
a vase to the heart, or the lower right side, and the left a mirror in the upraised left
hand. Sometimes the attributes are reversed (HAR #85557, #200029).
Posture: She sits in either a meditation posture or a relaxed posture with the right leg
extended and the left drawn in. There are two known visual depictions of Sherab
Chamma in a standing posture, one is a painting and the other a sculpture (HAR
#77189, #85747). Early textual references are also found that describe the standing
figure. Observing the images in the HAR database twelve (12) figures are seated in
meditation posture, four (4) are in a relaxed posture and two (2) are either standing or
dancing. Figures seated in meditation posture: HAR #57333, #65397, #66762,
#70117, #73117, #78402, #81493, #81619, #85519, #85535, #85581, #200029.
Figures seated in a relaxed posture: HAR #73116, #85548, #85557, #200009.
Attribute Variations: Two images depict her with a yungdrung either on the right
side or in the right hand and a vase at the left side (HAR #81619,
#200009).

Sherab Chamma (Bon Deity)

(item no. 200009)
Tibet
1800 - 1899
Bon Lineage
43.18x31.75cm (17x12.50in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art
(acc.# F1997.30.9)

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Sherab Chamma (English: Loving Wisdom. Tibetan-Wylie: shes rab byams ma) a form
of the enlightened goddess Satrig Ersang.
Youthful, white in colour, with one face and two hands she holds extended across the
knee a gold swastika symbol in the right and in the left, to the heart a golden vase
filled with the nectar of compassion, and the stem of a white lotus blossom opening
above the left shoulder. Adorned with a gold tiara, earrings, necklace and bracelets, the
shoulders are covered with a dark green scarf unfurling at the sides. The lower body is
wrapped in an orange and red skirt tied with a blue sash. With the right leg extended
and the left drawn up atop a moon disc and white lotus seat above a red and blue
throne supported by eight tarkin antelope-like animals of the Tibetan Plateau, she is
surrounded by a red aureola and blue-orange nimbus of radiant light.
At the four corners are four attendant figures, emanations representing the five
activities, red, green, white and blue, each with one face and four hands, holding a
variety of objects. Seated on moon discs and lotus thrones they are surrounded by
circles of light.
At the bottom center of the flat brown landscape, filling a large red bowl, heaps of
precious jewels, red coral, ivory tusks and gold ornaments, topped with blazing jewels
are offered to the goddess of Loving Wisdom.
Sherab Chamma is the name of Satrig Ersang when she is not included in the group of
the Four Transcendent Ones - of which she is the first of the four. In her most wrathful
form she manifests as the horrific enlightened protector Sipai Gyalmo - the principal
protector of the Bon religion. In her semi-wrathful form she manifests as the deity
Yeshe Walmo with two different forms, as a protector and as a healing deity.
Jeff Watt & Lee Hartline 1-2000

Simple in composition and not overly embellished, sacred paintings of this type are
personal and used as objects of devotion, such as the centerpiece for a home shrine.
Known as the Five Deity Loving Mother of Wisdom, the central figure is surrounded by
four attendant goddesses representing in all the five main activities of the deity,
peaceful, bountiful, powerful and wrathful. Associated with the Loving Mother is a
system of protection from eight fears similar to the Buddhist system of fears commonly
associated with the Buddha Tara. The eight fears of the Bon are; enemies, magic,
infertility, serpent spirits, wrong views, harm, death, and the negative effects caused
by planets.
Youthful, white in colour, with one face and two hands, she holds extended across the
knee a golden yungdrung emblem. Borrowed from the Sanskrit language, in English
this emblem is known as a swastika. The yungdrung is the principal symbol for the Bon
religion. Held at the heart is a golden vase filled with the nectar of compassion and
immortality. Wearing the typical dress and ornaments of a youthful goddess, she sits
atop an unusual throne supported by eight tarkin, unique antelope-like animals of the
Tibetan Plateau. The art of the Bon religion is often populated with strange and

wonderful animals of the Himalayas and Central Asia that are not found in Buddhist
art, the latter based on Indian models and animals from the Indian sub-continent.
As a foundational deity of the Bon religion, in her paramount form she is understood to
be the ?Mother of All Enlightened Ones? and is referred to by the name Satrig Ersang
from the Zhang Zhung language, currently untranslatable into any language.
Jeff Watt 5-2005

Sherab Chamma (Bon Deity)

(item no. 200029)
Tibet
1800 - 1899
Bon Lineage
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art
(acc.# P1998.7.4)

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Additional Images
View Reverse

Sherab Chamma: Mother of all the Enlightened Ones.

Calm and peaceful, yellow in colour, she has one face and two hands. The right is
placed at the heart holding the stem of a lotus flower blossoming at the right shoulder
supporting a silver mirror. The left is in the lap in the gesture of meditation holding the
stem of a lotus rising above the shoulder and supporting a golden vase. Adorned with a
gold tiara, earrings, necklaces, bracelets and anklets, she wears various silks across
the shoulders and a lower skirt predominantly of red. With the legs crossed in a
posture of meditation atop a moon disc and broad multi-coloured lotus flower and lion
supported square throne she is surrounded by a blue-red nimbus and orange aureole.
Behind, an elaborate backrest is crowned with a Khyung ([King] of Birds). Numerous
minor deities clustered in circular groups of nine surround the central figure, peaceful
in appearance, wearing silks and jewels.
Jeff Watt & Lee Hartline 1-2000

Packed together in a complex composition of ninety-four figures with the Loving Mother
of Wisdom at the center, this painting depicts one of the many traditions and variant
systems of practice past down in the Bon tradition. Each figure is painted in gold at the
discretion and wishes of the donor for increased merit. Each figure is also inscribed
with a name making for easy identification and cross-referencing with an original
Tibetan language source text.
In Himalayan painting the female form is represented with a unique feature
differentiated from the male, generally from the 16th century onwards. The main
observation is the face; the female face is oval with a very rounded forehead. A flat
hairline and a horizontal forehead characterize a male face. Depending on the regional
style of a painting and the age, along with losses on the surface of the paint, breasts
may or may not be apparent - generally they are not. For peaceful deities there is no
difference between male and female ornamentation and dress. Hand gestures, objects
in the hands and postures are the same for both genders. Observation of the face is
the main method to differentiate gender.
Jeff Watt 5-2005

Sherab Chamma (Bon Deity)

(item no. 200029)
Tibet
1800 - 1899
Bon Lineage
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art
(acc.# P1998.7.4)

Add to My Gallery
Additional Images
View Reverse

Sherab Chamma: Mother of all the Enlightened Ones.

Calm and peaceful, yellow in colour, she has one face and two hands. The right is
placed at the heart holding the stem of a lotus flower blossoming at the right shoulder
supporting a silver mirror. The left is in the lap in the gesture of meditation holding the

stem of a lotus rising above the shoulder and supporting a golden vase. Adorned with a
gold tiara, earrings, necklaces, bracelets and anklets, she wears various silks across
the shoulders and a lower skirt predominantly of red. With the legs crossed in a
posture of meditation atop a moon disc and broad multi-coloured lotus flower and lion
supported square throne she is surrounded by a blue-red nimbus and orange aureole.
Behind, an elaborate backrest is crowned with a Khyung ([King] of Birds). Numerous
minor deities clustered in circular groups of nine surround the central figure, peaceful
in appearance, wearing silks and jewels.
Jeff Watt & Lee Hartline 1-2000

Packed together in a complex composition of ninety-four figures with the Loving Mother
of Wisdom at the center, this painting depicts one of the many traditions and variant
systems of practice past down in the Bon tradition. Each figure is painted in gold at the
discretion and wishes of the donor for increased merit. Each figure is also inscribed
with a name making for easy identification and cross-referencing with an original
Tibetan language source text.
In Himalayan painting the female form is represented with a unique feature
differentiated from the male, generally from the 16th century onwards. The main
observation is the face; the female face is oval with a very rounded forehead. A flat
hairline and a horizontal forehead characterize a male face. Depending on the regional
style of a painting and the age, along with losses on the surface of the paint, breasts
may or may not be apparent - generally they are not. For peaceful deities there is no
difference between male and female ornamentation and dress. Hand gestures, objects
in the hands and postures are the same for both genders. Observation of the face is
the main method to differentiate gender.
Jeff Watt 5-2005

Sipai Gyalmo (Bon Protector) - Riding a Red

Mule (dreu marmo)
(item no. 65269)

China
1800 - 1899
Bon Lineage
Ground: Textile Image
(Embroidery)
Collection of Rubin Museum of Art

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Sipai Gyalmo (English: Queen of the World).

In the Bon religion the Queen of the World is the most wrathful manifestation of the
peaceful deity Loving Mother of Wisdom (T. Sherab Chamma). Fierce in appearance,
black in color, she has three faces and six arms holding weapons and implements of
power and control. The three right hands hold a victory banner, flaming sword and a
peg. The left hands hold a trident, svastika wand, and a skullcup filled with blood. Each
of these symbolically represents cutting the knots of illusion and rooting out the three
poisons of greed, anger and delusion. Riding on a red mule, she sits atop a flayed
human skin symbolizing impermanence while the brightly burning flames of wisdom
fire surround her.
The Queen of the World is both a meditational deity and a protector. She is one of the
most frequently propitiated figures in the Bon religion, and extends her protection to
both religious practitioners and common people. Though horrific and wrathful in form
she embodies the qualities of wisdom and compassion. Embroidered works of art such
as these were commonly commissioned by Tibetans although made in China.
Jeff Watt 5-2005
Front of Painting
English Translation of Inscription: No inscriptions on the front or back.

Sipai Gyalmo (Bon Protector) - 100 Faces, 1000

Hands (ugya chagtong)
(item no. 70122)

Eastern Tibet
1960 Ground Mineral Pigment
Collection of Private

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Ugya Chagtong, Sipai Gyalmo (English: Queen of the World, Having a Thousand Heads
and A Thousand Hands): principal female protector deity in the Bon Religion.
Typically there are two common forms of the deity Sipai Gyalmo, Riding a Black Mule
and Riding a Red Mule. These two forms are identified by their three heads and six
hands. The mules are black or red. The hand objects are different between the two
forms. Four celestial beings hold up the hooves of the red mule.
In the Bon religion the Queen of the World is the most wrathful manifestation of the
peaceful deity Loving Mother of Wisdom (T. Sherab Chamma). Fierce in appearance,
black in color, she has three faces and six arms holding weapons and implements of
power and control. The three right hands hold a victory banner, flaming sword and a
peg. The left hands hold a trident, svastika wand, and a skullcup filled with blood. Each
of these symbolically represents cutting the knots of illusion and rooting out the three
poisons of greed, anger and delusion. Riding on a red mule, she sits atop a flayed
human skin symbolizing impermanence while the brightly burning flames of wisdom
fire surround her.
The Queen of the World is both a meditational deity and a protector. She is one of the
most frequently propitiated figures in the Bon religion, and extends her protection to
both religious practitioners and common people. Though horrific and wrathful in form
she embodies the qualities of wisdom and compassion.
Jeff Watt 5-2005

Dulwa Shen Drug ('dul ba g.shen drug)

1. God Realm: Lhayi Dulshen, Yeshen Tsugpu (lha yi 'dul g.shen, ye g.shen gtsug
phud).
2. Asura Realm: Lhamin Dulshen, Chegyal Pati (lha min 'dul g.shen, lce rgyal pa ti).
3. Human Realm: Miyi Dulshen, Sangwa Dupa (mi yi 'dul g.shen, g.sang ba 'dus pa).
4. Animal Realm: Jolsong Dulshen, Tisang Rangshi (byol song 'dul g.shen, ti sangs
rang zhi).
5. Ghost Realm: Yidag Dulshen, Sangwa Ngang Ring (yi dwags 'dul g.shen, g.sang ba
ngang ring).

6. Hell Realm: Nyalwa'i Dulshen, Micho Demdrug (dmyal ba'i 'dul g.shen, mi cho ldem
drug).

Micho Demdrug (Dulwa Shen Drug)

Item No. 85502

Tisang Rangshi (Dulwa Shen Drug)

Sangwa Dupa (Dulwa Shen Drug)

Chegyal Pati (Dulwa Shen Drug)

Yeshen Tsugpu (Dulwa Shen Drug)

Micho Demdrug: a form of Tonpa Shenrab and one of the six Dulwa Shendrug. As
Micho Demdrug he is the special form that ministers to the beings of the Hell Realm.
The Four Transcendent Lords (bde gshegs gtso bo bzhi)
1. Yingkyi Yum Chenmo (dbyings kyi yum chen mo)
Satrig Ersang, Lhamo (sa trig er sangs, lha mo)
2. Lhachen Shen lha Okar (lha chen g.shen lha 'od dkar, Lha chen)
3. Sid pa Sangpo Bumtri (srid pa sangs po 'bum khri)
4. Tonpa Shenrab Miwo (ston pa g.shen rab mi bo)
These four are also known as: Lhamo, Lhachen, Sidpa and Shenrab (lha mo, lha chen,
srid pa, g.shen rab).
The subject of the Four Transcendent Lords, in sets of four paintings, are typically
found in every Bon Temple in the Himalayas and Tibet. These four deities hold a similar
position as Shakyamuni Buddha and the Sixteen Arhats, or the Eight Great
Bodhisattvas, as is customarily found in each and every Buddhist Temple in the
Himalayan regions and Tibet.
Four sets of the Four Transcendent Lords, supreme deities of the Bon religion, along
with their combined mandala. The sets are from Tibet, Kham (East Tibet), Dolpo
(Nepal) and Dolanji (North India). Two of the sets are not complete.
The subject of the Four Transcendent Lords is described in detail in chapter 30 of the
Ziji with the story of the death of Prince Trishang of Tazik. The Four Lords are the
principal deities in the funeral ritual for the prince. In chapter 61 the Four Lords are

further discussed with reference to the death and funeral of Tonpa Shenrab. The Ziji is
a twelve volume, sixty-one chapter, biography of Tonpa Shenrab.
Svastika (Sanskrit Language, sva + asti, meaning auspicious)
Yungdrung (Tibetan Language, meaning ever-lasting)
In the Buddhism of the Himalayas, Tibet and Mongolia the svastika is used essentially
as a decorative element. In China it is common to find a svastika outlined over the
heart of a Buddha figure, painting or sculpture.
The three figures represented below are examples of Bon deities that hold a yungdrung
(svastika). The yungdrung is the principal symbol of the Bon Religion, also known as
the Yungdrung Bon, Ever-lasting Truth.

Shenlha Okar (Bon Deity)

(item no. 86934)
Tibet
1700 - 1799
77.47x62.99cm (30.50x24.80in)
Ground Mineral Pigment on Cotton
Collection of The Brooklyn Museum of Art
(acc. #BMA 77.134, Gift of John Davis Hatch)

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Shenlha Okar (English: the White Light God of Shen [Priests]): surrounded by 250
Enlightened Ones (Tibetan: sang gye), emanations of himself. He belongs to the set of
Four Transcendent Ones.

Peaceful in appearance, white in colour, he rests with both hands placed in the gesture
of meditation in the lap. Adorned with a crown of gold, jewels and ribbons, he wears
earrings, necklaces bracelets and anklets about the body. A dark green scarf covers the
shoulders. The lower body is wrapped with a red skirt. Atop a green, red and orange
lotus and elephant supported throne he is surrounded by a blue nimbus and pink
aureola of light. Attendant figures stand at the sides. An elaborate backrest of flowers,
white snow lions, dragons, makaras and a garuda completely encircle the central
figure.

Two hundred and fifty identical figures are arranged in rows, in various colours. At the
bottom center is Tonpa Shenrab in a standing posture. Below that is a wrathful
protector deity, blue, with nine heads and eighteen hands, encircled by orange flame.

Mandalas: An Introduction, Painting & Sculpture

Mandala Resource Page | Mandala Art Topics Outline | Mandala Sets & Traditions |
What Are Mandalas? | Mandala-like Circular Forms | Mandala Technical Glossary

An Introduction to Visual Mandalas: Painting & Sculpture

(based on the exhibition 'Mandala: The Perfect Circle' at the Rubin Museum of
Art)
Exhibition Details
by Jeff Watt
(New York, August 2009)
Physical representations of Deity Mandalas are created for many different reasons and
probably least of all as 'an artistic aid for meditation' as is commonly believed by many
Western scholars. The primary reason for the physical creation of a mandala is to have
a visual presence when preparing and conducting a ritual initiation for Tantric Buddhist
devotees into a deity yoga meditation practice. Initiations, sometimes called
ceremonies or empowerments, require a physical depiction, as stipulated in the Tantric
texts, either two dimensional or three dimensional in form, of the deity, the celestial
palace and the surrounding lotus petals, vajras and five coloured flames. Sand
mandalas and painted wooden mandala plates are good examples of objects used for
this ritual function.
See objects in the exhibition that were created to be used in an initiation ritual.
In Tantric Buddhism, after receiving an initiation, and maintaining a serious and
responsible attitude, it is often a requirement, especially in the Anuttarayoga
classification of Tantra, that the initiated devotee own and have in their possession an
image of the central deity, or of the deity, entourage and surrounding mandala. The
painting typically remains in the home or lodging of the practitioner, but must travel
with that individual when they are away from home for more than a few days (as

stipulated in the specific Tantra). These paintings are generally of a smaller size and
spend most of their life rolled up and hidden from the eyes of others. This is also a
significant reason why there is so much Tantric Buddhist art in the world.
See paintings in the exhibition likely to be created as a required article of faith.
Painted mandala sets, either as scrolls or murals, can also be created for the purpose
of sanctification, blessing and making spiritually secure a new temple or monastery.
Also, when an individual requesting and acting as the donor for the bestowing of a
large cycle of initiations - requiring mandalas - it is considered auspicious at the least
and sometimes mandatory to commission a set of either the full mandalas or the
central deity figure for each of the initiations. These newly created paintings would
hang in the temple hall for the duration of the time while the master bestows the cycle
of initiations to the students and the donor.
It is also common to create a mandala or deity painting in memory of an important
teacher after their passing. One of the highlights of the exhibition are the three
paintings commissioned by Lhachog Sengge, a famous abbot of Ngor Monastery in the
16th century, and dedicated to the memory of three important religious instructors:
the paintings of Samvarodaya Chakrasamvara, Vajrabhairava, and Samvara
Kalachakra.
See paintings in the exhibition that are dedicated by Lhachog Sengge.
The two most important sets of paintings represented in the exhibition are the 'Lama
Dampa' Vajravali mandala paintings and the 'Ngorchen' Vajravali mandala paintings
(see Vajravali Outline). The Vajravali is a Sanskrit text written in the 11th century by
an Indian scholar named Abhayakaragupta. It is a compendium of deity mandalas and
meditation practices. In the text he describes twenty-six or forty-two principal Tantric
deities along with their mandalas. The difference in the calculation of the deities
depends on how the different forms of the same deity are numbered or not numbered
in the list. In Tibet in the 13th century the Vajravali became a popular system for
bestowing initiations.
See paintings in the exhibition that are specifically Vajravali.
The first and oldest of the two sets, in a set of forty-two paintings, known as the Lama
Dampa Vajravali Set was created and dedicated to the memory of Lama Dampa Sonam
Gyaltsen (1312-1375) by a devoted and obviously wealthy devotee. The second
important set, the Ngorchen Vajravali Set in fourteen paintings, was commissioned by
Ngorchen Kunga Zangpo in memory of one of his spiritual teachers, Sazang Pagpa
Shonnu Lodro (1358-1412/1424).
See other paintings in the exhibition created as a dedication in memoriam.
A topic of some confusion are the Eight Great Cemeteries, or Charnel Grounds,
surrounding the celestial palace of a wrathful deity. Charnel grounds are ONLY
associated with wrathful or semi-wrathful deities, but NOT ALL wrathful deities are
surrounded by charnel grounds. Typically mandalas of the two wrathful deities Rakta

and Krishna Yamari are not depicted with a circle of eight charnel grounds. (Peaceful
deities are surrounded by beautiful gardens). For a wrathful deity mandala the charnel
grounds can be depicted either inside the nested ring of concentric circles or on the
outside of the nested circles. Both methods for presenting the charnel grounds are
stipulated in the original Sanskrit literature of India. In the current exhibition the best
example of a painting with an outer set of charnel grounds is the Avalokita Samvara
mandala (see a full description). Contrary to the standard system, the Kalachakra
Tantra is unique in presenting an alternate system of sixteen charnel grounds, not
eight, however only the less common form of the mandala with a slightly more
wrathful central figure, the Samvara Kalachakra, depicts the system of the sixteen
cemeteries. As a general rule, the eight cemeteries only occur with deities (wrathful or
semi) belonging to the highest classification of the four classes of Buddhist Tantra Anuttarayoga.
See other examples of mandalas where the Charnel Grounds are on the outside.
A persistent myth concerning mandalas is that there is a group of Eight Siddhas that
are universally known and named that occupy the eight charnel grounds as depicted in
art. Each siddha is said to abide in one of the cemeteries and associated with one of
the eight directions. This idea just simply isn't accurate. In Tibetan style art the placing
of identifiable siddhas in mandala cemeteries is neither textual, Sanskrit or Tibetan,
nor is it orthodox. The idea and discussion of eight iconographically identifiable siddhas
inhabiting the charnel grounds is entirely a Kagyu and Sakya Tradition phenomena.
See a longer explanation about the Eight Siddhas in mandala art.
There are a number of objects in the exhibition that are not mandalas, but look similar
to mandalas, and a number of objects that are called mandalas because they are
mandala-like. The first are yantras. Yantras are drawings, diagrams, sometimes wood
block prints, often geometric and circular, and intended to be two-dimensional. They do
not represent a three-dimensional architectural structure with a deity and palace at the
center. Also, a Buddhist practitioner does not meditate or visualize a yantra. They are
intended as talismans and charms to ward off obstacles, demons, and to bring good
fortune, power and a rich harvest and abundance of wealth and happiness, etc. They
can also be used to curse and send obstacles to enemies and opponents. Yantras are
commonly reproduced from wood cut blocks or simply drawn onto paper or cloth. They
are then blessed by the Buddhist clergy or sanctified in a ritual specifically designed
around the purpose the yantra was created for; wealth, power, cursing, etc. After that
the yantra is folded, sewn into a piece of cloth and worn on the body. Other types of
yantras, also created out of paper or cloth, used in malicious rituals would generally be
destroyed after the completion of the ritual. They would typically be burnt, or buried,
or shredded, depending on the instructions in the ritual text.
See objects in the exhibition that are Yantras.
Lotus Mandalas are referred to on the HAR website as mandalas but more properly
should be referred to as mandala-like. The objects are a three dimensional metal
sculpture of a deity and retinue figures inside a lotus blossom, above a stem which is
the stand for the object. Hinged petals can appear closed or open revealing the central
figure and deities. The lotus mandala does not depict the palace, outer gardens and

cemeteries, double vajra, giant lotus, sphere of vajras and flames of five colours. A
lotus mandala cannot serve as an architectural blueprint for a deity, retinue, and
surroundings, nor can it be understood as a complete mnemonic device for the source
Tantric text and meditational system that the deities and full mandala represent.
See objects in the exhibition that are not mandalas.
There are two other subjects where the term mandala has come to be applied. The
first is the four elements as conceived in Tantric thought: air, earth, water and fire.
Each of these is represented by a specific shape and colour and called an element
mandala. The second subject is concerned with a special type of offering amongst all of
the different types of offerings that exist in Tantric practice. It is an Offering Mandala, a
symbolic model of the Buddhist world presented by Buddhist practitioners to the
religious teachers, Buddhas and deities. It can be done simply as a prayer with
thoughtful intentions or as a formal ritual practice requiring objects and sequence. An
object called a mandala plate, circular in shape, is used for this ritual although
anything flat and clean is acceptable. The mandala plate is filled with a heap of rice
and then metal, or cloth covered wooden rings, generally three or four, are placed
above each pile of rice creating a circular tiered structure. The offering is sometimes
topped with a small replica of a heavenly palace or a Dharma wheel. This ritual,
imagining the world represented by the circular plate and tiered rice, is called a
mandala offering.
In the current exhibition there is a very beautiful metal mandala plate arranged with
permanent miniature buildings, figures and object symbols surrounding a central
mountain topped with palaces and a stupa. These types of ritual and decorative
religious objects where commonly created in large quantities by the emperors of China
to commemorate special events and dates in the calendar. The objects would be given
away to the most important monasteries and temples in the land usually accompanied
by a request for prayers and good wishes.
See another mandala plate almost identical to the one in the
exhibition.
There are standard prayers and specific mandala offering
prayers recited in the various Buddhist traditions when
conducting the ritual. The longest prayer was composed by
Chogyal Pagpa in the 13th century and is used universally
throughout the Himalayas, Tibet and Mongolia. The prayer
describes in detail, based on the Abhidharmakosha literature of
the 4th-5th century, the physical appearance of the ancient
Buddhist world.

Manjushri - Dharmadhatu
Vagishvara
(item no. 455)

Tibet
1500 - 1599
Sakya and Ngor (Sakya) Lineages
72.39x67.31cm (28.50x26.50in)
Ground Mineral Pigment, Fine Gold Line on Cotton
Gyangtse Painting School
Collection of Rubin Museum of Art
(acc.# F1996.15.2)

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Dharmadhatu Vagishvara Manjushri with 219 Deities (Tibetan: jam pal cho ying sung gi
wang chug lha nyi gya dang chu gui kyil kor): a complex form of the deity Manjushri,
first of the seven principal mandalas from the Manjushri Namasangiti Tantra [TBRC
W22003]. (See an almost identical painting composition and subject HAR #87014).

Manjushri is the deity in the middle of the complex circular mandala (center and
circumference). He has four faces and eight hands, seated in the cross legged vajra
posture. His colour can be either white or orange. The first circle of surrounding deities
are the Buddhas of the four directions with attendants and consorts, each in the same
appearance as the central figure. Other deities totalling 219 surround the central
figures extending outward in descending rank.
Along the top register are fifteen forms of Manjushri. The last three on the right are
the Six-faced Yamari, blue-black in colour with six hands, followed by Krishna Yamari,
black in colour with two hands and Krishna Yamari with three faces and six hands. All
three are fearsome in appearance and stand in a menacing posture. The Six-faced
Yamari represents one of the seven principal mandalas of the Namasangiti.
At the upper left is the mandala of Orange Arapachana Manjushri, orange in colour,
surrounded by four retinue deities in various colours. This mandala also belongs to the
namasangiti Tantra. At the upper right is the mandala of White Arapachana Manjushri,
white in colour, surrounded by four retinue deities all white in colour. This form of
Arapachana arises from the Siddhaikavira Tantra.

At the bottom left is White Achala, Blue Achala and White Tara. Blue Achala is the
special protector of the Siddhaikavira Tantra.

At the bottom right is Green Tara, Yellow Jambhala and Black Jambhala.

Along the very bottom of the painting is a lengthy inscription dedicating the painting in
honour of the Five Superiour Teachers of Sakya (Jetsun Gongma Nga) by Rabjampa
Tsultrim Ozer and other students of the teacher Sherab Zangpo.
The Manjushri Namasangiti Tantra was first translated into Tibetan in the 8th century
and re-translated during the Sarma period in the 11th century and classified as both a
Yoga and Anuttarayoga Tantra. It depicts numerous forms of Manjushri both peaceful,
wrathful and full mandalas with many deities such as the Dharmadhatu Vagishvara.
Monks and lamas from all traditions memorize the Tantra in early childhood.
Lineage of Teachers: The Perfect Buddha, Holy Manjughosha, Khache Yeshe Dorje,
Lobpon Jampal Dragpa, Kepa Palpe Zangpo, Dramze Yeshe Dorje, Sherab Jungne Bepa,
Dramze Shepa Dorje, Padmakaravarmin, Shraddhakaravarmin, Lochen Rinchen
Zangpo, Lochung Legpai Sherab, Ngog Ge Serwa, Kyangpo Dharma Drag, Triton Kunga
Ozer, Khenpo Chokyi Dorje, Kunkhyen Choku Ozer, Pagod Yontan Gyatso, Buton
Rinchen Drub, Tugse Rinchen Namgyal, Jamyang Dragpa Gyaltsen (1365-1448),
Sharchen Yeshe Gyaltsen (d.1406) [TBRC P3094], etc.
Jeff Watt 8-2005

Paintings of the Hevajra Mandala are quite numerous and at times of a very high artistic
quality. This painting from the Museum of Fine Arts, Boston, is one of the finest and best
preserved in the world. It was painted in 1461 as recorded by inscription on the reverse of
the composition and very likely commissioned at Ngor
Monastery in Tsang Province, Tibet.

Reading a mandala is often very difficult without insider

knowledge and the benefit of the explanatory literature. Painted
mandala compositions are generally read from the center out
and then all of the figures immediately outside of the mandala
circle, followed by the top register, and then finishing with the
bottom register. The important sections of the MFA Hevajra painting have been divided into
colours; blue for the essential deities, red for the Eight Great Charnal Grounds, yellow for
the lineage teachers and
green for the miscellaneous deities
added by the donor or
artist.
Please let us know if the
the plain 'greyscale and
previously been using.

coloured image is more helpful than

numbered' images that we have

Mandala of

Hevajra
(item no. 87225)
Central Tibet
1400 - 1499
Sakya Lineage
63x56cm (24.80x22.05in)
Ground Mineral Pigment on Cotton
Collection of Museum of Fine Arts, Boston
(acc.# 67.823, Gift of John Goelet)

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(Buddhist Deity)

Shri Hevajra Nine Deity Mandala (Tibetan: pal gye pa dor je lha gu'i khyil kor). This
painting is dated by inscription to 1461 (Nepal Samvat 581). (See a quick reference
chart for understanding the visual and geometric elements of the Hevajra Mandala).
Sanskrit: Hevajra

Tibetan: Gye pa dor je

Within the center of the two dimensional circular diagram (mandala) representing the
top view of a three dimensional celestial palace and surroundings is the deity Shri
Hevajra, dark blue in colour, with eight faces and sixteen hands holding skullcups,
standing with four legs in a dancing posture. The first pair of hands embrace the
consort Vajra Nairatmya (Selfless One), blue, with one face and two hands holding a
curved knife and skullcup, standing on the left leg with the right embracing Hevajra.
They are both adorned with bone ornaments and stand atop four corpses within the
flames of pristine awareness.
Surrounding the two central figures are eight goddesses of various colours, each with
one face and two hands, standing in a dancing posture on the left leg above a corpse
seat. Beginning at the top and placed in a clockwise direction is yellow Vetali, multicoloured Dombini, green Ghasmari, blue Pukkasi, black Gauri, white Shavari, red
Chauri, and purple Chandali. They are adorned with various ornaments and each hold
their own distinct hand objects.
The floor of the celestial palace is divided into four colours ornately patterned with
floral designs: red, blue, white and yellow. On the red veranda outside of the palace
walls (barely discernible), on each side of the four doors ('T' shaped), are two dancing
offering goddesses, sixteen in total. The outer red and white lines forming a square
enclosure represent the stylized decorative facade on the four sides of the palace roof;
adorned with upright spears, arrows and banners. The elaborate lintels above each of
the four doors are constructed of tiered steps topped with a Dharma wheel, two
reclining deer, and gold spires with a silk canopy above.
Surrounding the palace is a circle of multi-coloured (rectangular) petals representing
the enormous lotus upon which the entire palace structure rests. The outer circle,
divided into eight sections, containing small figures and objects is the ring of the eight
great charnel grounds filled with corpses, fires, chaityas (stupas), yogis, nagas, and
wrathful worldly deities.
Eight Great Charnel Grounds: according to Tantric literature and the descriptions of
wrathful deities and their environments, the eight charnel grounds surround the central
palace and deity. There are several different sets of eight names and descriptions for
the eight great charnel grounds depending on the Buddhist and Hindu Tantric literature
consulted. These charnel grounds also have physical locations in India such as the
Laughing charnel ground at Bodhgaya and the Cool Grove charnel ground close by,
along with the Frightening charnel ground in the Black Hills of Bihar.
From the Hevajra Tantra literature: "In the east is the Gruesome charnel ground
(chandograkatasi); south Frightful with Skulls (bhairavakapalika); west Adorned with a
Blazing Garland (jvalamalalankara); north Dense Jungle (girigahvaronnati); north-east
Fiercely Resounding (ugropanyasa); south-east Forest of the Lord (ishvaravana);

south-west Dark and Terrible (bhairavandhakara); north-west Resounding with the

Cries Kili Kili (Kilikilaghoshanadita). Furthermore, there are headless corpses, hanging
corpses, lying corpses, stake-impaled corpses, heads, skeletons, jackals, crows, owls,
vultures, and zombies making the sound, "phaim". There are also siddha with clear
understanding, yaksha, raksha, preta, flesh eaters, lunatics, bhairava, daka, dakini,
ponds, fires, stupa, and sadhaka. All of these fill the charnel grounds." (Konchog
Lhundrub 1497-1557, written in 1551).
The final ring is composed of the multi-coloured fires of pristine awareness completely
enveloping the entire Hevajra Mandala.
Along the top are the lineage gurus for this particular mandala of Shri Hevajra. Starting
from the middle and alternating to each side are the primordial buddha Vajradhara,
Nairatmya, Virupa, Krishnapa, Damarupa, Avadhutipa, Gayadhara, Drogmi Lotsawa
(992-1072), Seton Kunrig (1025-1113), Shangton Chobar (1053-1136), Sachen Kunga
Nyingpo (1092-1158), Sonam Tsemo (1142-1182) and Dragpa Gyaltsen (1147-1216).
On the outside of the mandala circle starting at the upper left is yellow
Ratnasambhava-Hevajra. On the right is red Amitabha-Hevajra. At the Bottom left is
white Vairochana-Hevajra and on the right green Amoghasiddhi-Hevajra. Each of these
is in the same general appearance as the central deity.
Shri Hevajra is a meditational deity of the Anuttarayoga Non-dual classification. From
the many Hevajra Tantras and forms of the deity, this representation of Hevajra arises
from the root Hevajra Tantra of 'two sections' and was popularized by the Indian
mahasiddha (the one of great accomplishment) Virupa. The style of the painting is
from Ngor Monastery in south western Tibet evidenced by the strong use of red colours
and the intricate circular floral patterns used for the background and flame designs.
Mapping a Mandala: Reading a mandala is often very difficult without insider
knowledge and the benefit of the explanatory literature. Painted mandala compositions
are generally read from the center out and then all of the figures immediately outside
of the mandala circle, followed by the top register, and then finishing with the bottom
register. The important sections of the MFA Hevajra painting have been divided into
colours; blue for the essential deities, red for the Eight Great Charnal Grounds, yellow
for the lineage teachers and green for the miscellaneous deities added by the donor or
artist.
Jeff Watt 4-2001

Numbered & Coloured Image List:

Blue - Deities:
1. Hevajra & Nairatmya
--- [The Eight Goddesses] --2. East - Gauri (black)
3. South - Chauri (red)
4. West - Vetali (yellow)

5. North - Ghashmari (green)

6. North-east - Pukkashi (blue)
7. South-east - Shavari (white)
8. South-west - Chandali (purple)
9. North-west - Dombini (multi-coloured)
--- [The Five Hevajras of the Five Buddha Families] --10. Vairochana Hevajra
11. Ratnasambhava Hevajra
12. Amitabha Hevajra
13. Amoghasiddhi Hevajra
--- [The Great Wrathful Ones] --14. Ushnisha Chakravartin (yellow)
15. Yamantaka (blue)
16. Humkara (blue)
17. Prajnantaka (white)
18. Padmantaka (red)
19. Vighnantaka (blue)
20. Achala (blue)
21. Takkiraja (blue)
22. Niladanda (Blue)
23. Mahabala (blue)
24. Shumbharaja (blue)
Red - Cemeteries (Charnal Grounds):
1. East - Gruesome charnal ground (Chandograkatasi)
2. South - Frightful with Skulls (Bhairavakapalika)
3. West - Adorned with a Blazing Garland (Jvalamalalankara)
4. North - Dense Jungle (Girigahvaronnati)
5. North-east - Fiercely Resounding (Ugropanyasa)
6. South-east - Forest of the Lord (Ishvaravana)
7. South-west - Dark and Terrible (Bhairavandhakara)
8. North-west - Resounding with the Cries Kili Kili (Kilikilaghoshanadita)
Yellow - Lineage of Teachers:
1. Vajradhara
2. Nairatmya
3. Virupa
4. Kanha
5. Damarupa
6. Avadhutipa
7. Gayadhara
8. Drogmi Lotsawa
9. Seton Kunrig
10. Shangton Chobar
11. Sachen Kunga Nyingpo
12. Sonam Tsemo
13. Dragpa Gyaltsen
14. Sakya Pandita
15. Chogyal Pagpa
16. Konchog Pal
17. Sonam Pal
18. Sonam Gyaltsen

19. Palden Tsultrim

Green - Miscellaneous Deities:
1. Panjarnata Mahakala
2. Shri Devi
3. Yellow Jambhala
4. Legden Mahakala

Mandala of

Kalachakra (Buddhist Deity) - Mahasamvara

(item no. 87012)
Central Tibet
1500 - 1599
Sakya and Ngor (Sakya) Lineages
50.80x44.45cm (20x17.50in)
Ground Mineral Pigment on Cotton
Collection of Philadelphia Museum of Art
(acc. #2000-7-1, Stella Kramrisch Fund, 2000)

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Mahasamvara Kalachakra, Seventy-three Deity Mandala. The painting was

commissioned by Lhachog Sengge (1468-1535), the 9th abbot of Ngor Ewam
Monastery.
Sanskrit: Kalachakra

Tibetan: Du kyi kor lo

Kalachakra is surrounded by eight couples in embrace. Outside of that are six

concentric weapon wheels, jnana, bhumi, vari, jvala, vayu and akasha. Each of these
wheels has eight couples in embrace. The mandala palace is circular and has eight
gates. Surrounding the palace is the ring of sixteen great charnel grounds unique to
the Kalachakra Tantra.
The source text is the Paramadi-buddhoddhrta-srikalachakra-nama-tantraraja, Toh
362. Further information for this mandala can be found in the Ngor Mandala
compilation of the 19th century rgyud sde kun btus, mandala #98, dus 'khor sdom
chen lha bdun cu don gsum gyi dkyil 'khor. Also see The Ngor Mandalas of Tibet,
Listings of the Mandala Deities. bSod nams rgya mthso. Bibliotheca Codicum

Asiaticorum 4. The Centre for East Asian Cultural Studies, 1991. Again, Tibetan
Mandalas (Vajravali and Tantra-samuccaya), Raghuvira
and Lokesh Chandra, 1995.
Lineage Teachers: Buddha Kalachakra, Chandrabhadra
and the Eight Kings, Manjushr-kirti and the Twenty-five
Vidyadharas; Vidyadhara Shripala, Kalachakrapada the
Greater, Kalachakrapada the Lesser, the Kashmiri Chandra
Nata, Gompa Konchog Srung, Droton Namla Tseg, Yumo
Mikyo Dorje, Se Dharmeshvari, Drubtob Namkha Ozer,
Drubtob Semoche Namka Gyaltsen, Jamsar Sherab Ozer,
Lama Choku Ozer, Choje Kunpangpa, Jangsem Gyalwa
Yeshe, Lama Kunkyen Pagpa, Buton Rinchen Drub (12901364), etc. (rgyud se bkun btus, 2004 edition, vol. 30,
pages 171-173).
Jeff Watt 7-2003 [updated 7-2009]
Front of Painting
Wylie Transliteration of Inscription: yi dam dkyil 'khor gyi lha tshogs 'di bdag dge slong
rdo rje 'dzin pa lha chog seng ge'i yi dam du bzhengs . mang ga la.

Kalachakra (Buddhist Deity)

(item no. 65001)
Central Tibet
1600 - 1699
Gelug Lineage
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art
(acc.#C2001.1.1)

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Shri Kalachakra (Tibetan: pal du kyi kor lo. English: the Wheel of Time): a non-dual
Tantra retrieved from the hidden kingdom of Shambala.

Sanskrit: Kalachakra

Tibetan: Du kyi kor lo

Semi-wrathful in appearance, blue in colour, he has four faces, twenty-four hands and
two legs. The main face is blue, right red, left white and the back face is yellow. Each
has three eyes and an open mouth with slightly bared fangs. The first set of eight
hands are blue in colour, second (middle) red and third (upper) yellow. The first pair of
hands hold a vajra and bell crossed at the heart embracing the consort. The remaining
right hands hold a sword, curved knife, trident, three arrows, vajra hook, damaru
drum, hammer, wheel, spear, club and axe. The left hands hold a shield, katvanga
staff, skullcup, bow, lasso, jewel, lotus, conch shell, mirror, vajra chains and the fourfaced yellow head of Brahma. The Lord wears a long green scarf and a tiger skin as a
lower garment. The consort, Vishvamata, is yellow, with four faces and eight hands.
They are both adorned with crowns, necklaces, earrings, bracelets and various
ornaments. The right leg of the Lord is straight and red, standing atop the figure of red
Kamadeva. The left is bent and white, standing atop white Rudra. Above the layered
discs of a white moon, red sun and dark blue Rahu (eclipse) they stand on a multicoloured lotus blossom seat wreathed by the circular orange rays of pristine awareness
fire.
At the top center is the primordial buddha Vajradhara, blue, with one face and two
hands holding a vajra and bell at the heart. At each side are two kings of Shambhala
wearing long garments and elaborate headdresses. Slightly below are two lamas
wearing orange and red monastic robes. Two celestial figures, white in colour, soar
against the dark blue sky.
At the left side is Sahaja Heruka Kalachakra, blue, with one face and two hands holding
a vajra and bell embracing the consort. Vishvamata, yellow, holds a curved knife and
skullcup. At the right is the tutelary deity Mahamaya, blue, with four faces and four
hands holding a skullcup and katvanga staff and in the second pair a bow and arrow.
The consort, Buddha Dakini, is light blue in colour, with one face and four hands
holding the same objects as the Lord. Adorned with wrathful vestments, above a
corpse, sun disc and pink lotus flower they stand in a dancing posture against an orb of
red wisdom fire.
At the bottom center is the special protector for the Kalachakra cycle of Tantras, Vajra
Vega (Tib.: dor je shug, Eng.: Vajra Strength). Very wrathful, blue in colour, with four
faces, twenty-six hands and two legs he displays the same colours as Kalachakra. At
the left is the tutelary deity form of Vajrapani, wrathful, blue, with one face and two
hands holding an upraised vajra in the right and a bell in the left. Embracing the
consort, green, they stand surrounded by fire. At the right is Hayagriva, red, with one
face and two hands holding a stick and lasso.
The Kalachakra Mandala belongs to the non-dual anuttarayoga tantra practiced to a
greater or lesser degree by all schools of Tibetan Buddhism. The concept of 'time' is
used as the special metaphor to symbolize the process of transformation from
mundane existence to complete enlightenment. From amongst the numerous lineages
to enter Tibet the Rwa and Dro are the most famous. The Sakya school maintains
seven distinct lineages of transmission. (See Guhyasamaja and Yogambara from the
same set).
Rwa Lineage: Buddha Shakyamuni-Kalachakra, the Shambala king Suchandra, a line of

8 Shambhala kings ending with Manjukirti and Pundarika, a Manjushri emanation, Chilu
Pandita, Pindo Acharya, Kalachakrapada the younger (Naropa), Manjukirti,
Samantashri, Rwa Chorab, Rwa Yeshe Sengge, etc.
Jeff Watt 3-99
In the book A History of Tibetan Painting by David Jackson, he says; "Another
interesting reference to the mKhyen-ris style from the autobiography of the 5th Dalai
Lama refers to the commisioning around 1670/71 of a set of tangkas depicting
mandalas (dkyil thang) from the Vajravali cycle. The political ruler (sDe-pa) undertook
to sponsor it. Since sMan-thang-pa had been perfectly expert in peaceful deities and
mKhyen-brtse in fierce deities and mandalas, in the Great Fifth's opinion it was
essential that both lineages should not die out," (pp.159-160).

Kalachakra (Buddhist Deity)

(item no. 87223)
Central Tibet
1300 - 1399
Sakya Lineage
53.20x51.30cm (20.94x20.20in)
Ground Mineral Pigment on Cotton
Collection of Museum of Fine Arts, Boston
(acc.#67 821, Gift of John Goelet)

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Shri Kalachakra (Tibetan: pal du kyi kor lo. English: the Wheel of Time) and the
Vajravali cycle of deities according to the text of Abhayakaragupta. (See a Vajrakila
painting with a similar composition, colour palette and date).
This is the only known painting where all of the deities described in the Vajravali are
depicted in a single composition. It is also likely to be the earliest Tibetan painting of
the subject making it the most important single artwork in the study of the Vajravali
literature and subsequent works of art. (See the chapter on the history of the Vajravali
in the Blue Annals by Go Lotsawa).

Sanskrit: Kalachakra

Tibetan: Du kyi kor lo

Semi-wrathful in appearance, blue in colour, he has four faces, twenty-four hands and
two legs. The main face is blue, right red, left white and the back face is yellow. Each
has three eyes and an open mouth with slightly bared fangs. The first set of eight
hands are blue in colour, second (middle) red and third (upper) yellow. The first pair of
hands hold a vajra and bell crossed at the heart embracing the consort. The remaining
right hands hold a sword, curved knife, trident, three arrows, vajra hook, hand drum
(damaru), hammer, wheel, spear, club and axe. The left hands hold a shield, katvanga
staff, skullcup, bow, lasso, jewel, lotus, conch shell, mirror, vajra chains and the fourfaced yellow head of Brahma. The consort, Vishvamata, is yellow, with four faces and
eight hands. They are both adorned with crowns, necklaces, earrings, bracelets and
various ornaments. The right leg of the Lord is straight and red, standing atop the
figure of red Kamadeva. The left is bent and white, standing atop white Rudra. Above a
red sun disc they stand on a lotus blossom seat wreathed by the red flames of the fires
of pristine awareness.
At the center of the composition is the complex meditational deity Kalachakra. To the
upper right of the central figure is Shri Hevajra, lower right Mahachakra Vajrapani,
lower left Rakta Yamari and upper left Vajrabhairava.
Beginning at the viewer's top left is the primordial Buddha Vajradhara, white
Vajrayogini Jnana Dakini and then four Indian Panditas: Abhayakaragupta, and what is
likely to be Punyakaragupta, Lon Shab, Kirtichandra, followed possibly by the Tibetan
translator Dragpa Gyaltsen or Chag Lotsawa. Both of these Tibetan teachers were
important early propagators of the Vajravali system. Following that are three more
Tibetan teachers (in the same top register) and then two more in the register below on
the left side for a total of six.
Lineage: Vajradhara, Jnana Dakini, Abhayakaragupta, Anusama Rakshita, Vikhyata
Deva, Kache Shakya Shribhadra, Pandita Bhumishri, Vimalashri, Bodhi Sidha, Kyiton
Jamyang Dragpa Gyaltsen, Dolpo Sherab Gyaltsen, Sazang Panchen Lodro Gyaltsen,
Sazang Pagpa Shonnu Lodro, Ngorchen Vajradhara Kunga Zangpo, etc. (See alternate
lineages of the Vajravali and Kriya-samucchaya).
View Identification Key: 1. Kalachakra, 2. Hevajra, 3. Mahachakra Vajrapani, 4. Rakta
Yamari, 5. Vajrabhairava, 6. Vajradhara, 7. Jnana Dakini, 8. Abhayakaragupta, 9.
Punyakaragupta, 10. Lon Shab, 11. Kirtichandra, 12. Dragpa Gyaltsen or Chag
Lotsawa, 13. Tibetan Teacher, 14. Tibetan Teacher, 15. Tibetan Teacher, 16. Tibetan
Teacher, 17. Tibetan Teacher, 18. Hevajra (Two Arms), 19. Hevajra (Four Arms), 20.
Akshobhyavajra Guhyasamaja, 21. Manjuvajra Guhyasamaja, 22. Hevajra (Six Arms),
23. Mahamaya, 24. Jnana Dakini, 25. Samputa Vajrasattva, 26. Heruka Buddha
Kapala, 27. Humkara, 28. Hevajra (Two Armed, Samputa), 29. Hevajra (Four Armed,
Samputa), 30. Sahaja Heruka Chakrasamvara, 31. Chakrasamvara, 32. Hevajra (Six
Armed, Samputa), 33. Shastradhara Hevajra (Sixteen Arms, Weapon Holding,
Samputa), 34. Vajravarahi, 35. Pita Chakrasamvara, 36. Nairatmya (Two Arms), 37.
Nairatmya (Four Arms), 38. Syama Vajravarahi, 39. Pita Vajravarahi, 40. Vajrasattva
Chakrasamvara, 41. Kurukulla, 42. Buddha Kapala, 43. Yogambara, 44. Amrita
Humkara, 45. Vajra Amrita, 46. Amrita Kundalin, 47. Heruka Vajrasattva, 48. Hevajra,
49. Bhutadamara Vajrapani, 50. Vairochana Manjuvajra, 51. Vajra Tara, 52. Krishna
Yamari, 53. Shadbhuja Mahakala, 54. Vaishravana Riding a Lion, 55. Shakya Simha,

56. Dharmadhatu Vagishvara, 57. Vajradhatu Vairochana, 58. Pratisara (Pancha

Raksha), 59. Marichi.
At the bottom left is the Donor figure.
(See a history of the Origin of the Vajravali from the Blue Annals text of Go Lotsawa
Zhonnu Pal 1392-1481).
Jeff Watt 4-2001 [updated 8-2009]

Kalachakra (Buddhist Deity)

(item no. 924)
Eastern Tibet
1700 - 1799
Karma (Kagyu) and Buddhist Lineages
52.07x37.47cm (20.50x14.75in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art
(acc.# P1999.33.1)

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Kalachakra, Sahaja Heruka (Tibetan: du kyi kor lo, lhan chig drag tung. English: the
Wheel of Time, Blood-drinker) with Vajrasattva at the top center accompanied by four
teachers and two further figures at the bottom. The painting appears to follow the
Palpung Monastery style of painting and can be dated, based on the last two figures at
the bottom of the composition, to sometime between 1770 and 1798.
Sanskrit: Kalachakra

Tibetan: Du kyi kor lo

See Kalachakra Main Page See Kalachakra Outline Page

"...Sahaja Kalachakra ... with a body blue in colour, one face, two hands holding a
vajra and bell, embracing the Mother. The left leg is white and bent pressing on white
Ishvara and the right red and extended on the heart of the King of Desire. The hair is
in a top-knot and a wishing gem and crescent moon adorn the head; [adorned with]

vajra ornaments and wearing a lower garment of tiger skin. For each hand the thumb
is yellow, forefinger white, middle finger red, ring-finger black, little finger green. For
the garland of joints, the first is black, second red, and third white; with Vajrasattva as
a crown; and standing in the middle of a five coloured mountain of fire. Embracing
Visvamata, yellow in colour. [She has] one face, two hands, three eyes, holding a
curved knife and skullcup; embracing the Father with the right leg bent, left extended.
In union with the Father, naked, adorned with the five mudras, part of the hair hangs
loose." (Written by Jamyang Kyentse Wangpo, 1820-1892).
At the top center is Vajrasattva, white in colour embracing the consort Vajragarvi,
holding a vajra scepter in the right hand and a bell in the left cradled to the side.
Seated at the immediate left side is an Indian teacher and below that is Taranata both
wearing monastic robes. Seated on the viewer's right is Dolpopa Sherab Gyaltsen.
Below that is Katog Tsewang Norbu (1698-1755), dark skinned and wearing a cap.
At the bottom left is the 8th Situ, Chokyi Jungne (1700-1774), depicted as a portrait
created in old age, grey hair, wrinkles, wearing the typical red hat. (Note the cloud
ornaments on the side of the hat - trailing to the back). The two hands are placed in
the lap supporting a blue wish-fulfilling jewel.
At the right side is the teacher Dragpo Dorje Tsal (1740-1798), the 4th Dzigar
incarnation [P691], a student of the 8th Situ. He wears the robes of a monk, adorned
with a lotus hat. The right hand upraised holds a golden vajra and the left extended to
the side strikes downward with a kila (English: peg. Tib.: purba) decorated with a black
scorpion. The left leg is stretched slightly forward assuming a wrathful gesture with the
entire body imitating the posture of the deity Guru Dragpo - a meditational form of
Padmasambhava.
Jeff Watt 11-2000 [revised 7-2010]
Numbered & Grayscale:
1. Kalachakra & Vishvamata
2. Vajrasttva & Vajra Garvi
3. Indian Teacher (unknown)
4. Dolpopa Sherab Gyaltsen
5. Jonang Taranata
6. Katog Tsewang Norbu
7. Situ Panchen Chokyi Jungne
8. Dragpo Dorje Tsal
Front of Painting
English Translation of Inscription: [There are name inscriptions for each of the
secondary figures]
Reverse of Painting
Special Features: (handprints)

Kalachakra (Buddhist Deity)

(item no. 299)
Tibet
1800 - 1899
Jonang (Sakya) Lineage
99.06x61.60cm (39x24.25in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art
(acc.# P1996.19.4)

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Shri Kalachakra (Tibetan: pal du kyi kor lo. English: the Wheel of Time): surrounded by
various deities of the mandala, lineage teachers above and protectors below.
Sanskrit: Kalachakra

Tibetan: Du kyi kor lo

Slightly peaceful and slightly wrathful, predominantly blue in colour, he has four faces,
twenty-four hands and two legs. The main face is blue, right red, left white and the
back face is yellow, each has three eyes. The first set of eight hands (lower) are blue in
colour, second (middle) red and third (upper) yellow. The first pair of hands embrace
the consort - crossed at the heart holding a vajra and bell. The remaining right hands
hold a sword, curved knife, trident, arrows, hook, damaru drum, hammer, wheel,
spear, club and axe. The left hands hold a shield, katvanga staff, skullcup, bow, lasso,
jewel, lotus, conch shell, mirror, chains and the head of Brahma. Wearing a long green
scarf over the shoulders he is wrapped with a tiger skin as a lower garment. The
consort, Vishvamata, is yellow, with four faces and eight hands. They are both adorned
with crowns, necklaces, earrings, bracelets and various ornaments. The red right leg of
the Lord is straight, standing atop the figure of red Kamadeva. The white left leg is
bent, standing atop white Rudra. Above the layered discs of a dark blue Rahu (eclipse),
red sun and white moon they stand on a multi-coloured lotus blossom seat surrounded
by the five coloured lights of pristine awareness fire.
At the top center is the primordial buddha Vajradhara, blue, with one face and two
hands holding a vajra and bell at the heart. At each side are lamas wearing orange and
red monastic robes and red pandita hats. Next are two mahasiddhas, sparsely clad,
wearing long black hair and red meditation belts. At the right side is a king of
Shambhala wearing long garments and an elaborate headdress. At the left side is a
multi-headed form of Manjushri Namasangiti. The second row of figures, those along
the sides and directly below the central Kalachakra, comprise the main attendant

deities from the full mandala.

At the bottom center is the wrathful protector for the Kalachakra cycle of Tantras, Vajra
Vega (Tib.: dor je shug, Eng.: Vajra Strength). Very wrathful, blue in colour, with four
faces, twenty-six hands and two legs he displays the same colours and attributes as
Kalachakra. Adorned with wrathful vestments he stands above a corpse and sun disc
surrounded by the orange flames of pristine awareness.
At the left is the protector Panjarnata Mahakala, dark blue, with one face and two
hands. He is surrounded by the eight-deity entourage composed of Ekajati, Shri Devi,
Kartaridhara Mahakala and the five Rakshasas along with miscellaneous figures of the
outer retinue. At the right is the tutelary deity Vajrakila, wrathful, blue, with three
faces and six hands embracing the consort Diptachakra. Slightly above is Shri Heruka
Vajrabhairava, blue, with a buffalo head and two hands holding a curved knife and
skullcup. Below are the five deities of the Krishna Khrodini mandala (Tib.: tro ma nag
mo). Each has one face and two hands, standing in a dancing posture.
The Kalachakra Mandala belongs to the non-dual anuttarayoga tantra classification
practiced to a greater or lesser degree by all schools of Tibetan Buddhism. The concept
of 'time' is used as the special metaphor to symbolize the process of transformation
from mundane existence to complete enlightenment. From amongst the numerous
lineages to enter Tibet the Rwa and Dro are the most famous. The Sakya school
maintains seven distinct lineages of transmission.
Rwa Lineage: Buddha Shakyamuni-Kalachakra, the Shambala king Suchandra, a line of
8 Shambhala kings ending with Manjukirti and Pundarika, a Manjushri emanation, Chilu
Pandita, Pindo Acharya, Kalachakrapada the younger (Naropa), Manjukirti,
Samantashri, Rwa Chorab, Rwa Yeshe Sengge, etc.
Anupama Lineage: Vajradhara, Vajra Garbha, Vajra Dakini, Kalachakrapada, Anupama
Rakshita, Sadhu Putra, Dharmakara, Dharma Mitra, Bikshata Deva, Shakya Shri
Bhadra, Sakya Pandita Kunga Gyaltsen (1182-1251), Chogyal Pagpa (1235-1280), etc.
Jeff Watt 3-99

Tibet: Lhukang Temple, Lhasa (Yoga Murals)

Lhukang Temple Main Page
Lhukang 3rd Floor | North Wall (Pema Lingpa Treasure's) | West Wall (Pema Lingpa
Treasure's) | East Wall, Siddhas | Side Panel (Tsarchen) | Side Panel (misc.)
(See The Lhukang, A Hidden Temple in Tibet by Ian Baker).
On the 3rd floor of the Lhukang Temple there are seven murals - painted wall surfaces.
There are three large mural panels and four small mural panels. Two of the large
panels document [1 & 2] 'Revealed Treasure' Teachings of Pema Lingpa. These two
panels are very detailed and are accompanied by written inscriptions and sequential

numbering.
A third large panel depicts the [3] Eighty-four Mahasiddhas of the Vajrasana tradition
along with the Twenty-five disciples of Padmasambhava.
Of the three small narrow panels, the first of these depicts various narratives scenes
including [4] Pema Lingpa and the discovery of 'Revealed Treasures' in a lake in
Bhutan. The second small panel again depicts [5] narrative scenes including Sakya
Pandita, Tsongkapa, Tsarchen Loasal Gyatso and Doringpa (see images below). The
third of the three panels depicts [6] two deities - a Nyingma Heruka figure above and a
wrathful Vajrapani below. The fourth small panel appears to be a continuation of the
second large panel of Pema Lingpa.