GATEWAY TO

HIMALAYAN ART
BUDDHA SHAKYAMUNI

Tibet;13th century
Gilt copper alloy with pigments
C2005.16.31 (HAR 65454)
BUDDHA SHAKYAMUNI

Tsang Province, Central Tibet; 18th century

Pigments on cloth
Gift of Shelley and Donald Rubin
C2006.66.128 (HAR 75)
BODHISATTVA MAITREYA

Kham Province, Eastern Tibet; 19th century

Pigments on cloth
C2002.35.2 (HAR 65201)
BODHISATTVA MAITREYA

Bihar or Bengal, India; 12th century

Gilt copper alloy with inlays of silver, copper, and glass
C2005.16.6 (HAR 65428)
VAJRADHARA WITH CONSORT

Tibet; 14th century

Gilt copper alloy
C2005.16.19 (HAR 65442)
GUHYASAMAJA AKSHOBHYAVAJRA
WITH CONSORT
Tibet or Mongolia; 18th–19th century
Pigments on cloth
Gift of Shelley and Donald Rubin
C2006.66.541 (HAR 1017)
VAJRAYOGINI

Tibet; 18th century

Brass and gilt copper alloy
C2005.16.47 (HAR 65470)
GREEN TARA

Tibet; 18th century

Pigments on cloth
Gift of Shelley and Donald Rubin
C2006.66.19 (HAR 672)
DAMCHEN GARWAI NAGPO

China; 18th century

Gilt brass
C2005.16.65 (HAR 65488)
SHRI DEVI, DORJE RABTENMA

Tibet; 17th century

Pigments on cloth
Gift of the Shelley & Donald Rubin Foundation
F1997.17.13 (HAR 330)
BHAIRAVA

Nepal; 13th or 14th century

Copper alloy with inlays of semiprecious stones
C2003.33.1 (HAR 65256)
INDRA

Nepal; 16th century

Gilt copper alloy
C2005.16.44 (HAR 65467)
GANESHA

Nepal; 17th century

Copper alloy
C2004.22.2 (HAR 65369)
VISHNU

Nepal; 12th century

Gilt copper alloy
C2006.35.2 (HAR 65669)
INDRA

Nepal; 12th century

Gilt copper alloy
C2006.71.8 (HAR 65761)
SIDDHI LAKSHMI

Nepal; 17th century

Gilt copper alloy
C2004.34.4 (HAR 65402)
SIDDHI LAKSHMI

Nepal; dated by inscription, 1694

Pigments on cloth
C2006.42.1 (HAR 89039)
RED AVALOKITESHVARA

Nepal or Tibet; dated by inscription, 1871

Pigments on cloth
C2005.29.1 (HAR 65564)
MAHASIDDHA JALANDHARA,
THE NET HOLDER

Tibet; ca. 16th century

Copper alloy
C2003.13.4 (HAR 65218)
FIFTH DALAI LAMA, NGAGWANG
LOBZANG GYATSO(1617–1682)

Tibet; 17th century

Gilt copper alloy
C2006.38.2 (HAR 65647)

207
TEACHER JIGME LINGPA (1729–1798)
Tibet; 18th–19th century
Metal alloy
C2002.29.2 (HAR 65159)
ARHAT GOPAKA

Tibet; 18th century

Gilt copper alloy
C2005.16.58 (HAR 65481)
YELLOW JAMBHALA

Tibet; 17th century

Clay with pigments
C2006.64.1 (HAR 65728)
TSA TSA MOLD OF GANESHA

Himalayan region; 15th–19th century

Copper alloy
C2006.63.9 (HAR 65748)
TSA TSA MOLD OF AVALOKITESHVARA

Himalayan region; 15th–17th century

Copper alloy
C2006.63.13 (HAR 65744)
MOLD BY NGODRUP

Nephu Monastery, Bhutan, and Darjeeling, India

ca. 19th–20th century
Beeswax and resin
C2006.63.1a–b
MOUNT MEHRU

Himalayan region; 19th century

Wood with pigments
C2006.43.3 (HAR 65679)
WOODBLOCK

Himalayan region; 15th–19th century

Ink and wood
C2006.75.31 (HAR 68960)

210
COVER OF A VAISHNAVA MANUSCRIPT

Nepal; 18th century

Distemper on wood
Gift of Cynthia Hazen Polsky
C2008.18.1
DORJE RABTENMA

Tibet; 15th century

Black stone and pigment
C2006.19.1 (HAR 65601)
UPPER SECTION OF A TORANA

Nepal; 1810
Copper alloy; repoussé
C2003.21.3 (HAR 65234)
ELEPHANT

Nepal or Tibet; 18th century

Metalwork; repoussé
Gift of Shelley and Donald Rubin
C2021.3.1 (HAR 700055)

This object was created through a process called embossing. In

this process, sheets of a malleable metal, such as gold, silver, or
copper, are hammered over frames of wood and other materials.
The metal sheets are then tempered and hammered again until
they assume the intended form. Large and complex sculptures
are created in parts and later assembled by riveting and soldering.
Sometimes the sculptures are enhanced by small cast parts and
finished by chiseling and gilding.
SIX-ARMED MAHAKALA

Tibet; 18th century

Silk and cotton appliqué textile
Gift of Shelley and Donald Rubin
C2006.66.219 (HAR 266)

Tibetan hanging scrolls, called thangkas, are usually painted but

can also be made of cloth. These textile images can be woven,
embroidered, or made from pieces of silk cut into shapes and
stitched together in a technique known as appliqué, like the work
seen here. In some cases these cloth images are made several
stories tall to be displayed during special occasions on monastery
walls or mountainsides, as seen in the photograph. Just like
painted thangkas, textile scrolls are stitched into rich silk brocade
frames and can be rolled up and stored when not in use.

Photograph by Christian Luczanits

BUDDHA SHAKYAMUNI

Buddha Shakyamuni
Bhutan; 19th century
Textile applique with embroidery
C2006.30.1 (HAR 65652)
RITUAL PEG KILA

Tibet; ca. 17th century

Iron and gilt brass
C2005.16.66 (HAR 65489)

RITUAL HAMMER

China; Ming Dynasty, Yongle Period (1403–1424)

Iron, gold, and silver
C2005.16.7 (HAR 65429)

The three-bladed ritual dagger, or phurba in Tibetan and kila in

Sanskrit, is a symbolic implement found in many tantric practices.
It is often used to ritually overcome negative forces by stabbing,
and thus eliminating, an effigy embodying personal or communal
obstacles. It can also be used as a peg, together with a hammer
like the one shown here, to establish the sacred space where a
ritual is to be performed.
NAMKHAI NYINGPO
(8TH–9TH CENTURY)
PERFORMING A LONG-LIFE RITUAL
Kham Province, Eastern Tibet; 19th century
Pigments on cloth
Gift of Shelley and Donald Rubin
C2006.66.20 (HAR 678)

This painting depicts the performance of a long-life ritual. A

spiritual master, or lama, dressed in monastic robes holds a bell in
his left hand with a vajra and an arrow of longevity in his right. To
his right is the ritual space arrayed with the materials he will use
while performing the ritual. These include bowls containing various
offerings, such as sculpted ritual offering cakes (torma). Emanating
out of a vase adorned with peacock feathers are the deities
invoked in the ritual and offering goddesses.
FOUR-FACED LINGA

Nepal; 19th century

Silver repoussé
C2002.39.1 (HAR 65176)

The linga is the symbolic form of the great Hindu god Shiva and
the primary object of worship in temples dedicated to the god.
Shiva personifies the renewal and destruction of existence, with
the linga representing his regenerative and creative energy. The
multi-faced form of the linga, common in the Kathmandu Valley,
has four visible faces and an abstract, formless face on the top.
The five faces represent five distinct aspects of the god and also
correspond to sacred sites of Shiva in India and Nepal. A devotee
would usually approach the linga with offerings and prayers,
view it, and be seen through it by Shiva, thus receiving the
god’s blessings.
ARCHITECTURAL DETAIL DEPICTING THE
GODDESS GUHYAKALI

Nepal; 17th century

Wood
C2008.32 (HAR 57015)

Guhyakali, or “Secret Kali,” is a manifestation of the Hindu Great

Mother Goddess (Mahadevi). In Nepal she is often depicted in
sculptures decorating the outside of Hindu temples, as in this
carved roof bracket. This is an example of the traditional woodwork
of the Newar people, natives of Nepal’s Kathmandu Valley.
Guhyakali is shown here on a lotus that supports her and her lion
mount. At its base a devotee is shown with folded hands in a half-
kneeling posture.
BUDDHA AMITAYUS

Tibet; 19th century

Pigment on cloth
Gift of Shelley and Donald Rubin
C2006.66.304 (HAR 698)

Amitayus is the Buddha of Infinite Life. He is recognizable by his

red color, the richly adorned robes and ornaments he wears, and
the vase that he holds in his lap. An image of Amitayus is often
commissioned to wish someone a long life. Amitayus is sometimes
depicted with two other deities, White Tara and Ushnishavijaya,
forming a set of the three deities of long life.
BLACK JAMBHALA

Tibet; 13th century

Metalwork
C2002.41.1 (HAR 65174)

Jambhala is a wealth-bestowing deity, as expressed by the

mongoose disgorging jewels he holds in his left hand. Buddhist
teachings state that eliminating the “poison” of greed brings
wealth. Snakes are a symbol of avarice, and the mongoose, as the
predator of the snake, is therefore seen as a symbol of prosperity.
Images of the mongoose disgorging jewels are meant to remind
us that we receive by giving. Jambhala’s broad belly reflects a
common visual expression of wealth found across Asia.
USHNISHAVIJAYA

Tibet; 18th century

Ground mineral pigment on cotton
Gift of Shelley and Donald Rubin
C2006.66.507 (HAR 975)

The deity Ushnishavijaya, or “Victorious Crown Ornament,” is a

goddess of long life. She also removes obstacles, promotes well-
being, and ensures environmental stability. At the bottom center of this
painting is a depiction of the deceased individual on whose behalf this
painting was made. The small figure, wearing white, is shown seated
on a lotus, indicating that the relatives who commissioned this painting
wish that the merit generated by its creation will help the departed
to be reborn in a pure realm of a buddha. The central figure of the
painting was either the personal deity of the deceased or chosen for
the painting on the advice of a religious master.
PRAYER WHEEL

Tibet; 19th–20th century

Wood, metal, and pigments
Gift of Thomas Isenberg
SC2010.32a–g

808
RELIQUARY STUPA

Tibet; 14th century

Copper alloy
C2003.12.2 (HAR 65213)
GREEN TARA

Tibet; 13th century

Brass with inlays of silver
C2005.16.30 (HAR 65453)

Tara is one of the most beloved deities in Himalayan Buddhist

traditions as a protector and savior of all who call for her help. She is
often appealed to through the recitation of her invocation (mantra),
known to lay and religious people alike. It is said that reciting this
mantra with devotion many times strengthens one’s connection to
the deity, solicits her protection, and accumulates merit, increasing
positive karma.

807
MANDALA OF PANCHARAKSHA

Central Tibet; 18th century

Pigments on cloth
Gift of Shelley and Donald Rubin
C2003.50.6 (HAR 274)

Mandalas are representations of the abodes of deities and reflect

the Buddhist understanding of the universe and its structure. They
are visual tools used in complex Tantric Buddhist practices. Typically
a mandala is a symmetrical diagram oriented around a center. It
comprises circles and inscribed squares that represent the architecture
of a divine palace. Mandalas may also serve as ritual objects and
protective talismans.

Computer Animated Kalachakra Mandala

Shebdrup Ling, Graz, Austria; Kavita Bela and Elizabeth Popolo,
Cornell University Department of Computer Science

The digital reconstruction above shows the intrinsic three-

dimensionality of mandala palaces, which are often depicted
schematically in two-dimensional representations made with paint
or sand. The three-dimensional structure in this animation is built
up just as prescribed by traditional visualization practices.

215 809
GUHYASAMAJA WITH CONSORT

Tibet; 15th century

Gilt copper alloy
C2005.16.23 (har 65446)

Tantric Buddhism teaches that everyone has the potential to reach

enlightenment. Practitioners attempt to develop this potential
through a meditative practice called deity yoga, in the course of
which they imagine themselves as ideal, altruistic beings in the
form of specific deities. Images—painted or sculpted—enable
the practitioner to properly visualize these deities. A practitioner’s
character and disposition determine his or her personal
meditational deity (yidam) during an initiation ritual into the
tantric practice.
STORIES OF PREVIOUS LIVES OF THE
BUDDHA (JATAKA)

Tibet; 18th century

Pigments on cloth
C2007.33.1 (HAR 65816)

Tales of Buddha Shakyamuni’s past lives are some of the most

well-known narratives in Himalayan culture. They are often
presented across a series of paintings, with each painting
illustrating several narratives from the whole collection of stories.
The narrative scenes are usually arranged around a central image
of the Buddha and visually separated by landscape elements. The
traditional set of tales includes the stories of the Buddha’s previous
lives as a bodhisattva, king, merchant, and animal.

217
WHEEL OF LIFE

Eastern Tibet; 18th century

Pigments on cloth
F1997.40.10

216
LUKHANG
TEMPLE
MURALS
LUKHANG TEMPLE MURAL REPRODUCTIONS

Lukhang Temple Mural Reproductions, October 2009

Photography by Thomas Laird and Clint Clemens
Archival pigment prints
The Rubin Museum of Art, © Thomas Laird, 2009
PH2009.5.1, PH2009.5.2, PH2009.5.3, PH2009.5.10

The full-scale photographs surrounding you to the left, center, and

right reproduce the murals located on the third floor of the temple.
They are renowned for their unique depictions of yogic exercises
and esoteric meditation practices. They are illustrations of the
revealed teachings of the Buddhist master Pema Lingpa (1450–
1521) and are part of the tradition called Dzogchen, or the “Great
Perfection.” The murals trace these teachings to the yogis and
tantric masters of India and also illustrate how Tibet and its people
became appropriate recipients for them.
The mural reproduction behind you is from a chapel on the
ground floor of the temple and is one in a series that represents
the kings of the mythical land of Shambhala. According to the
Buddhist tradition, these kings were the first to practice the
teachings of the Kalachakra Tantra that describes the practice as
well as their triumph over malevolent forces on earth.
Learn more about the intricate details in these murals through
our audio guide. To listen, download The Rubin app on your
personal device.

218
REVELATION OF THE KALACHAKRA
MANDALA

What does this mandala represent? Listen on The Rubin app to

discover more.

219
 Buddha
Kalachakra Shakyamuni
Mandala Suchandra

Kalachakra Wheel
Deity
DZOGCHEN (GREAT PERFECTION) PRACTICE

What is Dzogchen, and how is it practiced?

220
 Practitioner
receiving vows Ejecting
consciousness
Vajrasattva into the sky
Rainbow
Light Body

Buddha
Realm

four treasure texts of

pema lingpa
THE UNIVERSE AND LIFE

What do these murals say about the Buddhist world?

221
 nature of Creation of
samsara the universe couples
and nirvana
forty stages
and weeks
of embryonic
development

establishing Different
the body as the births
palace of the five Samantabhadra
buddhas and Vajrasattva
the universe
BARDO DEITIES AND YOGA

What happens after you die? Find out how this mural depicts the
transition after death on The Rubin app.

222
 Assembly of
peaceful deities
Adepts performing
vision of the primary Yantra yoga
bodhisattvas

Inner Heat
Practices
Herukas
Assembly of
wrathful deities
TAMING GODS AND SPIRITS

Who are these fierce protector deities?

223
 Gods in heaven

Red Pehar

spirits of the earth

Dragtsen Marpo

protectors underground
and in the water

Nele Thokar
Deities submitting to
Padmasambhava
MAHASIDDHAS AND THE DISCIPLES
OF PADMASAMBHAVA

Who were the mahasiddhas? Learn about their

unconventional wisdom on The Rubin app.

224
 Blue Vajradhara

eighty-four
mahasiddhas

Padmasambhava
twenty-five
disciples
Trisong Detsen