Provenance:
European Private Collection
This resplendent thangka presents Vajradhara (Tib. Dorje Chang), the primordial Buddha and source of all tantric revelation. The central deity is rendered in radiant gold against a deep vermilion and indigo ground, seated in meditation posture upon a lotus throne supported by lions. His hands are crossed before his chest in the vajrahumkāra mudrā, holding the vajra and bell—symbols of the union of wisdom (prajñā) and method (upāya). His tranquil, idealized features convey the ineffable stillness of the dharmakāya, the formless absolute.
Vajradhara is flanked by two graceful bodhisattvas: Manjusri to the left, the embodiment of transcendent wisdom, holding lotus flowers supporting a flaming sword and a Prajñāpāramitā text; and Padmapani to the right, personifying compassion and holding a lotus blossom rising to his shoulder. Together, the triad represents the three perfections of enlightenment—wisdom, compassion, and ultimate realization—a configuration especially favored in Central Tibetan art during this period. Luxuriant vine forms an aureole above Vajradhara’s throne and deities, and the presiding crowned Sakya lama appears within its scrolling tendrils, with Vajradhara and consort at the apex; Raktayamari, Chakrasamvara and Vajrayogini to the right; Guhyasamaja, Vajrabhairava, and the crowned lama to the left. The vine emanates from Vajradhara’s lotus seat, passing through the hands of each attendant standing bodhisattva. The two principal Sakya order meditation deities, Hevajra and Chakrasamvara, are depicted to the left and right above the aureole, with a Sakya lineage in the upper register, including the progenitor Vajradhara at the left, Indian mahasiddhas, a pandita, and Tibetan hierarchs at the right. The side registers depict further Sakya hierarchs, adepts and meditation deities, with a lower register of meditation and protector deities, including Mahakala, Shri Devi, Vaishravana, and Kala Jambhala to the right.
The composition’s dense floral arabesques, gilded scrolls, rhythmic equilibrium, and the geometric format of the bordering registers are typical of Newar style painting in central Tibet during the fourteenth and fifteenth centuries. The sumptuous use of gold and the balance between serenity and ornament distinguish this thangka as a masterpiece of the period.
