In this unusual thangka(thahng-kuh) a Tibetan-style painted or textile image, traditionally mounted in brocade, that conveys Buddhist concepts., a traditional Tibetan-style religious painting, the Qianlong(chee-en-long) Emperor (reigned 1735–1796) had himself portrayed in the form of Manjushri(mahn-joo-shree), the bodhisattva(bo-dee-saht-vah) an enlightened being who chooses not to proceed to Nirvana but instead remains on earth to guide others in their paths toward enlightenment. of wisdom. Pictured among 108 deitiesdivine beings; gods and/or goddesses., teachers, and other Buddhist figures, he is placed at the center of a symbolic universe. This painting indirectly proclaims the Qianlong Emperor’s rulership of both the spiritual and secular worlds. The jewel-like landscape is filled with auspicioussuccessful or prosperous; a sign of future success clouds and a representation of the five-peaked mountain, Wutaishan(woo tie-shahn), believed to be the earthly abode of Manjushri. This painting belongs to a small group of eight similar, imperially commissioned works with Qianlong as the central deity. Such paintings were given to Tibetan religious leaders or displayed in the Tibetan Buddhist chapels in the city known today as Beijing.
The Qianlong Emperor was the ruler of the world’s largest and most prosperous empire in the eighteenth century. He articulated the idea of universal monarchy, which envisioned a multiethnic empire held together under his reign. This thangka and other evidence, such as Tibetan Buddhist inscriptions and symbolsshapes or designs that are recognizable and have a meaning associated with them found in the Qianlong Emperor’s tomb, reveal what many scholars interpret as his genuine devotion to this religion. Additionally, this religious work would have carried political weight as well. Mongol and Tibetan members of the Qing(ching) Empire believed in Tibetan Buddhism(bood-ihz-uhm) a widespread Asian religion or philosophy founded by Siddartha Gautama in northeastern India in the 5th century BCE.. By participating in Tibetan rituala set pattern of behavior for a religious or other kind of ceremony. initiations and assuming Manjushri’s identity in the painting, the Qianlong Emperor positioned himself squarely in a Buddhist traditiona practice, skill, or talent that is passed down from generation to generation. important to two large ethnic populations in his empire.
Who is this figure?
As a bodhisattva(bo-dee-saht-vah) an enlightened being who chooses not to proceed to Nirvana but instead remains on earth to guide others in their paths toward enlightenment., the emperor sits with folded legs while holding the wheel of Buddhist law and teachings in his left hand. His right thumb and index finger join in a circle to form the shape of a wheel, the mudra(moo-druh) a hand gesture with a consistent meaning, made during Buddhist ritual practice or depicted in Buddhist images. that reiterates the circular wheel of Buddhist dharma(dar-muh) the Buddha’s teachings or doctrines.. In each hand, he also delicately holds the stems of lotus blossoms. A flaming sword and a sutra(soo-truh) a Buddhist holy writing or text. appear atop a lotus flower behind each shoulder. These are attributes of Manjushri(mahn-joo-shree) and suggest the Buddhist identity that the emperor is here assuming.
Look closer at the refined detail on the robe.
The emperor is dressed in a robe and shawl that follow the style of a monk’s garments, but which are lavishly decorated with pomegranate and floral scrolls painted with extraordinarily refined detail. The detailed workmanship and artistry of the painting indicate it was made for imperialrelating to an empire, an emperor, or the home of royals. use.
What are the ritual objects in front of the emperor’s throne?
An altar table with Tibetan rituala set pattern of behavior for a religious or other kind of ceremony. implements is placed in front of the lion-decorated throne. A pronged scepter called a vajra and a bell, two of the most important ritual implements in the Tibetan Buddhist traditiona practice, skill, or talent that is passed down from generation to generation., are visible. The scepter and bell denote, respectively, “method” and “wisdom,” two elements necessary for attaining Buddhahood.
What is unique about the emperor’s face in this thangka?
The exquisite modeling of the face with light and shadow is attributed to Giuseppe Castiglione (1688–1766), an Italian Jesuit(jezh-oo-iht) a member of the Society of Jesus, a Roman Catholic religious order founded by Ignatius of Loyola. missionary serving at the Qing(ching) court. Greatly appreciated by the Qianlong(chee-en-long) Emperor, he was a key figure in introducing Western painting style and technique, including light and shadow, to the palace workshops. The exquisitely detailed setting of the painting, the 108 Buddhist figures surrounding the emperor, and the body of the emperor were painted by a team of Chinese and Tibetan artists. With the face painted by a European, the painting represents a multicultural dimension of the Qing court.
Who are the figures surrounding the emperor?
In the clouds surrounding the emperor, important historical figures appear. Those figures can be identified as lamas (teachers in Tibetan Buddhism(bood-ihz-uhm) a widespread Asian religion or philosophy founded by Siddartha Gautama in northeastern India in the 5th century BCE.), including successive Dalai Lamasthe spiritual leaders of one of four major paths of Tibetan Buddhism., spiritual tutors, and other deitiesdivine beings; gods and/or goddesses..
Who is the figure directly above the emperor?
In the circle directly above the clouds surrounding the emperor’s image sits his personal Tibetan Buddhist teacher, Rol pa’i rdo rje (1717–1786). Written in a slender gold script are the words “root guru” (teacher). It reveals their close relationship.
Who are the figures in the bright cloud circles?
The portraitan image of a person, usually focused on their face and shoulders. of the emperor’s religious teacher is flanked by bright cloud circles, which are populated by disciples and bodhisattvas(bo-dee-saht-vah) enlightened beings who choose not to proceed to Nirvana but instead remains on earth to guide others in their paths toward enlightenment..
Who are the protectors at the bottom of the thangka?
The bottom of the painting depicts seventeen protectors of Buddhist teachings. Their position follows the common practice in the arrangement of figures in a traditional thangka(thahng-kuh) a Tibetan-style painted or textile image, traditionally mounted in brocade, that conveys Buddhist concepts.. To name a few of the identifiable protector deitiesdivine beings; gods and/or goddesses., we see in the upper left the six-armed protector deity known as Mahakala, and the twin dancing skeletons at the center are known as the Lords of the Charnal Grounds.
Who are the figures in the bright cloud circles?
The portraitan image of a person, usually focused on their face and shoulders. of the emperor’s religious teacher is flanked by bright cloud circles, which are populated by disciples and bodhisattvas(bo-dee-saht-vah) enlightened beings who choose not to proceed to Nirvana but instead remains on earth to guide others in their paths toward enlightenment..