COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1970.156
amicoid
CMA_.1970.156
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Nationality:
Asian; Far East Asian; Tibetan
crc
Asian; Far East Asian; Tibetan
Creator Nationality
false
Creator Dates/Places:
Tibet
cdt
Tibet
Creator Dates/Places
false
Creator Name-CRT:
Tibet
crt
Tibet
Creator Name-CRT
false
Title:
Green Tara
otn
Green Tara
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
ca. 1300
oct
ca. 1300
Creation Date
false
Creation Start Date:
1280
ocs
1280
Creation Start Date
false
Creation End Date:
1320
oce
1320
Creation End Date
false
Materials and Techniques:
color on canvas
omd
color on canvas
Materials and Techniques
false
Dimensions:
Overall: 52.4cm x 43.2cm
met
Overall: 52.4cm x 43.2cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1970.156
ooa
1970.156
ID Number
false
Credit Line:
Purchase from the J. H. Wade Fund by exchange, from Doris Wiener Gallery
ooc
Purchase from the J. H. Wade Fund by exchange, from Doris Wiener Gallery
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Green Tara, or Syama Tara, is one of the most popular deities in Tibet. She is a personification of transcendent wisdom (prajna) who offers protection and salvation to her devotees. While she can take on infinite iconographic variants, here she is shownas Astamahabhaya Tara (Protectress from the Eight Great Perils). The perils are painted on both sides of the doorjambs of the architectural shrine in which she is placed. Behind the shrine are seventeen species of the bodhi tree, each characteristic of adifferent buddha, which symbolize their enlightenment and emphasize the Green Tara's role as the mother of all buddhas. The largest of the trees, at the top, with gems instead of fruits, can be identified as the wish-fulfilling tree (kalpa-lata or kalpa-vrksa) (see also 1972.366, where it was depicted in the form of a creeper rather than a tree). The Green Tara is seated on a double-lotus placed on a base decorated with lions and elephants. Above the image is an arch (makara-torana) with the face of glory (kirttimukha) at the top. The arch is supported by rearing rams standing on elephants. Corresponding to it, on the outer wall of the shrine, are upright lions also standing on elephants. The style of painting shows a strong eastern Indian and, at the sametime, Nepalese influence, which not only indicates an early date for the painting when the influence of the Pala style was dominant, but also suggests that the painting belongs to the period when Newari influence in Tibet was particularly strong. Indeed the thirteenth century was such a period, especially when Aniko's studio was active in Tibet and China and when he became much in demand after receiving Kublai Khan's patronage. In fact, the Newari influence is so pronounced in this painting that for the longest time it was attributed to Nepal rather than Tibet. At the bottom of goddess's right hand is an image of the monk who commissioned the painting, whose identity unfortunately remains unknown. On the reverse is an inscription in Tibetan (another indication of the Tibetan origin of this painting), quoting a Buddhist mantra and a poem. No names of patrons or reference to the date or locality of the painting are contained within the inscription. S.C.
cxd
Green Tara, or Syama Tara, is one of the most popular deities in Tibet. She is a personification of transcendent wisdom (prajna) who offers protection and salvation to her devotees. While she can take on infinite iconographic variants, here she is shownas Astamahabhaya Tara (Protectress from the Eight Great Perils). The perils are painted on both sides of the doorjambs of the architectural shrine in which she is placed. Behind the shrine are seventeen species of the bodhi tree, each characteristic of adifferent buddha, which symbolize their enlightenment and emphasize the Green Tara's role as the mother of all buddhas. The largest of the trees, at the top, with gems instead of fruits, can be identified as the wish-fulfilling tree (kalpa-lata or kalpa-vrksa) (see also 1972.366, where it was depicted in the form of a creeper rather than a tree). The Green Tara is seated on a double-lotus placed on a base decorated with lions and elephants. Above the image is an arch (makara-torana) with the face of glory (kirttimukha) at the top. The arch is supported by rearing rams standing on elephants. Corresponding to it, on the outer wall of the shrine, are upright lions also standing on elephants. The style of painting shows a strong eastern Indian and, at the sametime, Nepalese influence, which not only indicates an early date for the painting when the influence of the Pala style was dominant, but also suggests that the painting belongs to the period when Newari influence in Tibet was particularly strong. Indeed the thirteenth century was such a period, especially when Aniko's studio was active in Tibet and China and when he became much in demand after receiving Kublai Khan's patronage. In fact, the Newari influence is so pronounced in this painting that for the longest time it was attributed to Nepal rather than Tibet. At the bottom of goddess's right hand is an image of the monk who commissioned the painting, whose identity unfortunately remains unknown. On the reverse is an inscription in Tibetan (another indication of the Tibetan origin of this painting), quoting a Buddhist mantra and a poem. No names of patrons or reference to the date or locality of the painting are contained within the inscription. S.C.
Context
false
Related Image Identifier Link:
CMA_.1970.156.tif
ril
CMA_.1970.156.tif
Related Image Identifier Link
false