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Gain access to this incredible resource through either a monthly or a yearly subscription and search the entire collection from your desktop, compare multiple images side by side and zoom into the minute details of the images. Visit www.davidrumsey.com/amica for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at amica@luna-img.com . Creator Nationality: Asian; Far East Asian; Tibetan Creator Dates/Places: Tibet Creator Active Place: Tibet Creator Name-CRT: Tibet Title: Green Tara Title Type: Primary View: Full View Creation Start Date: 1280 Creation End Date: 1320 Creation Date: ca. 1300 Object Type: Paintings Materials and Techniques: color on canvas Dimensions: Overall: 52.4cm x 43.2cm AMICA Contributor: The Cleveland Museum of Art Owner Location: Cleveland, Ohio, USA ID Number: 1970.156 Credit Line: Purchase from the J. H. Wade Fund by exchange, from Doris Wiener Gallery Rights: http://www.clemusart.com/museum/disclaim2.html 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. AMICA ID: CMA_.1970.156 AMICA Library Year: 1998 Media Metadata Rights: Copyright, The Cleveland Museum of Art AMICA PUBLIC RIGHTS: a) Access to the materials is granted for personal and non-commercial use. b) A full educational license for non-commercial use is available from Cartography Associates at www.davidrumsey.com/amica/institution_subscribe.html c) Licensed users may continue their examination of additional materials provided by Cartography Associates, and d) commercial rights are available from the rights holder. Home
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