COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1992.72
amicoid
CMA_.1992.72
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Textiles
oty
Textiles
Object Type
false
Creator Nationality:
Asian; Far East Asian; Chinese
crc
Asian; Far East Asian; Chinese
Creator Nationality
false
Creator Dates/Places:
China
cdt
China
Creator Dates/Places
false
Creator Name-CRT:
China, Tangut Xia dynasty (1032-1227), early 13th century
crt
China, Tangut Xia dynasty (1032-1227), early 13th century
Creator Name-CRT
false
Title:
Thangka with Vighnantaka
otn
Thangka with Vighnantaka
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
early 13th century
oct
early 13th century
Creation Date
false
Creation Start Date:
1200
ocs
1200
Creation Start Date
false
Creation End Date:
1233
oce
1233
Creation End Date
false
Materials and Techniques:
tapestry with narrow tabby border near bottom; silk and pearls
omd
tapestry with narrow tabby border near bottom; silk and pearls
Materials and Techniques
false
Dimensions:
Overall: 102.3cm x 74cm
met
Overall: 102.3cm x 74cm
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:
1992.72
ooa
1992.72
ID Number
false
Credit Line:
Purchase from the J. H. Wade Fund
ooc
Purchase from the J. H. Wade Fund
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:
The Buddhist deity Vighnantaka plays a protective role, destroying obstacles that stand in the way of spiritual enlightenment. Fierce and extremely powerful in appearance, he holds a noose in his left hand and a sword in his right, while standing on theprostrate bodies of the god Shiva and the elephant-headed god Ganesha. Engulfing all three is an aureole of flames through which members of Vighnantaka's entourage charge, brandishing weapons. The scene, including the aureole, is supported on a lotus throne and set within a floral vine scroll. Beneath the lotus throne are five dakinis (demigoddesses embodying wisdom) flanked by smaller figures of Vighnantaka. Above the central scene are the Five Transcendent Buddhas. A scrolling floral vine with flowers supporting Buddhist symbols borders the entire thangka (icon). The Tibetan style of this work reflects the close ethnic and cultural ties that linked Tibetans with the Tangut peoples of Tangut Xia. Not only did Tibetan Buddhism predominate in these regions, but during the late twelfth and early thirteenth centuries, Tibetan clerics served as imperial preceptors at the Tangut court. Tangut kesi (silk tapestry) are exceedingly rare. One, very similar in both design and style, includes the portrait of a knownTibetan historian who died in 1216. Because an inscription states that it was woven as a gift for him, it was probably made before his death. A third kesi with the figure of Green Tara was excavated in the former Xixia territories, from the ruins of thegarrison city of Khara Khoto. Not only does it share a number of decorative elements with this Vighnantaka thangka, but the trapeze shape common to the two typically occurs in Tangut painted icons as well. A.W.
cxd
The Buddhist deity Vighnantaka plays a protective role, destroying obstacles that stand in the way of spiritual enlightenment. Fierce and extremely powerful in appearance, he holds a noose in his left hand and a sword in his right, while standing on theprostrate bodies of the god Shiva and the elephant-headed god Ganesha. Engulfing all three is an aureole of flames through which members of Vighnantaka's entourage charge, brandishing weapons. The scene, including the aureole, is supported on a lotus throne and set within a floral vine scroll. Beneath the lotus throne are five dakinis (demigoddesses embodying wisdom) flanked by smaller figures of Vighnantaka. Above the central scene are the Five Transcendent Buddhas. A scrolling floral vine with flowers supporting Buddhist symbols borders the entire thangka (icon). The Tibetan style of this work reflects the close ethnic and cultural ties that linked Tibetans with the Tangut peoples of Tangut Xia. Not only did Tibetan Buddhism predominate in these regions, but during the late twelfth and early thirteenth centuries, Tibetan clerics served as imperial preceptors at the Tangut court. Tangut kesi (silk tapestry) are exceedingly rare. One, very similar in both design and style, includes the portrait of a knownTibetan historian who died in 1216. Because an inscription states that it was woven as a gift for him, it was probably made before his death. A third kesi with the figure of Green Tara was excavated in the former Xixia territories, from the ruins of thegarrison city of Khara Khoto. Not only does it share a number of decorative elements with this Vighnantaka thangka, but the trapeze shape common to the two typically occurs in Tangut painted icons as well. A.W.
Context
false
Related Image Identifier Link:
CMA_.1992.72.tif
ril
CMA_.1992.72.tif
Related Image Identifier Link
false