Tibetan Tantra

Vajrayāna Buddhism
 What is Tantra?
The aim of Tantra is to bring about a dramatic
transformation of the practitioner—through ritual,
visualization, and symbols—to attain the state of
Buddhahood in order to benefit others.

As Lama Thubten Yeshe puts it:

Speaking generally we can say
that all the many practices of
tantra involve the principle of
transformation. . . . Through
the practice of tantra all our
energies, including the subtle
yet very powerful energies we
are not ordinarily aware of, are
harnessed to accomplish the
greatest of all transformations.
This is our evolution from an
ordinary, limited and deluded
person trapped within the shell
of a petty ego into a fully
evolved, totally conscious
being of unlimited compassion
and insight.
Powers, John. 1995. Introduction to Tibetan Buddhism. Ithaca,
New York: Snow Lion Publications, p. 222
 Motivation
What sort of people are suitable receptacles for
tantric teachings? According to the Dalai Lama, only
people with unusually strong compassion and an
overpowering urge to attain buddhahood in order to
benefit others should undertake the training of tantra
(also commonly referred to as the "mantra vehicle"):

A person who has practised the

stages of sūtra and wishes to attain
quickly the state of a blessed
Buddha should enter into the
Secret Mantra Vehicle that can
easily bestow realisation of
Buddhahood. However, you cannot
seek Buddhahood for yourself,
engaging in Mantra in order to
become unusual. . . . You must
develop great compassion from the
very orb of your heart for all
sentient beings traveling in cyclic
existence. . . . You need to have a
very strong mind wishing to free
all sentient beings from suffering
and its causes.

(Powers 1995, 223)

 Desire
While most exoteric Buddhist texts advise practitioners
to reduce desire in order to attain liberation, tantric texts
actually propose to incorporate the energy of desire into
the path. The problem lies not in desire per se, but
rather in a misdirection of the energy of desire toward
objects that lead to suffering and bondage.

As Lama Thubten Yeshe puts it:

Instead of viewing pleasure and desire as

something to be avoided at all costs, tantra
recognizes the powerful energy aroused by our
desires to be an indispensable resource for the
spiritual path. Because the goal is nothing less
than the realization of our highest human
potential, tantra seeks to transform every
experience—no matter how 'unreligious' it
may appear—into the path of fulfillment. It is
precisely because our present life is so
inseparably linked with desire that we must
make use of desire's tremendous energy if we
wish to transform our life into something
transcendental.

(Powers 1995, 224)

 Maṇḍalas
The Sanskrit term maṇḍala literally means" circle,"
both in the sense of a circular diagram and a
surrounding retinue. In Buddhist usage the term
encompasses both senses, because it refers to circular
diagrams that often contain images of deities and their
surroundings. The maṇḍala represents a sacred realm,
often the celestial palace of a buddha, and it contains
symbols and images that depict aspects of the
enlightened psycho-physical personality of the buddha
and that indicate Buddhist themes and concepts. The
Dalai Lama explains that the image of the maṇḍala “is
said to be extremely profound because meditation on it
serves as an antidote, quickly eradicating the
obstructions to liberation and the obstructions to
omniscience as well as their latent predispositions.”
The obstructions to liberation and the obstructions to
omniscience are the two main types of mental
afflictions that obstruct one's attainment of
buddhahood. The maṇḍala serves as a representation
of an enlightened mind that is liberated from all such
obstacles, and in the context of tantric practice it is a
powerful symbol of the state that meditators are trying
to attain.

(Powers 1995, 227)

 Hevajra Maṇḍala
Tibet, 15th century, The Metropolitan Museum of Art
 Hevajra Maṇḍala

Hevajra appears here in his three-headed and

four-armed form. This manifestation is drawn
from the Hevajra Tantra, a text revered by the
Sakya School of Tibetan Buddhism, possibly
the patrons of this painting. Hevajra and his
consort Nairatmya dance at the intersection of
four vajra gateways, indicating their position
at the center of the cosmos. Hevajra’s name is
composed of two syllables, “he,” compassion,
representing the male aspect, and “Vajra,”
wisdom, the female aspect, which together
offer the path beyond the illusory world. The
repeating skull symbolism references death
and the impermanence of all phenomena.
Beyond the celestial palace are the eight great
charnel grounds, each presided over by a
yogic master, or mahasiddha. On the reverse
are inscriptions in an ornate Tibetan lantsa
script of the Sanskrit mantra OH AH HUM
and of mantra syllables configured in a stupa
silhouette. This painting is likely the work of a
Newari artist from Nepal working for a
Tibetan patron.
 Kapaladhara Hevajra Maṇḍala
Central Tibet, Sakya order, 16th century, Rubin Museum of Art
 Central Tibet, Sakya order, 16th century

Mañjuvajra Guhyasamāja Maṇḍala

Central Tibet, Jonang order, 16th to early 17th century, Rubin Museum of Art
Maṇḍala of the Forms of Mañjuśrī
Tibet, late 14th c., The Metropolitan Museum of Art
 Maṇḍala of the Forms of Mañjuśrī

Mandala of the Forms of Mañjuśrī, the Bodhisattva

of Transcendent Wisdom, Tibet. At center sits
Mañjuśrī, the peaceful form of Mañjuvajra, a
bodhisattva who cuts through ignorance. He is
golden, has three faces, and embraces his consort
Prajñā—iconography as prescribed in the
Vajrayāna text the Nishpanna Yogavali (Garland of
Perfection Yoga). In the four directions are towers
with floral motifs spewing from the mouths of
makaras that together take the form of crossed
vajras, denoting the stable axis upon which
Mañjuśrī sits. Rings of lotus petals, vajras, and fire
mark the sacred space of the central palace. In the
corners are images of Manjushri. Below are Taras
and ferocious protectors, including Mahakala and
Palden Lhamo as well as a monk who performs the
consecration ritual for the mandala. The figural
style and ornamental rendering suggest that a
Nepalese artist painted this work for a Tibetan
patron.
Maṇḍala of Paramasukha Chakrasamvara
Central Tibet, Sakya order, 14th to early 15th century
 Cakrasaṃvara Maṇḍala
Nepal, ca 1100, The Metropolitan Museum of Art
 Cakrasaṃvara Maṇḍala

This ritual diagram (mandala) is conceived as the

cosmic palace of the wrathful Chakrasamvara and his
consort, Vajravarahi, seen at center. These deities
embody the esoteric knowledge of the Yoga Tantras.
Six goddesses on stylized lotus petals surround the
divine couple. Framing the mandala are the eight
great burial grounds of India, each presided over by a
deity beneath a tree. The cemeteries are appropriate
places for meditation on Chakrasamvara and are
emblematic of the various realms of existence. The
lower register contains five forms of the goddess Tara,
a tantric adept at left, and two donors at right. This
mandala is one of the earliest surviving large-scale
paintings known from Nepal. Stylistic features relate
it to Nepalese manuscript covers and to eastern Indian
palm-leaf manuscript illustrations of the twelfth
century.
 Cakrasaṃvara Maṇḍala
Nepal, 1490, Los Angeles County Museum of Art
Maṇḍala of Avalokiteśvara
Tibet, 1700-1799, Rubin Museum of Art
 Maṇḍala of Avalokiteśvara

Avalokiteśvara is surrounded by the Buddhas of the Six Realms of existence

and the four female door guardians. Centrally located, peaceful in appearance,
white in colour, with one face and four hands, the first pair are clasped at the
heart holding a wishing jewel. The right hand upraised holds a white prayer
bead mala and the left a lotus flower. Adorned with a crown of gold and
jewels, necklaces, bracelets and anklets, he wears a green scarf across the
shoulders and a red lower garment. The legs are folded together in vajra
posture atop a moon disc and purple lotus flower surrounded by a blue-red
nimbus and green aureola.

Surrounding the central figure, on the six petals of the lotus are the six
Buddhas of the six realms of cyclic existence - Shakyamuni, Indra, Thag
Zangri, Shakya Simha, Namka Dzo and Dharma Raja. In the general
appearance of a buddha, they each hold their own objects, wear red and
yellow robes and stand tall with the legs together. Outside of that is a ring of
gold vajras on a blue background. The inner courtyard of the palace mandala
is divided into 4 colours, white in the east, yellow for the south, red - west
and north - green. The square enclosure represents the 4 walls and the 'T'
shaped structures on each side the 4 doors. Above are 4 coloured steps, a
Dharma wheel, two deer and a small canopy. Seated at the door entrances are
the 4 female Door Guardians, Vajrankushi, Vajrapashi, Vajrasphota and
Vajraghanta. A ring of pristine awareness fire in five colours surrounds the
mandala.

At the top left is the Buddha Amitabha, red, with the hands placed in the lap
in the mudra of meditation. At the right side is Guru Rinpoche
Padmasambhava holding a vajra and skullcup, richly attired and wearing the
lotus hat. At the bottom left a seated male figure performs various gestures
with the hands, regally attired with a white head covering, green and red
robes, atop a cushion seat. At the right side a lama figure wears the white
upper robe of a yogi, a red meditation belt and a lower robe. In front a small
table supports a central teacup on a gold platform. At the side a table of
offerings is prepared with heaped wishing jewels in a large golden bowl. On
the ground below that lay various coloured bolts of cloth. A solitary monk
stands at the side holding an unfurled white scarf.
Bhaiṣajyaguru Maṇḍala
Tibet, 1800-1899, Rubin Museum of Art
 Bhaiṣajyaguru Maṇḍala

Bhaiṣajyaguru is the Medicine Buddha. At the center

representing the goddess Prajñāpāramitā is the sūtra by
the same name.

When painting tangkas of Medicine Buddha he

switches places with Prajñāpāramitā and occupies one
of the eight minor positions surrounding the center.
Some paintings actually portray the Goddess herself
rather than using the sūtra text.

The form and practice of Medicine Buddha is derived

from the Bhaiṣajyaguru Sūtra taught by Lord
Shakyamuni. In the Vajrayana Tradition this sutra is
classified as a Kriya Tantra. Common to all schools of
Tibetan Buddhism Medicine Buddha is particularly
important to the medical traditions.
Maṇḍala of Vajrayogini
Tibet, 1700-1799, Rubin Museum of Art
 Maṇḍala of Vajrayogini
Red in colour, with one face and two hands Vajrayogini stands with the body
arched, left leg bent and the head thrown back, looking up to the pure buddha
realm of Khecara. Held upraised to the sky in the left hand is a skullcup and in the
right a curved knife extended downwards. Adorned with bone ornaments and a
necklace of fifty skulls she supports on the left shoulder a katvanga staff
decorated with silk streamers. With the two feet pressing down on the two gods
red Kalaratri and black Bhairava she stands above an orange sun disc and lotus
blossom completely surrounded by the ring of flames of pristine awareness.

The two crossed red triangles serving as the foundation for Vajrayogini are each
bordered with a yellow edge. The two protruding wings at each side contain small
white circles. The red geometric form is placed in the middle of a green circle
filled with small green and yellow flower motifs surrounded by an outer ring of
multi-coloured lotus petals. Outside of that is the ring of the eight great charnel
grounds with small figures, trees and stupas. Surrounding that is a small blue ring
with alternating gold vajras and lines. The outermost ring is composed of the five
coloured flames of the fires of pristine awareness

At the top left is the goddess of power, Kurukulla of the Hevajra Tantra, red, with
one face and four hands holding a bow and arrow in the first pair and a hook and
lasso in the second. She stands on the left leg in a dancing posture wreathed with
orange fire. At the right is the power deity, Great Maha Rakta Ganapati, red in
colour, emanation of Avalokiteshvara, with one elephant face and twelve hands
holding various implements and standing on a blue-black rat; surrounded by
flame. At the bottom left is the power deity Takkiraja of the Guhyasamaja Tantra,
red, with one face and two hands holding a hook in the right and a lasso in the left
- embracing the consort, standing in the middle of the flames of pristine
awareness. These deities are known as the Three Great Red Ones of Sakya. At the
bottom right is the Direction Guardian Vaishravana, white, with one face and two
hands holding a victory banner and mongoose; riding atop a white snow lion.

Vajrayogini belongs to the 'wisdom class' of Anuttarayoga Tantra and arises

specifically from the Chakrasamvara Cycle of Tantras.
Naropa Vajrayogini in Her Oddiyana Paradise
Eastern Tibet, First half of the 19th century
 Sarvavid Vairochana Maṇḍala
Central Tibet, Sakya order, 15th to early 16th century
Esoteric Communion Akṣobhyavajra Maṇḍala
Central Tibet, Sakya order, 15th to early 16th century
 Maṇḍala of Naropa Ḍākinī
Central Tibet, Sakya order, 15th to early 16th century
 Vajrapāṇi Maṇḍala
Tibet, 1400-1499, Rubin Museum of Art
 Maṇḍala of Shri Devi
Tibet, 1600-1699, Rubin Museum of Art
 Maṇḍala of Shri Devi
This unusual composition uses symbols to represent the
deities and retinue figures inhabiting the mandala circle. The
most striking feature about the mandala is the triangular
shape. It is an architectural representation of a three-sided
palace with three 'T' shaped doors on the three walls, further
adorned with human heads, skins and looping intestines
strung like garlands. Inside the triangle are four bluish grey
weapon wheels, one inside the other. At the very center of the
mandala is a curved knife above a skullcup representing
Bernagchen Mahakala (Black Cloak), and a 'kila' peg, mirror,
spear, and a snake lasso, representing the consort Shri Devi.
Based on the symbolic attributes, the four wheels and the
triangular palace in the middle of the mandala circle then a
positive identification for this mandala is made. These
symbols placed together in this combination are unique to
Bernagchen and Shri Devi. Atop each of the spokes of the
four weapon wheels are small coloured circles. These circles
represent the retinue figures accompanying and surrounding
the central deity couple.

Bernagchen Mahakala is the personal protector of the

Karmapas and the special protector of the Karma Kagyu
(Kamtsangpa) School of Tibetan Buddhism. The Karmapas
are a line of successive teachers acknowledged as the first
lineage of reincarnating lamas in Tibetan Buddhism.
Mahakala is a classification of Buddhist protector deity
originating in India. This specific form of Mahakala known
as Bernagchen arises from the Nyingma 'Revealed Treasure'
Tradition of Tibet and was later introduced into the Karma
Kagyu School by the 2nd Karmapa, Karma Pakshi (1206-
1283).
 Deity Yoga
According to Tsong Khapa, deity yoga is the central practice
of tantra and is the feature that most clearly differentiates it
from the sutra path. As an indication of how important this
practice is, the Dalai Lama even states that "without deity
yoga the Mantra path is impossible; deity yoga is the essence
of Mantra." He adds that all the distinctive practices of the
tantra path are based on this technique, which is the supreme
path to enlightenment.

Deity yoga involves creative visualization of oneself as a

deity who is a fully enlightened buddha in order to achieve the
state of buddhahood more quickly than is possible using sutra
practices alone?

According to Khenpo Konchog Gyaltsen, in this practice one

receives empowerment from tantric deities, which heightens
one's sense of potential Buddhahood:

through the empowerment of the yidam deities we

identify and become one with the yidam itself so
that the ordinary vision of the mind is purified. The
yidam is the individual's special deity or guide,
inseparable from himself, and taking him to
Enlightenment. So when we visualize certain
Enlightenment deities, we are not simply imagining
them or indulging in wishful thinking; rather we are
realizing what already exists within. This is the
method for fully awakening the mind and achieving
complete Buddhahood.
(Powers 1995, 235-36)
 Samantabhadra
Tibet, 1700-1799, Rubin Museum of Art
 Samantabhadra

In the Tibetan Buddhist tradition, particularly the

Nyingma school, Dharmakaya Samantabhadra is
considered the most primordial Buddha, akin in status
to Vajradhara for the Sarma traditions. Samantabhadra
appears in the Vajrayana tantric text the Kunjed
Gyalpo Tantra, as the Primordial Buddha, the
'embodiment' or 'field' of 'timeless awareness, gnosis')
awakened since before the very beginning. Therefore,
in Tibetan Buddhism the Nyingma, or 'Old Translation'
school, the Sakya and the Bön schools view
Samantabhadra as the Primordial Buddha. In the
Nyingma school of Tibetan Buddhist Vajrayana,
Samantabhadra is considered a primordial Buddha in
indivisible yab-yum union with his consort
Samantabhadri. However, the Kagyu and Gelug
schools use Vajradhara to represent the Primordial
Buddha.
Vajradhāra with Adepts and Arhats
Western Tibet, 1500-1599, Rubin Museum of Art
 Vajradhāra

Vajradhara is the primordial buddha, the dharmakaya buddha.

Vajradhara, depicted as dark blue in color, expresses the
quintessence of buddhahood itself. Vajradhara represents the essence
of the historical Buddha’s realization of enlightenment.

Historically, Prince Siddhartha attained enlightenment under the

bodhi tree in Bodhgaya over 2500 years ago and then manifested as
the Buddha. According to Buddhist cosmology, he was the Fourth
Historic Buddha of this fortunate eon. Prince Siddhartha’s
achievement of enlightenment, the realization, or wisdom of
enlightenment itself, is called the dharmakaya, the body of truth.
When he expresses that realization through subtle symbols, his
realization is called the sambhogakaya, the body of enjoyment.
When such realization manifested in more accessible or physical
form for all sentient beings as the historical Shakyamuni Buddha, it
is called the nirmanakaya, the body of manifestation.

The dharmakaya, synonymous with Vajradhara Buddha, is the source

of all the manifestations of enlightenment. Vajradhara is central to
the Kagyu lineage because Tilopa received the vajrayana teachings
directly from Vajradhara, the dharmakaya buddha. Thus, the Kagyu
lineage originated from the very nature of buddhahood.

The Official Website of the 17th Karmapa

https://kagyuoffice.org/kagyu-lineage/the-golden-rosary/vajradhara/
 White Vajradhāra
Central Tibet, Late 14th to early 15th century, Rubin Museum of Art
 White Vajradhāra
Central Tibet, Late 14th to early15th century, Rubin Museum of Art
White Vajradhāra and Queen of Vajra Space
Eastern Tibet, Late 16th to early 17th century, Rubin Museum of Art
White Vajradhāra and Queen of Vajra Space
Eastern Tibet, Late 16th to early 17th century, Rubin Museum of Art
 Akṣobhya Buddha
Tibet, 12th century, Rubin Museum of Art
 Akṣobhya Buddha
Occupying a central role in Vajrayana Buddhism,
Akshobhya, by some accounts, is Lord of the 2nd of
the Five Buddha Families of tantra and found
throughout all 4 tantra classifications most notably in
the anuttarayoga class. Akshobhya is also mentioned
in several Mahayana sutras, the Vimalakirti Nirdesa
being the most famous. It was in Abhirati, the
pureland of Akshobhya, attainable only by 8th level
bodhisattvas, where the famous Tibetan yogi Milarepa
and the scholar Sakya Pandita are said to have
obtained complete buddhahood.

Akshobhya, meaning unshakeable, is one of many

Buddhas found in Mahayana and Vajrayana
Buddhism. He is described in the Mahayana Sutras of
Northern Buddhism and in the Tantra literature.
Although a relatively minor figure in the Sutras
Akshobhya is of major importance in the Tantras
occupying a central role in Vajrayana Buddhism at all
levels. He is easily recognized in paintings by having
a buddha-like form, blue body colour and the left hand
supporting an upright vajra scepter. There are no other
Buddhist figures that have this same iconographic
appearance. Tantric depictions of Buddhas are
commonly shown with jewel ornaments and a crown.
 Amitābha Buddha
Tibet, 1300-1399, private collection
 Amitābha Buddha
Amitabha is red in colour with one face, two hands folded in the lap,
and the legs folded in vajra posture. He has the appearance of a Peaceful
Deity with long hair, a crown, earrings, jewelry, and heavenly garments.
At the proper left side of the Buddha is the standing figure of
Avalokiteshvara, white in colour, holding a white lotus flower, wearing
the same ornaments and garments. On the left side is Maitreya, yellow
in colour, with a water flask on a flower blossom, otherwise is similar
appearance. The throne below is supported by four peacocks

There are many different forms and types of Buddhas represented in

Buddhist art. Following after the many images of the historical Buddha
Shakyamuni the next most common Buddha form to appear in art is
likely to be Amitabha (immeasurable light). His popularity is based in
the Mahayana Sutra literature of which there are several Sutra texts
devoted to him, along with numerous commentaries and meditation and
ritual texts. In art depictions of Amitabha has two general appearances
and two names that differentiate those appearances. When referred to as
Amitabha he has the appearance of a standard buddha form called
nirmanakaya appearance. In this form he is red in colour, wearing the
traditional patchwork robes of a monk. In his other general appearance
he has a different name, Amitayus (immeasurable life), and wears the
clothing and jeweled adornments of a peaceful heavenly god according
to the classical Indian system of divine aesthetics. This latter form is
known as sambhogakaya appearance. The nirmanakaya form is the same
as the classical Buddha Appearance. The nirmanakaya form is in
Peaceful Deity Appearance, sometimes referred to as Bodhisattva
Appearance. There are many additional forms of Amitabha/Amitayus
contained in the Tantric literature.
Amitabha in Sukhavati
Eastern Tibet, Kham, 19th century
Amitabha in Sukhavati
Eastern Tibet, Kham, 19th century
 Pure Land of Amitayus
Eastern Tibet, Nyingma order, 18th century
 Pure Land of Amitayus
Eastern Tibet, Nyingma order, 18th century
 Vairocana Buddha
Tibet, 1700-1799, Rubin Museum of Art
 Vairocana Buddha
Vairocana Buddha is another of the great celestial
Buddhas. His name means "Shining Out" like the sun.
The first mention of Vairocana is perhaps in the
Avataṃsaka Sūtra. There, he is described as being at the
center of the cosmos like a cosmic sun radiating the light
of the Dharma to all worlds. The luminous rays of his
light dispel the darkness of ignorance releasing sentient
beings from all obstructions to Awakening. These rays
are often represented in Buddhist art.
His Buddha-realm was born from the lotus and was
purified by Vairocana for eons. Unlike the Buddha-
realms of Akṣobhya and Amitābha, the Lotus Land of
Vairocana is not inhabited by arhats, but only by
bodhisattvas. Here we see a Mahāyāna development
from the Buddha-realm of Akṣobhya where there are
mainly arhats and a few bodhisattvas, to the Buddha-
realm of Amitābha where there are mostly bodhisattvas
and a few arhats, to the Buddha-realm of Vairocana
where there are only bodhisattvas.
The Avataṃsaka Sūtra also considers Vairocana to be
the same as Gautama Buddha, but just different bodies.
In later sūtras, this relationship is described as Gautama
Buddha being the nirmāṇakāya of Vairocana. (Mitchell
& Jacoby, 145)
Ratnasambhava Buddha
Tibet, 14th c.
 Ratnasambhava Buddha
The Jewel-Born Buddha
The name Ratnasambhava means “the Jewel-born One”
or “Origin of Jewels.” The Three Jewels are the Buddha,
the Dharma and the Sangha. The Buddha is the
Enlightened One, the Guru, the hub of the wheel of the
Law. The Dharma is the Teaching, or the Law, and the
Sangha is the Community.

Ratnasambhava transmutes the poison of spiritual,

intellectual and human pride into the Wisdom of
Equality.

Tibetan Buddhists teach that with the Wisdom of

Equality one sees all things with divine impartiality and
recognizes the divine equality of all beings. One sees all
beings and the Buddha as having the same nature. This
is a condition we need, says author Giuseppe Tucci, “to
spur our spiritual ascension and to acquire the trust to
realize in ourselves the status of a Buddha.”1

Ratnasambhava is the Dhyani Buddha of the south. His

color is yellow, the color of the sun in its zenith. He
rules over the element of earth and embodies the
skandha of feeling or sensation.
Amoghasiddhi Buddha
Tibet, 13th c.
 Amoghasiddhi Buddha
Buddha of Fearlessness

Amoghasiddhi is the last of the Five Dhyani or

Five Wisdom Tathagatas. They are believed to
have originated from Vajrasattva, the Buddha
of purification. Of these five, Amoghasiddhi is
the buddha of the north. He is associated with
energy and known as the Lord of Karma and
the Buddha of unfailing accomplishment. His
name literally means infallible (amogha)
success (siddhi). He holds his hands in the
Abhaya, fearlessness mudra. Amoghasiddhi is
the Buddha of all accomplishing wisdom. He
is venerated not only for his wisdom of success
but he is also known to defeat envy. As it says
in Buddhist tradition, Devadatta, a very
envious cousin of Amoghasiddhi once
attempted to murder the Buddha by releasing a
rampaging elephant into the Buddha's path to
which Amoghasiddhi simply raised his mudra
calming the beast, embodying both
fearlessness and defeating envy.
Bhaiṣajyaguru (Medicine Buddha)
Tibet, 19th c., Art Gallery of New South Wales
Bhaiṣajyaguru (Medicine Buddha)
Cemtral Tibet, Mid 15th century
 Guhyasamāja Mañjuvajra
Tibet, Khyenri tradition, 16th to 17th century, Rubin Museum of Art
 Thousand-Armed Avalokiteśvara
Central Tibet, 15th century, Rubin Museum of Art
 Thousand-Armed Avalokiteśvara
Eastern Tibet, Kham, Late 18thth century, Rubin Museum of Art
Vajravidarana with the Five Guardian Goddesses
Central Tibet, Late 17thth century, Rubin Museum of Art
 Vajravidarana
Central Tibet, Late 17thth century, Rubin Museum of Art
 Vajrayoginī
Tibet, 1800-1899, Rubin Museum of Art
 Vajrayoginī

Red in colour with one face and two hands she holds a curved knife
in the right and a skullcup upraised in the left. Resting on the left
shoulder is a katvanga staff. Adorned with a tiara of skulls and gold,
jewel and bone ornaments she wears a necklace of fifty dry skulls
standing with the two feet placed on the bodies of red Kalaratri and
black Bhairava above a sun disc and multi-coloured lotus seat.
Completely surrounded by the flames of pristine awareness she
looks up to the pure realm of Khechara and drinks from the skullcup
in the left hand.

At the top center is Vira Vajradharma, a form of the primordial

buddha Vajradhara, unique to the Vajrayogini system of practice.
Red in colour, with one face and two hands he holds aloft a damaru
drum in the right and a skullcup held to the heart in the left, with a
katvanga staff leaning against the left shoulder, seated in vajra
posture.

At the top right and left are two Sakya Lamas wearing monastic
robes and the dark red Pandita hats typical of scholars. Both are
seated on cushion thrones possibly indicating that the painting was
sponsored during the lifetime of the two lamas. (Placed above a
lotus seat is often an indication that the individual has passed on to
the pure realms).

Vajrayogini, is a representation of complete buddhahood in female

form. Classified as Wisdom or 'Mother' Anuttarayoga Tantra the
practices originate with the Chakrasamvara Cycle of Tantras.
Although found in a variety of forms, she is common to all schools
of Tibetan Buddhism. In this particular form she is a special
teaching passed down from the lineage of the Indian mahasiddha
Naropa through to the Sakya School. This form is also popular
within the Gelug Tradition.
 Vajraḍākinī
Bhutan, early 19th century
 White and Green Tārā
Tibet, 1450-1500, The Metropolitan Museum of Art
 Tārā
Tārā is a meditation deity worshiped by practitioners of the Tibetan
branch of Vajrayana Buddhism to develop certain inner qualities and to
understand outer, inner and secret teachings such as karuṇā
(compassion), mettā (loving-kindness), and śūnyatā (emptiness). Tārā
may more properly be understood as different aspects of the same
quality, as bodhisattvas are often considered metaphors for Buddhist
virtues.

According to Vajrayana Buddhism, Tara is a completely enlightened

Buddha who made a promise in the distant past that after reaching
complete enlightenment she would always appear in female form for the
benefit of all beings. By iconographic category and hierarchy Tara is a
meditational deity (ishtadevata, yidam) and her appearance is that of a
peaceful deity, a Devi or “bodhisattva appearance.” All peaceful deities
of the pantheon are characterized as having bodhisattva appearance,
which is both an iconographic classification and an artistic one. This is
actually one of the main reasons why Tara, because of her appearance, is
commonly referred to in the West simply as a bodhisattva.

There are many different forms of Tara. The most common form is
rendered in the color green, which is considered special for all types of
activities. The white form of Tara represents longevity and the red form,
power. Tara comes in all colors and degrees of wrathfulness, with
varying numbers of faces, arms, and legs. There are simple meditational
forms depicting a single figure as well as complex forms with sizable
retinues filling large mandala configurations. In total, there are likely
close to two hundred different meditational forms of the enlightened
Buddha Tara. Observed in all schools of Tibetan Buddhism, Tara, among
the other deities that constitute the pantheon, is likely second in
popularity only to Avalokiteshvara.
One Hundred and One White Tārās
Tibet, 17thth century, Rubin Museum of Art
 White Tārā
China, 19th century
White Tārā
Tibet, 17th c.
White Tārā
Tibet, 19th c.
Green Tārā and Emanations
Central Tibet, 17th to 18th century
Green Tārā and Emanations
Central Tibet, 17th to 18th century
Green Tārā
Tibet, 16th c.
Green Tārā
Tibet, 18th c.
Green Tārā
Tibet, 18th c.
Vajravārāhī
Tibet, 14th c.
 Vajravārāhī

Vajravārāhī ("The Diamond Sow") is a wrathful form of

Vajrayogini associated particularly with the Cakrasaṃvara
Tantra, where she is paired in yab-yum with the Heruka
Cakrasaṃvara. Judith Simmer-Brown writes that
"Vajravārāhī's iconography is very similar to that of
Vajrayoginī, but she often has more prominent fangs and a
more wrathful expression, and she prominently displays a
sow's head above her right ear."

Although there are practices of Vajravārāhī in all schools of

Tibetan Buddhism, she is particularly associated with the
Kagyu school and is one of the main yidam practices of that
school. Her tulkus, the Samding Dorje Phagmo, are
associated with the Bodongpa, a little-known school of
Tibetan Buddhism.

Vajravārāhī is one of the most popular female Tantric

deities in all traditions of Tibetan Buddhism. Although there
are several forms, the basic iconography is that she has one
face, (usually) two hands and two legs, is usually red in
colour, and standing in a dancing posture on a human
corpse. The distinguishing iconographic attribute is a sow
head (varahi) placed either on the right side of her head or
on the top of her head. Because of this sow's head,
sometimes she is called the 'two-faced' Vajrayogini.
Vajravārāhī
Tibet, 14th c.
Vajravārāhī
Bhutan, 18th century
Vajravārāhī
Bhutan, 18th century
 Kālachakra Buddha Father-Mother
EasternTibet, possibly Jonang order, 18th to early 19th century, Rubin Museum of Art
 Kālacakra

Shri Kalachakra (the Wheel of Time): surrounded by various deities

of the mandala, lineage teachers above and protectors below.

Slightly peaceful and slightly wrathful, predominantly blue in

colour, he has four faces, twenty-four hands and two legs. The main
face is blue, right red, left white and the back face is yellow, each
has three eyes. The first set of eight hands (lower) are blue in
colour, second (middle) red and third (upper) yellow. The first pair
of hands embrace the consort - crossed at the heart holding a vajra
and bell. The remaining right hands hold a sword, curved knife,
trident, arrows, hook, damaru drum, hammer, wheel, spear, club
and axe. The left hands hold a shield, katvanga staff, skullcup, bow,
lasso, jewel, lotus, conch shell, mirror, chains and the head of
Brahma. Wearing a long green scarf over the shoulders he is
wrapped with a tiger skin as a lower garment. The consort,
Vishvamata, is yellow, with four faces and eight hands. They are
both adorned with crowns, necklaces, earrings, bracelets and
various ornaments. The red right leg of the Lord is straight,
standing atop the figure of red Kamadeva. The white left leg is
bent, standing atop white Rudra. Above the layered discs of a dark
blue Rahu (eclipse), red sun and white moon they stand on a multi-
coloured lotus blossom seat surrounded by the five coloured lights
of pristine awareness fire.

The Kalachakra Mandala belongs to the non-dual anuttarayoga

tantra classification practiced to a greater or lesser degree by all
schools of Tibetan Buddhism. The concept of 'time' is used as the
special metaphor to symbolize the process of transformation from
mundane existence to complete enlightenment. From amongst the
numerous lineages to enter Tibet the Rwa and Dro are the most
famous. The Sakya school maintains seven distinct lineages of
transmission.
 Kālacakra
Tibet, 17th century, Rubin Museum of Art
 Kālacakra
Buryatia, 19th century