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Avalokiteshvara Mandala, Thangka, Linen, Tibet, Himalayan Region, ca. 1885-1905.

 

REGISTERED ANTIQUITY – NON-EXPORTABLE ITEM.

 

Object Detail

 

Buddhism became predominant in Tibet in the 6th century. From the 7th century onwards, a corresponding development in art also took place. This Thangka illustrates the Mandala of the Avalokiteshvara who is regarded as a Bodhisattva—an enlightened being who chooses to delay their attainment of Buddhahood to guide humanity.

 

The composition showcases a beautifully crafted classic mandala, characterised by a circular cakra nestled within an elegant square enclosure. At the heart of this intricate painting, one finds a striking illustration of Avalokiteshvara, the renowned eleven-headed deity, also known as Ekadasamukha. This focal placement in the centre signifies the enlightened and perfected realm of Potalaka, a mystical mountain. His eleven heads represent the Dasabhumis, or ten levels of enlightenment. The Buddha Amitabha (one of the dhyani Buddhas) is represented by the eleventh head, which stands out above the rest. Two medallions encircle the centre deity, and within those circles, the other buddhas are seated.

 

The mandala has 3 Buddhas, each in a corner of the square, lining up on a diagonal axis. Outside those circles are the four gates (at the cardinal directions), each represented by an ornate temple portal filled with smaller Buddhas in niches. Over each gate, a multi‑storied golden shrine rises, and we see Buddha figures enshrined on each level. Outside the square, the larger medallion opens with small sitting Buddhas in circular form. Scattered in the uppermost background are assemblages of Buddhas and Bodhisattvas in clouds.

 

The top corners each have a stupa surmounted by a Buddha figure, and Tibetan syllables, “Om”, inscribed on the dome. The Thangka is filled with the miniature images of Buddha and bodhisattvas, all in different postures, mudras and attitudes, but all in seated position, defining the form of enlightenment, purity.

 

On the reverse of the painting, the Bhoti script of the Tibetan language, with three syllables, from top to bottom, starts with “OM AH HUM”, the holy syllable of the Vajrayana tradition.

 

 

Provenance

 

From a Private Collection in Mumbai, India.

 

Condition 

 

Good Condition with minor wear.

 

Dimension

 

56 x 43 cm

 

Literature Comparison

 

1.Sacred Arts of Tibet: Art from the Roof of the World, Educator Workshop presented by the Asian Art Museum, Chong-Moon Lee Center for Asian Art and Culture, April 21, 2001.

 

2.Chaya Chandrasekhar, “Mirrors of the Heart‑Mind – Ekadashamukha Avalokiteshvara Essay,” 13.6 years ago (Academia.edu, accessed August 2, 2025)

 

3.Himalayan Art Resources. Mandala of Eleven-Headed Avalokiteshvara (HAR 16). Rubin Museum of Art. Accessed August 3, 2025. https://www.himalayanart.org/items/16.

 

4.Chaya Chandrasekhar, “Mirrors of the Heart‑Mind – Ekadashamukha Avalokiteshvara Essay,” 13.6 years ago (Academia.edu, accessed August 2, 2025).

 

5.Huntington Archive of Buddhist and Asian Art. “Eka-Avalokiteshvara.” Sacred Arts of the Mission of Art, accessed August 2, 2025. https://huntingtonarchive.org/Exhibitions/sama/Essays/CC93.015EkaAva.html.

 

6.Lion’s Roar. Amitabha. Accessed August 2, 2025. lionsroar.com/buddhism/amitabha.

 

 

 

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