Interpreting Buddhist Elder Gopaka

Gopaka is the Elders who are known as the 15th and 1st arhats from the set of 16 great arhats. Gopaka is also called principal students of the Buddha Shakyamuni.

The Viability of the Gopaka

In this portion, we are going to learn about the Viability of the Gopaka. After that, we are going to learn about the short etymological description of the word  Gopaka itself.

Etymology of the Gopaka

The meaning of Gopaka is ne ten, be in Tibet. And the meaning of Gopaka is Sthavira Gopaka in Sanskrit.

Earlier we studied the viability of the Gopaka. Now we are going to learn about the iconography of the Gopaka.

Iconography of the Gopaka

In the iconography of the Gopaka, we are going to learn about his body posture, hand, and leg gesture and different representation of Gopaka in tangkas and statues.

Posture of the Gopaka

Gopaka has dark hair, mustache, and a goatee. The mouth of Gopaka is slightly open. Gopaka looks to the side. With the left hand of Gopaka, he holds a religious folio book.

And with the right of Gopaka, he unwraps the cloth covering. Gopaka is wearing a bright orange outer robe adorned with gold design. Gopaka has an inner garment of purple with long sleeves and black trim.

The feet of Gopaka are covered with white socks. And he sits in a relaxed posture with the right leg forward atop a square yellow mat. The head of Gopalka is encircled by a pink areola. A low table in front supports a black begging bowl, branch of red coral, an upright Dharma wheel, and an incense bowl.

Earlier we studied the viability of the Gopaka, and iconography of the Gopaka. Now we are going to learn about depicting Gopaka.

Depicting Buddhist Elder Gopaka Thangka

The thangka of Gopaka is from Tibet. It was made in between 1600  AD to 1699 AD. The size of the painting is 66.04×50.80cm. It is from uncertain lineage. The base of the painting is ground mineral pigment on cotton and Fine gold is used to color it. Presently, this painting is in the Rubin Museum of Art.

By Depicting this thangka, we will see how Gopaka is presented with Monk, White Snow Lion, and Green Tara, etc.

Monk

Monk is at the left of Gopaka in the thangka. Gopaka is a standing with dark red robes that offers a mandala plate a symbolic representation of the universe. At the lower right of the Gopaka, there is a monk is seated in a casual posture alongside a small table and begging bowl.

White Snow Lion

White Snow Lion is at the middle right of the Gopaka in the thangka. A white snow lion is an orange mane stands at the opening of a cave.

Green Tara

Green Tara is Above, floating on grey clouds in the thangka. Green Tara is with one face and two hands.

On the king of mountains, Bihula is the noble elder Gopaka who is surrounded by 1,400 arhats. And Gopaka is an homage to the One holding a book with the two hands. The Sixteen Great Arhats are generally painted as a set. The full group would include the buddha Shakyamuni, the 16 arhats, the attendant Dharmatala, the patron Hva-shang and the Four Guardians of the Directions  Vaishravana, Virupaksha, Dhritarashtra, and Virudhaka.

Earlier we studied the viability of the Gopaka, the iconography of the Gopaka, and depicting Gopaka. Now we are going to learn about the presentation of Gopaka with Shakyamuni Buddha.

Gopaka with Shakyamuni Buddha Thangka

The thangka of Gopaka with Shakyamuni Buddha is from Tibet. It was made in between 1500  AD to 1599 AD. The size of the painting is 91.44×69.85cm. It is from uncertain lineage. The base of the painting is ground mineral pigment on cotton and Fine gold is used to color it. Presently, this painting is in the Rubin Museum of Art.

By depicting this thangka, we are going to learn about the presentation of Gopaka with Angaja.

Gopaka is the Elders who are known as the 15th and 1st arhats from the set of 16 great arhats. Gopaka is also called principal students of the Buddha Shakyamuni. Gopaka is handsome in appearance with dark hair and the mouth slightly open.

Gopaka holds the right hand to the heart in the mudra of religious explication. The left hand of Gopaka is placed below holds a religious text. Gopaka is draped across the left shoulder of a dark green jacket is an orange and blue patchwork robe.

Gopaka is seated atop an ornate throne, the head is surrounded by an areola of light. Gopaka is an attendant standing behind at the side offers a golden stupa. In front of Gopaka is busy with preparations two attendants work at a table.

Angaja

At the right of the thangka, there is Angaja who is mature in appearance with grey hair and a pronounced frown. The right arm of Angaja is supported on the raised knee. The hand of Angaja is holding an incense bowl.

The left hand of Angaja is loosely extended across the leg holds a flywhisk. In a coat of blue and gold brocade covered with a patchwork robe of green and orange. Angaja sits in a relaxed posture atop an ornate throne and the head surrounded by an areola of light. In the front two attendants appear active in their duties.

Earlier we studied the viability of the Gopaka, the iconography of the Gopaka, depicting Gopaka, and the representation of Gopaka with Shakyamuni Buddha. Now we are going to learn about Gopaka with Manjushri.

Gopaka with Manjushri Thangka

The thangka of Gopaka with Manjushri is from Tibet. It was made in between 1600  AD to 1699 AD. It is from Buddhist lineage. The base of the painting is ground mineral pigment on cotton is used to color it. Presently, this painting is in the Rubin Museum of Art.

By depicting this thangka, we are going to learn about the Gopaka.

The Arhats Gopaka is likely from a set of eleven paintings. The Sixteen Great Arhats are generally painted as a set. The full group would include the buddha Shakyamuni, the two principal students Shariputra and Maudgalyayana, the sixteen arhats, the attendant Dharmatala, the patron Hvashang and the Four Guardians of the Directions  Vaishravana, Virupaksha, Dhritarashtra, and Virudhaka.

The total number of figures in the composition is twenty-five. In the largest sets of thangkas, each figure is depicted within a single composition except for Shariputra and Maudgalyayana. These two are shown standing to the right and left of the Buddha.

In this, the largest set of thangka compositions the number of works is twenty-three. The next most common way of presenting the arhats is in a nine thangka set. Each arhat is doubled up with another arhat in a single composition.

The arhats can be found in sets of eleven paintings, five, and three compositions. It is also to have Shakyamuni Buddha at the center of a thangka with the two principal students, Sixteen Arhats and other figures in a single painted composition.

Earlier we studied the viability of the Gopaka, the iconography of the Gopaka, depicting Gopaka,  the representation of Gopaka with Shakyamuni, and Gopaka with Manjushri. Now we are going to learn about Gopaka with Sixteen Arhats.

Gopaka with Sixteen Arhats Thangka

The thangka of Gopaka with Sixteen Arhats is from Tibet. It was made in between 1700  AD to 1799 AD. It is from Buddhist lineage. The size of the painting is 81.28×55.88cm. The base of the painting is ground mineral pigment on cotton is used to color it. Presently, this painting is in the Rubin Museum of Art.

By depicting this thangka, we are going to learn about the Gopaka.

Gopaka was born in 1700. And the Gopaka was dead in 1799. Four Arhats and a Guardian King from five thangkas set depicting Shakyamuni Buddha and the Sixteen Arhats.

Earlier we studied the viability of the Gopaka, the iconography of the Gopaka, depicting Gopaka,  the representation of Gopaka with Shakyamuni, and the representation of Gopaka with Manjushri. Finally, we learn about the representation of Gopaka with Sixteen Arhats.

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