24
Apr
2020
Explaining Buddhist Elder Vanavasin
Vanavasin the Elder is the 3rd arhat from the set of 16 great arhats. Vanavasin is also known as presides over the Seven Leaves Mountain with four hundred disciples.
Table of Contents
The life of the Vanavasin
In this section, we are going to learn about the life of Vanavasin. And after, we will learn about the short etymological description of the word Vanavasin itself.
Etymology of Vanavasin
Vanavasin is known as Pag pa Ne ten, nag la Ne in Tibet. And the meaning of Vanavasin is Arya Sthavira Vanavasin in Sanskrit.
Previously, we learn about the life of Vanavasin. Now, we are going to learn about the Iconography of the Vanavasin.
Iconography of the Vanavasin
In the iconography of the Vanavasin, we will learn about his body posture, hand, and leg gesture and different representation of Vanavasin in thangka and statue.
Posture of the Vanavasin
Vanavasin is always with smiling continence and happily absorbed in the task at hand. Vanavasin holds the right hand in a pointed gesture upraised. The left hand of Vanavasin, there is respectfully covered in the folds of red and blue brocade, holding upraised a blue vase – filling with rays of rainbow light, the blessings of the Three Jewels.
Vanavasin is attired in a cloak of green and yellow. Vanavasin also wears a patchwork robe of yellow adorned with blue strips all in rich brocades. Vanavasin is seated above an elaborate multi-colored throne.
Vanavasin is surrounded by a dark green areola against a background of pink cloud formations. His shoes of a Chinese style rest neatly on a cushion in front.
Previously, we learn about the life of Vanavasin and the Iconography of the Vanavasin. Now, we are going to learn about depicting Buddhist elder Vanavasin.
Depicting Buddhist Elder Vanavasin Thangka
The thangka of vanavasin is from Central Tibet. It was made in between 1500 AD to 1599 AD. It is from uncertain lineage. The size of the painting is 97.16×60.96cm. 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 learn how Vanavasin is presented with a lay attendant.
Lay Attendant
Lay Attendant is at the left in front of the thangka. The Lay attendant stands with the hands in a pointing gesture and attired in colorful robes of red, yellow, and blue.
Previously, we learn about the life of Vanavasin, the Iconography of the Vanavasin, and depicting Buddhist elder Vanavasin. Now, we are going to learn about the presentation of Vanavasin with White Tara.
Vanavasin with White Tara Thangka
Vanavasin with white Tara is from Tibet. It is from Gelug and Buddhist Lineage. Ground Mineral Pigment on Cotton is used to color this Painting. This painting is from a private collection.
By depicting this thangka, we will learn about the presentation of Vanavaasin.
In the mountain cave of Seven-leaves is the noble elder Vanavasin who is surrounded by 1,400 arhats. The iconographic form normally ascribed to Vanavasin has him performing a pointing gesture with the right hand and holding a fly whisk in the left. At the top center of the composition is the Buddhist meditational deity there is White Tara.
White Tara who is with one face and two hands. On the forehead, two palms and two soles of the feet are a total of seven eyes.
Previously, we learn about the life of Vanavasin, the Iconography of the Vanavasin, depicting Buddhist elder Vanavasin, and the representation of Vanavasin with White Tara. Now, we are going to learn about the presentation of Vanavasin with Sakyamuni Buddha.
Vanavasin with Sakyamuni Buddha Thangka
Vanavasin with Sakyamuni Buddha is from Tibet. It was made in between 1600 AD to 1699 AD. Vanavasin with Sakyamuni Buddha is from Buddhist lineage. Ground Mineral Pigment on Cotton is used to color this painting. It is from Anna Maria Rossi & Fabio Rossi’s collection.
By depicting this thangka, we will learn how Vanavasin is presented with White Tara.
The iconographic form normally ascribed to Vanavasin has him performing a pointing gesture with the right hand and holding a fly whisk in the left. This depiction follows the Tibetan verse which is believed to be translated from the original Sanskrit Praise to the Sixteen Arhats. This composition would have been part of a twenty-three painting set.
Typically, the full group would include Shakyamuni Buddha, the two foremost students Shariputra and Maudgalyayana, the Sixteen Elders, the attendant Dharmatala, the patron Hvashang and the Four Guardians of the Directions: Vaishravana, Virupaksha, Dhritarashtra, and Virudhaka. There are twenty-five figures in the group but only twenty-three thangkas in the set.
White Tara
White Tara is at the top center of the thangka. White Tara is known as the female deity of longevity. White Tara is with a hue white like an autumn moon.
White Tara has worn radiant like a stainless crystal jewel which is shining with rays of light. White Tara has one face, two hands, and three eyes. White Tara is with the conduct of having sixteen years of age.
The right hand of White Tara is in the gesture of supreme generosity. The left of White Tara holds with the thumb and forefinger the stem of a white Utpala to the heart with the petals blossoming at the ear. White Tara is representing the Buddhas of the three times the single stem is divided into three.
White Tara is adorned with various jewel ornaments. White Tara is having various silk upper garments and a lower garment of red silk. She is seated with the legs in vajra posture.
Previously, we learn about the life of Vanavasin, the Iconography of the Vanavasin, depicting Buddhist elder Vanavasin, representation of Vanavasin with White Tara, and representation of Vanavasin with Sakyamuni Buddha. Now, we are going to learn about the presentation of Vanavasin with yaksha.
Vanavasin with Yaksha Thangka
Vanavasin with Yaksha is from Eastern Tibet. It was made in between 1400 AD to 1499 AD. It is from Buddhist lineage. The base of the painting is Ground Mineral Pigment on Cotton. This painting is from Robert and Lois Baylis’s collection.
By depicting this thangka, we will learn about Vanavasin.
Vanavasin is gazing in a contemplative manner he is clean-shaven with short hair. The right hand of Vanavasin holds a flywhisk with a long bamboo handle. The left hand of Vanavasin, there is draped across the knee.
Vanavasin is attired in the orange patchwork robes of a monk. He also wears a green and blue inner jacket and sits on a cloth mat. An ethereal pink sphere of light frames the head.
Tall trees rise behind the Vanavasin and blue colored rocks thrust forward. A yaksha figure and a monkey make offerings in front and a large bird parades to the side.
Previously, we learn about the life of Vanavasin, the Iconography of the Vanavasin, depicting Buddhist elder Vanavasin, representation of Vanavasin with White Tara, and representation of Vanavasin with Sakyamuni Buddha. And finally, we learn about the representation of Vanavasin with yaksha.
Avalokiteswara Thangka
Avalokiteswara is the root form of the Bodhisattva commonly known as Lokeshwor in Nepal and India, Kuanyin in China and Kannon in Japan is one of the 108 forms of lokeshwor.
