24
Apr
2020
Explaining Indian Adept Damarupa
Damarupa, Mahasiddha an Indian master of tantric methods, the 5th teacher of the Margapala lineage along with the Chandali Perfection Stage Lineage.
Table of Contents
The viability of the Damarupa
In this portion, we were going to learn about the Viability of the Damarupa. After that, we will learn about the short etymological description of the word Damarupa itself.
Etymology of theDamarupa
Damarupa is known as drup thob da ma rupa in Tibet. In the thangka, Damarupa and Avadhutipa are known as Siddhas.
Previously, we studied the Viability of the Damarupa . Now we’re going to learn about the depicting Indian adept Damarupa.
Depicting Indian Adept (Siddha) – Damarupa
The thangka of Indian Adept Damarupa is from Tibet. It was made in between 1400 AD to 1499 AD. The size of the painting is 60.96×52.71cm. It is from Sakya, Ngor, and Buddhist lineage. The base of the painting is ground mineral pigment on cotton. Presently, this painting is in the Shelley & Donald Rubin.
By depicting this thangka we will learn about the representation of Damarupa with different deities such as White Achala, Siddha Damarupa, Avadhutipa, White Vajrasattva, Vairochana Hevajra, Mahamaya, primordial Buddha Vajradhara, and Tara, etc.
white Achala
white Achala is on the right side above the row of goddesses in the thangka. white Achala is in a kneeling posture and above that possibly a blue Humkara. Both figures have been heavily restored and re-worked and these two are also not iconographically correct. Held in the proper left hand of the White Achala note the vajra scepter incorrectly drawn in to replace the missing vajra lasso.
Siddha Damarupa
Siddha Damarupa is on the left of the thangka. Siddha Damarupa is the holding upraised in his right hand a Damaru drum and a skullcup in the left.
Avadhutipa
Avadhutipa is On the viewer’s right of the thangka. Avadhutipa is holding a skullcup to the heart with the left hand and pointing downwards with the right hand.
White Vajrasattva
White Vajrasattva is in between the two Siddha figures at head level is a very small depiction.
Vairochana Hevajra
Vairochana Hevajra is directly above the thangka. Vairochana Hevajra is white in color.
Mahamaya
Mahamaya is at the left is the thangka. Mahamaya and to the right is another meditational deity that is no longer recognizable because of excessive restoration.
Primordial Buddha Vajradhara
Primordial Buddha Vajradhara is at the top center of the thangka. Primordial Buddha Vajradhara is blue in color with one face and two hands.
Tara
Female Buddha Tara is at the left of the thangka. Alternating from right to left is a lineage of teachers in chronological order relating to a specific but currently unknown Tara practice.
The list of teachers presented here so far does not conform to the Nyen Lotsawa Tradition or the Suryagupta aka Ravigupta and his Seventeen Deity Tara Mandala Tradition. There are many other lineages of Tara practice in the Sakya School, so, therefore it is only a matter of time and research before identifying the lineage represented here.
Previously, we studied the Viability of the Damarupa, and depicting Indian adept Damarupa. Now we were going to learn about Damarupa with Ghandhajra.
Damarupa with Ghandhajra Thangka
This thangka is from Eastern Tibet. Damarupa with Ghhandhajra was painted around 1700-1799 AD. The size of this painting is 50.80×36.83cm. The base of the painting is cotton and the ground mineral pigment is used to color it. Damarupa belongs to Sakya Lineage. This Masterpiece Thangka Art is still preserved and kept in the Rubin Museum of Art.
By depicting this thangka we will learn the representation of Damarupa with Shabdavajra, Rupavajra, Ghandhevajra, and Rasavajra, etc.
Damarupa is an Indian master of tantric methods in the 5th teacher of the Margapla. Damarupa is active in appearance in the garb of a stylized Tantric yogi who is light brown in color with a black beard and hair piled on the crown of the head. Damarupa is adorned with various flower blossoms. Damarupa is with white bone earplugs in place of rings.
Damarupa has worn a gold necklace, bracelets, anklets and a long garland of various colored flowers. Damarupa has worn a long orange scarf and a red – blue-trimmed – lower garment. In the right hand of the Damarupa, there is upraised is a Damaru drum, double-sided, decorated with three silk streamers.
The left placed in the lap holds a gold triangle shaped receptacle. An upright tantric staff leans against the left upper arm. Damarupa is relaxed in a posture of ease.
Damarupa sits atop a deerskin on a grassy knoll. Behind at the right is a round blue basket of travelling possessions. On the left side, an ornate palace structure frames a seated regal figure – richly attired.
Shabdavajra
Shabdavajra is at the top left of the thangka. Shabdavajra is white in color with one face and two hands holding a vina. Shabdavajra is Peaceful who is wearing gold jewelry and various colored silks. Shabdavajra performs in a standing posture.
Rupavajra
Rupavajra is in the middle of the thangka. Rupavajra who is white in color with one face who is performing various mudras standing.
Ghandhevajra
Ghandhevajra is at the right of the thangka. Ghandhevajra is yellow in color. Ghandhevajra is holding to the heart with both hands a white conch shell filled with scented water, standing.
Rasavajra
Rasavajra is at the bottom left of the thangka. Rasavajra is red in color and holding with both hands a white skullcup filled with nectar and seated in the posture.
Previously, we studied the Viability of the Damarupa, depicting Indian adept Damarupa, and representation of Damarupa with Ghandhajra. Now we are going to learn about the presentation of Damarupa with Chakrasamvara.
Damarupa with Chakrasamvara Thangka
This thangka is from Tibet. Damarupa with Chakrasamvara was painted around 1500-1599 AD. The base of the painting is cotton and the ground mineral pigment is used to color it. Damarupa belongs to Sakya and Ngor Lineage. This Masterpiece Thangka Art is from a private collection.
By depicting this thangka, we will earn about the presentation of Damarupa.
The Mahasiddha Damarupa was a student of Kanha the Black One who in turn was a student of Virupa Ugly One. Damarupa was famous for carrying a double-sided hand drum where ever. Damarupa went and is said to have visited the twenty-four sacred tantric power places and the thirty-four sacred grounds.
At the upper left and right sides of the thangka, there are two figures of the meditational deity Chakrasamvara. The Mahasiddha Luipa tradition form of the deity stands on the left and the Mahasiddha Krishnacharin form of the deity on the right. There are four figures of Amitayus Buddha who is red in color and a single figure of Amitabha Buddha, also red.
Previously, we studied the Viability of the Damarupa, depicting Indian adept Damarupa, representation of Damarupa with Ghandhajr, and representation of Damarupa with Chakrasamvara. Now we are going to learn about Damarupa with Shambhala King.
Damarupa with Shambhala King Thangka
This thangka is from Tibet. Damarupa with Shambhala King was painted around 1500-1599 AD. The base of the painting is cotton and the ground mineral pigment is used to color it. Damarupa belongs to Sakya and Buddhist Lineage. This Masterpiece Thangka Art is from a private collection.
By depicting this thangka, we will earn about the presentation of Damarupa.
In the thangka, Damarupa and Avadhutipa are presented. Damarupa and Avadhutipa are surrounded by the Twenty-five Shambhala Kings from a larger composition of thangka depicting the Sakya Lamdre Margapala Lineage.
Previously, we studied the Viability of the Damarupa, depicting Indian adept Damarupa, representation of Damarupa with Ghandhajr, and representation of Damarupa with Chakrasamvara. Finally, we learn about Damarupa with Shambhala King.
Golden Kalachakra Mandala Art
Golden Kalachakra Mandala Art is handpainted in Nepal. Kalachakra Mandala Painting has a black background with gold and silver color design.
