29
Mar
2020
Interpreting Ushnishavijaya
Ushnishavijaya Thangka with thirty-three deity indicates the Victorious Crown Ornament. She is one of three long-life deities who is very popular in Himalayan and Tibetan Buddhism. The other two deities are Amitayus Buddha and White Tara.
Table of Contents
The life of the Ushnishavijaya
In this section, we are going to learn about the life of the Ushnishavijaya. After that, we will learn the short description of the word Ushnishavijaya itself.
Etymology of Ushnishavijaya
Ushnishavijaya is known as gtsug tor rnam rgyal ma in Tibet. Ushnishavijaya is a buddha of longevity in Buddhism.
Previously, we learn about the life of Ushnishavijaya. Now, we are going to learn the iconography of Ushnishavijaya.
Iconography of the Ushnishavijaya
In the iconography of the Ushnishavijaya, we will learn about her body posture, hand and leg gesture, and different representations of Ushnishavijaya in thangka and statue.
Posture of Ushnishavijaya
Although Usnisavijaya is seemingly specific in function as a long-life Deity. Ushnishavijaya belongs to the larger classification of Meditational Deity. Ushnishavijaya has several forms with the most common being the three-faced and eight-armed.
In addition, this particular form is known as the Thirty-three Deity Mandala. And the painting belongs to a set of compositions numbering approximately forty-five in total which is based on the Vajravali text of the Indian scholar Abhayakaragupta in the 11th century.
The color of the Ushnishavijaya is an autumn moon. Ushnishavijaya is with three faces such as white, yellow, and blue. Ushnishavijaya has eight hands. Each face has three very large eyes.
The first right-hand of Ushnishavijaya holds a vishvavajra. The second right hand of Ushnishavijaya holds a white lotus with Amitabha Buddha residing.
The third right-hand holds an arrow. And the fourth right hand of Ushnishavijaya in supreme generosity. The first left of Ushnishavijaya holds a vajra lasso. The second left hand of Ushnishavijaya a bow.
The third left hand of Ushnishavijaya is for bestowing protection. And the fourth left hand is for meditative equipoise and for holding an auspicious nectar vase, complete with silks and jewel ornaments, seated in vajra posture. Within the center of the two-dimensional circular diagram, Thangka is representing the top view of a three-dimensional celestial palace.
And the Thangka surroundings are the deity Ushnishavjiaya which is white in color with three faces and eight hands who are seated in vajra posture.
Previously, we learn about the life of Ushnishavijaya and the iconography of Ushnishavijaya. Now, we are going to learn about depicting Ushnishavijaya.
Depicting Ushnishavijaya Thangka
The thangka of Ushnishavijaya is from Tibet. The thangka is made between 1500 – 1599 AD. Ushnishavijaya is from Ngor (Sakya) and Buddhist. The base of the painting is Ground Mineral Pigment on Cotton. The thangka of Ushnishavijaya is a Private collection.
By depicting this thangka, we will learn about the presentation of Ushnishavijaya with Eight deities, Red veranda, and Goddess, etc.
Eight deities
Eight deities have surrounded the central figure in the thangka. Eight deities in various colors. Each with one face and two hands who are seated in vajra posture.
They are all adorned with crowns and ornaments and each holds their own distinct hand objects. The floor of the celestial palace is divided into four colors ornately patterned with floral designs i.e. red, green, blue, and yellow.
Red veranda
The red veranda is in the surrounding square in the thangka. The red veranda is outside of the palace walls.
Goddess
Goddess is on each side of the four doors in the thangka. There are two dancing offering goddesses sixteen in total. The outer blue and white lines forming a square enclosure represent the stylized decorative facade on the four sides of the palace roof.
She is adorned with looped garlands and upright poles with red streamers. The elaborate lintels above each of the four doors are constructed of four-tiered steps topped with a Dharma wheel. And two yellow-colored reclining deer with a silk canopy above.
The palace is placed squarely on a horizontal multi-colored double vajra with only the prongs and Makara heads appearing on the four sides. The outer ring is a circle of multi-colored which is rectangular in shape and lotus petals representing the enormous lotus upon which the entire palace structure rests. The final ring is composed of the multi-colored flames of pristine awareness completely enveloping the entire Ushnishavijaya Mandala.
Previously, we learn about the life of Ushnishavijaya, the iconography of Ushnishavijaya, and depicting Ushnishavijaya. Now, we are going to learn about Ushnishavijay with Amitabha Buddha.
Ushnishavijaya with Amitabha Buddha Thangka
The thangka of Ushnishavijaya with Amitabha Buddha is from Western Tibet. The thangka is made between 1400 – 1499 AD. Ushnishavijaya with Amitabha Buddha is from Sakya and Gelug lineage. The size of the painting is 50.80×47.63cm. The base of the painting is Ground Mineral Pigment on Cotton. Presently, the thangka of Ushnishavijaya with Amitabha Buddha is in the Rubin Museum of Art.
By depicting this thangka, we will learn about the presentation of Ushnishavijaya with Buddha Vairochana, Hayagriva and Parnashavari,
Each face has three very large eyes. The first right-hand holds a Visvavajra and second a white lotus with Amitabha residing. The third an arrow and the fourth in supreme generosity.
The first left holds a vajra lasso. The second left second a bow. The third left is bestowing protection and fourth in meditative equipoise holding an auspicious nectar vase.
Buddha Vairochana
The Buddha Vairochana sits in front of the spire of the chaitya directly above the head of Ushnishavijaya.
Hayagriva and Parnashavari
Hayagriva and Parnashavari are at the lower sides of the thangka.
Previously, we learn about the life of Ushnishavijaya, the iconography of Ushnishavijaya, depicting Ushnishavijaya, and the representation of Ushnishavijay with Amitabha Buddha. Now, we are going to learn about the presentation of Ushnishavijaya with Shakyamuni Buddha.
Unshishavijaya with Shakyamuni Buddha Thangka
The thangka of Ushnishavijaya with Shakyamuni Buddha is from Bhutan. It is made between 1800 – 1899 AD. Ushnishavijaya with Shakyamuni Buddha is from Kagyu, Drukpa (Kagyu, Bhutan), and Buddhist lineage. It is from a private collection.
By depicting this thangka, we will learn about the presentation if Ushnishavijaya with Vaishravana Riding a Lion and Dorje Yudronma, etc.
At the top center is Shakyamuni Buddha. To the viewer’s left sits Shabdrung Ngawang Namgyal. At the top right and bottom center, there are two unidentified Bhutanese teachers wearing monastic robes and the fan-like hat typical of the Drugpa Kagyu tradition.
Vaishravana Riding a Lion and Dorje Yudronma
Vaishravana Riding a Lion is on the bottom left of the thangka. Dorje Yudronma is on the right side of the thangka.
Previously, we learn about the life of Ushnishavijaya, the iconography of Ushnishavijaya, depicting Ushnishavijaya, the representation of Ushnishavijay with Amitabha Buddha. and the representation of Ushnishavijaya with Shakyamuni Buddha. Now, we are going to learn about the presentation of Ushnishavijaya with Vajrapani.
Ushmishavijaya with Vajrapani Thangka
The thangka of Ushnivijaya with Vajrapani is from Tibet. It is made between 1400 – 1499 AD. Ushnishaviaya with Vajrapani is from Sakya and Buddhist lineage. The base of the painting is Ground Mineral Pigment on Cotton.
By depicting this thangka, we will learn the presentation of Ushnishavijaya with Avalokiteshvara.
The first right-hand holds a Visvavajra and second a white lotus with Amitabha residing. The third hands hold an arrow and the fourth in supreme generosity. On the left of the chaitya above the sun is Vajrapani. The left-hand holds an Utpala with a vajra. She is standing in a peaceful manner and adorned with silks and jewels.
Avalokiteshvara
Avalokiteshvara is present in the outer circle of the stupa. on the right side of the chaitya above a moon is Avalokiteshvara with a body white in color and the left hand holds a lotus.
Previously, we learn about the life of Ushnishavijaya, the iconography of Ushnishavijaya, depicting Ushnishavijaya, the representation of Ushnishavijay with Amitabha Buddha. and the representation of Ushnishavijaya with Shakyamuni Buddha. Finally, we learn about the presentation of Ushnishavijaya with Vajrapani.
Vajradhara Thangka Painting
Vajradhara Thangka Painting is hand-painted by a thangka artist in Nepal. Vajradhara is also known as primordial Buddha.
