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Seated Amitabha with Attendants, c. 1100s. Creator: Unknown
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Seated Amitabha with Attendants, c. 1100s. Creator: Unknown
Seated Amitabha with Attendants, c. 1100s. This temple banner (thangka) with the seated image of Amitabha in the center flanked by enlighened beings called Bodhisattvas, represents a slightly later version of the same Western Tibetan style as the miniature painting of Preaching Buddha also shown here. This painting is unfinished, however, revealing very fluid and accomplished ink draw-ing underneath. Normally, once the colours were applied, the drawing would not have been visible. Here the artist got as far as applying only three basic colours: white (often used as the ground), red, and black. The painting dates to the 12th century, which makes it one of the earliest Western Tibetan style thangkas known. Like the miniature painting (2000.67), this thangka relates to the museums two 11th-century sculptures from the Western Himalayas-the bronze Standing Buddha (1966.30, on view in Gallery 116) and the polychromed wooden sculpture of a Seated Buddha (1986.6, not currently on view) The paintings replicate the style found in the two sculptures. Both the Tabo and Tholing Monasteries, where the paintings were recovered, were founded by King Yesheo of Guge in the 11th century
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Media ID 19641452
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This print showcases a temple banner, known as a thangka, depicting the Seated Amitabha with Attendants. Created by an unknown artist in the 12th century, this Western Tibetan style painting is one of the earliest examples of its kind. The image features Amitabha seated in the center, flanked by enlightened beings called Bodhisattvas. What sets this particular artwork apart is its unfinished state, revealing the remarkable skill and fluidity of the ink drawing underneath. Typically, once colors were applied to thangkas, the underlying drawing would no longer be visible. However, here we can see that only three basic colors - white (used as a ground), red, and black - have been added so far. The connection between this thangka and two 11th-century sculptures from the Western Himalayas further enhances its significance. Both Tabo and Tholing Monasteries played a role in preserving these paintings which replicate the style found in those sculptures: a bronze Standing Buddha displayed at Gallery 116 and a polychromed wooden sculpture of a Seated Buddha not currently on view. With its rich history and artistic mastery evident even in its unfinished state, this print offers us an intriguing glimpse into ancient Tibetan Buddhist artistry.
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