COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1991.2
amicoid
CMA_.1991.2
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Textiles
oty
Textiles
Object Type
false
Creator Nationality:
Asian; Far East Asian; Chinese
crc
Asian; Far East Asian; Chinese
Creator Nationality
false
Creator Dates/Places:
China
cdt
China
Creator Dates/Places
false
Creator Name-CRT:
China, early Ming dynasty, 1368-1424
crt
China, early Ming dynasty, 1368-1424
Creator Name-CRT
false
Title:
Thangka with the Seventh Bodhisattva
otn
Thangka with the Seventh Bodhisattva
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1368 - 1424
oct
1368 - 1424
Creation Date
false
Creation Start Date:
1368
ocs
1368
Creation Start Date
false
Creation End Date:
1424
oce
1424
Creation End Date
false
Materials and Techniques:
embroidery, silk and gold thread on silk satin ground
omd
embroidery, silk and gold thread on silk satin ground
Materials and Techniques
false
Classification Term:
Embroidery
clt
Embroidery
Classification Term
false
Dimensions:
Overall: 43.8cm x 19.7cm, Sheet with border: 43.2cm x 21.3cm
met
Overall: 43.8cm x 19.7cm, Sheet with border: 43.2cm x 21.3cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1991.2
ooa
1991.2
ID Number
false
Credit Line:
Purchase from the J. H. Wade Fund
ooc
Purchase from the J. H. Wade Fund
Credit Line
false
Inscriptions:
Penned on the reverse is a Tibetan inscription that translates as "the Seventh Bodhisattva."
oin
Penned on the reverse is a Tibetan inscription that translates as "the Seventh Bodhisattva."
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
This small thangka, or icon, was embroidered in China but preserved in a Tibetan monastery. In the middle of its three registers is a bodhisattva, a person who according to Buddhism has achieved a high state of spiritual enlightenment but has refrained from attaining the final, perfected state of a buddha in order to benefit humanity. He is seated on a lotus throne between two columns, each supported by a vase and surmounted by a makara (a fanciful water creature). The beasts' tails become lotus scrollsforming an arch over the bodhisattva. The red color of the figure together with the jar supported by a lotus next to his right arm identifies the bodhisattva as Amitaprabha. In the lower register is a vase from which issue lotus flowers supporting Buddhist symbols. The brightly colored silk floss and gold thread against the dark blue of the silk ground fabric give the thangka a jewel-like appearance. The embroidery is worked in a technique known as needle painting. Delicate shading and modulation from onecolor to another, resembling painting, have been achieved by predominantly satin, interlocked satin, and long and short stitches. This icon was originally part of a set. On the back is a Tibetan inscription identifying the figure as the Seventh Bodhisattva. Another from the same set, now in the Indianapolis Museum of Art, is similarly identified on the back as representing the Tenth Bodhisattva. Because tantric Buddhist texts classified bodhisattvas into groups of six, eight, and sixteen, these two embroideries must have belonged to a set of sixteen that may have been created as consecration material for a Tibetan Buddhist temple. Parts of a painted set dating from the late fourteenth to early fifteenth century are similar in size to this embroidered example. Consecration thangkas were typically hung inside a temple along the beams and side walls. A.W.
cxd
This small thangka, or icon, was embroidered in China but preserved in a Tibetan monastery. In the middle of its three registers is a bodhisattva, a person who according to Buddhism has achieved a high state of spiritual enlightenment but has refrained from attaining the final, perfected state of a buddha in order to benefit humanity. He is seated on a lotus throne between two columns, each supported by a vase and surmounted by a makara (a fanciful water creature). The beasts' tails become lotus scrollsforming an arch over the bodhisattva. The red color of the figure together with the jar supported by a lotus next to his right arm identifies the bodhisattva as Amitaprabha. In the lower register is a vase from which issue lotus flowers supporting Buddhist symbols. The brightly colored silk floss and gold thread against the dark blue of the silk ground fabric give the thangka a jewel-like appearance. The embroidery is worked in a technique known as needle painting. Delicate shading and modulation from onecolor to another, resembling painting, have been achieved by predominantly satin, interlocked satin, and long and short stitches. This icon was originally part of a set. On the back is a Tibetan inscription identifying the figure as the Seventh Bodhisattva. Another from the same set, now in the Indianapolis Museum of Art, is similarly identified on the back as representing the Tenth Bodhisattva. Because tantric Buddhist texts classified bodhisattvas into groups of six, eight, and sixteen, these two embroideries must have belonged to a set of sixteen that may have been created as consecration material for a Tibetan Buddhist temple. Parts of a painted set dating from the late fourteenth to early fifteenth century are similar in size to this embroidered example. Consecration thangkas were typically hung inside a temple along the beams and side walls. A.W.
Context
false
Related Image Identifier Link:
CMA_.1991.2.tif
ril
CMA_.1991.2.tif
Related Image Identifier Link
false