ABP 009
Code: ABP 009
Country: Tibet
Style:
Date: 1300 - 1400
Dimensions in cm WxHxD: 51 x 72
Materials: Glue distemper on cotton
Dhumavas Shri Devi (Palden Lhamo Düsölma)
The terrifying goddess Shri Devi (Palden Lhamo in Tibetan) appears under her aspect Düsölma, riding a donkey amidst a wavy ocean of blood. She is of dark colour, her brow is frowned, and her grin unveils pointy fangs. The long locks of her hair are spread behind her back, reaching down to her waist. Almost naked, wearing bone ornaments and the flayed skin of an elephant, she has four arms holding a kapala skull cup and a lance and brandishing a sword and a trident.
In the upper register are the deities and masters of the transmission lineage identified by inscriptions. Four smaller riding goddesses surround the main deity and eighteen more are arranged in two lines in the lower register. A large torma offering resting in a kapala is placed before her. A long inscription marks the reverse of the painting. This particular form of Palden Lhamo is specifically associated with an unusual lineage of the Kagyü school and the specific tantra of Chatushpitha.
This very refined painting can be related to the Yogambara mandala (ABP 002) through its connection to the Chatushpitha tantric cycle and relation with the Ngok lineage of transmission.
The terrifying goddess Shri Devi (Palden Lhamo in Tibetan) appears under her aspect Düsölma, riding a donkey amidst a wavy ocean of blood. She is of dark colour, her brow is frowned, and her grin unveils pointy fangs. The long locks of her hair are spread behind her back, reaching down to her waist. Almost naked, wearing bone ornaments and the flayed skin of an elephant, she has four arms holding a kapala skull cup and a lance and brandishing a sword and a trident.
In the upper register are the deities and masters of the transmission lineage identified by inscriptions. Four smaller riding goddesses surround the main deity and eighteen more are arranged in two lines in the lower register. A large torma offering resting in a kapala is placed before her. A long inscription marks the reverse of the painting. This particular form of Palden Lhamo is specifically associated with an unusual lineage of the Kagyü school and the specific tantra of Chatushpitha.
This very refined painting can be related to the Yogambara mandala (ABP 002) through its connection to the Chatushpitha tantric cycle and relation with the Ngok lineage of transmission.