compassion
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Amitayus Tibet, 11th century Distemper on cloth 138.4 x 106.1 cm (541/2 x 413/4 in.) The Metropolitan Museum of Art, New York; Rogers Fund, 1989 (1989.284) The historical figures in the top and bottom registers are distinctive, and their presence implies an early date for the painting. The top row of seven probably represents some type of court or clan assembly. All but one figure wears a flat hat; five sit against throne backs and four of these are sheltered by parasols. The leader, who can be identified by his red mantle enhanced with rondelles, sits with a wine cup and a shield placed to his right. The figures at his left are probably his wives (without thrones, wine cups, or shields). On the far left of the painting, the two figures wearing brocaded inner robes and holding wine cups are probably courtiers. Their shields are nearby. The two yellow-robed figures flanking the aureole (presented without wine cups or shields) might be minor officials or lamas. At the bottom left of the thanka a seated couple with shoulder-length hairstyles, probably the donors of the thanka hold their hands in anjali mudra, the gesture of reverence or adoration; lotus stalks with burgeoning buds spring from their hands, as also seen in other groups with donors and attendants. At the lower right a monk seated with a shield beside him attends offerings set on tripod stands. Included in the offerings are two conical objects set on the ground. The monk is probably the consecrator of the painting. In this thanka the emphasis is on volume rather than on decoration, unlike most of the Bengali-style paintings in this exhibition, which emulate late eleventh and perhaps early twelfth-century Indian models where linear development was the primary concern. A number of the motifs are also uncharacteristic and point to an earlier date. Many of Amitayus’s elaborate ornaments are atypical: the jewels hanging from or set above the armlets; the carefully arranged sash on the lotus seat; the bindi (forehead ornament), which also appears on the surrounding deities; the elaborate hair-braid ribbons that fall over the shoulders; the low double crown; and the tall ushnisha with an upper tier of flanking ribbons. Amitayus is backed by an unusual throne, three courses of which can be seen, and the nimbus has a distinctive surround of lotus petals. The simple border design of half-ovoid forms with central half rosettes perhaps an indication of lotus petals—is not set against a water pattern but intermeshes with a triangular motif of dots. The ovoid faces with heavy chins are distinctive, and the seat of the Buddha emerges from a lotus plant akin to that seen in the Ford Tara, not a common feature in early thankas. The overall impression of this painting is that it is somewhat provincial, but many of the details of the principal figures reveal a sophisticated understanding of Indian models. |
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T A O t e C H I N G  S E V E N T Y - S E V E N  |
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The Tao of heaven is like the bending of a bow. The high is lowered, and the low is raised. If the string is too long, it is shortened; If there is not enough, it is made longer. The Tao of heaven is to take from those who have too much and give to those who do not have enough. Man’s way is different. He takes from those who do not have enough and give to those who already have too much. What man has more than enough and gives it to the world? Only the man of Tao. Therefore the sage works without recognition. He achieves what has to be done without dwelling on it. He does not try to show his knowledge. — translation by GIA-FU
FENG
As it acts in the world, the Tao
is like the bending of a bow. The top is bent downward; the bottom is bent up. It adjusts excess and deficiency so that there is perfect balance. It takes from what is too much and give to what isn’t enough. Those who try to control, who use force to protect their power, go against the direction of the Tao. They take from those who don’t have enough and give to those who have far too much. The Master can keep giving because there is no end to her wealth. She acts without expectation, succeeds without taking credit, and doesn’t think that she is better than anyone else. — translation by STEVEN
MITCHELL
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