{ "identifier": [ { "accession_number": "30.11.54\/1", "type": "accession number", "value": "30.11.54\/1", "primary": true }, { "type": "Horniman Laboratory Number", "value": "16062" }, { "type": "Horniman temporary museum number", "value": "nn4359" } ], "loan": { "value": "N" }, "projects": [ "CollectionsPeopleStories" ], "admin": { "processed": 1744912892233, "sequence": 7430107, "uid": "hmc-object-70337", "added": 1663961953699, "stream": "collections-online", "id": "object-70337", "source": "hmc", "uuid": "a73fd816-4679-30de-ad3f-0413a39ed056" }, "description": [ { "type": "catalogue description", "value": "Thangka depicting Wheel of Life. 1280h x 940w.", "primary": true }, { "date": [ { "earliest": 2000, "value": "22-Jan-00", "latest": 2000, "primary": true } ], "type": "object description", "value": "thanka" }, { "date": [ { "earliest": 2014, "value": "2014-07-10", "latest": 2014, "primary": true } ], "note": [ { "value": "Not for publication. Crowley; Tom 2014." } ], "attribution": { "date": [ { "earliest": 2014, "value": "2014-07-10", "latest": 2014, "primary": true } ], "attributor": "Clarke, John" }, "historical": true, "type": "commentary", "value": "The Wheel of Life (Skt. Bhavachakra)\n19th or 20th century\nThe wheel is held up by Yama Lord of Death and may be said to represent a vast mirror reflecting the consequences of karma, that is various re-births. \nThe innermost circle depicts the three poisons that keep the wheel of becoming turning: the cock (desire), snake (hatred), pig (ignorance). Outside of that on the dark half the path to hell as the result of bad karma, the light half the path to nirvana as a result of good deeds.\nSix larger segments represent the 6 worlds into which sentient beings can be born.\nTop world of the Gods or devas. Next to right and down realm of the asuras or jealous Gods who war against the Gods.\nNext down realm of the pretas or hungry ghosts, the fate of those who were greedy in life. Bottom the hot and cold hells. Next to left realm of the animals. Next left the human realm.\nThe 12 outer segments on the rim represent the 12 links of interdependent origination showing how the law of karma works to create rebirths. (NB most books on Tibetan art or catalogues of collections with Wheel of Life thangkas list these, I don\u2019t have time to do this.\nAlso I couldn\u2019t enlarge this image enough to check all the details but most of this type of thangka are very similar in layout. Go to the V&A website and Collections then put Wheel of Life in the search box. You will find a detailed description of one of our Wheel of Life paintings with both Sanskrit and Tibetan names in full and you can enlarge all the corresponding parts of the thangka." }, { "date": [ { "earliest": 2014, "value": "2014-07-10", "latest": 2014, "primary": true } ], "attribution": { "date": [ { "earliest": 2014, "value": "2014-07-10", "latest": 2014, "primary": true } ], "attributor": "Crowley, Tom" }, "type": "commentary (online)", "value": "This thangka was painted in the 19th or 20th centuries. It depicts the Wheel of Life (phonetic Tibetan: Sri pai khorlo or Sanskrit: Bhavachakra).\n\nThe wheel is held up by Yama, Lord of Death. It can be understood as a vast mirror which reflects the consequences of karma, or how an individual\u2019s behaviour in this life dictates rebirth into the next life.\n \nThe innermost circle depicts the three poisons that keep the wheel of becoming turning: the cock (desire), snake (hatred), pig (ignorance). Outside of the inner circle is a ring, the dark half of which shows the path to hell as the result of bad karma and the light half of which shows the path to nirvana as a result of good deeds. \n\nThe six larger segments represent the 6 worlds into which sentient beings can be born:\n\nThe top world is that of the Gods or devas. Running anticlockwise, the next is the realm of the asuras or jealous Gods who war against the Gods.\n\nNext is the realm of the pretas or hungry ghosts, the fate of those who were greedy in life. Then the hot and cold hells, then the realm of the animals and finally the human realm.\n\nThe 12 outer segments on the rim represent the 12 links of interdependent origination, which demonstrate how the law of karma works to create rebirths. \n\nThe Wheel of Life is often found as a wall painting outside the entrances to temples. However this example could be used for more private contemplation. Equally it could also be used as a teaching aid." }, { "type": "use (online)", "value": "Thangka are devotional paintings which are particularly associated with Vajrayana Buddhism. They are always executed on cloth and often have ornate fabric surrounds and covers. Thangka can fulfil several different purposes -they are for example often used as teaching aids- however, perhaps their most important role is to focus meditation. Thangka that are used for meditation will generally depict a yidam" }, { "historical": true, "type": "commentary", "value": "a special deity, the particular attributes of which assist a practitioner\u00e2\u20ac\u2122s spiritual progression. A yidam is often allocated to a practitioner by a mentor who understands the practitioner\u00e2\u20ac\u2122s specific needs. By inhabiting the body and attributes of the yidam through meditation a practitioner can work to erode the obstacles to enlightenment. Since thangka are sacred objects their manufacture follows careful guidelines. For example, thangka painters must follow pre-established templates when depicting specific deities. Not to do so would jeopardise the efficacy of the thangka. It is also argued that thangka painters should approach their work in a right-minded manner" }, { "historical": true, "type": "commentary", "value": "the large-scale manufacture of thangkas for sale to the international market, is for some a distortion and a devaluation of the practice of thangka painting." }, { "historical": true, "type": "commentary", "value": "Thangka are devotional paintings which are particularly associated with Vajrayana Buddhism. They are always painted on cloth and often have ornate fabric surrounds and covers. Thangka can fulfil several different purposes -they are for example often used as teaching aids- however, perhaps their most important role is to focus meditation. Thangkas which are used for meditation will generally depict a yidam, which is a special deity, the particular attributes of which assist a practitioner\u00e2\u20ac\u2122s spiritual progression. A yidam is often allocated to a practitioner by a mentor who understands the practitioner\u00e2\u20ac\u2122s specific needs. By inhabiting the body and attributes of the yidam through meditation practice a practitioner can work to erode the obstacles to enlightenment." }, { "date": [ { "earliest": 2014, "value": "2014-07-10", "latest": 2014, "primary": true } ], "attribution": { "attributor": "Crowley, Tom" }, "historical": true, "type": "commentary", "value": "Thangka are devotional paintings which are particularly associated with Vajrayana Buddhism. They are always executed on cloth and often have ornate fabric surrounds and covers. \n \n Thangka can fulfil several different purposes -they are for example often used as teaching aids- however, perhaps their most important role is to focus meditation. Thangka that are used for meditation will generally depict a yidam; a special deity, the particular attributes of which assist a practitioner\u00e2\u20ac\u2122s spiritual progression. A yidam is often allocated to a practitioner by a mentor who understands the practitioner\u00e2\u20ac\u2122s specific needs. By inhabiting the body and attributes of the yidam through meditation a practitioner can work to erode the obstacles to enlightenment. \n \nSince thangka are sacred objects their manufacture follows careful guidelines. For example, thangka painters must follow pre-established templates when depicting specific deities. Not to do so would jeopardise the efficacy of the thangka. It is also argued that thangka painters should approach their work in a right-minded manner; the large-scale manufacture of thangkas for sale to the international market, is for some a distortion and a devaluation of the practice of thangka painting." }, { "type": "use", "value": "Thangka are devotional paintings which are particularly associated with Vajrayana Buddhism. They are always executed on cloth and often have ornate fabric surrounds and covers. Thangka can fulfil several different purposes -they are for example often used as teaching aids- however, perhaps their most important role is to focus meditation. Thangka that are used for meditation will generally depict a yidam; a special deity, the particular attributes of which assist a practitioner\u00e2\u20ac\u2122s spiritual progression. A yidam is often allocated to a practitioner by a mentor who understands the practitioner\u00e2\u20ac\u2122s specific needs. By inhabiting the body and attributes of the yidam through meditation a practitioner can work to erode the obstacles to enlightenment. Since thangka are sacred objects their manufacture follows careful guidelines. For example, thangka painters must follow pre-established templates when depicting specific deities. Not to do so would jeopardise the efficacy of the thangka. It is also argued that thangka painters should approach their work in a right-minded manner; the large-scale manufacture of thangkas for sale to the international market, is for some a distortion and a devaluation of the practice of thangka painting." }, { "historical": true, "type": "commentary", "value": "Thangka are devotional paintings which are particularly associated with Vajrayana Buddhism. They are always executed on cloth and often have ornate fabric surrounds and covers. Thangka can fulfil several different purposes -they are for example often used as teaching aids- however, perhaps their most important role is to focus meditation. Thangka that are used for meditation will generally depict a yidam" }, { "type": "commentary", "value": "a special deity, the particular attributes of which assist a practitioner\u00e2\u20ac\u2122s spiritual progression. A yidam is often allocated to a practitioner by a mentor who understands the practitioner\u00e2\u20ac\u2122s specific needs. By inhabiting the body and attributes of the yidam through meditation a practitioner can work to erode the obstacles to enlightenment. Since thangka are sacred objects their manufacture follows careful guidelines. For example, thangka painters must follow pre-established templates when depicting specific deities. Not to do so would jeopardise the efficacy of the thangka. It is also argued that thangka painters should approach their work in a right-minded manner" } ], "language": [ "eng" ], "collection": "Anthropology", "type": { "sub_type": [ "general" ], "scope": "WHOLE", "base": "object" }, "lifecycle": { "creation": [ { "date": [ { "source": "catalogue", "earliest": 1801, "value": "19th or 20th century", "latest": 1900 }, { "role": [ { "value": "date made" } ], "attribution": { "date": [ { "earliest": 2014, "value": "2014-07-10", "latest": 2014, "primary": true } ], "attributor": "Clarke, John" }, "earliest": 1901, "value": "19th or 20th century", "latest": 2000 } ], "places": [ { "@link": { "role": [ { "value": "recording made" } ], "type": "reference" }, "summary_title": "Tibet", "admin": { "uid": "hmc-place-312", "id": "place-312", "uuid": "2db4f42e-7c54-37ee-8704-c6d207f33226" }, "sort": "01" }, { "@link": { "source": "catalogue", "type": "literal" }, "summary_title": "Tibet; Asia", "name": [ { "value": "Tibet; Asia" } ] } ] } ] }, "multimedia": 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