西藏 十六世紀 釋迦牟尼佛及羅漢唐卡 |

 “Himalayas: An Aesthetic Adventure”, The Art Institute of Chicago, 5 April-17 August 2003; Arthur M. Sackler Gallery, Smithsonian Institute, Washington, D.C., 18 October 2003-11 January 2004.

Pratapaditya Pal, Himalayas: An Aesthetic Adventure, Chicago, 2003, cat. no. 169

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The painting’s format of four equal rectangular panels separated by thin red borders is unusual. It may be assumed that the thangka is one of a series depicting the remaining ten arhats together with the attendant Dharmatala and the patron Hvashang, and the Four Guardians of the Directions, Vaishravana, Virupaksha, Dhritarashtra and Virudhaka. A different manifestation of the Buddha may also have been included in the composition of each. This painting seems to be the only one of the series to come to light thus far, and indeed one of the only Tibetan thangka in this four panel format. However three from a series of arhat paintings in the Rubin Museum of Art consist of two vertically arranged panels within thin red borders that feature a single arhat in each; see Marylin M. Rhie and Robert A. F. Thurman, Worlds of Transformation: Tibetan Art of Wisdom and Compassion, New York, 1999, pp. 167-8, pls 17-8, p. 229, pl. 50; see also a thangka in the Newark Museum divided equally into two segments, each depicting one arhat with attendants, in Pratapaditya Pal, Tibet: Tradition and Change, Albuquerque, 1997, p. 12, pl. 6.