Showing posts with label Capital Museum. Show all posts
Showing posts with label Capital Museum. Show all posts

Sunday, April 5, 2020

Vajradhara

Recently I have been working on a large oil painting of Vajradhara Buddha, the primordial buddha who represents the essence of the historical Buddha's realization of enlightenment. 

Vajradhara Buddha
Oil and acrylic on Kalamkari fabric
42" x 48"

While visiting China last June, I quickly became enamored with a beautiful Vajradhara statue in the Beijing Capital Museum's ancient buddhist sculpture collection. You can see much of the collection on my post from October 2019. The expressive gentle tilt of the head and delicate positioning of the hands gives a feeling of inward contemplation, wisdom, and enlightenment. I'd need to paint a "portrait" of the Vajradhara so I could spend a considerable amount of time studying this masterpiece. 


Over the past few years, I've been creating acrylic paintings of stone statuary primarily using neutral grays and browns in a grisaille technique. I was, however, so excited by the vibrant Tibetan turquoise inlayed stones and golden color this statue that I knew this would be the perfect opportunity to return to oils which would allow a richness and luminosity. 




Vajradhara
1368-1644



I stretched a hand-blocked cotton Kalamkari fabric from India to use as the canvas. Gold metallic paint was used to stencil ornate designs onto the fabric. I then stained the fabric with washes or acrylic paint to give more contrast, bringing these designs forward.





The fabric needed to be primed prior to using oil paint to protect the fibers from the oil which could rot the fabric over time. Traditionally a white gesso is used as a barrier between the canvas and paint. Because incorporation of the hand-blocked pattern was desired, I experimented with a clear latex paint. Art supply stores have started selling clear gesso, but I have been told it can look cloudy. Rust-oleum Ultra Cover Clear is clearglossy, and also provides UV protection to help keep the fabric from fading.





I was pleased by the way the clear paint changed the look of the yellow fabric, making it look wet. The picture below shows the untreated fabric on the right. You can see the clear paint darkened the yellow fabric causing it to become a deeper golden color which gave it an antique quality that highlighted the subtle parts of the pattern.



I had forgotten how easily the buttery oils glide over the treated surface. Applying the paint was so easy and fun in comparison to the way this raw fabric resists the application of acrylic paint.











A visit to the Small Wild Goose Pagoda in Xi'an ( built between 707-709 during the Tang Dynasty) provided the inspiration for the spinning circular motifs and floral elements that were added next.




Small Wild Goose Pagoda, Xi'an 707-709



Though people are no longer permitted inside the pagoda, a museum is housed in the smaller building pictured in the foreground of the photo below.






The ceiling of the museum building featured large wooden beams painted with intricate designs.







The color and zigzag patterned border of the fabric I chose was reminiscent of the background of the ceiling designs. 



I added a thin, transparent glaze to age the brilliant blue, white and turquoise spiraling wheels with the look of years of grime.



The use of the same cobalt and robin's egg blue on the leaves seemed a surprising choice for the leaves in the floral designs.




Medallions present in the pattern of the hand-blocked Kalamkari fabric were allowed to replace some of the jewelry on the statue and float freely, playing in space.




Sometimes it is hard to decide when an artwork is finished. Though I intended to add more to this painting, it is telling me to stop. 

Time to start the next new work!

Don't forget to check out my artwork available at my Etsy storeFacebook page, as well as my Instagram feed.











Sunday, October 6, 2019

Beijing Capital Museum's Ancient Buddhist Sculpture Collection


On a recent trip to Beijing, I spent a day visiting the Capital Museum.  



Architects Jean-Marie Duthilleuland and Cui Kai designed the Capital Museum building with a massive roof influenced by ancient Chinese architecture.


A decorative archway from the Ming Dynasty welcomes guests in the large reception hall.



This impressive institution contains over 200,000 ancient calligraphy, painting,  porcelain, bronze,  and jade relics. I, however, chose to spend the day immersed in the Ancient Buddhist Sculpture collection.

I photographed nearly all the sculptures that were on display during June of 2019. I'm sharing most here.

Not much information was presented in English, but I have provided what was available with each image to follow.


Pujadevi
1368-1644





Eastern Pujadevi
1368-1644




Vajrabhairava
1368-1644



1368-1644 




Sakyamuni Buddha and Two Attendant Bodhisattvas
499



 AD 1532



1368-1644



1368-1644



Ksitigarbha Bodhisattva 
1368-1644



Avalokitesvara Bodhisattva 
1368-1644



Bhaisajyaguru Buddha 
1368-1644




Bhaisajyaguru Buddha 



Amitabha Buddha
7th-9th century



Eleven-faced Avelokitesvara
15th century



Vajrasattva Bodhisattva
1271-1368



Sakyamuni Buddha



Maitreya Buddha
7th-9th century



Aksobhya Buddha
1271-1368



Vajrasattva Bodhisattva
1271-1368



Tara 
1278-1368



Amitayua Buddha
1268-1644



Sakyamuni Buddha
1368-1644



Maitreya Buddha
1368-1644




Maitreya Bodhisattva
1368-1644




Manjusri Bodhisattva with Six Arms
1368-1644




Maitreya Bodhisattva
1368-1644




Vajrapani Bodhisattva
1368-1644




Vajrabhairava
1368-1644




Maijusri Bodhisattva
1368-1644




Goddess Sarawati
1368-1644



This Mahasiddha Gugureba is shown holding his faithful dog. Gugureba  (Kukkuripa in Bengali) was a mahasiddha, a practitioner of yoga and tantra, in India. During his travels he compassionately cared for a stray dog. After 12 years of meditation, he was invited into the heavenly realm where he enjoyed feasts and many pleasures, but would think about the loyal dog he left behind. Seeing his dog had grown sad, thin, and hungry, he renounced the comforts of heaven to return to his dog, realizing that there are things greater than temptation. This beautiful statue clearly captures the joy both master and dog felt upon being reunited.


Mahasiddha Gugureba
1368-1644




Tara
1644-1911




Green Tara
1644-1911





Varuna, the Ocean God, is depicted on his mount Makara, a half terrestrial animal in the front and half aquatic animal in the rear part. This Makara has an elephant's trunk and a dragon-like body.


Varuna
1644-1911




Mahabrahman
1644-1911




Green Tara
1644-1911



Vajrabhairava looks fierce, but represents the Mahayana practitioner's goal of enlightenment . In awakening, one adopts the practice of Yamantaka "terminating death".

1644-1911




Eight-armed Goddess of Suyong
1736-1795



Manjusri Boddhisatva is often depicted brandishing the sword of wisdom.


Manjusri Bodhisattva with Four Arms
1403-1424




Vajrapani Bodhisattva
1403-1492




Maitrey Bodhisattva
1403-1424




Aksobhya Buddha
1403-1424




Goddess Usnisavijara
1368-1644




Goddess Marici




I became enamored with the sensitive handling of this Vajradhara. The gentle tilt of the head and elegant positioning of the hands made this statue my immediate choice as inspiration for my first painting once I returned home. A future blog post will feature that painting.

Vajradhara
1368-1644


Don't forget to check out my artwork available at my Etsy storeFacebook page, as well as my Instagram feed.