
Color on cotton
This eastern Tibetan thangka, painted during the late 18th or early 19th century, is the first in a series of 19 paintings illustrating the life of Milarepa, one of the most beloved figures in the history of Tibetan Buddhism. In his youth, Milarepa learned black magic to take revenge on those who had wronged him. He later came to repent his actions and studied Buddhism under the renowned master Marpa. After years of challenging lessons and ascetic practice, Milarepa attained enlightenment and became a great poet, mystic, and wandering teacher.
With a pink nimbus and a transparent aureole outlined with a shade of yellow, Milarepa sits on a lotus throne with his left arm resting on his raised left knee. He looks focused and peaceful, with narrowed eyes and long black hair. A robe and a thin red sash are draped over the shoulders, but leave most of the chest bare.
Milarepa is flanked by Rechungpa on the right and Gampopa on the left. Rechungpa wears a white robe and holds a parasol, while Gampopa is dressed in an orange monastic robe and holds up an offering. The blue Vajradhara Bodhisattva is in the center at the top of the image. Marpa, portrayed as a householder, sits below Vajradhara. On the left is Tilopa holding a golden fish, and Naropa sits on the right holding a skull cup. These three figures, like Milarepa, belong to the Kagyu school.
In front of Milarepa’s lotus throne there are five dakinis, led by Tseringma astride a white snow lion. Two dark blue snow lions are shown to the left and right of the dakinis. Scenes from the early life of Milarepa are painted at the bottom of the picture. In the center of the lower register, a messenger carrying an object on his back looks for Milarepa’s father to tell him of the birth of his son. In the lower left corner, the father returns home to name his child. Meadows and trees are painted in the background of the lower register, towering mountains rise behind the figure of Milarepa in the middle of the picture, and clouds against a blue sky are shown at the top.
For more details, go to the Encyclopedia of Buddhist Arts: Painting I-O, page 532.