curator’s tibetan treasures: the rezk collection of tib e … · 2018-04-20 · tibetan buddhist...

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Tibet, located centrally in Asia just to the North of the Himalayan mountain range, has become over the last thousand years one of the great art producing cultures of the world, much like Egypt, Greece, Japan, India, China and so many others. The mammoth production of artworks is evidenced by the numerous collections found in museum and private holdings throughout the world along with the number of art exhibitions and publications produced each year. The reasons for producing so much art are many and varied. The art, as in the past, is still produced today as objects of worship, religious offerings, and memorials of death or for the avoidance of calamity. It is created for personal use, as status symbols, and very importantly, created as gifts. The Tibetan and Nepalese art in this exhibition is the product of Tibetan Buddhism and was produced between the twelfth and twentieth centuries. Buddhism is considered one of the world’s great religions, yet in actuality it is not a religion at all. Rather, it is a body of teachings and practices designed to free the spirit from an endless cycle of suffering, death, and rebirth. By following its precepts, the adherent may become a Buddha (“enlightened one”) and attain a state of blissful oneness with All. As with Christianity, Buddhism has taken on many forms since its beginnings in the late sixth century B.C. Its founder, Siddhartha Gautama (more often referred to as the Buddha) was an Indian Prince who became enlightened after an arduous quest for spiritual fulfillment. During his lifetime, he attracted many disciples who afterwards spread his teachings far and wide. From India to nearly all parts of Asia and beyond, the words of the Buddha have been disseminated and interpreted according to the needs of each culture that has received them. Buddhism arrived in Tibet around the mid seventh century A.D.; by the second half of the eighth century it had been adopted as the nation’s official religion. Tibetans, however, did not wholly abandon their earlier native faith, and the indigenous religion called Bon still continues and is flourishing today. Tibetan Buddhist art strongly emphasizes allegorical representations; it also encompasses the depiction of historical personages, including revered teachers, notable disciples (arhats), and “saints” (bodhisattvas). On one hand, these “portraits” serve as tangible reminders of Buddhist lineages and the spiritual achievement of its most devoted practitioners; on the other, they become visual reminders of the focal points of those mystical processes by which the adherent merges not only with the exemplar, but also with the teach- ings he represents. Meditation becomes the chief vehicle for mystic experience, and its importance gives rise to further imagery intended to assist the meditator as he or she traverses the highly subjective and spiritualized paths that lead to enlighten- ment. Mandalas (abstract circular diagrams punctuated by figurative elements) are perhaps the best-known examples of this imagery. Rooted in Buddhist teachings, each is a “mind map” that serves as a guide to the inward process of meditation. Anchored by a central personage, the mandala promotes an ordered reflection on Buddhist precepts; this in turn leads the adherent into the deep contemplation necessary to a true mystic encounter. Tibetan Buddhism is not strictly confined to the mystic or the monk, however. It is also the province of the common man, and as such, it has its popular aspect. Typical expressions include rosy depictions of the paradise worlds existing “higher up” on the scale of rebirth toward enlightenment. Inhabited by buddhas and benevolent deity figures, they are comparable to pop Christian images of heaven. Whether popular or esoteric, the striking imagery of Tibetan Buddhism is by itself of compelling interest. One need not be a Buddhist, or even be knowledgeable about Buddhist beliefs, in order to appreciate the rich imagery, color and composition of Tibetan art. For the Westerner, it expands cultural awareness and enriches the imagination. It provokes both wonder and delight, and for those willing to spend time with it, it strikes a sympathetic chord. We may not understand it completely, but like the chanting of monks in a temple, it fills the spirit with its reverberations. V. Scott Dimond September 2011 An Exhibition Organized by the Southern Alleghenies Museum of Art Loretto, Pennsylvania A C C R E D IT E D b y th e A M E R I C A N A S S O C I A T I O N O F M U S E U M S DIRECTOR’S CIRCLE Mr. and Mrs. William Benzel Miss Susan F. Crary The Donald & Sylvia Robinson Family Foundation Franciscan Friars, T.O.R. Mr. and Mrs. Guy Paden Gamble Mr. and Mrs. Harry McCreary Mr. and Mrs. Edgar Dean Nelson The Rev. Sean M. Sullivan, T.O.R. MUSEUM ASSOCIATES Mrs. Mary Weidlein EDUCATION SPONSORS C & G Savings Bank Central Pennsylvania Community Foundation Mr. and Mrs. John K. Duggan, Jr. Harold & Betty Cottle Family Foundation Pennsylvania Council on the Arts Mr. and Mrs. Gerald P. Wolf EXHIBITION SPONSORS Dr. and Mrs. Magdi Azer Hon. and Mrs. Timothy Creany Mr. and Mrs. Donald Devorris Neil and Marilyn Port Family Foundation Mrs. Shirley Pechter Editors: Travis Mearns Bobby Moore Printer: Advanced Color Graphics Catalogue Design: Color Scan LLC © 2011 Southern Alleghenies Museum of Art This catalogue is published by the Southern Alleghenies Museum of Art Post Office Box Nine Loretto, PA 15940 (814) 472-3920 Hours: Tuesday through Friday: 10 a.m. to 5 p.m. Saturday: 1 p.m. to 5 p.m. Closed Sundays and Mondays Admission is free Cover: The Buddha Matri (“Mother of Buddhas”), Vajravarahi/Kadgha Dakini www.sama-art.org Drawing upon my past business experience, I realize the importance of cultural awareness in today’s global market place. Cultural awareness is a competency many organizations value. Understanding and respecting the differences between cultures can impact business success or failure in this complex, multicultural world. To this end, the Southern Alleghenies Museum of Art (SAMA) takes great pride in offering a very special exhibition and building a cultural experience into the overall program. In this our 35th year, SAMA brings to the forefront one of the Museum’s most valued and treasured collections, the Rezk Collection of Tibetan and Nepalese Art. This collection of Tibetan and Nepalese art has been touted as an important international treasure. The quality of the thangkas, bronzes, woodblock prints and ceremonial objects has been deemed to be some of the best in the United States. Spanning over eight centuries, these works date back to the 1100s and are recognized as an exceptional cultural and educational resource. Dr. John Huntington, professor of Asian Art History at the Ohio State University and one of the foremost scholars of Tibetan art in the world, surveyed the collection in 1998 and affirmed the unique stature of the Rezk Collection. Dr. Huntington and his assistants discovered symbols in the paintings which do not exist in other known collections of Tibetan art. Dr. Huntington wrote, “A Buddhist work of art may be made for various reasons; for example, to benefit the soul of a deceased family member, or simply to offer thanks and share benefactions received . . . Regardless of the original intent or specific methodology of a work of art, both patron and artist firmly believe that just seeing a work of Buddhist art is better than not to have seen it at all.” The Rezk Collection opens a door to a culture that is very different from our own. This is a rare opportunity for the college community, area schools and museum patrons to gain an insight into, an understanding of, and an appreciation for Asian art, religion and culture. SAMA has elected to build a cultural, educational, and informa- tional experience around the exhibition. The creation of a sand Tibetan Treasures: The Rezk Collection of Tibetan and Nepalese Art mandala and the attendant ceremony, along with a related film festival and other programming, should complement the exhibition. Tibetan Treasures: The Rezk Collection of Tibetan and Nepalese Art is a special gift to our constituents as we conclude the milestone event of the Southern Alleghenies Museum of Art’s 35th anniversary. My colleagues and I are pleased that you could join us for this unique experience and we look forward to expanding our cultural awareness as we travel this exhibition to other museums across the country. My sincere appreciation is extended to all of the individuals who worked to make Tibetan Treasures: The Rezk Collection of Tibetan and Nepalese Art a noteworthy event for the Southern Alleghenies Museum of Art. I offer a special thank you to the Shelly and Donald Rubin Foundation for their support and to John Rezk, Michael McCormick, and Jeff Watt for their invaluable contributions to this exhibition. SAMA Curator for Visual Arts, Dr. Scott Dimond, and SAMA Registrar, Bobby Moore, deserve recognition for their efforts in coordinating this exhibition program. I also thank Michael Allison for his assistance in delivering a unique cultural experience. The Museum staff rolled up their sleeves and went to work to make the program a success and I thank them all for their help. Finally, I recognize an active and involved community whose continued support is critical to the Museum’s future. G. Gary Moyer Executive Director Southern Alleghenies Museum of Art Acknowledgment Curator’s Statement With contributions by Michael McCormick and Jeff Watt The Benefactor, Six-Armed Mahakala (“Great Black/Time”) Mandala of The Benefactor, Gurgyi Gonpo (‘Angry-One-of-the-Tent”) Surrounded by the Eight Charnal Fields Kadam Chorten (Stupa)

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Page 1: Curator’s Tibetan Treasures: The Rezk Collection of Tib e … · 2018-04-20 · Tibetan Buddhist art strongly emphasizes allegorical representations; ... m eth o d lg yaw rk , bp

Tibet, located centrally in Asia just to the North of theHimalayan mountain range, has become over the lastthousand years one of the great art producing cultures of theworld, much like Egypt, Greece, Japan, India, China and somany others. The mammoth production of artworks isevidenced by the numerous collections found in museum andprivate holdings throughout the world along with the numberof art exhibitions and publications produced each year. Thereasons for producing so much art are many and varied. Theart, as in the past, is still produced today as objects ofworship, religious offerings, andmemorials of death or for theavoidance of calamity. It is created for personal use, as statussymbols, and very importantly, created as gifts.

The Tibetan and Nepalese art in this exhibition is the productof Tibetan Buddhism and was produced between the twelfthand twentieth centuries. Buddhism is considered one of theworld’s great religions, yet in actuality it is not a religion at all.Rather, it is a body of teachings and practices designed to freethe spirit from an endless cycle of suffering, death, andrebirth. By following its precepts, the adherent maybecome a Buddha (“enlightened one”) and attain a state ofblissful oneness with All.

As with Christianity, Buddhism has taken onmany forms sinceits beginnings in the late sixth century B.C. Its founder,Siddhartha Gautama (more often referred to as the Buddha)was an Indian Prince who became enlightened after anarduous quest for spiritual fulfillment. During his lifetime, heattractedmany disciples who afterwards spread his teachingsfar and wide. From India to nearly all parts of Asia andbeyond, the words of the Buddha have been disseminated and interpreted according to the needs of each culture that has received them.

Buddhism arrived in Tibet around the mid seventh century A.D.; by the second half of the eighth century it had been adopted as thenation’s official religion. Tibetans, however, did not wholly abandon their earlier native faith, and the indigenous religion called Bon stillcontinues and is flourishing today.

Tibetan Buddhist art strongly emphasizes allegorical representations; it also encompasses the depiction of historical personages,including revered teachers, notable disciples (arhats), and “saints” (bodhisattvas). On one hand, these “portraits” serve as tangiblereminders of Buddhist lineages and the spiritual achievement of its most devoted practitioners; on the other, they become visualreminders of the focal points of those mystical processes by which the adherent merges not only with the exemplar, but also with the teach-ings he represents.

Meditation becomes the chief vehicle for mystic experience, and its importancegives rise to further imagery intended to assist the meditator as he or shetraverses the highly subjective and spiritualized paths that lead to enlighten-ment. Mandalas (abstract circular diagrams punctuated by figurative elements)are perhaps the best-known examples of this imagery. Rooted in Buddhistteachings, each is a “mind map” that serves as a guide to the inward process ofmeditation. Anchored by a central personage, the mandala promotes anordered reflection on Buddhist precepts; this in turn leads the adherent into thedeep contemplation necessary to a true mystic encounter.

Tibetan Buddhism is not strictly confined to themystic or the monk, however. Itis also the province of the common man, and as such, it has its popular aspect.Typical expressions include rosy depictions of the paradise worlds existing“higher up” on the scale of rebirth toward enlightenment. Inhabited by buddhasand benevolent deity figures, they are comparable to pop Christian images ofheaven.

Whether popular or esoteric, the striking imagery of Tibetan Buddhism is byitself of compelling interest. One need not be a Buddhist, or even beknowledgeable about Buddhist beliefs, in order to appreciate the rich imagery,color and composition of Tibetan art. For the Westerner, it expands culturalawareness and enriches the imagination. It provokes both wonder and delight,and for those willing to spend time with it, it strikes a sympathetic chord. Wemay not understand it completely, but like the chanting of monks in a temple, itfills the spirit with its reverberations.

V. Scott DimondSeptember 2011

An Exhibition Organized by theSouthern Alleghenies Museum of Art

Loretto, Pennsylvania

ACCRED

ITED by the AM

ERIC

AN

ASSOCIATIONOFMUSEU

MS

Q

DIRECTOR’S CIRCLEMr. and Mrs. William BenzelMiss Susan F. CraryThe Donald & Sylvia Robinson Family FoundationFranciscan Friars, T.O.R.Mr. and Mrs. Guy Paden GambleMr. and Mrs. Harry McCrearyMr. and Mrs. Edgar Dean NelsonThe Rev. Sean M. Sullivan, T.O.R.

MUSEUM ASSOCIATESMrs. Mary Weidlein

EDUCATION SPONSORSC & G Savings BankCentral Pennsylvania Community FoundationMr. and Mrs. John K. Duggan, Jr.Harold & Betty Cottle Family FoundationPennsylvania Council on the ArtsMr. and Mrs. Gerald P. Wolf

EXHIBITION SPONSORSDr. and Mrs. Magdi AzerHon. and Mrs. Timothy CreanyMr. and Mrs. Donald DevorrisNeil and Marilyn Port Family FoundationMrs. Shirley Pechter

Editors:Travis MearnsBobby Moore

Printer:Advanced Color Graphics

Catalogue Design:Color Scan LLC

©2011SouthernAllegheniesMuseumofArt

This catalogue is published by theSouthern Alleghenies Museum of ArtPost Office Box NineLoretto, PA 15940(814) 472-3920

Hours:Tuesday through Friday: 10 a.m. to 5 p.m.Saturday: 1 p.m. to 5 p.m.Closed Sundays and MondaysAdmission is free

Cover:The Buddha Matri (“Mother of Buddhas”),Vajravarahi/Kadgha Dakini

www.sama-art.org

Drawing upon my past business experience, I realize theimportance of cultural awareness in today’s global market place.Cultural awareness is a competency many organizations value.Understanding and respecting the differences between culturescan impact business success or failure in this complex,multicultural world.

To this end, the Southern Alleghenies Museum of Art (SAMA)takes great pride in offering a very special exhibition and buildinga cultural experience into the overall program. In this our 35thyear, SAMA brings to the forefront one of the Museum’s mostvalued and treasured collections, the Rezk Collection of Tibetanand Nepalese Art.

This collection of Tibetan and Nepalese art has been touted as animportant international treasure. The quality of the thangkas,bronzes, woodblock prints and ceremonial objects has beendeemed to be some of the best in the United States. Spanningover eight centuries, these works date back to the 1100s and arerecognized as an exceptional cultural and educational resource.

Dr. John Huntington, professor of Asian Art History at the OhioState University and one of the foremost scholars of Tibetan art inthe world, surveyed the collection in 1998 and affirmed the uniquestature of the Rezk Collection. Dr. Huntington and his assistantsdiscovered symbols in the paintings which do not exist in otherknown collections of Tibetan art.

Dr. Huntington wrote, “A Buddhist work of art may be made forvarious reasons; for example, to benefit the soul of a deceasedfamily member, or simply to offer thanks and share benefactionsreceived . . . Regardless of the original intent or specificmethodology of a work of art, both patron and artist firmly believethat just seeing a work of Buddhist art is better than not to haveseen it at all.”

The Rezk Collection opens a door to a culture that is very differentfrom our own. This is a rare opportunity for the college community,area schools and museum patrons to gain an insight into, anunderstanding of, and an appreciation for Asian art, religion andculture.

SAMA has elected to build a cultural, educational, and informa-tional experience around the exhibition. The creation of a sand

Tibetan Treasures: The Rezk Collectionof Tibetan and Nepalese Art

mandala and the attendant ceremony, along with a related filmfestival and other programming, should complement theexhibition.

Tibetan Treasures: The Rezk Collection of Tibetan and Nepalese Art is aspecial gift to our constituents as we conclude themilestone eventof the Southern Alleghenies Museum of Art’s 35th anniversary.My colleagues and I are pleased that you could join us for thisunique experience and we look forward to expanding our culturalawareness as we travel this exhibition to other museums acrossthe country.

My sincere appreciation is extended to all of the individuals whoworked tomake Tibetan Treasures: The Rezk Collection of Tibetan andNepalese Art a noteworthy event for the Southern AllegheniesMuseum of Art. I offer a special thank you to the Shelly andDonald Rubin Foundation for theirsupport and to John Rezk,Michael McCormick, and JeffWatt for their invaluablecontributions to this exhibition.SAMA Curator for Visual Arts, Dr.Scott Dimond, and SAMARegistrar, Bobby Moore, deserverecognition for their efforts incoordinating this exhibitionprogram. I also thank MichaelAllison for his assistance indelivering a unique culturalexperience. The Museum staffrolled up their sleeves and wentto work to make the program asuccess and I thank them all fortheir help. Finally, I recognize anactive and involved communitywhose continued support iscritical to the Museum’s future.

G. Gary MoyerExecutive DirectorSouthern AllegheniesMuseum of Art

AcknowledgmentCurator’sStatementWith contributions byMichael McCormickand Jeff Watt

The Benefactor, Six-Armed Mahakala (“Great Black/Time”)

Mandala of The Benefactor, Gurgyi Gonpo (‘Angry-One-of-the-Tent”)Surrounded by the Eight Charnal Fields

Kadam Chorten (Stupa)

Page 2: Curator’s Tibetan Treasures: The Rezk Collection of Tib e … · 2018-04-20 · Tibetan Buddhist art strongly emphasizes allegorical representations; ... m eth o d lg yaw rk , bp

Tsang District, Tibet, 12th/13th CenturyKadam Chorten (Stupa)Brass, 10” hGift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, 13th/14th CenturyKadam Chorten (Stupa)Brass and interior dedication materials, 13 1/2” hGift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, 19th CenturyKapala (Skull Cup)Copper, 3 1/4”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 19th CenturyMala (Recitation Beads)Wood, silver, bone, leather, brass, coral, 20”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, 18th/19th CenturyMandala with the Buddha Sarvavid Vairochanafrom the Sarva-durgati-parshodana-tantraGouache on cotton, 29 3/4” x 23 1/4”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, 17th CenturyMandala of Peaceful Deities of the Bardo (The “Interval"Between Death and Rebirth)Gouache on cotton, 27” x 21”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 17th CenturyMandala of The Benefactor, Gurgyi Gonpo (“Angry-One-of-the-Tent" with Extensive Dharanis)Gold on black, gouache on silk, 20” x 20 1/2”Gift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, c. 19th CenturyMandala of The Benefactor, Gurgyi Gonpo (“Angry-One-of-the-Tent") Surrounded by the Eight Charnel FieldsGouache on cotton, 14 1/2” x 15”Gift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, c. 18th CenturyMandala with the Buddha Sarvavid Vairochanafrom the Sarva-durgati-parshodana-tantraGouache on cotton, 15” x 14”Gift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, c. 15th CenturyMandala with the Buddha Sarvavid Vairochanafrom the Sarva-durgati-parshodana-tantraGouache on cotton, 26 1/2” x 22 3/4”Gift of Mr. and Mrs. John C. Rezk

Kham Region, Eastern Tibet, c. 19th CenturyMani (“Wish-Granting Gem") Prayer WheelWood handle, bone pivot, brass and leather wheel,12” hGift of Mr. and Mrs. John C. Rezk

Central Tibet, 18th CenturyPhurpa (“Ritual Tent Stake")Copper, 8” hGift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, 19th CenturyPhurpa (Ritual Tent Stake)Wood, 8 1/2” hGift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 19th CenturySet of Offerings to The Benefactor, Mahakala(“Great Black/Time")Xylograph of black ink on brown silk, 22 1/2” x 13”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 18th/19th CenturyShaman's MirrorCopper alloy and iron, 4 3/4” diameterGift of Mr. and Mrs. John C. Rezk

Southern Tibet or Nepal Himalaya, c. 17th CenturyThe Adi Buddha, Mahottama (“Greatest-Best")Heruka of the Nyingma TraditionGouache on cotton, 42 1/2” x 31 1/2”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 16th CenturyThe Adi-Buddha, Vajradhara (“Bearer of theAdamantine Scepter")Gouache on cotton, 32 3/4” x 23 1/4”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 17th CenturyThe Arhat, Bakula with Bhaishajayaguru, Sakyamuni,Ushnishavijaya and VishvapaniGouache on cotton, 29 1/4” x 19”Gift of Mr. and Mrs. John C. Rezk

Chinese, c. late 16th CenturyThe Arhat, NagasenaBlack ink on silk, 38” x 19”Gift of Mr. and Mrs. John C. Rezk

Eastern Tibet, c. 18th CenturyThe Benefactor and Guardian King, Vaishravanaand the Eight Yaksha GeneralsGouache on cotton, 23” x 17”Gift of Mr. and Mrs. John C. Rezk

Amdo (Eastern Quinghair Province of China),c. 18th CenturyThe Benefactor, Benag Gonpo (“Black-Cloaked Angry One")Gouache on cotton, 21 3/4” x 15”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, 19th CenturyThe Benefactor, Gurgyi Gonpo (“Angry-One-of-the-Tent")Gouache on cotton, 55” x 41”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 17th/18th CenturyThe Benefactor, Gurgyi Gonpo (“Angry-One-of-the-Tent")& other forms of Mahakala, “Great Black/Time"Gouache on cotton, 26” x 23”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 18th CenturyThe Benefactor, Hayagriva (“Horse-Necked One")Gouache on cotton, 45” x 29 3/4”Gift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, 14th CenturyThe Benefactor, Pita (“Yellow") JambhalaBrass, 4 1/2” hGift of Mr. and Mrs. John C. Rezk

Southeastern Tibet, 16th/17th CenturyThe Benefactor, Six-Armed Mahakala (“Great Black/Time")Gouache on cotton, 26 1/2” x 21”Gift of Mr. and Mrs. John C. Rezk

Eastern Tibet (Kham Region), 17th/18th CenturyThe Benefactor, Six-Armed Mahakala (“Great Black/Time")Gouache on cotton, 27” x 17”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 18th CenturyThe Benefactor, Yama (T. Shinje “Lord of Death") withHis Sister, YamariGouache on cotton, 25 1/4” x 17 1/2”Gift of Mr. and Mrs. John C. Rezk

Nepalese, 18th CenturyThe Benefactress, Goddess YamunaCopper with fire gilding, 7 3/4” hGift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 18th CenturyThe Benefactress, Palden Lhamo (“Goddess Having Glory")Gouache on cotton, 22” x 16”Gift of Mr. and Mrs. John C. Rezk

Eastern Tibet, c. 18th CenturyThe Benfactor, Mahapandaka Mahakala (T. GonpoManing, “Genderless or Eunuch Angry One")Gouache and gold on cotton, 29 3/4” x 20 1/4”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 18th/19th CenturyThe Bodhisattva, Ekadashamukha (“Eleven Headed")Avalokiteshvara in Potolaka ParadiseGouache on cotton, 39 1/2” x 26”Gift of Mr. and Mrs. John C. Rezk

Northern China, Beijing or Manchuria,c. 18th CenturyThe Bodhisattva, Maitryea, the Future Buddha inTushita ParadiseSilk embroidery on paper support, 8 1/2” x 7”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 18th CenturyThe Bodhisattva, ManjushriCopper alloy, 6 1/4” hGift of Mr. and Mrs. John C. Rezk

Eastern Tibet (Kham Region), c. 17th CenturyThe Bodhisattva, Shadakshari (“Six-Syllabled")Avalokiteshvara Surrounded by Female DeitiesGouache on cotton, 29” x 23”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibetan, c. 18th/19th CenturyThe Buddha Amitabha's Paradise of Sukhavati(“Land of Bliss")Gouache on cotton, 28 1/4” x 18 3/4”Gift of Mr. and Mrs. John C. Rezk

North China, c. 18th CenturyThe Buddha Amitabha's Paradise of Sukhavati(“Land of Bliss")Gouache on cotton, 42 3/4” x 30 1/4”Gift of Mr. and Mrs. John C. Rezk

Eastern Tibet (Kham Region), c. 17th CenturyThe Buddha Bhaishajayaguru (“Teacher of Healing") withAmitabha, Shadakshari, and PadmasambhavaGouache on cotton, 18 1/2” x 14”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, 17th CenturyThe Buddha Matri (“Mother of Buddhas"), Prajnaparamita,Surrounded by 200 of the 1000 BuddhasGouache and gold on cotton, 37 3/4” x 28 1/2”Gift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, c. 12th CenturyThe Buddha Matri (“Mother of Buddhas"), Shyama(“Beautiful, Dark") TaraBrass with “cold gold" paint, 13 1/4” hGift of Mr. and Mrs. John C. Rezk

Central Tibet, 19th CenturyThe Buddha Matri (“Mother of Buddhas"), Shyama(“Beautiful , Dark") TaraGouache on cotton, 21 1/2” x 14 3/4”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 18th/19th CenturyThe Buddha Matri (“Mother of Buddhas"), Shyama(“Beautiful, Dark") Tara Performing SalvationGouache on cotton, 24 3/8” x 16 1/4”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 1700The Buddha Matri (“Mother of Buddhas"), Sita Tara(“White Tara") or Saptalochana (“Seven-Eyed") TaraGouache on cotton, 34 3/4” x 23 3/4”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 17th CenturyThe Buddha Matri (“Mother of Buddhas"),Vajravarahi/Kadgha DakiniGilt copper alloy - copper with fire gilding, 16” hGift of Mr. and Mrs. John C. Rezk

Tibetan, Nepalese craftsmen in Lhasa, c. 18th CenturyThe Buddha Nanda (“Delight") from a set of the 1000Buddhas of the Arya-bhadra-kalpa-sutraCopper with fire gilding, 9 1/2” hGift of Mr. and Mrs. John C. Rezk

Central Tibet, 16th/17th CenturyThe Buddha Sakyamuni as the Progenitor of the Thirty-fiveConfession BuddhasGouache on cotton, 36 1/2” x 25 1/2”Gift of Mr. and Mrs. John C. Rezk

Jang District, Tibet, c. 19th CenturyFour of Sixteen Arhats, the Religious Protector,Dharmapala, and the Guardian King, VaishravanaGouache on cotton, 29 3/8” x 21 1/2”Gift of Mr. Michael McCormick in memory of hisfather, Robert McCormick, SAMA Trustee, to theRezk Collection

Indeterminate Region, Tibet, c. 19th CenturyGau (Amulet Case) and Asafetida Medicine Bag(Portable Shrine)Cloth, silver, copper, various leathers, 4” x 3”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 19th CenturyHeruka Buddha, Yamantaka (“Yama-Destroyer") orVajrabhairava (“Adamantine Rage"), and Heruka DeitiesGouache on cotton, 25 1/8” x 16”Gift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, c. 16th CenturyJina (“Victor") Buddha AmitabhaBrass, 12 1/4” hGift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 19th CenturyJina (“Victor") Buddha AkshobhyaCopper with fire gilding, 9 1/2” hGift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, 16th CenturyJina (“Victor") Buddha AkshobhyaBrass, coral, turquoise, 12” hGift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 16th/17th CenturyJina (“Victor") Buddha Akshobhya in a Field of 200Taras from a Set of Five Paintings of the JinasGouache on cotton, 31 3/4” x 20 3/8”Gift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, c. 16th CenturyJina (“Victor") Buddha AmoghasiddhiBrass, 13 1/2” hGift of Mr. and Mrs. John C. Rezk

Tsang District, Tibet, c. 14th CenturyJina (“Victor") Buddha RatnasambhavaBrass and turquoise, 8” hGift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 16th/17th CenturyJina (“Victor") Buddha Ratnasambhava in a field of 200Taras from a set of Five Paintings of the JinasGouache on cotton, 31 1/2” x 21 1/4”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, 17th/18th CenturyBonpo MandalaGouache on cotton, 25 3/8” x 16 3/8”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, 16th/17th CenturyBromdon Chorje (d. 1064)Gouache on cotton, 29 1/2” x 19 3/4”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, 17th/18th CenturyDamchan, Dorje Legpa (“Converted Deity, ExcellentAdamantine Scepter")Gouache on cotton, 68” x 85”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, 18th CenturyDamchan, Dorje Shugden (“Converted Deity, Power-Possessing Adamantine Scepter")Gouache on cotton, 33” x 22 1/2”Gift of Mr. and Mrs. John C. Rezk

Eastern Tibet (Kham Region), 18th CenturyDamchan, Garba Nagpo (“Converted Deity, BlackBlacksmith")Gouache on cotton, 11” x 8 3/8”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 18th CenturyDancer's Bone ApronBone and various strings (mostly cotton),16 1/2” x 29 1/2”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, 18th CenturyDharmapala-Type Figure Holding a SwordCopper with fire gilding, 3 3/4” hGift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 19th CenturyFormer Lives of the Buddha SakyamuniGouache on cotton, 31 1/8” x 18”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, 19th CenturyFortune Teller's Scroll of Various DevicesGouache on cotton, 14” x 43”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, 15th/16th CenturyThe Buddha Sakyamuni from a set of the 1000Buddhas of the Arya-bhadra-kalpa-sutraGouache on cotton, 26” x 22”Gift of Mr. and Mrs. John C. Rezk

Central Tibet?, c. 18th CenturyThe Buddha Shakyamuni with Six Arhatsand Two Guardian KingsGouache on cotton, 25” x 19 1/2”Gift of Mr. and Mrs. John C. Rezk

Tibetan, mid-20th CenturyThe Descent of the Buddha Shakyamuni fromTrayastrimsha HeavenWoodblock print (xylograph on paper), 27 3/4” x 18”Gift of Mr. and Mrs. John C. Rezk

Eastern Tibet (Kham or Amdo Region),c. 17th /18th CenturyThe Dharmapala, Begtse or ChamsingCopper alloy with polychrome, 8 1/2” x 6 1/2” x 2 1/2”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 18th CenturyThe Heruka Buddha, Hevajra (“Adamantine [exclamation]HE!") with the Troupe of DakinisGouache on cotton, 33 3/4” x 25 1/2”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 18th /19th CenturyThe Heruka Buddha, Vajra Heruka & Wrathful Deities ofthe Bardo (“Interval" between Death and Rebirth)Gouache on cotton, 29” x 24”Gift of Mr. and Mrs. John C. Rezk

Central or Eastern Tibet, c. 17th CenturyThe Heruka Buddha, Yamantaka (“Yama-Destroyer")or Vajrabhairava (“Adamantine Rage")Gouache on cotton, 28” x 18 1/4”Gift of Mr. and Mrs. John C. Rezk

Eastern Tibet (Kham Region), Tibet,c. 16th/17th CenturyThe Jina Buddha, Guhyasamaja Aksobhyavajra, and theBuddhas of the Guhyasamaja CycleGouache on cotton, 37 3/4” x 26”Gift of Mr. and Mrs. John C. Rezk

Southeastern Tibet, c. 17th /18th CenturyThe Life of the Buddha Sakyamuni as Commemoratedby Eight StupasGouache on cotton, 24 1/2” x 17 1/2”Gift of Mr. Michael McCormick in memory of hisfather, Robert McCormick, SAMA Trustee, to theRezk Collection

Tibetan, c. 19th CenturyThe Religious Protector Hva-Shan Mahayana with theGuardian Kings, Dhritarashtra and VirupakshaGouache on cotton, 23” x 15 1/2”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 18th/19th CenturyThe Teacher, Padmasambhava (“Lotus Born") GeneratingHis Refuge FieldGouache on cotton, 31 1/4” x 16 1/4”Gift of Mr. and Mrs. John C. Rezk

Tibetan, c. 19th CenturyThe Teacher, Padmasambhava (“Lotus-Born") andHis Eight FormsGouache on cotton, 34 1/4” x 23 1/2”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, Menri Serma “New School of MenStyle", c. 19th CenturyThe Teacher, Padmasambhava (“Lotus-Born") and HisEight FormsGouache on cotton, 24 1/2” x 16 1/8”Gift of Mr. and Mrs. John C. Rezk

Central Tibet, c. 18th CenturyThe Teacher, Padmasambhava (“Lotus-Born") inHis Copper Mountain ParadiseGouache on cotton, 50” x 35 1/2”Gift of Mr. and Mrs. John C. Rezk

Southeastern Tibet?, c. 17th CenturyThe Third Karmapa Lama, Rangjung Dorje (1284-1338)Gouache on cotton, 22 1/2” x 15 1/2”Gift of Mr. and Mrs. John C. Rezk

The Bodhisattva, Manjushri

Dancer’s Bone Apron

Tashi Lhunpo?, Tibet, 20th CenturyTsakali Cards of the Bardo (The “Interval" BetweenDeath and Rebirth)Woodblock prints (Xylographs) with water basedpigments, 6” x 4 3/4” eachGift of Mr. and Mrs. John C. Rezk

Tibetan, c. 18th/19th CenturyTsampa Offering MoldsWood, Various sizesGift of Mr. and Mrs. John C. Rezk

Tibetan or Chinese, 18th CenturyUnidentified Figure on a KhyangCopper with fire gilding, 7 1/2” hGift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 19th CenturyVajrankushi (T. Dorje Ch agyu Mo, “AdamantineElephant Goad”)Gouache on cotton, 25 3/4” x 18 3/4”Gift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 18th /19th CenturyZanpar (“Dough Mold")Wood, various sizesGift of Mr. and Mrs. John C. Rezk

Indeterminate Region, Tibet, c. 18th /19th CenturyZanpar (“Dough Molds")Wood, 19 1/4” x 21 1/4”Gift of Mr. and Mrs. John C. Rezk

Kham Region, Tibet, 17th/18th Century;19th Centurya: Gurgyi Gonpo; b: HayagrivaGouache on cotton, a: 24 1/4” x 18 1/2” b: 17 1/2” x 26”Gift of Mr. and Mrs. John C. Rezk

C ATA L O G U E

The Benefactor and Guardian King, Vaishravanaand the Eight Yaksha Generals

The Buddha Bhaishajayaguru (“Teacher of Healing”)with Amitabha, Shadakshari, and Padmasambhava

Heruka Buddha, Yamantaka (“Yama-Destroyer”) or Vajrabhairava (“Adamantine Rage”), and HerukaDeities