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HTMLText_0B1CF751_121B_B3B2_41AA_8DF6E24BB6F1_mobile.html = In collaboration with local collectors, the University Museum and Art Gallery of the University of Hong Kong presents Eternal Transience, Enlightened Wisdom: Masterpieces of Buddhist Art, an exhibition comprising of artworks from Tibet, Nepal, Pakistan and Mongolia. Dating from the 6th–19th century, the exhibition is composed primarily of bronze statues and thangkas of deities and gurus in Tibetan Buddhism.
As a form of religious art, the depicted hand gestures and weapons can be understood iconographically as symbols of wisdom and compassion that hold the power to enlighten all sentient beings. From an art historical perspective, these Himalayan masterpieces reflect an array of aesthetic and artistic traditions from neighbouring regions across the Indian subcontinent and Central Asia.
As part of Buddhism’s eternal journey from India to the Himalayas, China and Japan, the religious icons and objects of daily religious practice remain a testament to the shifting cultures that have engaged with Buddhism over the millennia. Acknowledging such a state of transience through the current exhibition highlights the enlightened wisdom of the Buddha; the ability to behold the true nature of the world.
In collaboration with local collectors, the University Museum and Art Gallery of the University of Hong Kong presents Eternal Transience, Enlightened Wisdom: Masterpieces of Buddhist Art, an exhibition comprising of artworks from Tibet, Nepal, Pakistan and Mongolia. Dating from the 6th–19th century, the exhibition is composed primarily of bronze statues and thangkas of deities and gurus in Tibetan Buddhism.
As a form of religious art, the depicted hand gestures and weapons can be understood iconographically as symbols of wisdom and compassion that hold the power to enlighten all sentient beings. From an art historical perspective, these Himalayan masterpieces reflect an array of aesthetic and artistic traditions from neighbouring regions across the Indian subcontinent and Central Asia.
As part of Buddhism’s eternal journey from India to the Himalayas, China and Japan, the religious icons and objects of daily religious practice remain a testament to the shifting cultures that have engaged with Buddhism over the millennia. Acknowledging such a state of transience through the current exhibition highlights the enlightened wisdom of the Buddha; the ability to behold the true nature of the world.
Eternal Transience Enlightened Wisdom: Masterpieces of Buddhist Art
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
A cavity is ‘hollowed out’ in the metal with a chisel. The carefully cut inlays of metals or precious stones are then hammered into the parent metal. Turquoise and ruby are popular among Tibetan artisans.
Gandhara covers the area in northwest Pakistan. In 4th century BCE, Alexander the Great conquered northwestern part of the Indian subcontinent including Gandhara and Indo-Greek kingdoms were subsequently formed in the region. During the 1st and 2nd centuries, early buddhist sculptures were found at stupas in the Gandhara region. With influences from West Asia and Greece, the figures are characterised by their chiseled facial features, curly hair and pleated drapery. These features were inherited by the bronze figures from Swat and Kashmir, also located in northwest Pakistan.
Gandhara covers the area in northwest Pakistan. In 4th century BCE, Alexander the Great conquered northwestern part of the Indian subcontinent including Gandhara and Indo-Greek kingdoms were subsequently formed in the region. During the 1st and 2nd centuries, early buddhist sculptures were found at stupas in the Gandhara region. With influences from West Asia and Greece, the figures are characterised by their chiseled facial features, curly hair and pleated drapery. These features were inherited by the bronze figures from Swat and Kashmir, also located in northwest Pakistan.
Gandhara covers the area in northwest Pakistan. In 4th century BCE, Alexander the Great conquered northwestern part of the Indian subcontinent including Gandhara and Indo-Greek kingdoms were subsequently formed in the region. During the 1st and 2nd centuries, early buddhist sculptures were found at stupas in the Gandhara region. With influences from West Asia and Greece, the figures are characterised by their chiseled facial features, curly hair and pleated drapery. These features were inherited by the bronze figures from Swat and Kashmir, also located in northwest Pakistan.
Gandhara covers the area in northwest Pakistan. In 4th century BCE, Alexander the Great conquered northwestern part of the Indian subcontinent including Gandhara and Indo-Greek kingdoms were subsequently formed in the region. During the 1st and 2nd centuries, early buddhist sculptures were found at stupas in the Gandhara region. With influences from West Asia and Greece, the figures are characterised by their chiseled facial features, curly hair and pleated drapery. These features were inherited by the bronze figures from Swat and Kashmir, also located in northwest Pakistan.
Gandhara covers the area in northwest Pakistan. In 4th century BCE, Alexander the Great conquered northwestern part of the Indian subcontinent including Gandhara and Indo-Greek kingdoms were subsequently formed in the region. During the 1st and 2nd centuries, early buddhist sculptures were found at stupas in the Gandhara region. With influences from West Asia and Greece, the figures are characterised by their chiseled facial features, curly hair and pleated drapery. These features were inherited by the bronze figures from Swat and Kashmir, also located in northwest Pakistan.
Gandhara covers the area in northwest Pakistan. In 4th century BCE, Alexander the Great conquered northwestern part of the Indian subcontinent including Gandhara and Indo-Greek kingdoms were subsequently formed in the region. During the 1st and 2nd centuries, early buddhist sculptures were found at stupas in the Gandhara region. With influences from West Asia and Greece, the figures are characterised by their chiseled facial features, curly hair and pleated drapery. These features were inherited by the bronze figures from Swat and Kashmir, also located in northwest Pakistan.
Gandhara covers the area in northwest Pakistan. In 4th century BCE, Alexander the Great conquered northwestern part of the Indian subcontinent including Gandhara and Indo-Greek kingdoms were subsequently formed in the region. During the 1st and 2nd centuries, early buddhist sculptures were found at stupas in the Gandhara region. With influences from West Asia and Greece, the figures are characterised by their chiseled facial features, curly hair and pleated drapery. These features were inherited by the bronze figures from Swat and Kashmir, also located in northwest Pakistan.
Given that Milarepa is a poet-saint in the Kagyu tradition of Tibetan Buddhism who sings his teachings to people in rhymes, he cups his ears – it is a gesture that singers commonly make in order to sharpen their hearing and to block out extraneo us noise. Meanwhile, some interpret it as a gesture to listen to the voice of nature, and thus the wisdom of the world.
Given that Milarepa is a poet-saint in the Kagyu tradition of Tibetan Buddhism who sings his teachings to people in rhymes, he cups his ears – it is a gesture that singers commonly make in order to sharpen their hearing and to block out extraneo us noise. Meanwhile, some interpret it as a gesture to listen to the voice of nature, and thus the wisdom of the world.
Given that Milarepa is a poet-saint in the Kagyu tradition of Tibetan Buddhism who sings his teachings to people in rhymes, he cups his ears – it is a gesture that singers commonly make in order to sharpen their hearing and to block out extraneo us noise. Meanwhile, some interpret it as a gesture to listen to the voice of nature, and thus the wisdom of the world.
Given that Milarepa is a poet-saint in the Kagyu tradition of Tibetan Buddhism who sings his teachings to people in rhymes, he cups his ears – it is a gesture that singers commonly make in order to sharpen their hearing and to block out extraneo us noise. Meanwhile, some interpret it as a gesture to listen to the voice of nature, and thus the wisdom of the world.
Given that Milarepa is a poet-saint in the Kagyu tradition of Tibetan Buddhism who sings his teachings to people in rhymes, he cups his ears – it is a gesture that singers commonly make in order to sharpen their hearing and to block out extraneo us noise. Meanwhile, some interpret it as a gesture to listen to the voice of nature, and thus the wisdom of the world.
Given that Milarepa is a poet-saint in the Kagyu tradition of Tibetan Buddhism who sings his teachings to people in rhymes, he cups his ears – it is a gesture that singers commonly make in order to sharpen their hearing and to block out extraneo us noise. Meanwhile, some interpret it as a gesture to listen to the voice of nature, and thus the wisdom of the world.
Given that Milarepa is a poet-saint in the Kagyu tradition of Tibetan Buddhism who sings his teachings to people in rhymes, he cups his ears – it is a gesture that singers commonly make in order to sharpen their hearing and to block out extraneo us noise. Meanwhile, some interpret it as a gesture to listen to the voice of nature, and thus the wisdom of the world.
In Tibetan Buddhism, it is believed that there are evil forces, both internal and external, disturbing or obstructing Buddhists on their way to enlightenment. Therefore, the deities with might offer to protect people from the evil forces and thus subdue them. It is represented by the act of stepping on the evil forces.
In Tibetan Buddhism, it is believed that there are evil forces, both internal and external, disturbing or obstructing Buddhists on their way to enlightenment. Therefore, the deities with might offer to protect people from the evil forces and thus subdue them. It is represented by the act of stepping on the evil forces.
In Tibetan Buddhism, it is believed that there are evil forces, both internal and external, disturbing or obstructing Buddhists on their way to enlightenment. Therefore, the deities with might offer to protect people from the evil forces and thus subdue them. It is represented by the act of stepping on the evil forces.
In Tibetan Buddhism, it is believed that there are evil forces, both internal and external, disturbing or obstructing Buddhists on their way to enlightenment. Therefore, the deities with might offer to protect people from the evil forces and thus subdue them. It is represented by the act of stepping on the evil forces.
In Tibetan Buddhism, it is believed that there are evil forces, both internal and external, disturbing or obstructing Buddhists on their way to enlightenment. Therefore, the deities with might offer to protect people from the evil forces and thus subdue them. It is represented by the act of stepping on the evil forces.
In Tibetan Buddhism, it is believed that there are evil forces, both internal and external, disturbing or obstructing Buddhists on their way to enlightenment. Therefore, the deities with might offer to protect people from the evil forces and thus subdue them. It is represented by the act of stepping on the evil forces.
In Tibetan Buddhism, it is believed that there are evil forces, both internal and external, disturbing or obstructing Buddhists on their way to enlightenment. Therefore, the deities with might offer to protect people from the evil forces and thus subdue them. It is represented by the act of stepping on the evil forces.
In some statues, sacred objects, such as the belongings of spiritual teachers who have passed away) are installed within and then the base is sealed. The covering metal sheets are usually chased with an icon of crossed-vajras, symbolising the immovable state of Buddha’s enlightenment, and to fend off evil forces.
In some statues, sacred objects, such as the belongings of spiritual teachers who have passed away) are installed within and then the base is sealed. The covering metal sheets are usually chased with an icon of crossed-vajras, symbolising the immovable state of Buddha’s enlightenment, and to fend off evil forces.
In some statues, sacred objects, such as the belongings of spiritual teachers who have passed away) are installed within and then the base is sealed. The covering metal sheets are usually chased with an icon of crossed-vajras, symbolising the immovable state of Buddha’s enlightenment, and to fend off evil forces.
In some statues, sacred objects, such as the belongings of spiritual teachers who have passed away) are installed within and then the base is sealed. The covering metal sheets are usually chased with an icon of crossed-vajras, symbolising the immovable state of Buddha’s enlightenment, and to fend off evil forces.
In some statues, sacred objects, such as the belongings of spiritual teachers who have passed away) are installed within and then the base is sealed. The covering metal sheets are usually chased with an icon of crossed-vajras, symbolising the immovable state of Buddha’s enlightenment, and to fend off evil forces.
In some statues, sacred objects, such as the belongings of spiritual teachers who have passed away) are installed within and then the base is sealed. The covering metal sheets are usually chased with an icon of crossed-vajras, symbolising the immovable state of Buddha’s enlightenment, and to fend off evil forces.
In some statues, sacred objects, such as the belongings of spiritual teachers who have passed away) are installed within and then the base is sealed. The covering metal sheets are usually chased with an icon of crossed-vajras, symbolising the immovable state of Buddha’s enlightenment, and to fend off evil forces.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Thangkas are painted on textiles with water-soluble pigments made from ground minerals, including gold and plants mixed with a glue solution.
Tibetan Buddhism also worshipped spiritual teachers with extraordinary insight in Buddhism. There are many schools of Tibetan Buddhism. Their founders and monks who passed on the teachings, are regarded as spiritual teachers and worshipped. Examples include Padmasambhava, Marpa, Milarepa, Fifth Sharmapa and Fifth Dalai Lama in the exhibition.
Tibetan Buddhism also worshipped spiritual teachers with extraordinary insight in Buddhism. There are many schools of Tibetan Buddhism. Their founders and monks who passed on the teachings, are regarded as spiritual teachers and worshipped. Examples include Padmasambhava, Marpa, Milarepa, Fifth Sharmapa and Fifth Dalai Lama in the exhibition.
Tibetan Buddhism also worshipped spiritual teachers with extraordinary insight in Buddhism. There are many schools of Tibetan Buddhism. Their founders and monks who passed on the teachings, are regarded as spiritual teachers and worshipped. Examples include Padmasambhava, Marpa, Milarepa, Fifth Sharmapa and Fifth Dalai Lama in the exhibition.
Tibetan Buddhism also worshipped spiritual teachers with extraordinary insight in Buddhism. There are many schools of Tibetan Buddhism. Their founders and monks who passed on the teachings, are regarded as spiritual teachers and worshipped. Examples include Padmasambhava, Marpa, Milarepa, Fifth Sharmapa and Fifth Dalai Lama in the exhibition.
Tibetan Buddhism also worshipped spiritual teachers with extraordinary insight in Buddhism. There are many schools of Tibetan Buddhism. Their founders and monks who passed on the teachings, are regarded as spiritual teachers and worshipped. Examples include Padmasambhava, Marpa, Milarepa, Fifth Sharmapa and Fifth Dalai Lama in the exhibition.
Tibetan Buddhism also worshipped spiritual teachers with extraordinary insight in Buddhism. There are many schools of Tibetan Buddhism. Their founders and monks who passed on the teachings, are regarded as spiritual teachers and worshipped. Examples include Padmasambhava, Marpa, Milarepa, Fifth Sharmapa and Fifth Dalai Lama in the exhibition.
Tibetan Buddhism also worshipped spiritual teachers with extraordinary insight in Buddhism. There are many schools of Tibetan Buddhism. Their founders and monks who passed on the teachings, are regarded as spiritual teachers and worshipped. Examples include Padmasambhava, Marpa, Milarepa, Fifth Sharmapa and Fifth Dalai Lama in the exhibition.
Tibetan Buddhism gained support from the royal court during the Yuan dynasty. Tibetan monks were invited to the dynasty to be the Imperial Preceptor, managing Buddhism in the whole empire and politics in Tibet. Numerous Himalayan artworks were brought to China while monks and artisans frequently commuted between Tibet and China. From the 12th century, Chinese artistic characteristics such as flat facial features, realistic garments and the use of Chinese decorative motifs were incorporated into Tibetan statues.
Tibetan Buddhism gained support from the royal court during the Yuan dynasty. Tibetan monks were invited to the dynasty to be the Imperial Preceptor, managing Buddhism in the whole empire and politics in Tibet. Numerous Himalayan artworks were brought to China while monks and artisans frequently commuted between Tibet and China. From the 12th century, Chinese artistic characteristics such as flat facial features, realistic garments and the use of Chinese decorative motifs were incorporated into Tibetan statues.
Tibetan Buddhism gained support from the royal court during the Yuan dynasty. Tibetan monks were invited to the dynasty to be the Imperial Preceptor, managing Buddhism in the whole empire and politics in Tibet. Numerous Himalayan artworks were brought to China while monks and artisans frequently commuted between Tibet and China. From the 12th century, Chinese artistic characteristics such as flat facial features, realistic garments and the use of Chinese decorative motifs were incorporated into Tibetan statues.
Tibetan Buddhism gained support from the royal court during the Yuan dynasty. Tibetan monks were invited to the dynasty to be the Imperial Preceptor, managing Buddhism in the whole empire and politics in Tibet. Numerous Himalayan artworks were brought to China while monks and artisans frequently commuted between Tibet and China. From the 12th century, Chinese artistic characteristics such as flat facial features, realistic garments and the use of Chinese decorative motifs were incorporated into Tibetan statues.
Tibetan Buddhism gained support from the royal court during the Yuan dynasty. Tibetan monks were invited to the dynasty to be the Imperial Preceptor, managing Buddhism in the whole empire and politics in Tibet. Numerous Himalayan artworks were brought to China while monks and artisans frequently commuted between Tibet and China. From the 12th century, Chinese artistic characteristics such as flat facial features, realistic garments and the use of Chinese decorative motifs were incorporated into Tibetan statues.
Tibetan Buddhism gained support from the royal court during the Yuan dynasty. Tibetan monks were invited to the dynasty to be the Imperial Preceptor, managing Buddhism in the whole empire and politics in Tibet. Numerous Himalayan artworks were brought to China while monks and artisans frequently commuted between Tibet and China. From the 12th century, Chinese artistic characteristics such as flat facial features, realistic garments and the use of Chinese decorative motifs were incorporated into Tibetan statues.
Tibetan Buddhism gained support from the royal court during the Yuan dynasty. Tibetan monks were invited to the dynasty to be the Imperial Preceptor, managing Buddhism in the whole empire and politics in Tibet. Numerous Himalayan artworks were brought to China while monks and artisans frequently commuted between Tibet and China. From the 12th century, Chinese artistic characteristics such as flat facial features, realistic garments and the use of Chinese decorative motifs were incorporated into Tibetan statues.