Buddhism originated in India where the historical Buddha, Shakyamuni, was born and preached the doctrine leading to enlightenment. As the religion developed and spread throughout Asia, images of the Buddha and of other deities, such as Guanyin, the Bodhisattva of Infinite Compassion and Mercy, proliferated. In Japan, household shrines like the intricate and complex butsudan offered opportunities for private worship. Drinking tea to focus attention during meditation led to special accoutrements for tea preparation and service. A large and colorful censor documents the practice of burning incense. In Tibet, another form of Buddhism emerged based on esoteric scriptures, yogic meditation, and elaborate rituals. Paintings and ritual objects were essential to this practice.

Thangka, 1,000 Buddhas
Tibet, 17th–18th centuries
Ink and colors on cotton
DBC 10681.1
This large, detailed thangka or painting features a seated image of Amitayus, the Buddha of endless life surrounded by 1,000 smaller Buddhas who embody the omnipotence of the central deity. The hands of Amitayus are in the dhyana or meditation mudra. It was used in a monastery as an aid to meditation and indicates the complexity of the Buddhist pantheon in Tibet.

Tripod Censer
China, Ming Dynasty, 1368–1644
Glazed stoneware, fahuaware
DBC 11245.1/2
The size, quality, and complexity of this incense burner are amazing. Each octagonal section has applied rosettes, and the cover has an applied floral motif and a guardian lion. The cabriole-shaped feet have animal faces. The turquoise, yellow, purple, and green glazes are typical of fahua ware. The form is based on the ancient ritual bronze vessel type, ding.

Buddhist Shrine
Japan, Meiji Period, 1869–1912
Wood, lacquer, bronze, brass, gilt
DBC 11231.1
This large household shrine, a butsudan, has a central standing Amida Buddha surrounded by a myriad of decorative accessories. Two scrolls hang to the rear of the Buddha, and a pair of black lacquer vases contain gold lotus flowers. Lanterns, pendants, and a five-piece altar set (incense burner, candle holders and flower vases) further embellish the shrine. The interior is elaborately

Iki Ningyo of a Jinricksha Driver and Carriage
Japan, Meiji Period, 1869–1912, ca. 1880
Wood and gofun
DBC 10331.1
Iki Ningyo means living doll and refers to the expressive, realistic features of these figures. This example shows a young man pulling a ricksha. Realistic details include inset glass eyes, ivory teeth, carved hair, and loin cloth. His musculature is well defined and the cart has detailed mechanisms, an upholstered seat, and retractable cover.

Ikebana Vase
Noguchi Ushu
Japan, 20th century
Bamboo
DBC 10491.1
This delicately woven vase contained flowers to decorate the tokonoma (alcove) in the area used for a tea ceremony. It is signed on the base and was exhibited in 1977 at the 18th annual Kyoto Bamboo craft show and won a special medal from the mayor of Kyoto.

Tea Bowl
Saggar and Tea Bowl
China, Northern Song Dynasty, 960–1127
Jian ware, stoneware with hare’s fur glaze,
DBC 10478.1, 10457.1
Bowls like these were used by Buddhist monks for their tea ceremonies. Later they were taken to Japan by Zen monks and were referred to as Temmoku. The stoneware body is covered with a thick, dark brown glaze streaked with iron oxide to create a pattern reminiscent of hare’s fur, an extraordinarily difficult effect to achieve. As the glaze flowed downward during firing, it left the lip almost unglazed. Bowls were fired in saggars to protect them. When not properly placed, the bowl adhered to the saggar; misfired pieces like this are usually discarded, making this example unusual.
Tibetan Buddhism
Tibetan Buddhist worship practices, called Tantrayana, Vajrayana, and other names, are complex involving yogic meditation and the worship of wrathful deities using cups made from the crania of illustrious monks and trumpets made from femur bones. These offer a direct connection to spiritual potency. Bells, horns, and drums accompany the chanting of ritual mantras. The goals are the accumulation of merit and the transformation of delusion into perfect wisdom.

Altar Cloth
China, Qing Dynasty
Embroidered silk
DBC 11227.1
This elaborately embroidered altar cloth features several lions and pomegranates. The Buddha’s voice is said to have sounded like a lion. Pomegranates are fertility symbols. The couch stitch and small brass disks create the distinctive design.
This Buddha sits on a double lotus base which is inscribed in Tibetan “I pay homage to the life image of the best jewels Sakyavajra.” The right hand is in the giving (varada) mudra and the left holds a flaming jewel. Casting an image like this would have gained merit for the devotee.
Lama Milarepa (1040–1123) spent his life wandering throughout Tibet performing miracles, converting people to Buddhism and writing his 100,000 songs. He sits on a gazelle skin with his right hand to his ear as if listening and holds a begging bowl in his left hand. Repa means cotton clad and is an early term for a Tibetan yogic practitioner.
Skull cups, kapala, were used in tantric rituals to represent the transformation of delusion into perfect wisdom and for offerings to fierce deities. This skull is probably that of an important Buddhist priest or Lama. Its exterior is inlaid in silver and copper with a double-vajra, ribbon-tied chopper, bell, and dagger. The tripod stand has small skulls and feet terminating in five-pronged vajras. The vajra is the ritual thunderbolt used in Buddhist rituals, especially in Tibet.
A symbol of the Sacred World, the conch shell is highly prized in Tibet. It is used to summon monks to prayers to appease fierce deities. The repoussé decoration includes various Buddhist motifs such as the Wheel of the Law.
The drum contains a rolled up scroll on which is written a Buddhist sutra or sacred text. While chanting a mantra, the worshipper twirls the handle and chain to rotate the drum and disseminate the prayers contained inside. This is a means to accumulate merit and purify one’s karma.

Portable Shrine
Tibet, 18th–19th centuries
Silver, copper, fabric
DBC 10550.1
A Tibetan Ghau is a “hidden box” or locket traditionally worn by pilgrims to protect them from evil and bring good luck. In the center of the lotus petal, the polychrome painted deity is surrounded by repoussé silver with the eight Buddhist emblems. They include the conch, the dharma wheel, the pair of golden fish, the endless knot, the parasol, the lotus, the treasure vase, and the victory banner.

Tiger Rug
Tibet, ca. 1750
Wool
DBC 10517.1
This rug depicts the fully flayed skin of a tiger. It is a rare example of “single stripe with rainbow border” design. It incorporates the unusual Chinese pattern of “mountain, sea, and cloud at the end border. The subduing of wild animals symbolizes the conquering the untamed energies within, an important concept in Tibetan Tantric Buddhism. Actual flayed animals as well as animal carcasses were offered to fierce deities.
Ritual music was a powerful element in Tibetan ceremonies and an important aid to spiritual pursuits. The profound and unique sound produced by Tibetan ritual instruments played together has no parallels in Asian music and creates a mystical experience transcending the noises of the “real” world.
Hats were not originally part of Indian Buddhist monks’ attire but figure prominently in the official and ceremonial equipment of Tibetan monks. This rare example is finely painted with scenes of wrathful deities, lotus flowers, and dragons chasing the sacred pearl.