Qianlong Emperor Thangka

The Qianlong Emperor was the ruler of the world’s largest and most prosperous empire in the eighteenth century. He presided over a vast, multiethnic empire of many diverse people.

Mongol and Tibetan members of the Qing dynasty (1644–1911) believed in Tibetan Buddhism. Like most of his subjects, the Qianlong Emperor also participated in Tibetan Buddhist rituals.

The Qianlong Emperor had himself illustrated in the form of Manjushri, who is the bodhisattva of wisdom...

...seen here similarly positioned, flaming sword aloft, in this gilt bronze statue.

Pictured among 108 deities, teachers, and other Buddhist figures, the Qianlong Emperor appears at the center of a symbolic universe.  

The jewel-like landscape of the painting is filled with clouds of good fortune...   

...and a representation of the five-peaked mountain Wutaishan, which was believed to be Manjushri’s earthly home.     

Represented as a bodhisattva, the Qianlong Emperor sits with his legs folded...

...and holds the wheel of Buddhist law in his left hand. 

His right thumb and index finger join in a circle, which is the mudra that symbolizes the circular wheel of Buddhist law. 

In each hand, the emperor also delicately holds the stems of lotus blossoms.    

Behind each of his shoulders, a flaming sword...

The emperor is dressed in a robe and a shawl that follow the style and colors of a Tibetan Buddhist monk’s garments. 

The squares on the orange garment resemble the patchwork garments of monks who have rejected wealth...

...but the emperor’s robes are also lavishly decorated with pomegranate and floral scrolls that have been painted with very refined detail. 

The workmanship and artistry of the painting confirm that it was made by the emperor’s command.    

In front of the throne that is decorated with lions, there is an altar table holding Tibetan ritual tools.    

A pronged scepter called a vajra (which means thunderbolt) and a bell are two of the most important ritual tools in Tibetan Buddhism. The scepter indicates “method” and the bell indicates “wisdom.”

The distinct modeling of the face with light and shadow is attributed to Giuseppe Castiglione (1688–1766), an Italian Jesuit missionary who served at the Qing court. 

The detailed setting of the painting, the 108 Buddhist figures surrounding the emperor, and the emperor’s body were painted by a team of Chinese and Tibetan artists.

With the face painted by a European artist and other areas painted by Chinese and Tibetan artists, the painting represents a multicultural dimension of the Qing court.

The individuals in small circles that are closest to the image of the emperor represent important historical figures. 

These figures include lamas (teachers in Tibetan Buddhism) spiritual tutors, and other deities.

The emperor’s personal Tibetan Buddhist teacher, Rolpe Dorje (1717–1786), appears in the circle directly above the clouds surrounding him. 

The words “root guru” (teacher) have been written in gold on the teacher’s cushion. This text reveals the emperor’s and the teacher’s close relationship.

The portrait of the emperor’s religious teacher is flanked by bright cloud circles that are populated by bodhisattvas...

...and religious followers.

The bottom of the painting shows seventeen protectors of Buddhist teachings. This is a common arrangement of figures in a traditional thangka.

To name a few of the protector deities who are in this thangka: in the upper left, we see the six-armed protector deity known as Mahakala.

In the center, we see the twin dancing skeletons known as the Lords of the Charnel Grounds.

Both of these deities are surrounded by orange flames.