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Collections/Thangka/Multi-Faced Vairocana on a Lotus Throne Polychrome Miniature Thangka

Thangka

Multi-Faced Vairocana on a Lotus Throne Polychrome Miniature Thangka

This hand-painted polychrome Vairocana thangka builds a layered centre from the multi-faced Buddha, lotus throne and surrounding forms.

Price$2,095.00In stockCord included · Wear or collectDelivery: complimentary tracked delivery to eligible destinations, with duties and import taxes includedShips from: China · Dispatch within 10 calendar days after payment confirmation
$2,095.00

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Maker
旦角先
Subject
Vairocana Buddha
Painting dimensions (unframed)
4 × 5 cm
Materials
100% natural mineral pigments on a prepared painting support. Recorded raw materials: azurite, malachite, cinnabar, orpiment, iron-oxide ochre, chalk (calcite), 24K genuine-gold details.
Techniques
Hand-painted
Work reference
HS-THA-20260725-TG-024

Description

About this work.

Multi-faced Vairocana sits on a lotus throne as figure, gesture, petals, and polychrome ground form a stable, open composition along the central axis.

The multi-faced figure settles on a lotus throne as petals and polychrome ground unfold along the central axis in clear, open layers. The lotus supports the Buddha and keeps centre, gesture, and ornament in stable order at miniature scale.

Traditional context and devotional practice

Multi-faced Vairocana gives form to all-pervading wisdom and a centred order extending in every direction. Devotees pray for ignorance to be dispelled, for right understanding and awareness to grow, for a more complete view of circumstances, and for the mind to rest in clarity.

What to notice

The multi-faced Vairocana creates a layered centre on the lotus throne, asking the eye to read several directions within one ordered composition. Polychrome detail gives the faces, throne and surrounding forms enough separation to remain distinct even at miniature scale.

This work is the more layered Vairocana option, while the single central polychrome Vairocana offers a more immediate frontal reading. Its multiple faces also distinguish it from the standing Shakyamuni teaching scene, whose complexity comes from attendants and narrative spacing rather than a multiplied centre.

Choose this work if you enjoy a composition that reveals its structure slowly, with lotus, faces and colour layers working together. It suits close display and rewards the viewer who wants to compare central order rather than read only one emblematic figure.

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