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Ritual Bone Apron (Image)
Bone and various strings (mostly cotton)
29.5 x 16.5 inches (as displayed)
Various dates, Ca. 18th century?
Museum #: 91.001.003
By Natalie R. Marsh
10 May, 1998
Bone aprons such as this ca. 18th century example in the SAMA collection
were worn as ritual garments meant to vivify the practitioner or priest
during Tantric ceremonial practices. The significance of wearing such ornamentation
symbolizes one's own death and the necessary release of one's attachment
to the human physical body in order to effectively pursue enlightenment.
This is further reified in the use of human bones collected from charnel
fields and carved into the beads shown. A set of six bone ornaments, including
the apron, worn by certain Tantric deities, symbolize the six paramitas,
or perfections, necessary for the attainment of enlightenment.1
The full iconographic program of this damaged apron is unclear, though certain
elements are identifiable. The third and fourth large carved plaques from
the left along the waistband depict two standard dakinis with left hands
in vitarka mudra, and holding a kapala, or a skull cup, in
their right hands. In the second large plaque from the left a multi-armed
esoteric Tantric deity is carved in relief. The small medallions interspersed
with strands of plain beads represent lotuses; the crescent moon and sun,
a symbol of the union of male and female ubiquitous in Tantric art; floral
motifs; and two apsaras, one bearing a garland and the other carrying
what may be a small bowl of sweets. In other published examples of this
type of apron, the medallions would also depict the full set of the astamangala,
the eight auspicious symbols of Buddhism.
Since they were repeatedly worn in ritual pageants it is likely that these
delicate pieces were frequently restrung and repaired with new beads and
carved plaques. In fact, the style of the three largest central carved plaques
at the waist, the uncommon arrangement of the figures, and the uneven beadwork
of the net-like skirt, indicate that sections of a single apron were rearranged
after having been broken or are combined portions from two or more separate
aprons. The figure in the second plaque to the left, because he or she is
a multi-armed Tantric deity, would more likely be flanked by generalized
dakinis, rather than positioned on a single side of the lesser important
goddesses. In addition, the lower segment of the plaque depicting the multi-armed
deity is carved with a pattern that differs from the two dakini plaques,
indicating the possibility of a different hand or the combining of plaques
from different aprons. The small five-petaled lotus plaques that edge the
apron also vary slightly in style.
Other published examples of bone aprons provide evidence that there is no
known regularized structure to the number of plaques and tiers of medallions.2
Numerous examples of bone ornaments are worn by deities in the paintings
and sculpture of the SAMA collection. See the Khadgadakini/Vajravarahi sculpture,#97.132 ; the painting
of Palden Lhamo, # 91.001.018; the blue Gurgyi Gampo painting, #
92.002A; and the 6-armed Mahakala painting, # 93.010.
1 Huntington, John C., Leaves from the Bodhi Tree, 537.
2 Pal, P. Tibet: Tradition and Change, 170-171 and Pal, P. , 123-124,
References:
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