Kerry Lucinda Brown

[Follow link to Online Article]
https://projecthimalayanart.rubinmuseum.org/essays/goddess-of-prosperity-vasudhara/

Throughout the Himalayas, the accumulation of material wealth has been important to the survival of spiritual and ritual practice. Art historian Kerry Lucinda Brown explores the importance and iconography of the goddess of prosperity Vasudhara, who is worshiped by the Nepalese to ensure agricultural fertility, financial success, and spiritual benefit, and this form’s special association with rice cultivation, one of the primary sources of wealth in the Kathmandu Valley.

Kerry Lucinda Brown, “Goddess of Prosperity, Vasudhara: Material and Spiritual Abundance in the Kathmandu Valley,” Project Himalayan Art, Rubin Museum of Art, 2023, http://rubinmuseum.org/projecthimalayanart/essays/goddess-of-prosperity-vasudhara.

Indic religions often emphasize the spiritual energy (shakti) of female deities, whether wrathful or benign. Art historian Kerry Lucinda Brown introduces this dynamic bronze sculpture of a powerful tantric goddess Siddhi Lakshmi. She is associated with other Indic goddesses, Mahadevi and Kali. Rival kings in city-states of Kathmandu, Patan, and Bakhtapur used to worship her in secret and both Hindus and Buddhists celebrate her public images at shrines and festivals.

Kerry Lucinda Brown, “Siddhi Lakshmi (Purnachandi): The Goddess of Miraculous Power,” Project Himalayan Art, Rubin Museum of Art, 2023, http://rubinmuseum.org/projecthimalayanart/essays/siddhi-lakshmi-purnachandi.

[Follow Link to Online Article with additional media and features]
https://projecthimalayanart.rubinmuseum.org/essays/siddhi-lakshmi-purnachandi/

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https://projecthimalayanart.rubinmuseum.org/essays/central-shrine-image-of-kwa-baha-hiranyavarna-mahavihar/

Art historian Kerry Lucinda Brown explores the history of one the most important monasteries in the Kathmandu Valley through an image of the Buddha layered in history. Chronicles assert the statue came to King Bhaskara Deva in a dream and requested a space be built for its veneration. Stories about the image provide insight into the significance of sacred space, the agency of religious imagery, and demonstrates that they have an active living history that evolves, reaffirming cultural identity with each generation.

Kerry Lucinda Brown, “Central Shrine Image of Kwa Baha (Hiranyavarna Mahavihar): In the Presence of the Buddha,” Project Himalayan Art, Rubin Museum of Art, 2023, http://rubinmuseum.org/projecthimalayanart/essays/central-shrine-image-of-kwa-baha-hiranyavarna-mahavihar.

Buddhism and Hinduism have flourished side-by-side in the Kathmandu Valley. Art historian Kerry Brown examines this gilt-copper depiction of the Hindu god Vishnu riding the winged Garuda, which was created as a cover for a stone sculpture. Such images allowed Nepalese kings to identify themselves with the Hindu gods as symbols of divine kingship and ritual authority, and Buddhists in Tibet would replicate these symbolic compositions for centuries to come.

Kerry Lucinda Brown, “Vishnu Riding on Garuda: Divine Kingship in Nepal Mandala,” Project Himalayan Art, Rubin Museum of Art, 2023, https://projecthimalayanart.rubinmuseum.org/essays/vishnu-riding-on-garuda/.

[Follow Link to Online Article for additional media and interactive resources]
https://projecthimalayanart.rubinmuseum.org/essays/vishnu-riding-on-garuda/

Membership in Newar Buddhist monasteries includes individuals from the Vajrācārya and Śākya castes who serve as Tantric Buddhist householder monks. Of this population, the ten eldest members of each monastery are known as the Daśa Sthavira Ājus (Ten Elders of the Highest Esteem). Because of their position, these Ājus are the ritual specialists for their communities and serve as exemplars of the monastic ideal in Newar society. This paper explores the ways in which Newar Buddhists at the Kwā Bahā monastic complex in Patan, Nepal, utilize ceremonial dress to reinforce their Buddhist identity and publicly reaffirm their ancient Buddhist heritage in Nepal. This study, the first to analyze the Ājus’ ceremonial regalia, provides an analysis of the garments, headdresses, and ornaments worn by these figures to explain the ways in which dress embeds Buddhist iconographic symbolism into Newar visual culture. Additionally, this paper demonstrates that the ritual veneration of the Ājus gives their regalia agency, reinforcing their public, ritual role as living embodiments of buddhahood. [PDF of article available in link]

Pilgrimage and Faith: Buddhism, Christianity, and Islam explores pilgrimage as experienced in Buddhist, Christian, and Muslim faith communities. It addresses shared goals of personal development and communal solidarity as deep human needs. Unique in scope, this richly illustrated catalogue addresses religious diversity in a global perspective.

Dating from the 12th century to the present day, ninety-five historical objects and mementos of present-day pilgrimages are beautifully presented in their context with a collection of essays by leading international scholars. Fine examples include sculptures in wood and limestone from France and copper and bronze from Tibet, a pilgrimage itinerary book from Japan, stained glass from the Middle Ages, a Renaissance enameled chalice from Italy, a lavish embellished Quran from Iran, and Islamic prayer scrolls in silver amulet casings. By studying objects of supreme artistic skill along with mass-produced objects and personal acquisitions such as stones or soil from the holy place, the scholars shed new light on the continuity of pilgrimage and faith – the past and the present and the motivations and experiences of persons of all social strata.

The exhibition starts at the Iris and B. Gerald Cantor Art Gallery, College of the Holy Cross, Worcester MA, then travels to the Loyola University Museum of Art, Chicago, the University of Richmond Art Museums, Richmond, VA, and finally the Rubin Museum of Art, New York City. This accompanying catalogue offers unique contributions that combine both general and specialist appeal – an important addition to any private and public library.

Edited by: Virginia C. Raguin, Dina Bangdel, with Francis E. Peters

Contributors include: Najah Bazzy, Martin Brauen, Kerry Lucinda Brown, Megan Foster-Campbell, Edward Holgate, Krisadawan Hongladarom, Paula Gerson, Oleg Grabar, Toni Huber, Susan L. Huntington, Mitzi Kirkland-Ives, Jennifer M. Lee, Amanda Luyster, Alexander J. McNair, Anisa Mehdi, Mika Natif, David M. Perry, Kathryn M. Rudy, and Elizabeth ten Grotenhuis