Like the Magzor Gyalmo and the Begtse Chen, the Vaishravana displays all the hallmarks of a painted masterwork. Color, form and composition combine to create a dynamic multi-dimensional image on a one-dimensional canvas. With dazzling attention to detail, the master painter excelled in the difficult task of combining large bold blocks of color and form with the most minute and fine detail. Referring to the Rubin Museum, example Watt and Linrothe note, "Art historically, it is remarkable for marrying the idealizing realism of portraiture to graphically fantastic visions of violent themes" (R. Linrothe & J. Watt, ibid., p.168). All three paintings exhibit this rare artistic achievement. 
The resplendent thangka of Vaisravana riding a lion is one of the finest depictions of the celebrated deity who is both a fearsome protector and benevolent benefactor. Painted in an vibrant golden orange, Vaisravana appears to glow, an homage to his wealth bestowing powers. In his right hand he holds a heavenly banner. In his left, a black mongoose spewing jewels, some of which have landed on the god's lotus throne. He wears richly brocaded black and gold robes accentuated by billowing sashes, one of which is loosely tied around his torso. His robust form is adorned in heavy gold necklaces, anklets, bangles and earrings. His semi-wrathful expression is accentuated by wide open eyes with brilliant white pupils which gaze intensely to his lower left. His elaborate gold crown is embellished with an image of Garuda at the center and his tilted head surrounded by a fiery halo. His entire body is backed by a radiant double aureole, as he sits dynamically atop his white lion who looks up at him in devotion. 
Above, Vaisravana is flanked by two of his eight horseman: the black-skinned Atavaka on the left and the white-skinned Manibhadra on the right. The remaining six horseman form a semi-circle below, with Purnabhadra on the left, followed by Samjneya, Jambhala, Bija Kundalin, Kubera and Panchika on the right. A radiant altar of jewel offerings sits between Jambhala and Bija Kundalin. Each of the horseman is engulfed in swirling clouds and flames. Standing at the top center on a disc amidst a black sky is Krodha Vajrapani wearing a tiger skin and wielding a vajra in his raised hand. To the far left sits Tri Nomihan Ngagwang Tsultrim (1721-1791), the renowned Geluk translator. Seated next to him in a green shirt is the 14th century scholar Zangskhar Lotsawa holding a text. Lama Sonam Zangpo holding folio book in his outstretched hand is seated on the far right with the 17th century master Ponlob Jamyang seated beside him holding a beaded mala. From the intensely vibrant palette, to its bold composition and finely rendered details, this is a rare masterpiece of Tibetan painting.

Christie's. THE VAN DER WEE COLLECTION OF HIMALAYAN PAINTINGS, 15 March 2016, New York, Rockefeller Plaza