哈香尊者（Hvashang）是一个黑肤色的人像，他右手持水晶念珠，用来持咒计数。他左手拿着一个装满珠宝的碗用来献给罗汉（尊者）们。他穿着华丽的长袍以休闲的姿态坐在一个精制的华冠之下。重要的外形特征是他的肥胖的体型和任意一只手里拿着的成串的念珠，以及秃头和悠闲的姿态。

在顶部中心是蓝色的初始佛金刚持（Vajradhara），双手在胸口拿着一对金刚杵和铃。右边是棕色的印度大成就者毗卢巴（Virupa），右手持手印指向天空中的太阳。后面是瑜伽女修行者Sukhasiddhi，举着一把遮阳伞在毗卢巴（Virupa）头上方。左边是西藏喇嘛萨迦班智达（Sakya Pandita），他的标准肖像形式是双手持说法印拿着两朵绽放的青莲花到双耳。肩花上有智慧之剑和般若经。他穿着一个修行僧侣的长袍，并戴着班智达的红色帽子。在底部是从事各种活动的十个人物，无疑涉及到画里的中心人物哈香尊者（Hvashang）的生活故事。

收录于《World of Transformation》19，主尊识别为迦诺迦伐蹉尊者 Kanakavatsa，藏中或后藏，16世纪中期，P169
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Hvashang, the Chinese patron to the Sixteen Great Arhats.
Hvashang is a human figure, dark in complexion with the right hand holding a crystal 'mala,' a garland of beads for counting prayers. In the left hand he holds a bowl of precious substances as an offering to the arhats. Adorned with opulent robes he is seated in a casual fashion under an elaborate canopy. The key iconongraphic features are his portly size and the bead mala, which can be in either hand, along with a bald head and leisurely posture.
At the top center is the primordial buddha Vajradhara, blue in colour with the two hands holding a vajra and bell at the heart. To the right is the Indian mahasiddha Virupa, brown in colour with the right hand held up in a wrathful gesture holding the sun in the sky. Behind is the yogini Sukhasiddhi holding a parasol above the head of Virupa. To the left is the Tibetan lama Sakya Pandita in his standard iconographic form with the two hands performing the Dharma Teaching mudra (gesture) holding the stems of two utpala flowers which blossom at both ears. Supported on the blossoms are a sword of wisdom and the Prajnaparamita sutra. He wears the full robes of an ordained monk and the red hat of a pandita. At the bottom are ten figures engaged in various activities undoubtedly relate to the life story of Hvashang, the central figure in the painting.
Hvashang, meaning a 'Chinese monk,' is an historic figure who was sent by a Tang Emperor of China to invite the buddha Shakyamuni to visit China. Since the Buddha had already passed away the invitation was then relayed to the 16 great arhats. After that time, all paintings of the buddha Shakyamuni and the 16 arhats in the Himalayan and Central Asian region have included the patron Hvashang. Although he is regarded in most historical accounts as a monk he is also commonly referred to as a patron, or the patron to the 16 arhats, because he presented the invitation and was the representative of the Emperor of China. However neither liturgies of the meditation practice of Shakyamuni Buddha and the 16 Arhats made popular by both the Lord Atisha and the Kashmiri pandit Shakyasribhadra include Hvashang.
This particular painting belongs to the Sakya School and likely belongs to a larger set of paintings which include the buddha Shakyamuni and the 16 arhats along with the lay attendant Dharmatala and the Four Direction Guardians. The style of painting shows a strong Chinese influence seen in the ornate designs and background landscape.

Jeff Watt 6-98