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Lot Essay
Within a small group of recorded thangkas dating from the Chenghua period, this belongs to the earliest group dated to the 13th year, equivalent to AD 1477. It represents the culmination of Tibeto-Chinese style in the second half of the 15th century. At a time when an indigenous Tibetan style had truly evolved into its own from Indian and Nepali origins, a simultaneous cross-cultural exchange with China was encouraged by the Buddhist fervor of the Ming court through Imperial patronage, initiated by the devout Yongle Emperor. While Buddhist painting flourished throughout the 15th century, only very few examples are extant.
A closely related thangka of Hevajra, although in poor condition, is in the collection of the Musée Guimet, Paris, cf. G. Béguin, Les Peintures du Bouddhisme Tibetain, 1995, cat. no. 141. Dated to the 10th year of Chenghua (1474) it is of similar size and formal composition, with a large image of a protector deity at the center surrounded by a border of smaller images and diaper outer border; two other examples dated to 1477 are in the collection of the Victoria and Albert Museum, London; one depicting Simhavaktra, the other Mahakala, cf. G. Béguin, Dieux et Démons de l'Himâlaya, 1977, cat. nos. 80 and 81. Both were acquired in 1907 in Beijing and most likely originated from the Da longshan huguo si monastery in northwest Beijing, a center of Tibetan Buddhism throughout the Ming dynasty. The temple served as a residence to Tibetan monks who translated texts, initiated officials of the court, and taught in both the Tibetan and Chinese traditions. It was also the seat of the Senglu si, the Imperial office for the oversight and governing of Buddhist monasteries in China in which numerous Tibetans served in high positions. All likely originally belonged to a set of thangkas that was expanded over a period of a few years, with the present example being among the earliest group and in the best overall state of preservation with entirely fresh color.
A closely related thangka of Hevajra, although in poor condition, is in the collection of the Musée Guimet, Paris, cf. G. Béguin, Les Peintures du Bouddhisme Tibetain, 1995, cat. no. 141. Dated to the 10th year of Chenghua (1474) it is of similar size and formal composition, with a large image of a protector deity at the center surrounded by a border of smaller images and diaper outer border; two other examples dated to 1477 are in the collection of the Victoria and Albert Museum, London; one depicting Simhavaktra, the other Mahakala, cf. G. Béguin, Dieux et Démons de l'Himâlaya, 1977, cat. nos. 80 and 81. Both were acquired in 1907 in Beijing and most likely originated from the Da longshan huguo si monastery in northwest Beijing, a center of Tibetan Buddhism throughout the Ming dynasty. The temple served as a residence to Tibetan monks who translated texts, initiated officials of the court, and taught in both the Tibetan and Chinese traditions. It was also the seat of the Senglu si, the Imperial office for the oversight and governing of Buddhist monasteries in China in which numerous Tibetans served in high positions. All likely originally belonged to a set of thangkas that was expanded over a period of a few years, with the present example being among the earliest group and in the best overall state of preservation with entirely fresh color.