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Lot Essay
The present bronze, depicting a benevolent and respected Tibetan lama, is an exemplary work of the Tibetan metal-casting tradition. The figure sits in the meditative posture known as dhyanasana on a cushion over a lotus base, his hands resting languidly over his bent knees in juxtaposition to his upright posture. His heavy robes fall over the front of the cushion to rest on the petals of the base, and are incised with an ornate foliate pattern on the front, with an endless knot motif at the back of the neck and lantsa characters in patches at the back and sides. The lama’s face is one of benevolent concentration, with eyes inlaid with silver, resulting in the dynamic intensity of his gaze. His hair is picked out with an all-over stippling pattern, much worn due to hundreds of years of worship.
The inscription on the back of the sculpture provides a clue to the possible dating of the figure; translated into English, it reads: “Homage to Khedrup [?] Gyaltsen. Faithfully commissioned by Drangpo Namkha Sanggye. [Made by] skilled craftmaker Lhamo Gyaltsen. May all those with aspiration swiftly achieve buddhahood!” In the present case, Drangpo Namkha Sanggye likely refers to Drangti Namkha Sanggye, the seventeenth abbott of Ngor Monastery, who held that title for a relatively short period from 1622-1625. Little is known about Namkha Sanggye, but he was the teacher of Pelchok Gyeltsen (1599-1673), the twenty-second abbot of Ngor; provided full ordination and name to Jamyang Namkha Pelzang (1611-1672), the twenty-third abbott of Ngor; and provided the monastic vows to Sonam Gyatso (1617-1667), the twenty-first abbot of Ngor. Although we lack the birth and death dates for Namkha Sanggye, he was thus active in the first quarter of the seventeenth century. It is likely this work was commissioned either before he attained the title of throne holder in 1622 or during his short reign as the abbot.
The subject of the bronze, Khedrup [?] Gyaltsen, is still somewhat of an enigma. It is possible it refers to Khedrup Sherab Gyeltsen (1505-1570/73), who was active at Ngor Monastery throughout the sixteenth century. From 1524 to 1541, Khedrup Sherab Gyeltsen held various titles, such as the chant leader and head of the assembly hall. At the age of thirty-seven, he left Ngor for Kham, but returned eight years later and was a Lamdre teacher at the monastery for the remainder of his life. In 1569, he was offered the title of abbot, but turned it down, although he served as an interim abbot until the permanent throne holder was elected.
The present bronze is also rare for the mention of the sculptor in the inscription. Like the subject of the bronze, little currently is known about Lhamo Gyaltsen. However, throughout the long history of metalworking in Tibet, the vast majority of sculptures were carried out by unknown artisans and craftsmen, with a few exceptions such as the fifteenth-century master artisan Sonam Gyaltsen. More research is required to illuminate the histories of these skilled artisans who helped to produce the resplendent sculptural tradition of Tibet, and inscriptions such as the one found on the present work will hopefully provide the foundation for future academic study.
The inscription on the back of the sculpture provides a clue to the possible dating of the figure; translated into English, it reads: “Homage to Khedrup [?] Gyaltsen. Faithfully commissioned by Drangpo Namkha Sanggye. [Made by] skilled craftmaker Lhamo Gyaltsen. May all those with aspiration swiftly achieve buddhahood!” In the present case, Drangpo Namkha Sanggye likely refers to Drangti Namkha Sanggye, the seventeenth abbott of Ngor Monastery, who held that title for a relatively short period from 1622-1625. Little is known about Namkha Sanggye, but he was the teacher of Pelchok Gyeltsen (1599-1673), the twenty-second abbot of Ngor; provided full ordination and name to Jamyang Namkha Pelzang (1611-1672), the twenty-third abbott of Ngor; and provided the monastic vows to Sonam Gyatso (1617-1667), the twenty-first abbot of Ngor. Although we lack the birth and death dates for Namkha Sanggye, he was thus active in the first quarter of the seventeenth century. It is likely this work was commissioned either before he attained the title of throne holder in 1622 or during his short reign as the abbot.
The subject of the bronze, Khedrup [?] Gyaltsen, is still somewhat of an enigma. It is possible it refers to Khedrup Sherab Gyeltsen (1505-1570/73), who was active at Ngor Monastery throughout the sixteenth century. From 1524 to 1541, Khedrup Sherab Gyeltsen held various titles, such as the chant leader and head of the assembly hall. At the age of thirty-seven, he left Ngor for Kham, but returned eight years later and was a Lamdre teacher at the monastery for the remainder of his life. In 1569, he was offered the title of abbot, but turned it down, although he served as an interim abbot until the permanent throne holder was elected.
The present bronze is also rare for the mention of the sculptor in the inscription. Like the subject of the bronze, little currently is known about Lhamo Gyaltsen. However, throughout the long history of metalworking in Tibet, the vast majority of sculptures were carried out by unknown artisans and craftsmen, with a few exceptions such as the fifteenth-century master artisan Sonam Gyaltsen. More research is required to illuminate the histories of these skilled artisans who helped to produce the resplendent sculptural tradition of Tibet, and inscriptions such as the one found on the present work will hopefully provide the foundation for future academic study.