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Lot Essay
PADAMPA SANGYE
Jeff Watt - Himalayan Art Resources
With these three sculptural figures presented (lots 2007, 2008 and 2036) they do appear to possibly be historical people, maybe ascetics, religious practitioners or yogis. The differences between them are in the originating workshop, hand gestures, hair style and clothing. Fortunately, the subject is well known and there are established examples and comparables to assist with the identification of the person.
The three figures are all of the same person, Padampa Sanggye, a historical figure, an itinerant traveler and a religious teacher originating from South India. He is also a well-known figure in Tibetan Buddhism from the 11th and early 12th century. His date of birth is yet to be determined, but he is believed to have passed away in 1117. It is said that he travelled back and forth several times between India, Tibet, and China, before residing permanently in the small trading town of Dingri in the Southern Tibetan province of Tsang.
The question should now be 'why are there three images and other examples of this person?' The answer is that he was very charismatic and was documented in historical literature as well as leaving a number of very popular writings especially regarding advice for spiritual practitioners. His traditions and lineages of teaching continue to the present day.
Identifying Padampa Sanggye without any name inscription etched into a sculpture is done through recognising particular characteristics and also through the process of elimination. His clothing is sparse and often only around his midsection and legs. Sometimes a robe will cover a shoulder. He has no particular posture. Padampa also does not have one single manner of hand gesture but rather several. A more familiar appearance is with both hands raised with the palms facing outward and the knees somewhat upraised (lot 2036). We can see that with the sculpture atop a round floral base. Note that he is also sitting on a krishnasara antelope skin. The present lot and lot 2007 share the same characteristic of spikey hair almost reminiscent of the curly hair of Shakyamuni Buddha. This is a very important observation which can also be found in very early block print depictions of Padampa showing the same style of spikey hair (see Linrothe, Holy Madness, New York, 2006, pp. 112 and 113, figs. 6.1-5). The example (lot 2007) with the robe across the left shoulder might be mistaken for other notable celebrities of the time such as the great yogi poet Milarepa; however, there is a characteristic found with all three of these sculptures that is often overlooked. They all have short beards. This is consistent with most examples of Padampa Sanggye. They also share wide open eyes and often a slightly open mouth with the teeth showing. Why is this done? That I think will require more research however, Padampa was known for teaching with symbols, gestures and facial expressions. It is possible over time with these three figurative examples that the artistic convention was established that varying postures, hand gestures, facial expression, and wide eyes best represented the expression and character of Padampa Sanggye.
All three of these sculpture appear to be from different workshops and slightly different periods. The robed figure at one time sat on a floral base, throne or a cushion of some kind. The face has also been adorned with cold gold as a veneration and for acquiring merit. The curly slightly spikey hair is an early phenomena with Tibetan sculpture and is not found in later centuries with depictions of later historical teachers. All three sculpture are wonderful additions to the larger corpus of knowledge surrounding the very popular figure of Padampa Sanggye.
Jeff Watt - Himalayan Art Resources
With these three sculptural figures presented (lots 2007, 2008 and 2036) they do appear to possibly be historical people, maybe ascetics, religious practitioners or yogis. The differences between them are in the originating workshop, hand gestures, hair style and clothing. Fortunately, the subject is well known and there are established examples and comparables to assist with the identification of the person.
The three figures are all of the same person, Padampa Sanggye, a historical figure, an itinerant traveler and a religious teacher originating from South India. He is also a well-known figure in Tibetan Buddhism from the 11th and early 12th century. His date of birth is yet to be determined, but he is believed to have passed away in 1117. It is said that he travelled back and forth several times between India, Tibet, and China, before residing permanently in the small trading town of Dingri in the Southern Tibetan province of Tsang.
The question should now be 'why are there three images and other examples of this person?' The answer is that he was very charismatic and was documented in historical literature as well as leaving a number of very popular writings especially regarding advice for spiritual practitioners. His traditions and lineages of teaching continue to the present day.
Identifying Padampa Sanggye without any name inscription etched into a sculpture is done through recognising particular characteristics and also through the process of elimination. His clothing is sparse and often only around his midsection and legs. Sometimes a robe will cover a shoulder. He has no particular posture. Padampa also does not have one single manner of hand gesture but rather several. A more familiar appearance is with both hands raised with the palms facing outward and the knees somewhat upraised (lot 2036). We can see that with the sculpture atop a round floral base. Note that he is also sitting on a krishnasara antelope skin. The present lot and lot 2007 share the same characteristic of spikey hair almost reminiscent of the curly hair of Shakyamuni Buddha. This is a very important observation which can also be found in very early block print depictions of Padampa showing the same style of spikey hair (see Linrothe, Holy Madness, New York, 2006, pp. 112 and 113, figs. 6.1-5). The example (lot 2007) with the robe across the left shoulder might be mistaken for other notable celebrities of the time such as the great yogi poet Milarepa; however, there is a characteristic found with all three of these sculptures that is often overlooked. They all have short beards. This is consistent with most examples of Padampa Sanggye. They also share wide open eyes and often a slightly open mouth with the teeth showing. Why is this done? That I think will require more research however, Padampa was known for teaching with symbols, gestures and facial expressions. It is possible over time with these three figurative examples that the artistic convention was established that varying postures, hand gestures, facial expression, and wide eyes best represented the expression and character of Padampa Sanggye.
All three of these sculpture appear to be from different workshops and slightly different periods. The robed figure at one time sat on a floral base, throne or a cushion of some kind. The face has also been adorned with cold gold as a veneration and for acquiring merit. The curly slightly spikey hair is an early phenomena with Tibetan sculpture and is not found in later centuries with depictions of later historical teachers. All three sculpture are wonderful additions to the larger corpus of knowledge surrounding the very popular figure of Padampa Sanggye.