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Lot Essay
Deep azurite skies give definition to the beautiful landscapes that surround these two treasured teachers. Both are rendered in intricate detail, carried throughout every element of the composition. Complex patterns are burnished into the golden robes of these respected teachers, who sit upon elaborate, Chinese-style thrones. The ritual implements, animals, and flowers are treated with as much care as the naturalistic portraits of the two lineage holders. Their respective meditational deities (or yidam), Krishna Yamari and Amitabha, float above them. These paintings are wonderful examples of the Khyenri style of painting founded by Khyentse Chenmo of Gongkar monastery (1420-1500). The bright palette and apparent influence of Manchu court painting are hallmarks of this popular tradition.
Both the thangkas were published in Detlef-Ingo Lauf’s 1976 publication on the Ford collection entitled Secret Revelation of Tibetan Thangkas (Verborgene Botschaft Tibetischer Thangkas). Identified therein as “Arhat Cudapantaka” and “A Buddhist Monk,” An inscription found on the verso of the first suggests that his figure is actually Drogmi Lotsawa Shakya Yeshe (992-1072). An inscription beneath the top dowel on the verso of the latter reads “11th left, Homage to Jamyang Sherab Gyatso.” These inscriptions reveal a connection between these two paintings. Both come from a set of Lamdre lineage holders of the Sakya tradition, which can be understood in English as “the fruit of the path.” Similar paintings can also be found in the Rubin Museum of Art: C2002.14.1, C2002.3.1, and C2002.3.2.
A. Inscriptions on verso:
‘brog mi –Drogmi Lotsawa Shakya Yeshe (992-1072)
‘gro cha –Seventh Sakya Tridzin, Pakpa Lodro Gyeltsen (1235-1280)?
B. Inscription on top dowel:
g.yon bcu+ig ‘jam dbyangs shes rab rgya mtsho la na mo- 11th left, Third Ngor Khenchen, Jamyang Sherab Gyatso (1396 - 1474)
Both the thangkas were published in Detlef-Ingo Lauf’s 1976 publication on the Ford collection entitled Secret Revelation of Tibetan Thangkas (Verborgene Botschaft Tibetischer Thangkas). Identified therein as “Arhat Cudapantaka” and “A Buddhist Monk,” An inscription found on the verso of the first suggests that his figure is actually Drogmi Lotsawa Shakya Yeshe (992-1072). An inscription beneath the top dowel on the verso of the latter reads “11th left, Homage to Jamyang Sherab Gyatso.” These inscriptions reveal a connection between these two paintings. Both come from a set of Lamdre lineage holders of the Sakya tradition, which can be understood in English as “the fruit of the path.” Similar paintings can also be found in the Rubin Museum of Art: C2002.14.1, C2002.3.1, and C2002.3.2.
A. Inscriptions on verso:
‘brog mi –Drogmi Lotsawa Shakya Yeshe (992-1072)
‘gro cha –Seventh Sakya Tridzin, Pakpa Lodro Gyeltsen (1235-1280)?
B. Inscription on top dowel:
g.yon bcu+ig ‘jam dbyangs shes rab rgya mtsho la na mo- 11th left, Third Ngor Khenchen, Jamyang Sherab Gyatso (1396 - 1474)