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Lot Essay
Three enthroned lamas depicted prominently within this verdant composition are Jetsun Dragpa Gyaltsen (1147–1216), Sonam Tsemo (1142–1182), and Sakya Pandita Kunga Gyeltsen (1182-1251). The three main figures belong to a group of five teachers called 'Jetsun Gongma Nga' in Tibetan and are credited as a group with the early shaping of the Sakya School of Tibetan Buddhism.
Considered to be the second Sakya early patriarch, Sonam Tsemo is placed in the composition above the other two teachers. He is Sachen Kunga Nyingpo's first son, and shortly after taking the Sakya throne, Sonam Tsemo passed the responsibility to his younger brother so that he could devote his time to scholarship and retreat. In the present work, he is depicted with an erect vajra on the tip of his right hand and holds a bell in his left.
At the lower left of the composition is the third patriarch, Jetsun Dragpa Gyaltsen. Like his father and elder brother, Drakpa Gyaltsen was not a monk, although he is said to have spent his entire life in meditation, study, and teaching. Like Sonam Tsemo, he wears the full-sleeved layman's shirt covered by a red shawl. His left and right hands hold a bell and vajra respectively, and he crosses them across his chest.
To the lower right of the composition is depicted the fourth Sakya patriarch, Sakya Pandita, whose legacy as a scholar and religious leader remains one of the greatest in Tibetan history. He is portrayed with the distinguished red pandita hat. He holds his hands in the dharmachakra mudra, and his two sides are flanked by lotus stems supporting a sword and a book, emblems of the bodhisattva of Wisdom, Manjushri.
Above the three main teachers are depictions of Mahasiddhas and lineage teachers from India floating on clouds, looking compassionately upon their pupils. Below the three figures are the successive leaders of the Sakya school. Such a composition depicting three patriarchs of the Sakya lineage is very rare. The only other painting known to have this composition is an earlier Sixteenth-century painting of three Sakya Patriarchs in the collection of the Rubin Museum of Art (acc.no.C2006.66.120) and illustrated on Himalayan Art Resources, item number 63.
Compared to the painting in the Rubin Museum of Art, the present work deviates from the earlier painting styles emphasizing geometric grids. The artist situates the present composition in a verdant tapestry of blues and greens, typified by Khyenri encampment scenes. This departure traces back to the work of Khyentse Chenmo, founder of the Khyenri style, flourishing from the 1450s to the 1490s. His rejection of prevailing Indian and Nepalese-inspired styles with formal red backgrounds was supplanted by vibrant greens and blues, inspired by Chinese landscapes. Compare the overall style of the present work with a related painting of Sakya Pandita Kunga Gyaltsen sold at Christie’s New York, 18 September 2013, lot 271.
The verso of the painting is marked with Om Ah Hung and mantras for consecration such as the Ye Dharma mantra. The inscription on the verso of the painting written in Umed script reads:
rnal 'byor gyi dbang phyug grags pa rgyal mtshan la phyag 'tshal zhing skyabs su 'chi'o byin gyis rlabs tu gsol/ slob dpon rin po che bsod nams brtse mo la skyabs su 'chi'o byin gyis rlabs tu gsol/'jam pa'i dbyangs sa skya paN chen la phyag 'tshal zhing skyabs su 'chi'o byin gyis rlabs tu gsol/
To the lord of yoga Drakpa Gyaltsen, I prostrate, take refuge, and ask for blessings.
To the precious master Sonam Tsemo, I prostrate, take refuge, and ask for blessings.
To Manjushri Sakya Pandita, I prostrate, take refuge, and ask for blessings.
Christie's is grateful to Dr. Jörg Heimbel for identifying the lineage figures in the lower section of the painting, which helps confirm a late 17th century dating of this piece:
1. [illegible]
2. [illegible]
3. ngor chen = Ngor chen Kun dga’ bzang po/Ngorchen Kunga Zangpo (1382–1456), founder and 1st abbot of Ngor
4. ’dren … = might be: dKon mchog ’phel/Konchok Pel (1445–1514), the 7th abbot of Ngor
5. sangs rgyas rin chen = Sangs rgyas rin chen/Sanggye Rinchen (1453–1524), the 8th abbot of Ngor
6. lha mchog seng ge = lHa mchog seng ge/Lhachok Sengge (1468–1535), the 9th abbot of Ngor
7. dkon mchog lhun grub = dKon mchog lhun grub/Konchok Lhundrup (1497–1557), the 10th abbot of Ngor
8. sangs rgyas seng ge = Sangs rgyas seng ge/Sanggye Sengge (1504–1569), the 11th abbot of Ngor
9. dkon mchog rgya mtsho = dKon mchog rgya mtsho/Konchok Gyatso, not a Ngor abbot
10. dkon? mchog? dpal? ldan = maybe dKon mchog dpal ldan/Konchok Penden (1526–1590), the 12th abbot of Ngor
11. paṇ chen = Brang ti Paṇ chen Nam mkha’ dpal bzang/Drangti Panchen Namkha Pelzang (1535–1602), the 13th abbot of Ngor
12. kun dga’ bkra shis = Kun dga’ bkra shis/Kunga Tashi (1558–1615), the 14th abbot of Ngor
13. shes rab ’byung gnas = Shes rab ’byung gnas/Sherap Jungne (1596–1653), the 18th abbot of Ngor
14. [illegible]; this should be the final master in the lineage and the painting commissioned during his life or not long after his death
Considered to be the second Sakya early patriarch, Sonam Tsemo is placed in the composition above the other two teachers. He is Sachen Kunga Nyingpo's first son, and shortly after taking the Sakya throne, Sonam Tsemo passed the responsibility to his younger brother so that he could devote his time to scholarship and retreat. In the present work, he is depicted with an erect vajra on the tip of his right hand and holds a bell in his left.
At the lower left of the composition is the third patriarch, Jetsun Dragpa Gyaltsen. Like his father and elder brother, Drakpa Gyaltsen was not a monk, although he is said to have spent his entire life in meditation, study, and teaching. Like Sonam Tsemo, he wears the full-sleeved layman's shirt covered by a red shawl. His left and right hands hold a bell and vajra respectively, and he crosses them across his chest.
To the lower right of the composition is depicted the fourth Sakya patriarch, Sakya Pandita, whose legacy as a scholar and religious leader remains one of the greatest in Tibetan history. He is portrayed with the distinguished red pandita hat. He holds his hands in the dharmachakra mudra, and his two sides are flanked by lotus stems supporting a sword and a book, emblems of the bodhisattva of Wisdom, Manjushri.
Above the three main teachers are depictions of Mahasiddhas and lineage teachers from India floating on clouds, looking compassionately upon their pupils. Below the three figures are the successive leaders of the Sakya school. Such a composition depicting three patriarchs of the Sakya lineage is very rare. The only other painting known to have this composition is an earlier Sixteenth-century painting of three Sakya Patriarchs in the collection of the Rubin Museum of Art (acc.no.C2006.66.120) and illustrated on Himalayan Art Resources, item number 63.
Compared to the painting in the Rubin Museum of Art, the present work deviates from the earlier painting styles emphasizing geometric grids. The artist situates the present composition in a verdant tapestry of blues and greens, typified by Khyenri encampment scenes. This departure traces back to the work of Khyentse Chenmo, founder of the Khyenri style, flourishing from the 1450s to the 1490s. His rejection of prevailing Indian and Nepalese-inspired styles with formal red backgrounds was supplanted by vibrant greens and blues, inspired by Chinese landscapes. Compare the overall style of the present work with a related painting of Sakya Pandita Kunga Gyaltsen sold at Christie’s New York, 18 September 2013, lot 271.
The verso of the painting is marked with Om Ah Hung and mantras for consecration such as the Ye Dharma mantra. The inscription on the verso of the painting written in Umed script reads:
rnal 'byor gyi dbang phyug grags pa rgyal mtshan la phyag 'tshal zhing skyabs su 'chi'o byin gyis rlabs tu gsol/ slob dpon rin po che bsod nams brtse mo la skyabs su 'chi'o byin gyis rlabs tu gsol/'jam pa'i dbyangs sa skya paN chen la phyag 'tshal zhing skyabs su 'chi'o byin gyis rlabs tu gsol/
To the lord of yoga Drakpa Gyaltsen, I prostrate, take refuge, and ask for blessings.
To the precious master Sonam Tsemo, I prostrate, take refuge, and ask for blessings.
To Manjushri Sakya Pandita, I prostrate, take refuge, and ask for blessings.
Christie's is grateful to Dr. Jörg Heimbel for identifying the lineage figures in the lower section of the painting, which helps confirm a late 17th century dating of this piece:
1. [illegible]
2. [illegible]
3. ngor chen = Ngor chen Kun dga’ bzang po/Ngorchen Kunga Zangpo (1382–1456), founder and 1st abbot of Ngor
4. ’dren … = might be: dKon mchog ’phel/Konchok Pel (1445–1514), the 7th abbot of Ngor
5. sangs rgyas rin chen = Sangs rgyas rin chen/Sanggye Rinchen (1453–1524), the 8th abbot of Ngor
6. lha mchog seng ge = lHa mchog seng ge/Lhachok Sengge (1468–1535), the 9th abbot of Ngor
7. dkon mchog lhun grub = dKon mchog lhun grub/Konchok Lhundrup (1497–1557), the 10th abbot of Ngor
8. sangs rgyas seng ge = Sangs rgyas seng ge/Sanggye Sengge (1504–1569), the 11th abbot of Ngor
9. dkon mchog rgya mtsho = dKon mchog rgya mtsho/Konchok Gyatso, not a Ngor abbot
10. dkon? mchog? dpal? ldan = maybe dKon mchog dpal ldan/Konchok Penden (1526–1590), the 12th abbot of Ngor
11. paṇ chen = Brang ti Paṇ chen Nam mkha’ dpal bzang/Drangti Panchen Namkha Pelzang (1535–1602), the 13th abbot of Ngor
12. kun dga’ bkra shis = Kun dga’ bkra shis/Kunga Tashi (1558–1615), the 14th abbot of Ngor
13. shes rab ’byung gnas = Shes rab ’byung gnas/Sherap Jungne (1596–1653), the 18th abbot of Ngor
14. [illegible]; this should be the final master in the lineage and the painting commissioned during his life or not long after his death