The Richard R. & Magdalena Ernst Collection of Himalayan Art

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拍品 918
  • 918

西藏 約1225年 噶舉派四上師唐卡 |

估價
600,000 - 800,000 USD
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描述

  • Distemper on cloth
  • 80 x 55.5 cm

展覽

“Himalayas: An Aesthetic Adventure”, The Art Institute of Chicago, 5 April-17 August 2003; and Arthur M. Sackler Gallery, Smithsonian Institute, Washington, D.C., 18 October 2003-11 January 2004.

出版

Amy Heller, Tibetan Art: Tracing the Development of Spritual Ideals and Art in Tibet, Milan, 1999, cat. no. 55

Richard R. Ernst, “Arts and Sciences: A Personal Perspective of Tibetan Painting”, 2001, Chimia 55: pp. 900-914.

Pratapaditya Pal, Himalayas: An Aesthetic Adventure, Chicago, 2003, cat. no.128

David Jackson, Mirror of the Buddha: Early Portraits from Tibet, New York, 2011, p. 148, fig. 5.13

Condition

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拍品資料及來源

No other early Tibetan painting has come to light that depicts two masters and their disciples in this format.

Instantly recognisable is Phagmotrupa (1110-1070) in the upper right of the thangka, with his idiosyncratic beard and moustache. The older guru with grey hair to his left is likely to be Phagmotrupa’s teacher Gampopa (1079-1153). David Jackson has identified the lineage depicted in the painting as Dakpo Kagyu, with the Indian mahasiddha Tilopa (late tenth-early eleventh century) and Naropa (956-1040) to the left and right of Vajrasattva above, see David P. Jackson, Mirror of the Buddha: Early Portraits from Tibet, New York, 2011, p. 146. Atisha (982-1054), wearing the yellow pandita cap with long lappets, sits with hands in dharmachakra mudra in the centre of the painting, flanked by Marpa (1012-1096) to the left and Milarepa (1040-1123) to the right.

The lamas seated in the lower register have not been firmly identified but may represent subsequent masters in the Dakpo Kagyu tradition, with the grey-haired lama on the left as teacher of the youthful disciple on the right. Jeff Watt has tentatively identified the two masters as Gangpa Rinchen Ozer (1175-1249) and Kuyalwa Rinchen Gonpo (1191-1236), see Himalayan Art Resoucres item no. 19826.

Jackson notes that Atisha is probably represented as lineal guru rather than a teacher of anyone portrayed in the painting, and that Gampopa was the first Tibetan monastic in the Dakpo Kagyu tradition to combine the lineages of Atisha and Milarepa, Jackson, op. cit. The thangka is painted in the style commonly seen in thirteenth century Tibetan works, such as a Phagmotrupa and Disciple in a private collection, with forward facing lions and elephants between the pillars of the throne bases, a device derived from eastern Indian Pala period traditions, and the stylised rockwork beneath, ibid, p. 147.

A thirteenth century date is confirmed by Carbon14 analysis which dates the work to 1229 +/- 61 years, ibid, p. 146.