A THANGKA DEPICTING A GELUK REFUGE FIELD TIBET, CIRCA 19TH CENTURY |

the refuge field organized in the framework of a tree, with Tsongkhapa at the center wearing the yellow pandita hat with lappets, seated in vajraparyankasana with right hand in vitarka mudra, the left hand holding a vase full of amrita, Shakyamuni depicted at the center of his chest emanating out rainbow light, a khadga, or sword, on a white lotus suspended on the right shoulder, a pustaka or religious text on a white lotus over the left shoulder, the upper half of the painting depicting a retinue of buddhas, celestial beings, mahasiddhas and lineage holders, the lower illustrating wrathful protectors including Panjarnata Mahakala, Yama Dharmaraja, Vajrabhairava, Shadbhuja Mahakala, White Mahakala, Shri Devi and Jambhala, together with the Guardians of the Four Directions and a host of nobles Himalayan Art Resources item no. 13647.

With areas of creases and surface abrasion throughout. Strong crease lines running center left and center right vertically from the top of the painting to the bottom and another in the left third of the painting running vertically in the bottom third of the painting. With areas of loss due to water damage, most visible in upper most quadrant, particularly in the left corner and on the upper most border. Mounted to original brocade border.
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This design depicting the Field of Accumulation was popularized by the teacher Pabongkapa Dechen Nyingpo (1878–1941) in the 20th century. Compare the composition to a twentieth century refuge field in the Rubin Museum of Art, New York,  illustrated on Himalayan Art Resources item no. 65661. Another composition with a similar refuge field of Tsongkhapa, see John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Columbus, 2003, pp. 168-9, cat. no. 39.