A Shrine for Tibet: The Alice S. Kandell Collection of Tibetan Sacred Art

A SHRINE FOR TIBET THE ALICE

S.

KANDELL COLLECTION

Alice S. Kalle/ell ill (rollt o( a /JOrlrail o( Pae/INa Salllvhava

A SHRINE FOR TIBET THE ALICE

S.

KANOELL COLLECTION

Marylin M. Rhie Robert A.F. Thurman

Collection Curator, Philip Rudko Photography, John Bigelow Taylor Exec. Editor, Art Director, Thomas F. Yarnall

Tibet House US A Tibet HOllse US book, in association with OVEI 2009 Tibet House US Introductory essay copyrigh t © 2009 Marylin M. Rhie Introductory essay copy right © 2009 Robert A. F. Thurman Photography €) 2009 John Bigelow Taylor All rights reserved. No portion of this work may be reproduced in any fortn or by an)' means, electronic or mechanical. including photography, recording. o r by an)' information storage and retrieval system or technologies now known or later developed, without written perm ission from the publi sher. Book d('::,ign by Thomas F. Yarnall PhoTography by Jo hn Bigelow Taylor Printed and bo und in It'l ly by Arnoldo Mondadori Ed iwrc, Verona, o n acid-free pa per

1098765432 1 ISBN 978-0-9670 115-7-8 IUS) A CIP catalog record fo r this book is available from the British Library Library of Congress Cataloging-in- Publication Data Rhie. Marylin M. A shr.me for Tibet): ~~t' Alice S. Kandell collection I ~'I.a ryli n M. Rhie, Robert A. F. Th urma n ; collectlon curawr, I hlltp Rudko; photography, Joh n Bigelow Taylor; exec. editor, a rt di recto r Thomas F. Yarnall. ' p.cm. Include.. bibliographical references and index. ISBN 978-0-96701 1S-7-8 (us: alk. paper) I. Art. Tibetan. 2. I~uddhist art--China--Tibet. 3. Buddhist shrines. 4. Kandell AI- S .. A 5 A I' I' . , ICe • • rt co II eetlons.. rt-- nvatc co lCCllons--Unlted States. I. Thurman Robert A. E [I. T 1 N7346.TSR482009 , I t c. 704.9' 48943923--dc22 20090277 17

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FOREWORDS' vii I-U -J. The Daloi Lama Roben A.F. Thurman

CONTENTS

COLLECTOR'S PREFACE ' xi Alice S. Kandell

AUTHOR PREFACES ' xii Marylill lvt. Rh ie Roberr A. E Thurm an

Acknowledgments • xiv Note on Transcriptions and Terminology · xiv THE TIBETAN SHRINE ' I Roben A. E Thurman

FROM GANDEN TO DOLONNOR TO WUTAISHAN Regional Schools of Tibetan Buddhist Sculpture (Fifteenth to Eighteenth Centuries) • 15 Marylin M. Rhie

A SHRINE FOR TIBET' 49 Marylin M. Rhi e and Ro bert A. F. Thurman

I. Buddhas of the Three Times ' 50 II. Lamas and Spiritual Mentors ' 96 III. Female Deities ' 136 IV. Cosmic Buddhas, Bodhi. attvas, and Pure Lands ' 166 V. Adepts, Archetype Deities, and Protectors ' 196 VI. Ritual Implements • 228 VII. Cultu ral Objects' 252

BIBLIOGRAPHY' 287 INDEX' 291

THE DALAI LAMA

FOREWORD

The events of fl fty years ago caused much of the Tibetan cultural heritage to be destroyed in its own land. Therefore, 1 am very happy to know that some of our sacred images have survived and are being treated with appropriate respect elsewhere . I am gratefu l to Alice S. Kandell not only for co llecting and care full y preserv ing the objects depicted and de cribed here in a shrine that approximates the way they wou ld have been revered in Tibet, but also for sharing them with the general public through the page of this handsome book. Most of these artifact we Tibetans would regard as sacred. The talUes and paintings represent aspects of en lightenment. All of them are a source of in pi ration . We say that for a Buddhist practitioner their fun ction is to support faith, be ionary matrix rhat is uniquely and brilliantly Tihetan. Up until now, in my opinion, most art hisrorians and connoisseurs, wirh a few notable exceptions, have been caught by tbe antiquarian bias that older is automatically better? and so have Dor really appreciated the remarkable flowering of Tibetan creativity ill the later periods. All rhese factors impelled us co accept Alice KandeU's invitarion and to decide to embark upon the project.

First, I contacted my att hisrorical colleague, Dr. Marylin Rhie, one of rhe world's foremost schol:us of Buddhis t an as transmined from India to China and developed in China, and 31so as developed In distinctive para llel in Tibet. She came down to view the collection, looked carefully with her expert eyes, and at once became enthusiastic about it. I then invired our brillianr designer and executive editor, Dr. Thomas Yarnall, a knowledgeable Tibetan scholar in his own right. He immediately came aboard, and we had the rC:1Ol assembled. Eventuall y, our cham pion photographer couple, Joh n B. Taylor and Diane Dubler, who had worked witll u S in our first boo k, traveling all over Europe and America to photograph, waS also able to participate, giving us tile highest possible quality photography, with their specia l creativity and precision in presenting objects in still life. Once we gOt to work, we had rhe tremendo us ad\anrage of working witb the origina l curator of the Collection, Mr. Philip Rudko, whose knowledge of rhe provenance of the obiects and also the proper arrange ment of Tibetan and Mongolian shrines was absol utely inva luable. And of course, throughout the long labor of completing the many tasks involved III producing such a wo rk. Alice Kandell was rirclessly and genecously available [Q help in numerous ways. nl:lking it all possible and enioyable.

May this book be offered as a trib urc co rhe precIous culture of Tiber and as an augury of hope that ir will not only be preserved. but wi ll continue co excel from fullness to fullness, and once agai n thr ive and shine OUl all over the wo rld [rol11 within its high free homelilnd!

Robert A. F. "Teozin Dhar makirri " Thurman President, Tiber HOllse US Jey Tso ng Khapa Professor oflndo~Tiberan Buddhist Studi es, Columbia Universiry

T ibet 1louse I~ plea~cd 10 prCSC'1H its rhird publicarion in the cl'lebration .:md study of the sacred :Ht of Tibet, following upon \~istlom alld Compassion ( 1991, 1996) :lnd Worlds o(TrtI11S(OYIJhltlOlI ( 1999).

us

WhC'n WI' first enll'red the shrine room of Aticr K.mdelL Wl' wcre rhundcrstruck by hl'[ ;Hr;l ngcllIrlll of thr braUllful and valuable sculptures and paintings into an authentic Tibl't:lll shrme, ready for wo rshiper Jnd practitioner to perform daily prayers and conremplatlons. In f.!Ct, my wife Nena, Tibet H OllS!:' l\Ianagmg Director, upon w.llkmg into rhr shrlllc room, cxperlcnced a I'isual n.l~h of encrg)' that was so powrrful, she nCJrly faimed. Alice kindly had her lie down and brought her cool w.lfer. while we called our eye doctor to make sure she was nOt having a retinJI problrrn. Oncr wr werc put at eaS(' on that score, we returned to ~llId)' the ~hTlne. \'('hlle thr IIldlvidual ob)rcts were oUTstanding. II was thr 'HrJ.ngrrnrllt that ('Specially ImpresS('d us. We werr pleaSc.' d that no tallgb ICon W;IS removed frOIll ItS brocJ.de franlmg-Itsdf a kHld of mll1i·shrine, with dlffrrent COIOh of brocade formmg a doorway to 1I1\'lte thr viewer into the world of the ICOII. and a silken cover that can be lowered to protcrtlts s,1cred spacr. Thl' sculptures mostly had their original bascs and \\'l're not pm'd 01X'11. and the fir rce deities had thclr hand Implemeflfs nlostly Intact. And there wen' all the Tilu,ll ob)crts and II1StfumelltS that are used in a TilX'lan shrlflc, p()1Srd and ready for usc. AlICe K:ltldell had spent re:l rs worklllg wllh her knowledgl'ablr curatOr, ,\ Ir. I)hlllp Rudko, to create Ih lS ~acred space. She fun her engaged our Il1Ierest by the fact that she e"pres,ed to IJ~ a detCrmlll,1I101l to create a fUllIre and long·term sltlla tion where her shrine could be preserved, ;Iud mad,· availahle to Ihe Tibetan people in sOllie forlll. Witham being a prJ.cticing Iluddhisl herself, shl' seemed deepl)' moved b)' the spiritual atlllospherc Ihc Tihet,lI\~ had cre:Hed, and was concerncd about thl'lr fCC him as thr Tibetans pray 10 hUll, JS they percel\(' him stdl h\11lg Immonally on an island somewhere (,IT ,ICroSS the Ind1311 OCl'an. III an earthly buddhaverse called Coppc.·r-colorcd Glory ~ 10unt;1.111. From there he emanates to wherever III the world the Buddha Dharma and Its praclltloller~ need IllS powerful serviccs.

The Alice S. K:1l1dcll shrine IS a s.lCred chapel maintained III :l pnv;ue hOllle,:l sort of 1i\'lIlg room for the buddha presence III ItS myriad forms. mild and fiercc, fcmale and male, human, demoll1c. and dl\ 11Ie. It has sculplllres to represent the Buddha'.\. body. texts 10 r('presenr Iht' Buddha 's specch, and stu pas 10 rt'present tbe I~uddha's Illllld, It IS a mbute 10 t.he people. of Tibel-to thl'IT great sp1TIIlIai and cultural achlc\'ement 111 obTa1l1lng. chcmhmg. understandmg, dcploying. and further developmg the full ·scale unive rsal-vehicle Buddhism thaT C:lme 11110 bloom ne:lrly ,I Ihou~and ),e.Hs ago, after fifteen hundred vears 111 lmlla. K:lndell':. curalar. Philip Rudko, helped her ~hoosc p;lmtIllS~, sculptures, furniture, ritual implements. and ('ven mundane ornamCIll~. Her selections wert' always made according ro :lllthenllcit)' and completeness in terms of broc;lde fr.lI1ung. covers. recepclcles. ,lnd olher clements. Togeth er, hL'r shr1l1(' .Ind ItS ohJects form .HI ensembll' That could be used by J pr.\cTlcing Tihct.111 I~uddhlq for the various contempl:lIIOnS .l11d mual performances that br11lg the twO re;llities clOSl'r IOgether and ulwllatcly ccldnale their nonduality. Th.1I the wll('('lOr felt dr.lwn to ere.lle such a unique colleclion IS .111 the mort· remark.lhle IX'CauS{' she considers herself a thoroughly ration.ll. praCllcal person groundl'd in this world. a profe~slonal ps}chologlst. an astute phllanrhropist. and an experienced colieclOr. She was not pursUing some theory o r Ideology 11\ conwn illS and creatmg this shrme 10 Tibetan 0\ illl:llion. On her first encOUI1l('r, as a young woman viSiting their outpOSt III Slkklfll. she snnpl~ liked the Tibetan people and felt ]'XJ\\erfully dr,\wn to their life~trlc and arts. as she \\'Ilnessed their pl('Cl·meJ.1 emergrnce mlO India and the \,(/est due 10 the fifTY-Yl'Jr-long. COnt111U111g holocaust. She also wanted to hdp refugcl' famllie~ who had 10 p:lrt with these fine examples of their patrimony In order to develop:1 life III exile. ~hc ha\ conllnued her collecting over The last four decades. Such a su'taltled 111terest :lnd pcr~istent pr:lcticc cannOT be wnttell off ,IS lIIerely a sort of "Shangri-b" fascina tion. a r01l1anrlCI~11l forcst,llllllg fear of the doomsday dangerl> of modern IIldustrial ~:lvager)'. With the notion that There is a pristll1e n:lture out There to whICh one ca n esc:lpe. Her dedication comes r:nher from a recognition that all the elemerlls of what call be trul)" called -humane civdlza lion~-wi sdom, gelll'roslt)'. gentleness. Justice. creativlty-shme forth from Tibet's art and IIteralure and culture, and stili are present III ItS peoplc. The desIn: to live with such a sh rine expresses genuine ,ldnl1Tal1on of the CiVilized qualiut,s and the enchantment of a humanistiC renalSs,1nce sllll al1\'e In tillS postindustrial world thJt seems to s111k dally e\er deeper IntO chaos, Her devotion reflects her sen~ of the preCiousness of these things. The Kandell collection IS here prescntl'd as a sh rine, because that IS how she sees II. The curator. ,\ lr. Philip Rudko, with hiS experll~e In conservation and III ritual procedures and equipment, h('lped Dr. Kandell find objects that would be part of ,Ill aurh,'nIiC workm!; ShTllIl' of:l Tibetan or ~ I ollgolian high lama or weahh)' byperl>on. The colleCTIon is all the more a shrine fo r Tibet. bl'causc the col lector and cur:ltor cfl'ated it our of appreciaTion and enjoyment. yet would like to see iT III _ tirn:llc1y returllt'd to the -nbctan people, when it is once again s,lfe for The11l 10 preSCTve their own culture,

FROMGANDEN TO DOLONNOR TO WUTAISHAN Regional Schools of Tibetan Buddhist Sculpture (Fifteenth to Eighteenth Centuries) Marylin M. Rhie

Fig. 1. Ganden m{)nJSf~ry. thIrty mIlts eJst of Lhasa. founded by TSh010 from l'ratek .\ Ian Tuladhar, Stddharth.1 ,\.1. Tuladhar famtl)' collectIOn )

T he art of Tibetan Buddh ism is rich and complex with many factors contributing to its meaning, originalit)" artistry. and production. Religious purpose. scctarian distinctions, rcgion of origin, diffcrcnces in artistiC training and technique, specific iconography, influences from other traditions, and thc el'crpresent impact of historical conditions all contri bure to create one of the world's most meaningful and superbly rt'alized artistic traditions. This art Ill'eds to be studied as comprehensively as possible, including the historical circumstances, the Buddhist underpinning, the artistic styles, and the relationships with the art of the neighboring areas with which Tibet interacted, to bc properly understood. Some of these issues are addressed through an af! historical approach with Tl'gard to Buddhi st sculptu re from Tibet and related regions. Primary focus lies in establishing a chronology and discussing distinctions and attributions o f regional schools of this sculpture from thc fifteenth to the eighteenth centu ries; considerations of the political-histor· ical setting. iconographic factors, technical issues, and the fundame ntal aesthetics underlying the art are sim ultaneously undertaken. This sculptu ral art is prolific and compltcatcd . and not yet st ud it'd in a thorough, comprehensive, systematic W3y. It is I'iewed here within its broad parameters in an effort to clarify a series of regions and periods, to study the art as a whole, and to bring together the disparate parts fo r an integrated approach hitherto unattempted for these late and little understood periods. This necessarily engages important complememary and innovative developments in the regions of I\ longolia and northern China, which were powerfully influenced by Tibetan Buddhism and its art 16 ' From Gandl'll!O I}olonnor to Wut,ltshall

from the late sixteenth cem ury onwards. This resulted in a virtual renaissance of Chinese I~uddhist art and the birth of Mongolian Buddhist art . the last great movement of Huddhist a rt in Asia befon.' modern times. Thus, the latter portion of this essay focuses in soml' de tail on these important, complex interactions and regional developments during the seventeenth and eighteenth cem uries. Since the y ha ve not been srud ied coniointly before. the Kandell collection o ffers significant contributions.

I. FIFTEENTH CENTURY The fifteenth centur)" in many ways becamc a watershed in Tibetan history, as well as Tibetan Buddhism and its art. Not onl)" did this period see a culmination of the preceding several centuries' work. it also witnessed a fresh IIlrning point tha t established the main foundations for thl' developments of subsequent centu ries.' Having reached a plateau from which much would evolve, it was unquestionablv one of the most active and productive periods of Tibetan ~rt.

Central Tibet At this time when the countr)' was gt'nerally pt'aceful, the appearance and work of the great master Tsong Khapa from Amdo (1357- 14 19) deepl)' invigorated Buddhist thought and practice in Tiber. The profound and lasting teachings of Tsong Khapa, founder of the Geluk order. formed the crux of the monastic curriculum. His major prac tice deities are those that generall y beca me the most favored in Geluk practice. Tsong

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Map: Tiber, Mongoha , :lnd China. (After P. Berger, Empire of E1nl)lilll!ss. with modifications)

Khapa and rhe Ge luk order are at the roar of much laeer developmenr in Buddhism and irs art in Tibet. Tibetan Buddhism spread primarily by rhe innuence of rhe Gelukpa to Mongolia and China, where rhe order became a dom inant cu ltural entity in later cemuries.1 In 1409, Ts Ilg Khapa founded Gandell mOllastery to the eaSt of Lhas. 011 Nomad Moumain (Dwgri ). The view of Ganden in Fig. 1 was taken before itS near total destruction in th e Cultural Revolution and the more recenr efforrs at

reconstruction. This great monastery became tbe sear of Tsong Khapa's reaching. 3 In a special na il for ranrric rima Is) he comm ission ed .1 Sta tll e of Shakyamuni slighrly larger than the

Jowo of the Jokhang in Lhasa, as well as gilr copper threedimenSIonal mandalas of the thirty-two-deity Guhyasamaia. rhe sixry-t\vo-dclty Heruka, and the thirteen-deity Yamamaka ..:I These no lo nger survive, bur we can i.magine their magnificence from the large Kalachakra mandala made later for the Fifth Dalai Lama and now in rhe Porala in Lhasa.' Shortl y thereafter, twO of Tsollg Khapa 's disciples founded th e large Gelukpa monasteries on rh e outskirts of Lhasa: Jam yang Choje Tashi Pelden founded Drep'IIlg in 1416 and Ja mc hen Choje Shakya Yes he (1352-1435) founded Sera in J41 9. Shak ya Yeshe wenr ro Beijing on twO occasions, the first 011 behal f of Tsong Kh apa, who had been invited in 1408, and the second when ill vired in 14 14 by the Yongle emperor of China (r. 1403-24).' He re[llrned to Lhasa with many gifts from the Yang le emperor, among them a set of sa ndalwood arhars, which werc copied in large sjze and

placed in Sera monastery,· The constructio n of these major Gelukpa monasteries in the early part of th e fifteemh century no doubt occasioned the creation of many works of painting and sculprure to adorn the halls, bur so far li trle srudy is yet available Oll the art. 8 There is a wide range of diversiry and originality in the sculprures of rhe fifreenth century:J tn gcnaa l., many sculprures produced in cen tral TibC[ (0 and Tsa ng) have styli stic elements that are essentiall y related to th e Indo-Nepalese artistic tradition or are modified with flew elem ents that can be linked ro Chinese sculptural sryles of the early Ming period (1368- 1644 ). SculprtJres that adorned the great stu pas of Densarii monastery arc a body of work that refl ects the Indo-Ne palese strand, as executed primarily by Newar (Nepalese) artisans in Tibet (Fig. 2 ).10 The guardian kings on these srupas are widely of the Chenghua period ( 1465-87). Though less influential than rhe Yongle bronzes, nevertheles!:. these images may have served as models for th e decorative patterns and for the beavier folds ~een in some late fifreenrh~ and early sixteenth-cenrury Tibetan sculpture. The statue oi the Second Dalai Lama in tbe Benhi Ashmann collection of the Rietberg Museum is 3 superb exa mple in the Mindroling sty le. JO The maiestic set of lamas in Mindroling comprises an imporranr dated group, not only for rr:lcing the developments in the repollssc images but also as stylistic markers of a major linc of developm ent in the sixteenth century, especially as seen

Sakya Lamdre Sculptu res at Mindroling A nOtable group of large sc ulptures dated to the late fifteenth century at' Mi_ndroling co nfirm one prevalent Jevelopmenr in sculpnlre around the turn of the century.l~ The images are rcpousse made with embossed sheers of gil t copper. a tec hniqu e perfected by the ewari sculpto rs (F ig. 8). There are different types wirhin this impressive group rhat indicate considerable variery within the sty le. Though the faces are still individualistic, rhey are more strongly linear [han tho e of the Gyanrse lama images from earlier in the century (Fig. 4). Further, the Mindroling images a rc considera bly strengrhen ed by a broad

Fi~ . 7. Tsang Khapa. ca. second half af the fifteenth cemurr, gilt copper allny, Tashi Lhunpo monastery. (Af[cr Lit! he, cd'l XizllItg (ol/lloslm, Udjing, J 957, fig, 76)

ReglolHll Schools uf Tibernn

BlIddhl~[

Sculpture · 21

FIg. 8. Sa!.;)"3. Lama ..1 lIl.l>In of the LJlIldrc hned!;c (p(w.,bl)· Dr(»tlllli. ~llIldrQllIlg mond~tery. cemra.llibct IU). IatC fift~nth c~ntur}' ( c~. 14951. !;lit coppc"r ~Ho). r~pou~!;C". H. 88 (m. (After I'reo(ms Deposlf$. IklJmg. 2000. \01.111. No. 100.1'. 170)

in bma portrait sCul ptures as well. 1II The ponral! of the First (I'ourth( Panchen Lama In Fig. 16 (probably ca. second (IU:lrter of thc se\'enteemh century) IS a stunnmgl y rcall~lIc Image who~e engaglllg face with high checkhones. IJrge fe:lt\lre~, and mfcctious smile is compelling ,Ind Immediatc. We llI~t111ctlVely recognize the realit)" of the 26 • J rom (,JlU.ltn w l)o]omH)r

!O

IX"UiJI,h.1r1

face and the IIlHll:lnipul:lIed eHen s of the material weight and teXturl' of till' homogeneous. thick robes . He seems to live an(1 breathe with e:lse :H1d inner {'ne rgy right before ou r eyes. Comparing il with the lama sta tue in Fig. 5 from ca. the second quartc r of the fifteenth century. which prod uced the first major wav{' of naturalistic art in T ibet, one can see both the mdebtedness of this seventeenth-centur~' style to earlier modes and the development of a greater mastery of the forms mto a sop hl~lIcated. coherent emit},. This master}' operates al .1 deeper level of underSlanding the inherent inner wo rkings of line and form functioning ,11 the service o f a na tura listic ideal. The effect IS of gn.'ater maturity 111 style withou t artificial in . cursions of d('(or;\II\"{' pancrlllng or manm'red touches. It may be a sllllilar phenomenon as seen In the paintings of Choying Gyalso (aclI\'e 1620-65 ). known as the -New ~'I e nri" inheritor of tht' ~lcnn -st y le pauning of the fiftee nth cem ury, which shows a high degree of expressive naturalism and subtle technique. Compared with the Nimh Karmapa statue in Fig. 13. that of th(' Panche n Lama shows a settling of the more floridly energellc manner of dr:l per), depiction in the sculpture fro m Kham by Karma Rinchen. The mann('r of folding the cloth in the robe~ on the Panchen Lama sta tue IS imerestingly simi la r to that seen in the KUlllbum image in Fig. 15. The draper}' configuration :llso n·~embJc.. th;!t of the three Geluk la ma figures (Los;!ng Chokyi Grah~en-Iater the Panchen Lamawho appears 111 the center, the Fifth Dalai Lama, and Tu lku

one being the guardian of the north ) sitting on the lotus-petal base of rhe sq uare midsection of the srupa .s~ Th is Vaish ravana has a sinuously cu rved, sho rt-waisred torsO withour excessive mass o r elongation. The armor is form-fitti ng with the depiction of individual strips (representing leather or metal ) and is un like rhe tighr, compactl)' woven type seen in Chinese and Mongolian sculptu res of rhe eighteenth century (Fig. 28). The wa isr is cinched, and ornate bands and border decorate the midsection. This accords with rhe armo r worn by figures known fro m as early as rhe fifteenth ce ntury in th e wall paintings of Tholing monastery in western Tiber and e.lsew here. ss Th e ends of hi s sleeves fly upward near the sho ulders in sharp and po inred shapes, differe nt from th e more lightl y coi led curvil inear sca rves typica l o f [he eigh teemh ce ntury. The forear ms are boun d wirh rows emu lating learher st rip ping, and he wears an ornate crown of plaques and long earrings hanging from a circula r rLng. Tho ugh the crown plaques are no t as raU as usually seen in bodhisa ttva images of th e rime, the ea rrings are similar ro those depicted on scvcnreenrh- and ea rl y eighteenrh-cenrury sculptures. His face i~ broad with big Featu res, concentrated expressio n, and staring, wide-open eyes. He holds rhe victory banner and a mongoose, and si rs o n a lorus-petal base of large, rather plain petals along rhe base of rhe ce nrral porrion of tb e srupa . The flattened, somewhat stiff but rich ly surfaced quality frequenrl y se~n in the repousse im-

Fig. ] 5. Goddess Vasudh:lra, Nine- Room Hall, Kumbum monasrery, Amdo,

ca. steond qu:t rtcr or the ~cvcntecnlh century, gi lded clay with insets. (Afrer Li Zhiwl! and Lil! lizh ong, Taersi, Beiiing, 1982, fig. 130)

Drakpa Gyaltsen-ki lled shortl y before j 642) in the upper left co rner of rh e Peldcn Lhamo rangka (now in rhe Virginia Mu seum of Fine Arts), which, by vi rrue of the idenrity of these lamas, can be sec urel y dated as "ea d ier [han 1642. " ~ I

The sta tue of the Fifth Dala i Lama in Fig. 17, now part of [he Tibet House collection in New York,S2 is a masterpiece

of portraiture and a rristic power probably dating from the latter pa rr of the sevemeenrh cenrury. In rhis image, rh e robes are transfo rmed inro sharpl y cur overlays of angular folds and creases, and the bands and borders create a tense linea r framework that encloses the steady, ca lm figure of rhe I' Great Fifth ," who engages rh e viewer with a penetrating gla nce touched with rhe him of spa rkling humor. Th e dignity and presence of th.i s image emores far beyond its small size and

affords us a glimpse of the person of the Great Fifth that Can st ill inspire awe and huma n connection. The artistic style has become mo re ecce ntri c and manipu lated than the more naturally configured portrait of rhe Panchen Lama in Fig. 16, but the o rigina liry of the design and the complex mixture of elements creare a pOrt rait both natural and beyond the narural, but without the excesses see n in the ea rlier eaStern Tibetan statue in Fig. 13. Jvlany images at Tashi Lhunpo monastery a nd at rhe Potala in Lhasa are examples o f scu lptures from the sevenreenrh and eighteen th cenrur ies. s3 The Vaishravana repousse sta tue in

Fig. 18 at Tashi Lhunpo offers a handsome exa mple in the repouss'; tec hnique Ica. 1662 or slightly later). The image is on the base of the stupa of the First [Fourth] Panchen Lama, who di ed ill 1662. Ir is on e of th e four directional gua rdians (thi s

Fig. 16. First Panchen Lama, Losang Ch6kyi Gyal rsen (1567- 1662), cenrral Tibet (Tsang). ca. second quarter of the seventeenth cent ury, gi lt copper :llloy, H. 27.5 em, Oliver Hoarecollcction. (Arter E. Dinwiddie, cd., Purtraits of {be Masters, London, 2003, pI. 89) Regional Schools of Tibetan Buddhist Sculpture · 27

ages of the mid- ,1Ild late seventeemh and eighteemh cemury in central Tibet contrasts wi th the typic31 i\hnchu Q ing and l\Iongoli:1I1 armored Vaishrav3nllIl't'r h ' . .. . _I); I 0 I11g a. rSI nor X,UIIS Il"';1 period in ]kij111g, the superb fil'rce fem:lle image in Ihe K:llldcll colleclion (No. III·] Oa, b) is remarbble. Though on ly mneleen inchcs lall, II h:ls thc same monu1I1cntally powerful form Ihal is wITnessed III Ihe Padma $amhhava statues of the Red Palace at the Potala (Fig. 20). By Ihc mid-eigh· tcenth century under Emperor Qianlong, Bellll1g had fort),' 0111' Tibetan Buddhist monasteries, preeminellt of which was Ihe Yonghegong, converted 111 1743-44 hy Rolw;l}" Doril' (b)' Ihe order of thc empl'rorj from Ihe p:ll:u:e whl're Emperor Qlanlong had been born. It became an ac;ldl'llllc monasll.'-r), under the din'CllOn of Rol way Doril'. particularly cau?r· 111g to ~ I ongolians. I The huge hall conralllmg the colossal s;lIId,llwood sta tuI.' of GU:lnyin, bodhi~allva of compassion (a Chlllese fealllf(' different from Tibetan mon;[sto:ries and le1l1pks, which generall y havl' colossal r-. b ilfl'r:l st:ltu('s) 111 Fig. 36 is typical of the Iraditional sl)'le of IlIgh· ranking Chi'w~c .1 rchlH"Cfllrr 1I~t"(1 for the huildings of Ihe Yonghegong. TheS\.' buildings do nOI show allY Signs of Tibetan·style ar· chltecture despite the faci that Ihe JOtenor, arc for the 1I10~t pan decorated With Tibet;H\ icon forms 111 both pallning and s~·ulplllre.

T he colossal Tsollg Khap:1 repoussc icon 111 the Falundian (Dharma Hall ) of the Yonghegong is olle of the 1113111 IIl1ages of tillS Important temple (Fig. 37). II escaped the ral'ages of the Cultural Revolullon .\IId remams a promment lemple m Bellmg even today. \X/llh liS Ihml)' la~weJ Jr.lpery adhrring 10 Ihe tall. stiff form of Ihe body. the ahbr('\-iated p:merlllng

of the folds that exhibi t a formal simplicity, and the tYPICal pedestal wi th large lotus I>ctals and rim of discre tely sep:lfated I>cad ~. Ihe SI.Hue generally conforms 10 other large images of the second half of the ("ighleell1h cemUf},. such as the Vairo· chana of Labrallg of ca. 1784 in Fig. 25. The large mandorla IS finch- executed wl!h a beautifully dehc:ne nm of cu rlmg t endril~ and a filling of multiple images .[ nd designs. The gilt si lver pom,lit scu lpture of Rolw:l)' Dorje (d. 1786), the Second Jangk ya Il utuktu. prob.l bl), from the Qianlong penod in the colleclion of the Qing P.llace (imide Ihe For· hidden City in lkiJlIlgJ shows a sturd y figure with a large, sleekly smooth panJII's hat, massivt" reCl,lIIgular ht"ad, and big fe,lIures, alollg with the small lump he W;IS known to hal'e at hiS lower fight law. Tht" thick robe filS snugly to the chunky form. the chasing en livens the borders. and :1 few prominent groo\'es suggest til(" g;HIIICnt fold~. It is a Strong imagt" wilh IliSt a few mannered I1I1ear lOuches 10 provide some \·italil)'. Compared With the ponr,lits of the Panchen Lama and Dalal Lama in Fi g~. 16 :lnd 1-, there IS an overriding focus. not on the magnificence of Ihe fluid n;lIural form as wilh Ihe Panchen Lam;1 statu(" or on the crmkled sharpness of the D,ltai Lama Image, but on till" obdurale power of reali,m from a solid form tha t exude~ a sense of inner pres"ure from insistently Simple tine;lr deSigns. 1111' elegance of form .\IId line in til{' lllld·fiftecnrh ·ccmury Tsong Khapa St.Hue III Fig. 7 is not to be found in this ("Ightcenth·cenrury porlr.lIt where the reality of J tight, hea\) form \\'1thOIlI exagger;lIIon and wilh linear sUilplici ty domin,ltes.

hg. 16. \'('~nfuke Ii 1.111 for Ihe ~(lI(KS.11 sl~ndlr1); ('\Mn) In ~lal l.tC'l. Y(>nghe):ol1):. Bell lAg, QIJnlon): prnlld. (l'hOlo .\1. Rhlc) 40 • I rom GJn. and metal wor~t'r!> III the c.reatlon of 01 the religious and pohticalleadcrs o( Ihe r('gion dunng Ihe fo url ecJ1rh-firtct':n th cenru(ll.'$. These (ahulolls]) orna te 5nJP:l.S were . . nv('red WITh statues III relief and in the rqund, The. mon:tstcry regrelt:1bly fdllnto disu ..e and W3~ deserted hy 1820; rhen II was complerclr ravaged during the Culcural Revoilluon of 1966-69 (Von Schroeder [20011.11. pp, IOOS-I010). Fr;lgmcms from Ihe.-.e srupa~ have arpe:1 r(!d throllghnur the world In reCt'n l years, There. only rcmam 03 few rare phmo~raphs of the Brt 1/1 Situ taken by Tucci and Mde IVon Sch.rocdt'r 1200lj. lI. Figs. XVI-7-IO; Pierro Mel!!, fi· bet. New York, 1969, unpaginawd; G. TUCCI, Tn LIJascJ al1d Bt!)I(uIlJ. Rom!!, 1956. figs, facing pp. 142 and 146 ), II

Von Schrclcclt'r (lOO J), II , p. I () I O.

(p. 127).

~

The colossaJ fiftcen~meter crowned Maltrey:. (:"It the: :age of twelve) (If the Grear A~scmhly Hall of Drcpun" was probabl~' made after 1735, following rhe COllapse and ccconsrructron of the hnl! (Von Schroeder (200 t ), II, p. 1001. U'xt wi th Pig, XV I-J). The- approxlInardy sevenmeter crowned Mairri'ya ar DrcpulIg 15 traditIonally belJeved to have heen made In 1416, but may h:!\"c heen rcpalrcd over the ),C3fS. lk>th large sta rnes wcre m;lde of caSI and embossed sheet ... of gilt copper joined rogether. Ibid.,

n.

p. 10005. Fig, XVl-4.

12 Other examples 01 the.Ncwar ~tyle of ca. latter halt of the fOllnccnrh to first h:llf of [be fifteenth century can be seen In Von Schroeder [2001[, 11 , Nos. 260A-E. For more on (he New:1rs, see Ibid .. pro 91 1-912,914-9 18. 13 Th e..e "Yougle bronzes" still eXist In cOllsiderahle numbers in the mon:ute.ne!o of 0 nnd Tsang lfor examples. ~ec Von Schroeder (200 I). pp. 1247-129 1). Many are currently III priv(ue .lntl museum collec· tions thro ughol.ll the world (su-.:], as rhe Pala ce M US!!Unl Taipei, TJlc Regional Schoob of Tibetan Buddllls[ Sculpture · 43

Tibc:tan hlerarch< and I".,der, as a St"llcgr for keepIng the coumr)" we"k h)' !:ncouraglllg (aC(lOnS wnh", the rcltglolls (a nd poln,cal)

R,ctb.'Ig Mu~um \u ZUrich, and the Il cTll\\lage, St. I't'tcrsburg ). rhl' ,mp0rl.IIlI group o( matcnJls ha. been d,~usscd b)' llearlll"r Karma)', Early Smo·Tlbet,m Art, W;lrm!l1,!Cr, 1975; and U)"ch "On Sch/Oeder (100 II, II, PI'. 12l7-1l49. Amcil" on Yonglc bronzes mclude: S. 1\,11 •. "'Sino·Tibeull Sculpture: The Tibet,m Lega,)', ~ 'n 0" II", ('tllli

estJbh~hmems fro", II11UlIlll. The I\IUlg had nO nllcreSI III "",qucsI 01 Tibel but werc apprl'hell$lvc o( the pOSSIble threal from Tibet; Tihct had u\\"aded and capOlled Changan m the bte e'llhth cemury

dllrmg Ihe Tang dyna.t)". AI~, th,' :\-Img emperors kept a ,harp ell' on the ;\Iollgoi-. '(III conslder"d dallgerou •• and the "lllperOrS recogm7.cd the ]lOtenllalmf1uencc of rei'glon III controll,ng the are:l" of northwe

Ihe greal.grand60 Rhle alld ThurlllJII (199 1). 110. I (VajrJpJm). nil. 35 (M.UlJushrt).

or tbe grc.II-gr,,,,dncphcw of Allan KhJn .

.l1Id no. 36 (Sh.,d.1kshafl A"alokuesh'Jra), .1Ild 111ciudmg an linage of T.Ol1g Kh.'pJ (no. 96).

"'7 Fur a ~tud)' of thc>c paulllng. and new of Ihe temple, ed. Whtle c~altlce, HOI I).; Kong, 1992, nn. 'i I and text p.l l S.

n

BllddlllSt Art (rani Rehul. nos. 12, 2 'i.

79 Ro)' Chapman Andrews, Thl! New COllqll l'Sl oren/lral ASIa, New York, 1932, pis. XX and LXXX.

72 Tlus IS one of many sculprures Jcplcllng fiercc:-, Yldam, and mher Icons artrlbutable to Zallab:l1.ar or Ills dJsciples Ihal appeared

rccl'Jltly /Rossi and RllSSI IIOOS!). These prtmde ,ome eVIdences (or uoJerstanJmg th" breadth of Zanabazar's oeuvrt' and mlluence. 73 Dolonnpr ("Seven Lnkes") is forty kilomerers ~oUlheast of Kola. rung (Shangdu l; the furmer lI11penal residence or Khubilal Khan wa!> eleven kilomccerl> t(J the north. 74

As late as the I 930!>, the

tOWIL

81

1'01

the ,ole of R"lwar DOlje;o Q;,nlong', Hre and ,ule"ee I'"nc,"

Bergl'r, I:.mplre of f:..mptlll(,ss, Honolulu. 2U0.3. 82 After Ch.'ycl [2(04), pp. 38-4 1 I",ec also pp. 31-51 lor df!rails and ,UlJiYSf)i):

of Dolollilor bad a population of

20-30,000, mostly com prised of monks, mercha11ts, workerl>, and officials. The foundries wer~ still active al the end of the nmeteenth Ct;:JI'

wrYI but the monasteries began 10 dedJl1(: a.nd were vlrrually destroyed hy Ihe JapaneS'c in 194.5. Phorog.raph:, In Nakano and B:J.lci (1941) !:Iha\\.' the comLuon of these tWO great mooaStenel> almal flnl(' (pis. 11·90-11- 10 1). Along with Ihe Imperially founded monastcru:s of Inner Mongolia. there wt!re many other smaller tt'lllple.c; of Cluncse Buddhist, Taoist. and also Muslim and Christian l:.IIUl by the nlnetee.nth century. Isahelle Ch:uleux, Hlstnire el Archileclllre ties Temllics ei MOI/Il5tc!rll!s Lamarqltes de Mongohe Mcrtdmllllfe, Doclor's TheSIS. Umverslry PansSorbonne, 1998, pp. 11.2- 128. ! would I1ke 10 eltpccia lly thank Is~bclle for allowing tnt! [0 read her rhesls prior to ttl> forthcoming puhlicatlon. Also see T. B.Jrtholomew... An Inrroducnon to Ihe Art of ~lollgolia. - UI I~e rge r

SO In Chlllt! hI! is kllown:l!) the Third Jangkya Hu tuktu, but ClutsLdc of Cbiml hI.' IS called [he Second.

nnd R:mholomew ( 1995), pp. 80-82.

75 The arca o i Chahar 111 the sixteenth cenrury wa!. oc,,:uplcd hy the

175S: PUllIn,R:c;I, which has a 2~.15- meter sandalwood Th(lusand-armed AV310klte.!ihvara

~t:ltue

of

1759: ruyalisl

1764: Anyunnnuao

1766-67: Pulesl, bUill for the Mongols who C;lnte Imngmg yearly tnbute. 1767-7 I: PUnlU7ongchengllliao (pot:lla ) buLlt for \'ISII of [he MOrlgol trihes for hiS !,Ixrleth birthday (mother'S eightieth). At thiS time Ihe QI:mlong emperor heard of return of the Torghul Mongols, .1 hoon for hi!> empire. 1772:

Guangan~1

TiJlllt![ Mongols. III .1638, it was con{luered by the M3nchu~. Under

tilt' Qing It hnd eight hanners (separate from the fort),-mnt' banller~ of Inner Mongolia). The first unpcrill l QLng COTlstructif)1l wa!> 111 16S 1 allJ Sl!rved JS the. residen..:e for the Fiflh Dalai UtIl1.1 on 1m tnp La Btl11l1g fO meet the first Qing emperor. The Third (:dSb called the SIxTh) P:lnchen t arn:) also srnYl'd there 011 hIs tflP to Chcngde (Jeholl 11]

1779 ro mt'cr rhe Emperor QJanJong.

76 Hlldd/;is( Art fro m Rehof (Qmgglmg llll lOIlg), Tan .... nn. 1999. p. 21 R. Also for Kangxi's VISion for Chcngdt.' , see Anne 'hayel. "Archnc..:tllr,U Wonderbnd: An Emplrt! of Ficti ons." in J. Millward . New Qmg imperial HIstory. London and New York, 2004, pp. 33-36; als,., Mark Elliot and ScOtt LO\"'I! (trans.), "Preface to the 'Tlurry-six Vi ews of Ill-shu Shanzhllang'; Record of the MOllnra1l1 Vtlla to £'~capc rhe

H eat , ~'

Ihld .. pp. 167- 170.

1774-76: ShU'iI:lngsl, dedicated tf) jvtau luslm (bU ilt foUowlJIg a VISit Willi hiS mOl her to WU"Ll~ha!1! 1774: I uohnlllang

1780:

Llmlfll~holn (one of thc las t rWD temples tu survive; It \Vas bUilt ft)r the memorable ViSIt of tbe Ihlrd Panchen L1m.J 111 1779 Qn the occasion of the QianlonF, emperor'..- s('vcnucth binhday land hiS mother's mneueth) ~lnd s.Jld to have bt.'tIl modeled after T.l!>h, LhllllpO monastery 10 Tibet.

83 Isabelle Charletlx, 1-f,stOlre et Ardnteciure des Tem/Jles 1:1 Monnsfl'rICS U llIIlllqlll!S dl' Mongu/le Meridionale, -rhCSIS, University of ParisSorbonne, pp. 119-121.

R~iollal

School$ oflibctan BuddhIst Sculpture . 47

A SHRINE FOR TIBET THE ALICE

S.

KANDELL COLLECTION

CATALOGUE Marylin M. Rhie and Robert A.F. Thurman

I-la, b

I(anakamuni Buddha Centra l Tibet ( J hll'ill or Shig:uSt'J

18dl cemury

and pardy rt'~ pousse; fJ"acc'i of pl~ment, Inset blue rurquoise urna; base ~ealcd with copper plate InCI~ed with a double \';,lIr •• , ullollCnt:cl With comems inside Gilr copper Jlloy, p,ml), caSt

23" X 14' (58.5 X 35.5 em)

The Kandell cQllection has a number of large repollsse srarues (made from assembled pans hammered frOI11 . . Iwets of copper or some~ times parrly cast separately) whith, because of their sii'e, nrc irnpressive altar images. Perhaps in somc ca~es, as probably with rhis image and some of the orhers in thi s secrion, the Marue IS part of a larger set of images. such as rhe "Buddha" of the Past, Present and Future:' the "Thousand Buddhas,'" the "Seven Buddhas of the Past, " or others. The last named i~ probahly the set to which this Kanakamuni Buddha sc ulpture belonged. This can be substantiated by [he inscribed Kanakamuni Buddha painting in the famous set of Sev~n Buddhas datahle to '1777 and given by the Panchen Lama [() the Qing Emperor Qlanfong (see 1-2, and Precious DepOSIts, IV. No. 47 ). Ka nakamuni I~ the fifth of the Seven Buddhas, or, IJUI another way, the second buddha of rhl! present Dod Aeon (Bhadrakalpa). Sets of the even Buddhas were populdr in rhe early Buddhist an of India and cenrral ASia, and also of Chma, bm seem ro ha\'e declined in the later evolution of the art in India and Chin' pleated end of the robeslaming rowards tile cen ter of the back. The pedestal has more densely packed lotus petals than I-I , but has a simila r overall form with the circular plain band at rhe bottom an d beaded rim above. Th is type of lorus pedestal i:. COmmon to th e l7rh- and 18th-century sculptu res of both central and eastern Tibet. The degree or curved movement in rhe hems ove r rhe ankles is simi lar in this statue and 1-1; both are mo re pronounced than displayed in the Jowo image in 1-3, but less vigorous than images probably daring to the 18th cenrury, sllch as 1-9 and 1- 19. The two images 1- 1 and IA well represent the impression of moderate ly large sculptures seen on the a ltars of temples III rhe central Tibet regions, such as at Tashi Lhunpo.

I. Bud dhas of the "nlIce Times · 59

I-Sa, b

Shakya muni Descending from the Heaven of the 33 God Cenrral Tiber (probably Lhasa) Late 18th ro early 19th century

Tangka, mlllcral pigments and gold (oil on sizc:d conon; with older (Ming?) brocade for (he. frame; original silk c.llrtain and ribbons; wooden dowel With chased silver CdP~ Overall: 59" X 34~ (150 X 86.5 cml; paillting: 26 x 17W (66 X 44.5 eml ff

One of the major episodes in Shakyamuni Buddha's life was his visit to the heaven of the thirty-th ree gods (Trayastrimsa-rhe Indian Olympus), where for three months he mught rhe Dharma in irs Abhidharma form to his mother, Queen Maya, and Other de iries. For his descenr back to earth, Indra, king of rhose gods) ordered a triple staircase, gold in the cenrer for Buddha, with twO side staIrcases of silver and heryl for Indra and Brahma . The stairs touched earth at Samkasya in cencra l India, whe re a grea t gathering a.ssembled to greer him. There were many kings, and also the nun Utpalavarua, who rransformed herself

inra an emperor to make her W3Y to the front of the throng, to be fi rst to honor rhe. Buddha (turning back then iOlo her bhiksllllNl form). The scene po rtrayed in this tangka shows rhe triple stai rcase as a golden unit descending from the heaven in the upper right corner, above rhe levels of the axia.l mountain, SUll1cru, depicred a!t surrounded by the eigh t oceans alrcrnaring with seven encircling mountain ranges. The heaven in rhe upper right faces a deep blue sky fading ro white as it meets rhe outer rim of the world ocean. Beau tiful flowers fil l t he :tir ;tlnnc with bands of white clouds. Interrwined streams of rainbows swoop down to eanh on rhe lett side, floating past blossoming trees and fantastic, gemlike, blue-green rocks. ShakyamuJl!, exquisitely portrayed with rhe mm",;r delicacy, approaches earth making rhe gift-giving gesture with his right hand and the have-no-fear gesture wirh his left hand. Delicate shades of pink co lor his pa lms and the soles of his feet. His orangered robe is parrcrned with gold; the red head-halo has five clus ters of filigreed gold flowe rs tha t resemble snowflakes. Hrahma with four heads is at Huddha's right holding a yak-rail fan (as stared in some texts)) and rhe white Indra on Buddha's left holds

a light canopy over his head as irs silken nbbons blow like rentacles in the wind. Three monks and rwo ueilies, one holding a golden wheel, the other blowing a whitt' conch, accompany the Budd ha amid puffy pink and blue clouds edged in green sca llops. Arrayed to greer Shakyamuni as he alights ~r Samkasya are the world's kings dressed in rich silken anire, at the lower left, with tbe nun Utpalavarn a yuurhful figure wirh broad shoulders, slen der waist, and hourglass ro r~(). very Similar to rhe form of tht: Jowo Shak yamuni 10 1- J. His face has quite fe-fined featllres and a !rImall head wnh high cra niwn and ushmsha. Pam:rns of draper) incl ude widely distributed rihlikc folds on rhe leg'), bunched rill)' pinch pleats Ovcr the left shoulder, a few Hat strips fa nning (Jur from under rhe crossed leg!rl, and a tigh t arc in the edge band of tht' sa nghari over the ches(. The triangular shape of the torso reflects sl)'le5 of Pala an-a styl e ro which Za na bazar seems lU have been dra wn in his work. A brillianr blue turquQise is inst't for rhe lIrna, and rhe eye.-.. are of a distincrively cllrved shape [hat curves and Widens a[ the oun.: r t'dges. The lotus sear I a little snff and ~ h arp in comra::. r to (he smoOth, sleek silver Buddha imap,e. The mandorla of flower, with actual srones ()f tLlrquoisc, lapis lazuli, and c()ral add color to rhe rhlck leaves. and rexrure that "lleviare5 th e ra rhcr severely abstract style of {he image, An image of a garuda fe. . roans th e pea k of rhe mandorl a. The base is hand:.omely done j,n stepped-back form uSIng coloriul stones, bon statues holding up the tOp plank. and l o n~ narrow lotus petals in a slyle diHen:nr fr()ln r hu~c o n tht: im age's lo ru;; sea t. Overall the ensell1hle wo rks well arrisricaJl y with the variety in each or ItS parrs. Like most of these 18dl -cenrury images, dlt! hack is qUIre plain (only a long rriallguh1redge of [he sanghari over dIe righl shoulder appears on th e Buddha) while th e IOnls sem IS ungllded and with om lotus petals in the back. ~L' lIl c d

I. Buddha o; of rhe Three Time!. • 71

1-12

Maitreya, the Future Buddha Qin!;; pr(llmbly Dololl1H~r

eCI)11J "nlf (IF the 18th centu ry

Gil t heJvy rcp0ll:(", and his crossed f("('1 II IIh th("irchuhhy toes a'-I in Ihe composition .IS.I counter~hape 10 Ihe hands. The drapery creal("s \3noUS strong mm'emenfS Ol"rr the hody, Th~' agllJlIon of Ihe surfaer sets up a pleasllIg h\"("llIle~s III the Image. WhK h has an extr.lOrdlnanly bold presence. TIll" 111,:0rou,l), ruffled edgr of hiS und("rg.\TlI1("1lt han)!s 111 brge. suff loops aroun d hIS nt'Ck. Theoliler roll(' is held In place by l clasp WITh a l'a1r.l .•lIld the 11l1ddle robe is tl("d with .1 thICk beh who called me "Lotus Clan," the group of deities relating (Q Amitabha, Avalokireshvara, Tara, Hayagri\'a, and Padma Sambhava, associated wirh universal compassion and, of the five Wisdoms, the ruby- red wisdom of indiV iduation.

11 . Lamn!) and Sptrlfll31 Mentors · 103

II -la. b

Padilla SambhavCl Ccmral Tibc-I hr~1

h.Ilf of Ih( 18th ~(mUf\

GIlt coppt'r rcpou ~104' ","h ( ;U I hcad Jnd hJnd~ J.Jld rcmol·ahl( CJHlng~; IlIrquOlw lJl!>e1S and f'angpa spent a long time there and Jchlcved man)' msighb. Ht: IS here repre:.emed as an impressively large figure, Jnd sir, on a double-cu'ihiooed sear covered hy a rug. Wilh IllS right hand he makes Ih(' Icachmg gesture (v irarka mudra ). lie wears tl large flaring har, (otally gilded and beaurifully chJi>ed on all Sid es with an overall nora ! parrcrn of tht' kind often seell III carly ISth-ce ntury i>culptu res ( Wisdolllll/'ld CUlllpassifJ/l, 199 1, No. 85, and Tniwan, 191)8. No. 101 ). Tht: cenrral panel i3 edged widl ~mall tllrllllO lse in~e[s. and in jt~ ceme r i~ a large circular emblem studded with brilliant turquoISes. Hi.; body is tall and large with a promlllCl1t, ponty midsecruJll. TillS pr portioning partICularly resembleli that of some scu lptures such as the Rinchtn L.:lI1gpo of the White Temple ar Tsaparang. ot ca . .;econd quaner of the

16th centur) (Govlnd, \ 19791. II . p. 18 11. His long fJcr dominates '''Ith It~ generollsly ample femures and plea!lJnt expression. The robes seem vcr)' thlll; the)· fit tightly ro the form and have only a few widc pleats. The bardtr cros~mg 1115 lorso h3~ it lYrically S~ shaped fold. Here anu there . .ome delicate ch:t~ing appear .. on the bord('r~ and bands. A moderately Wide btlr holds th e pleated 1Il1derrobe at 1111, high wa to;dinc. Though there is -.ome c rlllcc(ion [0 15th-century sryles, thl~ impressive image ii> probably later in tbe 16th or 17th century. Its large size puts it IntO rhe category of the large rem pIe image ... so it i.. !.omewh:.u differem from rhe small ca~t Images. The pcdc!'lal, composed of tWO slightly saggrng cushions, ie; a linle .!oharp and rigid m it~ contours, but on rhe sides of the covering rug thert· IS a tine geomerric panern of !)omall squarc~, C'~H:h COI1rainmg a Single rosctte. It l~ an nnprcssively dlgmfied and srunnmg sculprure, probabl} from the ccnrral regions. of Tibet.

II. Lam:'!:) and t;piritllal l\ \cntor, . 121

11-12

Tsong Khapa on Lion Throne

First half of the 18th cemury Gil! copper allo)' 10· X S- (25.5 X 12.75 em )

Lama Tsong Khapa (1357-1419). his real name being Lobsang Drakpa. was 3 child prodigy born in northe3stlibet. at the site where the Kumbum monastic university now stands. This university was bUilt around the m3gical tree th3t reportedly grew from the afterbirth buried outside his parents' house, with the Manjushri mantra 0.\1 A RA I'A TSA NA [)H1H incised. syllable by syllable, in its bark and leaves. He learned to re3d wi thout instruction at less than three years of agt·, was ordained a novice monk at six, traveled to centrallibet for advanced studies in his teens. and by his mid-twenties was recognized as a major teacher of all branches of Indo·Ti betan scholarship, having studied wuh more than 55 of the most eminent teachers of the da),. In his mid·thirties, he was reportedly directed by \ Ianjush ri himself, whom he had learned ro sec and hear dircrtly in comemp1:ltive ses· Slons. 10 wi thdraw from academic life and del'ote himself to solit3ry contemplation on the deeper issues he had studied. After a live·year retreat at a hermi t3ge in the Olkha valley wllh eight close companIons. he IS s:lId to have 3chleved perfect en· lightenment at the age of forty-one. in [398. He subsequently taught large assemblies of disciples from all orders of Tibetan Bud· dhism for twemy-one rears. accomplishing what arc called his four main deeds: renova ting the ancient ,\ hitreya temple at Dzingji. during 3 season in which celestial visions

122 . Cal3logue

of buddhas and bodhisattvas were seen by masses of people all Over Tibet; holding a conference of all major te3chers of the day to rel'iew and renew the monastic discipline of the Vinaya to intensify the ethical discipline of monks and nuns; renovating the temples of the Lhasa area and inaugurating the n3' tiona I "Creat I)raver New Year Festival~ at the Jokhang cath~dral, resuiting el'entually in the founding of the three great monastic universitit's nearh)" Canden, Drepung, and Sera; and commissioning elaborated architecwral mandalas of t hr major tantric archetype buddhas, Thirty·two·deity Mys· t ic Community Buddha, Tlllfteen·dcit)' Manjushri Death-Exterminator Buddha, and Sixty·two·deity Superhliss·Machine Buddha. Tsang Khapa's seventeen volumes of collCl:ted works arc not counted as main deeds but the)' prol'idrd the intellectual and contemplatil'e b3Sis of a full-scale spiritU:11, scientific. and social renaissance that swept Tibet, led by the reincarnation line of the Dala i Lamas, the first of whom was his personal disciple, Cyalwa Gendun Drubpa

( 1392-1474). Tsong Khapa is sometimes compared to M artin Luther. due to his ethical emphasis on monastic strictness. setting 3 Strong prece· dent for monks and nuns to maimain and intensify their temperance, celibacy, povt'ny, humility, and compassion. But he could more appro priately be compa red to a Leonardo da Vinci, in his intellCl:tual achievement of a synthesis of all the major strands of Bud· dhist teaching and pr3ctice. completing the extraordina r)' work of his Tibetan prede. cessors of the previous several centuries in the transla tion, personal assimila tion, and organization and refined implementation of the vast treasury of knowledge and wisdom received from the great millennial universi· ties of Buddhist India .

Despite its small size. this sculpture o f Tsong Khapa is a complete ensemble with base, mandorl a, and image on a lotus pedestaL Like 11·13, it portra),s Tsong Khapa wi thout a pandi t's ha t and may relate to a particular form of the master (Lipton and Ragnubs. Treasures of Tibetall Art, No. 24). Interestingl)" he holds a monk's bowl in his left hand, qui{(' unusual for Tsong Khapa, suggesti ng he might possibly be a later Gclukpa lanta associated with Manjush ri, though the portrait like (Tib. IIg an d more \\'e~k and cor rupt, feared a hili-grown Dalal Lama, who might unj£y the Tiberans and ~ l ongoli3 ns t Q berter defend their culture nnd cconom}' againsr the predarions of the imperial 3genrs in lnm.'!' Asia. This suppression of th e Dala i Lama governing in!:tdtution was broken lw the Great Th in ;cnth Dalai Lama ( 1876- 1933), whose regent.. rema ined free from rhe in fluence of rh e Ambans and enabl ed hln) to assume power WI th out the consultati on of the Manchu cQun. He foi led an assassi nati on plar early I11li(e. jusr before he reac hed maturity; he complet ed his studIes in phill~sop h y and contemplarive comrol; and he began ro rake up his responsibility a~ a Dab l Lama to protect Tihet and its Buddlwn culture. Ht' also made an cfforr to understanJ Ih~ cha nging world during the last full flowering of Europe3n, M~n c hurjan, Russian, Japa nese, and Ottoman imrerial ism. Through hi s tutor and friend, the Buryar Mongo l Lama Agvan Doriieff I IS56- 19381, he engaged in a susramed dipiomanc di~­ iogtle and concluded J rreaty of protection in 1 OJ with Tsar Nicholas of Russia. adly for Tibel. this [reary wa~ n OI implemen ted due to the British invasion of 1904. Fleeing rh e British, he visi red IVlongolia and

China, where he mer rh e IvlongoiJall lama ru ler, KhalkhaJetsun Dampa; Ihe la3t too·lnnchurinn emp ress and emperors; Rus'iiall , J3pane:;e. :1I1d Eu ropea n offlcials: and even so me Americans. He evemua lly rerurncd ro Tiber bur ar once had to flee (rom Man chu and Chinese aggression imo the anm of rhe British in Ind ia. He spent ;] few )'i.'ars rhere under Brtlish prorectiol1, returning to Tiber to prochllm hili independence on the fall of the Manchu dyna sty 111 19 11 - 12. and rhls was remporarily recoglllzed h), the British and M on~oliao govern ments. He li ved on in I hrl sa prt!sidiug over the fuJ I freedom of hi s peuple until 1~3 3 . The sta tue of rh£' Twelfth is gilded with the bnllianr gokl typical of Qing hine..,e production. The pigmems on the fa{'c are trel)h and Imparr a sra rkl y strong lmpr sion ro rhe. hean -shaped face wirn irs largt' open c)·es. Stl ong black eyebrows, and plea:,anr exprc!!sion. He ho lds rhe vajra :lnd hell, hOth cast separately. His thick robe~ ha ve airy brocade partern s, lighrl ychased on rht· borJerson both front and back. The twO cushions 3re chased with pancrns of gems, and rhe covering rug has get.ln1emc designs-a ll cover the from and b3Ck c)f rhb small but finel y wrought image of the young Twelfth, of whom tim small depicTion is quite a rare exa mple.

H. Lamas and Spmtual MentOrs · l29

U- 17

Third or Sixth Panchen Lama, Lobsang Pel den Yeshe clltrallibel (Shigat5C)

Late IS[h to early I ~hh century Tangka, minera l pIgments and gold on sized colton; Chinese (Qing) brocade mounrs, silk dustcover, gilt-iron rod C.lpS Overall: 48" X 34* ( 122 X ~6.5 r;:m ); painflng: 24" X I (i)1 x 4 .25 em)

r

Lo bsang Pelden Yeshe ( 1738-80) is coumed the Third Panchrll Lama when Lobsa ng Cha kyi Gya lrsen is counted the First, or the Six th when the latte r is cO ll nted the Fourth. The Great Fifth Dalai Lama (J 6J 7-82) gave tbe title "Panchen Rinpoche" ro his reache r a nd the prorecror of his yomh. Lobsang Chokyi Gyalrsen (1570-16621, and endowed his incarnation lineage with the Tashi Lhunpo monastery in Shigarse buill b)' the First Dalai Lama (139 1- 1484) in 1447. At rhe same time, the Great Fifth also recognized three distinguished lamas a~ the Panchen Rinpochc's immediate predccesso rs, retroactively nami ng them (he First, Second, and Third Panchen Rinpoches, and the incarnation line was also traced all [he way back and up to the Buddh a Anmabha ohhe Western bud dhCl paradise. Sukhava ti. T he mythic j

norion set forth at rhis ti me was tha r, since rhe Da lai Lama was an incarnnrion of the divme bodhisartv3 Avalokire')hvara, whose celestial reacher was rhe Buddha Amirabha~ rhe Fifth's primary rcacher, Lobsang Chokyi Gyalrsen, mllst be an incarnare manifestation of that hl1ddha. In rhis [a ngka tbe Panchen La ma is presented in rhe idealized image of a wise teacher, the intellectual gellllls thar he was proven to be by [be vol uminous nnd incisive written corpus he left behind, by his holding a lorus over his rigbr shoulder, which supports [he book and sword that idenrifies him with Manjushri, the bodhisattva of rranscendent wisdom. He holds 11 mendicanr's bowl in his medi tative left han d, wilhin whicb srands a 3111e.' Jo.ned hl Ulcrl..pp.ng hc.ld .md arms, separa[d)-ca.t; milch (lflgm.,1 p.llnt rem.lln,; dcuch,lhlc kh3f\'.lI1gJ ~[.I ff .ll1d UowI:rllll,: rlJII! wllh 11.11[. "II'cr, ,lI1d p'glllent'; h~-.e SCJll-d wnh wurnkn pl.ique [' ..,med wah.1 duuble 1,IITJ; urll,:mal content,

(,lIt

10· x 12

"

UO.-' x JI.-Scm)

ThIS charmmg lama is prcSt'mcd m hl~ l'O};I': aSJX"ct as an Jdep[ of Ihc Ch.lkra',IIll\,ua (S uperhhs) ~\achine ) ~Iothcr Tantra, as slgll1ned b) thl' s\.Inding khall,lng,l suff Jt · !Jched 10 his Icft ~houlder. and po:rhap, Ihe fC11l1ll1llc (onnOlJlion of Ihc cI,lboralc flor,ll .lTr,l11gl'ml'nt held III hl~ righl hand. If II IS Rolw,l), Dorll' (1717-86), Itl5 an Idl'all/,~'d forlll. 1101 dcpicnng til:1 empl'ror ( 1654-1721) and hiS 11Icarn.1II0n 111lc.lge was hlghl) respe'Cled h)' th(' people of Ihal art'a of ~ \on goha now Illeorpor ,lied 11110 China as "llIner~ ;\\ongolia. I Ie lI'a, broughl lip b)' billa IlIIors. but al~(l.lIIt·nd{'(llhe palace school for Imperial pflnee). be(om11lg a schoolmate .11Id fmnd of Prillce Hong.hl, who laler becJme Ihl' Qlanlong t.'mperor. ThiS enablt'd hlllllO accomplish a greal deal for Tiberan Buddhl~1 lnSIIIUllons III China, Mongolia. and Til~t. lie lias a smdent of the $el'cmh Dabl Lama and a leaeht'r of Ihe Fighlh. He lias an unponant lme;tge holder 111 st'l"Cral.ldepl rradluons of horh Father and MOIher Tamras. The face of Ih,s 11I1:1j.:C I~ d'srlllcllle for liS dralV11 hrow~ 1I11IMr\lng ,111 11I1ense COil' centr:lIiOIl. I l,s eye, .He Wide opt'n and the mouth seems 10 smilt'. Th t' unagt I~ gilded, and Ihere IS cold ~old 011 tht' fact and neck. Old paim remalllson Ihe bcc and h31T. Parts of Ihe body 3Te casl ~epar.llc1l (the hands and arms ). The draper) COICf) the form wilh

unUMI,llly ,h,lfp folds. '111t wide, slC{'k bor!ler hand~ of Ihe oilier rube contrast lI'ilh the n,urow .:rC;hC) clmlered over the IOr50 and the arms. and ,Iround Ihe legs. Some lmcaf elements, )lIch as Iht· folds on the mner 1'1'51 and the )I rallj.:e )cnllclTclIbr loops ncar Ihe knee-s, ,H~' Wilham reiarlOn to other lilieS. Thl) resulr, 111 a choppy' IlIIe;H effecl thai IS dlfferent from the mort' usual Hylcs. IntereSlinj.:l), thiS klild of IlIle.lr treatment can be :.('I'n III a ,I.1IUC of ]{olwa}' DO'le from the 111Ipcn;11 Qut!; collecllon dallllg C:l. nlld- 10 b le 1Sth century (set' Khie e)~ay, Fig. 38). The back ha'> three (uTI'cd, horizonlally grool'ed crea)es. and Ihe ol"erlap IS relatll'cly l"eTlIl'al wllh J few cUTI'es III the hems, qUill' sl1mbr 10 [he back trealllleill seel1 III I- I and 1-4, bUlIllOH' 51111plifil'd. The kh.I\IJng.1 of siller and gilt copper and the flor,11 br.lII(h With curllllg leall's ;lIld pll\k -('olorcd blossoms are posslbl)' 1.1II:r .lddI1IQns. (The b.lCk of the- ilranrh I' palllled n::d .wd Ihe sIems are green. :I ~ commonl)· ~('en III ~ l ongoh;1J1 sculpt ures.) The pedeM;I) lI'\lh ,I double row of lolU~ p~'lals IS se.lled wnh a wooden hase plale (a l~o t)plral of the ~ 10ngolial1 schools), and Ihe back I~ pl.lIl1. ThIS sculpture 11l:l)' have come from Ih(' workshops of Dolonnor. Inner ;\\ollj.:o!ta.

112 • CUJlugue

.

11-19

Lama (possibly the Second Khalkha Jelsun Dampa) Mongolia (Dalonn or)

Second ha lf of the 18th to ea rly [9th centu ry Gilt copper repousse; wooden basI: with modern repair, painted red on (he bottom with gold double vajra 2 1 ~~

X 18"(54.5 X 45.75 em)

This large portrait scu lpture presents an impressive presence despire its strongly abstract

style. It bas been reported ro be a represenraticn of the second Jcrsun Oampa Hurukru, of the Khalkha Mongo lian reincarnation line that sremmed from the Tibetan Jonang order of the Lama Tamnarha 11575-16341. The famous and infJuentiallama-anisr Zanabaz.1r (1635- 1723), said ro be the reincarnation of Taranarha, was rhe first of rhe Khalkha Jetsun Dampas, who were prominent artistic and spiritual as we ll as secular leaders in the region of Durer Mongolia (nortbern J\1.ongo· lia of the Khalkha tribes) from rhe 17th cenmryon. The second Kh al khaJ etsun Dampa, Lobsang Tenpa y Dronmcy (1724-57), was rhe son of rhe head of one of rhe tribes. He diedar age thirry·threc 1 but was able to study

with borh Rolway Dorie (thesecond Jangkya Huwkru J in Beijing and the evenrh Dalai Lama, Kel"ng Gyarso (1707-57), in Lhasa at rhl' Drepung Gomang College. All subse· quem Khalkha Jetsun Dampa relllcarnations we re born in Tibet. They were known for the llumerOliS monasteries rhey builr in Durer and tnner Mongolia, Buryaria, and the Kal· Illyk regions of Russia (Lipton and Ragnubs, Treasures of Tibetal1 Art, p. 87). The figure presenrs a bUlh grand and charismatic presence. His face is distinctive, with large blue eyes that gaze down at rhe behold er with a cheerful expression ampli· fied by his smile. The black eyebrows set so closely CO the eyes add to his intensity. He holds a begging bowl and the stem of a lotus (parrly repaired) in his left hnnd as he makes the teaching gesture wirh his nght hand. His torso is lifted unusually high and his arms an:' long, but his crossed legs are quite narrow, which meeci}' increases his sense of height. Hjs robes cling ro the rather stiffly held body, and the f Ids fo rm stri kingl y unnatural par· terns of different kinds: a simple apronlike flap of three U·s haped folds oyer his crossed legs; bind ing narrow parallel pleats over his abdo men and lower left arm; and stiff, geometrically shaped diagonal plears (some with strange hook shapes) over rhe upper part of his-chest. Rather geoue) regular pleats spread over the pedestal in front of him. From the

side th e image appears to have considerable mass, with sqme pleasing curve:, to the fo lds around the left arm. The back IS quite plain except for the nap of the s:mghati, which preads in a triangular shape, diagonall}' toward the cenre r back with a few folds. This image probably dates LO arou nd rhe second half of the 18th ceoru ry or pas· sibly inro the early 19th century. Interestingly, the rather seve re abstract qualities (hat distinguish it appear in a number of other sculptures, including some of ea rlier date (von Schroeder, Buddhist Sculpture in Tibet, 2001, vol. 2, pI. 2 OA, dated rhere to the 16th-1 7th ceoruries) and also in a large image of Tsong Khapa in the temple at Wudang1 Inner Mongolia (see Rhie essay). Possibly (his sta rue was made in Dolonnor ("Seven lakes'l }) in Chahar, Inner Mongolia. though little is yet known about [he works produced at the workshops rhere. Dolonnor was near the huge Buddhist temples built by rhe Kangxi (1662- 1722) and Qianlong 11735-95) emperors of rhe Qing dynasry to honor rheJangk ya incarnations, whom they saw as their allies in their efforts to keep th e peace in rhe Mongolian borderlands of their Manchu empi re. Dolonnor thrived with many workshops supplying the needs of these large Buddhist cstablishmeors, and ir exponed the 3rt to regions from Amdo to Durer Mongolia well into the 20th ce mury.

11. Lamas and Spirirual Mentors · 135

mol

Mahashri Tara and the Twenty-one Taras Ccmral Tibet

19th cenrury Tangka; mmernl pigmerm. on sized conotl; Chinese brocade

moun~

X 39~ /124.5 X 99 em); painting: 28~ X 19 ~ (7 1 X 45.75 em) Overall:

49~

This is a rare and lovely painting of Mahashri C h in~amani Tara and rhe twenty-one Tara~.

The multiple forms of Tara are arranged within the boughs of n large tlowerlng tree. The twenty-ooe Taras surround the larger cemfal form of Green Tara, probabl y Mahashri Chintamani Tara. like a great aureole. Th is is a refuge tree [hat suppmts the auspi-

cious array of Taras, and grows from a lake that seems ro be at the edge of the world. The grassy bank artbe left has some wildlHe, and at the lower right corner is.l cave wherein a

monk is making offerings. no doubt to rhe Taras, as twO smaller monks in arrendance appear to be almost swallowed lip by the great waves of {he lake. Clusters of coral and jewels float like buoys in tbe lake, .\S

docs a stele and a flowering busb, which is J miniature of the huge whire-and-pink blossoms of the large deity tree. At th e rap SItS a Dalai Lama (probably the Seventh. Kclsang G},arso), holding a rexr and making the teaching gesture, and two wisp}' clouds supporring a group of celestlals wid, banners drift at left and right in rhe palebluesky. Each of the Taras is identifiable by color and according [0 rhe text on the twenr}'one Tams (see The F,rst Oahu Lama 's Six TaxIS Related to the Tara Tmltra, trans. Glenn H. Mullin, Tibet House, New Delhi, 1980, pp. 7-28). The firsr I One does nOt often see Images of Marichi. She ri des a boar. ho ldLllg a bcll and rope, wruch is quite unusua l for her, as she us-nallr balds her right h;:lI1d up and open in the fearlessness gesture, and in her left hand holds a short branch of an Ashoka tree. with which she IS rnvariabl), a:,soclated. The im3ge is gracefu l and lirhe with a yourh ful face. A few turquoise insets dot the sClIlpllIre. The circular arc of her narrow scarf encircles her. servi ng as a halo. As the scarf winds over her elbows it produces a hcavy aspect to the ma ss of rumed, Ourrcring folds. Th en ir rwi sts over ro fill ou t the space ro left and right 111 swi rl s that are similar to (bur more vigorous than) those seen in rhe large .starue 111-5, wluch may dare a little earlier. Her sk irr is ,hased throlighClut and Hips over her legs to form bold curvil inear hem folds. Her boar is delighrful. He gingerly 'iteps around a prostra te human figure whose rigbt leg is bem in a rorally improbable manner. The chubby swine wirh big head and fleshy crease~ ha delicate little hooves, rin y perk y ears! a clirled tail, and blunt haby tu sks. The front and Sides are rarber

111-13, 111- 14

Fierce Protectors of the Medicine Tradition of Yutog Yonten Gonpo-Two -Iilllgka of a Set of at Leas! Nine Central Tlhcl Mid- 19th cc:ntu r>

Tangb; rmncr;ll cotTOn: Chmcst'

plgl1lCO[lI and guld on sized brocade [ranll:, ~dk dust(Over,

rods .mtl caps :Ire 100SSI lig Overall: 70 iJ( J6~! 178 X 91.5 ernl: pmming: ~4" X 23""~ !86.25 x '9 . .5 H

till)

These two wngkar,; are from a larger s(:t of tangkas. (If nme prott:cwrs, eight fierce male and fem,lle gll;;\rdians in a mandaln of a form of Mahakala, t:alll!d Zhanglon Gonpo, possibly relared al~o to the prOtecror deity ]lehar, a srecial protector of Yurog Yonrnn Gonpo (ca. 790-9 15 c.r.). Two other members of rhe set arc in the collccri n of [he Ruhin .\IIu ')cum of An (see \l1orlds fl(Tralls.{ormatioJ/, No. 150; G. Mullin, Female BuddllCls,pp. 194-197; R. Linrothc and J. WalT, Demon;c O/l'me, l':os, 7. S, pp. 11 7-2 1& nore, pp. 259-601, where rhere -also I!) another possible third member of n reluted set (I-li1l1alayannrr.org. No. 377). The twO tangka~ 111 the Kandell collection depict dlt Lord of I~eings' Lives, Dark Blue

I bbse (sk)'es dgll'j srng bcJag bab se IIIthlllg, also known as LdS Illkhall dgra bo'; gshod) ( 10 . 1I1- ! 3). who dwells in rhe norrhwest of the mandala, and Chief Oer1)ol1c~s CorpscEa rcr, or Vu lrure-headed Oel11oncss Shami Rozan Olll11mO Tso (shami ro 'U1I1 gtIll11 /110 gI50), or DUIll1l10 .Iagodjcn (g11l111 1110 bya rgod ccm) (No. 11 1- 14 ), These protectors an d their ~e"('n ~olleaglll'~ descend with the m. . dicine teachings of Buddhist India from the late eighrh cemury, and arc rransmlfred through generations of Tibcran ph)'sicians From the rime of the Emperor Tri~ong Oersen, who assembled rhe grl':lt medical conferl'llce and textual collecrion in [he early ninth cemury, to the rime oi rl)(" greal Fiftb Dalai Lama,

who revl\'L'cI, and n::ncwed. Jild lipread rh..: lhe 17th cenrury. a.. slo:;ted h)' hIS able scholarl), regem, DC~I l'r bod)'. The crown is not ornamented 011 the back, but [he hair is parted in the mIddle and hangs as a tr1angular shape In [he center, fallmg only to the necklace (nOl as long as seen III IV-3c). Some blue pigmentation remalllS on the hair. The figure sits directly on the top of the basr, which is slight I)' ste pped fo rward 11\ the center and curved on the sides and back. The front has a wonderful array in Individual niches tha t contain snow hons III the outer panels and elephants with rugs on their backs in the inner twO panels. They face towards the central niche. which has a mmiature four-armed Mahakala holding a skull cup and chopper. Each niche IS framed by a rounded, tooled column. The sides and back have four large and rectangular cutout segments with otherwisr plain surfaces. The lorus pedestal Tim extends only around the frOIl[ and part-way into the SIdes. The lowest le\'l'l of the base in front has an openwork scrolling VIIII' design . This IS quite an unusual pedestal to SCI' in a small image. The ensemble is genrrally fashioned III the Nepalrse·mfluenced Densa[il style. but wlIh some modifications that suggest 3 dating into the mid- or second half of the 15th century.

IV- IO•. b

Vajra attva Cenrf.!l Tibet (Tsa ng) Fir~f

h.lJf of the 15th .. cntur)'

Gdt l'opJX'r rcpo u s~e (jOIned

III

three pam on

tht' ,Irnh and :11 luncture o( torso with legs), wllh turQU01S(' and coral inscls[probabl} 19[h century: LIma IUrquoi!>c a modern rcplacemenl l, fucc and nt.."k lacquered; bonom dosed wnh II lacquered board. no Tll:1rb; 1!)~lde empty

24\\"X 17" 162.25 X 43.25 em)

This powerful repollssc St,1fUCof VajraS3r[Va b

rarc among ~Uf\ iving ~cu lp[lIres of this

In Tibcran Buddhi~m. Nor large ancl q Uite remarkably well preserved with 1[5 onglll:1J htrge val ta and bell, It is one of th e earlicsr examples Df V:ljras;urva in all Btlclcl hi~[ an The figure si ts with legs loo'lcly folded. the soft sole)' of the feer turned upward with deep markings. The rhythmiC p:mcrn of SOl oth c;urfacc!l, embroidered hems, pearl ank lets, and the pleated end!:. of rh e belr sash-all gracefull y nnd geml y folding over rhe legs and ankl es-is but one example of the O\'erall balance achieved amo ng fleshy

Importam Image

only

IS It

J I ng pearl beaded Slrl>C; InseT' corallllld

turquoise; origlnlll pigments los[j base plate and cotUellr~ IUM

rhe left leg resembles [he fOfm seen III tbe goddes,", sculptures ar KUlllbum U1 Amdo of ca. second quaner of the 171h century (Rhie essay, Fig. 15 ). The pedestal is qUite heavy III appearance and dnrnagcd on one side. The back is without lot'lls pern l'!' blH retains rhe shape of th e la yers nnd rim .;;, unlike la rc r, large 18th· century scu lprurc'i such ~I" 1- 1 and 1-4. The back of rhe fig ure follows through with the clements of the front, though In much simpler

form. The hair, ~till rer3l1ltng some of irs original blue plgmeIHnti n, IS paned In the cemer nnd buih up inro :1 modesl chignon. Only a shan lock falls to c~Kh shoulder. The backs of rhe scarves, crown, and rihbons are plain :md 1I11painrcd. Th is image may derive from eastern Tibet. I( has sam I! Chi nese as well a.. Nepa lese elements. It probably d:w.:s to the 17(h century. As a ~l1lallllnagl' it has a stunning presence amid irs flurry of fancy drapery.

9W X 6~ (24 X 15.25 em )

The Bon religIon of Tibet, in the main. has become lu~t like Buddhism in all bur trivial respcds. It believe . . in karmic evolu~ non of sentient beings. II considers normal ignorance-dn"en life as a round of suffering.

If has monastics who seek lihcralion and enlightenmenr. It ha!l a literature consisring of Discipline, Discourse, and Pure Science, corresponding ro practices of morality, meditatioo, and WilOdolll, jUSt:lS in Buddhism--even rhe rirles of th e texts arc almost the same. It v(1 Jewels and plgmems 311105t: sealed wnh copper base pbte engral'cd wlIh double I'alra; (oments I11slde 7 l,2"X "7" (19

x 17.75cmJ

This is a Tibetan version of Vaishrav::ana. guardi::an king of the north and wealth dell),. He isdrplcted as usual: corpulent, decoratll'cly ::armored, and nding a snow lion. In thisc;!.r, however, the snow lion is not so usual. He has an rxtr:lOrdinanl), long bod)' and small head. and all of his four paws are arran~ed on the from side of the prd{'5tal. Hr glowrrs up at this master frownmgl)" with jaws wide open. as though protesung the heal"}" hurdc-n on hiS

121 • Catalogue

back. Vaishrav:lna's tightly fitting armor with tortoiseshell patterning (a motif particularly appreciated in East Asia) is somewhat boldly and freelr executed. He may hal'e held a mongoose m hiS left hand, bm II IS now missing, JS is his nght arm, onginally held aloft, probably ongmally holdmga I'ictory banner. The rim-form mandorla is quite splendid with Ihick, curiy flame deSigns; Ihe lotus pt'destalls low with small and abbreviatrd lotus petals. Some color (blue, grttn, black, and red) rl.'"mains on both hon and master; Valshral'ana S mustache has ddl,ate mcised ImC5 under the black plgmem. This IS a plaque form, Ihal is, It IS hammered from the back, which is hollow and withoUt carved form. lima)· wrll hal'e been attached 10 some larger Oblect, such as thl.'" base of a SlUpa, as part of an ensembll.'" of Imag('"5 :md decorations. It probabl)' dates 10 the 19th cemur)', and II is likrl)' to IlJlr comr from Amdo or ~Iongoha.

V- 17

Jambhala Qmg Second half of the 18th centur) GIlt copp.:-r. solid CJst, pigments on half and bee; hase se.lled wuh copp.:-r plate cngfal'ed with double l"alr.J; coutents mSlde 7 11.!" x 5" (19 x 12.75 em)

Jambhala IS 3n IInporrani god of we3lth, closel) rel31ed with Vaishral'ana. Some el'en conSider him 10 br Valshral'31l3, going under 3notlll'r naml.'". Howrl'er, 111 TibeT3n traditions, the initiations for Jambhala and those for Valshr31'ana arc differrnl, and iconographi(311)' he is depicted diffrrently. Vaishr:lI'ana alwa)'s rides a snow lion, and JambhaLI dOl'S not. Both hold Jewel·voml\lng mongooses 111 their left hands, and while Vaishral"ana lIsualir holds up a viclOry bannrr in his right. Jambhala holds his right hand downwards in the boon .granting gc-sturc-. A third wealth dc-it)', Kuvera, is, like Jambhala. thought sometimes to be the same as Valshral"ana, and somet imes to be a mrmber of hiS rrrinue. Vasudhara IS a female wl'alth deity. sometImes thought 10 be rhe consort of Jambhala. but more often propitiated 10 bring wealth on her own. \'(Iealth deltll'S 3rc- propitiated in prosperit)' rituals, one of thl' four kinds of prmcipal ritl'S usc-d by Buddhist tanmc adepts: pacifying, prospering, dominating, and destro),mg. It is often surpnsl11g to thosr unbmiliar with Buddhist cuiturts that Buddhists should pal' so much attrntion to wealth deines. Uut II is quitr 113tural. The evolutionar), sourer of luck with wealth IS thought to be generoslt)' 111 Buddhist thought, and Buddhists Itkr 10 amass wraith m order to gll'e It awa)·. Here, though Jambhala is usually prrsented as 3 corpulent figure. he is nevertheless rather slim and has a long face, whICh retams quite fn'sh pigments and cold gold. His left leg is raisl'd OntO the pedestal, and the left hand hold~ a nabla (mongoost'). In hiS right hand is a lambhala frulI, II1dlCalll"e of his status as a wl'ahh dl.'"ilY. Though the icon was standa rdrl.Cd b)' the time thiS Imagr was produced, the Image IS slrrk and prlSlme and has some enilvenlllg and interesl1l1g mcnculou\ and vcrv delicate wllh artention paId [Q odd ly shaped rocks. but nut in the usual Kann:'! Gadd or lew :... tCllrL style. The brocadl's aH' probably 19th·ccn tury Qing. The figures are III rhe ew Menri style, but the bnJ"cape b quite lIlUlvllitl,lllstIC. ThiS tangb Ilkcl) dares around rhe mid- 19th cemur), and prohably comes frolll a Beijing workshop, where mOSI of th~ tangbs were painted b)' Mongolian lamas. W I9

The Oa rh -bo und BI.1Ck Blacksmith Prorec[Or IS associ,n ed with th e PrOtector Damjen Doric Lekpa and with Agm the Vedic god of fire. He rides a goat :md m.es fire to

Dal11jen Oarwa Nagpo QlIIg: rrohahl)' D Ion nor L.ltl' 18th cClHury 10 earl) 19th CCIIIUr)

make steel weapons and the Iron chains-and manacle::. with wluch he has bound seve[al

Gih copper; cJ.:anc:d nnd pigments refurhl\hed

characte rs in this p.uming.

7~

x

S~

(17.75 x 12.75

I.nt )

DaOllen G:trw3 Nagpo leam ellcrgenca ll y forward, lifun g hIS blacksmlth\ hammer high In his right hand and holding a tigersk in bellow!> in hI::' left hand. He !lportS a large Circular, brimmed hdmet like an official\ hat: with ribbons flowing off the pOll1tcd nnlal. J-lis face IS large and express ive wi th big eyes and gna~llIng teeth amplified by his red (refreshed color) eyebrow::. and heard. The movcmclHs of the long sleeves of his coa t '1wi ng III op· posite (rill-yang) rhythms. "I he goal ru rns hi s ht:ad aroun d slwwin?, ro full cffec t his long, twisred hor ns. The tigl1re~ move forward across the plain top or an oval pcdt:stal decorated on Ih{' sidc!t by la yered mountalll ranges thar seem to show rhe upheaval!> of earthquakes. These Jre Ii\'eiy and spimcd Images , prohably from a 00lonn or wo rk shop of the late 18rh or ca rl y 19th cen tury.

The t3 ngkn combines lyingma and Gcluk· pa rhemcs and personages. At rhe rop cemer 5ilS Sbakyamuni Buddha and, below him in linc, .1:,mall image of Padilla Sambhava With con-,orr, just bebind the main figure. On the right are t WO Gclukpa lamas, Tsong Khapa the founder and th e Great FIfth Dala l Lama. ranged downward in an arc leading to an im age of Supersecret I-b yagnva. To th e left of Shakyal11uni nrc twO other lamas, Atisha above an d anorher Gelukpa lama, probably the Panchen Lama Losa ng Ch6gyen, set in a marching arc leading to an image of Yamanraka Father-Morh er. Below rhe main imagt: 1. Instead . thc\c dcm~ would be "[ame onglnated in Tibet. While rhe great femille ~('''erancc }'og.ini, Machig Labdron, chief diSCIple of Padampa, Cl'rt,llnl y refined and expan ded the pr:tctlce, ilnd her writing" arc among rhe first rexts re lmported from I'd)ct b;l(:k I11W BuddlllSl India, these noriono; of se"erance :lnd .. h,Hll:llmnC Tibetan Buddhism ignore the achle\'cmen t'! of the IndIan grear adept", the maha!>lddha~. Sc"erance refers 10 rhe wielding of super-inteillgem:e or wiliclom .... ymbollzed b) a ~harp sword, to ,lIlalY7e all thing" mental Jnd physl~ cal. animate and tnJIllIll.1te, to dlscm er their c:ssennal reality. Through thus cutttng hod~, mind, and even envlronmenr Inro cW.:r ,moiler piece~ and component:., one e\'eotuall" dlsco\w\ th .tI no thlllg, ('\en an atom. even a subatomic partlcle, e\en a mOlllent or 3 sp ilt second of thought, c...:isrs ,I :t thin~ 111 lt~elf. \'(lisdom rhus sevcrs the ego's scn . . c of pm~e~SIOI\ of body or mind, replacing the cgoistlc preoccupation With selfish Interests and perceprions with alrrubm and bli~~. This , the hll~ man heads signifyin g the i,:onqu es t of lust, hate, and delusion. The howl rests on the blazing wisdom flames ,lllel is banded nr the wp by a rim 1llterspersed with turquoise and coral ~toncs. The lid i~ cha!>ed with designs of the eight auspicious em bl ems ('Ice VI ~6 b l and a leafy filling dc~ign. A dlfcc-sided gilt finial wirh insets crownlo th e cn~elllb l e. This skull bowl may be (rom the Amoo or Mongolian area, pos'sihly of the 19th cemury.

ringed w:ucr first consec rated in the ritual

vases (tmmpa ) Infused with divine energy in imtiarory and Othe r rites and then diluted

and poured inca this vessel,

to

be offered

at rhe chapel door 10 participants in order (0 rinse their mourhs before the initiations begin. The rin sed water is then spit into the spi ttoon. The cap on rhe pitcher's spour is there to prcst'rve rhe purity of the holy water, barring entry of any 111i t r o~demons into the mandalas and deirie::. present there through rhe earlier rirual infusions. The full caralogue of such specialized ritual implements rind vessels has yet to be developed , as the high lamas who use them ha ve not presenred them in any s)'stcmatic text, theit creation and usc being morc a matter of oral tradition. Examplc:s of these rwo ritual vessels arc rarely found in \'(7est~ ern colleen on.;;.) :lS this elabo rately ornate type were used on ly by the highest~ranking Rinpoches in the Tibetan world. They arc of Lha sa cra ftsma nship of th e 19th century, chased silver, very heavil y incised with thc eight auspicious emblems and the five se nse offerings, inlaid wi th pure gold, with traccs of lh e red mejit~bloom dye. The side lid and rhe top lid are set with high~quality turquoise. TIle spittoon is a later 20th-ctntury addItion, probably a copy of the original matc of the pitcher.

VJ-9

Kapala (Skull Bowl) Eastern libet or Mongolia

19d1 cellrury

Human skull bone; gilt copper; turquoise and coral insel 9"

X

6' (22.75 )( 15.25 eml

VI. Ritual llllplcmcms • 243

VI-10

Silver and Gilt-Copper \Vclter Bowls E.JSlcrn libel (O

19[h CfnlUr}

14" )( 8' (35.S )( 20.25 em)

COJlch, gIlt

The coneh horn ISIn unponall1 symbol of the BuddhIst teachmg. It is S;Jld that Tson~ Khapa fou nd ed Ganden monaste r y on Nomad ~ I ountain bee Dla. 17W x I-I. 8" (44.5 x 20.25 em)

The small cymbals with the large central boss emit a loud metallic sound and arc used in cen'monies related tn fhl' fil'rC"1' I)h~rm~p~ b protectors and for exorcising demons. The sound is diffcrem from that of the larger cymbals with a smal1t'r boss, which makt' a softer sound and are used for rituals rdated to buddhas and the hight'r deities. Both arc frequeml), used in the monaStiC "orchestras" for outdoor ceremonies and dances, along with other instruments. The smallt'r cymbals, shown here, art' held horizontally, whereas the larger cymbals (i nside the case) art' held verticaH),. A hand Strap is inserred Ihrough a hole in the boss for each cymbal; thoS:l) 10th (tntuq I-I.lmmered SI!'eT

~nd

-·X " ~'·(17.7SX

glh copper

12cm)

ThiS h3ndsoml.' vessel IS for ho lding an)' special substances for rituals. such as musI3rd seed~ for burnmg on ch:1rcoal hr37.lers. barley grains for sC:llfering fo r good for· tunc, rice for offering uni"rrsal m,Huhla.

264 • C:lla!ogut

or evoking pro~pemy, or any other offl'Tlng or blessmg suhstances. Each section of tilt' \'essel is clearly dem;lrcated accordmg 10 what is mside: tht' top lid co\'ers a Imll.' shallow dish; below is a bigger cenrer dlsh; and m the base is:1 larger bowl. The \'esscl presents an artis t iC contra~t between alu:rnaung zones of densely packed. finely textured, gill- raised Icafy tendril. ,lnd the more geometric, vertically aligned lotuspetal p:merns of the silwr segmenh. The lid is topped by a bud-shaped h3ndle cow red III diagonal ~wirls of tht' leafy scro1l11lg deSign. Fine sill'er bcadmg separ:1tes some of the upper byers :l1ld tht' bottom of thl' slopmg foof.

Each ZOIlt' ha~ a slIgh d)' different style 10 the motif whlle mautraining coherence wi t h the others of like color and texture. The gold vertical b:1nd abm'e the shoulder has:1 S('rte~ of ohjttts bound III sWlrlmg ribbons: :1 \:1se with a high spout, a feather, a flower, a b:1lllboo stalk, a !elwi. a sword , a pair of pen cases, and a lock, suggestmg the vessel rould hl' put 10 still other u~es outside the rnual set t mg. Scrolling leafy folmge COI'rrs fhe surfaces of the shoulder and fool. O"eral! the vessel offers a richly IOWC31t' surfan' II1dlC3li\'e of the work of the LhaS:1 workshops of the laiC 19th to rarly 20lh ctntury.

VTJ- JOa, b

Teapot and Brazier a) Silver and gi lt [capol Slkhm (castern Tibe[ workmanship)

1960, 33" x 10" (84 x 25.5 ernl

It is said that "rea" was discQ\'er:ed

In

south·

west China by Buddhis( monks, who found thar by infusing boiling water with the IC;l yeS of ce rtain bushes, they could stay awake longer with les~ effon during their sessi ns of medication. There is a Chintsc legend that rhe Emperor Shell Nung discovered the heal~ lI1g effects of certain leaves when rhey blew

mro his cup of boiled warer by '1r)" 46" ~ 116.8 em ); Along earrlns: QI'crali L. 5.75' 114.6 em); E~rrlng box 7.5" x 1.8" (10.1 x 4.9 ern)

The-se- are beautiful, precious, high-quality Russian lapis and Tibetan coral malas that belonged to Reting Rinpoche, given to him as private- gift~ hy nobles currying his fal'or as Regell1. To petition a high official, an important gift had to be provided to show

your seriousne-ss. These tWO malas are made of ver)' expensive materials. The coral Tosar)' is made of perfect cora l beads, with jade divider beads (bead count is always 108, an auspicious number corresponding to the petals in rhe nerve complexes in the yogic subtle bod)', and dividers are placed at 27-bead intervals) and fade crown beads. The si lken threads arc gr('en and orange, the- colors of Ha)'agriva, of wisdom and wonder-working; there is a precious lit; glass bead in the tassel above tht' crown bead, bracketed between rwo more coral beads; and the counters are gold as in the prel·ious rOS:lry. The lapis rosarr has dividers of yellow butter iade, and tassels of blue and red silk, with an unusual :lmulet sewn in leather hanging next to the crown tassel. Both rosaries arc sumptuous and expensive, and counting 0)1.1 VAISHRAVANI)"l SVAHA a million times on them would no doubt cre:lte tbe atmosphere conducive to r:lising enough funds 10 build another whole mor\:J.stic collegr complex ! The along dignitary earring is normally worn alone on the right ear by a government official from th(' first to the fifth rank (out of five) during form:J.1 occasions; this one was worn b)' one of Reting's estate finance managers. Here it rests on its walnut carrying C:lse. But even in this symbol of male vanity and adornment, one can discern the underl)'ing spiritual patterns. AI the top of the eamng arc six inverted lotus-petal turquoise shapes, below which a vajra shape is created with fWO m:ltching si x-faceted TOundrls of turquoise panels with tapered golden cones meeting in a round ball of energy, iust as in the center of :l vaira scepter. Continuing down, the drop shape with another set of f:lceted turquoise rOllndcls has the underlying shape of a purba stake, or dagger. So even Ihis official's or noble's earring has embedded subliminally within it the vajra of compassion and the purba stake of the overcoming of e\·i1. T he wooden box that keeps the earring when not worn is of an utter ~implicity of utilitarian design, with on I)' the subtlest Ornament:ll flourishes in the notches setting off the round end part, and its shape nead)' carved to conform exaCtly to the shape of the earring.

VII - ] ~ n -d

Lhasa Jewelry All of rhe examples ()(jewelry ')hown here are prob:'Lhl )' from the Lhasa arCa from around the 1940 ... In the 20th cen fury, jewclry wa s frcquemly subJcct to slTicture by decree, and the faceted gems of europcan jewelry w~r(' imported and began to be used in Tibetan jewelry. Old turquOise Stone . . were valued and ofren reused for new sctt ings, so IllS like!} rh:1! mnny of the tu rquoises seen in this jewelry arc o! much greater anriquity.

a) I ccklacc with . . quarc ga u 15 1,"" x l ilt (39. -;5

;
):ue

Swa!>tika Bon th eists and so forrh, and also the forry great tribes of Mongolians, the four tribes of Orods, rhe kll1gs and royal clans who live on the shore of Lak e Khri shor Gyalmo, th e Dzun ang, rh e Taidzi, rhe greater and lesser officials, rhe Thabunaug, rhe Dzairang, good men along wldl rhe common pt."'Ople, rhe three COunties [of Ngari], rhe four districts lof ccnrral Tibet], rh e six ranges [of Kham[ , rhat is the great monastic and 13)' leaders of the kingdom of Great Rod, the gm'crnors, rhe court officials, rhe administrato rs [TadrungJ. and rhose ho lding custOdial responsib ilities and so fo rth-in shorr, to all those people of higher, lower, or middle (ranks), this is my proclamation. By the power of the loyal heroism and uni versal resolve: of Tenzin Chbgya l (Gush ri Khan ), who by rhe grace of high hea\~en controls all the wide land, in the wa ter horse yea r ( 1642), on rh e occasion of raising up from highest to highest the reaching of rhe great I.o rd of VictO rs, Tsang Khapa, at the great palace of Samdruptse [in Gyanrse[, he led . 11 the ITibcranllords and subjectS and rhe whole clan and lineage of the king himself (O perform the grear offc ring donation lof the Tibc tan kingdom] without

reserve. evcrrheles .. , I myself was unable to uphold hmh Dharma and smre. And so the respom!llhllity for go\"crning sooet)' and the S[ ,l[C wa~ taken lip by rhe regen I Sonam Rabren; and .tfrtr him, as all members of hi~ own family hat! passed away, l ap pointcd to the respon~ihdlr)' rhe regent Trinla)' Gyatso and a succe'iSlon of regents of his Imcage. Now, rhis sGrong-smad-fJa Sa ngyay Gyatso is nor only of the family of the regent Trin lay Gya tso, but in some propheCies ~ uch as tbe Tersa r Gyajcn [Sea led New Treasu rel and so forth, he walt predicted ro be worrh y ro be master of Hod. So in the Wood Hare year [1675 ), though (I) IOsisred wnh many reJsons as ru why be should rake rhe responsibility, it happened (har he insistently begged to be excU'ied. But the divination .. for rhe worrhinc:;s of others did nor prove ar all auspIcious. So, since, after Sa ngya mpa [ angyay Gya tso J, rhe divination for rhe [DrepungJ college custodian , Lasang Jinpa~ seemed most poSItive, and since I did nor want to hear am' of Ius reason~ agains t it, he \Va" un able to·disobey my tOlll mand. However, since again the divination seemed on ly medium lin auspiciousness], ir seemed good ro appoint him fo r lonlyJ three years,

as there would be no trouble Iduring thar timel. and ro rCJppomt hIm further only II ob~rructJons wcre pacified. But then, when rbe calculated period of year!! was fulfilled, he had linle desire to remain on the rhrone. [rhough] he gave careful rhoug.ht ro his duty to develop horh reaching and 'iocicry. Most importantly, hc did not deVIate III the slightest from whateve r commands I set forrh, jU'it as the omn isclcnr Gcndun Cyatso [Second Da lai Lamal menrioned in his ve rse praising his disciple Sungrabpa,!!o it 'il'e mcd alright to have him co ntinue in office for some time more. Howeve r, th e regem himself requested 10 be excused, as rhe counr of years extended. and he began to feel pressure due ro the danger of troubles arising lin (he landl. Then, after t wO or rhree divmations and consulting rhe loracle oil Conch·shell Headdrbs Brahma, rhe same result iClllcrgcd as beforeJ. So, mstead of establishing anyone else, as other Icandidates[ of worthineslt were rare, wha tever repeated divinations and consu ltarion propheCIes there were, rhey em phaucally mentioned sGrollg sMad Sl1llgyolllpa. And though he was not inclined ro risc 10 acceptance, [avoiding irl by various ractics such as diverring himself 111 cntcrrainmenrs, VII. Cultural ObJect's · 2SJ

stili hr C011linued to ha\'e thoughts unable to release lhis concern for the dUlYI; 35 in the l'xample of the crocodile who sW3110wed :\ white conch [and could neither expel it nor digest ltl, For :\ while he becomr more intensely interested in Dharma pr3crice, which uansforms the mental attitude, and he could nor ignore the fact that the serving regrm [i.osang Jinpa[ might be permitted to continue in office. So, if he agreed to assume the office before someone else h3d completed his term on the throne, he would be concerned about the many suspicions that might arisr among tilt" people [that he was pOWcf hungry[. So he [SangY3mpa[ said he would r('maln on the religious path, staying obediently for two ),ears after graduating to full monkhood, after which he was read)' to bear thl' responsibility. [So now I ha\'e appointed him.[ AcIU" 3!ir, it might seem 3 good thing to bl' a renunciate lin such a position I, t:lkl11g as incom parable example the single-minded intense dedication shown in the blogr3phies o f the Kad3mp3 lamas up 10 thl' omniscient Gendun G),atso. Neverthrlrss, from the time of the [service of thel twO treasu rers, rGya :lnd Seng, Slllee the ruling power on the two levels lof Dharm,j ,md society) increased for the Ganden Palace [administrations), up to now, exc ... pt for only the [monk[ regent Losang Jinpa, none [m office) has adh ered to monastic ethic;jl purity. Especially now that we have su rpassed the power and wealth of the glorious Ph3gmodrupa and the Tsang pa Ruler. and we have to rul e all the wa)' from e3Stern Dartsedo, it IS necessar), (so metimes) 10 command a \'3 nCt)' of fierce deeds with armies and justice 3nd so forth. Thus, ethical purity :llom~, {'ven if one IS a renlinnatC, is difficult (to mallltalll ). And so

184 ' Ca!alogue

it C:ln happen that ,hc speciallreligious) turn of mind may not cndure in ,lnyone, strong or weak; and there is no certainty tl13! the [spiritual I attitude will remain. Especially, since geese and sangha members live in flocks, not onll' is it difficuh to maintain a consort to nt:rmre one's health, but also al110ng the class of grelt leaders, the higher officials such as those of ministcnallineage, it is not a good Ollll'n to h:lve the (eliring 3ttitude nrglectful [of mund3ne affairs] of one who sees the 53msar)c life as like being trapped in a ditch. So how C3n onl.' 3Ct in a way that docs not appeal to others, who sce one as relying on 3 wife while Ilivlllg in a[ 131113's manSion, seeminj; to mix private and government affairs? Therefore, cven If one does not give up one's concern for managing one's own pril' ate estaU's, when Ont' serves the country's governtlll'nt in the long tcrm, one should aspire to kecp in mllld rhe example of Craie Kundun Rinpoche, lAnd especially in] this high position lof regent), unlike any otlt... r leadership position 111 BOd, where one IS in the Intense practice of contlllUOUS focus on le3ding rhe whole of China, Tibet, and ~'I ongolia , one might sometlme~ W3\"er and indulge m laxity 111 governl11ent by playful manemion and people might gossip in various ways. Noll' [as for[ the esscnceof the pr,lctice lof the regency), while lIndert3king the orders I have given, one's mmd should be hannO!l1ous, uninterruptedly alert for hypocrisy lin oneself and others). \,(Ihatever one docs, such as uking time off to focus on spIritual activit), by following the eightfold precepts on the eighth da y, full moon, and empty moon, except for those three days 3 month, there is no relTeal for limes of rc1axallon, and one should act in a way called "neglect-

ing to coum the )'l':lTS." As there is no need to make more expenses for everyone, one should :lSSUllle rl.'sponsibility to the limit of one's ability when appointed in charge o f the nation31 treasury. \'(fh3tever this one docs, there should be no complaint and str3in in doing JUSt as I would do, and no deviation from :Ill th3t I have commanded. For when there is rejrcting and choosing and so forth between me and the regl' nt, it causes a 101 of trouble 3nd confusion 3bout the government's aim~: hence it is nOl allowed for there to be 3n)' deceplil'('ness of tnllhless lies. Not being 3ble to set aside the responsibility [C3su3!1y) due to 3ging and so on, whrn it fin311y docs happen, it is only proper to apply your mind to how 10 retire in a generall)' [beneficial) wa)'. [n regard to the mealling of the dear words above, for an y la)'man or monk, high or low in position, rheir proper practice will be supported and thei r wrong behavior wil! be punished by the ones who hold the pa!!ern of good 3nd bad that has been mentioned; [namely! th ... goddess of the threl.' realms, the ,\Olagzor Queen, the teaching guardians such as thr Dharm3 protector Bcgtse Jamdrcl and so forth-m:l), they unwaveringl)' 3Ccomplish the aims of beings b)' performing the four divine activities! 1,',1)' proc13m3tlon is here ended,] known III the Noble Land (India) as siddha, in Bod as ":llln accomplished," and in the capital of the Man jughosh3 Emperor,gyi yi, h3rmoni(Jus With the sovereign sway. [n the Earth Frmale Sheep Year [[ 6791, in the fifth month of the second waxing moon day of Ja)'a, these words were published from the great Potata Palace, distinguished 3S the exalted summit of the fourfold communiry. JAYA!\'TU! [May these (words ) be victorious!["

Tibetan t(').r rran:;cribed: gong 1110 IJOl1g de'; lung gis

zhes l1ub

kyi Iba gildS , hes dge h(/ bde bar g llas /)a '; sallg s rgyas bka' "lIIg gnaw 'og gi skye 'gm Ihallls cad bSlcUl po gl,;-ig It( gyur pa 'gyur me.d rdo rlf "haug rgya IIItsbQ'1 bIn I/Ilir dbang hskllr ba 'j g/.tl/ll d':.alllbu brikshas t1ll'IgOll p~'lllOr 'rizi/l gyi gzhir 'khod pa'i I1Y, 'og gi skye rgu spy; dtll1~ uye brelg gd(1I1 sa chen po ser 'bras dge g511111 gam dll 'khod pa l; mam par 19),al ha'; plwlI "de legs bshad gllll&, 1M sogs ns med kYI khrims !dOli 'dus po'; sde gsang sl1gags 'c/}(lIlg btl g.ylfnj{ dr/mg bOll 5(1gS Ibn sder gJogs so cog c1mlg sog po islw chell bz"i bot 0 rod tsho (W bzlJ/ IIItslm khri shor rgyal md i gram dlf gllas pa'; rgyal po rgYfl1 rigs ;llnallg rha 't JI dpo /l cbe cbwtg Ihn bll mmg la', .sang 1111 b~ang .sdc dmangs dang beos fh1 skor g5 11111 Tl/ bzhi sgallg drug ces bod cbell po'; rg)'al khams 511 'khod po'; dpoll chell d,)OI1 SkYd rdz,ollg sdnd ,mng mam rIa dnmg gnyer kha las 'dzill sogs mdor 110 I1Icbug dillon bar ilia II1t"o ' dllg la sprmgs p C1 tshe ring mam gYI' she 111 0 11[; gi5 yangs PO 'I sa k/lll la dlJang l)sR)I/./r ba bsrall 'dziJl Ghos kyJ rg)'al /lo'i /lJag "salll dang Sll ylllg stobs bstan pu'; IIIr/ms rgyal dbaJlg tShOllg kha po chen po '; /;St(l ll pa bin /las bfar 'degs por md~ad skabs elm rfa phD brallg chen po bsam 'grub rises glsos po'; IIlllga ' 'bangs demg rgya/ /)0 lIyh/ kyi ngs hrg}'l/d d(/ ng beas po mth.l' dtlg gtmt po med ptl 'i mchod sbyin till slJ)'or 'lags Imiz"d pa'i tshe c;'os srid l1yis 'dzm IIged rang lI/1as lila Icogs pas ';igs rtell sriel skyollg gt 'klmr leu sde pa bsod /tams rail hrtcllt gyis md~ad pa'; ries. Sit dg (gd)tmg gdg {la 'j 1111 ngo rdzogs flar brtell sde 1)0 'phrht las rgya mlsiJo sugs 'khllr lell rim pa bkod ciug gr(mg smad pa sangs rgyas rgya I1I1s170 'di I'D sa sk)'O/lg 'phrill las rgya Hl lsho'i rus tsba yin pa/, lIIa z"d gter gsar rgytl ca ll sogs Itmg bstall 'ga ' 'zhig tu bod kyi TIe bol' 'os pa hlllg gis : ill pallas shillg yos III 'khar len byed dgos t.s17llf rgy/l mtshan ,III,ha' gsed 1/(/11 chags byas k),ollg zlm 11011 chcs ()as 'klJroi , ha byed dgos shar gzholl fila 'j 'U~ tho mang ba ha cang gi hrtag par ma babs slmlg gra !shong gnyer po blo Inung sbYl1l lJQ san~s rg)'am pa tog gl brIng po "gQ dk"r ba )'od gsius rgyll mtshou S1ll0S po shes 'dod IIi lIIed bka~ gyen Idog fit; /lU.s '0 11 k)'ong brlag pll 17skyar 110S bding cba dgos Islml b)"fIlg 1m 10 gSlflll gy' bar J

;

'lsJ:lIbs (ha med emg U:t1I1,f.! /Jur S/dr bgegs zhl Ita 1111/ IIlthlld Ilyed long yong r[sls kYllo graltgs kYl brdo' 'Well1li dang bCds khrj bkod pa raug 'dod clnm~ zhmg (J51ml S/'ld lar rgya'i sar 'kh llr l150111 ehe ha dO llg kl}yad pm' 'dl go 'Ing!/S bkod las CIIllg zad kyang Illj g,yo btl sogs Ilwllts cad mk IJ)'I!IIIW dg£! 'dUll rl£Y.~l IIlI.shos 1I)'£, gildS J:SUl/~ ral) par g llal/g btl I ISlgs bead kYI &,.,od n Ull dO/1M I1Itslnll1gs pa nt/./ lilt/JIlt! t/mb la re ())'IIIIg ha sde pa /'allg ya ng II) 81'((ltgs liJclIgs lI£1S 'Islmhs 'dm 'bYlfltg l1Y('1/ g)'is 110011.JJ/lS che zhing hrlag {](I lall g/l yis gS 1II1J l,skYcll' Va dang Ishangs pa dlllig lhnd calf 1(1 dn htl 'thus ptl sogs kyang mIs/mugs pa 11£15 gsar bk(Jd kYI sgo dud pal' gzJulII {Jd 'os dkt)11 ~/)/1/g sllgnr ,fn'l brtag pa IUllg /;stan sogs gang sa ItaS grong sl/lad pa sangs rgYlltll pd T£lt/g /n ltall Inn du lab par Ydl ),01 sogs I/)(I/)s Sft(l ts/;ogslas dang len ,-bjng 1/11 'dug rll11K dlfng dkal' dCIIIg elm STIli gyi dpe b:,1J//1 dgollgs I'a gUlII IltiS lila 'kfJrol pbYIII phYIs skor hh/ .511(/ 'g)'/l r ba'; elms /el dung sems chI! 1M,hlg yod kycwg sde srid 'd; gas mtJ "'Ilmd gll{lIIg 1/(/ Sf/ lOS nta dgas de lIIill kIm 'don dug 'Tllb 1)0'; sgn 11"1 dod gOllg la 't hus 1m mi dlllQllgS kytlllg nUim rlog gl 'c!Jar 580 SIlO Ishogs byllllg dvogs kYls de 1(1111 dll IllS 1)(1 ym da l.hll bSllye/1 rdzogs zing bYlis /la'i 10 gllylS kYI bar bka' IIW Ilcag Imr -elms ell' 11(/5 'klmr ya llg uyas l.hug pa dg{Js IsIml zer ua dllKOS gzh i rob lit hyuliS lid legs 1'(1 '1 dUlr 'dllX rung thal/s cad mkbyen 1h1 t/gl! 'dlln rgytl mlsJJO )'flll hka' gdtllllS kYI mJm Ibar kho na Ihllr b:hes la dp,'" lila 1IItS/)01l dga ' Idlm 1}lm orang lugs g ll)'IS kYI mnga' tbal1g /0 'p bd gy l 'og vtg pel " ph)!ag mdzod rgya S(llIg gny/s lias bvmg dll Itll phal1 sde pa 010 hztwg SIJYIII pa tsa m ilia gLOgs tsl)('lIIgs s/lyod 10 gllll.S p(/ ma byullg 'Zh/llg Ihag par dPlll "bag /110 gml7 1M dang sde sfld gtStlllg PO'I stabs 'byu l' las brgyalllll shell' dm rlsl! lIIdo yall gyl bdllg Imr ,ll)'lIr pn '; dmag dfllig khrims sogs drtlg po 'j rlsub s{1)'od kY,1l1g Sila lshogs dgvs pal' IslulIIgs s/Iyod gog pos rab bylllig du 'gro btl'em;.: rlko' t hing bsnlll IW'; 'g)'lf/' klJynd drag 'lho /l kun In gtall l1fi cbags po t lug yang gShlS rid Ita biD 'di ga r sdod pa 'i Ilges prl k)'lll1g ml'd lhag Iu dgl! 'dUll dallg nga llg pil khYlIs 'Is/){J dgos pa r gllas grogs sogs gang sa nas IIms thmg dka' bar ma zad sde dpoll chell lJo 'I ngs /a bion brgyud sags dnmg 'k IwI' drag P(I moms 'klmr btl dOllg sp mgs Ita 1111'; bit;) SUll bstlfllg I'd rtell 'brella yang Ill; legs hill 1;r.1JlJ!, dll belag mo bstcll

I,

/}as IIIlshun sger gozlJlmg 1f/1I)'tlfll bsre.s ,gzhan blor 1111 cllIId 1m m ga lu lJyed de ph)'i" 5ger gzlns kyl 't/z;n skyong k)!.lIIg bios ilia bor ba hyas Ita plmgs }!ul gZIf/ I~ ge zlJtluS lag tu 'gyll r I,,,

r}..")ltl

Ie sku Illdml rtll (10 cl1e'j d()e

dal1g beas mol ba Itar )'Id ',I)g "yed rg)'ll )pm cing go sa 'dis hod kyl sdc "pon gehml dang nil elm ba 'l rgya hod hnr gS1I111 tsht11lg mn 'l me 1('11 stabs brei ba /'g)'1I1I 1111 chad Ita lm'; khag shyo llg cbe bar /a lar lIyn ll1s 'char rued Im/I &11 sallgs kYI gzlnmg las la 'thlls sho /' dang INI Tlllll/l$ k),ls kytl ng '()I;)'" gle l1g 51111 tsiJugs yO ll8 'dug fJd dd cha lIynms lell g)!i 5/1yW g 1)0 'dl ga'; llgag bk!Jd la dallg 1e.1I l1g0S tsimi 'c/ms bdd8 Idan gY'I)(lr I}kab met! po' , klJO rtlllg gl biD Ilttlmu UlIII;: 11)'0 stollg brg),(ld gS llm 10 ytW lag brgyad 110 '1 klmms len pll'om dge sbyoJ "tol sdod gil songs Ita 1m ga n g byed kytllig do rer II)!II/ gS1l111 res las kar Ie bhor 11/1 )'Ollg bllS 'khml eha b)'as slJlng In grnllgs 1110 dgos z.er bo de bthw hym tshe IsJUlI1g IIUI klla!: bSllll dang g~ /J/mg rtlllg 'gros sgo che btllrJs 111; 'dllg gslns nam leogs hal' 'k lmr len byed r8')'1111 bm phytlg /lIdzod bsko bz/Jag bgyls I)n 'di ga lias 1111 chos kyj 'kim/' lellllltl lcQgs fJo'i b,~() ts/;al,s Y; II gs/ns 'dl pns ga ng uy",s 1I.f.!,C'd rtlllg IIllS h)las Ilo dall~ khYlld med pa'l 'then 'kbyer g)'1 glellg In';od mcd 11111' klll1 g)'is bk{Jd {]a g.)'o med dung IIged dallg sde /In'l sel';lIg sags b)'tls Isll£' gz/uwg dOli Ielr rg)'al' 'chugs tstU/bs ell e bas IJdell l/1£'d ordvlII usgngs /.;y ; g.yo 'phrul b)'a.s elmg rgyll 111;11 no tshod sugs I/c1S l1/1kogs pa'l 'khllr lell ',og pa shar tshe /lam )'m laln;/Ulg /Ja 'i Zllrl1a spyl 'gre tnhill llyed IlIgs 1110 dallg sb)'ar cl1tIg rgyll yill pa sogs Ising don nWlIls fa skya ser drag zha /J SIIS kyallg Islmlln-l1m bsgrttbs fJar 'Ies 'chifl dtmg log par 'kim bar tshar gcod pas 11115110 1/ pa 'j legs l1y£,;> kyi twangs 'd~ill 'dod kballls kyi dl,all pIJYllg rill/ag ~or rgyal 1110 dtlll,~ chos sk)'(lllg beg tse /cam dral sogs ustan smllg mal'lls kyls 'IJlmll las mellli V'll" bsgmb pa'i grogs dallg g,yell7t1 wed 1)(1l11uuul cllI gsol 'fJhllJ:s pa'i ylt ! dll Slddh(luha 'p/;)'ogs 'dir dun 8mb III grags shlflg ';(1/11 d/)y(/ll~S gOll8 lIIa 'l r1tyol khab (H g'y j )pi t hes {la dbL lIIg thaHg dtlllg bslllII pa sa IIlO IlIg gl 10 hnr -z la luga 1m 'j dkar c.lJa'i I'g)'e" g ll)';£ pa ' l tshes hi sde b,:ln.'1 sgo 'phor m tHll par ph )'e btl pho "raug chell po po ttl la /lllS bTls /)(1 la YO II tit

u"

VII , Cullllral

Ohll!C I ~ •

285

Alexa ndrt:, E. 1993 " L'archirecrure rehgieusc en pa)'s khalkha." in Beguin and Dashhaldan, 199 .

Bibliography

Andrews, Ro y Cha pm an 1932 TIJe New CO l1quest of CUlltral ASia: A Narratiuc of the Explorations of the Cclltral Aswtu: I:..x/Jeditlol1S 111 Mongolia (m d Chilla, 192 1- 1930. New York: The American t..4useul11 of Nacu ral Hisro ry. Aris, Michael. and Au ngSan Suu Kyi, eds. 1980 Tihelcl ll Stu dies i l1 I 10110llr of I-/ugh Richardsoll. \'