Page 83 - Himalayan Art Macrh 19 2018 Bonhams

At the turn of the 15th century, Shigatse in Tsang province was the second most
prosperous city in Tibet. Infighting within the ruling Phagmodrupa family allowed the local
Rinpung clan to seize control of the city and establish their own dynasty, lasting until
1565. Norbu Zangpo (1403-66), referred to as ‘Norzang’ in the sculpture’s inscription,
was the third and most powerful monarch of the Rinpung dynasty, and ruled between
1435 and 1466. Because of his comparative importance, Norbu Zangpo is also simply
known as ‘Rinpungpa’. Less is known about his brother Palzang, but the fact that the
two are mentioned together in the inscription suggests that Norbu Zangpo had not
ascended the throne yet, placing its date before 1435.

The events leading to the creation of the sculpture described in the inscription also
corroborate that Norbu Zangpo had yet to ascend the throne. The brothers were
students of Zhonnu Gyalchog (b. 14th century; tbrc.org no.P1943), a prominent
Sakya lama recognized for his treatises on mind training. He was a direct pupil of Je
Tsongkapa (1357-1419). The ‘place of worship’ in the inscription undoubtedly refers to
Jamchen Chode monastery near Shigatse, which was either founded or enlarged by
Zhonnu Gyalchog and Norbu Zangpo in c.1427/1430 (cf. Czaja, Medieval rule in Tibet,
Vienna, 2013, pp.481-4). The inscription records that the sculpture was created at the
culmination of this project, thereby allowing us to narrowly date it to c.1430, along with
similar bronzes by the artist that were possibly part of the same or adjacent iconographic
programs within Jamchen monastery. The monastery was Sakya by tradition, but later fell
into disrepair, being renovated, converted to Gelug, and renamed Jampa Ling by the Fifth
Dalai Lama, Lobzang Gyatso (1617-82).

Lastly, the inscription unequivocally states that this spectacular sculpture was created by
Sonam Gyaltsen. No other historic record of him is broadly known to date. We can only
infer that he flourished by the second quarter of the 15th century, working at that time in
the region of Greater Shigatse. Moreover, it is likely that his work at Jamchen monastery
would have won him considerable renown, if his fame had not already secured him this
prestigious commission in the first place.

The large sculpture depicts Avalokiteshvara Sahasrabhuja Ekadasamukha - the All
Seeing, All Sided Lord with One Thousand Hands and Eleven Faces, who looks in
every direction to save all creatures. Since the first Dharma King of the Yarlung Dynasty,
Songtsen Gampo (604-50), Avalokiteshvara has been the primary tutelary deity of Tibet,
incarnating spiritual and political rule. Here he appears in his supreme cosmic form
expressing his infinite capacity with a multitude of heads and arms. The iconography
follows either the Palmo or Jowo traditions of depicting the deity with benign expressions
except for the penultimate wrathful head. Despite the popularity and central status of
Avalokitesvara, very few examples in the form of Sahasrabhujalokeshvara Ekadasamukha
are extant, and none of this scale are known to be held in private hands.

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