Page 54 - Bonhams May 11th 2017 London Thangka Collection

This thangka is particularly rare because of the realistic depiction
of Naropa’s face which shows the influence of photography and
photo realism in Tibetan painting in the 20th century. Photography
in Tibet was largely established in the early 20th century with the
coming of the British in 1903-1904, leading Lord Curzon to say that
there were ‘no more forbidden cities which men have not mapped
and photographed’. The earliest enthusiasm for photography in
Tibet, however, can be dated to as far back as 1879, when the
Sengchen Lama of Tashilhunpo monastery confessed he had a love
of photography; see C.Harris, Photography and Tibet, London, 2016,
p.122.

In the painting, the pale and emaciated Indian adept Naropa (10th/11th
century), clad in a tiger skin, is seated in a relaxed posture, the left
hand holding a skullcup. A meditation strap hangs loosely across the
body. Adorned with jewellery and a crown of skulls, Naropa embodies
the typical appearance of a Tantric mahasiddha.

Naropa was one of the great adepts of Indian Buddhism. Together
with his teacher Tilopa, they comprise the Kagyu order’s root Indian
gurus. Naropa was of humble origins but sought greater knowledge
and enlightenment. He learnt of the great teacher Tilopa and sought
him for many years until he finally met him by chance on a road. Tilopa
refused to take Naropa as a student, however, and treated him cruelly
to test him and his devotion. Naropa endured Tilopa’s abuse for
twelve years. It was not until Naropa begged for food five times at a
wedding on behalf of his master that Tilopa was convinced of Naropa’s
determination and perseverance. The teacher finally accepted him a
disciple and after six months of practice, Naropa achieved supreme
Mahamudra and became a respected Guru and educator.

A related thangka of Naropa which also shows some influence of
photo realism, particularly in the depiction of the face, is illustrated on
Himalayan Art Resources item no.7828.

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