Page 26 - Christies March 14 2017 Tibetan Bronzes NYC

tHe kagyu lama

This impressively sized bronze fgure depicts a Kagyu Lama seated in whereas the wide throne with large, rounded petals belies a Pala infuence
vajraparyankasana, with one hand in his lap while the other touches the lotus from northeastern India. Copper inlay was used in both Pala and Kashmiri
base on which he rests. He wears robes typical of Kagyu monks – a ftted vest prototypes, and its use in the present example is a natural result of those
with the armhole cut wide for comfort, a robe draped over his torso, leaving his confuences. The use of copper inlay, the care with which the portrait is
right arm bare and spilling over his lap in elegant folds and a thick, warm cape rendered, and the unusually large size indicate this was an important and
resting on his shoulders and otherwise open. The vest is inlaid with copper costly commission.
simulating beading along neckline and armhole, and the hems of the robe
are similarly inlaid, incised to mimic richly brocaded borders. For a painted Compare with a fgure of Amitabha, formerly in the Wesley and Carolyn
14th century portrait of a Kagyu Lama, depicted in the same posture and Halpert Collection (D.Weldon and J.Casey, Faces of Tibet: The Wesley and
with similar embellishment of the richly adorned robes, see a portrait of an Carolyn Halpert Collection, Carlton Rochelle Ltd, New York, 2003, fg.16). This
Abbot from Central Tibet, in the collection of the Metropolitan Museum of Art work is a century earlier than the present example, and shows the strong Pala
(accession no. 1991.304, see S.M. Kossak and J.C. Singer, Sacred Visions, Early infuence, including the ungilt surface, copper inlay, and lotus base with large
Paintings from Central Tibet, 1998, p.125, cat.no.30) . The face of the present beading at the bottom, wide rounded petals and fner beading above. These
sitter is beautifully painted, conveying his warm personality. stylistic traits, inherited from Newari sculptors, continued to become more
refned in later examples, including the present work, executed by local artists
This fgure is a perfect example of the amalgamation of Indian and Himalayan trained by both Newari and Kashmiri craftsmen.
infuences that resulted in the Western Tibet sculptural style. The color and
weight of the metal reveal infuence of Kashmir and Himachal prototypes,

Portrait of an abbott, Central Tibet (a Kagyu monastery), ca. 1350
S. M. Kossak and J. C. Singer, Sacred Visions, Early Paintings from Central
Tibet, 1998, p. 125, no. 30