Page 36 - Indian and Himalayan Art Mar 21, 2018 NYC

PROPERTY FROM A PRIVATE COLLECTION
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painting founded by Khyentse Chenmo of Gongkar monastery (1420-1500).
TWO THANGKAS FROM A SET DEPICTING SAKYA LAMDRE
The bright palette and apparent infuence of Manchu court painting are
LINEAGE HOLDERS
TIBET, 18TH CENTURY hallmarks of this popular tradition.
First painting 24√ x 17¬ in. (63.4 x 44.7 cm.)
second painting 25¡ x 17√ in. (64.4 x 45.5 cm.) Both the thangkas were published in Detlef-Ingo Lauf’s 1976 publication on
(2) the Ford collection entitled Secret Revelation of Tibetan Thangkas (Verborgene
Botschaft Tibetischer Thangkas). Identifed therein as “Arhat Cudapantaka”
$20,000-30,000
and “A Buddhist Monk,” An inscription found on the verso of the frst suggests
that his fgure is actually Drogmi Lotsawa Shakya Yeshe (992-1072). An
PROVENANCE
Collection of John G. Ford, Maryland, by 1976. inscription beneath the top dowel on the verso of the latter reads “11th left,
Private collection, New York, acquired from the above in 1998. Homage to Jamyang Sherab Gyatso.” These inscriptions reveal a connection
between these two paintings. Both come from a set of Lamdre lineage holders
LITERATURE
D. Lauf and J. Ford, Secret Revelation of Tibetan Thangkas, Frieburg, of the Sakya tradition, which can be understood in English as “the fruit of
1976, pp. 70-1, 100-1, pls. 16 and 29 the path.” Similar paintings can also be found in the Rubin Museum of Art:
Himalayan Art Resource (himalayanart.org), item no. 73716 and 73729 C2002.14.1, C2002.3.1, and C2002.3.2.
Deep azurite skies give defnition to the beautiful landscapes that surround A. Inscriptions on verso:
these two treasured teachers. Both are rendered in intricate detail, carried ‘brog mi –Drogmi Lotsawa Shakya Yeshe (992-1072)
throughout every element of the composition. Complex patterns are burnished ‘gro cha –Seventh Sakya Tridzin, Pakpa Lodro Gyeltsen (1235-1280)?
into the golden robes of these respected teachers, who sit upon elaborate,
Chinese-style thrones. The ritual implements, animals, and fowers are treated B. Inscription on top dowel:
with as much care as the naturalistic portraits of the two lineage holders. Their g.yon bcu+ig ‘jam dbyangs shes rab rgya mtsho la na mo- 11th left, Third Ngor
respective meditational deities (or yidam), Krishna Yamari and Amitabha, foat Khenchen, Jamyang Sherab Gyatso (1396 - 1474)
above them. These paintings are wonderful examples of the Khyenri style of 西藏 十八世紀 薩迦派祖師唐卡一組兩件

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