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PROPERTY FROM A HAMPSTEAD COLLECTION

AN INSCRIBED GILT-BRONZE 十五至十六世紀
PORTRAIT OF YANG GÖNPA 西藏鎏金銅銘文陽袞巴坐像
TIBET, 15TH – 16TH CENTURY 喜瑪拉雅藝術資源網編號13448

the lama seated in vajraparyankasana on a double-lotus 來源：
throne with the right hand lowered in bhumisparshamudra 倫敦佳士得1973年12月11日，編號34
and the left hand held in dhyanamudra at the lap, depicted
with a joyful countenance below a distinctive receding hairline 出版：
with polychromy, wearing a patchwork inner vest and outer 烏爾裡希．馮．施羅德，《Indo-Tibetan Bronzes》，香
robe heightened with rows of beaded pearls and incised with 港，1981年，頁445，編號120D
sunburst and foliate motifs, the lotus throne with Tibetan
inscription

Himalayan Art Resources item no. 13448
20.5 cm, 8 in.

PROVENANCE
Christie’s London, 11th December 1973, lot 34.

LITERATURE

Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981,
p. 445, no. 120D.

HK$ 180,000-250,000
US$ 23,100-32,000

The Tibetan inscription on the lotus platform identifies this This beautiful portrait appears to be a tender representation of
as Yang Gönpa (Tibetan: Homage to Yang Gönpa), as it is Yang Gönpa. He sits cross-legged and vividly alert, his round
likely that this refers to Gyalwa Yang Gönpa Gyaltsen Pal eyes looking straight ahead, with a gentle smile on his lips.
(1213-1258), a beloved yogi in the Drukpa Kagyü lineage. He His receding hairline and square jaw are poignantly captured.
was known as one of the “Three Victorious Ones”, together He wears an inner patchwork robe, incised with an abstract
with his teacher Gyalwa Götsangpa, a Drukpa lineage master, sunburst motif at the shoulder and back. This outer patchwork
and Gyalwa Lorepa, for their contributions to the rising wave robe is heightened with beaded pearls and incised with three
of non-sectarian practice. As is so common in the Tibetan flowers—one at the verso behind the left shoulder, and two at
tradition, his name derives from the name of his first retreat the corner hems of the robe, by the shins.
hermitage, Yang Gön, where he engaged in his first retreat
on female deity Vajravarahi. Yang Gönpa wrote a number of Compare the base elements of upper and lower rows of thick
significant esoteric treatises on retreat practice, Mahamudra beaded pearls and double row of ovoid petals with upturned
hermeneutics, and a commentary on the Six Yogas on tips and leaves with another fifteenth century gilt bronze figure
Naropa, amongst others, which are still in use today and are of an unidentified lama, see Ulrich von Schroeder, Buddhist
the basis of a number of commentaries by such historical Sculptures in Tibet, Hong Kong, 2001, vol. II, pp. 1062-1063,
Tibetan luminaries as Jigme Lingpa, the Eight Karmapa Mikyö cat. no. 271E.
Dorje, and Tsongkhapa.

Inscription 銘文
278 SOTHEBY’S 蘇富比