Page 142 - Christie's Important Chinese Art Nov 3 2020 London

PROPERTY FROM A PRIVATE ENGLISH COLLECTION, SOLD BY ORDER OF THE EXECUTORS
120
AN IMPORTANT THANGKA DEPICTING FOUR HIERARCHS OF THE NGOR LAMDRE
LINEAGE
CENTRAL TIBET, FIRST HALF OF 16TH CENTURY
The painting depicts four lamas seated in two registers on lotus thrones, their red robes finely detailed
in gilt. The Tibetan inscription in gilt running along the bottom identifies these four eminent figures as
the second, third, fourth and sixth abbots of Ngor Monastery. The deities floating between registers are
identified as Achala, Manjushri and Vajravidarana.
The panel, 29Ω in. x 25 in. (75 cm. x 63.5 cm.)
£50,000-80,000 US$64,000-100,000
€55,000-87,000
PROVENANCE:
Property from a Private English Collection, predominantly assembled in the 1970s and 1980s.
Himalayan Art Resources, item no. 24643.
Four distinguished human figures command this composition which is the second to last painting in
an important set of nine paintings depicting the Lamdre or 'Path and Fruit', lineage holders of Ngor
Monastery, Tsang Province, south-central Tibet. This is a line of transmisison of meditation teachings,
based primarily on the hevajra cycle of tantras, of which there are many variations particular to the
subschool of Sakya.
Ngor Monastery is one of the most influential sub-divisions of the Sakya tradition of Tibetan Buddhism
and can be credited with patronizing some of the most outstanding, complex and highest quality
works of Tibetan art. Moreover, the monastery continued to patronize a distinct aesthetic throughout
the sixteenth century. This painting set is an example of that style: composed in registers, rich in
red, and filled with foliate designs in the negative space throughout. For another fifteenth/sixteenth
century Sakya painting set of Lamdre lineage holders, see Philadelphoa Museum of Art, accession
nos.1970-198-1, 1994-148-639 and 1970-198-2 which bear a close stylistic similalrity to this. The present
painting's lineage holders are identifiable by poetic verses of praise that line the bottom register naming
the second abbott of Ngor, Munchen Sempa Chenpo Konchog Gyaltsen (1388-1469); third abbbott of
Ngor Jamyang Sherab Gyatso (1396-1474); the fourth abbott Gyaltsab Kunga Wangchuk (1424-1478) and
the sixth abbott, Gorampa Sonam Sengge (1424-1489).
The other four known paintings from this set are the third, fourth, fifth and eighth in the sequence
(Himalayan Art Resources item nos. 30804, 20922, 30923, 44402). This important painting set can be
roughly dated to 1525 based on the death date of the last lineage holder depicted in the set, the eighth
abbot of Ngor Monastery, Munch Sanggye Rinchen (b.1450). Two of these early sixteenth century works
were formerly in a renowned Swiss collection and sold at Galerie Koller, Zurich, 26 June 1993,lots 109
and 110. All four known examples are now in private collections.
The inscription may be translated as: “Endowed with the highest aspiration of the virtuous (three) jewels,
Extraordinary victor of all directions, With auspicious signs, virtuous qualities and goodness, I bow at the
feet of Sempa Chenpo/Having unobstructed all knowable thngs, Having impressed on the mind an ocean
of scripture [His] magnificent renown pervades all three realms, I bow at the feet of Jamyang Choje./
Beholding the essential nature of all tantras [He] extends the celebration of the ripened and free in all
ten directions, I bow at the feet of Khyenrab Wangchuk, excellent guide of fortunate students/Having
fully developed immeasurable merits, Senge’s clear roar frightens every beast of falsehood with Sugata’s
teaching, I bow [at the feet of] the snow mountain preserver of Buddhist teachings. Auspiciousness”

英國私人珍藏, 由遺產執行人委託拍賣
十六世紀 薩迦派祖師唐卡
來源:
英國私人珍藏, 大多數於1970年代至1980年代購入

(inscription)

140 In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty
fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.