Kham Region, Eastern Tibet
19th century
The scholar and artist Situ Panchen (1700–1774) is largely credited with reviving the Encampment Style (Gardri) in his native Kham region after it was nearly eclipsed in central Tibet due to civil war. Situ’s role as a commissioner of paintings is commemorated through this portrait of him as patron.One of the most widely acclaimed painting sets designed and commissioned by Situ Panchen is Kshemendra’s One Hundred and Eight Morality Tales (avadana) in twenty-three narrative paintings. Situ Panchen began designing his own set of this cycle in 1733,soon after hearing the disastrous news of the sudden and unexpected passing away of his teachers, the Twelfth Karmapa (1703-1732) and Eighth Shamar (1695-1732) lamas. Situ set up a workshop for executing these paintings, for which he himself sketched the compositions according to his own original ideas. He personally directed the entire process of the painting, from the initial coloring to the finishing details. In order to realize his vision, Situ trained a number of master painters of Karsho (near his previous seat, Karma Monastery) to do most of the painting work. This would have been the last painting in a series, depicting Situ as patron, where he is shown instructing his team of artists in the bottom left corner of the painting.In 1736 Situ composed a long inscription, which would have appeared in this painting in the large blank scroll held up by goddesses: I have followed the Chinese masters in color, in mood expressed, and form, and I have depicted lands, dress, palaces, and so forthas [I have] actually seen in India. Even though all the discriminating skill of Menthang—[both] New and Old—and the Khyen[ri] tradition followers, Jeugangpa and the Encampment masters are present here, I have made [these paintings] different in a hundred thousand [particulars of] style.
Situ names all of the major Tibetan painting traditions (Menri, Khyenri, Jeugangpa, and Encampment) as represented in his work to suggest the all-encompassing nature of his artistic vision. His mention of things he had “actually seen in India” refers to his firsthandexperiences with the culture of the Indian subcontinent during his first pilgrimage to Nepal in 1723. Two painters sit in the bottom-left corner, brushes poised, as if awaiting Situ’s instructions.
A bell is often paired with the vajra and is another implement used in tantric practices and an attribute of tantric masters and deities. It generally symbolizes wisdom, the feminine aspect of enlightenment, and its ring is said to be the sound of emptiness.
A vajra is a ritual scepter used in tantric practices and an attribute of tantric masters and deities. It generally symbolizes method, the male aspect of enlightenment.
A skull cup is an attribute of tantric deities and is usually paired with a curved knife. It can symbolize a mind filled with the bliss of realizing the true nature of reality.
Teachings and precepts that offer practical and experiential guidance. In Buddhism instruction is primarily an oral tradition and is often targeted to the specific needs or disposition of a student or disciple.
The transmission of teachings from one generation to the next, from teacher to student, traced all the way back to the Buddha without interruption. A complete lineage is essential in Tantric Buddhist practices as it makes the blessings of the teaching more powerful.
Himalayan art includes portraits of legendary and historical humans, including accomplished religious teachers (lamas), the Buddha’s original disciples (arhats), and spiritually accomplished tantric masters (mahasiddhas).
Today, Tibetans primarily inhabit the Tibetan Plateau, situated between the Himalayan mountain range and the Indian subcontinent to the west, Chinese cultural regions to the east, and Mongolian cultural regions to the northeast. During the 7th to 9th century, Tibetan rulers expanded their empire across Central Asia, and established Buddhism as the state religion.
Great Tibetan Patron and Designer of Buddhist Art in KhamPelpung Monastery, Derge, Kham region, eastern Tibet
Artists in Tibetan, Himalayan, and Inner Asian traditions produce works, mostly religious in nature, for large monastic institutions, royal courts, and a wide range of individual patrons.
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