Kham Province, Eastern Tibet
late 18th century, ca. 1760s
Situ Panchen (1700–1774) was both a hierarch of the Karma Kagyu School of Tibetan Buddhism and an important patron and artist, credited with reviving the court style of the Karmapas known as the Encampment style (Gardri), which quickly became popular in his native Kham Province in southeastern Tibet. This style is characterized by figures based on Indian aesthetic models of proportion placed in open, airy blue-green landscapes of Chinese inspiration that often suggest a sense of depth and receding space.As Situ worked directly with artists, the painters of this work would have known him well enough to create an accurate likeness. One of Situ’s main artistic disciples in his later years, Karsho Karma Tashi, probably designed and painted the originals for this and a few other paintings in a famous set depicting the masters of the combined lineages. The physical appearance of Situ Panchen in this painting tends to support a dating to the late 1750s or later. The long-life goddess White Tara (upper left), with whom Situ had a special relationship, was also included as a wish for the aged Situ Panchen’s continued longevity. Notice White Tara’s hair bun is off to one side (over her left ear), a characteristic of Situ’s depictions of this goddess.
Rubin Museum senior curator Dr. Karl Debreczeny and Smarthistory’s Dr. Steven Zucker look at a painting of one of the great scholars and polymaths of the 18th century, Situ Panchen. As leader of the Karma Kagyu school of Buddhism at a time of its near eclipse, Situ Panchen revitalized the arts of southeastern Tibet and wrote widely about the arts.
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.
An implement used in tantric practices, the two halves of this drum symbolize the union of the two aspects of enlightenment. When paired with a bell, it represents the male aspect of enlightenment, and its drumming is the sound of the bliss of realizing the true nature of reality. Large hand drums are used in the Tibetan practice of “cutting the ego.” Their sound represents impermanence.
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.
The passing down of authentic Buddhist teachings from a teacher to a disciple or student, often in the form of a text in a ritualistic context.
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.
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