Tsuklak Gyatso (1567–1633) was the Third Pawo Rinpoche, an important and high-ranking teacher of the Karma Kagyu School of Tibetan Buddhism. He is represented in this painting not only by the central figure but also by his handprints and footprints. The size and unevenness of the handprints suggest that they are based on actual prints made by the Third Pawo, helping to confirm that this painting dates to his lifetime. The handprints and footprints of a master are considered to be a portable form of transmitted blessing, akin to a touch relic. They could even stand in for the teacher in his absence.Beginning in the fifteenth century the indigenous Tibetan painting traditions of Menri and Khyenri—named after their Tibetan founders, Menla Dundrup and Khyentse Chenmo respectively— incorporated Chinese landscape elements into an otherwise dominant Newar painting tradition. Here figures are depicted following Indo-Nepalese models and are robed in bright reds and oranges. They are symmetrically placed in a simple, thickly painted blue-green landscape of Chinese inspiration. However, the landscape is not designed to suggest spacial depth, but instead mountains and clouds are densely stacked on top of one another as framing devices for the figures.

Artwork Details

Title
Third Pawo Rinpoche, Tsuklak Gyatso (1568-1630) with his Handprints and Footprints
Dimensions
25 × 18 3/8 in. (estimated)
Medium
Pigments on cloth
Origin
Tibet
Classification(s)
paintings
Date
early to mid-17th century
Credit Line
Rubin Museum of Himalayan Art, Gift of Shelley and Donald Rubin
Object number
C2006.66.29
Bibliography
Patron and Painter: Situ Panchen and the Revival of the Encampment Style
HAR Number
825
Published references
*Selig Brown, Kathryn H. Eternal Presence: Handprints and Footprints in Buddhist Art. New York: Katonah Museum of Art, 2004. Plate 10; Pp. 33, 43, front and back covers. *Jackson, David P. Patron and Painter: Situ Panchen and the Revival of the Encampment Style. New York: Rubin Museum of Art, 2009. Fig. 5.7; Pp. 94-95.* Van Alphen, J. Collection Highlights: Rubin Museum of Art. New York: Rubin Museum of Art, 2014. Pp. 84-85, 137* Debreczeny, Karl. The Black Hat Eccentric: Artistic Visions of the Tenth Karmapa. New York: The Rubin Museum of Art, 2012, p. 69 (Fig.2.3)

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Transmission

Concepts

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.

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Lineage

Concepts

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.

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Legendary and Historical Humans

Figure Type

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).

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Tibetan Regions

Region

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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