Tibet or China
Dated by inscription, 1667
This monumental and imposing painting pays homage to Lhawang Tenpai Gyaltsen (1631–1668), the Fourth Demo Rinpoche, a high incarnate lama of the Geluk order. In 1653 Demo Rinpoche accompanied the Fifth Dalai Lama (1617–1682) to visit the Qing Emperor Shunzhi (reigned 1643–1661) in Beijing. The style of portraiture in this unusual painting suggests that it may have been commissioned in China while Demo Rinpoche and the Dalai Lama were in Beijing. Several details, such as the Chinese architecture atop the offering mandala before him is quite similar to three-dimensional mandalas found in Qing-dynasty monasteries in Beijing, such as the famous “Lama Temple” Yonghegong, support this attribution. However the gold inscriptions at the left and right edges of the painting, verses of blessing composed by the Fifth Dalai Lama, include the later date of 1667, complicating this interpretation.The specific details of the teacher’s face, particularly his large nose, depart from the usual Tibetan idealized depictions of religious figures based on Indic aesthetics, which suggests that they are based on Demo’s true physiognomy. A tiny lama is depicted at his heart, likely a reference to his own guru, the Fifth Dalai Lama, who in turn has a tiny gold image of Tsongkhapa, founder of their monastic order, on his own chest.
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.
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.
A virtuous feeling and deep respect toward an authentic teaching, teacher, or path. Buddhists believe that expansive study, analysis, and meditation are essential steps for cultivating a healthy and enduring devotion.
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).
Although Tibetan Buddhism was not practiced broadly in China, the imperial centers, such as Beijing and Mount Wutai, emerged as hubs of Tibetan Buddhist cultural production. The emperors of the Mongol Yuan (1271–1368), Chinese Ming (1368–1644), and Manchu Qing (1644–1911) dynasties harnessed Tibetan Buddhist ideas to consolidate their power.
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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