Beginning in the fifteenth century there was a gradual shift in Tibetan art from an Indic-centered aesthetic toward a more Chinese-centered one. This shift reflects the disappearance of Buddhism in India and Tibet’s increasingly close cultural, economic, and political ties to its northeastern Mongolian and Chinese neighbors.
In the fifteenth and sixteenth centuries, newly emerging Tibetan painting styles in Central Tibet were named after famous indigenous masters and artistic centers rather than adopted traditions such as Eastern Indian, Kashmiri, or Nepalese. These new styles, including the Menri, Khyenri, and Gardri, were known for their integration of Chinese-inspired landscapes and corresponding shift to increasingly green and blue palettes of malachite and azurite.
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Tibet
19th century
The Indian scholar Shantarakshita was an important figure in establishing Buddhism in Tibet in the eighth century. While the legendary founding saint and wizard Padmasambhava (see silver sculpture in adjacent case) represented the tantric and magical, Shantarakshita represented the monastic and scholastic.
This painting shows Shantarakshita surrounded by scenes from his life. The story of Buddhism’s arrival in Tibet begins in the bottom-right corner, where Shatarakshita is shown traveling to Tibet laden with bags full of books. At the lower left Shantarakshita sits next to Padmasambhava and performs a consecration ceremony at Samye, Tibet’s first monastery, and ordains the first Tibetan monks. On the back of the painting an aspirational dedication wishes for the essence of the Gradual Path (Lam Rim) to enlightenment, which Shantarakshita embodies, to be permanently preserved in this painting.
This work of art represents later developments in the Menri painting tradition in Central Tibet, with rich palettes, dense lively compositions, highly decorative ornamentation, and dramatic landscapes.
Learn more about lineage paintings and the New Menri painting tradition
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