EASTERN TIBET, 18TH CENTURY

This exceptional painting of Akshobhya stands as a rare example of an eighteenth-century Eastern Tibetan painting style with an association to Ngor Monastery in Central Tibet. The particular retinue of deities stems from the lineage of Atisha Dipamkara Shrijnana (AD 982-1054), one of the major figures in the spread of Buddhism from the Indian subcontinent to Tibet during the eleventh century.
Seated at the center of the composition, Buddha Akshobhya, body blue in color, stretches his right hand across his knee in the earth-touching mudra, while his left rests in a meditative gesture, supporting a gold upright vajra. Adorned with a golden crown, earrings, necklaces, and bracelets, Akshobhya in the present work is depicted in the Sambhogakaya or “enjoyment body” form. An orange scarf is draped around his shoulder and ribbons of flowing silk wraps around his body. Atop a multicolored lotus throne, his legs are folded in vajra posture and his body is encircled by an orange nimbus and a dark green halo around his head. The foliage emerging from the lotus stem extends beyond the base of the throne, framing the buddha with verdant leaves and delicate pink blossoms.
Encircling the central figure of Akshobhya, the Goddesses of the Eight Auspicious Emblems are situated within a landscape that echoes the typical blue and green palette of Chinese landscapes. The goddesses are depicted with varying colors, all adorned with jewels and silks. Contrasting the central figure of Akshobhya, they sit in relaxed postures. Starting from the upper right and circling downwards, they hold a parasol, vase, conch shell, fish, endless knot, wheel, lotus and victory banner. At the upper register of the composition sits the lineage holders of this specific tantra, among them Lord Atisha, Buddhapalita, the bodhisattva Manjushri, and Buddha Shakyamuni. The figures donning their distinctive red pandita hats represent eminent scholars from Nalanda, all of whom played a foundational role in the transmission of Tibetan Buddhism.
The painting adheres to a distinctive Eastern Tibetan style of the eighteenth century that presents a rare example of new Khyenri style which was contemporaneous to the Palpung Monastery style developed by Situ Panchen Chokyi Jungne. Deviating from the norm of architectural and geometrical mandalas, the artist situates the deities in a verdant tapestry of blues and greens, typified by Khyenri encampment scenes. This departure traces back to the work of Khyentse Chenmo, founder of the Khyenri style, flourishing from the 1450s to the 1490s. His rejection of prevailing Indian and Nepalese-inspired styles with formal red backgrounds in favor of vibrant greens and blues was inspired by Chinese landscapes. A direct visual connection of this work with the paintings of Khyentse Chenmo is evident in the elegantly minimalistic form of the multi-colored lotus seat of Akshobhya.
A colophon, positioned in the lower left corner, reveals the patron of the painting to be Rinchen Mingyur Gyaltsen (b.1717 [TBRC P5947]) from Luding Labrang, the 37th abbot of Ngor Monastery. Seated atop a modest throne at the painting's lower left, Rinchen Mingyur wears a red hat unique to the Sakya order of Tibetan Buddhism. Clad in colorful silks, he wields a vajra scepter in his right hand and a sutra page in his left. Beneath him, his disciples present mandala and silk scarf offerings, a gesture of reverence. This central figure is framed by an elegantly decorated monastic interior, replete with a bookshelf, shrine, and thangka paintings. Following the tradition of retired Ngor abbots joining the court of the kingdom of Derge as chaplain, Rinchen Mingyur Gyaltsen was invited by the king of Derge, Lodro Gyatso (1722-1774) in 1760 to serve in the post of chaplain. Rinchen Mingyur spent sixteen years in the role, returning to Ngor monastery in 1776. It is likely the present painting was commissioned during his time in the Derge court, thus dating the work to the third quarter of the eighteenth century.
Compare the composition, motifs and brocade of the present work to a closely related painting of Ganapati sold at Bonhams Paris, 14 June 2022, lot 57 for €48,255 and illustrated on Himalayan Art Resources, item no. 89906; the Bonhams painting was identified as being from Ngor monastery, but it is possible it was commissioned by a student of Rinchen Mingyur Gyaltsen while he was acting as the court chaplain of the Derge court. Also compare the present work with a painting of Kurukulla in the collection of Navin Kumar, illustrated on Himalayan Art Resources, item no. 8057. It is likely that all three paintings were created in the same atelier in Eastern Tibet, although the remote possibility remains that they were painted at Ngor monastery.