EASTERN TIBET, PALPUNG STYLE, 19TH CENTURY

Green Tara, the central figure portrayed in this painting, is warmly referred to by Tibetan Buddhists of all traditions as the "Mother of all Buddhas." She is a fully enlightened female Buddha and acts as an unconditional guide and protector to help all sentient beings find liberation from the ocean of suffering. Referred to as the female counterpart to the bodhisattva Avalokiteshvara in tantric literature, Green Tara is called upon by devotees to bestow protection from earthly dangers and disasters. Gracefully seated amidst a tranquil landscape, the goddess tilts her head slightly with a benevolent gaze and warm smile in the posture of 'royal ease.' Amitabha, the Buddha of Infinite Light, is depicted atop Green Tara in this painting. This choice signifies the belief that, just like Avalokiteshvara, Green Tara is both the emanation and pupil of Amitabha.
The style and palette of this painting draw inspiration from the Kham region of Eastern Tibet and its proximity to China. Palpung Monastery in Eastern Tibet is credited with popularizing this style, continuing the innovative artistic vision of Situ Panchen Chokyi Jungne (1700–1774), who was instrumental in introducing Chinese painting conventions to the idiom of Painting in Eastern Tibet. This painting is distinguished by its unique syncretism of motifs from the New Menri style, such as the stylized foliage, clouds, and ornaments, with the Palpung idiom.
Situ Panchen often undertook the task of commissioning and personally painting Taras, such as the present work, as gifts for his patrons and pupils. A well-recorded example from Situ Panchen’s autobiography recounts that in the water-horse year (1762), he offered to the Derge ruler a thangka of White Tara. It is believed that such paintings of Tara are conducive to longevity and were supposed to be finished within a single day—an artistic tradition honored in this composition. It is worth noting that paintings of single compositions of Green Tara in the Palpung Style are much rarer than paintings of White and Red Tara. Compare the composition of the present lot with a painting of Red Tara associated with Palpung sold at Bonhams New York on 19 March 2019, lot 937, illustrated on Himalayan Art Resources, item no. 8077, and a further example in a private collection, illustrated on Himalayan Art Resources, item no. 1801.