First four abbots of Ngor monastery (?)
See it in the Museum
India and Nepal
Orientation 4
Wall object 14
ABP 031
Code: ABP 031
Country: Tibet (south)
Style:
Date: 1450 - 1550
Dimensions in cm WxHxD: 79.5 x 104
Materials: Glue distemper on cotton
First four abbots of Ngor monastery (?)
Sitting in pairs facing each other are four monastic figures resting on lavishly adorned thrones supported by lions. Surrounding them are deities, Indian mahasiddhas and Tibetan masters connecting them to the Sakya school of Tibetan Buddhism. The lower range contains three protective deities and a monk presenting offerings.
The first pair of masters both perform the teaching gesture, and both have gray hair. The first has a discrete protruding ushnisha on his forehead, symbol of a high realisation, and the utpala flowers (blue lilies) blooming from his hands support the vajra and bell, symbols of Vajradhara. The third character wears a rounded pandit hat, typical of the Ngor sub-sect of the Sakya school, connecting the painting to this tradition. The disposition of the four main characters indicates a succession of four masters, probably throne holders of a monastery, but the absence of inscription makes it difficult to identify them with certainty.
Stylistically, the red and blue dominated palette associated with the bountiful ornamentation (vegetal scrolls, pilasters…) and the strong geometrical composition testify of a Nepalese influence, a style very common to the Sakya tradition.
Sitting in pairs facing each other are four monastic figures resting on lavishly adorned thrones supported by lions. Surrounding them are deities, Indian mahasiddhas and Tibetan masters connecting them to the Sakya school of Tibetan Buddhism. The lower range contains three protective deities and a monk presenting offerings.
The first pair of masters both perform the teaching gesture, and both have gray hair. The first has a discrete protruding ushnisha on his forehead, symbol of a high realisation, and the utpala flowers (blue lilies) blooming from his hands support the vajra and bell, symbols of Vajradhara. The third character wears a rounded pandit hat, typical of the Ngor sub-sect of the Sakya school, connecting the painting to this tradition. The disposition of the four main characters indicates a succession of four masters, probably throne holders of a monastery, but the absence of inscription makes it difficult to identify them with certainty.
Stylistically, the red and blue dominated palette associated with the bountiful ornamentation (vegetal scrolls, pilasters…) and the strong geometrical composition testify of a Nepalese influence, a style very common to the Sakya tradition.