Two Thangkas Recently Sold by a Swedish Auction House: Jetsün Drakpa Gyeltsen and Sakya Paṇḍita

[Update 06 June: The painting of Jetsün Drakpa Gyeltsen (c. 75 x 46 cm, totally c. 130 x 62 cm) is up for sale again at an online auction held by Stockholms Auktionsverk, with bidding closing on 10 June 2025 at Auctionet. Much better photographic documentation is available this time, and the inscriptions of the surrounding secondary figures can now be read. I have therefore updated the relevant sections of the blog post.]

In a recent online auction, Stockholms Auktionsverk sold two thangkas (Figs. 1–2), one showing Jetsün Drakpa Gyeltsen (rJe btsun Grags pa rgyal mtshan, 1147–1216) as its central figure and the other a woven textile of his nephew Sakya Paṇḍita Künga Gyeltsen (Sa skya Paṇḍita Kun dga’ rgyal mtshan, 1182–1251).

A New Set of Ngor Paintings: Jetsün Drakpa Gyeltsen

The first painting, with a Stockholms Auktionswerk estimate of EUR 80,- and surprisingly dated to the 20th century with a Nepalese provenance, sold for EUR 17.270.  

The painting coming out of the Ngor tradition has an inscription on the reverse clarifying that it is part of a larger set and is to be hung as the third painting to the proper right of the central painting (g.yas gsum pa; Fig. 3).

Since Jetsün Drakpa Gyeltsen would have to be hung six from the left if the entire set were to depict the successive lineage masters of Sakya’s standard transmission of the Lamdre (Lam ’bras) as single-figure thangkas, the set to which the present painting belongs appears to depict a different teaching lineage.

A second painting from the same set (Fig. 5), depicting Sakya Paṇḍita, can now be identified, originally sold by Christie’s in 2013 (Indian and Southeast Asian Art, 18 SEP 2013, Live auction 2724, Lot 271; HAR 30643). Both paintings (Figs. 4–5) are similar in style, size (Jetsün Drakpa Gyeltsen: ca. 76 x 46 cm and Sakya Paṇḍita: 75.6 x 46.6 cm), and brocade, and might date to the 16th century. According to HAR 30643, the “inscription in Tibetan language on the back reads ‘right first’ which means this composition is part of a larger set of paintings. The Sakya Pandita is hung as the first painting on the proper right of the central or main painting.” The arrangement of hanging Sakya Paṇḍita before Jetsün Drakpa Gyeltsen is unusual given that the latter is senior in the lineage, and I wonder if there is something wrong with one of the inscriptions indicating the number of the painting in the set.

Immediately above Drakpa Gyeltsen there is a depiction of Hevajra with Nairātmyā in the skull-cup bearing form with eight faces, sixteen arms, and four legs (Kapāladhara, Kye rdor thod pa can). Hevajra has his two right legs extended downwards, bending at the knees and pressing down the four Māras piled on top of each other as a seat or cushion (brtsegs gdan), and his two left legs raised up in a dancing posture (gar ’khrab/stabs). Within the Lamdre meditative system, which is synonymous with the Instructional System of Hevajra (Kye rdor man ngag lugs), the depiction (and visualisation) of Hevajra in this leg position is found in the Ngor tradition. Within the Instructional System/Lamdre, there is a second practice of visualising and depicting Hevajra standing on his outstretched first right and left legs, trampling evenly over the four Māras as a seat or cushion (bkram gdan), and with his second right and left legs raised in a dancing posture. This posture is commonly found in the Dzong tradition (rDzong lugs) and Gongkar tradition (Gong dkar lugs). In addition, the Hevajra tantric system (rGyud lugs/Kye rdor rgyud lugs) of the Sakya tradition is transmitted through three exegetical systems: The Commentarial System (‘Grel pa lugs) of Ḍombhi Heruka (Ḍombhi lugs/Ḍombhi Heruka lugs), the Tsokye System of Saroruhavajra/Padmavajra (mTsho skyes lugs), and the Nagpo System (Nag po lugs) of Kṛṣṇasamayavajra. These three are supplemented by the Instructional System, the Lamdre, as a fourth Hevajra lineage.¹ Exegetical discussions suggest that the Ngor tradition also used the Hevajra form of the Instructional System in other systems, such as that of the Tsokye; a subject that awaits further exploration in the future.

Therefore, the depiction of Hevajra with his two right legs extended downwards, bending at the knees and pressing down the four Māras piled on top of each other as a seat or cushion (brtsegs gdan), and his two left legs raised up in a dancing posture (gar ’khrab/stabs), can be considered an important art historical marker for attributing works to the Ngor tradition (or a Ngor lineage that was incorporated into the Sakya tradition proper). Whether this assumption holds true remains to be seen.

To the proper right of Drakpa Gyeltsen’s head there is a depiction of an Indian master, whose labelling inscription reads: pan khri ta mi thub zla bo. He can thus be identified as Durgacandra/Durjayacandra. In the same place, to the proper left of the central figure’s head, there is a master wearing a red paṇḍita hat whose labelling inscription reads: sto phon shes rab dbang po mdzes pa. Although he is shown as a Tibetan monk wearing an additional sleeveless waistcoat or vest (stod ’gag) as an upper garment, he seems to represent Prajñendraruci (Shes rab dbang po mdzes pa/gsal) alias Vīravajra (dPa’ bo rdo rje). These two masters can directly be linked to Hevajra depicted above. They are both successive lineage masters of the Commentarial System of of Ḍombhi Heruka. Together with Hevajra, they might well represent this system of Hevajra practice or the Hevajra tantric system (rGyud lugs/Kye rdor rgyud lugs) in general, to which the former belongs.

There are also other secondary figures, such as the two adepts in the top left and right corners. According to the inscriptions, these are Vajraghaṇṭāpāda (rdo rje gri bu pa) and Lūhipāda (lo hi pa). Their presence possibly suggests a connection to the Cakrasaṃvara tantric system and the traditions they represent.

The final group of secondary figures comprises seven Tibetan lamas: one on either side of Hevajra, one on either side of the central figure, and three in the lower part of the painting below the central figure.

The two lamas next to Hevajra are Ngorchen Künga Zangpo (Ngor chen Kun dga’ bzang po, 1382–1456 ), the founder of Ngor monastery, and Müchen Könchok Gyeltsen (Mus chen dKon mchog rgyal mtshan, 1388–1469), his disciple and successor to the throne of Ngor. They can both be identified by the inscriptions written on the red border above them, and the inscription for Ngorchen reads: rdo rje ’chang kun dga’ bzang po. However, the inscription of Müchen contains some obvious mistakes: sem pa chen po kun cog? rgyal mtshan.

The inscriptions for the two lamas to the proper right and left of the central figure are written on the red outer border. They are partly hidden by the seam of the brocade frame, but can still be identified as representing the 3rd and 4th abbots of Ngor: Sherap Gyatso (Shes rab rgya mtsho, 1396–1474) and Gyeltsap Dampa Künga Wangchuk (rGyal tshab dam pa Kun dga’ bdang phyug, 1424–1478). Their inscriptions read respectively: shes rab rgya? mtsho and rgyal tshab kun dga’ dbang phyug.

Similarly, the inscriptions for the three lamas below the central figure in the lower part of the painting are written on the red border. However, they do not depict Ngor abbots, but rather members of the Khön family of Sakya, and at least two of whom predate Ngorchen.

Seated on a large throne in the centre is Jamyang Dönyö Gyeltsen (’Jam dbyangs Don yod rgyal mtshan, 1310–1344) of Sakya’s Rinchen Gang Labrang (Rin chen sgang bla brang), who was the 14th hierarch of Sakya (tenure: three years around 1342). He is flanked on his proper right by Wang Künga Lekpe (Jungne) Gyeltsen (dBang Kun dga’ legs pa’i (’byung gnas) rgyal mtshan,1308–1336) of the Düchö Labrang (Dus mchod bla brang) and to his left is a lama named Namkha Gyeltsen. However, if he were identified as Jamyang Namkha Gyeltsen (’Jam dbyangs Nam mkha’ rgyal mtshan, 1397/98–1472) of the Rinchen Gang Labrang, it would mean that he could not have been a student of Jamyang Dönyö Gyeltsen. The inscriptions of all three lamas contain some errors: ’jam g.yang don yod rgyal mtshon, dbang kun leg pa, and nam kha rgyal mtshan.

The relationship between the different sets of secondary figures and also with the central figure awaits further clarification. Could the secondary figures related to the cycles of Cakrasaṃvara and Hevajra represent Drakpa Gyeltsen as a great tantric adept of these systems? Or are they somehow related to one or two lineages transmitted by the seven Tibetan lamas?

A New Set of Ngor Paintings: Sakya Paṇḍita

The second painting depicting Sakya Paṇḍita also contains various groups of secondary figures. In most cases, these figures can be easily identified by their labelling inscriptions, although these often contain orthographic errors.

Immediately above Sakya Paṇḍita there is a depiction of what appears to be a form of the wrathful tantric deity Vajrakīla (rDo rje phur ba) with one face, two legs and two hands holding a three-sided ritual peg or dagger. He is thus not shown in his more common form of three faces, six hands, four legs, wings and a consort. The presence of Vajrakīla most likely represents Sakya Paṇḍita as a lineage master of this important meditation deity of his Khön (‘Khon) family. Sakya Paṇḍita was also responsible for translating A Section of the Root Tantra of Vajrakīlaya (Vajrakīlayamūlatantrakhaṇḍa, rDo rje phur bu rtsa ba’i rgyud) into Tibetan.

In the lower part of the painting are depicted two specific protectors of Vajrakīla and its practice in the Sakya tradition: Karpo Nyida (dKar po nyi zla), the White Lady of the Sun and Moon, and Dügyel Töreng (bDud rgyal thod phreng), Mārajit With a Rosary of Skulls. They flank a central deity whose inscription is illegible but identified by HAR (30643) as Guru Drakpo (Gu ru drag po), the wrathful form of Padmasambhava, usually red but shown here in yellow.

Another group of secondary figures consists of four important Buddhist masters of Indian origin arranged in pairs of two to Sakya Paṇḍita’s proper right and left: Vasubhandu (dByig gnyen), Asaṅga (Thogs med), Śākyaśrī, and Vidyākokila/Avadhūtipa (Rig pa’i khu byug).

The final group of secondary figures are four early successive abbots of Ngor. The first pair of Khedrup Penden Dorje (mKhas grub dPal ldan rdo rje, 1411–1482), the 5th abbot, and Gorampa Sönam Sengge (Go rams pa bSod nams seng ge, 1429–1489), the 6th abbot, are shown flanking Vajrakīla at the top center. The second pair consists of Drenchok Könchok Pelwa (’Dren mchog dKon mchog ’phel ba, 1445–1514), the 7th abbot, and Jetsün Sanggye Rinchen (rJe btsun Sangs rgyas rin chen, 1453–1524), the 8th abbot, flanking the lotus seat of Sakya Paṇḍita.

As with the previous painting, questions arise about the relationship between the secondary figures, as well as with the central figure. For instance, it awaits further clarification whether the four Indian masters represent a specific lineage Sakya Paṇḍita holds or more generally represent specific Buddhist philosophical traditions important to Sakya Paṇḍita. Similarly, the presence of the four Ngor abbots has to be explained. Are they depicted as lineage masters of Vajrakīla, although Ngor monastery did almost no Vajrakīla practices? (The founder of Ngor, Ngorchen Künga Zangpo (Ngor chen Kun dga’ bzang po, 1382–1456) had received Vajrakīla teachings from his master Penden Tsültrim (dPal ldan tshul khrims, 1333–1399); see Heimbel 2017: 151–152).   

A Woven Textile of Sakya Paṇḍita

The second painting (Fig. 9) sold by Stockholms Auktionswerk is a woven textile thangka depicting Sakya Paṇḍita Künga Gyeltsen (Sa skya Paṇḑita Kun dga’ rgyal mtshan, 1182–1251). As with the painting of Jestün Drakpa Gyeltsen, the provenance has been given as Nepal (and dated to the 20th century). However, the painting is most likely part of the sets of Paṇchen Lama incarnations made in Hangzhou, China, in the 1920s, and depicts Sakya Paṇḍita as a Paṇchen Lama pre-incarnation; see Northwestern, HAR. A more colourful depiction of Sakya Paṇḍita exists from another Hangzhou set (Fig. 10).  

Sakya Paṇḍita is surrounded by Mañjuśrī (‘Jam dpal dbyangs) in the upper left, his uncle Jetsün Drakpa Gyeltsen (rJe btsun Grags pa rgyal mtshan, 1147–1216) in the upper right, Four-faced Mahākāla (Caturmukha, mGon po zhal bzhi pa) in the lower left, and Brahmarūpa Mahākāla (mGon po bram ze) in the lower right.

Inscription in the black cartouche at the bottom:

༄༅། །རྗེ་བཙུན་གྲགས་པ་རྒྱལ་མཚན་དང་། །ཡི་དམ་བརྟན་པའི་འཁོར་ལོའི་ཐུགས་རྗེ་ལས། །མུ་སྟེགས་ཚར་བཅད་དྲག་པོ་གདོང་བཞི་པ། །འཕྲིན་ལས་གྲོགས་མཛད་ས་སྐྱ་པཎྜི་ཏ། །

@@| |rje btsun grags pa rgyal mtshan dang| |yi dam brtan pa’i ’khor lo’i thugs rje las| |mu stegs tshar bcad drag po gdong bzhi pa| |’phrin las grogs mdzad sa skya paṇḍi ta| |

---

Endnotes

1. See Fermer et al. 2024: 26–27, 93, 244–255 (Appendix A: The Four Hevajra Lineages of the Sakyapa). ↩︎

---

Bibliography