Golden Visions of Densatil: A Tibetan Buddhist Monastery

Golden Visions of Densatil A TIBETAN BUDDHIST MONASTERY

Golden Visions of Densatil A TIBETAN BUDDHIST MONASTERY

Edited by

Olaf Czaja and Adriana Proser

Asia Society Museum

CONTENTS

Director’s Preface

9

Curator’s Acknowledgments

11

Note to the Reader

13

Funders of the Exhibition

14

Lenders to the Exhibition

15

Golden Visions of Densatil: A Tibetan Buddhist Monastery

17

Descriptions of Densatil: Excerpts from the Journals of Sarat Chandra Das and Giuseppe Tucci

57

Melissa Chiu

Olaf Czaja

Olaf Czaja

Adriana Proser

From Journey to Lhasa and Central Tibet

59

Sarat Chandra Das

From To Lhasa and Beyond Giuseppe Tucci

Works in the Exhibition

60

65

Olaf Czaja and Adriana Proser

The Tashi gomang Stupas: Beginnings under Jigten Gonpo

66

Tier of Protectors of the Teachings

76

Tier of Offering Goddesses

112

Tiers of Tantric Meditational Deities

126

Pillars, Columns, and Embellishments

146

Lineage Tier and the Uppermost Stupa

162

Art Historical Influence and Meaning

175

Maps of Tibet

The Densatil Monastery Timeline of Selected Events Glossary

Select Bibliography Index Opposite: Detail of cat. no. 10

Photography Credits

182 184 187 196 202 207

Golden Visions of Densatil A Tibetan Buddhist Monastery

Olaf Czaja

The Establishment of Densatil Everyone who has seen the Potala Palace in Lhasa as a pilgrim or a traveler will never forget its architectural majesty and its countless rooms with finely executed wall paintings, graceful statues, and imposing tombs for the late Dalai Lamas. You can justly regard it as a cultural treasure for all humanity, but there were more places in old Tibet, situated off the beaten track, which housed artistic treasures that probably would have caused the same astonishment and a similar entrancement in the viewer as the Potala and its gems still do. One of these places was the monastery of Densatil. Sadly, a present-day visitor would find nothing of its former glory, as it was destroyed during China’s Cultural Revolution. There are, however, photographs from a 1948 Italian expedition that allow a glimpse of the original beauty found at this site (figs. 1 and 2).

Opposite: Detail of cat. no. 47

Following pages: Fig. 1. A tashi gomang stupa at the Densatil Monastery: (top-bottom) the Tier of Buddhas, the Tier of Offering Goddesses, and the Tier of Protectors of the Teachings, with the guardians of the four directions in the foreground. Photograph by Pietro Francesco Mele, 1948. © Ethnographic Museum of the University of Zurich, VMZ 402.00.0513 Fig. 2. A tashi gomang stupa at the Densatil Monastery showing the stupa for the late abbot on top of the tashi gomang structure; it is wrapped in cloth and surrounded by statues of Indian and Tibetan teachers. Photograph by Pietro Francesco Mele, 1948. © Ethnographic Museum of the University of Zurich, VMZ 402.00.0501 17

Fig. 11

Main buildings of the Densatil Monastery (Layout after Tudeng Langga 1992, numbers and captions added)

3 2

4 1

7 9 6

N

8

5

10 13

13

1 Main hall

13

11

12

2 Northeastern corner chapel

8 Building containing earthen stupas for Phagmo Drupa Dorje Gyalpo (1110–1170) and Dragpa Tsondru (1203–1267)

3 Path for circumambulation

9 An earthen stupa for Dragpa Gyaltsen (1293–1360) or Dragpa Rinchen (1250–1310)

4 May have been a guardian temple

10 Assembly hall

5 May have been a guardian temple

11 May have been monks’ quarters and administrative buildings

6 Square for prayer

12 Temple on top of the Mangkhar Ridge

7 Teaching Throne temple

13 Buildings of unknown function

30

CZAJA

Fig. 12

Floor plan of the main hall of the Densatil Monastery

N

7

3

1

2

stupa

1

4

6

5

tashi gomang stupa

thatched hut

Western main gate

2 Western side gate 3 Central area 4 Stupas and statues 5 Platform with the thatched hut of Phagmo Drupa Dorje Gyalpo 6 Chapel of the Teachers 7 Northeastern corner chapel GOLDEN VISIONS OF DENSATIL

31

Fig. 16

15

The southeastern side of a tashi gomang stupa at Densatil, 1948 The Tier of Buddhas

The Tier of Protectors of the Teachings

15 Akshobhya

25 Dhumavati Shri Devi

16 Akshobhya

26 Rahu

17 Shakyamuni

27 Nagaraja Shankhapala

18 Akshobhya

28 Nagaraja Ananta

19 Akshobhya

29 Vaishravana 30 Kakanama Mahakala

The Tier of Offering Goddesses

31 Pranasadhana Shri Devi

20 offering goddesses

32 Prithivi

20

21 offering goddesses 22 Parnashavari, Marichi, and Janguli

Four Guardians of the Directions

23 offering goddesses

A Virupaksha

24 offering goddesses

B Dhritarashtra C Partially obscured, probably Virudhaka D Partially obscured, probably Vaishravana

A

25 26

27

28

16 17 18

21

22

19

23

24

B

29

30

C

31

32

D

From To Lhasa and Beyond Giuseppe Tucci

Densatil1 is one of the famous places of Tibet, as a noted ascetic, Pagmotru, founded it in the 11th century. The hermitage was for some time a dependency of Digung2 and later became the sanctuary of the Pagmotru family, which in the 14th century had managed to conquer nearly the whole of Tibet, and whose tombs are at Densatil. The convent is perched high up in a glen, at some 13,000 ft. We reached it by a mountain path winding up the mountain slope and never losing sight of a torrent bounding down the valley from waterfall to waterfall. The path was lined with wild roses, rhododendrons and junipers, which once again went to show that ascetics did not only choose lonely spots, but also lovely ones for their meditation. Saints are often poets, who love God and seek Him in the beauty of creation.

The day we had chosen for our visit happened to be a feast, and the monks were all gathered in the main temple and said their office, now and then breaking the day-long routine with pauses for food, tea and rest.

Fig. 29. Giuseppe Tucci and Regolo Moise at camp, unknown place in central Tibet, 1948. Photographer unknown, courtesy of Istituto Italiano per l’Africa e l’Oriente, call no. 8040/01.

60

TUCCI

Fig. 30. Giuseppe Tucci and Chhögyal Nyima Lhundup, a council minister (zhabs pad) of the Tibetan government, Lhasa, 1948. Photograph by Prodhan, courtesy of Istituto Italiano per l’Africa e l’Oriente, call no. 7014/03.

DESCRIPTIONS OF DENSATIL

61

Works in the Exhibition

10 Nagaraja Early 15th century, Tibet Gilt copper alloy with inlays of semiprecious stones, 22½ x 19¼ x 8 in. (60.3 x 50.2 x 20.3 cm) Collection of Vanessa and Henry Cornell This fragment, featuring an elegant Nagaraja with nine snakes peering above his crown, iconographically follows a description found in the inventory charts written by a pupil of Jigten Gonpo. Eight small Mahanaga, with snake-like bodies and holding vessels or wish-fulfilling jewels, surround the main figure. The vine that originally framed the figures is no longer intact, but a portion of it remains along the bottom of the piece. Turquoise, lapis lazuli, rock crystal, and onyx, among other semiprecious stones, adorn the sculpture.

Selected Publications Olaf Czaja, Medieval Rule in Tibet, 390–391.

Sotheby’s, Indian and Southeast Asian Art, 2000, lot 86.

90

WORKS IN THE EXHIBITION

Fig. 33. A Nagaraja on a tashi gomang stupa at the Densatil Monastery. Photograph by Pietro ­Francesco Mele, 1948. © Ethnographic Museum of the University of Zurich, VMZ 402.00.1110

16 Dhumavati Shri Devi Early 15th century, Central Tibet Gilt copper alloy with inlays of semiprecious stones, 18 x 19 x 7 in. (45.7 x 48.3 x 17.8 cm) Asia Society, New York: Asia Society Museum Collection, Gift of Mr. and Mrs. Gilbert H. Kinney in honor of Vishakha Desai, 2012.4 Like the other Shri Devis in this catalogue, this image would have been located on the sixth tier of a tashi gomang stupa, but on the southern side. This four-handed Shri Devi sits on a recumbent mule on a lotus flower. The compact yet agile wrathful female deity brandishes swords in her two upper arms. She holds a skull-cup in her lower right hand. It is no longer possible to tell what she held in her lower left hand. The ten figures in her retinue each sit on a lotus flower in a posture similar to hers and are enclosed in scrolling tendrils. These small deities only have two arms; they each hold a curved knife with the right hand and a skull-cup in the left. They may be a representation of the ten goddesses holding curved knives and skull-cups that, according to the inventory charts by Sherab Jungne, attended Dhumavati Shri Devi.1 Selected Publications Christie’s, Indian, Himalayan and Southeast Asian Art, 1995, lot 100.

Olaf Czaja, Medieval Rule in Tibet, 407.

Amy Heller, Tibetan Art: Tracing the Development of Spiritual Ideals and Art in Tibet 600–2000 A.D., cat. no. 83.

Chunhe Huang, “Zangchuan dansati zaoxiang fengge chu tan [Preliminary Research on the Style of Tibetan Densatil Statues],” plate 51.

Notes 1. A comparable figure of Dhumavati Shri Devi was offered by Christie’s in 1995. Still attached to a frieze, she is also surrounded by ten goddesses and carries the same attributes as those carried by Asia Society’s Shri Devi.

104

WORKS IN THE EXHIBITION

17 Pranasadhana Shri Devi 15th century, Central Tibet Gilt copper alloy with inlays of semiprecious stones, H. 15 in. (38 cm) Somlyo Family Collection, USA Two types of four-armed wrathful female deities appeared on the sixth tier of a tashi gomang stupa; Dhumavati Shri Devi appeared on the southern side and Pranasadhana Shri Devi appeared on the eastern side. As seen here, Pranasadhana Shri Devi has one face and four hands. From historic photographs of the Densatil Monastery’s tashi gomang stupas it is evident that the eastern part of some of the tashi gomang stupas include a Pranasadhana Shri Devi holding a sword in her upper right hand and a tramshing (tally stick) in her lower right hand. Though this sculptural fragment resembles the Shri Devi seen in the historic photographs, details like the folds of her garment on her left leg reveal that the two sculptures are not one and the same. The attributes of the left hands of this Shri Devi are missing, but in the photograph the lower left hand of the Shri Devi holds an unidentified utensil. The upper right hand once grasped what was probably a lotus flower. It is possible that an attribute originally was placed on the flower, which would explain the round item that appears on the lotus in Mele’s photograph.1 The relatively soft, fleshy, and gentle-looking Shri Devi seated on a recumbent mule in this exhibited fragment has two metal loops on the back side suggesting it was attached to a frieze from behind.

Selected Publications Christie’s, Chinese, Japanese, Indian, Himalayan and Southeast Asian Art, 1995, lot 338.

Olaf Czaja, Medieval Rule in Tibet, 407.

Guimao Wang. “Art of the Steppe,” 42.

Notes 1. It could have been a jewel like the one seen on a statue of Pranasadhana Shri Devi advertised in Orientations magazine in 2010. This statue, as well as a third Pranasadhana Shri Devi statue for sale at an auction in 1995, indicates that the missing attribute in her lower left hand was a mongoose spitting jewels.

106

WORKS IN THE EXHIBITION

23 Panel of offering goddesses 14th century, Central Tibet Gilt copper alloy with inlays of semiprecious stones, 101⁄8 x 15¼ x 6¼ in. (25.7 x 38.7 x 15.9 cm) Collection of David T. Owsley This single panel of offering goddesses decorated with semiprecious stones features four musicians. The panel was originally located next to the central panel of a fifth tier of a tashi gomang stupa. Two goddesses each play a drum with two of their hands and grasp a vajra and a bell with their remaining hands. Another goddess holds a flute with two hands and is missing her two other hands. A fourth goddess holds a vajra and a bell in her lower two hands, but the gesture of her raised hands indicates that she must be Vajravina, and once held a lute in her upper hands. All move towards the right, suggesting they once were placed to the left of the main deities of a central panel. It is possible that the Tantric staff known as khatvanga rested against the left shoulders of the offering goddesses. Three stylized flowers similar to those found on other sculptures and thangkas of this period ornament the side of the panel.

Selected Publications Olaf Czaja, Medieval Rule in Tibet, 419–420.

Sotheby’s, Indian and Southeast Asian Art, 1994, lot 14.

Detail of fig. 1 118

WORKS IN THE EXHIBITION

42

(OPPOSITE)

Vajravarahi 14th century, Central Tibet Gilt copper alloy with inlays of semiprecious stones, 133⁄4 x 811⁄16 x 43⁄4 in. (35 x 22 x 12 cm) Museum Rietberg Zürich, on long-term loan from The Berti Aschmann Foundation, BA 109

43

(OVERLEAF)

Vajravarahi 14th century, Central Tibet Gilt copper alloy with inlays of semiprecious stones, 14 x 93⁄8 x 5¾ in. (35.6 x 23.8 x 14.6 cm) Seattle Art Museum, Eugene Fuller Memorial Collection, 70.2 These sculptures of the dakini Vajravarahi bear a strong resemblance to the same deity in Mele’s photographs showing part of the first tier of a tashi gomang stupa in the main hall at the Densatil Monastery. The dancing dakini sculptures are identifiable by the hog’s head protruding from the right of her head, and the curved knife (or remnants of a curved knife) in her raised right hand. In both examples she holds a skull-cup to her heart and her left leg balances on a corpse. Semiprecious stones ornament her jewelry, girdle, and the ends of her flowing scarves. The articulation of her chaplet, earrings, necklace, bracelets, armlets, and girdle follows the established artistic and stylistic principles for some of the Vajravarahi sculptures in the 1948 photographs. Both figures dance on highly ornamental lotus blossoms.

Selected Publications Olaf Czaja, Medieval Rule in Tibet, 452–453.

Pratapaditya Pal, The Art of Tibet, cat. no. 55.

Ulrich von Schroeder, Indo-Tibetan Bronzes, plate 101 A. Helmut Uhlig, On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zürich, cat. no. 109.

166

WORKS IN THE EXHIBITION

Published on the occasion of the exhibition “Golden Visions of Densatil: A Tibetan Buddhist Monastery” organized by Asia Society Museum.

Asia Society Museum New York, NY February 19–May 18, 2014 © Asia Society, New York, NY, 2014 All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers.

Published by Asia Society 725 Park Avenue New York, NY 10021 www.AsiaSociety.org

Project Manager: Marion Kocot In-House Curator: Adriana Proser Production Coordinator: Leise Hook Designers: Miko McGinty and Rita Jules Typeface: Bau Color separations, printing, and binding: Trifolio S.R.L., Verona, Italy using their extended gamut system AreaW4

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Front cover: Detail of cat. no. 16 Back cover: Detail of fig. 1 Frontispiece: Detail of cat. no. 5 Endpapers: Detail of a photograph by Pietro Francesco Mele, 1948. © Ethnographic Museum of the University of Zurich, VMZ 402.00.1402

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