{
"data": {
"id": 153618,
"accession_number": "1987.146",
"share_license_status": "CC0",
"tombstone": "Portraits of Two Lineage Masters of the Kagyu Order: Phagmo Drupa (1110\u20131170) and Tashipel (1142\u20131210), c. 1236\u20131310. Central Tibet. Gum tempera on sized cotton; overall: 51.4 x 39.4 cm (20 1/4 x 15 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 1987.146",
"current_location": null,
"title": "Portraits of Two Lineage Masters of the Kagyu Order: Phagmo Drupa (1110\u20131170) and Tashipel (1142\u20131210)",
"creation_date": "c. 1236\u20131310",
"creation_date_earliest": 1236,
"creation_date_latest": 1310,
"artists_tags": [],
"culture": [
"Central Tibet"
],
"technique": "Gum tempera on sized cotton",
"support_materials": [],
"department": "Indian and Southeast Asian Art",
"collection": "Tibetan Art",
"type": "Painting",
"measurements": "Overall: 51.4 x 39.4 cm (20 1/4 x 15 1/2 in.)",
"dimensions": {
"overall": {
"height": 0.514,
"height_inch": 20,
"height_inch_fraction": 0.25,
"width": 0.394,
"width_inch": 15,
"width_inch_fraction": 0.5
}
},
"state_of_the_work": null,
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"copyright": null,
"inscriptions": [
{
"inscription": "[1] \u014d\u1e43\n\u014c\u1e42\n[2] sa rva vyid\n[3] sv\u0101 h\u0101// \u014d\u1e43\n[4] su pra ti \u1e63\u1e6dha vajra\n[5] sv\u0101 h\u0101// ye dha\n[6] rma he tu pra bha v\u0101 he tun te \u015ban\n[7] ta tha ga to hya va tad de \u1e63an ca\n[8] yo ni ro dha ye va\u1e43 v\u0101\n[9] ti ma [h\u0101] \u015bra [ma] \u1e47a// bzod\n[10] pa dka\u2019 A thub bzod \n[11] da\u1e43 pa ni[//] mya ngan \u2019das\n[12] ces sangs rgyas gsung//\n[13] rab tu byung ba gzhan la gnod pa ni dang//\n[14] gzhan la \u2019tshe H\u016a\u1e42 ba de ni dge sbyong ma\n[15] yin no//",
"inscription_translation": "Lines 5-9: \"Those things which arise from a cause, the Tathagata has declared their cause. Their cessation too the great renunciant (\u015bramana) has stated.\"\n\nLines 9-15: \u201cThe holy ascetic practice of patience is the best path to Buddhahood, thus the Buddha has said. For a monk to harm others is not virtuous practice.\u201d\nTranscription and translation by Jane Casey",
"inscription_remark": "Pre-consecration inscriptions written in Tibetan Uchen (dbu cen) script behind the figure of Phagmo Drupa (left central figure on recto)\nLines 1-3: Sanskrit mantra of all the knowledge\nLines 3-5: Sanskrit mantra of consecration\nLines 5-9: Sanskrit ye dharm\u0101 verse\nLines 9-15: Tibetan verse of patience",
"sortorder": null
},
{
"inscription": "[1] \u014d\u1e43\n\u014c\u1e42\n[2] sa rva vyid sv\u0101\n[3] h\u0101// \u014d\u1e43 su pra\n[4] ti \u1e63\u1e6dha vajra sv\u0101 h\u0101// \n[5] ye dha rma he tu pra bha v\u0101 he tun te \u015ban ta tha ga to\n[6] hya va tad de \u1e63an ca yo ni ro dha e va\u1e43 v\u0101 \u1e6di ma h\u0101\n[7] \u015bra ma na ye// bzod pa dka\u2019 thub \n[8] bzod pa da\u1e43 pa ni// mya ngan pa\n[9] \u2019das ces A sangs rgyas gsung: \n\n[10] rab tu byung ba gzhan la gnod pa dang[//] gzhan la \u2019tshe ba \n[11] de ni dge sbyong ma yin H\u016a\u1e42 no// \u014d\u1e43 ma ni pad me h\u016b\u1e43",
"inscription_translation": "Written in Tibetan Uchen (dbu cen) script:\nLines 1-3: Sanskrit mantra of all the knowledge\nLines 3-4: Sanskrit mantra of consecration\nLines 5-7: Sanskrit ye dharm\u0101 verse\nLines 7-11: Tibetan verse of patience \nLine 11: Sanskrit six syllable mantra\nTranscription and identifications by Jane Casey Singer",
"inscription_remark": "Pre-consecration inscription behind Taklung Thangpa Chenpo, Tashipel (right central figure on recto)",
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 310231,
"title": "The Year in Review for 1987",
"description": "The Year in Review for 1987. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988).",
"opening_date": "1988-02-24T05:00:00"
},
{
"id": 206268,
"title": "Sacred Visions: Early Paintings from Central Tibet",
"description": "Sacred Visions: Early Paintings from Central Tibet. The Metropolitan Museum of Art (organizer) (October 5, 1998-January 17, 1999); Museum Rietberg, Z\u00fcrich (February 14-May 16, 1999).",
"opening_date": "1998-10-05T00:00:00"
},
{
"id": 395241,
"title": "Himalayan Gallery 237 Rotation",
"description": "Himalayan Gallery 237 Rotation. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 12-August 29, 2021).",
"opening_date": "2021-03-12T05:00:00"
}
],
"legacy": [
{
"description": "Main Asian Rotation (Gallery 239). The Cleveland Museum of Art, Cleveland, OH (November 18, 2013-June 30, 2014).",
"opening_date": "2013-11-18T00:00:00"
}
]
},
"provenance": [
{
"description": "(David Tremayne Ltd., London, England, sold to the Cleveland Museum of Art)",
"citations": [],
"footnotes": null,
"date": "?\u20131987",
"sortorder": 1
},
{
"description": "The Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": null,
"date": "1987\u2013",
"sortorder": 2
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": "The Five Cosmic Buddhas in their six-armed forms are aligned at the top.",
"early_education_description": null,
"artlens_description": null,
"description": "High-level leaders of Buddhist monastic institutions were frequent portrait subjects of early thangka painting (devotional cloth scrolls) in Central Tibet. The lama (Tibetan monk) on the right founded Taklung Monastery in Lhasa, the capital of Tibet, which became an important institutional center of the Kagyu order. He is shown in discourse with his predecessor, whose teacher Gampopa (1079\u20131153), in turn, is the tiny gray-haired lama centered above them, between the colorful stylized mountain ranges.
Their halos, lotus pedestal, and thrones with spitting elephant-trunked crocodiles and rearing griffins elevate them to the level of Buddhas and bodhisattvas. Despite their deification, they are still depicted with individualized facial features.",
"external_resources": {
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],
"internet_archive": [
"https://archive.org/details/clevelandart-1987.146-portraits-of-two-lin"
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},
"citations": [
{
"citation": "Turner, Evan H. \u201cThe Year in Review for 1987.\u201d The Bulletin of the Cleveland Museum of Art, vol. 75, no. 2, 1988, pp. 30\u201371.",
"page_number": "Mentioned: no. 217, p. 71; Reproduced: no. 217, p. 49",
"url": "https://www.jstor.org/stable/25160017"
},
{
"citation": "Tilden, Jill. First Under Heaven: The Art of Asia. London: Hali Publications Ltd, 1997.",
"page_number": "Mentioned and Reproduced: no. 14, p. 135, no. 15, p. 137 (detail)",
"url": null
},
{
"citation": "Kossak, Steven, Jane Casey Singer, and Robert Bruce-Gardner. Sacred Visions: Early Paintings from Central Tibet. New York: Metropolitan Museum of Art, 1998.",
"page_number": "Mentioned and Reproduced: cat. no. 26, pp. 113\u2013115",
"url": "https://libmma.contentdm.oclc.org/digital/collection/p15324coll10/id/101557"
},
{
"citation": "Weldon, David, and Jane Casey Singer. The sculptural heritage of Tibet: Buddhist art in the Nyingjei Lam Collection. London: Laurence King Publishing, 1999.",
"page_number": "Mentioned and Reproduced: fig. 52, pp. 136\u2013137",
"url": null
},
{
"citation": "Heller, Amy. \"The Richard R. & Magdalena Ernst Collection of Himalayan Art.\" The Richard R. & Magdalena Ernst Collection of Himalayan Art New York: Sotheby's, 2018, 12\u201314.",
"page_number": "Mentioned: p. 13",
"url": ""
},
{
"citation": "Casey, Jane Anne. Taklung Painting: A Study in Chonology. Chicago: Serindia Publications, 2023.",
"page_number": "Mentioned and Reproduced: Vol. I, pp. 398\u2013400, no. 50, plate 50.2",
"url": ""
}
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"alternate_titles": [
"Thangka with Two Lamas Discussing the Dharma",
"Portrait of Two Lamas",
"Phagmodrupa and Taklung Thangpa Chenpo, Tashipel"
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