This is the first exhibition ever devoted to an historical Tibetan artist, the 18th-century lama Situ Panchen Chökyi Jungne, who, towards the end of the 18th century had completely re-energised, strengthened and revitalized the entire artistic tradition of Tibetan thangka painting. On extremely rare occasions, thangka and mandala have been recorded that bore artists’ signatures. That having been said, the annotations for them in reference books, museum catalogues, catalogues of private collections or auction catalogues, have stopped with just the name – almost nothing more appears to have been recorded. Here at the Rubin is a true window into the workings of an artistic tradition – from the inside! Not only is an individual artist known, but also much is known about him as well as his workshop.
The exhibition will include about 50 paintings, sculptures and illuminated manuscript pages from the 12th through 19th centuries. Not only are there three paintings actually by him, but also works from his workshop and others that are later intentional copies of his works. So as not to be plucked out of context, the central subject of Situ Panchen’s work and influence will be put clearly into focus by this exhibition because works illustrating the periods before and after him will flesh out the complete picture of the Tibetan artistic tradition.
The tradition called the 'Encampment' style was begun by a painter in the court of the 9th Karmapa in the late 16th century. Before the artistic-changing influence of this new tradition, Tibetan paintings restricted the field of view on the painted surface to hierarchical iconography in an almost framed sort of way. The metaphysics of the iconography existed in a timeless state and without any notion of existing within an arrangement of physical space. Situ Panchen was one who picked up on this new style and continued to develop it and his importance, as this exhibition lucidly explains, rests in the fact that he is a known individual in a field in which anonymity prevails.
One of the concepts of the Encampment style was to remove the iconography from its time and space vacuum and place it into context of the natural world. Not only did the artists employ a freer brush, but the imagery was set in lush landscapes, bringing the metaphysical world into the physical one. Three paintings by Situ himself are in the exhibition: Vajravarahi from the Basel Ethnographic Museum; Black Cloak Mandala from the Rubin Museum of Art; and Sahaja Chakrasamvara from the Driesch Collection, Cologne, all forming a subsection of the exhibition entitled ‘Situ the Artist’.
One painting, from the Shelley and Donald Rubin Collection, is part of a set commissioned by Situ himself, based on an earlier 16th-century painting, an image of Akashagarbha from a set of Eight Great Bodhisattvas. Small at 14 ¾ x 9 ¼ inches, it is very Chinese in style and composition, but freer, depicting the bodhisattva standing on a carp amidst waves. This particular painting serves as an outstanding example of not only the strength of Chinese influence, but also the type of model Situ selected in his revival of the Encampment style. Another 18th-century thangka that fully illustrates the Encampment style is a colourful image of Chakrasamvara with sakti floating above a verdant landscape with six other divinities. Fresh and light, it is a revolutionary new approach to depicting divinity within grasp.
The exhibition is accompanied by a scholarly and illustrated catalogue by Dr. David Jackson, representing decades of his study and research and it will also include a contributory essay by Dr. Karl Debreczeny.
Until 17 August at The Rubin Museum of Art, 150 West 17th Street, New York, NY 10011, tel. 212 620 5000,
www.rmanyc.com. Hours: Mons 11 am-5 pm; Weds 11 am-7 pm; Thurs 11 am-5 pm; Fris 11 am-10 pm; Sats 11 am-6pm; Suns 11 am-6 pm. Closed Tuesdays, Admission charges. Free to all Fridays from 7-10 pm.
