Preface
The Tibetan Plateau, dotted with temples, monasteries and stupas, evokes a sense of holiness, mystery and purity. At an altitude of 3,847 metres, the magnificent Tashi Lhunpo Monastery in Shigatse is highly representative and has fascinated countless visitors.
Tibetan Buddhism has developed distinctive regional and ethnic characteristics, thereby becoming an important part of China’s Buddhist system. Tashi Lhunpo Monastery, established in 1447, is one of the four great monasteries of Tibetan Buddhism’s Gelug lineage. This prestigious monastery is also the traditional seat of successive Panchen Lamas. Some visitors to the monastery may have the opportunity to watch the grand sutra readings and debates, or witness the Cham Dance Festival, but it is rare to have access to its collection of treasures. Located in the Rear Tibet, Tashi Lhunpo Monastery boasts a rich history and maintains close ties with the Forbidden City, which remain unknown to many.
Tibetan Buddhism had close relationship with the courts during the Yuan, Ming and Qing dynasties. Qing emperors even implemented a conciliatory policy by advocating the Yellow Hat sect (the Gelug lineage) to appease the Mongolians. Successive Panchen Lamas established frequent connections with the Qing court, and their relationship reached its pinnacle when the sixth Panchen Lama visited Beijing for Emperor Qianlong’s birthday. The trip has left behind a substantial number of albums, seals and cultural relics, which bear witness to the Panchen Lama’s contribution in maintaining peace and stability in Tibet. In the Palace Museum, many Tibetan Buddhist buildings, cultural relics and rituals reflect the Qing royal family’s reverence for Tibetan Buddhism. They have become important parts that shape the culture of the Qing court.
The Macao Museum of Art (MAM) shoulders the responsibility of promoting traditional Chinese culture. In 2003, the MAM joined forces with the Palace Museum to present Lightness of Essence: Tibetan Buddhism Relics of the Palace Museum. After two decades, with the support of the Palace Museum, the Tibet Autonomous Region Cultural Heritage Bureau, and the Tashi Lhunpo Monastery, the MAM presents Golden Eminence: Treasures from the Palace Museum and the Tashi Lhunpo Monastery. The exhibition in Macao showcases 137 treasures, including Tibetan Buddhist cultural relics from Beijing and Tibet, offerings by successive Panchen Lamas to Qing emperors, and gifts presented to Panchen Lamas from the Qing court. This exhibition is an invaluable opportunity for the audience in the Lingnan region to experience the cultural essence of the Central Plains and Tibet. Visitors will have the chance to observe exceptional craftsmanship and aesthetics, gaining a deeper understanding of the connections among the various ethnic groups of the Chinese nation.
As the first-ever exhibition of Tashi Lhunpo Monastery outside the Chinese mainland, this show features a substantial and spectacular collection of cultural relics, including scriptures, calligraphy, paintings, thangkas, ritual implements, Buddhist sculptures, seals, porcelain wares, knives and horse harnesses. Most of the exhibits are remarkable offerings from the Mongolian and Tibetan regions collected in the Palace Museum, ancient artefacts from the Han ethnic group and the Himalayan region housed in Tashi Lhunpo Monastery, as well as exquisite treasures produced by the Qing Imperial Workshops. They reveal a combination of Han, Mongolian, Manchu and Tibetan styles, and reflect the use of unique materials, such as glass, enamel and turquoise. These treasures exemplify the contacts between the court and various regions, as well as the interaction between imperialism and Buddhism. They also bear witness to China’s cultural exchanges with Nepal and India. These treasures possess tremendous religious, historical, ethnic and artistic values.
Tibet’s artistic core in the Ming and Qing dynasties. The art of Tibetan Buddhism is characterised by its powerful visual impact. Whether it is solemn, composed Buddhas or the wrathful forms of deities, they are all upayas, which are skilful means, to save all sentient beings. Additionally, the monastery’s official craft-making workshop, Tashikitsel, has produced many copper alloy statues over the years in Tashilima style. Their exquisite craftsmanship and gorgeous colours captivated Emperor Qianlong and influenced the aesthetics of Buddhist sculpture-making in the Qing court.
Two important artists studied the Buddhist doctrines and created artworks in the monastery: Menla Dondrup (sMan bla don grub), who established Menri (sMan ris), a school of painting, and Choying Gyatso (Chos dbyings rgya mtsho), who founded Mensa (sMan gsar) School, also known as the New Menri School. They broke away from the Himalayan artistic styles of the court art, introducing a new style that blended Han and Tibetan influences. The artworks demonstrate rigorous composition and format with refined curves and lines. Indeed, the artists have profoundly impacted Tibet’s modern paintings. This exhibition showcases an exceptional array of Tashilima Buddhist sculptures, sculptures produced in the Qing court, and exquisite thangkas from different periods. They offer the audience a glimpse into the artistic succession, inclusiveness and innovation across centuries.
The name Tashi Lhunpo translates to ‘auspicious Sumeru’ or ‘auspicious Mount Meru’ in Tibetan. According to the archives of the Qing court, the monastery is called the ‘Temple of Sumeru, Blessing and Longevity’. Through this large-scale exhibition, the MAM is delighted to enhance collaboration with its long-term partner, the Palace Museum, and establish a valuable friendship with Tashi Lhunpo Monastery, which is renowned for its rich cultural background. In celebration of the 24th anniversary of Macao’s reunification with the motherland, the MAM brings the exquisite collections of the Palace Museum and the ‘Temple of Sumeru’ to Macao, showcasing the profound Tibetan Buddhist art and the multi-ethnic unity and inclusiveness of the Chinese nation. I would like to express my sincere gratitude for the support of the leaders and experts of all involved institutions and the efforts of every colleague. Their hard work overcame the highland climate and long distances, finally delivering superb results.
While the MAM typically highlights its collections through exhibitions, our role in the contemporary era has become increasingly diverse. We aim to spread knowledge and bring benefits to all by nurturing people’s hearts with culture and art. I extend my best wishes for great success of this large-scale exhibition that connects Beijing, Tibet and Macao. May it bring auspiciousness, reveal the grace of the sacred realm, and manifest the beauty of the diverse cultures of the Chinese nation.
Un Sio San
Director of the Macao Museum of Art