Section texts
FROM TASHI LHUNPO MONASTERY TO THE PALACE MUSEUM
Since the construction of Tashi Lhunpo Monastery by Gedun Drupa (dGe ’dun grub pa), the first Dalai Lama, in the historical ‘Rear Tibet’ region in 1447, the monastery has served as a vital base for disseminating the doctrines of Tibetan Buddhism’s Gelug lineage. After the fourth Panchen Erdeni, the position of monastery abbot has only been given to the Panchen Lamas, indicating the significance of their role. In 1713, Emperor Kangxi during the Qing dynasty officially bestowed the title of ‘Panchen Erdeni’ to the fifth Panchen Lama and granted him a sacred gold album and a gold seal. Additionally, Emperor Kangxi granted the title to the previous Panchen Lamas posthumously, thereby officially confirming their religious and political status. Since then, the successive Panchen Erdenis were accorded titles by the Qing court and many of them developed close ties with the court. Multiple tributary missions, for example, were sent to the Qing emperors over the years. Subsequently, many albums, seals, documents and cultural relics that still exist today bear witness to the Panchen Erdenis’ historical contribution to the Buddhist teachings and to their overall status in Buddhism. The monastery, which has been the traditional seat of successive Panchen Lamas, has a deep connection with the Forbidden City.
ART FROM THE TASHI LHUNPO MONASTERY
As one of the four great monasteries of the Gelug lineage of Tibetan Buddhism, Tashi Lhunpo Monastery is highly respected by various Buddhist schools in Tibet for its rigorous approach to Buddhist studies. It is a representative monastery of the ‘Rear Tibet’ area and also an important centre for Buddhist art and culture. In fact, the monastery houses a huge collection of invaluable ancient artworks from a wide range of historical periods and places – including the early Han-ethnic region and across the Himalayas – at the monastery. Additionally, the official craft-making workshop of the monastery, Tashikitsel, has produced many gilt copper alloy statues, on which marked with the identifying inscription ‘Tashilima’, over the years. Other statues crafted in Nepalese and ancient Indian styles have also been produced there. The pieces exhibit a rich variety in categories and styles, showcasing sophisticated techniques. As a result, the statues and the techniques had exerted a profound influence on the Qing court during the reign of Emperor Qianlong.
Furthermore, the Tashi Lhunpo Monastery became an important centre for painting in ‘Rear Tibet’ area. During the 15th century, renowned artist Menla Dondrup (sMan bla don grub) studied the Buddhist doctrines and taught painting to students for a long time at the monastery. He also created a number of thangkas – ornate Tibetan Buddhist paintings on cotton canvases – and frescos there. Later, the monastery became a base for Menri (sMan ris), a school of painting founded by the artist. This was Tibet’s most influential painting school in the contemporary era.
TREASURES OF THE SIXTH PANCHEN LAMA
Emperor Qianlong invited the fifth Panchen Erdeni to visit the court in Beijing. Due to a number of circumstances, the trip never took place. The emperor turned 70 in 1780, the 45th year of the Qianlong period. Thanks to the efforts of all parties, the sixth Panchen Lama travelled east, leading an entourage of nearly 3,000 people to Beijing for the emperor’s birthday. Soon after, the Panchen Lama passed away in Beijing. His robes and hats were buried in the Xihuang Temple in Beijing. His significant trip immensely contributed, however, to the relationship between the Qing court and the regions in Tibet. A large number of cultural relics from the sixth Panchen Lama’s eastward trip to Beijing are kept intact in the Palace Museum and the gifts he received – which are largely unknown to the public – still reside in the Tashi Lhunpo Monastery.
This section displays the various offerings that the sixth Panchen Lama presented to Emperor Qianlong, as well as the gifts bestowed by Emperor Qianlong upon the sixth Panchen Lama. It also showcases the interaction of art and artistic techniques between the Tibetan regions and the Qing court during the Qianlong period.