The Palace Museum in Beijing is hosting “Beyond Time: The History, Culture, and Art of Sakya Monastery,” an exhibit bringing together more than two hundred precious artifacts that trace the profound legacy of Sakya Monastery in Sa’gya Town, west of Shigatse in Tibet Autonomous Region, China. The exhibit looks at the distinctive artistic style and aesthetic of Sakya Monastery, and how this institution contributed a vital role to the formation of China’s diverse yet unified civilization. The exhibit opened in February and runs until 10 May.
According to state-run media China Daily, the artifacts on show at the Palace Museum encompass “statues, porcelain, ancient documents, thangka (a traditional style of Buddhist painting on silk and cotton), drawn from the monastery itself, the Palace Museum, and institutions across Xizang and other parts of China.” (China Daily)
The landmark exhibit is the result of an unprecedented collaboration between the monks of Sakya Monastery and the Palace Museum. Sakya Monastery was founded by Khön Könchok Gyalpo, the first Sakya Trizin and scion of the aristocratic Khön family, which resides over the Sakya school to this day. It is the birthplace of the Sakya school, one of the four major schools of Tibetan Buddhism, and also houses the breathtaking monastic library with books, volumes, and manuscripts on traditional stacks 60 meters long and 10 meters high.
One of the many highlighted artifacts is a blue-and-white porcelain bowl from the Xuande era (1426–35), produced in Jingdezhen, Jiangxi province, then the country’s ceramic center. The bowl is decorated with dragon and cloud motifs, with the interior inscribed with Tibetan blessings. Luo Wenhua, a research fellow at the Palace Museum and curator of “Beyond Time,” told China Daily that the bowl demonstrated sustained and long-term cultural exchange between Sakya Monastery and China’s other regions, which stimulated new artistic developments and innovations. “For example, art pieces from the monastery before the 16th century were of traditional flavor. However, a new style blending Tibetan and Han Chinese paintings then emerged,” said Luo. “Their dominant influence can also be seen in architectural renovations.” (China Daily)
Another exquisite item on display is an ornate, gilt and bronze Lotus Mandala of Red Yamantaka (one of the wisdom bodhisattva Manjushri’s wrathful manifestations as Yamantaka) and his consort, sculpted during the Yongle reign (1403–24). Red Yamantaka and his consort are ensconced in a flowing, expertly-crafted lotus with eight petals. The beautiful and striking mandala is accompanied by a Mani Jewel, a symbol of enlightenment and purity.
Many of the exhibit’s showcased art and documents celebrate the life of Drogon Chogyal Phagpa (1235–80), nephew of Sakya Pandita (1182–1251) and one of the Five Sakya patriarchs. He served as the first Imperial Preceptor of the Yuan dynasty (1271–1368) and was appointed vice-ruler of Tibet by Kublai Khan (1215–94).
The items highlight, from the perspective of the Palace Museum, how the Monastery helped to integrate what is today the Tibet Autonomous Region into the governance of the Yuan, Ming, and Qing dynasties and the present-day People’s Republic of China. (China Daily) Beyond China, Sakya Monastery not only played a core part in the cultural exchange between the Tibet-Qinghai Plateau and the imperial courts of Beijing, but also connected the Himalayan regions encompassing modern-day Nepal, India, and Pakistan, leading to ever-more fruitful artistic exchanges and mutual synthesis and dialogue.
See more
Sakya Monastery anchors unity through centuries of change (China Daily)
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