A Rare and Important Thangka Depicting Mahasiddha Avadhutipa

Originally acquired in the 1960s, thence by descent

Accretion overall particularly visible on the central figure, creases and losses throughout. The principle creases running horizontal and diagonal, top and bottom, as visible in catalogue illustration. Further minor losses and stains less visible in catalogue illustration. An amateur clean of the central figure has disturbed the necklines, the right proper ear and the nose which is re-drawn. Rest of painting untouched and in overall exceptional condition.
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This portrait of Mahasiddha Avadhutipa, also from the highly important Lamdre painting series from Ngor Monastery (see Sachen Kunga Nyingpo, previous lot 238) is one of three known mahasiddha portraits from the same painting set circa 1600, together with Virupa and Damarupa, both currently in private collections.

Avadhutipa governed as the ruler of a provincial kingdom in northeastern India, likely in the 10^th century. He famously renounced his kingdom and converted to Buddhism under the guidance of the wandering Indian yogi and mahasiddha Damarupa, and was given the title of Avadhutipa, a term meaning mendicant or renunciate.

Highly detailed and sensitively rendered, the current work is an exceptional example of the tradition of “caricature art” in Sakya painting. Note the playful and serene expression of Avadhutipa. After his renunciation and subsequent realization, the gentle Avadhutipa could often be found playing with children in the streets of his former kingdom.

Avadhutipa is elegantly depicted with the familiar and recognizable accoutrements of a mahasiddha: bare-chested with bone ornaments at his neck, upper arms, ankles and crisscrossed over his torso; adorned with flower ornaments at his neck, upper arms, wrists and ankles; his long matted plaits piled atop his head and secured in a top knot; and the kapala or skullcup in his hand.

The crown of Avadhutipa is adorned with five flaming jewels, which symbolize understanding of the illusory nature of the five skandhas. These jewels are also adorned with flowers, which indicate anti-caste position in siddha fashion. He wears a richly embroidered red silk meditation band wrapped across his chest, a dhoti at his waist and a shawl circling his shoulders of the same rich material. Like the portrait of Sachen Kunga Nyingpo, Avadhutipa is surrounded by a group of mahasiddhas along the upper register; Sakya lineage holders at the left and right of the central figure; and an assembly of deities along the lower register.

The reverse of this work is inscribed per Ngor tradition with Sanskritized and Tibetan mantras, as well as the Buddhist creed. The four line inscription along the bottom register of the current work can be freely translated as such:

Homage to Avadhuti, who, like a child, engaged in non-dual conduct; and who obtained spiritual accomplishment by persevering in the profound path!

By this virtuous act, may our lord and refuge enter through the portals of precious Buddha speech at all times, and, without changing, become a lord of refuge for [all] living beings!

Let there be good auspices!