A rare and exceptionally large painted banner depicting Buddha Tibet, 18th century

seated in bhadrasana on a throne, his feet resting on a lotus flower pedestal, dressed in monk's flowing robes with red floral patterned shamtap, bound at the waist with a yellow sash and a yellow patchwork robe, his hands held in the teaching gesture of dharmachackra mudra, a canopy with jeweled festoons and flowing scarves hanging above him, Tsong Khapa seen in the top left of the painting, and the bodhisattva Majusri, of whom Tsong Khapa is recognised as an incarnation, seated in the top right of the composition, the bodhisattva Avalokitesvara and Vajrapani, painted in their respective iconographic colours of white and blue, standing elegantly poised at either side of the throne, Avalokitesvara appearing as Padmapani, indicated by the white lotus that he holds in his left hand, a bowl set in front of the Buddha containing sensory offerings of perfumed conch shell, a lute a dharmachakra (Wheel of Law) bound with a flowing red scarf

The banner is in fair condition, with extensive rubbing and abrasion to the surface particularly to the left side of Buddha's head and around the top left corner of the banner. There are some tears, as seen on the borders. The upper right border has two areas of loss. There are extensive crease lines with associated loss across the surface. The middle area around the Buddha's abdomen has areas of stains. The colours are largely faded.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The monumental size of this painting would suggest that it was made for use during religious festivals, where such vast images were hung for the congregation in prominent positions such as an outside wall of a monastery building. For durability in this environment, silk aplique was the technique usually employed to produce these large images. It is thus extremely rare to find a painted thangka of these grand proportions.

Since the image was designed to be viewed at some distance, the composition relies on bold forms placed in a simple landscape to create visual impact. At the same time, details such as the floral motif on the golden edging of the Buddha's patchwork robe and the grain of the wooden lute are delicately rendered. The beautiful geometric and floral patterns on the textiles covering the seat of the Buddha's throne are also finely painted in a vivid palette that was popular in eastern Tibet in the eighteenth century.

The inclusion of Tsong Khapa suggests the painting was commissioned for a Gelukpa monastery. Although the combination of bhadrasana and dharmachakra mudra are associated with Maitryea, there are no further identifying symbols such as the stupa (usually shown in the hair in front of the ushnisha) to confirm such an attribution. However, the cult of Maitreya was popular with the Gelukpa order, and it may be that this painting does indeed portray the future Buddha.

The Buddha's compassionate expression and the grace with which his form is rendered despite the enormous proportions, displays the consumate skill of the master artist. This thangka is one of the larges painted images of the Buddha to have survived from Tibet.