“Across all traditions of Tibetan Buddhism is the notion that a work of art has the power to transform and bestow a variety of benefits upon the beholder. Depending on the particular subject depicted in a painting, sculpture, or relic, the viewer gains such advantages as removing obstacles, acquiring merit, and purifying all sins, bringing benefits for this life and the next, simply by seeing it. The Drigung Kagyu School makes the concept of benefits through art both visually and textually explicit in the artwork created by its followers.” — The Rubin Museum of Art
Section: The Buddha “Beneficial to See”. Shakyamuni Buddha “Beneficial to See”. Drigung Kagyu School, Central Tibet; early 14th century. Distemper on cotton. Pritzker Collection
Section: The Teacher. Disciple of Drigungpa. Tibet; circa 1217-1235. Distemper and gold paste on cotton. Pritzker Collection
Section: The Hat. Drigungpa Jikten Sumgon with Two Lamas of Drigung. Ü Province (or a Drigung Monastery outside Ü), Central Tibet; ca. early 18th century. Rubin Museum of Art
Section: The Protectress. Achi Chokyi Drolma and the Five Long-Life Sisters. Tibet; 14th century. Private Collection, Switzerland
Section: The Wrathful. Yamari “Blazing Razor of Extreme Repelling”. Tibet; mid- to late 18th century (1740s-1760s). Rubin Museum of Art
Section: The Deity. Vajradhara with Deities and Lineage. Tibet; 19th century. Rubin Museum of Art
Section: The Tree. Padmasambhava with Refuge Tree. Drigung (Central Tibet) or Ladakh; late 19th or early 20th century. Rubin Museum of Art
Section: The Lotus Born. The Lotus Born. Kham Provence, Southeast Tibet; 19th century. Rubin Museum of Art
Images courtesy The Rubin Museum of Art
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