Explaining Lama Teacher Sakya Pandita Kunga Gyaltsen

Sakya PanditaKunga Gyeltsen was a Tibetan spiritual leader and Buddhist scholar and the fourth of the Five Sakya Forefathers.

He is held in the tradition to have been an emanation of Manjusri, the embodiment of the wisdom of all the Buddhas.

The Viability of Sakya Pandita Kunga Gyaltsen

In this portion, we are going to talk about the life of Sakya PanditaKunga Gyeltsen. After a short etymological description of the word Sakya PanditaKunga Gyeltsen itself, we will review his Sanskrit lecture and beyond. Finally, we will learn about Sakya and Ngor traditions.

Kunga Gyeltsen has generally known simply as Sakya Pandita a title given to him in recognition of his scholarly achievements and knowledge of Sanskrit.

Etymology of Sakya Pandita Kunga Gyaltsen

He is the fourth Sakya Forefather and sixth Sakya Trizin and one of the most important figures in the Sakya lineage.

He is held in the tradition to have been an emanation of Manjusri, the embodiment of the wisdom of all the Buddhas.

Sanskrit Literature

After that, he also known as a great scholar in Tibet, Mongolia, China and India and was proficient in the five great sciences of Buddhist philosophy, medicine, grammar, dialectics, and sacred Sanskrit literature as well as the minor sciences of rhetoric, synonymies, poetry, dancing, and astrology.

Sakya and Ngor traditions

It became customary in and around the 15th century within the Sakya and Ngor traditions to have a set of Lamdre lineage paintings commissioned prior to the several month-long cycles of instructions and initiations into that system of tantric theory and practice.

Sometimes the individual compositions making up a set would be commissioned by different individuals attending the course of teachings and not always commissioned by a single donor.

It is also common to depict in every single composition a complete secondary lineage such as in this painting having the Guhyasamaja lineage surrounding the two central Lamdre teachers.

Earlier, we studied the viability of the Sakya Pandita Kunga Gyaltsen. Now we are going to learn about the iconography of Sakya Pandita Kunga Gyaltsen.

Iconography of the Sakya Pandita Kunga Gyaltsen

In the iconography of the Sakya Pandita Kunga Gyaltsen, we will learn about her body posture, hand and leg gesture, and different representations of the Sakya Pandita Kunga Gyaltsen in thangka and statue.

Posture of Sakya Pandita Kunga Gyaltsen

Sakya Pandita Kunga Gyaltsen is on the left side and his nephew Chogyal Papa is seated on the right side and surrounded by the lineage teachers of the Guhyasamaja Tantra; Akshobhyavajra, Manjuvajra, and Avalokita.

The thangka belongs to a larger set of paintings with the greatest likelihood being that of a Lamdre lineage set.

His two hands are held in the teaching gesture while holding the stems of two Utpala flowers supporting a sword and book.

Earlier, we studied the viability of the Sakya Pandita Kunga Gyaltsen, and the iconography of Sakya Pandita Kunga Gyaltsen. Now we are going to learn about depicting Sakya Pandita Kunga Gyaltsen.

Depicting Sakya Pandita Kunga Gyaltsen Thangka

The thangka of  Sakya Pandita Kunga Gyaltsen is from Central Tibet. It is made in between 1400 AD to 1499 AD. Sakya Pandita Kunga Gyaltsen is from Ngor, Sakya, and Buddhist lineage. The base of the painting is cotton, ground mineral pigment, fine gold line are used to make the painting. Presently, this painting is in Shelley & Donald Rubin.

By depicting this thangka we will learn about the presentation of Sakya Pandita Kunga Gyaltsen with different deities such as Chogyal Pagpa, Manjuvajra Guhyasamaja, Akshobhyavajra Guhyasamaja, and Avalokiteshvara Guhyasamaja, etc.

Chogyal Pagpa

Chogyal Pagpa is on the right side with the same gesture and flower blossoms supporting a vajra and bell.

Manjuvajra Guhyasamaja

Manjuvajra Guhyasamaja is between the two and slightly above is who is orange in color.

Akshobhyavajra Guhyasamaja

Akshobhyavajra Guhyasamaja is above the head of Sakya Pandita.  Akshobhyavajra Guhyasamaja is blue in color.

Avalokitshvara Guhyasamaja

Avalokiteshvara Guhyasamaja is above Chogyal Pagpa. Avalokiteshvara Guhyasamaja is red in color.

Earlier, we studied the viability of the Sakya Pandita Kunga Gyaltsen,  the iconography of Sakya Pandita Kunga Gyaltsen, and depicting Sakya Pandita Kunga Gyaltsen. Now are are going to learn about the Guhyasamaja Lineage.

Gujyasamaja Lineage

Now, we will learn about the  Guhyasamaja Lineage.

The Guhyasamaja Lineage of Jnanapada which are as listed below

1. Vajradhara
2. Arya Manjushri
3. Acharya Buddha Jnana
4. Marmedze Zangpo
5. Shri Deva
6. Vimalagupta
7. Ratnavajra
8. Ratnakirti
9. Lama Pendapa
10. Lama Nyen Lotsawa
11. Lama Nang Kaupa
12. The Lord of Dharma Sakyapa.

Earlier, we studied the viability of the Sakya Pandita Kunga Gyaltsen,  the iconography of Sakya Pandita Kunga Gyaltsen, depicting Sakya Pandita Kunga Gyaltsen, and the Guhyasamaja Lineage. Now we are going to learn about the presentation of Sakya Pandita with Vajradhara.

Sakya Pandita with Vajradhara Thangka

Sakya Pandita with Vajradhara was painted around 1600-1699 AD. The size of this painting is 88.90×69.85cm. The base of the painting is cotton and the ground mineral pigment and raised is used to color it. Sakya Pandita belongs to Sakya Lineage. This Masterpiece Thangka Art is still preserved and kept in the Rubin Museum of Art.

By depicting this thangka we will learn the presentation of Sakya Pandita with different Buddhist deities such as Primordial Buddha Vajradhara, Female Goddess Nairatmya, Mahasiddha Kanhapa, Mahasiddha Kanhapa, Pandita and Mahasiddha Gayadhara, Mahasiddha Virupa and Damarupa, Hevajra, Panjarnata Mahakala,  Shri Devi, and Dumo Remati, and Damchen Dorje Legpa, etc.

In a perfect pose similar to a buddha Sakya Pandita performs the Dharma Teaching mudra with the two hands placed at the heart while holding the stems of two Utpala flowers blossoming to the sides supporting the sword of wisdom and the Prajnaparamita book.

Sakya Pandita is fully attired in the robes of an ordained monk having proven worthy. Sakya Pandita wears the hat of a Pandita.

Within the ornate spheres of a nimbus and aureola, Sakya Pandita sits above a variously colored lotus blossom atop a Dharma Teaching throne

At the front of the thangka, there is a small table that supports a black begging bowl, cup, and gold water flask.

Primordial Buddha Vajradhara

Primordial Buddha Vajradhara is at the top center of the thangka.  Primordial Buddha Vajradhara has held a vajra and bell crossed at the heart.

Vajradhara is wearing jewels and silk garments.

Female Goddess Nairatmya

Female Goddess Nairatmya is at the right of the thangka. Nairatmya is holding upraised a curved knife in the right hand and a skullcup in the lap.

Mahasiddha Kanhapa

Mahasiddha Kanhapa is with the right hand in the mudra of blessing and holding a skullcup in the left.

Wrathful Bodhisattva Vajrapani

Wrathful bodhisattva Vajrapani is with one face and two hands holds aloft a vajra in the right and performs a wrathful gesture with the left while in a standing posture.

Pandita and Mahasiddha Gayadhara

Pandita and Mahasiddha Gayadhara touches the seat with the right hand and holds a book in the left.

Mahasiddha Virupa and Damarupa

Mahasiddha Virupa performs the Dharma Teaching mudra with the two hands at the heart.

Mahasiddha Damarupa holds a Damaru drum in the right hand and a skullcup in the left which rests on the upraised knee.

Hevajra

Hevajra is with eight faces and sixteen hands stand in a dancing posture surrounded by the flames of pristine awareness.

Panjarnata Mahakala

Panjarnata Mahakala is at the center of the thangka. Panjarnata Mahakala is with one face and two hands holding a curved knife and skullcup to the heart supporting a horizontal stick across the forearms.

Shri Devi and Dumo Remati

Shri Devi and Dumo Remati are at the right of the thangka. They are with one face and two hands holding a spear in the right and a heart in the left and riding on a mule.

Damchen Dorje Legpa

Damchen Dorje Legpa is at left who is with one face and two hands holding a vajra in the right and a heart in the left, riding a snow lion.

Earlier, we studied the viability of the Sakya Pandita Kunga Gyaltsen,  the iconography of Sakya Pandita Kunga Gyaltsen, depicting Sakya Pandita Kunga Gyaltsen, the Guhyasamaja Lineage, and representation of Sakya Pandita with Vajradhara. Now we are going to learn about the presentation of Sakya Pandita with Panjarnata.

Sakya Pandita with Panjarnata Thangka

Sakya Pandita with Panjarnata was painted around 1300-1399 AD. The size of this painting is 34.29×27.94cm. The base of the painting is cotton and the ground mineral pigment is used to color it. Sakya Pandita belongs to Sakya and Buddhist Lineage. This Masterpiece Thangka Art is still preserved and kept in the Rubin Museum of Art.

Now we are going to learn about the Sakya Pandita.

In the thangka, there are  Sakya Pandita and Chogyal Pagpa. Sakya Pandita and Chogyal Pagpa are accompanied by the Chakrasamvara lineage teachers. This is a tentative identification based on the lineage teachers above and the protector deities of Panjarnata and Shri Devi below.

Earlier, we studied the viability of the Sakya Pandita Kunga Gyaltsen,  the iconography of Sakya Pandita Kunga Gyaltsen, depicting Sakya Pandita Kunga Gyaltsen, the Guhyasamaja Lineage,  representation of Sakya Pandita with Vajradhara, and presentation of Sakya Pandita with Panjarnata. Now we are going to learn about the presentation of Sakya Pandita with Manjushri.

Sakya Pandita with  Manjushri Thangka

Sakya Pandita with Manjushri was painted around 1700-1799 AD. The size of this painting is 69.85×41.91cm. The base of the painting is cotton and the ground mineral pigment and fine gold are used to color it. Sakya Pandita belongs to Sakya and Gelug Lineage. This Masterpiece Thangka Art is still preserved and kept in the Rubin Museum of Art.

Now, we are going to learn about the presentation of Sakya Pandita with different deities such as Indian Harinanda, Manjushri, Jetsun Dragpa Gyaltsen, and Chaturmukha Mahakala, etc.

In the thangka, there is Sakya Pandita, Kunga Gyaltsen Pal Zangpo who is known as the sixth throne holder of Sakya debating with the Indian Tirtika Harinanda.

In a vigorous posture of the debate who is wearing a red Pandita hat and attired in the patched robes of a fully ordained monk.

Sakya Pandita performs the debating gestures of snapping the fingers of the right hand prior to clapping with the left.

To the right of the thangka, there is a flowering bush with alternating white and red blossoms forms a symbolic staircase to the guru above.

Indian Harinanda

Indian Harinanda is brown in color with long twisted hair. Indian Harinanda is in front of the lower right of the thangka.

Indian Harinanda is seated on an antelope skin and attended by a servant with a white turban.

Manjushri

Manjushri Stirachakra is with one face and two hands and holding a wisdom sword and lotus supporting a Prajnaparamita book and seated within a glowing nimbus sphere of emanated light.

Jetsun Dragpa Gyaltsen

Jetsun Dragpa Gyaltsen at the right of the thangka. Jetsun Dragpa Gyaltsen is holding a vajra extended in the right hand and a bell turned up at the waist in the left.

Jetsun Dragpa Gyaltsen is attired in the variously colored garments of a layman and seated on an ornate cushion with a backrest. He resides above gently spreading clouds.

Chaturmukha Mahakala

Chaturmukha Mahakala is at the left of the thangka. Chaturmukha Mahakala is the wrathful visage of Brahmarupa Mahakala with four hands and charnel ground vestments of skins and bone. He stands upon a corpse seat amidst the swirling flames of pristine awareness.

Earlier, we studied the viability of the Sakya Pandita Kunga Gyaltsen,  the iconography of Sakya Pandita Kunga Gyaltsen, depicting Sakya Pandita Kunga Gyaltsen, the Guhyasamaja Lineage,  representation of Sakya Pandita with Vajradhara, and presentation of Sakya Pandita with Panjarnata. Finally we learn about the presentation of Sakya Pandita with Manjushri.