Specialists in Tibetan iconography are usually able to determine the identity of tsa tsas and their local origin in Asia with relative accuracy. However, it is usually more difficult to reliably estimate their age. If the style of tsa tsas has changed over the centuries, there are clues that can be used to determine their age more precisely. Even then, however, a certain degree of uncertainty is unavoidable.
This unusual Tsa Tsa allows for a very precise determination of time, because on its back is not only the name of the deity depicted, but also, at the bottom, precise information about its origin in Chinese. So-called »six-character marks« are known from ancient Chinese porcelain and provide information about age and origin. This tsa tsa also has this so-called »six-character mark«.
This is the entire text: 大 清 乾 隆 年 製
The translation of the six characters is:
| 大 | Great |
| 清 | Qing Dynasty |
| 乾 隆 | Qianlong [the emperor's reign title] |
| 年 製 | Produced during the reign of |
The meaning of the six characters is:
»Produced during the Qianlong period (1735–1795), Qing dynasty«
The Tsa Tsa was therefore created during the reign of the 4th Chinese Manchu emperor, Qianlong [1711–1795]. In English, his name roughly translates as »Flower of Heaven«. He became particularly well known as an artist and collector during his long reign and was very devoted to Buddhism.
On May 26, 1749, Qianlong commissioned his imperial workshops in Beijing to produce a series of metal molds for the manufacture of tsa tas. This resulted in a more comprehensive collection of 360 different tsa-tsa molds depicting Buddhist saints and deities.
A considerable number of these tablets are still present in the Forbidden City in Beijing, while others are held in private collections and museums. These extremely rare tsa tsas are rarely offered on the Tibetan antique market today.
The tsa tsa differs significantly from those produced outside the imperial workshops. It is made of very hard-fired and glazed clay, which made it possible to render the fine contours of the depictions.
It is shaped with a flat pointed arch and depicts a manifestation of the Bodhisattva Manjushri with the Tibetan name »Jampel Gyalpo Rölpa« ['Jam dpal rgyal po rol pa]. »Gyalpo Rölpa« translates as »Royal relaxed sitting position« and refers to the relaxed depiction of Manjushrī on this tsa tsa. This name [’jam dpal dbyangs] is written vertically in the first row on the left on the back:
འཇམ་དཔལ། རྒྱལ་པོ། རོལ་པ
His name is written horizontally [from left to right] on the back in Tibetan, Manchu, Mongolian, and Chinese.
In his left hand, Manjushri holds a flowering lotus plant.
Condition Report: There is a small area of damage on the right side at the level of Manjushri's head and two other small areas at the bottom right and left edges of the lotus throne
| Aditional Explanations | | | Second Qianlong Tsa Tsa |
| The Connection Between the Two Qianlong Tsa Tsas |
| Comparison with the Qianlong tsa tsas at the Palace Museum |
| B a c k |
| Property | Value |
|---|---|
| Measurements: | 3 x 2.2 x 0.7" | 7.6 x 5.7 x 1.7 cm |
| Price: | Make an offer |
| Shipment: | Parcel Service from Germany |
| Material: | fired and glazed earthenware |
| Orgin: | China |
| Age: | 1749 - 1795 |
| High resolution: | Display [2.0 MB, 4372 x 2943 px.] |
