When determining the age, the year of the 4th Panchen Lama's death [1662] is of particular importance. This tsa tsa evidently does not depict the lama as a living teacher in an individual teaching situation, but rather as a revered portrait of a spiritual master who had already passed away. If this interpretation is correct, 1662 would be the earliest possible date for the creation of this specific commemorative image.
Assuming that the interpretation as a posthumous commemorative image is correct, the object should therefore be dated to a period after 1662.
Style and Condition
The circular tsa tsa has a distinctly raised, protective rim. The reddish-brown clay has a distinct, earthy patina; darker deposits and remnants of the original gilding have been preserved, particularly in the recesses. The relief edges are no longer sharp but have been gently rounded over time. These characteristics are consistent with considerable age. However, there is no scientific analysis or verified provenance available, so the patina alone cannot provide a precise date. Rather, it supports the assumption that this is not a modern or recent replica.
The Depiction of the 4th Panchen Lama
The facial depiction matches known portraits of Lobsang Chökyi Gyaltsen remarkably well. Particularly striking are the high, rounded cranium, the rather narrow face, the prominent ears, and the characteristic modeling of the facial features. This comparison is particularly interesting because both early paintings and later depictions of the Panchen Lama retain recognizable physiognomic features.
A particularly important comparison is a portrait currently housed at Tashi Lhunpo Monastery, which dates to the mid-17th century. The well-known later depictions also appear to draw on an established iconographic type.
The Unusual Attribute: the »Khakkhara«
Particularly noteworthy is the large attribute behind the lama’s left shoulder. It appears to be a »Khakkhara«, a [Buddhist monk’s staff] with a metal tip and several rings. This attribute is of particular interest for the interpretation of the tsa tsa. It distinguishes the depiction from a purely schematic portrait of a scholar. Iconographically, the »khakkhara« refers to the wandering or ascetic monk and can be associated with notions of discipline, religious practice, and protection.
The Small Stupa
Directly below the »Khakkhara« is a small, multi-tiered architectural symbol that is only partially discernible due to the small size of the tsa tsa. Its shape suggests a stupa. This gives rise to a particularly interesting iconographic connection: Tashi Lhunpo was the seat of Lobsang Chökyi Gyaltsen and, under his leadership, became a major center of the Gelug tradition. His connection to the monastery was exceptionally close. After his death, a stupa was erected in his honor. His depiction on this tsa tsa may be an indication of this connection. However, this is only a conjecture and by no means certain. [Tashi Lhunpo Monastery UK Trust]
If the small stupa is indeed to be understood as a reliquary stupa, it could have memorial significance and refer to the veneration of the deceased lama or his relics. However, this assumption remains uncertain.
The Two Symbols on the Opposite Side
On the opposite side of the head or shoulder area, a large stylized lotus flower rises. Above it is a rounded symbol that can no longer be clearly identified. It may be a flaming jewel [»Cintāmaṇi«] or a vessel, or perhaps another religious attribute. Due to its small size and the partially indistinct relief carving, this detail cannot currently be identified with certainty.
The Iconographic Distinctiveness
It is precisely the combination of these three elements - the Panchen Lama, the khakkhara, and the small stupa - that makes this tsa tsa unusual. In the later, more standardized depictions of Lobsang Chökyi Gyaltsen, we encounter other, more unambiguous teaching attributes and gestures. At the same time, it is known that his image was already being transmitted in various artistic contexts as early as the 17th century and that later artists drew upon older visual models. The surviving depictions therefore show that one should not assume the existence of a single, unchanging portrait type. [Rubin Museum of Himalayan Art]
The unusual combination on this tsa tsa could therefore point to a specific memorial visual concept. Lobsang Chökyi Gyaltsen may be depicted not merely as a scholar, but as a revered religious master whose work, travels, and enduring spiritual presence are symbolically emphasized by the additional attributes.
Preliminary Dating
Given the identification of the figure as Lobsang Chökyi Gyaltsen, the tsa tsa was most likely created posthumously and could therefore have been produced no earlier than after his death nin 1662. The physiognomic resemblance to early portraits of the Panchen Lama, as well as the unusual combination of khakkhara, stupa, and lotus attributes, may suggest an early form of memorial veneration.
The state of preservation and the patina are consistent with a tsa tsa from the late 17th or early 18th century, but do not, on their own, allow for an exact dating. A creation in the context of Tashi Lhunpo appears iconographically and historically plausible, but cannot currently be proven.
A dating to the late 17th or early 18th century would therefore be reasonable. It is particularly interesting to note that a portrait of Lobsang Chökyi Gyaltsen from Tashi Lhunpo, dated to the mid-17th century, is known. This shows that we are not solely reliant on much later depictions for comparison. [Rubin Museum of Himalayan Art]
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