By David Jackson

The current booklet is a primary test at exploring the sacred portray traditions of Tibet from the mid-15th via twentieth centuries at the foundation of either the surviving pictorial continues to be and the vast written assets that live on within the Tibetan language. The examine of this era of Tibetan artwork background has in influence been ignored in recent times in prefer of the earliest sessions. but nearly all of extant masterpieces of Tibetan Buddhist portray belong to this more moderen interval, and the correct written and pictorial assets now on hand, although they've got by no means been absolutely applied previously, are in reality really wealthy. the current examine makes an attempt within the first position to spot the good founders of the most faculties of Tibetan portray and to find references to their surviving works of sacred paintings. via recourse to the artists personal writings, if to be had, to the biographies in their major consumers, and to different contemporaneous or approximately contemporaneous assets, it's been attainable to elucidate the various conditions of the careers of such well-known Tibetan painters as sMan-bla-don-grub, mKhyen-brtse-chen-mo and Nam-mkha-bkra-shis, who have been the founders of the sMan-ris, mKhyen-ris and Karma sgar-bris traditions, respectively. For the benefit of scholars and researchers, the publication encompasses a survey of the most to be had Tibetan resources and stories, either conventional and glossy, in addition to a close precis of prior Western study in this topic. It additionally provides the texts and translations of crucial passages from the most conventional resources. This richly illustrated quantity additionally contains particular indices, and it'll be an quintessential advisor and reference paintings for somebody attracted to Tibetan artwork.

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Smith may have incorporated the element mthun into the hypothetical term *shar mthun because in both the basic verse and commentary of Kong-sprul, the middle period ofNewar art is said to be in conformity (mthun) with the eastern Indian style. The basic verse is: balpo sngon bar nub I CHAPTER 1 rnying shar dang mthun/1. The commentary: bal po'i yul du 'ang sngon gyi bzo rgyun nub rnying dang 'dral bar skabs kyi bris dang li ma ni shar dang mthun shas che ba 'i bal yul rang lugs yin la phyis ni nges pa med!.

Since the work of Smith (1970), hardly anyone has gone back to take another look at the original Tibetan sources. 39 :Notes 4 For a sketch of the discovery and reception ofTibetan art and culture among Westerners from as early as the 12th century, see A. Chayet (1994), pp. 11-20, and also ]. Casey Singer (1994). C. " 6 A big step forward has, however, been taken with the recent publication of E. De Rossi Filibeck, Catalogue ofthe Tucci Tibetan Fund in the Library of the IsMEO, vol. 1, Rome, 1994.

45 Sculptures have various sub-types depending on the main material or method used for making them, for instance: Jim sku ("clay image," the material being actually something closer to papier mache), blugs sku ("cast-metal image"),gser sku ("gold or gilt copper [gser zangs] image"), etc. Huntington's treatment of the later indigenous Tibetan schools here is relatively brief, for his main subject is the early and heavily Indian-influ- WESTERN STUDIES IN THE 1990s 35 Fig. 3. The sage Atreya. Drawing by the contemporary Tibetan artist Mig-dmar in Dharamsala, India.

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