By David Jackson
The current e-book is a primary try 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 wide written resources that live to tell the tale within the Tibetan language. The research of this era of Tibetan paintings historical past has in impression been missed in recent times in want of the earliest sessions. but the majority of extant masterpieces of Tibetan Buddhist portray belong to this more moderen interval, and the proper written and pictorial assets now on hand, even though they've got by no means been totally applied in the past, are actually particularly wealthy. the current research 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 artwork. via recourse to the artists personal writings, if on hand, to the biographies in their major buyers, and to different contemporaneous or approximately contemporaneous resources, it's been attainable to elucidate some of the situations 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 ease of scholars and researchers, the booklet features a survey of the most on hand Tibetan resources and reviews, either conventional and sleek, in addition to an in depth precis of past Western study in this topic. It additionally provides the texts and translations of an important passages from the most conventional resources. This richly illustrated quantity additionally contains distinct indices, and it'll be an crucial advisor and reference paintings for somebody drawn to Tibetan paintings.
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Additional info for A History of Tibetan Painting
Tashi Tsering. 61 He was born into a Bi-ji lineage, famed for its great doctors. He was a scholar of wide learning and included medicine and pharmacognosy among his areas of expertise. One of his strengths was as a traditional "taxonomist" of herbs, animals and minerals-an excellent preparation for approaching the problem of stylistic classification in art, one would think. His original religious links were with the Karma and 'Brug-pa bka' -brgyud traditions. As a youth he became a monk of rDzi-dgar monastery, located in 'Jo-mda' district about fifty-five kilometers due north of his home.
41 Its only reliance on oral tradition is the emphasis on two main styles, and the tracing of these back to the Nepalese and Chinese consortS of the 7th-century Tibetan ruler Srong-btsan-sgam-po, as outlined by R. Goepper in Essen and Thingo (1989). 42 ]. Huntington's own main informants, for instance, I CHAPTER 1 41 were not professional painters. It is interesting that the 5th Dalai Lama's record of teachings received (thob yig) documents quite distinct lineages for the study of art technique and for the study of the classification of old styles (as will also be described below).
P. 52, remarks with surprise the presence of a Sa-skya-pa painting at Glang-thang. In fact the monastery had had ties with the Sa-skya-pas since at least the early 1400s, and the famed Sa-skya-pa scholiast Shakya-mchogldan (1428-1507) had very close connections with it. Two of its abbots-masters from the sNel-pa noble family-became abbots of the nearby monastery ofNa-lendra in the second half of the 15th century. See D. Jackson (1989a), pp. 11-15 and 16-18. 25 Such a category, however, has almost.
A History of Tibetan Painting by David Jackson