By David Jackson
The current ebook 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 is still and the large written resources that live on within the Tibetan language. The research of this era of Tibetan artwork background has in impression been missed lately in prefer of the earliest classes. but nearly all of extant masterpieces of Tibetan Buddhist portray belong to this more moderen interval, and the proper written and pictorial assets now to be had, even though they've got by no means been totally applied in the past, are in reality particularly wealthy. the current learn makes an attempt within the first position to spot the nice founders of the most colleges 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 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 benefit of scholars and researchers, the booklet incorporates a survey of the most to be had Tibetan assets and reports, either conventional and smooth, in addition to a close precis of prior Western examine in this topic. It additionally offers the texts and translations of an important passages from the most conventional assets. This richly illustrated quantity additionally comprises designated indices, and it'll be an crucial advisor and reference paintings for a person drawn to Tibetan paintings.
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Extra info for A History of Tibetan Painting
The history of Tibetan sacred painting in particular-which in fact just sketches the lives of the most notable painters-is found on pp. 63b64b. Though the work is written in verse, in this chapter it agrees in its contents with the sDe-srid' s account, except for a few references to the earliest period. The last verse also mentions the existence of other artistic lineages. ) Though mentioned in at least one recent Tibetan history, the work has yet to be published. 60 I have seen a photocopy of a bound ninety-folio dbumed manuscript of this work in the library of Mr.
2, 35, 266 and 269 from Chogay Trichen Rinpoche (1979), and on p. 53 from Karma Thinley (1980) also have no indication of their sources (cf. p. 277). 23 Cf. J. C. Huntington (1985), p. 54, who critically replied to Aris, taking his statements to imply a rejection of other scholarly approaches to cultural history. He inter- 40 NoTES PART prets Aris' s strong insistence on a sound historical and textual approach (probably meant here as a corrective to those who ignore and omit these aspects in their work) as a rejection of other approaches such as stylistic analysis.
3-4 (1975), p. 384. centuries] there was much [religious art] produced by emanated artisans (sprul pa'i bzo bo). After that [in the post- I Oth-century period] there occurred in successive stages: in the prior period both painting and sculpture [followed the Newar style], and [then] in the subsequent period sculpture was predominately [like] Newar divine figures (ballha), while pictorial art accorded predominately with Chinese painting ... / 4 The Tibetan painters and styles he mentions in this passage (pp.
A History of Tibetan Painting by David Jackson