By David Jackson
The current booklet is a primary try out 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 huge written resources that live on within the Tibetan language. The research of this era of Tibetan paintings background has in influence been missed lately in desire of the earliest classes. but the majority of extant masterpieces of Tibetan Buddhist portray belong to this more moderen interval, and the suitable written and pictorial assets now to be had, although they've got by no means been absolutely applied beforehand, are in truth rather 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 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 resources, it's been attainable to elucidate a number 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 benefit of scholars and researchers, the booklet features a survey of the most to be had Tibetan resources and reports, either conventional and glossy, in addition to a close precis of prior Western learn in this topic. It additionally provides the texts and translations of an important passages from the most conventional assets. This richly illustrated quantity additionally comprises exact indices, and it'll be an quintessential advisor and reference paintings for someone drawn to Tibetan paintings.
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Additional info for A History of Tibetan Painting
351 instead off. 352. Two other references I could not locate at all were given asvol. 1, f. 189, and vol. 2, f. 182. 1 ° For an appraisal of his contributions see also A. Chayet (1994), pp. 19 and 177. 11 On his contributions see also A. Chayet (1994), pp. 20 and 1"77. 12 It may well be that mKhyen-brtse-dbang-phyug did some painting himself. See Dalai bla-ma V,Za hor(1991), vol. 2, p. 169, where it is mentioned that at the enthronement of 'Dar-pa lo-tsa-ba (in 1669/70), the 5th Dalai Lama received a painting of the goddess Na-ro mkha'spyod-ma by 'Jam-dbyangs mKhyen-brtse (Jam dbyangs mkhyen brtse'i phyag bris ma).
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. the same faults as the Kadampa category he rejected. Even in the period before ca.
M. M. RHIE AND R. A. F. THURMAN (1991) An important recent contribution is that of Marylin M. Rhie and Robert A. F. Thurman, who joined forces to write an exhibition catalogue enti tied Wisdom and Compassion. 49 The section of the book devoted to the study of styles was written by Marylin M. Rhie, and it was entitled "Tibetan Buddhist Art: Aesthetics, Chronology, and Styles" (pp. 39-66). It contains a useful essay on stylistic trends, broken down almost century by century and region by region (dividing Tibet into three main zones: West, Central and East).