By David Jackson
The current publication 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 large written assets that live on within the Tibetan language. The learn of this era of Tibetan artwork heritage has in impression been overlooked 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 formerly, are actually fairly 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 resources, it's been attainable to elucidate a few of the 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 booklet features a survey of the most on hand Tibetan resources and experiences, either conventional and glossy, in addition to an in depth precis of earlier 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 special indices, and it'll be an crucial consultant and reference paintings for a person drawn to Tibetan artwork.
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Additional info for A History of Tibetan Painting
2, p. 398). Oddly enough, none of the names of these artists are listed in the otherwise quite extensive index (val. 2, pp. 302-307)! The very useful results of Essen and Thingo suffice to show the absolute necessity of recording and treating the inscriptions when cataloguing Tibetan works of art. ]AMPAL KuNZANG REcHUNG (1990) This article by]. K. Rechung Rinpoche contains (pp. 57-8) a brief section on the great Tibetan painters. Although the author has not specified his source for this information, it was no doubt drawn from the writings ofKong-sprul, from the Shes bya kun khyab encyclopedia to be exact.
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. , p. 52, remarks with surprise the presence of a Sa-skya-pa painting at Glang-thang.
318) Zhuchen largely follows his earlier account but then adds some further information on painting styles in lDan-ma, which will be presented below in connection with the careers of Sangs-rgyas-lhadbang and ofZhu-chen himself. 7° Fig. 5. Zhu-chen Tshul-khrims-rin-chen. Drawn by sMadshod A-'phel xylographed in the Derge edition ofthe Tanjur (1744), vol. 316 (shri), f 500a. Published J Kolmaf (1978), ref no. 305b. ). He wrote a record of the construction of this temple entitled dGa' ldan rnam rgyal gling du rten bzhengs pa las brtsams pa 'i gleng ba dbyar gyi rnga gsang in 1763 at the request of one Blo- Fig.
A History of Tibetan Painting by David Jackson