By Melissa R. Kerin
Sixteenth-century wall work in a Buddhist temple within the Tibetan cultural quarter of northwest India are the focal point of this cutting edge and richly illustrated research. at the beginning formed by means of one set of non secular ideals, the work have due to the fact that been reinterpreted and retraced by way of a later Buddhist group, subsumed inside its non secular framework and communal reminiscence. Melissa Kerin strains the devotional, political, and creative histories that experience inspired the work' creation and reception over the centuries in their use. Her interdisciplinary strategy combines artwork ancient tools with inscriptional translation, ethnographic documentation, and theoretical inquiry to appreciate spiritual photographs in context.
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Extra info for Art and Devotion at a Buddhist Temple in the Indian Himalaya
By documenting the ways in which contemporary Nako society responds to these images, we gain deeper insight into the multitude of meanings and uses of these religious images, which are still a functional part of the devotional community’s life. This is an especially important goal in the study of western Himalayan and Tibetan art, which has largely been concerned with questions of chronology, style, and iconography. 15 This ethnographic method allows one to consider how this temple was folded within the village’s changing meaning systems and devotional practices, thereby producing more nuanced insights about the intricate relationship between devotee and religious object within the western Himalayan Buddhist context.
Rather, sixteenth-century viewers from the village of Nako likely would have had loose associations of this painting style with its royal and cultural antecedents at places like Tsaparang, Tholing, and nearby Tabo. Given that the Drigung sect was a struggling minority in the sixteenth century, it is understandable that the patrons of this new Drigung painting program at Nako’s Gyapagpa Temple sought to use a style that at once communicated legitimacy but also linked the paintings and this temple to powerful cultural and political centers of the day.
9). Both temples have a fair amount of wall painting though the condition is quite poor due to the accumulation of soot, a common problem for Tibetan Buddhist temples caused by smoke from incense and butter lamps. 9. ), Upper Tungyur Temple: interior with prayer wheel. tradition. Each temple has a fairly lengthy inscription by the threshold, although the inscription at the Upper Tungyur is in considerably better shape and provides useful information about the patron. Whereas little is known about the foundations of the other temples in Nako, these two temples and their patrons are mentioned in the village’s oral tradition.
Art and Devotion at a Buddhist Temple in the Indian Himalaya by Melissa R. Kerin