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 is still and the wide written resources that live to tell the tale within the Tibetan language. The research of this era of Tibetan artwork historical past has in impact been missed lately in want of the earliest classes. but nearly all of extant masterpieces of Tibetan Buddhist portray belong to this newer interval, and the suitable written and pictorial assets now on hand, notwithstanding they've got by no means been totally applied earlier, are actually 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 artwork. via recourse to the artists personal writings, if to be had, to the biographies in their major buyers, and to different contemporaneous or approximately contemporaneous assets, it's been attainable to elucidate a few 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 ebook incorporates a survey of the most on hand Tibetan assets and reports, either conventional and glossy, in addition to an in depth precis of earlier Western study 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 special indices, and it'll be an imperative advisor and reference paintings for an individual attracted to Tibetan paintings.
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Extra info for A History of Tibetan Painting
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). This and rwo other thangkas of the Cycle of Three Red Deities (dmar po skor gsum) had been the possessions of Tshar-chen Blo-gsal-rgya-mtsho or his main disciples, and later were the venerated possessions of'Dar-pa Rin-cen-dpal-bzang.
Also p. 8) and sums up its present predicament. As she points out, after a first phase of study when iconography was its main concern, the Western studyofTibetan art has in its second phase (since Tucci) been concentrating in addition on the study of styles. But while some progress has been made on those subjects: " ... " In other words, one of the main things holding back the field from significant progress is the great difficulty in placing more paintings within a firm and well-documented historical background.
42, n. 72: "Following Taranatha, Kori-sprul notes that Tibetan art is initially derivative from the art of Nepal but that the Kashmiri influences were significant particularly in the western areas. One can distinguish three levels or strains in both the Nepalese Beri and the Kashmiri Khache. The three factors that are involved in the makeup of the Beri [ba! " Kong-sprul himself, p. 2 (orrt 208a), is discussing here Newar art in Nepal, and he does not use the term *shar mthun bris, but rather shar gyi bzo ("eastern art") or shar ris ("eastern painting")-terms used also by Taranatha.
A History of Tibetan Painting by David Jackson