By Erberto F. Lo Bue (editor), Charles Ramble
This quantity offers with particular matters relating to Tibetan paintings, starting from the earliest Buddhist structures in crucial, southern and jap geocultural Tibet as much as the creative traditions flourishing within the twentieth century. The papers are prepared following the chronology of the websites or the subjects considered within the first half and logical standards within the latter half. Illustrated with quite a few black-and-white images and 32 pages of color plates, its contents are of particular curiosity to students and experts, whereas a wide half is out there to non-specialists, too, which makes the booklet valuable additionally to college scholars attracted to the topic in addition to amateurs of Tibetan artwork.
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Extra resources for Art in Tibet
5 These are not the usual group of Eight Bodhisattvas of the Fortunate Aeon (bhadrakalpa) of which the two standing ones are usually part of (making them 10 here). They are generic types mirroring each other in gesture, colour and attributes, a red and a white lotus. 6 The study of this thang ka is a by-product of my fellowship research at The Metropolitan Museum of Art. 7 The caption possibly reads: rna sras. 8 Aparaj$ta is a yak"a and his iconography here—white, holding an aku+a and a vase—appears to be the common one (cf.
Dzam bha la chapel 16. stairs to roof 17. walled-in boulder blessed by Srong btsan sgam po 18. store-room owned by Lha sa Gtsug lag khang 19. west gate 31 32 ANDRÉ ALEXANDER Fig. 2: Second level plan (THF) 1. portico 2. stairs 3. assembly hall 4. sanctum 5. stairs leading to upper floor 6. monastic store-room 7. monastic residential room 8. monastic store-room 9. residential flat, disputed ownership 10. residential room 11. incense burner 12. Bram ze mgon khang (under Gong dkar chos de) 13. residential room 14.
27 The caption for the previous goddess reads: gsang # gs \ rjes su ’dzin. 28 Here the wheel is the attribute not found in the closest descriptions (SM 199 or 201), where a vajra or sword is held instead. 29 In addition, the portrait of the s1dhaka, the practitioner of the teaching represented in this series, is placed in the bottom right corner of this thang ka; he holds an incense burner and his ritual paraphernalia are displayed in front of him. His depiction in this position indicates that the Amoghasiddhi thang ka had the outer position on the right, when the five thang ka were displayed together in a row, a position that most likely also accounts for the display of the Pañcarak&I on this particular scroll painting.