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By David Jackson

The current booklet is a primary test 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 vast written resources that live to tell the tale within the Tibetan language. The examine of this era of Tibetan paintings heritage has in impact been missed in recent times in prefer of the earliest classes. but the majority of extant masterpieces of Tibetan Buddhist portray belong to this more moderen interval, and the appropriate written and pictorial assets now to be had, notwithstanding they've got by no means been totally applied beforehand, are in reality really wealthy. the current examine makes an attempt within the first position to spot the nice 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 buyers, and to different contemporaneous or approximately contemporaneous resources, it's been attainable to elucidate a few of the conditions of the careers of such recognized 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 smooth, in addition to a close precis of earlier Western learn in this topic. It additionally provides the texts and translations of crucial passages from the most conventional assets. This richly illustrated quantity additionally contains special indices, and it'll be an fundamental consultant and reference paintings for someone drawn to Tibetan artwork.

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See Tucci (1959) and more recently L. S. Dagyab (1977), pp. , and Jampal Kunzang Rechung (1990). 8 G. Tucci (1949), vol. 2, p. vii. , p. 208. ), for instance, p. 49 instead of f. 149b, and p. 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.

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. 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.

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).

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