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 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 heritage has in influence been ignored lately in prefer of the earliest classes. but the majority of extant masterpieces of Tibetan Buddhist portray belong to this newer interval, and the proper written and pictorial assets now to be had, even though they've got by no means been totally applied in the past, are in reality relatively wealthy. the current research 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 artwork. via recourse to the artists personal writings, if on hand, to the biographies in their major consumers, and to different contemporaneous or approximately contemporaneous assets, it's been attainable to explain some of the situations 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 publication incorporates a survey of the most to be had Tibetan resources and reports, either conventional and glossy, in addition to an in depth precis of prior Western examine in this topic. It additionally provides the texts and translations of an important passages from the most conventional resources. This richly illustrated quantity additionally contains targeted indices, and it'll be an critical consultant and reference paintings for an individual drawn to Tibetan artwork.

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Mr. W. D. Shakabpa, moreover, told me in March 1982 in a private conversation that another typical feature of the mKhyen-ris mentioned by Khri-byang Rin-po-che was the treatment of the edges of clouds (such as by a series of dark bumps, though this feature can occasionally be found nowadays in Central Tibetan styles). Khri-byang Rin-po-che had moreover mentioned his seeing a thangka in Calcutta with an inscription identifying it as by a mKhyen-ris artist. The murals of Gong-dkar should help confirm or disprove the above characterizations.

1, pp. 35 and 47. Huntington, p. 306, n. " 48 See also Kal;t-thog Si-tu, p. 5, who mentions: ... karma sogs kyi li ma. 49 For a more detailed review of this book, see D. Jackson (1993). 50 She cites "L. Chandra," which should in fact be E. G. Smith (1970). To my knowledge, A-mdo was nota center of the Karma-sgar-bris, though H. Karmay (1975) and indirectly Smith (1970) also made this assertion. A-mdo had its own rather heavily Chinese-influenced styles, which are somewhat similar at first glance but which Tibetan artists can differentiate easily.

Many more architectural subjects, such as monasteries and hermitages, were painted during the 17th and 18th centuries. There is of course a substantial basis for most of Chan's observations, but as we know, the stylistic revolution referred to here (the introduction of Chinese landscapes in the background) really took root as a widespread movement already in the mid or late 15th century, and this was by no means a primarily Lhasa- or dB us-province-based phenomena. For its dating and descriptions of a minor style such as the mKhyen-ris (p.

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