By Erberto F. Lo Bue
This quantity bargains with particular concerns regarding Tibetan paintings, starting from the earliest Buddhist structures in principal, 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 topics considered within the first half and logical standards within the latter half. Illustrated with a variety of black-and-white photographs and 32 pages of color plates, its contents are of exact curiosity to students and experts, whereas a wide half is available to non-specialists, too, which makes the e-book necessary additionally to school scholars drawn to the topic in addition to amateurs of Tibetan artwork.
Read Online or Download Art in Tibet: Issues in Traditional Tibetan Art from the Seventh to the Twentieth Century (Brill's Tibetan Studies Library, Volume 10; Proceedings of the Tenth Seminar of the IATS 2003, Volume 13) PDF
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Extra resources for Art in Tibet: Issues in Traditional Tibetan Art from the Seventh to the Twentieth Century (Brill's Tibetan Studies Library, Volume 10; Proceedings of the Tenth Seminar of the IATS 2003, Volume 13)
Open gallery 9. skylight over assembly hall 10. stairs to roof chapel 11. toilet converted into solar shower 12. tea kitchen for Gnas chung monks 13. residential room owned by public housing department 14. residential room of Rme ru rnying pa abbot 34 ANDRÉ ALEXANDER Fig. 4: Fourth level plan (THF) 1. former reception room reserved for Gnas chung Oracle now used as chapel for Gnas chung rdo rje grags ldan 2. former reception room reserved for Ta la’i bla ma now closed 3. former tea kitchen exclusively to serve tea to the Ta la’i bla ma and to the Gnas chung Oracle 4.
A smaller room in the back has traces of murals and served as additional chapel before 1959 but is presently little used. The Bram ze mgon khang was initially restored by Gong dkar Chos sde monastery in the late 1980s. The two main images enshrined here, representing Mgon po zhal bram gzugs can (north wall) and its companion Mgon po gur (west wall), were made during the 1980s restoration in replacement of those destroyed 20 years earlier. On the interior walls there are remnants of pre-1959 mural paintings that once covered the entire room.
14 Mañju#r$ is followed by the triad of a(ak&araloke#vara flanked by Ma-idhara and a(ak&ar$MahIvidyI, and representations of Avalokite#vara and Green TIrI. Turning to Amoghasiddhi, it has been said that the deities in the bottom row show five forms of the goddess TIrI (Kossak and Singer 1998: 108). ) used for protective purposes. 17 MahImIyr$/ Rma bya chen mo,18 the Great Peacock protectress that cures snakebites,19 is shown green, three-headed—the side faces being yellow and red (read clockwise around the main head)—and six-armed.