By Erberto F. Lo Bue (editor), Charles Ramble
This quantity offers with particular matters regarding Tibetan artwork, starting from the earliest Buddhist constructions in primary, southern and japanese 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 number of black-and-white images and 32 pages of color plates, its contents are of distinct curiosity to students and experts, whereas a wide half is obtainable to non-specialists, too, which makes the publication worthwhile additionally to school scholars drawn to the topic in addition to amateurs of Tibetan paintings.
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Additional resources for Art in Tibet
Chandra 1986: 837). The name, meaning ‘unsurpassed’, is also used as an epithet for iva and Vi&-u. The caption possibly reads: a pa ra ci ta. 9 The caption possibly reads: ’dza bha lha. 10 The caption possibly reads: tshogs bdag. 11 The caption appears not to be preserved. 12 Possibly this is a form of VasudhIrI / Nor rgyun ma, the goddess of imperishable riches (cf. Chandra 1986: 832). This reading appears also to conform to the caption. 13 The association of Ratnasabhava with deities of wealth appears to go back ultimately to concepts as expressed in the Sarvatath1gatatattvasagraha (STTS), where 40 CHRISTIAN LUCZANITS In the case of AmitIbha deities belonging to his family, the lotus family, dominate the bottom row.
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.
The ceiling is done in the refined steng sgrigs style, consisting of individually-shaped joists. Long rows of cushions decked with runner carpets serve to seat the monastic assembly, with a raised throne-type seat for the abbot (or senior teacher) at the head, in front of a small altar. The sanctum is reached by four wooden steps at the back of the hall, with images of the two great protectors of the Tibetan state on either side. These represent Dpal ldan lha mo and Gnas chung rdo rje grags ldan, much propitiated by local worshippers with offerings of locally-brewed barley beer and imported spirits.