By Erberto F. Lo Bue
This quantity offers with particular concerns on the topic of Tibetan artwork, starting from the earliest Buddhist constructions in primary, 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 obtainable to non-specialists, too, which makes the booklet beneficial additionally to college scholars drawn to the topic in addition to amateurs of Tibetan artwork.
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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)
This temple can be identified with the extant Dzam bha la chapel of Rme ru rnying pa monastery. Sometime in the second half of the 17th century, the surrounding site became a property of Gnas chung monastery, but the chapel itself continued to be managed to this day by Rme ru grva tshang. Under the auspices of Gnas chung, during the second half of the 19th century, the monastery was enlarged to its present size by the addition of a three-storey assembly hall and residential wings (grva shag or shag ’khor) framing a central courtyard.
Again the vajra-Bodhisattvas surrounding the Jina are depicted clockwise beginning with the standing Vajraratna/ Rdo rje rin chen, who is yellow and holds a wish-fulfilling jewel. 43 The four bhadrakalpaBodhisattvas of this quarter placed to the side of the halo iconographically mirror the principal vajra-Bodhisattva. The seated Bodhisattvas are accompanied by four Hearers (+r1vaka) and two Pratyekabuddhas, who have become part of the central panel in this case. The +r1vaka are represented on the outside, while the two Pratyekabuddhas are just to the sides of the throne back, all of them displaying dharmacakramudr1 43 Because the documentation available to me does only allow it for a part of the deities and for reasons of space, I refrain from more detailed iconographic descriptions in the case of this series.
The sitting room has preserved original pillars and beams decorated similarly to the assembly hall. No original murals could be recovered here except for decorations around the entrance area, as the old plaster had been completely removed before RME RU RNYING PA 27 1985. On the room’s western wall, a mural showing the court of the ‘Great Fifth’ Dalai Lama based on a similar one at Gnas chung was commissioned by the project and painted by Lhasa-based painters in 1999 using mineral colours. Because of his personal involvement in the creation of the institution of the Tibetan State Oracle, the Rme ru rnying pa monastic community regard the Fifth Dalai Lama as its most important past benefactor and credit him with the initial extension from small chapel to grva tshang compound.
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) by Erberto F. Lo Bue