By Erberto F. Lo Bue (editor), Charles Ramble
This quantity bargains with particular matters concerning Tibetan paintings, starting from the earliest Buddhist constructions in crucial, southern and jap geocultural Tibet as much as the inventive 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 quite a few black-and-white photos and 32 pages of color plates, its contents are of specific curiosity to students and experts, whereas a wide half is available to non-specialists, too, which makes the publication necessary additionally to college scholars attracted to the topic in addition to amateurs of Tibetan paintings.
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Extra resources for Art in Tibet
37 Also Rnam thos kyi bu, king of the yak"a, who is yellow or golden, is seated on a lion, holds a dhvaja or mace in right hand and a nakula left. “The wise one should draw him with a beautiful vase showering jewels” (Skorupski 1983). In the mandala he is said to hold a jewel club in the right and a bag made of mongoose skin with jewels in the left hand. ICONOGRAPHY OF TIBETAN SCROLL PAINTINGS 45 VajradhItuma-(ala configuration and also could not yet be identified. 38 The deities on this thang ka that could be identified best correspond to the representations of the root mandala of the Sarvatath1gatatattvasagrahatantra (STTS), commonly called VajradhItumahIma-(ala, or the VajradhItuma-(ala described in the Ni"pannayog1val (NSP 19).
This is by no means the only way thang ka of a series of five Buddhas can relate to each other, as is evident if one takes a look at the second series collected in Sacred Visions (Kossak and Singer 1998: 36a–c). However, for the present purpose the example presented here is certainly sufficient to turn to the actual focus, an altogether other way of depicting the five Buddhas. VAJRADHTUMA ALA-RELATED THANG KA The principal composition of a small Amoghasiddhi thang ka in a private collection (colour plate 7) compares well to that of the Metropolitan Museum Amoghasiddhi.
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.
Art in Tibet by Erberto F. Lo Bue (editor), Charles Ramble