Tibetan art - Knowledge (XXG)

381: 1625: 460: 836: 1485: 1321: 639: 891: 91: 991: 1575: 876: 1434: 421: 536: 1112:" or "expression". These are to be understood as protective figures, versions of buddhas or bodhisattvas that can also be shown in their pacific aspect. Indeed, thanks to the very complex Tibetan understanding of their nature, important figures have a number of different "aspects", which may be depicted very differently. Sometimes these are shown in compartments around the edge of the composition. They are often depicted standing on much smaller figures personifying the malign forces they have overcome, and the skulls or heads of others may hang from their belt or neck as a 914: 604: 1141: 627: 440: 30: 935: 851: 1697: 785: 1023: 1531:, to the south of the region around Lhasa. There were considerable monastic interchanges between the two regions, with texts being taken north for copying and translating, and also evidently movement of artworks and probably artists. A greater number of Tibetan works have survived, many showing accomplished styles, with considerable Indian influence. Apart from portable works, the two outstanding survivals in wall paintings are the monasteries of 404: 234: 1230: 1039: 160: 1778: 1383: 1672:(r. 1368–1398) had spent several years in a Chinese Buddhist monastery, and he and his successors continued to patronize Tibetan Buddhism, if not on as extravagant a scale as the Yuan. It suited Chinese governments to keep their neighbour to the West peaceful and largely devoted to religion; when necessary the Chinese intervened militarily in the sometimes fierce disputes between the different orders. The next 1640:

days, while a long one used forty monks for three years. These were lavishly rewarded: one seven day ritual was paid for with 600 kilos of silver. Large donations were used for building monasteries in Tibet, or commissioning art, but donations were also given to large numbers of individual monks, who might use them to make art. The Sakya order were the largest beneficiaries, but all orders benefited.

659: 340: 1011: 360:, a large percentage of which have been destroyed or badly damaged. These were painted over several plaster-like layers of "clay, chopped-up straw, and dung" in the same technique as thangkas. They usually cover the entire wall above a certain level, using much the same subjects and styles as thangkas. Paintings and other works were ritually consecrated upon completion. 1746:, United States displayed the world's first exhibition dedicated to Tibetan art. The museum continued to add more artifacts until the 1940s, amassing more than 5,000 pieces in its collection including paintings, sculptures, ritual objects, fine textiles and decorative arts. Today the museum houses over 5,500 Tibetan art artifacts, the largest and most distinctive in the 715: 1735:, both in what was then Leningrad. The Hermitage's share remains the basis of "one of the world's largest collections of Tibetan art". Unlike most Western museums, whose collections tend to be stronger in objects from southern and western Tibet, the Ukhtomsky collection is strongest in objects from northern and eastern Tibet, making it especially valuable. 1090: 835: 459: 1070:, the various types of "deity" in Tibetan Buddhism, and sometimes distinguished monks of the past, who may be regarded as bodhisattvas. Very often the figures at the top represent the "lineage" of teachings relating to the main figure, including a mixture of semi-legendary early and foundational figures, and more recent monks. 1774:

to Western collectors, and were still relatively cheap in the mid-century. Several important private collections were formed, many of which subsequently passed to museums in the West, a process still continuing. The art historical understanding of Tibetan art, and its dating and regional differences also continues to develop.

726:) including the "Precious Umbrella" that symbolizes the wholesome activity of preserving beings from harmful forces; the "Victory Banner" that celebrates the activities of one's own and others' body and mind over obstacles, as well as the "Vase of Treasure" for an endless reign of wealth and prosperity. 1648:

were correct. Often old pieces were copied, and creatively reinterpreted. The Yuan empresses were especially fond of silver statues of female deities, most of which were melted down at some later point, as few of them survive. The records show that in 1329, the year after she became empress during

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Tibetan monasteries were established in China, mostly staffed by monks from Tibet. A large number of imperial ceremonies using the monks were established—a reform in 1331 reduced the number from 216 to 200 annually. Each of these might last several days, a "short" one taking a hundred monks for seven

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Traditional Tibetan society had a relatively small but wealthy upper class, as well as prosperous merchants. These patronised the religious arts (most wealthy men had spent some of their youth in monastic training), but also the usual range of secular forms. Monasteries also contained secular art in

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Tibetan Buddhism has a number of distinctive ritual instruments, some for use on general altars, and others for special tantric rituals; some are used in both. There are also musical instruments used in religious ceremonies, but these are not covered here. Many of the instruments are shared with the

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is generally square or round, and can be between two and three metres across. Making the mandala is itself a religious act, and the image's temporary nature is part of the teaching. Many are made for festivals, and after a few days on display they are simply swept away. The same patterns are often

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made in moulds with clay or rammed earth. Many are left in places considered holy, and the chorten-shaped ones play a part in funerary rituals. Some include ashes from the cremated remains of a deceased person, or objects symbolizing them. Others, like their Indian predecessors, work as souvenirs of

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Tibetan clothing for the wealthy was elaborate and very brightly coloured. Chinese silks were much used, and imitated locally. Otherwise women wore skirts of local hand-woven cloth with lines of different colours. The clothing of the poor in 19th-century photographs generally appears very ragged, at

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or sleeping carpet, also used for sitting or meditating on, with either geometric of simple figural designs, the latter often versions of Chinese motifs. The imitation tiger-skin "tiger rug" at least began as a substitute for real tiger-skins, which Buddhist and Hindu tantric masters are often shown

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Many types of object for both religious or secular use were lavishly decorated in the same styles, mixing metalwork with gemstones. These include vases, offering plates and model mountain "mandala plates", containers and other objects for altars, rituals, and the private use of senior monks, as well

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While wall paintings, large altar statues and other large art could usually not be moved, and a high proportion were destroyed, smaller thangka and bronzes were relatively easy to carry and left the country in large numbers. These were also the types of objects that probably had the greatest appeal

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Furniture, in recent centuries tending to loosely follow Chinese forms, can be very finely made, and are usually highly decorated. Caskets, boxes and covers for manuscripts and storage chests were also important. Tibetan horse trappings, arms and armour for the elite were often highly decorated; a

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Rhie and Thurman, 278, 393. Patricia Berger writes "The series of neologisms or hyphenated terms currently in use among Western writers—Sino-Tibetan, Tibeto-Chinese, Lamaist, International Gelukpa style—all seem conspicuously designed to highlight the collage-like juxtaposition of representational

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monastic robe is folded under the arm may indicate this. Small bronze sculpted portraits are also mostly straightforward, showing the subject seated on a base, not always wearing their ceremonial hat. One such bronze has an inscription saying it was made for the bedroom of a senior lama, perhaps

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may be treated in a similar style. From the 18th century these scenes may be placed in a detailed landscape drawing on Chinese styles. Another style has a main central figure with much smaller portraits around the edge of the composition, either in compartments or in later examples in a landscape

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or meditation deities. The appearance of these and their surrounding elements is set out in great detail in texts, which the thangkas follow closely, and monks are required to memorize and meditate on these for very long periods. In many cases it is eventually explained to the initiate that the

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order, which has the closest connections with Bon monasticism. Indeed, even experts are sometimes unable to be sure for which religion some works were produced. Other works depict the distinct Bon deities and historic teachers, but remain generally close to Buddhist styles; there was evidently

1720:, with close access to the court. Ukhtomsky was strongly attracted to Asian art on aesthetic grounds, and eventually declared himself a Buddhist. During his travels in Tibet and Central Asia he amassed a large collection of Chinese and Tibetan art, that eventually numbered over 2,000 pieces. 1464:

In 791 Buddhism was declared the official religion, and King Trisong Detsen eventually felt he had to make a choice between the Indian and Chinese styles of Buddhism. After hearing both groups of monks making their case, he chose the Indian ones, perhaps for political reasons, and thereafter

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considerable interchange between artists in both traditions. In general, Bon sacred figures do not appear in the complicated different forms and aspects of Buddhist ones, and a Bon fierce protective deity is likely only to have that form. Some differences are easier to see: Bon art uses the

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or "initiation cards" are small painted (or sometimes printed) images on cloth, glued to a card backing, usually showing a relatively simple image of a sacred figure, or a pair. They were produced in sets of perhaps six to over a hundred, and used for instructing monks and also the temporary

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The Yuan emperors maintained large imperial workshops, whose main task was producing Buddhist images and designs for them. About half of the senior artists were Newari or Tibetan, with the rest Chinese. Drawings of the design were typically approved by members of the court and the Imperial

1300:). Most of the typical Tibetan Buddhist art can be seen as part of the practice of tantra. Vajrayana techniques incorporate many visualizations during meditation, and most of the elaborate tantric art can be seen as aids to these visualizations; from representations of meditational deities ( 218:), where the best works have very high levels of technical skill. These were generally private works, only seen within monasteries, and often specifically designed for meditation. More public art includes large statues for prayer halls, large appliqué thankas for temporary display during 955:

was one of the gemstones mined in Tibet, and much used. Elite Tibetan women wore their hair elaborately tied high over the head on formal occasions, hanging jewellery on it. Various personal items such as saddles and horse trappings could be highly decorated in similar techniques. The

490:. The compositions sometimes vary considerably from one end of a statue to the other. Tibetan foundries seem to have used whatever base metal was available, and not to have been too careful in ensuring proper mixing. Pieces made in China or Mongolia are generally much more homogenous. 380: 1789:

Apart from museum collections in Tibet, China, St. Petersburg and Newark, many of the larger Western museums have significant collections, though most thangkas and textiles are not on permanent display for conservation reasons. Dedicated museums for Tibetan art in the West are the

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are often paired with statues of the tutelary deity of the district who often appears angry or dark. These gods once inflicted harm and sickness on the local citizens but after the arrival of Padmasambhava these negative forces have been subdued and now must serve Buddha.

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Other portraits of monks are simpler, concentrating on the main figures. Some may date to the lifetime of the subject, though other are of figures long dead. It has been argued that portraits of living and dead figures are distinguished by the dead being shown seated on a

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soon after, very little survives from the Indian Buddhist art of this or earlier periods except monumental sculpture, and art historians must deduce much about this vanished culture from Tibetan works. Other influences on Tibetan art over the centuries came from

1550:(or Tantric Buddhism, Esoteric Buddhism), and various sub-schools of this tradition became the norm in Tibet. Over the next century a number of monastic orders or schools emerged, the four major schools, with their approximate dates of foundation, being the 1137:. Tibetan Buddhism also arose and consolidated at the same time as Indian Buddhism declined, a process that is still rather unclear, but at times involved considerable violence, perhaps increasing the perceived need for powerful protective figures. 711:. Eggs, milk and other ingredients even including meat may be used. They are used in various contexts, the most common of which is being placed on altars. Very large ones may be made for special festivals. Some are eaten after a period of ritual use. 684:, a largely geometric image made up with grains of sand or minerals, where necessary dyed to give several bright colours. These are placed onto a drawn pattern on a flat and even ground surface with great skill, using cone-shaped funnels called 1761:

The upheavals in Tibet and China in the 20th century brought about large movements of portable art to the West, and the destruction of most that remained in the country. There was large-scale destruction during and after the invasion and

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were made by lay craftspeople, sometimes working to designs for ornament supplied by monks. Apart from works from recent decades the names of the artists involved are unknown, except in the case of a few leading artist monks, such as

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There was relatively little Tibetan art outside the country until the end of the 19th century, except that in the Chinese imperial collections and in Tibetan monasteries in China. The first significant foreign collector was Prince

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in order to assist others. From an early time, various bodhisattvas were also subjects of statuary art. Tibetan Buddhism, as an offspring of Mahayana Buddhism, inherited this tradition. But the additional dominating presence of the

318:. Colours were originally bright, though many old paintings have faded. Most, and all before the 16th century, are square or have a vertical "portrait" format, and most are under a metre tall. There are also images in silk 512:

Tibet has deposits of gold, but under the influence of Bon, mining was regarded as rather immoral, and only the meagre product of panning in rivers was acceptable. Large inflows of gold came from China only after the Mongol

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are by Nepali sculptors brought in for the purpose). Wood doorway surrounds in monasteries sometimes had figurative carvings. But small works in wood, ivory, terracotta and stone are found. Stone is mainly used for small

1617:. Over the next century monastic Buddhism received "massive financial and material support by the Yuan state (1260-1368), most prominently in the form of several tons of gold and silver, and hundreds of thousands of 532:; many works, especially in later periods, are cast in several pieces, then joined. Small relics of distinguished teachers were often placed inside the hollow statues, wrapped in paper with writing identifying them. 1214:. In recent centuries, these have also been given panoramic landscape backgrounds. There are also paintings showing monasteries, usually concentrating on the buildings rather than the (often spectacular) settings. 990: 363:

Book covers more often included painted decoration than the pages of the book. This is usually on the inside of the wood cover, so the painting is protected. Initially books had the very long, thin, shape of Indian

1269:(Avalokitesvara), often portrayed as a thousand-armed saint with an eye in the middle of each hand, representing the all-seeing compassionate one who hears our requests. This deity can also be understood as a 1078:

deity has no existence outside the mind of persons meditating on them, and the purpose of the exercise is to realize within the meditator the qualities the deity embodies, as part of the Buddhist practices of

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amulets, and prehistoric rock carvings of animals. All are hard to date. Stylistically, Buddhist art tends to be divided, at some periods more than others, into that from Western, Central and Eastern Tibet.

1344:, which has survived in a monastic form, co-existing with Tibetan Buddhism, and producing similar art. Bon contributes a pantheon of local tutelary deities to Tibetan art. In Tibetan temples (known as 353:

consecration and protection of sites or objects. The figure may be identified in ink on the back. They are one of a number of Tibetan forms without close comparators in neighbouring Buddhist countries.

1826:, works. Many artists, especially in monasteries, continue to produce traditional Tibetan styles, which are preferred for religious use, and also have markets inside and outside the Tibetan diaspora. 890: 3652: 3647: 4302: 1422:(reigned c. 627–649). Each came with monks and statues, and both Indian and Chinese styles of Buddhism (both Mahayana, but already somewhat divergent) were encouraged by the court. The core of the 3185: 493:

Precious metals may be used, especially for Imperial Chinese commissions, but figures mainly in gold or silver are very rare; evidently some were made, but they have presumably been recycled as

3677: 1484: 2189:"The spiritual career of Buddha Śākyamuni on the portal of Khorchag (Khojarnath). Towards a reconstruction of the whole narrative cycle on a Royal Western Tibetan temple (early 11th c.)" 3462: 1763: 1022: 1320: 570:

Large sculptures, almost all sacred figures in a meditating or teaching seated position, are mostly for the altars of temples or prayer halls. The Tibetan prototype for these is the

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have extremely elaborate costumes and other special ritual implements for giving their predictions. The costumes include much carved bone, as do some of those for performers in the

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tapestry, for the Yuan imperial family, whose portraits are along the bottom. Woven in China, c. 1330–32, doubtless to a design by a monk in the imperial workshop. 245.5 x 209 cm.

1418:, with reverses sometimes following periods of strong growth. The first arrival of Buddhism was traditionally with the two princesses, Nepali and Chinese, who came to marry King 277:(1245–1306), who worked in painting, sculpture and architecture in Tibet and China, but it remains uncertain if anything by him, rather than his sons or followers, has survived. 87:

or ritual dagger, are finely made and lavishly decorated. Secular objects, in particular jewellery and textiles, were also made, with Chinese influences strong in the latter.

821:, setting the text in motion, whether by the wind in the case of flags, or by hand turning in the case of the wheels, was believed to increase the efficacy of the prayer or 1221:, or "Eight Auspicious Symbols" very frequently appear in various contexts, for example held by figures. They belong to wider Buddhist traditions, and originated in India. 295:, a broad term for portable paintings on cloth or paper that can be stored rolled-up. Larger ones may also be called "banners", and the really large ones for display on 4002: 980:

reasonable number have survived because there was relatively little evolution in what was used for fighting until the 20th century, and also because items were given as

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Painters and at least the modellers of sculpture were mostly monks, but less so for those made in China, or by the many Nepali artists who worked in or for Tibet. Many

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and adepts in some tantric rituals. Apart from necklaces and other jewellery forms, there are "aprons" with bone plaques large enough to hold complex relief carvings.

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are among the most popular. Usually, the design for the wooden block was drawn by a monk, but carving the block was done by lay craftspeople outside the monastery.

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produced in either China or Tibet, often arising from patronage by Chinese emperors. The artists seem to have been a mixture of Tibetan and Chinese, with some

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Guy, John. "Arts of the Greater Himalayas: Kashmir, Tibet, and Nepal." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

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and all kinds of ritual implements. There are distinct tantric rituals, mostly originating in India, but some apparently incorporating elements from Tibetan

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Narrative depictions of the lives of religious figures are found in thangkas, usually with the various events shown around a much larger central figure. The

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There have recently been rather controversial attempts to attribute some surviving works to a well-documented and significant Nepali artist called Aniko or

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was used for both text and images, or a combination. This was both on paper for books or single sheets, or on textiles, where it was very widely used for

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as use by wealthy lay persons. In recent centuries China was the main influence on the rich ornamentation used, with Nepal and India prominent earlier.

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are not often used in Tibet. Wood was expensive, and generally used for buildings, furniture and caskets rather than sculpture (the wood reliefs at the

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La Rocca, Donald J. "The Decoration of Tibetan Arms and Armor." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

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La Rocca, Donald J. "The Decoration of Tibetan Arms and Armor." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

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after 842, which saw the end of the unified kingdom, and much tension between Bon and Buddhism, which declined severely, especially in Central Tibet.

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is depicted, as well as his previous lives, but the other most important buddhas and bodisattvas generally lack biographies. Tibetan figures such as

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Rhie and Thurman, 42–63, Rhie's account of the historial development is typical in mostly using these divisions between the 10th and 19th centuries

1593:(1215–1294) drew to a close. Tibetan Buddhism had made considerable inroads in Mongolia, and became the official state religion of the new Mongol 170:

Tibetan religious art has been described as "almost unbelievably conservative", to a large extent representing "the perpetuation of the forms and

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over a hollow interior stuffed with straw, with wood supports for the largest. They are then painted and partly gilded, and often finished with

403: 4265: 3376: 3222: 1795: 1614: 1265:(or Buddhist tantra) may have had an overriding importance in the artistic culture. A common bodhisattva depicted in Tibetan art is the deity 1108:

Tibetan art is especially rich, compared to that of other Buddhist countries, in depictions of "fierce" figures, sometimes called a figure's "

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least for working men. Tibetan jewellery, worn in profusion by both sexes, was chunky rather than highly refined, usually mainly in silver.

439: 3140:. (Volume One: 655 pages with 766 illustrations; Volume Two: 675 pages with 987 illustrations). Hong Kong: Visual Dharma Publications, Ltd. 1469:

texts have always been regarded in Tibet as the proper foundation for Buddhism. By this time some large monasteries had been built, and the

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and were manufactured in large workshops by monks and lay artists, who are mostly unknown. Various types of religious objects, such as the

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Behrendt, Kurt. "Cosmic Buddhas in the Himalayas." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

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La Rocca, Donald J. "Tibetan Arms and Armor." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

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position. These are very often surrounded with other figures, much smaller, often representing a wide range of persons or qualities.

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A high proportion of both thangkas and sculptures have as their main subject a single sacred figure, or two of them embracing in the

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sitting on in Indian art, or wearing as a cloak. But it seems to have become a prestigious thing to sit on for all types of person.

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There are types of Buddhist art that are deliberately temporary, for use in rituals and meditation. The best known of these is the

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in India, relatively small establishments in Guge which largely escaped later rebuilding and repainting, and Chinese destruction.

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cloth, with only minimal painting. Even relatively small thangkas which are much taller than they are wide may be called banners.

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At this period Indian Buddhism was still a force in north-east India, though in decline, with large monastic complexes such as

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statue, but Buddhism was essentially a court religion for some time after, and whether any Tibetan art survives is uncertain.

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Chandra, Lokesh (1996). Transcendental art of Tibet. New Delhi: International Academy of Indian Culture and Aditya Prakashan.

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to come to Tibet in 1042. Spreading over the next decades from Western to Eastern Tibet, Atisha and successors such as

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and flour the most common and often the only main ingredients, along with colourings. They are therefore a form of

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Contemporary Tibetan art refers to the art of modern Tibet, or Tibet after 1950. It can also refer to art by the

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Kossack and Singer, 14–15 "Perhaps one quarter of Tibetan paintings from before 1450 are portraits of hierarchs"

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The situation transformed dramatically in the second half of the 13th century, as the protracted process of the

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Rhie and Thurman, 330, 393; Li, Juan, "Images of Earth and Water: The Tsa-Tsa Votive Tablets of Tibet", 1995,

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still strong, and continued to patronize Tibetan Buddhism in China and Tibet until the end of imperial rule.

466:, 11th-century, West Tibet. Brass with copper & tin inlay, coloured wax, traces of gilding, and pigment. 4336: 3997: 3895: 3748: 3743: 3263: 1650: 2774:(SUNY series in Western esoteric traditions/Suny Series in Political Party Development). SUNY Press, 1995. 1454: 520:

Metal sculptures sometimes have colour added by a variety of techniques including inlays, partial gilding,

4749: 3667: 3626: 4709: 3577: 3537: 3445: 3168:. (212 p., 112 colour illustrations) (DVD with 527 digital photographs). Chicago: Serindia Publications. 4719: 4330: 4186: 4181: 4158: 3925: 3604: 3492: 3425: 3368: 3208: 1850: 1162: 528:

to give different colours. Jewels may be inserted into the metal. The usual basic casting technique is

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Rhie and Thurman, 141, a statue by or in the style of Zanabazar; Kossack and Singer, 16 mention others

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presented itself as a native Chinese dynasty expelling the foreign Mongol overlords, the founder, the

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18th century cabinet, lacquer and gilding on wood, iron. The decoration includes skulls and skeletons.

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from Nepal, and the place of manufacture is often uncertain between the two. The less common term of

372:-like single figures. Later different shapes were used, allowing larger thangka-style compositions. 4589: 4141: 3974: 3672: 3614: 3383: 3045:, 1998, an exhibition catalogue from The Metropolitan Museum of Art (fully available online as PDF) 2972: 1791: 1767: 1406:

Pre-Buddhist art in Tibet is relatively little understood, apart from small personal items such as

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Bon images are often extremely similar to Tibetan Buddhist ones, especially those produced by the

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The finest achievements are typically considered to be in painted thanka and small bronzes (often

4669: 4664: 4317: 4282: 4099: 4069: 3915: 3784: 3727: 3527: 3522: 3507: 1855: 1834: 1782: 1747: 1743: 1610: 1079: 964:, not exclusive to Tibet, is a fire-lighting kit, typically hung from the belt by a short strap. 806: 4704: 4684: 4644: 4569: 917:

Set of plates for a saddle, c. 1400, in iron, gold, lapis lazuli, turquoise (and modern leather)

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used in painted thangkas, with or without figures, which are generally not attempted in sand.

645: 219: 62: 38: 1566:(1409). These came to produce art with slight differences in both subject-matter and style. 1445:

Songsten Gampo was the first of the "Three Religious Kings" (or "Dharma Kings"), followed by

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Himalayan Art Resources, education and research database and virtual museum of Tibetan art

2176:"The Lhasa gTsug lag khang ("Jokhang"): Further Observations on the Ancient Wood Carvings" 1755: 1713: 1658: 1582: 1536: 1063: 981: 856: 754: 463: 427: 323: 233: 174:

of the last phase of Buddhist art of India", ending about the 12th century. This was the

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The uncertainty is despite this being from a set of cards showing many figures (see Pal).

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Rhie and Thurman, 355, commenting on the large size of one in Boston that is 137 cm high.

478:. Modern scientific analysis shows that the actual compositions of Tibetan "bronze" (or 2688: 2342: 2300: 2188: 2006: 482:) are even more variable than in bronze from other parts of the world, being very often 4679: 4639: 4614: 4519: 4388: 4343: 4323: 4249: 4191: 3307: 3063: 2175: 1861: 1830: 1669: 1532: 1470: 1446: 1419: 1391: 1333: 1229: 1038: 796: 506: 409: 347: 208: 159: 3029:

Jing, Anning. “Financial and Material Aspects of Tibetan Art under the Yuan Dynasty.”

1777: 1601:, though other religions were (most of the time) tolerated and sometimes patronized. 1382: 4779: 4759: 4724: 4609: 4594: 4584: 4544: 4484: 4469: 4297: 3765: 2557: 2354: 2330: 2317: 1994: 1917: 1739: 1677: 1632: 1578: 1517: 1387: 1349: 1174: 1166: 1134: 1120: 973: 571: 117: 3154:. (p. 224 pages with 91 colour illustrations). Chicago: Serindia Publications. 1477:

are one major group of survivals. This period of expansion was soon followed by the

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princess marrying the Tibetan king. Most later Tibetan examples are made of clay or

4599: 4579: 4539: 4509: 4504: 4474: 4459: 4449: 4255: 4211: 4201: 4153: 4148: 4131: 3779: 3450: 2901: 2516:

Kossack and Singer, 17; Rhie and Thurman, 254–255, 272–273, 172–173 (Padmasambhava)

1673: 1665: 1618: 1594: 1505: 1450: 1218: 1187: 814: 736: 723: 714: 681: 663: 658: 579: 575: 514: 479: 446: 339: 315: 296: 255: 227: 223: 1093: 3011: 3001: 2758: 1473:

had begun to encroach on China's western borders; the Tibetan paintings found in

4659: 4624: 4574: 4564: 4534: 4524: 4494: 4489: 4479: 4236: 1823: 1717: 1681: 1645: 1598: 1253: 1203: 1190:, but a recent study rejects this and instead argues that the side on which the 1101: 997: 923: 897: 817:

outside religious buildings, usually made of brass with the prayer inscribed in

810: 718:

15/16th century carved and lacquered wood manuscript cover. The design includes

673: 564: 524:

paint, coloured wax, and using alloys with different metal mixtures, especially

391: 387: 329: 300: 215: 196: 175: 171: 145: 2384:

Rhie and Thurman, 15, introduce the term "archetype deity" as a translation of

509:

reign of 1403–1425 is made of copper and about 40% gold, but this is a rarity.

4619: 4549: 4514: 4444: 4348: 4136: 3942: 3858: 3433: 3297: 3118:. (608 pages, 1244 illustrations). Hong Kong: Visual Dharma Publications Ltd. 2956: 1628: 1513: 1501: 1488: 1252:

emerged as a separate school in the 4th century AD, it emphasized the role of

1125: 1119:

The foundation story of Tibetan Buddhism has much on early leaders, above all

1083: 1067: 901: 826: 800: 704: 574:, a bronze statue of the Buddha in Lhasa, supposedly brought from China by a 4604: 4529: 4430: 4104: 3818: 3398: 3053:

Art of Tibet: A Catalogue of the Los Angeles County Museum of Art Collection

1654: 1547: 1438: 1309: 1283: 1266: 1262: 1211: 1207: 1199: 1153: 1149: 1113: 961: 952: 772: 761: 547: 267: 242: 149: 53:

created before the mid-20th century is religious, with the main forms being

2064: 1661:, commissioned goddess figures that used a total of 2,220 kilos of silver. 1546:

The dominant type of monastic Buddhism in north-west India at the time was

1182:

setting. These may be divine figures, or monks who were mentors or pupils.

747:), a small ritual weapon that is normally accompanied by a small bell, the 17: 2219: 775:, using a real skull, but often with an elaborate metalwork setting. The 4654: 3774: 3353: 1474: 1466: 1362: 1345: 1170: 1145: 1130: 777: 686: 668: 614: 336:

that date from a period of Tibetan occupation there in the 10th century.

333: 319: 264: 238: 200: 133: 34: 781:

thigh-bone trumpet, also mainly real bone, may also have metal mounts.

4242: 4196: 4111: 3403: 3034: 3008:

Empire of Emptiness, Buddhist Art and Political Authority in Qing China

1819: 1815: 1551: 1524: 1458: 1423: 1407: 1366: 1357: 1329: 1305: 1257: 1089: 1059: 1051: 1043: 965: 939: 866: 739:

tradition. Most are usually in bronze, and the most important are the

691: 593: 583: 551: 521: 498: 494: 475: 307: 292: 286: 183: 163: 129: 102: 58: 54: 517:

began to heavily patronize Tibetan Buddhism in the late 13th century.

291:

Paintings come in several types and sizes. The most important is the

4121: 3770: 3653:

29-Article Ordinance for the More Effective Governing of Tibet (1793)

3648:

13-Article Ordinance for the More Effective Governing of Tibet (1751)

3413: 1540: 1509: 1399: 1312:. These are conducted alone or before a small group of initiates. 1047: 969: 822: 818: 792: 767: 749: 719: 487: 471: 431: 395: 311: 179: 125: 106: 94: 83: 70: 42: 3000:, 2014, Metropolitan Museum of Art, ISBN 9781588395498, 1588395499, 2755:

Common Ground:Tibetan Buddhist Expansion and Qing China's Inner Asia

1684:. They were largely Tibetan Buddhists, with the older traditions of 1341: 3152:

Empowered Masters: Tibetan Wall Paintings of Mahasiddhas at Gyantse

470:

The most common material for smaller sculptures is metal, usually "

4307: 4126: 4116: 3989: 3678:

Convention Between Great Britain and China Respecting Tibet (1906)

3231: 2935: 1776: 1751: 1695: 1623: 1606: 1573: 1563: 1555: 1528: 1508:

in Western Tibet, who succeeded in getting the senior Indian monk

1483: 1432: 1381: 1325: 1319: 1301: 1297: 1288: 1271: 1233: 1228: 1139: 1088: 1074: 1037: 943: 933: 912: 881: 862: 841: 783: 740: 713: 699: 657: 560: 555: 534: 483: 458: 338: 274: 232: 187: 158: 121: 89: 28: 3200: 2859:"Newark Museum to Celebrate Centennial of Tibetan Art Collection" 1838: 1340:

The indigenous shamanistic religion of the Himalayas is known as

3853: 3848: 3348: 1427: 1365:

rather than the vajra as a symbol of wisdom, and although their

618: 525: 4403: 3204: 2063:

Li, Juan "Tibetan Ritual Miniature Paintings", March 17, 1995.

722:

and canopies within geometric designs, the auspicious symbols (

4084: 1123:, subduing evil spirits that previously dominated Tibet. The 328:

technique. The earliest thangka to survive are some from the

1754:

as its centerpiece. The altar was consecrated in 1990 by the

1414:

Buddhism achieved its final very strong position in Tibet in

703:

are sculpted ritual offerings made of edible materials, with

144:

refers to works in a Tibetan style and with Tibetan Buddhist

4399: 3024: 116:

is an overall term for Tibetan art together with the art of

1129:

are one class of these fierce protectors, and one of them,

1116:

or skull garland. There may also be skulls in their crown.

1948:

Rowland, 268–269, 268 quoted; Kossack and Singer, 4, 11–14

1256:, compassionate beings who forgo their personal escape to 567:

carved into cliffs beside paths, which were then painted.

3190: 3070:, 1991, Harry N. Abrams, New York (with 3 institutions), 2913: 2120:

Rhie and Thurman, 142, with a silver figure made in China

632:

17th-century monk portrait. Silvered copper, with gilding

207:

from about the 14th century for some thanka, and Chinese

57:, paintings on cloth, mostly in a technique described as 3082:

The Art and Architecture of India: Buddhist, Hindu, Jain

3010:, 2003, University of Hawaii Press, ISBN 9780824862367, 2998:

Tibet and India: Buddhist Traditions and Transformations

2396:

Kossack and Singer, 9–10; Rhie and Thurman, 18–19, 35–36

368:

whatever material was used, allowing only a long row of

2757:, 2022, Columbia University Press, ISBN 9780231556354, 2405:

Rhie and Thurman, 35–36, 197–198; Kossack and Singer, 9

1750:, in eight permanent galleries with a Tibetan Buddhist 1520:

established many monasteries, and new orders of monks.

1198:

Another subject for thangkas is the various heavens or

1054:, 74.9 x 83.8 cm, perhaps painted in Tibet by a Nepali. 77:

or by pious individuals for use within the practice of

3703:

Sino-Indian Trade Agreement over Tibetan Border (1954)

3688:

Treaty of friendship and alliance with Mongolia (1913)

3018:

Faith and Empire: Art and Politics in Tibetan Buddhism

3016:

Debreczeny, Karl, "Faith and Empire: An Overview", in

2265:"Ritual Object: Katvanga & Tantric Staves (Staff)" 1727:

in St. Petersburg. In 1933 it was divided between the

1500:

The "Later" or "Second Transmission" began under King

203:

Buddhist art. Landscape backgrounds were adopted from

156:

may be used when the Tibetan element is the stronger.

69:, and small statues in bronze, or large ones in clay, 1764:

annexation of Tibet by the People's Republic of China

972:

of various shapes made (or supposed to be made) from

314:, but other cloth may be used. Painting was over an 3084:, 1967 (3rd edn.), Pelican History of Art, Penguin, 1426:

in Lhasa survives from this period, and the Chinese

4733: 4693: 4437: 4222: 4058: 4022: 3988: 3882: 3841: 3726: 3635: 3478: 3282: 3251: 3242: 1818:(religious scroll paintings) that resemble ancient 1731:, who received the largest and best share, and the 3098:, 2011, Yale University Press, ISBN 9780300154047, 3042:Sacred Visions: Early Paintings from Central Tibet 976:, which were in use well before Buddhism arrived. 2812:"Centennial Celebration for a Special Collection" 1275:, or 'meditation Buddha' for Vajrayana practice. 597:pilgrimages, and are taken home to be displayed. 414:from a large set, 15th century, 16 x 14.5 cm 3187:, Tibetan Art Forms: Menluk, Khyenluk and Gardri 2652:Rhie and Thurman, 40–42; Kossack and Singer, 3–5 343:Two pages from a 14th or 15th-century manuscript 2892:Kossack and Singer, 26–27; Rhie and Thurman, 39 1785:, 2008 "visionary artists for tibet" exhibition 1725:Ethnographical Department of the Russian Museum 3068:Wisdom And Compassion: The Sacred Art of Tibet 676:are hung around the working area. France, 2008 4415: 3620:Self-immolation protests by Tibetans in China 3216: 1997:, 2010, Asian art.com; Kossack and Singer, 22 1829:Popular Contemporary Tibetan artists include 1716:(1861–1921), a Russian author, publisher and 1278:More specifically, Tibetan Buddhism contains 1096:, "destroyer of Death", a wrathful aspect of 1066:often appear. The main figures are buddhas, 926:. The usual form of these before 1950 is the 8: 2301:"Blockprints: Prayer Flags Page (Buddhist)" 4422: 4408: 4400: 4062: 4028: 3888: 3736: 3732: 3248: 3223: 3209: 3201: 3191:Mechak Center for Contemporary Tibetan Art 2968:"Across Many Mountains: escape from Tibet" 2220:"Medium: Sculpture, Stamped Clay (Tsatsa)" 1644:Preceptor, who checked the details of the 390:festival thangka hung in the courtyard at 356:Most monasteries and temples in Tibet had 3033:, vol. 64, no. 2, 2004, pp. 213–41. 2837:"Collection of Newark Museum (Main Page)" 2699:Jing, 213, 220-229 (on Kublai and Phagpa) 2289:"Ritual Object: Bone Apron & Jewelry" 1907:Rhie and Thurman, 128–132; Behrend, 35–36 1680:, who kept their elite separate from the 1328:as "Yellow Yama (?) and Consort on Bull, 1286:Buddhism for its common symbolism of the 3039:Kossack, Stephen M, Singer, Jane Casey, 2527:"About the portraits of Tibetan masters" 1939:intent these works represent." Berger, 7 1723:In 1902 the collection was given to the 2054:Kossack and Singer, 5; Rowland, 268–269 1873: 986: 831: 599: 376: 3377:Bureau of Buddhist and Tibetan Affairs 2443:a detailed thangka in the Rubin Museum 2187:Kalantari, Christiane, Allinger, Eva, 1796:Jacques Marchais Museum of Tibetan Art 1615:Bureau of Buddhist and Tibetan Affairs 592:are small relief plaques or miniature 3458:People's Republic of China (PRC) rule 2643:Rhie and Thurman, 40–42, 168, 176–178 2007:"Textile: Applique Artwork Main Page" 1770:of 1966 to 1976, and at other times. 7: 3585:1938–1939 German expedition to Tibet 2810:La Gorce, Tammy (25 February 2011). 1631:from the Great Lama Temple Beijing, 1292:, the diamond thunderbolt (known in 1210:, and the mystic earthly kingdom of 211:styles became dominant around 1700. 505:with an inscribed date to the Ming 73:or wood. They were commissioned by 3563:Chinese expedition to Tibet (1910) 3518:Chinese expedition to Tibet (1720) 2966:di Giovanni, Janine (2011-03-07). 2914:Museum of Contemporary Tibetan Art 2772:Initiates of theosophical masters. 2507:Rhie and Thurman, 168–171, 174–175 1800:Museum of Contemporary Tibetan Art 797:Nechung or "Official State Oracle" 299:at festivals are mostly made from 166:"bronze" with pigments and gilding 25: 3600:Protests and uprisings since 1950 3590:1939 Japanese expedition to Tibet 2277:"Ritual Object: Leg Bone Trumpet" 1995:"On Recent Attributions to Aniko" 1798:, both in New York City, and the 1733:Museum of the History of Religion 546:Many of the common materials for 4791:Tibetan Buddhist art and culture 3708:70,000 Character Petition (1962) 3698:Seventeen Point Agreement (1951) 3057:Los Angeles County Museum of Art 2800:Leonov, G., Rhie and Thurman, 85 2791:Leonov, G., Rhie and Thurman, 85 1202:of the main buddhas, especially 1021: 1009: 989: 889: 874: 849: 834: 788:Bone fittings for a ritual apron 637: 625: 602: 438: 419: 402: 379: 306:The usual painting technique is 3683:Anglo-Russian Convention (1907) 1707:, from the Ukhtomsky collection 497:later on. A very high-quality 67:Tibetan Buddhist wall paintings 49:The vast majority of surviving 4745:British Indian Ocean Territory 3938:Patron and priest relationship 3904:Central Tibetan Administration 3713:Memorandum on Genuine Autonomy 3020:, 2019, Rubin Museum, New York 2936:"Portfolio Sonam Dolma Brauen" 2863:Central Tibetan Administration 2634:Rhie and Thurman, 40; Pal, 230 2305:"Block Print Images Main Page" 2045:Rhie and Thurman, 126–127, 391 1332:Buddhist or Bon Ritual Card" ( 1: 4303:Historical and cultural sites 3668:Convention of Calcutta (1890) 3166:108 Buddhist Statues in Tibet 3164:von Schroeder, Ulrich. 2008. 3150:von Schroeder, Ulrich. 2006. 3128:von Schroeder, Ulrich. 2001. 3114:von Schroeder, Ulrich. 1981. 237:Self-portrait by the leading 3643:Treaty of Tingmosgang (1684) 3130:Buddhist Sculptures in Tibet 2782:, 978-0-7914-2555-8 page 125 1348:), statues of the Buddha or 654:Other media for Buddhist art 644:Sino-Tibetan bodhisattva in 426:Section of wall painting in 192:decline of Buddhism in India 3663:Treaty of Thapathali (1856) 3553:British expedition to Tibet 3543:Nepal-Tibet War (1855–1856) 3513:Battle of the Salween River 2902:"Collection Index: Museums" 2735:Berger, 12-13 and Chapter 5 1703:, Mongolian, 18th century, 1605:(1235–1280), leader of the 1173:, and famous monks such as 1073:Large numbers of these are 648:, late 18th or 19th century 261:Chöying Dorje, 10th Karmapa 4807: 4036:Postage and postal history 3488:Tibetan attack on Songzhou 2498:Rhie and Thurman, 211, 245 1929:Rhie and Thurman, 277, 392 1880:Effectively the same thing 486:and sometimes almost pure 284: 132:and neighbouring parts of 4366: 4065: 4031: 3891: 3739: 3735: 3498:Mongol invasions of Tibet 2839:. Himalayan Art Resources 2753:Wu, Lan, "Introduction", 2547:Rhie and Thurman, 378–379 2489:Rhie and Thurman, 268–271 2480:Rhie and Thurman, 210–211 2471:Rhie and Thurman, 242–245 2462:Rhie and Thurman, 176–177 2441:Rhie and Thurman, 86–89; 2253:"Mandala: Offering Plate" 2231:Rhie and Thurman, 383–385 2200:Rhie and Thurman, 387–388 2165:Rhie and Thurman, 351–353 2156:Rhie and Thurman, 387–388 2111:Rhie and Thurman, 387–388 2093:Rhie and Thurman, 314–315 2075:Rhie and Thurman, 384–385 2027:Rhie and Thurman, 386–387 2018:Rhie and Thurman, 122–123 1839:Jamyang Dorjee Chakrishar 4500:East Timor (Timor-Leste) 3896:Tibet Autonomous Region 3658:Treaty of Chushul (1842) 3610:1987–1989 Tibetan unrest 3051:(with Hugh Richardson), 2761:; Berger, "Introduction" 2661:Rhie and Thurman, 27, 42 2568:Kossack and Singer, 6–10 2453:Rhie and Thurman, 90–97, 2174:Slusser, Mary Shepherd, 1966:Rhie and Thurman, 52, 64 1833:, Tibetan-Swiss painter 1806:Contemporary Tibetan art 1591:Mongol conquest of China 1581:mandala thangka in silk 1336:), 18th or 19th century. 1004:(amulet) design, c. 1900 825:. Designs including the 75:religious establishments 4755:Cocos (Keeling) Islands 4003:TAR People's Government 3963:Serfs' Emancipation Day 3503:Tibet–Ladakh–Mughal war 2938:. portfotolio.net. 2010 2679:Rhie and Thurman, 43–44 1441:, between 1000 and 1200 1104:of wisdom, 18th century 765:staff or wand, and the 33:Large shrine statue of 3673:Treaty of Lhasa (1904) 3627:Special Frontier Force 2883:Kossack and Singer, 25 2375:Kossack and Singer, 15 2084:Kossack and Singer, 18 1822:, as well as radical, 1786: 1708: 1636: 1586: 1492: 1442: 1403: 1337: 1245: 1163:life of Gautama Buddha 1158: 1105: 1055: 947: 918: 884:and bell, 18th-century 789: 727: 677: 543: 467: 344: 246: 167: 110: 46: 4046:Qinghai–Tibet railway 4041:Qinghai-Tibet Highway 4008:TAR People's Congress 3980:India–Tibet relations 3953:Independence movement 3605:1959 Tibetan uprising 3493:Battle of Dafei River 3341:Era of Fragmentation 2962:Across Many Mountains 2558:online, (August 2007) 2538:Rhie and Thurman, 253 2525:Estournel, Jean-Luc, 2414:Rhie and Thurman, 390 2209:Rhie and Thurman, 387 2138:Rhie and Thurman, 233 2129:Rhie and Thurman, 298 1851:Architecture of Tibet 1780: 1766:in 1950 to 1951, the 1699: 1627: 1603:Drogön Chögyal Phagpa 1577: 1527:in Bengal and modern 1487: 1436: 1385: 1373:Historical background 1323: 1232: 1143: 1092: 1041: 937: 922:such forms as woolen 916: 787: 717: 661: 563:carved in relief, or 539:Large shrine statue, 538: 462: 366:palm leaf manuscripts 342: 263:(1604–1674), and the 236: 162: 101:, late 12th century, 93: 32: 4670:United Arab Emirates 4354:Traditional medicine 3568:Xinhai Lhasa turmoil 3389:Relations with Ming 3359:Relations with Song 3331:Relations with Tang 3269:European exploration 3116:Indo-Tibetan Bronzes 3059:, ISBN 9780875871127 2670:Rhie and Thurman, 45 2616:Rhie and Thurman, 41 1802:in the Netherlands. 1613:and head of the new 1479:Era of Fragmentation 1034:Buddhist iconography 861:flaying knife, with 230:, also temporary. 182:, a missionary from 4695:States with limited 3998:Regional Government 3975:CIA Tibetan program 3958:Serfdom controversy 3842:Traditional regions 3693:Simla Accord (1914) 3615:2008 Tibetan unrest 3439:List of Qing ambans 3384:Phagmodrupa dynasty 3080:Rowland, Benjamin, 2973:The Daily Telegraph 2689:Metropolitan Museum 1792:Rubin Museum of Art 1768:Cultural Revolution 1718:Oriental enthusiast 1496:Second Transmission 1225:Buddhist background 998:Tibetan sitting rug 759:flaying knife, the 4312:(ceremonial scarf) 4283:Dzong architecture 4100:Imperial Preceptor 3970:Sovereignty debate 3916:Etymology of Tibet 3528:Lhasa riot of 1750 3523:Jinchuan campaigns 3508:Battle of Dartsedo 3426:Qing dynasty rule 3369:Yuan dynasty rule 3343:(9th–13th century) 3062:Rhie, Marylin and 3006:Berger, Patricia, 2996:Behrend, Kurt A., 2865:. 28 February 2011 2816:The New York Times 2770:Johnson, K. Paul. 2529:, 2021, Asian arts 2191:, 2018, Asian arts 1856:Dzong architecture 1835:Sonam Dolma Brauen 1787: 1783:Sonam Dolma Brauen 1748:Western Hemisphere 1744:Newark, New Jersey 1709: 1664:Although the next 1637: 1611:Imperial Preceptor 1587: 1554:(c. 8th century), 1493: 1443: 1404: 1378:First transmission 1338: 1246: 1159: 1106: 1056: 948: 919: 807:Woodblock printing 790: 728: 690:and fingers. The 678: 544: 474:", which is often 468: 345: 322:using the Chinese 247: 168: 111: 97:of Ashtamahabhaya 47: 4773: 4772: 4737:other territories 4397: 4396: 4362: 4361: 4054: 4053: 4018: 4017: 3921:Foreign relations 3878: 3877: 3874: 3873: 3722: 3721: 3578:Qinghai–Tibet War 3548:Sikkim expedition 3538:Dogra–Tibetan War 3533:Sino-Nepalese War 3468:political leaders 3446:Post-Qing to 1950 3399:Rinpungpa dynasty 3310:(7th–9th century) 3138:Tibet & China 3134:India & Nepal 3094:Schaik, Sam van, 3049:Pal, Pratapaditya 2241:"Torma main page" 2178:, 2006, Asian art 1701:Usnisasitatapatra 1396:Princess Wencheng 1250:Mahayana Buddhism 1000:with traditional 646:Chinese porcelain 220:Tibetan festivals 39:Thiksey Monastery 16:(Redirected from 4798: 4750:Christmas Island 4735:Dependencies and 4438:Sovereign states 4424: 4417: 4410: 4401: 4382: 4375: 4313: 4090:Tibetan Buddhism 4063: 4029: 3899: 3889: 3737: 3733: 3595:Battle of Chamdo 3573:Sino-Tibetan War 3429: 3392: 3372: 3362: 3344: 3334: 3321:List of emperors 3311: 3293: 3274:Historical money 3249: 3225: 3218: 3211: 3202: 3196:Tibetan Painting 3096:Tibet: A History 2984: 2983: 2981: 2980: 2953: 2947: 2946: 2944: 2943: 2932: 2926: 2923: 2917: 2911: 2905: 2899: 2893: 2890: 2884: 2881: 2875: 2874: 2872: 2870: 2855: 2849: 2848: 2846: 2844: 2833: 2827: 2826: 2824: 2822: 2807: 2801: 2798: 2792: 2789: 2783: 2768: 2762: 2751: 2745: 2742: 2736: 2733: 2727: 2724: 2718: 2715: 2709: 2706: 2700: 2697: 2691: 2686: 2680: 2677: 2671: 2668: 2662: 2659: 2653: 2650: 2644: 2641: 2635: 2632: 2626: 2623: 2617: 2614: 2608: 2605: 2599: 2593: 2587: 2584: 2578: 2575: 2569: 2566: 2560: 2554: 2548: 2545: 2539: 2536: 2530: 2523: 2517: 2514: 2508: 2505: 2499: 2496: 2490: 2487: 2481: 2478: 2472: 2469: 2463: 2460: 2454: 2451: 2445: 2439: 2433: 2430: 2424: 2421: 2415: 2412: 2406: 2403: 2397: 2394: 2388: 2382: 2376: 2373: 2367: 2364: 2358: 2351: 2345: 2340: 2334: 2327: 2321: 2314: 2308: 2298: 2292: 2286: 2280: 2274: 2268: 2262: 2256: 2250: 2244: 2238: 2232: 2229: 2223: 2216: 2210: 2207: 2201: 2198: 2192: 2185: 2179: 2172: 2166: 2163: 2157: 2154: 2148: 2145: 2139: 2136: 2130: 2127: 2121: 2118: 2112: 2109: 2103: 2100: 2094: 2091: 2085: 2082: 2076: 2073: 2067: 2061: 2055: 2052: 2046: 2043: 2037: 2034: 2028: 2025: 2019: 2016: 2010: 2004: 1998: 1991: 1985: 1982: 1976: 1973: 1967: 1964: 1958: 1957:Rowland, 266–267 1955: 1949: 1946: 1940: 1936: 1930: 1927: 1921: 1914: 1908: 1905: 1899: 1896: 1890: 1887: 1881: 1878: 1812:Tibetan diaspora 1729:Hermitage Museum 1705:Hermitage Museum 1686:Manchu shamanism 1609:order, was made 1558:(11th century), 1437:The bodhisattva 1282:, also known as 1280:Tantric Buddhism 1179:Third Dalai Lama 1064:Buddhist symbols 1025: 1016:Silver Chab chab 1013: 993: 984:to monasteries. 982:votive offerings 893: 878: 865:handle, made in 853: 838: 709:butter sculpture 641: 629: 606: 541:Kumbum Monastery 530:lost wax casting 503:Hermitage Museum 445:Modern mural at 442: 423: 406: 383: 205:Chinese painting 142:Sino-Tibetan art 138:Tibetan Buddhism 136:and China where 79:Tibetan Buddhism 21: 4806: 4805: 4801: 4800: 4799: 4797: 4796: 4795: 4776: 4775: 4774: 4769: 4738: 4736: 4729: 4710:Northern Cyprus 4698: 4696: 4689: 4480:Burma (Myanmar) 4433: 4428: 4398: 4393: 4385: 4378: 4371: 4358: 4311: 4218: 4050: 4014: 3984: 3897: 3870: 3837: 3814:Tibetan Plateau 3809:Rongbuk Glacier 3795:Yarlung Tsangpo 3718: 3631: 3558:Batang uprising 3480: 3474: 3427: 3421:Khoshut Khanate 3409:Ganden Phodrang 3404:Tsangpa dynasty 3390: 3370: 3360: 3342: 3332: 3309: 3303:Yarlung dynasty 3291: 3278: 3238: 3229: 3182: 3108: 3106:Further reading 3064:Thurman, Robert 2993: 2988: 2987: 2978: 2976: 2965: 2954: 2950: 2941: 2939: 2934: 2933: 2929: 2924: 2920: 2912: 2908: 2900: 2896: 2891: 2887: 2882: 2878: 2868: 2866: 2857: 2856: 2852: 2842: 2840: 2835: 2834: 2830: 2820: 2818: 2809: 2808: 2804: 2799: 2795: 2790: 2786: 2769: 2765: 2752: 2748: 2743: 2739: 2734: 2730: 2725: 2721: 2716: 2712: 2707: 2703: 2698: 2694: 2687: 2683: 2678: 2674: 2669: 2665: 2660: 2656: 2651: 2647: 2642: 2638: 2633: 2629: 2624: 2620: 2615: 2611: 2606: 2602: 2594: 2590: 2585: 2581: 2576: 2572: 2567: 2563: 2555: 2551: 2546: 2542: 2537: 2533: 2524: 2520: 2515: 2511: 2506: 2502: 2497: 2493: 2488: 2484: 2479: 2475: 2470: 2466: 2461: 2457: 2452: 2448: 2440: 2436: 2431: 2427: 2422: 2418: 2413: 2409: 2404: 2400: 2395: 2391: 2383: 2379: 2374: 2370: 2365: 2361: 2352: 2348: 2341: 2337: 2328: 2324: 2320:, (August 2007) 2315: 2311: 2299: 2295: 2287: 2283: 2275: 2271: 2263: 2259: 2251: 2247: 2239: 2235: 2230: 2226: 2217: 2213: 2208: 2204: 2199: 2195: 2186: 2182: 2173: 2169: 2164: 2160: 2155: 2151: 2146: 2142: 2137: 2133: 2128: 2124: 2119: 2115: 2110: 2106: 2101: 2097: 2092: 2088: 2083: 2079: 2074: 2070: 2062: 2058: 2053: 2049: 2044: 2040: 2035: 2031: 2026: 2022: 2017: 2013: 2005: 2001: 1993:Weldon, David, 1992: 1988: 1983: 1979: 1974: 1970: 1965: 1961: 1956: 1952: 1947: 1943: 1937: 1933: 1928: 1924: 1915: 1911: 1906: 1902: 1897: 1893: 1888: 1884: 1879: 1875: 1870: 1847: 1808: 1756:14th Dalai Lama 1714:Esper Ukhtomsky 1694: 1659:Wenzong Emperor 1651:brief civil war 1572: 1498: 1402:, perhaps 830s. 1390:of Nepal, King 1380: 1375: 1318: 1227: 1157:, 18th-century. 1110:wrathful aspect 1036: 1029: 1026: 1017: 1014: 1005: 994: 911: 904: 894: 885: 879: 870: 854: 845: 839: 656: 649: 642: 633: 630: 621: 607: 464:Avalokiteshvara 457: 450: 443: 434: 428:Basgo monastery 424: 415: 407: 398: 384: 330:blocked-up cave 289: 283: 252: 23: 22: 15: 12: 11: 5: 4804: 4802: 4794: 4793: 4788: 4778: 4777: 4771: 4770: 4768: 4767: 4762: 4757: 4752: 4747: 4741: 4739: 4734: 4731: 4730: 4728: 4727: 4722: 4717: 4712: 4707: 4701: 4699: 4694: 4691: 4690: 4688: 4687: 4682: 4677: 4672: 4667: 4662: 4657: 4652: 4647: 4642: 4637: 4632: 4627: 4622: 4617: 4612: 4607: 4602: 4597: 4592: 4587: 4582: 4577: 4572: 4567: 4562: 4557: 4552: 4547: 4542: 4537: 4532: 4527: 4522: 4517: 4512: 4507: 4502: 4497: 4492: 4487: 4482: 4477: 4472: 4467: 4462: 4457: 4452: 4447: 4441: 4439: 4435: 4434: 4429: 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3021: 3014: 3004: 2992: 2989: 2986: 2985: 2948: 2927: 2925:Behrend, 43–47 2918: 2906: 2894: 2885: 2876: 2850: 2828: 2802: 2793: 2784: 2763: 2746: 2744:Jing, 230-232, 2737: 2728: 2719: 2710: 2701: 2692: 2681: 2672: 2663: 2654: 2645: 2636: 2627: 2618: 2609: 2600: 2588: 2579: 2570: 2561: 2549: 2540: 2531: 2518: 2509: 2500: 2491: 2482: 2473: 2464: 2455: 2446: 2434: 2425: 2416: 2407: 2398: 2389: 2377: 2368: 2359: 2346: 2335: 2322: 2309: 2293: 2281: 2269: 2257: 2245: 2233: 2224: 2211: 2202: 2193: 2180: 2167: 2158: 2149: 2140: 2131: 2122: 2113: 2104: 2102:Behrend, 24–27 2095: 2086: 2077: 2068: 2056: 2047: 2038: 2029: 2020: 2011: 1999: 1986: 1977: 1968: 1959: 1950: 1941: 1931: 1922: 1909: 1900: 1891: 1882: 1872: 1871: 1869: 1866: 1865: 1864: 1862:Kurkihar hoard 1859: 1853: 1846: 1843: 1831:Karma Phuntsok 1807: 1804: 1693: 1690: 1670:Hongwu Emperor 1657:, wife of the 1571: 1568: 1497: 1494: 1491:, 12th century 1471:Tibetan Empire 1447:Trisong Detsen 1420:Songsten Gampo 1416:several stages 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1765: 1759: 1757: 1753: 1749: 1745: 1741: 1740:Newark Museum 1738:In 1911, the 1736: 1734: 1730: 1726: 1721: 1719: 1715: 1706: 1702: 1698: 1691: 1689: 1687: 1683: 1679: 1675: 1671: 1667: 1662: 1660: 1656: 1652: 1647: 1641: 1634: 1633:Yongle period 1630: 1626: 1622: 1620: 1616: 1612: 1608: 1604: 1600: 1596: 1592: 1584: 1580: 1579:Vajrabhairava 1576: 1569: 1567: 1565: 1561: 1557: 1553: 1549: 1544: 1542: 1538: 1534: 1530: 1526: 1521: 1519: 1518:Marpa Lotsawa 1515: 1511: 1507: 1503: 1495: 1490: 1486: 1482: 1480: 1476: 1472: 1468: 1462: 1460: 1456: 1452: 1448: 1440: 1435: 1431: 1429: 1425: 1421: 1417: 1412: 1409: 1401: 1397: 1393: 1389: 1388:Bhrikuti Devi 1384: 1377: 1372: 1370: 1368: 1364: 1359: 1354: 1351: 1350:Padmasambhava 1347: 1343: 1335: 1331: 1327: 1324:Described by 1322: 1315: 1313: 1311: 1307: 1303: 1299: 1295: 1291: 1290: 1285: 1281: 1276: 1274: 1273: 1268: 1264: 1259: 1255: 1251: 1243: 1239: 1235: 1231: 1224: 1222: 1220: 1215: 1213: 1209: 1205: 1201: 1196: 1195:the subject. 1193: 1189: 1183: 1180: 1176: 1175:Sakya Pandita 1172: 1168: 1167:Padmasambhava 1164: 1156: 1155: 1151: 1147: 1142: 1138: 1136: 1135:Mongol Empire 1132: 1128: 1127: 1122: 1121:Padmasambhava 1117: 1115: 1111: 1103: 1099: 1095: 1091: 1087: 1085: 1081: 1076: 1071: 1069: 1065: 1061: 1053: 1049: 1045: 1042:14th-century 1040: 1033: 1024: 1019: 1012: 1007: 1003: 999: 992: 987: 985: 983: 977: 975: 974:meteoric iron 971: 967: 963: 959: 954: 945: 941: 936: 932: 929: 925: 915: 908: 903: 899: 892: 887: 883: 877: 872: 868: 864: 860: 859: 852: 847: 843: 837: 832: 830: 828: 824: 820: 816: 815:prayer wheels 812: 808: 804: 802: 798: 794: 786: 782: 780: 779: 774: 770: 769: 764: 763: 758: 757: 752: 751: 746: 742: 738: 732: 725: 721: 716: 712: 710: 706: 702: 701: 696: 693: 689: 688: 683: 675: 671: 670: 665: 660: 653: 647: 640: 635: 628: 623: 620: 617:, in pressed 616: 612: 609:18th-century 605: 600: 598: 595: 591: 587: 585: 581: 577: 573: 568: 566: 562: 557: 553: 549: 542: 537: 533: 531: 527: 523: 518: 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After the 189: 185: 181: 177: 173: 165: 161: 157: 155: 151: 147: 143: 139: 135: 131: 127: 123: 119: 115: 114:Himalayan art 108: 104: 100: 96: 92: 88: 86: 85: 80: 76: 72: 68: 64: 60: 56: 52: 44: 40: 36: 31: 27: 19: 4665:Turkmenistan 4630:Saudi Arabia 4329: 4322: 4308: 4256:sand mandala 4248: 4241: 4231: 4182:Sinicization 4154:Panchen Lama 4149:Lhamo La-tso 4132:Ganden Tripa 3926:Human rights 3800:Grand Canyon 3780:Namcha Barwa 3773: / 3451:Tibetan Army 3349:Guge kingdom 3165: 3151: 3137: 3136:; Vol. Two: 3133: 3132:. Vol. One: 3129: 3115: 3100:google books 3095: 3081: 3067: 3052: 3041: 3030: 3017: 3012:google books 3007: 3002:google books 2997: 2977:. Retrieved 2971: 2961: 2955: 2951: 2940:. Retrieved 2930: 2921: 2909: 2897: 2888: 2879: 2867:. Retrieved 2862: 2853: 2841:. Retrieved 2831: 2819:. 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Coloured 392:Jakar Dzong 245:(1635–1715) 216:gilt-bronze 172:iconography 146:iconography 51:Tibetan art 18:Tibetan Art 4780:Categories 4675:Uzbekistan 4650:Tajikistan 4570:Kyrgyzstan 4550:Kazakhstan 4465:Bangladesh 4455:Azerbaijan 4349:Tibetology 4318:Literature 4137:Dalai Lama 3990:Government 3948:Tibet Area 3943:Golden Urn 3909:Parliament 3434:Lifan Yuan 3361:(960–1279) 3298:Zhangzhung 3283:Chronology 3090:0140561021 3076:0810925265 2991:References 2979:2014-11-23 2957:Eisenvogel 2942:2014-11-23 2432:Behrend, 8 2423:Debreczeny 1920:(May 2021) 1692:Collecting 1629:Green Tara 1621:of silk". 1539:in modern 1489:Green Tara 1200:Pure lands 1177:, and the 1126:Dharmapala 1084:deity yoga 968:are small 942:family in 902:Wind Horse 827:Wind Horse 705:yak butter 209:ornamental 4760:Hong Kong 4715:Palestine 4640:Sri Lanka 4635:Singapore 4520:Indonesia 4431:Asian art 4331:Chronicle 4293:Festivals 4105:Dpon-chen 4075:Languages 4070:Education 3819:Changtang 3761:Mountains 3728:Geography 3636:Documents 3481:conflicts 3333:(618–907) 3252:Overviews 2726:Jing, 230 2717:Jing, 219 2065:Asian Art 1758:in 1990. 1655:Budashiri 1548:Vajrayana 1439:Manjushri 1330:Nyingmapa 1310:shamanism 1284:Vajrayana 1267:Chenrezig 1263:Vajrayana 1212:Shambhala 1208:Sukhavati 1154:Sukhavati 1150:Pure Land 1114:mundamala 1094:Yamāntaka 962:chuckmuck 958:chab chab 953:Turquoise 900:with the 773:skull cup 762:khatvanga 662:Making a 548:sculpture 455:Sculpture 268:Zanabazar 265:Mongolian 243:Zanabazar 239:Mongolian 63:distemper 4705:Abkhazia 4655:Thailand 4610:Pakistan 4595:Mongolia 4590:Maldives 4585:Malaysia 4485:Cambodia 4389:Category 4273:Calendar 4207:Diaspora 4080:Religion 3884:Politics 3785:Tanggula 3775:Changtse 3479:Wars and 3354:Tsongkha 3316:Timeline 3259:Timeline 3236:articles 3055:, 1983, 1858:(Bhutan) 1845:See also 1475:Dunhuang 1467:Sanskrit 1363:swastika 1346:lhakhang 1306:mandalas 1242:aksamala 1204:Amitābha 1171:Milarepa 1146:Amitabha 1131:Mahakala 1098:Mañjuśrī 896:Printed 778:kangling 753:dagger, 687:chak-pur 669:chak-pur 615:Amitayus 594:chortens 449:, Ladakh 388:appliqué 334:Dunhuang 320:tapestry 310:on fine 301:appliqué 281:Painting 201:Nepalese 134:Mongolia 35:Maitreya 4680:Vietnam 4580:Lebanon 4510:Georgia 4460:Bahrain 4450:Armenia 4373:Outline 4337:writers 4278:Cuisine 4243:thangka 4224:Culture 4197:Changpa 4112:Nyingma 4059:Society 4024:Economy 3859:Ü-Tsang 3833:Valleys 3791:Rivers 3766:Kailash 3326:Lönchen 3308:Empire 3244:History 3023:"HAR", 2916:website 2303:, HAR; 1820:thangka 1816:thangka 1678:Manchus 1552:Nyingma 1525:Nalanda 1514:Dromtön 1504:of the 1502:Yeshe-Ö 1459:Nalanda 1424:Jokhang 1408:thokcha 1367:chorten 1358:Nyingma 1296:as the 1294:Tibetan 1258:nirvana 1238:ghantha 1148:in His 1060:yab-yum 1052:Thangka 1044:mandala 970:amulets 966:Thokcha 940:Tsarong 869:in 1407 867:Beijing 858:kartika 793:Oracles 756:kartika 692:mandala 611:tsa-tsa 590:Tsa-tsa 584:varnish 552:Jokhang 522:lacquer 499:yab-yum 495:bullion 308:gouache 293:thangka 287:Thangka 250:Artists 197:Chinese 184:Nalanda 164:Yab-yum 130:Kashmir 103:gouache 59:gouache 55:thangka 4725:Taiwan 4660:Turkey 4625:Russia 4565:Kuwait 4545:Jordan 4535:Israel 4495:Cyprus 4475:Brunei 4470:Bhutan 4324:Annals 4288:Emblem 4250:tsakli 4122:Jonang 3771:Lhotse 3715:(2008) 3414:Kashag 3234: 3172: 3158: 3144: 3122: 3088: 3074: 3066:(eds): 2964:) in: 2778: 2355:online 2331:online 2318:online 1918:online 1597:under 1541:Ladakh 1510:Atisha 1400:Potala 1334:tsakli 1302:yidams 1100:, the 1080:refuge 1075:yidams 996:Small 946:, 1936 928:khaden 823:mantra 819:relief 768:kapala 750:phurba 720:stupas 561:steles 507:Yongle 488:copper 476:gilded 472:bronze 432:Ladakh 411:Tsakli 396:Bhutan 386:Large 370:tsakli 349:Tsakli 312:cotton 226:, and 180:Atisha 150:Newari 126:Ladakh 118:Bhutan 107:cotton 95:Thanka 84:phurba 71:stucco 45:, 1970 43:Ladakh 4765:Macau 4685:Yemen 4645:Syria 4620:Qatar 4600:Nepal 4540:Japan 4515:India 4505:Egypt 4490:China 4380:Index 4344:Music 4309:Khata 4212:Names 4202:Yolmo 4175:Islam 4127:Gelug 4117:Kagyu 4095:Sakya 3898:(TAR) 3864:Ngari 3749:Fauna 3744:Flora 3232:Tibet 3035:JSTOR 2904:, HAR 2598:, HAR 2386:yidam 2307:, HAR 2291:, HAR 2279:, HAR 2267:, HAR 2255:, HAR 2009:, HAR 1868:Notes 1752:altar 1676:were 1619:bolts 1607:Sakya 1564:Gelug 1560:Sakya 1556:Kagyu 1537:Alchi 1529:Bihar 1457:, of 1326:LACMA 1304:) to 1298:dorje 1289:vajra 1272:yidam 1234:Dorje 1192:tögag 944:Lhasa 882:Vajra 863:vajra 842:Torma 745:dorje 741:vajra 700:Torma 666:with 556:Lhasa 484:brass 332:near 275:Anige 241:monk 188:Bihar 122:Nepal 4605:Oman 4575:Laos 4530:Iraq 4525:Iran 4298:Flag 4237:rugs 4159:list 4142:list 3931:LGBT 3854:Kham 3849:Amdo 3170:ISBN 3156:ISBN 3142:ISBN 3120:ISBN 3086:ISBN 3072:ISBN 2871:2024 2845:2024 2823:2024 2776:ISBN 1837:and 1794:and 1583:kesi 1535:and 1533:Tabo 1516:and 1449:and 1428:Jowo 1217:The 1082:and 771:, a 743:(or 619:loam 572:Jowo 526:zinc 325:kesi 199:and 176:Pala 99:Tara 4232:Art 4085:Bon 2243:HAR 2222:HAR 1742:in 1342:Bön 1316:Bön 1248:As 1206:'s 1152:of 1046:of 1002:Gau 613:of 554:in 394:in 222:on 186:in 105:on 61:or 4782:: 2970:. 2861:. 2814:. 1841:. 1653:, 1649:a 1398:, 1394:, 1236:, 1169:, 1086:. 1050:. 586:. 430:, 374:] 128:, 124:, 120:, 65:, 41:, 37:, 4423:e 4416:t 4409:v 3224:e 3217:t 3210:v 2982:. 2960:( 2945:. 2873:. 2847:. 2825:. 109:. 20:)

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