Nevar Artist Jivarama's Sketchbook of N.S. 555 (1435)

ASIAN ART at Asianart.com. On-line journal, Santa Fe (USA)/Kathmandu (NEPAL). The Arts of Tibetan Painting: Edited by Amy Heller | 2012, 2012

As far as is currently known, the earliest Tibetan manuscript illuminations dating from before the thirteenth C have only survived in the form of images on single folios. As Paul Harrison (2007: 231) has pointed out, hitherto scholarly interest has often been confined either to the illustrations in the manuscripts as isolated images or to the folios solely as bearer of texts. The finds at Dolpo and Amy Heller's documentation (Heller 2009; cf. also Pritzker 2009) of them have substantially enlarged our knowledge of early Tibetan miniature painting. Although the Dolpo region today belongs to Nepal, it had close political and cultural ties with the West Tibetan kingdoms from the seventh C onwards (Heller 2009: 17ff.)[ ] (Fig. 1). On the basis of the illustrations the processes of cultural transfer will be examined and the integration of models to make a wholly new artistic entity, creating an entirely new type of manuscript in comparison to those produced in India and Nepal.[ ] The following study will focus on the relationship between text and image, transgressing as it were the 'traditional' borders between genres. The close connection between manuscripts and mural paintings will be illustrated with concrete examples. In addition, this study will examine both how architectural elements were transformed to represent a typical sacred space and the way in which the importance of donors was emphasized in a previously unknown form. ___________ The Arts of Tibetan Painting: Edited by Amy Heller (2012) The Arts of Tibetan Painting: Recent Research on Manuscripts, Murals and Thangkas of Tibet, the Himalayas and Mongolia (11th-19th century) is Asianart.com's first venture in online publication of a complete volume, comprising 13 articles which stem from the 12th Seminar of the International Association for Tibetan Studies (Vancouver 2010). This volume presents recent major discoveries and analyses by distinguished scholars of Tibetan and Mongolian art, history, and language.

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. Beiträge zur Kultur- und Geistesgeschichte Asiens, No. 15. Vienna, Verlag der Österreichischen Akademie der Wissenschaften, 1996

A History of Tibetan Painting explores the sacred painting traditions of Tibet from the mid-15th through 20th centuries on the basis of both the surviving pictorial remains and the extensive written sources that survive in the Tibetan language. It attempts to identify and date the main painting schools that flourished in Tibet from the 15th century and locates for the first time paintings that can be confidently linked to some of the founding masters. Reviews: (1) Anne Chayet, Arts Asiatiques, vol. 53 (1998), p. 127f. (2) J. W. De Jong, Indo-Iranian Journal vol. 41 (1998), pp. 397–399. (3) Ian Harris, Journal of Buddhist Ethics, vol. 5 (1998). (4) Amy Heller, Asiatische Studien Etudes Asiatiques, vol. 52-1 (1998), p. 295f. (5) E. Lo Bue, East and West, vol. 47 (Dec. 1997), pp. 457–461. (6) Philip Denwood, CIAA Circle of Inner Asian Art SOAS Newsletter, Issue 5 (May 1997), p. 20f. (7) M. Buddeberg, Pazyryk Gesellschaft (München, Sept. 1997), p. 4f. (8) D. Klimburg-Salter, Orientations, vol. 29 (no. 9). (9) Adelheid Herrmann-Pfandt, Central Asiatic Journal, vol. 46, no. 2 (2002), pp. 314-317. A Chinese translation exists. Title: 西藏绘画史 (Xizang hui hua shi); Author: 大卫・杰克 (Dawei Jiekexun); Translators: 向红笳、谢继胜、熊文彬 (Xiang Hongjia, Xie Jisheng, Xiong Wenbin); Publisher: 西藏人民出版社 (Xizang ren min chu ban she); Place: 济南 (Jinan); Year: 2001 A Japanese translation was also published Tokyo, 2006, ISBN4-89203-326-X A History of Tibetan Painting: The Great Painters and their Traditions: Chibetto kaiga no rekishi: Idaina eshitachi no kaiga yōshiki to sono dentō チベット絵画の歴史 : 偉大な絵師達の絵画様式とその伝統. Translated into English by Seto Atsurō 瀬戸敦朗, Tagami Misao田上操, and Onoda Shunzō 小野田俊蔵. Tokyo: Hirakawa shuppansha 平河出版社, 2006.

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Journal of the Royal Asiatic Society, 2020

The Collection of Namgyal Monastery (Mustang, Nepal) preserves two long and narrow scrolls painted on both sides, of exquisite artistic quality. This article describes and investigates the iconographic and symbolic meaning of the paintings and the use of these objects. One of the scrolls shows the Eight Auspicious Symbols and deities that personify diverse group of offerings painted in an elegant Newari style. The other scroll features an intriguing representation of the Eight Charnel Grounds in a continuous landscape. Full of delicate and charming details, it illustrates the Mahasiddhas, Guardians, Nāgas and stupa of the respective directions. The back of both scrolls has a vajra chain at the bottom and flames represented above it. The scrolls must have been used to encircle specific mandalas. Such objects are rather rare, and it is interesting to reflect on their former use, even more so as no contemporaneous objects of that type are known. The stylistic features of the paintings ...

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Marg Publication, edited by Deepak Shimkhada

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J. Ardussi and Sonam Tobgay eds. 2008. Thimphu: National Library of Bhutan. Written Treasures of Bhutan: Mirror of the Past and Bridge to the Future. pp. 205–231., 2008

Here I investigate Drukpa Kagyu (’Brug pa bKa’ brgyud) and Bhutanese ('Brug yul) painting, summarizing my preliminary findings on history and iconography. It appeared in a book edited by J. Ardussi and Sonam Tobgay that was published in 2008. in Thimphu by the National Library of Bhutan. The book entitled Written Treasures of Bhutan: Mirror of the Past and Bridge to the Future was the proceedings of a symposium in Bhutan.

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Tibet Journal 27, nos. 1–2 (Spring–Summer 2002): 153–76, 2002

Article appeared in E. Lo Bue ed., a special art history issue of the Tibet Journal, vol. 27 (2002). This article documents the life of Nyurla Yeshe Jamyang (Ye shes 'jam dbyangs) of Ladakh, who in the 1980s was one of the last surviving upholders of the rare Driri Style ('bri ris) of Drikung (Drigung) monastery in northern Central Tibet. I later documented in more detail the career of this painter from Nyurla, Lamayuru, Ladakh in chapter 10 of my catalog Painting Traditions of the Drigung Kagyu School (Masterworks of Tibetan Painting Series, 5). I also documented his Driri Style paintings in my 2004 article on painting traditions of Ladakh: Recent Painting Traditions of Ladakh Central Tibetan Styles in Far Western Tibet.

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Ars Decorativa, 2006

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