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Art in Tibet: Issues in Traditional Tibetan Art from the by Erberto F. Lo Bue

By Erberto F. Lo Bue

This quantity bargains with particular matters with regards to Tibetan paintings, starting from the earliest Buddhist structures in important, 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 photos and 32 pages of color plates, its contents are of specified curiosity to students and experts, whereas a wide half is on the market to non-specialists, too, which makes the booklet necessary additionally to school 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)

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Residential room owned by public housing department 14. residential room of Rme ru rnying pa abbot 34 ANDRÉ ALEXANDER Fig. 4: Fourth level plan (THF) 1. former reception room reserved for Gnas chung Oracle now used as chapel for Gnas chung rdo rje grags ldan 2. former reception room reserved for Ta la’i bla ma now closed 3. former tea kitchen exclusively to serve tea to the Ta la’i bla ma and to the Gnas chung Oracle 4. corridor connected via trapdoor and stairs to room below 5. toilet formerly exclusively reserved for use by the Ta la’i bla ma and the Gnas chung Oracle 6.

SM 201 has an axe as attribute of this goddess, but the other attributes would in this case be a sword and a noose besides the varadamudr1. The depiction is therefore closest to SM 200 and the axe appears to be an error. 26 de Mallmann (1986) uses the name MahInusIri-$ for this goddess. 27 The caption for the previous goddess reads: gsang # gs \ rjes su ’dzin. 28 Here the wheel is the attribute not found in the closest descriptions (SM 199 or 201), where a vajra or sword is held instead. 29 In addition, the portrait of the s1dhaka, the practitioner of the teaching represented in this series, is placed in the bottom right corner of this thang ka; he holds an incense burner and his ritual paraphernalia are displayed in front of him.

47 Five of the TIrIs are shown in the left half and three in the right. The succession of dangers cannot be identified on the basis of the documentation available to me. 48 These are arranged clockwise starting from the bottom left couple representing the bright-coloured meditating Sarvadurgatipari#odhanarIja/ Ngan song kun sbying ba’i rgyal ba and his prajñ1, LocanI, in the same colour and presumably holding an attribute, a vajra. Above them is a blue couple depicting Ratnaketu/ Rin chen dpal, who is performing the gesture of giving, and MImak$.

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