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Sacred Visions
Accompanying an exhibition to be held in New York during late fall of 1998, Sacred Visions is a superbly illustrated volume of art works from the 11th to the mid-15th centuries which includes scholarly essays that relate to the paintings to be displayed.
Tibetan Art
Contains articles on all major areas of Tibetan art, including painting, sculpture, textiles, architecture and cave drawings. The authors of this study analyze and define Tibetan art styles and explore issues of chronology, provenance, patronage, iconography and religious function. -- Amazon.com.
Uygur Patronage in Dunhuang
This volume is about the long-neglected, but decisive influence of Uygur patrons on Dunhuang art in the tenth and eleventh centuries. Through an insightful introduction to the hitherto little-known early history and art of the Uygurs, the author explains the social and political forces that shaped the taste of Uygur patrons. The cultural and political effects of Sino-Uygur political marriages are examined in the larger context of the role of high-ranking women in medieval art patronage. Careful study of the iconography, technique and style sheds new light on important paintings in the collection of the British Museum in London, and the Musée national des Arts asiatiques-Guimet, in Paris, and through comparative analysis the importance of regional art centres in medieval China and Central Asia is explored. Richly illustrated with line drawings, as well as colour and black-and-white plates.
Receptacle of the Sacred
In considering medieval illustrated Buddhist manuscripts as sacred objects of cultic innovation, Receptacle of the Sacred explores how and why the South Asian Buddhist book-cult has survived for almost two millennia to the present. A book "manuscript" should be understood as a form of sacred space: a temple in microcosm, not only imbued with divine presence but also layered with the memories of many generations of users. Jinah Kim argues that illustrating a manuscript with Buddhist imagery not only empowered it as a three-dimensional sacred object, but also made it a suitable tool for the spiritual transformation of medieval Indian practitioners. Through a detailed historical analysis of San...
The Circle of Bliss
Published in conjunction with a 2003 exhibition co-organized by the Columbus Museum of Art and the Los Angeles County Museum of Art, this hefty, oversize (10x13 catalogue features approximately 160 powerful masterpieces of Indian, Nepalese, Tibetan, Chinese, and Mongolian art produced over the pa
A Monastery on the Move
In 1639, while the Géluk School of the Fifth Dalai Lama and Qing emperors vied for supreme authority in Inner Asia, Zanabazar (1635–1723), a young descendent of Chinggis Khaan, was proclaimed the new Jebtsundampa ruler of the Khalkha Mongols. Over the next three centuries, the ger (yurt) erected to commemorate this event would become the mobile monastery Ikh Khüree, the political seat of the Jebtsundampas and a major center of Mongolian Buddhism. When the monastery and its surrounding structures were destroyed in the 1930s, they were rebuilt and renamed Ulaanbaatar, the modern-day capital of Mongolia. Based on little-known works of Mongolian Buddhist art and architecture, A Monastery on ...
Ruthless Compassion
The historical development of Esoteric Buddhism in India is still known only in outline. A few verifiably early texts do give some insight into the origin of the ideas which would later develop and spread to East and Southeast Asia, and to Tibet. However, there is another kind of evidence which can be harnessed to the project of reconstructing the history of Esoteric Buddhist doctrines and practice. This evidence consists of art objects, mainly sculpture, which survive in significant numbers from the 6th to the 13th century.
Garland of Visions
Garland of Visions explores the generative relationships between artistic intelligence and tantric vision practices in the construction and circulation of visual knowledge in medieval South Asia. Shifting away from the traditional connoisseur approach, Jinah Kim instead focuses on the materiality of painting: its mediums, its visions, and especially its colors. She argues that the adoption of a special type of manuscript called pothi enabled the material translation of a private and internal experience of "seeing" into a portable device. These mobile and intimate objects then became important conveyors of many forms of knowledge—ritual, artistic, social, scientific, and religious—and spurred the spread of visual knowledge of Indic Buddhism to distant lands. By taking color as the material link between a vision and its artistic output, Garland of Visions presents a fresh approach to the history of Indian painting.
ABIA: South and Southeast Asian Art and Archaeology Index
Volume Three offers 1643 annotated records on publications regarding the art and archaeology of South Asia, Central Asia and Tibet selected from the ABIA Index database at www.abia.net which were published between 2002 and 2007.
Proceedings of the Ninth Seminar of the IATS, 2000. Volume 3: Impressions of Bhutan and Tibetan Art
The proceedings of the seminars of the International Association for Tibetan Studies (IATS) have developed into the most representative world-wide cross-section of Tibetan Studies. They are an indispensable reference-work for anyone interested in Tibet and capture the cutting edge of Tibet-related research. This volume is the last of three volumes of general proceedings of the Ninth Seminar of the IATS. It is a richly illustrated book, containing a careful selection of scholarly and academic articles that open surprising perspectives on Bhutan and discuss Tibetan artwork. The complete series covers ten volumes. The other seven volumes are the outcome of expert panels. Of special interest to readers of this book is the edited volume by Deborah Klimburg-Salter and Eva Allinger (art history).
