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Iconography of the Derge Kanjur and Tanjur
The Iconography of the Derge Kanjur and Tanjur reproduces 648 illustrations from the Derge edition of the Tibetan Canon, and carries an introduction by Prof. Josef Kolmas of the Oriental Institute of Prague (Czech Republic). The illustrations are of the same size as the originals and have been photographed by a specialist Mr. Frantisek Petivoky. Derge was a first rate center of spiritual life and learning from the 18 century. It was renowned for the skill of its carvers, artists and printers. The carving of the Derge Canon began in 1729 and was completed by 1744. This rich pantheon pictures Buddhas, Bodhisattvas, Tantric deities, Arhats or Apostles, great gurus, outstanding figures in Indian...
The Many Canons of Tibetan Buddhism
The Many Canons of Tibetan Buddhism is one of the first publications to include scholarship on both the mainstream Tibetan canons of translated Buddhist classics, and the alternative canons of literature of the Nyingma sectarian traditions.
Proceedings of the Ninth Seminar of the IATS, 2000. Volume 10: The Many Canons of Tibetan Buddhism
Subject of The Many Canons of Tibetan Buddhism are both the mainstream Tibetan canons of translated Buddhist classics (known as the Bka' 'gyur & Bstan 'gyur), and the alternative canons of literature of the Nyingma sectarian traditions (known as the Rnying ma rgyud 'bum). The first section discusses the formation and transmission of Tibetan "canonical" texts, but also includes important works of reference, such as a Bka' gdams pa handbook and several unique catalogues. It also features a first report on Tibetan textual transmission in Mongolia. The second section not only presents interpretative analysis of one of the most important alternative canons in Tibet, the Rnying ma rgyud 'bum, but also discusses essential issues of legitimacy, authority and lineage during the "gray" period of the tenth to twelfth centuries which laid the foundation for the formation of all ensuing Tibetan canons. The volume thus develops fresh perspectives on the nature, plurality and contents of canons in Tibetan Buddhism.
The Archaeology of Tibetan Books
In Archaeology of Tibetan Books, Agnieszka Helman-Ważny explores the varieties of artistic expression, materials, and tools that have shaped Tibetan books over the millennia. Digging into the history of the bookmaking craft, the author approaches these ancient texts primarily through the lens of their artistry, while simultaneously showing them as physical objects embedded in pragmatic, economic, and social frameworks. She provides analyses of several significant Tibetan books—which usually carry Buddhist teachings—including a selection of manuscripts from Dunhuang from the 1st millennium C.E., examples of illuminated manuscripts from Western and Central Tibet dating from the 15th century, and fragments of printed Tibetan Kanjurs from as early as 1410. This detailed study of bookmaking sheds new light on the books' philosophical meanings.
Luminous Bliss
With an annotated English translation and critical analysis of the Orgyan-gling gold manuscript of the short Sukhāvativyūha-sūtra Pure Land Buddhism as a whole has received comparatively little attention in Western studies on Buddhism despite the importance of “buddha-fields” (pure lands) for the growth and expression of Mahāyāna Buddhism. In this first religious history of Tibetan Pure Land literature, Georgios Halkias delves into a rich collection of literary, historical, and archaeological sources to highlight important aspects of this neglected pan-Asian Buddhist tradition. He clarifies many of the misconceptions concerning the interpretation of “other-world” soteriology in ...
Figments and Fragments of Mahayana Buddhism in India
In these articles, Gregory Schopen once again displays the erudition and originality that have contributed to a major shift in the way that Indian Buddhism is perceived, understood, and studied.
Empire of Emptiness
Imperial Manchu support and patronage of Buddhism, particularly in Mongolia and Tibet, has often been dismissed as cynical political manipulation. Empire of Emptiness questions this generalization by taking a fresh look at the huge outpouring of Buddhist painting, sculpture, and decorative arts Qing court artists produced for distribution throughout the empire. It examines some of the Buddhist underpinnings of the Qing view of rulership and shows just how central images were in the carefully reasoned rhetoric the court directed toward its Buddhist allies in inner Asia. The multilingual, culturally fluid Qing emperors put an extraordinary range of visual styles into practice--Chinese, Tibetan, Nepalese, and even the European Baroque brought to the court by Jesuit artists. Their pictorial, sculptural, and architectural projects escape easy analysis and raise questions about the difference between verbal and pictorial description, the ways in which overt and covert meaning could be embedded in images through juxtaposition and collage, and the collection and criticism of paintings and calligraphy that were intended as supports for practice and not initially as works of art.
