By Erberto F. Lo Bue
This quantity offers with particular matters regarding Tibetan paintings, starting from the earliest Buddhist constructions in vital, 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 subjects considered within the first half and logical standards within the latter half. Illustrated with a number of black-and-white photographs and 32 pages of color plates, its contents are of specific curiosity to students and experts, whereas a wide half is obtainable to non-specialists, too, which makes the ebook important additionally to school scholars attracted to the topic in addition to amateurs of Tibetan paintings.
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Extra info 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)
In the 14th century chronicle, Rgyal rabs gsal ba’i me long, the six sites are described as Rme ru and Ka ru to the east of the Gtsug lag khang, Dga’ ba and Dga’ ba’i ’od to the south, and Bran khang and Bran khang tha ma to the north. According to the monastery’s own oral tradition, Rme ru was built next to a boulder recognized as an auspicious site by Ral pa can’s ancestor, emperor Srong btsan sgam po (died ca. 650), who allegedly planted ritual prayer-flags on the boulder. The founder of the Rme ru lha khang is named as Myang (or Nyang) Sha’ mi go cha, apparently a younger brother of the monk-minister Myang Ting nge ’dzin.
Bca’ yig phyogs bsgrigs. Lhasa: Bod ljongs mi dmangs dpe skrun khang. Chandra, L. 1986. Buddhist Iconography of Tibet—Index and Explanatory Notes. Kyoto: Rinsen Book Co. Dpa’ bo gtsug lag ’phreng ba 1962 [reprint, 16th century]. Mkhas pa’i dga’ ston. New Delhi: International Academy of Tibetan Culture (edited by Lokesh Chandra). 30 ANDRÉ ALEXANDER Liang Si Cheng 2001 [reprint]. Tu xian zhong guo jian zhu shi. Hong Kong: Joint Publishing. W. ) 1988. Encyclopaedia of Indian Temple Architecture. Delhi: American Institute of Indian Studies.
The Bram ze chapel has been designed to fit into the courtyard structure. According to the oral tradition, it may be contemporary with the 19th century assembly hall, but there is no textual evidence. Inside, the space to the north of the division wall makes up the main chapel. This is further divided between the area containing altars and images, located directly above the room with the boulder, and an assembly area occupied by the monk-caretakers, located above part of the Dzam bha la chapel.