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This book is divided into three sections. The first section introduces one specific tradition of Siddhas transmitted by artists from Nepal. This artistic legacy, which is related to a corpus of texts that go back through *Srisena and Bu ston, includes two paintings and an incomplete set of line drawings. One of the paintings is an early-sixteenth-century "paubha" of Vajradhara surrounded by the eighty-four Siddhas (now preserved in the National Art Gallery, Bhaktapur). The set of line drawings of originally all eighty-four Siddhas (now in the Los Angeles County Museum of Art) goes back to the seventeenth century. On the basis of a comparison of the portraits of the eighty-four Siddhas in the painting from Bhaktapur (which provides the Siddhas' names) and the line drawing (which also label the Siddhas) it is suggested that the eighty-two Siddhas surrounding the Siddha Virupa in the other Nepalese painting, from the second quarter of the thirteenth century, which is now part of the Kronos Collections of S.M. Kossak, New York, are part of the same tradition. The Siddhas in this well-known and frequently reproduced painting have so far remained unidentified since their names are not inscribed in the painting. The second section of the book focuses on lesser known manifestations of (Cakra)samvara, a form of Heruka, and includes a discussion and reproduction of images of two groups of Samvaras. The first document is a painted scroll showing the group of sixty-four Samvaras with their consorts; the second one is a set of line drawings of what appears to be another group of Samvaras (thirty-six in number) with their consorts. The last section presents a set of line drawings which is based on a section of the "parikramavidhi" found in chapter 6 of Kuladatta's Kriyasamgraha(panjika). This text is an important Tantric manual which has been particularly influential in Nepal and whose author may even have been of Nepalese origin. The set of line drawings, which dates from approximately the eighteenth century, illustrates the ritual of walking around the site of a mandala. The line drawings are of great interest for the study of Buddhist ritual, since they illustrate a large number of stances, sitting postures and hand gestures described in the Kriyasamgraha(panjika) but whose names are nor recorded in standard reference works on iconography.
This book is divided into three sections. The first section introduces one specific tradition of Siddhas transmitted by artists from Nepal. This artistic legacy, which is related to a corpus of texts that go back through Srisena and Bu ston, includes two paintings and an incomplete set of line drawings. One of the paintings is an early-sixteenth-century paubha of Vajradhara surrounded by the eighty-four Siddhas (now preserved in the National Art Gallery, Bhaktapur). The set of line drawings of originally all eighty-four Siddhas (now in the Los Angeles County Museum of Art) goes back to the seventeenth century. On the basis of a comparison of the portraits of the eighty-four Siddhas in the painting from Bhaktapur (which provides the Siddhas' names) and the line drawing (which also label the Siddhas) it is suggested that the eighty-two Siddhas surrounding the Siddha Virupa in the other Nepalese painting, from the second quarter of the thirteenth century, which is now part of the Kronos Collections of S.M. Kossak, New York, are part of the same tradition. The Siddhas in this well-known and frequently reproduced painting have so far remained unidentified since their names are not inscribed in the painting. The second section of the book focuses on lesser known manifestations of (Cakra)samvara, a form of Heruka, and includes a discussion and reproduction of images of two groups of Samvaras. The first document is a painted scroll showing the group of sixty-four Samvaras with their consorts; the second one is a set of line drawings of what appears to be another group of Samvaras (thirty-six in number) with their consorts. The last section presents a set of line drawings which is based on a section of the parikramavidhi found in chapter 6 of Kuladatta's Kriyasamgraha(panjika). This text is an important Tantric manual which has been particularly influential in Nepal and whose author may even have been of Nepalese origin. The set of line drawings, which dates from approximately the eighteenth century, illustrates the ritual of walking around the site of a mandala. The line drawings are of great interest for the study of Buddhist ritual, since they illustrate a large number of stances, sitting postures and hand gestures described in the Kriyasamgraha(panjika) but whose names are nor recorded in standard reference works on iconography.
Dharma and Puṇya explores the centrality of ritual practices and the agency of people in creating and amplifying the efficacy of Buddhist art. It presents paintings, illuminated texts, statues, and ritual implements from the Newar tradition in the Kathmandu Valley.
This study of the sacred art of Tibet is the result of eight years of brush drawing, and a lifetime spent researching and reflecting upon the inner and often hidden meanings and origins encapsulated in this complex iconographical tradition. Several thousand individual drawings arranged as a series of 170 pages illustrate the many variations in style, lineages and individual expression of these objects. The text interweaves the origins, meanings and functions of these symbols, derived from India, Tibet and China, into a comprehensive tapestry within a Buddhist conceptual framework.
Published in conjunction with an exhibition held at the Ackland Art Museum, Feb. 25, 2001-spring 2003.
"The catalogue is accompanied by two introductory essays: "Introduction: Desire and Devotion," by Pratapaditya Pal, and "Artistic Production, Religious Practice: Material and Ideological Constraints," by Hiram Woodward."--BOOK JACKET.
Have you ever thought about dependencies in Asian art and architecture? Most people would probably assume that the arts are free and that creativity and ingenuity function outside of such reliances. However, the 13 chapters provided by specialists in the fields of Asian art and architecture in this volume show, that those active in the visual arts and the built environment operate in an area of strict relations of often extreme dependences. Material artefacts and edifices are dependent on the climate in which they have been created, on the availability of resources for their production, on social and religious traditions, which may be oral or written down and on donors, patrons and the art market. Furthermore, gender and labour dependencies play a role in the creation of the arts as well. Despite these strong and in most instances asymmetrical dependencies, artists have at all times found freedoms in expressing their own imagination, vision and originality. This shows that dependencies and freedoms are not necessarily strictly separated binary opposites but that, at least in the area of the history of art and architecture in Asia, the two are interconnected in what are often complex and multifaceted layers.
A millennium of paintings, textiles, metal sculptures, ritual objects; aesthetic, religious contexts.
This book is a lucid account of thangka painting. A form of scroll painting integral to Tibetan Buddhist worship. It introduces readers to the irirdescence of colours representing the archetypal Buddhist images of good and evil. It features thangkas from renowned collections the world over.