Jackson D.P. A history of Tibetan painting: the great Tibetan painters and their traditions. - Wien: Verlag der Österreichischen Akademie der Wissenschaften, 1996. - 456 p.: ill. (some col.), 1 folded map. - (Beiträge zur Kultur- und Geistesgeschichte Asiens; N 17) (Österreichische Akademie der Wissenschaften. Philosophisch-Historische Klasse. Denkschriften; Bd.242). - Bibliogr.: p.415-425. - Ind.: p.427-455. - ISBN 3-7001-2224-1  Место хранения:   033 | Бурятский научный центр | Улан-Удэ | Центральная научная библиотека

Оглавление / Contents

FOREWORD ....................................................... 11 INTRODUCTION ................................................... 13 PART I: INTRODUCTORY MATTER .................................... 17 Chapter 1: Previous Research by Western Scholars ............... 19 Chapter 2: Tibetan Sources ..................................... 43 Traditional Accounts ........................................... 43 Eight Earlier Accounts on the Great Painters ................ 43 (1) sDe-srid Sangs-rgyas-rgya-mtsho (1653-1705), bsTan bcos bai ḍū rya...g.ya'sel ............................. 44 (2) De'u-dmar dge-bshes bsTan-'dzin-phun-tshogs (fl. early 18th c.), Кun gsal tshon..., ................ 44 (3) De'u-dmar dge-bshes, Rab gnas kyi rgyas bshad .......... 45 (4) Zhu-chen Tshul-khrims-rin-chen (1697-1774), gTsug lag khang chos 'byung ............................ 45 (5) Sum-pa mkhan-po Ye-shes-dpal-'byor (1704-1788), dPag bsam ljon bzang ................................... 46 (6) Klong-rdol bla-ma Ngag-dbang-blo-bzang (1719—1794/5), bZo dang gso ba ........................................ 46 (7) Gu-ru bKra-shis, Chos 'byung ngo mtshar gtam..., ....... 46 (8) Kong-sprul Blo-gros-mtha'-yas (1813-1899), Shes bya kun khyab .............................................. 47 Three Tibetan Sources Describing the Traditional Painting Styles ...................................................... 48 (1) De'u-dmar dge-bshes's Description of Styles ............ 48 (2) bDud-'dul-rdo-rje, 13th Karma-pa, dPyad don tho chung .................................................. 51 (3) The Account of Painting Styles Found in the Manual Ri mo mkhan rnams la nye bar mkho ba'i lag len dang sbyin bdag gi mtshan nyid ......................... 52 The Iconometry Manual of Karma-rin-chen-dar-rgyas .............. 53 Works of Modern Tibetan Scholarship ............................ 56 PART II: THE GREAT TIBETAN PAINTERS AND THEIR STYLES: A HISTORICAL SKETCH ............................................ 67 Chapter 1 Early References to Tibetan Painters and Styles ..... 69 Some Mentions of 12th- and Early-13th-century Tibetan Painters ....................................................... 69 Sacred Art as the Subject of Critical Discussion ............... 73 Some Authorities and Painters of the Mid-13th and 14th Centuries ...................................................... 74 The Penetration of Yüan-Dynasty Chinese Influences ............. 74 Bu-ston Rin-chen-grub at Zhwa-lu ............................... 75 The Patronage of Newar Painters at Ngor ........................ 77 The First Emergence of Tibetan Styles .......................... 82 Names of Early Painters in gTsang .............................. 83 Chapter 2 The Master Painter Bye'u and Two Important Figures in Early-15th-century gTsang ........................ 89 Traditional Accounts about Bye'u ............................... 89 Bo-dong Paṇ-chen and the Lord of La-stod Byang ................. 95 Great Metal-workers and Sculptors from La-stod Byang ........... 96 Chapter 3 sMan-thang-pa sMan-bla-don-grub and the Early Followers of His Tradition ......................... 103 gNas-rnying, Its Chinese Scroll, and Gyantse .................. 104 sMan-bla-don-grub's Treatises ................................. 113 Important Murals and Other Major Projects ..................... 114 Other References to the Great sMan-thang-pa and His Works ..... 119 sMan-bla-don-grub's Style ..................................... 119 Early Painters in the sMan-thang-pa Lineage ................... 120 sMan-thang-pa 'Jam-dbyangs-pa .............................. 120 sMan-thang-pa Lhun-grub-pa ................................. 121 sMan-thang-pa Zhi-ba-'od and Others ........................ 121 Early Traces of sMan-ris Compositions in Block-prints ......... 122 The Gung-thang Xylograph Editions .......................... 122 A Late-15 th-century Xylograph Print from gTsang ........... 127 Comparisons with Earlier Xylographs ........................ 128 Chapter 4 mKhyen-brtse of Gong-dkar and His Tradition ........ 139 Characteristics of mKhyen-brtse's Style ....................... 142 Early and Later Followers ..................................... 142 Ye-shes-bstan-'dzin, a Late Reviver of the mKhyen-ris ......... 164 Chapter 5 The Painting Tradition of the Karma-pa Encampment ......................................... 169 Nam-mkha'-bkra-shis's First Painting Teacher, dKon-mchog-phan-bde of E ...................................... 169 Chinese Influences on Nam-mkha'-bkra-shis ..................... 173 Chronological References ...................................... 176 Other Early Artists of the Karmapa's Encampment ............... 176 The Great Sculptor Karma-srid-bral ......................... 176 Dwags-po Rab-'byams-pa ..................................... 177 Karma-mchog-gyur-pa ........................................ 177 Chapter 6 Phreng-kha-ba and Other Outstanding sMan-ris Artists of the 16th and 17th Centuries ............. 181 'Phreng-kha-ba or Ri-mkhar-ba ................................. 181 Sangs-rgyas-lha-dbang of IDan-ma .............................. 182 'Brug-chen Padma-dkar-po and Two Other'Brug-pa Hierarchs ...... 183 Great sMan-ris Masters in Central Tibet from the Mid 16th until the Late 17th Century ................................... 184 Artistic Activities at Jo-nang ................................ 186 Chapter 7 sMan-ris Artists Patronized by the 5th Dalai Lama and sDe-srid Sangs-rgyas-rgya-mtsho ................ 197 Renovation of the Jo-khang and Ra-mo-che ...................... 201 Writings and Studies of the 5th Dalai Lama .................... 203 Zur-chen Chos-dbyings-rang-grol ............................... 205 Painters Patronized by sDe-srid Sangs-rgyas-rgya-mtsho ........ 206 Chapter 8 gTsang-pa Chos-dbyings-rgya-mtsho and His New sMan-ris ........................................... 219 His Main Patrons .............................................. 219 Characteristics of His Style .................................. 222 Later Spread and Influence of the New sMan-ris ................ 243 Chapter 9 Chos-dbyings-rdo-rje, the 10th Zhwa-nag Karma-pa ... 247 Early Practice of Religious Art ............................... 247 Chos-dbyings-rdo-rje's Style .................................. 251 Chapter 10 Si-tu Paṇ-chen Chos-kyi-'byung-gnas ................ 259 Early Studies ................................................. 259 Paintings He Commissioned in Later Years ...................... 261 Patronage of rJes-stod Tshe-dbang-grags-pa .................... 271 "Portraits" of Si-tu Paṇ-chen ................................. 278 Si-tu Paṇ-chen's Stylistic Legacy and Pupils .................. 283 Chapter 11 Chos-bkra-shis, Karma-bkra-shis and the Kar-shod-pa Tradition .............................. 289 Chos-bkra-shis ................................................ 289 Karma-bkra-shis ............................................... 289 The Kar-shod-pa Tradition ..................................... 289 De'u-dmar dge-bshes's Description .......................... 290 Some Surviving Kar-shod-pa Paintings ....................... 290 Chapter 12 Zhu-chen Tshul-khrims-rin-chen of lDan-ma .......... 301 Youthful Studies .............................................. 301 Mature Works and Projects ..................................... 304 Chapter 13 Later Regional Styles: A Few Notes ................. 317 A-mdo ......................................................... 317 Khams ......................................................... 320 sGar-bris Masters of the 18th through 20th Centuries .......... 320 Karma-bstan-'dzin-dge-legs-nyi-ma and Others in the 19th Century .................................................... 320 Thang-bla-tshe-dbang ....................................... 327 The Recent Kar-shod-pa ..................................... 328 Later sMan-bris Traditions of Khams ........................... 328 Khams-sprul Kun-dga'-bstan-'dzin ........................... 328 Phur-bu-tshe-ring of Chab-mdo and a New sMan-bris of Khams ...................................................... 328 Chab-mdo bSod-nams-tshe-ring ............................... 333 Lha-thog Rang-dge bsTan-'dzin-yongs-'du .................... 335 Other sMan-bris Painters ................................... 335 'Bri-gung ..................................................... 338 South and Southeast Tibet, and Bordering Regions .............. 345 E District ................................................. 345 Bhutan ..................................................... 345 sKyid-rong and Eastern mNga'-ris .............................. 346 Kun-bzang-phrin-las-dbang-phyug of sKyid-rong .............. 346 Mustang, Thak Khola and Dolpo .............................. 349 Ladakh Ri-rdzong sras-sprul Rin-po-che ............................... 353 gTsang (Tashilhunpo) .......................................... 354 Chapter 14 Concluding Remarks ................................. 369 Written Descriptions of Paintings ............................. 369 Paintings Commissioned as Models .............................. 371 The Role of Xylograph Printing ................................ 375 PART III CONCLUDING MATTER ................................... 381 Appendices: The Main Tibetan Texts and Translations ........... 383 Appendix A. An Account Given by sDe-srid Sangs-rgyas-rgya- mtsho ............................................. 385 Appendix B. Accounts from the Writings of De 'u-dmar dGe-bshes bsTan-'dzin-phun-tshogs ................. 387 Part 1 Two Passages from the Painting Manual of De'u-dmar dGe-bshes bsTan-'dzin-phun-tshogs ..................... 387 (1) A Description of the Old Painting Traditions .......... 387 (2) The Traditional History ............................... 389 Part 2. An Account by De'u-dmar dGe-bshes bsTan-'dzin-phun- tshogs from His Exposition of Image Consecration ...... 390 Appendix C. An Account by Zhu-chen Tshul-khrims-rin-chen ...... 391 Appendix D. The Account Given by Sum-pa mKhan-po Ye-shes- dpal-'byor ........................................ 393 Appendix E. The Account of bDud-'dul-rdo-rje, the 13th Karma-pa .......................................... 393 Appendix F. The Account of Klong-rdol Bla-ma Ngag-dbang- blo-bzang ......................................... 394 Appendix G. Excerpts from the Account in Gu-ru bKra-shis's History ........................................... 395 Appendix H. The Account of Kong-sprul Blo-gros-mtha'-yas ...... 396 Appendix I. Comments by the 5th Dalai Lama and a Poem by 'Phreng-kha-ba .................................... 399 Appendix F. The Account of Painting Styles Found in the Manual Ri mo mkhan mams la nye bar mkho ba 'i lag len dang sbyin bdaggi mtshan nyid ............. 401 Appendix K. The Account Given by W.D. Shakabpa ................ 403 MAP OF ETHNIC TIBET ........................................... 407 Key to the Map ................................................ 408 INSCRIPTIONS .................................................. 411 BIBLIOGRAPHY .................................................. 415 European Language Sources ..................................... 415 Tibetan Sources ............................................... 420 INDEXES ....................................................... 427 Tibetan Proper Nouns .......................................... 427 Tibetan Terms ................................................. 445 Tibetan Titles ................................................ 450 Sanskrit Names ................................................ 452 Other Names and Terms ......................................... 453