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In their art, Tibetans aimed at faithfully transmitting and
preserving Buddhism as a spiritual discipline as they had learned
it from earlier teachers. Each thangka painting was a small
contribution to the larger cause of keeping Buddhism alive and
radiant. In this third volume on Tibetan painting, David Jackson
investigates painted portraits of early Tibetan teachers. Images of
these eminent personages embodied Buddhist ideals in human form. In
creating these depictions, Tibetan painters of the 12th through the
14th centuries imitated the artistic conventions developed in Pala-
and Sensa-ruled eastern India (Bengal). This style, called Sharri,
spread from India to many parts of Asia, but its classic Indian
forms, delicate colors, and intricate decorative details were
emulated most faithfully by the Tibetans.
In A Revolutionary Artist of Tibet author David Jackson focuses on
the Khyenri style, the least known among the three major painting
styles of Tibet, dating from the mid-fifteenth through the
seventeenth century. The painting of Khyentse Chenmo, the founder
of the Khyenri style who flourished from the 1450s to the 1490s,
was significant for his radical rejection of the prevailing,
classic Indic (especially Nepalese-inspired) styles with formal red
backgrounds, enthusiastically replacing them with the intense
greens and blues of Chinese landscapes. Khyentse was famed for his
fine and realistic looking work, both as a painter and sculptor.
His painting style has often been overlooked or misunderstood by
scholars-sometimes misidentified as an early example of the Karma
Gardri style - but it is a missing link in the history of Tibetan
painting. The Khyenri style is now most closely linked with a small
sub-school of the Sakya tradition, the Gongkarwa. The most
important in-situ murals of the Khyenri style survive at the
Gongkar Monastery in southern Tibet, south of Lhasa near the
Gongkar airport. There we find murals by the hand of Khyentse
Chenmo himself; many of them were covered by a layer of whitewash
and thus escaped destruction during the Cultural Revolution.
Jackson also brings to light several of Khyentse's paintings in
museums outside Tibet, including some that have been unrecognized
for over a century.
Though the Drigung Kagyu was one of the most prominent and powerful
schools of Tibetan Buddhism during its early period (12th - 14th
century), its art is still relatively poorly known, even among
Tibetans. With its mother monastery destroyed twice, once in the
late 13th century and again during the Great Cultural Revolution,
much of the art was lost or dispersed. The iconography of the
Drigung School is examined with regard to its three main periods -
early, middle, and late - in combination with the distinctive
influences of the Sharri, Khyenri, and Driri styles. The book aims
elucidate to the painting traditions of the Drigung Kagyu School
and investigate lineage depictions and methods of dating, while
referring to previously overlooked Tibetan sources, both ancient
and modern. The publication and related exhibition also explores
the beneficial quality ascribed to the works of art and the
elements they contain.
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