The Nepalese Legacy in Tibetan Painting.

Jackson, David P.

Published by Rubin Museum of Art, 2010
ISBN 10: 0977213188 / ISBN 13: 9780977213184
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239 pages. The second publication in the "Masterworks of Tibetan Painting Series." With the destruction of India's Buddhist monasteries in 1203, Tibet lost its main source of artistic inspiration. Nepal was the only nearby surving center of traditional arts, where Newar artists of the Kathmandu Valley had formed their own artistic style. Originally basing their work on Indian artistic models, the Newar gradually developed their own style demonstrating their excellence in painting, sculpture, and woodworking. These talents were not lost on the Tibetans, who copied and learned from their neighbors as the style spread throughout Tibet. This style, now known as Beri, flourished for more than four centuries, reaching its height from 1360 to 1460, when it was adopted as Tibet's universal painting style. This is a very well produced volume with essays covering aspects of the subject accompanied by high quality color illustrations, many full-page. Hardcover with jacket, in excellent clean condition. 12 by 10 inches. Bookseller Inventory #

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The Newar painting style (Beri) in Tibet, which originated in Nepal, is the most recent of two early Indian-inspired painting styles to take hold in Tibet. The style flourished in Tibet for about four centuries, from the late 12th to the early 17th century. Alone among styles, it was adopted universally across Tibet for a century at its height (1360-1460). Later in its development, some of the best-known thangkas in this style were commissioned by abbots of Ngor Monastery, an important Sakyapa monastery in Tsang Province.

Most previous scholars linked the paintings in this style exclusively with the Sakyapa religious school and Tsang Province, if not with the monastery of Ngor. In addition to exploring the powerful aesthetic appeal of the Beri style, one of the main goals of this publication is to overcome the erroneous limiting of the style to the Sakyapa and to demonstrate its full historical and religious extent. Another main goal is to introduce a method for analyzing structure and lineages in Tibetan paintings.

Product Description: For centuries, Tibetan artists looked to their Buddhist heartland, India, for artistic direction.

With the destruction of India's key monasteries in 1203, however, many artists turned to Nepal's Kathmandu Valley, home to the exceptionally skilled Newar artists. The Newars' distinctive painting style, known as the Beri, was quickly adopted in Tibet, becoming one of the country's most influential artistic styles for four centuries. The Nepalese Legacy traces this style's development, patronage, and distinctive features and places major painting commissions of the Ngor Monastery in a more complete context than was previously possible. b>David P. Jackson is the author of Patron and Painter: Situ Panchen and the Revival of the Encampment Style and A History of Tibetan Painting. He is curator of the Rubin Museum of Art's reconstruction of Tibetan art history. Formerly professor of Tibetan at Hamburg University, he lives on Whidbey Island, Washington.

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Title: The Nepalese Legacy in Tibetan Painting.
Publisher: Rubin Museum of Art
Publication Date: 2010
Binding: Hardcover
Book Condition: Brand new
Edition: First edition.

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Book Description University of Washington Press, 2010. Book Condition: Used. This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: For centuries, Tibetan artists looked to their Buddhist heartland, India, for artistic direction.With the destruction of India's key monasteries in 1203, however, many artists turned to Nepal's Kathmandu Valley, home to the exceptionally skilled Newar artists. The Newars' distinctive painting style, known as the Beri, was quickly adopted in Tibet, becoming one of the country's most influential artistic styles for four centuries.The Nepalese Legacytraces this style's development, patronage, and distinctive features and places major painting commissions of the Ngor Monastery in a more complete context than was previously possible. b>David P. Jacksonis the author ofPatron and Painter: Situ Panchen and the Revival of the Encampment StyleandA History of Tibetan Painting.He is curator of the Rubin Museum of Art's reconstruction of Tibetan art history. Formerly professor of Tibetan at Hamburg University, he lives on Whidbey Island, Washington. Bookseller Inventory # ABE_book_usedgood_0977213188

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Book Description Rubin Museum of Art, United States, 2010. Hardback. Book Condition: New. 300 x 254 mm. Language: English . Brand New Book. The Newar painting style (Beri) in Tibet, which originated in Nepal, is the most recent of two early Indian-inspired painting styles to take hold in Tibet. The style flourished in Tibet for about four centuries, from the late 12th to the early 17th century. Alone among styles, it was adopted universally across Tibet for a century at its height (1360-1460). Later in its development, some of the best-known thangkas in this style were commissioned by abbots of Ngor Monastery, an important Sakyapa monastery in Tsang Province. Most previous scholars linked the paintings in this style exclusively with the Sakyapa religious school and Tsang Province, if not with the monastery of Ngor. In addition to exploring the powerful aesthetic appeal of the Beri style, one of the main goals of this publication is to overcome the erroneous limiting of the style to the Sakyapa and to demonstrate its full historical and religious extent. Another main goal is to introduce a method for analyzing structure and lineages in Tibetan paintings. Bookseller Inventory # AAJ9780977213184

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Book Description Rubin Museum of Art, United States, 2010. Hardback. Book Condition: New. 300 x 254 mm. Language: English . Brand New Book. The Newar painting style (Beri) in Tibet, which originated in Nepal, is the most recent of two early Indian-inspired painting styles to take hold in Tibet. The style flourished in Tibet for about four centuries, from the late 12th to the early 17th century. Alone among styles, it was adopted universally across Tibet for a century at its height (1360-1460). Later in its development, some of the best-known thangkas in this style were commissioned by abbots of Ngor Monastery, an important Sakyapa monastery in Tsang Province. Most previous scholars linked the paintings in this style exclusively with the Sakyapa religious school and Tsang Province, if not with the monastery of Ngor. In addition to exploring the powerful aesthetic appeal of the Beri style, one of the main goals of this publication is to overcome the erroneous limiting of the style to the Sakyapa and to demonstrate its full historical and religious extent. Another main goal is to introduce a method for analyzing structure and lineages in Tibetan paintings. Bookseller Inventory # AAJ9780977213184

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Book Description University of Washington Press, 2010. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: For centuries, Tibetan artists looked to their Buddhist heartland, India, for artistic direction.With the destruction of India's key monasteries in 1203, however, many artists turned to Nepal's Kathmandu Valley, home to the exceptionally skilled Newar artists. The Newars' distinctive painting style, known as the Beri, was quickly adopted in Tibet, becoming one of the country's most influential artistic styles for four centuries.The Nepalese Legacytraces this style's development, patronage, and distinctive features and places major painting commissions of the Ngor Monastery in a more complete context than was previously possible. b>David P. Jacksonis the author ofPatron and Painter: Situ Panchen and the Revival of the Encampment StyleandA History of Tibetan Painting.He is curator of the Rubin Museum of Art's reconstruction of Tibetan art history. Formerly professor of Tibetan at Hamburg University, he lives on Whidbey Island, Washington. Bookseller Inventory # ABE_book_new_0977213188

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