Holy madness : portraits of tantric siddhas / Rob Linrothe, editor ; with essays by Debra Diamond [and others] ; with contributions by Kathryn Selig Brown, Caron Smith.

Catalog of an exhibition to be held at the Rubin Museum of Art, New York, Feb. 11-Sept. 3, 2006.

Includes bibliographical references (pages 439-445) and index.

Majāsiddha stories -- The tavern customer -- The weaver -- The preoccupied woman -- Essays -- Historical and textual issues -- Case studies in Himalayan siddha art -- Case studies in Indian siddha art -- Catalog.

[N.B. Siddha (Sanskrit: सिद्ध siddha; "perfected one")]

This is a groundbreaking examination of the art and legends of some of the most colourful figures in South Asian & Himalayan culture. With contributions from ten prominent world scholars, it provides both an exhaustive survey of the Mahasiddhas in art, as well as essays on all associated themes: iconographic, canonical, literary, historical, sociological and anthropological. The Mahasiddhas were instrumental in transmitting tantric Buddhism to the Himalayan region in the 7th to 11th centuries, and their stories are imbued with mysticism, magic and miraculous events within a context of idiosyncratic, eccentric behaviour. They are seen as being possessed of the great wisdom that emerges from direct religious epiphany. The enduring appeal of these saints and their lives is expressed in vivid and entertaining poetry in prose, as well as in the beautiful painting and sculpture that continues to the present day. This book offers a comprehensive catalogue of the wonderful eulogies to the Mahasiddhas, textual and visual, from world collections, as well as those in situ. Its value lies not only in its extensive nature and the sheer beauty of the photography and reproduction, but also in the fact that it presents some complete series or cycles for the first time, drawn together from disparate collections.--Publisher note/

Paradise and plumage : Chinese connections in Tibetan Arhat painting / by Rob Linrothe.

Catalogue of an exhibition at the Rubin Museum of Art, New York, May 20-22 Aug. 22, 2004 and at the Tang Teaching Museum, Saratoga Springs, Sept. 25, 2004-Jan. 2, 2005.

Includes bibliographical references (pages 41-44).

The 16 Arhats are considered to have been either the actual disciples of the Buddha or followers who lived soon after his time. Featuring descriptions of artworks accompanied by color photographs, this exhibition catalog explores the relationship between Chinese and Tibetan images of these enlightened, more-than-human, beings. The volume has been published in conjunction with an exhibition of the same name which is being held at the Rubin Museum of Art in New York in 2004.

The place of provenance : regional styles in Tibetan painting /  David P. Jackson ; with a contribution by Rob Linrothe.

Published in conjunction with an exhibition organized and presented by the Rubin Museum of Art, New York, October 2, 2012, through March 25, 2013, and curated by David P. Jackson and Christian Luczanits.

Includes bibliographical references (pages 224-229) and index.

Attributing provenances to Tibetan paintings -- Local styles in Tibetan painting -- The painting styles of Ü Province -- The painting styles of Tsang Province -- The Painting styles of Kham Province -- The painting styles of Amdo Province -- The painting traditions in Ngari Province -- Painting styles in outlying Tibetan Buddhist Countries -- Looking East, facing up: Paintings in Karma Gardri styles in Ladakh and Zangskar / Rob Linrothe.

"Historians of Tibetan painting struggle to establish such basic points as iconographical content, place of origin, age, religious affiliation, and painting school or style, especially when confronted by portable works that were removed from their original monasteries and scattered throughout the world. In this groundbreaking catalog, the authors locate paintings geographically using the method similar to that used for locating paintings in time. In both cases they identify the historical people connected with the painting through analyzing the portraits, inscriptions, and lineages that it contains. Then, by establishing where the key people involved in the painting lived and died, and with which monasteries and traditions they were most closely linked, they draw conclusions about the painting's provenance and style, providing a bed rock of scholarship to support a new era in the field of Tibetan art history."--Page 2 of cover.