Collection highlights : the Rubin Museum of Art. 

Collection Highlights:The Rubin Museum of Art features 108 works—an auspicious number in Tibetan culture with significance extending into Hinduism and even into popular Western culture—that were chosen by the curatorial team to offer a sense of the geographic, cultural, and chronological breadth of the Museum’s holdings. Stunning visuals are accompanied by brief descriptions that will speak to both lovers of art from the Himalayan region and those who are new to this rich tradition. A special fold-out panel presents the Museum’s Tibetan Buddhist Shrine Room.

With contributions by Jan Van Alphen, Beth Citron, Karl Debreczeny, David Jackson, Christian Luczanits, Elena Pakhoutova, and Kathryn Selig Brown

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/

Mirror of the Buddha : early portraits from Tibet : from the Masterworks of Tibetan painting series /  David P. Jackson with contributions by Christian Luczanits.

Published in conjunction with an exhibition held at the Rubin Museum of Art, New York, Oct. 7, 2011-Feb. 27, 2012.

"...from the Masterworks of Tibetan painting series"--title page. 

Includes bibliographical references (pages 204-223) and index.

Introduction -- Human types in Tibetan iconography: essential distinctions -- Paintings of early teachers of Tibetan Buddhist schools -- Early Taklung Kagyü paintings and their lineage conventions -- Reflections of enlightenment in three early portraits -- Siddha, hierarchs, and lineages: three examples for dating Tibetan art / Christian Luczanits.

"Traditional Tibetan art is largely the fruit of Buddhism; it is meant to convey spiritual truths. In their art, Tibetans aimed at faithfully transmitting and preserving Buddhism as a spiritual discipline as they had learned it from their Indian Buddhist teachers, either directly or through a transmission that included early Tibetan 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, with Christian Luczanits, investigates painted portraits of such early Tibetan teachers. Images of these eminent personages embodied Buddhist ideals in often idealized human form. In creating these depictions, Tibetan painters of the twelfth through fourteenth century intensely imitated the artistic conventions developed in Pala- and Sena-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."--Publisher's website.

Painting Traditions of the Drigung Kagyu School / David P. Jackson ; with contributions by Christian Luczanits and Kristen Muldowney Roberts.

"This catalog is published in conjunction with an exhibition organized and presented by the Rubin Museum of Art, New York, April 24 through September 7, 2015, and curated by David P. Jackson."

Includes bibliographical references (pages 306-313) and index.

Drigung Thel's branches and main surviving mural sites -- Early research on Drigung Kagyu art -- Recent research on Drigung Kagyu painting -- Written sources -- Early Drigung Kagyu painting -- Paintings from the middle period of Drigung Kagyu art -- Full-color paintings of peaceful deities in the Drigung style -- Paintings of semiwrathful and wrathful deities in the Drigung style -- Recent mural sites in Lamayuru and Phyang -- Three artists in Drigung Thel monasteries of Ladakh in the twentieth century -- Beneficial to see: early Drigung painting by Christian Luczanits -- The elusive lady of Nanam: and introduction to the protectress Achi Chökyi Drölma by Kristen Muldowney Roberts -- Appendix A: the main lineage of Drigung -- Appendix B: the hierarchs of Drigung with contemporary head Lamas of Kailash and Ladakh, and Kings of Ladakh -- Appendix C: Monasteries of Drigung Kagyu.

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.

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.

Patron and painter : Situ Panchen and the revival of the encampment style /  David P. Jackson ; with an essay by Karl Debreczeny.

Published in conjunction with an exhibition organized and presented by the Rubin Museum of Art, New York, Feb. 6, 2009-July 13, 2009.

Includes bibliographical references (pages 277-280) and index.

Contents
Foreword Donald Rubin
Introduction Martin Brauen
Preface David P. Jackson
Note to the reader
Maps
Chapter 1 Situ Panchen: His Life and Artistic Activities
Chapter 2 Portraits of Situ Panchen
Chapter 3 The Black Hats of the Karmapas
Chapter 4 Early Stylistic Background
Chapter 5 Later Stylistic Background
Chapter 6 The Main Sets Commissioned by Situ Panchen
Chapter 7 The Eight Great Adepts of India
Chapter 8 The Eighty-four Great Adepts
Chapter 9 The Main Lineage Masters of the Karma Kagyu
Chapter 10 Bodhisattvas South of the Clouds Karl Debreczeny
Appendixes: Seven Incarnation Lineages of the Karma Kagyu
        Appendix A: The Black-Hat Karmapa Incarnations
        Appendix B: The Red-Hat Karmapa incarrnations
        Appendix C: The Tai Situ Incarnations of Karma and Palpung
        Appendix D: The Goshri Gyaltshab Incarnations
        Appendix E: The Palden Nenang Pawo Incarnations
        Appendix F: The Incarnations of Takna Treho
        Appendix G: The Jamgon Kongtrul Incarnations
Notes
Glossary
Bibliography
Index

"The Collection of the Rubin Museum of Art is extraordinarily rich in paintings created in the style known as Karma Gardri, or Encampment Style. The noted scholar David P. Jackson examines these paintings and related works from collections around the world to identify the subjects and date the works and, in many cases, to name the painter or patron responsible for the works. Most notable among patrons and painters of this style is Situ Panchen, who lived in the 18th century in Kham Province of eastern Tibet. Highly educated and widely traveled, Situ was accomplished in numerous areas of endeavor. He was a revered holy man, talented painter, linguist, diplomat, and he was learned in the field of medicine. AS he traveled between eastern Tibet and China, he kept diaries, which have helped Jackson and fellow scholar Karl Debreczeny reveal the life and times of Situ and illuminate his singular contribution to the artistic traditions of Tibetan painting."--Jacket.

Situ Panchen name Tibetan སི་ཏུ་པཎ་ཆེན་ཆོས་ཀྱི་འབྱུང་གནས་  

Chos-kyi-ʼbyuṅ-gnas, Si-tu Paṇ-chen, 1699 or 1700-1774 --  Tenpaʼi Nyinche ǂb Si-tu VII, ǂd 1699 or 1700-1774 --  Tai Si-tu ǂb VII, 1699 or 1700-1774 --  Bstan-paʼi-nyin-byed, 1699 or 1700-1774 --  Situ Penchen Chokyi Jungne, 1699 or 1700-1774 --  Chokyi Jungne,  Situ Penchen, 1699 or 1700-1774 -- Chos-kyi-ʼbyung-gnas,  Si-tu Pan-chen -- Karma Si-tu - Yao-ma Ssu-tu -- Si-tu Chos-kyi-ʼbyung-gnas -- Chos-kyi-ʼbyung-gnas, Si-tu --  Taʼi Si-tu-pa Kun-mkhyen Chos-kyi-ʼbyung-gnas-bstan-paʼi-nyin-byed  --  司徒 曲吉穷乃 - Situ Qujiqiongnai --  曲吉穷乃, 司徒 -- Qujiqiongnai, Si-tu -- Kun-mkhyen Chos-kyi-ʼbyung-gnas-bstan-paʼi-nyin-byed, Taʼi Si-tu-pa.

The Black Hat Eccentric : artistic visions of the Tenth Karmapa / Karl Debreczeny ; With Contributions by Ian A. Alsop, David P. Jackson, Irmgard Mengele.

This catalog is published in conjunction with an exhibition organized and presented by the Rubin Museum of Art, New York, March 2 through July 30, 2012, and curated by Karl Debreczeny.

Includes bibliographical references (pages 312-316) and index.

Founder's Statement -- Foreword -- Acknowledgments -- Introduction -- Chapter 1. The Artist's Life / By Irmgard Mengele -- Chapter 2. Early Artistic Career & Exile in Lijian -- Chapter 3. Set 1: Arhats: by the hand of the Master -- Chapter 4. Set 2: Arhats: Workshop Production -- Chapter 4. Set 3: Deeds of the Buddha: Workshop Production -- Chapter 6. Reevalutation Previously Attributed Works -- Chapter 7. Genre, Style, and Medium --- Chapter 8. Sculpture / By Ian Alsop -- Chapter 9. The Tenth Karmapas' Place in Tibetan Tradition -- Chapter 10. The Language of Art / By David Jackson -- Endnotes -- Bibliography -- Index.

"The Tenth Karmapa Choying Dorje (1604-1674) was not only leader of the Karma Kagyu School of Tibetan Buddhism but also famous as a great artistic innovator. In particular his works are characterized by playful depictions of animals, which set him apart from other Tibetan artists. The Black Hat Eccentric is the first publication to focus on works by the hand of a single Tibetan historical artist. The centerpiece is an inscribed set of paintings dated 1660 from the Lijiang Municipal Museum in Yunnan Province, China. Paintings from a related set by the Karmapa's workshop form the other anchor for the project and demonstrate that teams of artists were trained in the Tenth Karmapa's fascinating and enigmatic style. Individual paintings and sculptures attributed to the Tenth Karmapa from collections worldwide are also considered and contextualized by these two aspects of his artistic production. This personal story of the life of the artist draws on his autobiographical writings as well as his many biographies to recount the dramatic historical events of the 17th century, especially as they negatively affected the Tenth Karmapa and his Kagyu School followers, thus casting a negative light on the Ganden Phodrang government of the Fifth Dalai Lama."--Publisher's website.

Added tages: 

Chöying Dorje, 10th Karmapa (1604–1674) N.B. Most commonly used name in Western sources ; Gamaba Quyingduoji Karmapa ; 第十世噶瑪巴·確映多傑

The flying mystics of Tibetan Buddhism /  Glenn H. Mullin ; with a foreword by Donald Rubin ; preface by Lloyd Nick ; essay by Amelia Arenas.

"This catalog is published in conjunction with an exhibition organized and presented by the Rubin Museum of Art, New York, March 31 through December 18, 2006, and curated by Kathryn Selig Brown and Cyra Levenson"--Title page verso.

Includes bibliographical references.

The Nepalese legacy in Tibetan painting /  David P. Jackson.

Published in conjunction with an exhibition organized and presented by the Rubin Museum of Art, New York, Sept. 3, 2010-May 23, 2011.

Includes bibliographical references and index.

Introduction. A stylistic overview -- Basic principles of structure -- Lineage and structure -- Previous research on the Beri style -- Connections with Sakya, real and imagined -- Stylistic features of the Beri -- Early Newar-inspired painting -- The Beri as a universal style -- Ngor and its Beri paintings.

With the Destruction of India's Buddhist monasteries in 1203, Tibet lost its main source of artistic inspiration. Nepal was the only nearby surviving 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.

In this second publication and related exhibition in the "Masterworks of Tibetan Painting Series," the noted scholar David Jackson identifies the full extent of the Beri style, and shows the chronological development, religious patronage, and geographic scope that define the development of Beri style. In order to contradict the erroneous limitation imposed by early scholars' assumption that Beri is limited to the Ngor, Jackson gives a basic stylistic overview of five key features unique to Beri, as well as providing examples of the Early, Universal Tibetan Style, and Later Beri periods.

Featuring several major works, including a painting of four minutely detailed mandalas by fifteenth-century Newari artists and the last two known commissions in the Beri style, The Nepalese Legacy in Tibetan Painting places Beri in a context more complex than previously imagined. --Book Jacket.

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.

The Second Buddha : master of time.

Issued in connection with an exhibition held Feb. 2, 2018-Jan. 7, 2019, The Rubin Museum of Art, New York, and Feb. 9, 2019-May 19, The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York.

Includes bibliographical references (pages 166-167) and index.

The Second Buddha : an introduction / Elena Pakhoutova -- Padmasambhava in Tibetan visual culture / Elena Pakhoutova -- Padmasambhava in the conjured past / Lewis Doney -- The guru beyond time : Padmasambhava's eight names and three exalted bodies / Daniel A. Hirshberg -- Guru of the three times / Benjamin Bogin.

Padmasambhava, a legendary Buddhist master believed to be instrumental in bringing Buddhism to Tibet, is often known as "The Second Buddha." According to popular legend, Padmasambhava miraculously appeared as a boy in a lotus blossom floating on a lake. 'The Second Buddha: Master of Time' explores visual expressions of Padmasanbhava's legends in sculptures, textiles, paintings, illuminated manuscripts, and a portable shrine that date from the 13th to the 19th century. Essays present new scholarship on Padmasambhava and show a central and multidimensional character with an enduring place in Tibetan and Himalayan Buddhist cultures.

Chinese usage: Lianhuasheng Dashi 蓮華生大師 ; Slob-dpon Pad+ma ʼbyung gnas, approximately 717-approximately 762.
LC usage: Padma Sambhava, approximately 717-approximately 762.