A revolutionary artist of Tibet : Khyentse Chenmo of Gongkar /  by David P. Jackson ; with contributions Mathias Fermer.

Includes bibliographical references (pages 350-355) and index.

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.

Khytentse Chenmo: his life and art -- Gonkar Dorjeden and its Thekchen Chöje traditions -- Previous research -- A recent introduction of Kyentse Chenmo and his art -- Original murals surviving in Gongkar Monastery -- Original paintings on the first and second floors -- Mural paintings of the Sakya founding masters with two Hevajra lineages / by Mathias Fermer -- Sculptures of the lineage masters from Drathang and related Khyenri paintings -- Four sculptures from Drathang and related Khyenri paintings -- Thangka sets depicting the Lamdrew lineage by Khyentse Chenmo -- Paintings of the kings and kalkins of Shambhala by Khyenste Chenmo -- Paintings of the sixteen arhats by Khyentse Chenmo -- Khyenri-style Thangka sets from the sixteenth century -- Khyreni-style Thangka sets from the seventheen century -- Yeshe Tendzin, a twentieth-century painter from Gongkar / by Mathis Fermer -- The possibilites and limitations of dating Tibetan art.

Local access dig. pdf [Jackson-Khyentse Chenmo.pdf]

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.

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 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.