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