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.

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.