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]

Handbook of Tibetan iconometry : a guide to the arts of the 17th century / edited by Christoph Cüppers, Leonard vander Kuijp, Ulrich Pagel ; with a Chinese introduction by Dobis Tsering Gyal.

The Handbook of Iconometry (ca. 1687) reproduces, in facsimile, a lavishly illustrated treatise describing the iconometic principles and measurements at the heart of the 17th-century art of Tibet. It includes over 150 drawings of buddhas, bodhisattvas and divinities, 70 script types and 14 stupa models from the rich world of Indo-Tibetan Buddhism.

In English with the introduction translated into Chinese; facsimilie and corrosponding passages in Sanskrit and Tibetan.

The Handbook of Iconometry (Tibetan title: Cha tshad kyi dpe ris Dpyod ldan yid gsos) constitutes a lavishly illustrated treatise laying down the iconometic principles and measurements at the heart of the 17th-century art of Tibet. The book was produced in ca. 1687 at the instigation of the famous scholar and statesman sde srid Sangs rgyas rgya mtsho (1653-1705). Today, the original is kept in the Tibet Autonomous Region Archives (Lhasa). The Handbook includes more than 150 meticulously prepared drawings of buddhas, bodhisattvas and divinities, 70 script types and 14 stupa models all extrapolated from the rich heritage of Indo-Tibetan Buddhist art. These are accompanied by an introduction charting the production of the Handbook in the 17th century and the scholarly profile of its principal author Sangs rgyas rgya mtsho. In the appendix, it reproduces passages from the Vaiḍūrya g.Ya' sel that provide valuable additional information about the illustrations. 

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.