From the sacred realm : treasures of Tibetan art from the Newark Museum /  Valrae Reynolds ; with contributions by Janet Gyatso, Amy Heller, and Dan Martin.

Published in conjunction with an exhibition held at the Newark Museum, Newark, N.J., Oct. 15, 1999-Jan. 20, 2000.
Includes bibliographical references (pages 250-251) and index.

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.