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.

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.