By Marylin Rhie, Robert Thurman, John Bigelow Taylor
Tibetan Buddhists see the realm in realities, of relative and absolute: the relative global is skilled as both the standard global of samsaric pain or the extreme nation of common bliss and fulfillment.
these enlightened comprehend their crucial oneness with the universe and consider the comfort of a glad connection to every little thing. A Shrine for Tibet is a superbly illustrated social gathering of this philosophy via Alice Kandell's exceptional choice of paintings from the fifteenth Century Ganden Renaissance all the way through to the seventeenth Century construction of the Potala Palace, and into the 18th and nineteenth Centuries, the place Mongolian and Manchu Qing Buddhist paintings bloomed within the Tibetan culture.
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Extra info for A Shrine for Tibet: The Alice S. Kandell Collection of Tibetan Sacred Art
1279) sculptures in China. Early l\ ling art consciously cultivated the Song idiom as a reaffirmation of the native Chinese form in opposition to the art of the l\ lollgol Yuan dy· nasty (1279-1368 ). It would appear that the Song/early Ming sculptural styles had some impact on the sculptural modes of the Pelchor Chode arhats. The set of arhat sculptures brought back from China to Sera monastery in Tibet by Shakya Yeshe could ha\'e been one accessible source of inspiration, but there well might have been others.
1111 • fig. 24. VaJrapani, Shilun College, founded 1763, La brang mon,l';-tery, Gansu, rcpoussc gilt copper allo)" with Inse[ and pIgments. , Lablllellgsi l BClling, 1989, fig. 66 Zanabazar was rhe First j etsiindamba Huruktu from the reincarnate lineage of Taranatha from the Jonang order in Tibet (Taranatha was the famous lama historian who died 011 a trip to Mongolia in 1635). Zanabazar was a great artist as well, especia ll y re,101Viled as an artist who created a singu lar style of Buddhist sculpture identified and celebrated nowada}'s as the "Zanabazar schooL" In 165 1, Za nabaza r traveled to Tibet and rook initiations from both the Fi ft h Dalai Lama at the Pmala and the Panchen Lama at Tashi Lhunpo.
Known as the -New ~'I e nri" inheritor of tht' ~lcnn -st y le pauning of the fiftee nth cem ury, which shows a high degree of expressive naturalism and subtle technique. Compared with the Nimh Karmapa statue in Fig. 13. that of th(' Panche n Lama shows a settling of the more floridly energellc manner of dr:l per), depiction in the sculpture fro m Kham by Karma Rinchen. The mann('r of folding the cloth in the robe~ on the Panchen Lama sta tue IS imerestingly simi la r to that seen in the KUlllbum image in Fig.
A Shrine for Tibet: The Alice S. Kandell Collection of Tibetan Sacred Art by Marylin Rhie, Robert Thurman, John Bigelow Taylor