David P. Jackson is the author of Patron and Painter: Situ Panchen and the Revival of the Encampment Style; A History of Tibetan Painting; The Nepalese Legacy in Tibetan Painting; Mirror of the Buddha: Early Portraits from Tibet; and The Place of Provenance: Regional Styles in Tibetan Painting.
摘要
Painting Traditions of the Drigung Kagyu School is the fifth installment in the Rubin Museum’s series on the history of Tibetan painting. Again David Jackson has painstakingly elucidated a piece of the rich history of Himalayan art, provoking new discussion of the region and its place in the wider history of Asian art. Himalayan art is more than just painting and sculpture, it is an expression of age-old ideas that cross geographic and cultural boundaries and remain relevant to contemporary discourse.
Though the Drigung Kagyu was one of the most prominent and powerful schools of Tibetan Buddhism during its early period (circa 1180s–1280s), its art is still relatively poorly known, even in its homeland. Nevertheless, the Drigung Kagyu School is quite widespread within the Tibetan Buddhist cultural realm.
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.
