(Northeastern Tibet),” and A. Gruschke 2001a and 2001b.
Delhi). Cf. Clare Harris 1999, p. 206, note 28, who cites it as published in New Delhi. It was reprinted in Dharamsala from the Sherig Parkhang in 1992.
246
See Gyurme Dorje 2004, p. 544.
247
See Gyurme Dorje 1996, p. 557.
248
I follow Amdo sources in counting Gyalrong a part of Amdo. It may also be considered part of Kham.
262
Liu Lizhong 1989, p. 88, stated that most of Labrang’s paintings were executed by painters from Rebkong.
263
Rob Linrothe kindly informed me in an email that he found the painting as plates 68 and 69 in a book called Taer Si edited by Li Zhiwu and Liu Lizhong, (Beijing: Wenwu Chuban She, 1982). Taer Si is Chinese for Kumbum.
264
Tsöndrü Rabgye and Dorje Rinchen 2001, p. 110. They refer to Namkhai Norbu’s comments about nomadic art in Dzachukha and reason that the art of Golok might be similar.
249
250
See Gyurme Dorje 2004, p. 549.
251
Chöje Gönpa in Dzöge is a Sakya exception. See A. Gruschke 2001b, p. 56.
252
See Tsöndrü Rabgye and Dorje Rinchen 2001, in chapter 4, “History of Painting in mDo smad.”
253
254
255
Tsöndrü Rabgye was born Bimdo (sBi mdo) in Xunhua (Tib. Dobi) county of Qinghai province, China. Bimdo Gönchen (Bis mdo dgon chen) was Tsöndrü Rabgye’s home monastery. It is the largest monastery in the area, the home of the late Panchen Rinpoche Chökyi Gyaltshen, 1949–1989. Tsöndrü Rabgye and Dorje Rinchen 2001, p. 107. For more details about Gö Paṇḍita, see also the article about him by Khuchuk (Khu byug 1998), which illustrates two of his thangkas.
256
K. Tanaka 2003, p. 138: “This thangka may therefore be assumed to have been produced in rNga-yul in Eastern Tibet in the twentieth century.”
257
’Dzam thang bla ma Ngag dbang blo gros grags pa, Jo nang chos ‘byung, p. 78: kun dga’ yon tan rgya mtshos dgon der ’tshogs khang bzhengs pa dang | dge ’dun gyi sde gsar ’dzugs dang dus mchod smon lam sogs tshugs par mdzad cing dpal mi ’gyur nges [p. 79] don bde chen gling zhes btags | ma nyes thar mo dgon chu nyin du gsar ‘debs byas nas bkra shis phun tshogs gling zhes btags | tshes mda’ a dpa’ dgon yang gsar du dag ther mdzad | se dgon thub bstan phyogs las rnam rgyal gling gsar ‘debs byed pa’i zhal bkod dang sa ‘dul sogs mdzad | gang gi thugs sras su gyur pa dpal rig ‘dzin rnam snang rdo rjes se dgon gyi mgon khang du rten rdzas dang rtag gtor btsugs te | gtor sgrub dang | gtor chen rgyun gsol rnams bsgrubs nas nus mthu’i rtsal myur ba’i rtags mtshan mngon gyur dang ldan par byas pa sogs khams phyogs su slad nas chos gzhi dang | nges don sgrub brgyud kyi bstan pa ches dar ba.
258
See A. Gruschke 2001b, pp. 78–80.
259
Tsöndrü Rabgye and Dorje Rinchen 2001, p. 108.
260
Amdo Jamyang Losal (of Somang in Gyalrong) was the first thangka painter in Indian exile to publish an art manual with proportion examples. His book was acquired by the U.S. Library of Congress in 1982 and cataloged as follows: Jamyang. Bod kyi ri mo bri dpe = A new approach to the practice of Tibetan art / composed by Jamyang (Artist). Mussoorie, U.P.: Jamyang, 1982. The title on the cover was: New-sun self-learning book on the art of Tibetan painting. Jamyang Losal also known as Amdo Jamyang published it himself from where he lived in Mussoorie, India (not New
261
See Tsöndrü Rabgye and Dorje Rinchen 2001, p. 110. Several of his surviving paintings and sculptures at Kumbum are listed by Re gong pa ‘Jigs me bsam grub 2002, p. 130f.
265
See Hungkar Dorje ed.; Chong Da, Chogyi, and Kelly Lynch (translators) 2001, Tangkas In Golog: The Tangka Album of Lung-ngon Monastery (Beijing: Encyclopedia of China Publishing House, 2001); Tibetan title: mGo log thang ga. Lung sngon dgon pa’i zhal thang phyogs bsgrigs.
266
A. Gruschke 2001b, p. 67ff., and photos no. 144–146.
267
For other scholarly contributions on Rebkong, see Mark Stevenson published in 1999 two articles on the recent art in Rebkong: M. Stevenson 1999, “Art and Life in A-mdo Reb-gong since 1978,” Tibetan Studies 9, vol. V, pp. 197–219; and 1999b, “The Politics of Identity and Cultural Production in A-mdo Reb-gong,” Tibet Journal, vol. 24, no. 4 (1999), pp. 35–51.)
See also Sarah E. Fraser, “Ethnic Difference and National Identity.” Her paper, which is posted online as part of a Northwestern lecture series, addresses the interactions between two painters in Republican-period (1912–1949) China: a Tibetan artist, Shawo Tsering (1922–2004), and a Chinese artist, Zhang Daqian (1899–1983). 268
269
Re gong pa ‘Jigs med bsam grub 2002a, p. 128, lists ten leading painters from those four places. See Tsöndrü Rabgye and Dorje Rinchen 2001, p. 128–136. Gyurme Dorje 1996, p. 595, listed four Rebkong artists who were celebrated in their own right in the mid-1990s: Shawo Tsering, Gyatsho, Kunzang and Jigme (now deceased). His list was followed by A. Gruschke 2001a. Gyurme Dorje 2004, p. 609, says that three of the four great artists were by then deceased, though actually all four were. Other prominent painters were Gyatsho of Sengge Shong Magotshang (already older than 80 in early 1990s) and Nyenthok Jigme (Nyenthok Jigme Nyima, died early 1990s). See A. Gruschke 2001a, p. 221, note 37.
270
Tsöndrü Rabgye and Dorje Rinchen 2001, pp. 131–133. Shawo Tshering’s two sons are Gendün Dargye (Gendeng Daji, a monk) and Suo Nan (Sönam Gyatsho, adopted layman).
271
Tsöndrü Rabgye and Dorje Rinchen 2001, pp. 134–136.
272
Ibid., pp. 133f.
273
Ibid., pp. 129f.
274
See ’Jigs med theg mchog 1988, pp. 790–799. The same passage is quoted at length by Tsedong Penpa Dorje 2001, p. 141ff.
275
’Jigs med theg mchog 1988, p. 793.
276
Ibid., p. 791.
277
These formed part of the articles Reb gong pa ’Jigs med bsam grub 2002a, “Bod du sku gzugs bris ’bur sogs kyi byung ’phel skor rags tsam gleng ba,” Krung go’i bod rig pa, vol. 2002.2, pp. 113–131; and Reb gong pa ’Jigs med bsam grub 2002b, “Bod kyi bris ’bur sgyu rtsal gyi byung ’phel skor bshad pa,” Bod ljong zhib ‘jug, vol. 2002.2, pp. 80–90.
278
Könchok Tendzin et al. 2010, Bod kyi lag shes, pp. 135 and 146.
279
The previous owner was selling that Rebkong local clan history by the page to an American foundation supporting the publication project. The Senggeshong passage as it stands seems to be a fairly recent compilation that is aimed mainly at glorifying their lineage, with many repetitive elements. It claims to be based on historical documents (citing sources at the end of each section). It would be good to check its assertions against whatever outside sources have survived, such as inscriptions from monastery murals.
280
R. Linrothe 2001, “Creativity, Freedom and Control in the Contemporary Renaissance of Rebgong Painting,” Tibet Journal, vol. 26– 3/4, pp. 5–91. See also the color illustrations in R. Linrothe 2002, “Stretched on a Frame of Boundless Thought: Contemporary Religious Painting in Rebgong,” Orientations (Hong Kong), vol. 33–4, pp. 48–56.
281
R. Linrothe 2001, p. 8.
282
R. Linrothe 2001, p. 18, lists these qualities of recent (post-1959 ) Rebkong painting:
1. fine line work
2. distinctive light tonalities and color contrasts
3. generous gold outlining and ornamenting
4. exquisite detail and dense patterning
5. selective realism
6. restricted use of non-religious popular motifs and manners
7. characteristic landscape patterns
8. visually assertive figural nimbi
9. workshop-like repetition of compositions and motifs
On p. 19 he described treatment of sky and nimbuses, also discussing mountains and lakes.
283
For details of slightly different three-lobed cumulus clouds shaded with gtsags-style shading in the same tradition, see Tsöndrü Rabgye and Dorje Rinchen 2001, illustration no. 71.
284
I was kindly informed of this by Rob Linrothe in a personal communication.
285
Liu Lizhong 1988, Buddhist Art of the Tibetan Plateau, plates 421–434 and 439–449.
t h e p l a c e o f p rov e n a n c e
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