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Quick link: Choose an article (by date, most recent start) Swapna Vora: Jehangir Sabavala (1922-2011): A painter's pilgrimage Pratapaditya Pal: The Thoughtgem and Bike Avalokiteshvara and Lokeśvara of Wish-fulfilling Gems Revisited I. Alsop, K. Tamot and P. Parajuli: In the Khasa Malla Tradition: A Thangka of Vikram Shahi (r. 1602-1631) King of Jumla Jean-Luc Estournel: About the portraits of Tibetan masters Pratapaditya Pal: The Quiet Collector and the Sensuous Immortals Freya Terryn: Laureillard, Marie and Cléa Patin (eds.): À la croisée de collections d'art entre Asie et Occident Swapna Vora: S.G. Vasudev: Moving lines, lines of calorie-free, longing and belonging Jane Thurston-Hoskins: Born of Two Cultures, but a Human for all Seasons Michael Henss: The Changkya Huthugthu Rölpai Dorje Jean-Luc Estournel: About the xviii stupas and other treasures one time at the Densatil monastery Ian Alsop: The Continuing Buddha of Guita Bahi: Part I Pratapaditya Pal: Engaging with Jain Visual Culture Amy Heller and Leigh Miller: The Visual Civilisation of Tibet and The Himalayas Gary Gach: BOUNDLESS: Gimmicky Tibetan Artists at Home & Abroad Drs. Liesbeth Pankaja Bennink: The Dancing Men of Kanchipuram, an Anomaly in Pallava Land Karl Debreczeny: Organized religion and Empire: An Overview Dr. Elisabeth Haderer: The Sacred and the Profane – Office Two Gautama V. Vajracharya: Nepal Saṃvat and Vikrama Saṃvat: Discerning Original Significance David Weldon: Defining the Style of a Group of 13th Century Tibetan Gilt Copper Statues Stephen Markel: Review Article of Robert Elgood, Rajput Arms & Armour: The Rathores & Their Armoury at Jodhpur Fort Christiane Kalantari and Eva Allinger: The spiritual career of Buddha Śākyamuni on the portal of Khorchag (Khojarnath) Taschen: Murals of Tibet Pratapaditya Pal: Embroidered Dreams: A Personal Appreciation of Bengali Kanthas Pratapaditya Pal: Paul F. Walter (1935-2017): Personal Memories Mary Shepherd Slusser: Mary Slusser: Remembrance of things by Pratapaditya Pal: A Tale of a Collector and Curator: The Ross-Coomaraswamy Bond Ian Alsop: On the Utilize of Carbon-xiv Dating in the Study of the Art History of Nepal Pratapaditya Pal: Indian Fine art "Auditions" in Hollywood Anne Vergati: Review of P. Pal, In Pursuit of the Past Gautama V. Vajracharya: Mānadeva Saṃvat: One-time Problem, New Prove David Weldon: Yongle Period Metalwork: The British Museum Sakyamuni Pratapaditya Pal: Revisiting a Kashmiri-Fashion Buddhist Image of Vajrasatva with Consort Yury Khokhlov: The Xi Xia Legacy in Sino-Tibetan Art of the Yuan Dynasty Mary S. Slusser: On the Loss of Cultural Heritage in Quake-Ravaged Nepal Statue Stolen from Gakar Gompa in Dolpo, Nepal, on 4/10/2016 Mary S. Slusser and Gautamavajra Vajrācārya: Two Medieval Nepalese Buildings: An architectural and cultural report Sanjib Chaudhary: The ruins of Sen palace and temple in Saptari district of Nepal Pratapaditya Pal: The Splendor of Wall Paintings in Bundi James Goodman with Meryl Dowman: Newar urban settlements: the development of Newar seismic engineering solutions? Drs. Liesbeth Pankaja Bennink: Nataraja, Mysteries and More… Erberto Lo Bue: Giuseppe Tucci's remarks on the state of preservation and conservation of Tibetan monasteries Claire Burkert: Looking at "Himalayan way" post-obit the earthquake in Nepal Richard Smith: Questions Regarding the Discussion Mudra Dipesh Risal: Kasthamandap: Microcosm of Kathmandu'due south Living Culture and Storied History Gérard Toffin: Living masks of the Newars: The itinerant masked dances of the Kathmandu Valley Stephen Markel: The Enigmatic Image: Curious Subjects in Indian Art Pratapaditya Pal: Some Hindu and Buddhist Bronzes from Bangladesh Götz Hagmüller and Suresh Shrestha: The Eight Cornered Gift: Why was the Mandap not destroyed this time? Dina Bangdel: Nepal Earthquake: Rebuilding Hope, Rebuilding a Nation Nepal Convulsion: An appeal to our visitors: Asianart.com Ian Alsop: Problems in Dating Nepalese Metallic Sculpture: Three Images of Viṣṇu (corrected) Pratapaditya Pal: Roshan Sabavala'southward Tryst with Himalayan Art Deepak Shimkhada: The Date of the Chandi Murals in the Hanuman Dhoka Palace Pratapaditya Pal: The Last of the Mohicans: Remembering Robert Ellsworth (1929–2014) Surun-Khanda D. Syrtypova: Buddhist Feminine Divinities (of the) Mongols and Buriats Jane Casey: Buddhist Initiation Paintings from the Yuan Court in the Sino-Himalayan Style Pratapaditya Pal: An early on Tibetan mandala of Ekallavira Achala in a private collection Liesbeth P. Bennink: Shiva's Karanas in the temples of Tamil Nadu Yury Khokhlov: Metal sculptures of the Tibetan Imperial period Ulrich von Schroeder: Review: The Sculpture of Chöying Dorjé, Tenth Karmapa Ian Alsop: The Sculpture of Chöying Dorjé, Tenth Karmapa Swapna Vora: Shrinathji'south pichhavais: Doorways to the Lord Heller, Amy: The Arts of Tibetan Painting Pratapaditya Pal: The Ascension and Fall of the Hindu God of War: A Review article Astrid Hovden: Nepal'southward Oldest Himalayan Buddhist temple and monastery threatened by Floods Gary Gach: THE INVISIBLE ENVISIONED: Phantoms of Asia : gimmicky awakens the past L. Bennink and Kandhan, Jayakumar and Sankar Deekshithar: Shiva's Dance in Stone Sherab Gyaltsen: Tibetan Traditional Art and Contemporary Painting Swapna Vora: Satadru Sovan Banduri's Rare Bluish Moons Swapna Vora: Julius Macwan's One Square Kilometer Laura E. Parodi and Bruce Wannell: The Earliest Datable Mughal Painting Michael Henss: Thirteenth or Eighteenth Century? Swapna Vora: Kanwal Dhaliwal: Clearing David Weldon: On recent attributions to Aniko Thomas Cole: A Voyage to Kanchipuram C. Lequindre and 1000. Petit: Shamans, Ancestors and Donors Raja Deekshithar: Mysterious Pavilion 2, The wonder continues Stevan Davies: The Miniature Paintings of Mongolian Buddhism Tracing the History of a Mughal Album Page in the Los Angeles County Museum of Art Raja Deekshithar: Mysterious Pavilion: Certificate in stone of astronomical events Mary Shepherd Slusser: Seeing, Rather Than Looking At, Nepalese Art Raja Deekshithar: Indra's Ratha in Melakkadambur, a Chola Masterpiece Raja Deekshithar: Sphinxes in Indian Art and Tradition Swapna Vora: Ayesha Durrani: The girl next door U. von Schroeder & J.Chiliad. Karsten: The Silvery Jug of the Lhasa Jokhang: a Answer Swapna Vora: Om Soorya: Random Mirrors Raja Deekshithar: NAGESHVARA NATARAJA; 885 Maureen Drdak: THE LUNGTA COLLABORATIVE: The Living Blessings of Lo Kamal P. Malla: The Repoussé Images from Pharping Swapna Vora: Mahendra Mistry: One time upon a time Swapna Vora: Amisha Mehta: Rainbow Girl Swapna Vora: Shelly Jyoti and Mithila: The joy of decoration Gautama 5. Vajracharya: The Creatures of the Rain Rivers, Cloud Lakes Melissa Kerin, Ph.D.: Reflections on Amy Heller's Early Himalayan Fine art Pratapaditya Pal: A Painted Book Cover from Ancient Kashmir Mimi Church building and Mariette Wiebenga: A iv-fold Vairocana in the Rinchen Zangpo tradition Deepak Shimkhada: The Future of Nepal's "Living" Goddess Eric J. Hoffman: Chinese Pollex Rings: From Battlefield to Jewelry Box Claire Burkert and Tony Gleason: The Tibet Artisan Initiative Swapna Vora: Talha Rathore: Unclaimed Territories Swapna Vora: Natvar Bhavsar's cosmos Swapna Vora: Antonio Puri and The Tenth Door Swapna Vora: Prasanta Sahu: Pushing the envelope Stephen Markel: Mughal Jades - A Technical and Sculptural Perspective Swapna Vora: Conversations with Raza at fourscore five Swapna Vora: Tenzin Rigdol's mandala: Particles of prayers Swapna Vora: Plant in translation, an interpreter of human maladies Swapna Vora: MF Husain: In some of his own words Swapna Vora: In one case we were one: Erasing Borders 2008 Swapna Vora: Caught in crosshairs: Pakistan'due south Muhammad Zeeshan Swapna Vora: Padmaputra Ashok Shah: Saraswati'southward son Michael Henss: TIBET – Monasteries Open Their Treasure Rooms Eric J. Hoffman: Old Chinese Jades: Real or Fake? William Hanbury-Tenison: A Rarity in Chinese Contemporary Art Swapna Vora: Prema Murthy: Weaving the Spider web Swapna Vora: Jayashree Chakravarty: Herstory: Palimpsests of the maps of memory Thomas L. Guta: Snowlions Dancing on Clouds Thomas L. Guta: The Weavers of Tradition Waltraud Ganguly: Snake earrings of India Swapna Vora: Raza's runes: Visions of the self Swapna Vora: Amitava: Days and seasons of the self Julie Rauer: Organic Avatar Ted Worcester: Cheering Carpets: A Tibetan View of Aesthetics Swapna Vora: Chiru Chakravarty: Every mean solar day, judgment solar day Alok Shrotriya and Zhou Xue-ying: A Visit to the Creative treasures of Maiji Mount caves Swapna Vora: Anish Kapoor: Stone Fire, Black Flame Swapna Vora: Padmanabh Bendre: Fields, layers, unbroken expanses Swapna Vora: Anti matter? Kausik M'southward universe Eva Allinger: Aṣṭasāhasrikā Prajñāpāramitā Manuscript from the Yarlung Museum Swapna Vora: The Baldly Beautiful 108 Dabbas of Bose Krishnamachari Gary Gach: Hidden Meanings: Symbolism in Chinese Art Ana Pániker: Oriental Sacred Art and the Art of Collecting in the West Julie Rauer: The Final Banquet of Lady Dai Amy Heller: Tracing the Reception and Adaptation of Foreign esthetic elements in Tibetan sculpture Julie Rauer: Klee's Mandalas Karla Refojo: West meets East: Making a Murti in Kathmandu Krista Knirck-Bumke: Stripes and Patterns Amy Heller: The Lhasa gtsug lag khang Mary S. Slusser: The Lhasa gTsug lag khang ("Jokhang") Julie Rauer: Fathomless Skin Kabir Thou. Heimsath: Untitled Identities: Contemporary Art in Lhasa Annette L. Heitmann: A note on a disputed Khmer sculpture Conservation and Digitisation of Rolled Palm Leaf Manuscripts in Nepal Julie Rauer: Through the Jalis Dr Marc Ghysels: CT Scans in Fine art Piece of work Appraisement Ian Alsop: The Metal Sculpture of the Khasa Mallas Mary S. Slusser: Steaming Downwardly the Mekong François Pannier: Soma, Offertory and Elixir Gautama V. Vajracharya: Elements of Newar Buddhist Fine art: Circumvolve of Elation Krista Knirck-Bumke: Victorious Durga James Singer: Contemporary Japanese Ceramics John 5. Bellezza: Metal and Rock Vestiges Adrienne Fast: Exaggerated Enmity in Early Modern Indonesian Painting Emma C. Bunker: Tantric Hinduism in Khmer Culture Daniel Stiles, Ph.D: Ivory Carving in Thailand Boyer, Grand. & Terrier, J.M.: Thangka Restoration and Conservation Mary South. Slusser: Conservation Notes on Some Nepalese Paintings Stephen Markel: Correlating Paintings of Indian Decorative Objects V. Bharne & I. Shimomura: Woods & Transience Daniel Stiles: Ivory Carving in Myanmar Amy Heller: The Silver Jug of the Lhasa Jokhang Goetz Hagmuller: Darkness and Light Joseph Houseal: Vanishing Dances of Ladakh Erich Theophile: The "Fine art" of Conservation Gary McCue: Tashi Kabum Bernard Cesarone: Pata-Chitras of Orissa Slusser and Giambrone: A Master Craftsman of Nepal Thomas Murray: Masks of the Himalayas Ian A. Baker:The Lukhang: a subconscious temple in Tibet John Five. Bellezza : The Ancient Rock Art of Upper Tibet Whiff of Luxury - Norman A. Rubin The Synthesis of European and Mughal Art Trance-Dancers of the Goddess Durga T. Pritzker: An Early rock fragment Ghosts, Demons and Spirits in Japanese Lore Wangden Meditation Weaving: Rupert Smith Conservation of a 5th century Buddhist Manuscript The History of an Indian Musical Instrument Maker A New Ceiling for the Roof of the World Ian Alsop: Phagpa Lokes'vara of the Potala Bellezza: Changthang Circuit Expedition John Vincent Bellezza: Thogchags Jonathan Bong: Baiya Monastery JV Bellezza: Archaelogical discoveries Shyamal Bagchee: M.F. Husain Tibetan Thangkas Joanna Kirkpatrick: Ricksha Art JC Singer: Early Portrait Painting in Tibet Pamela Logan: Tibetan Fine art & Architecture G. Tamot & I. Alsop: an Advertising 185 sculpture G.M. Wegner: KU Department of Music T. Temple and Fifty. Nguyen: Giant Thangkas Juan Li: Images of Earth & H2o T.T. Bartholomew: Art of Mongolia J C Vocalist: a Taglung Lama I. Alsop: Licchavi Caityas of Nepal Juan Li: Tsakli

Jehangir Sabavala (1922-2011): A painter'southward pilgrimage: Past Swapna Vora

Published: November eleven, 2021

The Thoughtgem and Wheel Avalokiteshvara and Lokeśvara of Wish-fulfilling Gems Revisited: By Pratapaditya Pal

In this ii-role article which spans over l years of scholarship, Dr. Pal revisits an commodity published in Calcutta in 1968, in which he examined two important forms of the dandy bodhisatva Avalokiteshvara: the Cintāmaṇi Cakra Avalokiteśvara in Cathay and Japan and Nepal'southward Cintāmaṇi Lokeśvara. In a detailed afterword, Dr. Pal traces the international scholarship in the study of Buddhist iconography and expands our knowledge of both forms of Avalokiteshvara, particularly the Nepalese form of the Lokeśvara of Wish-fulfilling Gems, which Dr. Pal traces back to an Indian sculptural tradition.

Published: September 20, 2021

In the Khasa Malla Tradition: A Thangka of Vikram Shahi (r. 1602-1631) Male monarch of Jumla: By Ian Alsop, Kashinath Tamot and Punya Prasad Parajuli

This painting is a unique representation of King Vikram Shahi, an early 17th century Rex of the Kalyāla dynasty of the Jumla valley, i of the hill states of Nepal that were the heritors of the great Khasa Malla kingdom of the 13/14th centuries. Information technology is an unprecedented combination of Tibetan thangka painting format and fashion and Indian courtly portraiture. King Vikram Shahi was known for his close human relationship with and protection of the Buddhist lamas and monasteries of his kingdom, a continuation of the remarkable bi-cultural and bi-lingual tradition of the Khasa Malla kings.

Published:April 20, 2021

About the portraits of Tibetan masters: By Jean-Luc Estournel

The Tranquility Collector and the Sensuous Immortals: By Pratapaditya Pal

Published: January 28, 2021

Laureillard, Marie and Cléa Patin (eds.): À la croisée de collections d'fine art entre Asie et Occident: Du XIXe siècle à nos jours: Past Freya Terryn

Born of Two Cultures, merely a Human for all Seasons: By Jane Thurston-Hoskins

The Changkya Huthugthu Rölpai Dorje – Grand Lama of China, Buddhist Instructor of the Empire, Majestic Art Consultant, 1717–1786: An exquisite image in the Zhiguan Museum, Beijing: Past Michael Henss

Rölpai Dorje was for half a century during the reign of the Qianlong Emperor the principal say-so of Tibetan Buddhism at the Chinese courtroom. Dragpa Sonam– his personal proper name – was built-in in 1717 in a prominent Tibetanised Mongol family unit most Tsongkha in the modern Gansu-Qinghai border area. Having been recognised equally the reincarnation of the Start Changkya Huthugthu, Ngawang Losang Chöden (1642–1714), the spiritual mentor of the Kangxi and Yongzheng Emperor, Rölpai Dorje entered the nearby Gönlung monastery at the historic period of 3; he was the abbot until 1769.

Published:Nov 08, 2020

Nigh the 18 stupas and other treasures once at the Densatil monastery: By Jean-Luc Estournel

The Standing Buddha of Guita Bahi: Part I: By Ian Alsop

A continuing Buddha in Guita Bahi in eastern Patan, over life-size and probably the largest Nepalese metal sculpture now known, must be counted as one of the great marvels of Nepalese metalcraft. This Buddha presides as the main deity of Prathamaśrī mahāvihāra, the largest of the three viharas that make up Guita Bahi. At 6 feet eight inches, (2m iii cm) it is the largest of the chief deities of the viharas of Patan, and likely of the unabridged Kathmandu valley. A recently discovered inscription leads us to conclude that it is also the oldest dated Buddha sculpture in Nepal.

Published: June 30, 2020

Engaging with Jain Visual Culture: By Pratapaditya Pal

My engagement with Jain art and architecture began when I was ten years erstwhile in 1945. I still vividly remember being taken to the Jain temple of what we Bengalis call Pareshnāth in Kolkata (and so known as Calcutta in English). It was a memorable visit equally it was then different from the famous Kālı temple in south Calcutta (the Jain shrine was in the north of the city) for it differed notably from the former with its big crowds and hustle and bustle where getting a glimpse of the image of the goddess was an intimidating experience for a Hindu lad.

Published: June 27, 2020

The Visual Culture of Tibet and The Himalayas: Studies in Tibetan art, archaeology, compages, cinema, and photography from pre-history to the 21st century: Edited by Amy Heller and Leigh Miller

The Visual Civilisation of Tibet and the Himalayas is Asianart.com'south second venture in online publication of a complete volume, comprising 14 articles stemming from the 14th Seminar of the International Association for Tibetan Studies (Bergen 2016). This volume presents recent major discoveries and analyses by distinguished scholars of Tibetan and Himalayan art, archæology, architecture, cinema and photography.

Published: May 30, 2020

BOUNDLESS: Contemporary Tibetan Artists at Home & Abroad: Past Gary Gach

The Dancing Men of Kanchipuram, an Anomaly in Pallava State: By Drs. Liesbeth Pankaja Bennink

The courtyard of the Kachabeshwarar temple is a wide-open space with shrines bundled around its periphery, except for the Ganesha shrine which is standing free in the open up space by the side of the temple tank. At the northern corners of this N-facing mandapa we detect ii unique artifacts continuing lost in space, in retrospect seemingly forgotten in plainly sight. These ii remainders of pillars are, on the one hand conspicuously Indian in their creative vocabulary, but on the other hand they don't fit in with whatsoever of the categories normally applied to allocate S Indian art.

Published: July 30, 2019

Organized religion and Empire: An Overview: By Karl Debreczeny

The Sacred and the Profane – Part Two: On the Representation of the Third to the 8th rJe btsun dam pa Khutukhtus in Mongolian Buddhist Art: By Dr. Elisabeth Haderer

In my recently published commodity, The Sacred and the Profane - Part one, I analyzed in detail some portraits of the beginning and second rJe btsun dam pa Khutukhtus or Bogdo Gegens, the highest Buddhist representatives of Outer Mongolia, from the seventeenth century forward. In this newspaper, I will proceed to investigate some portraits of the third to the eighth rJe btsun dam pa Khutukhtus (Figs. 2-25) in terms of their iconographic features, the portraiture and the style of the paintings and sculptures.

Published: February 27, 2019

Nepal Saṃvat and Vikrama Saṃvat: Discerning Original Significance: By Gautama 5. Vajracharya

Defining the Style of a Grouping of 13th Century Tibetan Aureate Copper Statues: By David Weldon

14 Tibetan gilt copper statues with distinctive sculptural characteristics course a hitherto undocumented fashion grouping. Works from Densatil, ordinarily dated to around the fourteenth century and generally considered to take Nepalese influence, afford a convenient comparing with the sculptural manner of this group. While Densatil figures are predominantly well rounded, flamboyantly modelled and richly embellished with jewel settings, this grouping follows a rather dissimilar artful with emphasis on athletic posture, make clean lines and relatively restrained gem adornments.

Published: September 13, 2018

Review Commodity of Robert Elgood, Rajput Arms & Armour: The Rathores & Their Armoury at Jodhpur Fort: By Stephen Markel

The spiritual career of Buddha Śākyamuni on the portal of Khorchag (Khojarnath): By Christiane Kalantari and Eva Allinger

At Khorchag ('Khor chags,), or Khojarnath, the mandala every bit perfect divine construction is manifested not only in the medium of wall painting for the commencement time in historical Western Tibet, but a complete mandalic programme is also represented on a monumental wooden doorway. The iconographic programme on this doorway represents the earliest known example in this region. Khorchag Monastery was founded in 996 by Khorre, ruler of the kingdom of Purang, who—together with his blood brother Yeshe-Ö—transformed the region into a Buddhist kingdom.

Published: May 14, 2018

Taschen: Murals of Tibet

Seeing these delicate treasures endangered and still relatively undocumented, Thomas Laird developed new methods to capture iii hundred of the greatest murals painted in Tibet during the past yard years, at life size resolution: gigapixel images. When a tenth century mural is 5 ten xv ft. his paradigm is the same size, at a resolution of 300 dpi. Prior to the digital revolution images of murals in Tibet of this scale and resolution were impossible. These images allow global access to one of the greatest artistic treasures of Tibet for the outset time.

Published: March 16, 2018

Embroidered Dreams: A Personal Appreciation of Bengali Kanthas: By Pratapaditya Pal

Autonomously from thrift and utility, the kantha symbolizes both the emotional experiences and aesthetic aspirations of its maker. Usually made by a homemaker from an economically disadvantaged family, the kantha represents both devotion and labor, often achieved quietly and privately during spare moments snatched from a long twenty-four hour period of domestic duties. This labor of love was an outlet for creativity and recreation for the amateur artist who never attended art school. The kantha communicates this love equally it envelopes y'all during the comprehend of sleep, a constant physical reminder of sweetness memories that linger for years.

Published: March 06, 2018

Paul F. Walter (1935-2017): Personal Memories: By Pratapaditya Pal

I once read a volume by Sir Erwin Panofsky which asserted that all artists were born nether Saturn; today I would say that so are all curators and collectors of art. Paul Walter, however, must have been an exception; as a collector he was so passionate, avaricious, curious, eclectic, impulsive, gregarious and generous that I e'er felt he must have been born under all the planets and shared $.25 of all the zodiacal signs. He was a big human being, with a big appetite and a big heart, like Mr. John Wayne of Hollywood fame.

Published: October 24, 2017

Mary Slusser: Remembrance of things by: By Mary Shepherd Slusser

A lawyer recently told me that for institutional beneficiaries of my Estate I should write something most my life since often they like to know a little nearly the donor. Since there already exists on file in the Library of Congress an oral history recorded by the Society of Women Geographers, additional information seemed unwarranted, just the lawyer's advice raised a storm of far more intimate, near century-long memories that will not be stilled until I ready them downwards every bit I do here.

Published: August xvi, 2017

A Tale of a Collector and Curator: The Ross-Coomaraswamy Bond: By Pratapaditya Pal

When I showtime encountered Coomaraswamy'southward multivolume catalogue of the Boston Museum collections in the Calcutta University library every bit a student in 1956, I learnt that the great Indian collection for which the museum was famous at the fourth dimension was identified as the hyphenated "Ross-Coomaraswamy Collection." The "Ross" part of the moniker, notwithstanding, remained a mystery until I came to occupy the position of Keeper of the Indian Collections in 1967 – exactly two decades later on Coomaraswamy passed away.

Published: August 16, 2017

On the Utilise of Carbon-14 Dating in the Study of the Art History of Nepal; A annotation on the Utilise of "Old Wood" in Nepalese Carving: By Ian Alsop

Mary Slusser in her 2010 book, The Antiquity of Nepalese Woods Carving: A Reassessment (2010, University of Washington Printing), made a remarkable reassessment of the previously accepted dating of the primeval Nepalese wood sculptures, relying in large part on the modern technique of carbon-xiv dating. In a review in 2012, Gautama Vajracharya challenged her use of C-14 testing, writing that … "the custom of keeping a huge log protected within a monastery…. may indicate the historicity of the monasterial tradition of preserving aged tree trunks for carving divine images."

Published: July 31, 2017

Indian Art "Auditions" in Hollywood: By Pratapaditya Pal

…My initial run across with Hollywood occurred on my first visit to Los Angeles in the summertime of 1964: I must admit the tiled star-studded stretch of Hollywood Boulevard and the Grauman's Chinese Theatre (as it was then known), were not what I expected of Tinseltown. In that location really was no idealized, territorial Hollywood; only a state of mind. In any event on that initial visit, equally I did walk the walk of fame on Hollywood Boulevard, I never dreamt that I would one 24-hour interval work in the neighborhood or run across any real movie stars.

Published: May 11, 2017

Review of Pratapaditya Pal, In Pursuit of the Past. Collecting Sometime Art in Modernistic Bharat, circa 1875-1950.: By Anne Vergati

The near contempo volume of Dr. Pratapaditya Pal is an important contribution to the history of Indian fine art. While Indian museums are well known to specialists, Indian private collections and collectors are largely unknown to both the specialists and the larger audience. Le dernier ouvrage de Pratapaditya Pal est une contribution importante à la connaissance de 50'art indien. Les grands musées indiens sont assez bien connus par les spécialistes mais les collections privées indiennes et les collectionneurs restent relativement ignorés par les spécialistes et le 1000 public. In English and French.

Published: April 07, 2017

Mānadeva Saṃvat: Former Problem, New Evidence: By Gautama Five. Vajracharya

The Mānadeva and Śaka eras, both of which were referred to in inscriptions made during the Licchavi flow (C. 200-879) in Nepal, have been a discipline of scholarly debate for over a century. However, a highly significant piece of data unfortunately escaped the attending of international, also as native, scholars. None of them realized that the Licchavi period inscription carved on the pedestal of the monolithic statue of Śiva and Pārvatī at Sikvabahi (or Siku Bahi) Patan is actually the Rosetta Rock; the engagement of the inscription being recorded at that place in ii dissimilar eras, namely, the Mānadeva and the Śaka eras.

Published: February 14, 2017

Yongle Period Metalwork: The British Museum Sakyamuni: By David Weldon

While the authenticity of the da Ming Yongle nian shi mark on the BM gilt brass statue of Shakyamuni Buddha is now by and large accepted, doubts have been raised over the age of its separately fabricated throne back (torana or prabhamandala) and the throne base into which the effigy is secured. The authors of a technical and stylistic study ended that the sculpture of Buddha was of the Yongle catamenia but the throne and torana were probably of a after date. This article contests that conclusion, maintaining that both sculpture and throne are of the same flow.

Published: January 19, 2017

Revisiting a Kashmiri-Style Buddhist Epitome of Vajrasatva with Consort: By Pratapaditya Pal

This exquisitely rendered sculpture debuted in the seventies of the last century when it was included in the exhibition of the renowned Pan-Asian collection formed past the prodigious collector of Asian fine art, Christian Humann. Information technology is a pleasure to revisit the object almost half a century after, every bit it has remained not only an intriguing and rare representation of Vajrayana Buddhist deities but, with a great deal of material from Kashmir and the contiguous regions in Western Tibet published since, it is at present possible to throw more light on its origin and iconography.

Published: September 19, 2016

The Xi Xia Legacy in Sino-Tibetan Fine art of the Yuan Dynasty: By Yury Khokhlov

The Mongol adoption of Tibetan Buddhism has been traditionally ascribed almost solely to missionary activities of Tibetan clerics. Contempo scholarship, however, has revealed a more than complex motion-picture show, which shows the Eleven Xia background of Tibetan Buddhism in Mongolia and Yuan China. This essay aims to highlight the Eleven Xia traits in Sino-Tibetan art of the Yuan Dynasty. In addition, it challenges the notion of the existence of a dominating Nepalese manner-based tradition, allegedly established within the Yuan Imperial workshops past Anige (too known equally Aniko and Arniko/Araniko).

Published: September 15, 2016

On the Loss of Cultural Heritage in Quake-Ravaged Nepal: By Mary Shepherd Slusser

Beneath the Kasthamandap railing was a band of intricate etching and lower yet a narrow strip of floral design fringed with pendants. As an unexpected anomaly, on ane face only the band of floral design became a charming frieze. Neither this frieze nor any role of information technology has yet turned up amidst the meagre corpus of pieces salvaged from the building. I am emboldened to share my sometime photographs of this frieze, both in some way every bit my duty to preserve through photographs at least a function of the vanished frieze, and in another way, to symbolize through this one pocket-sized object the magnitude of what Nepal — and all of usa — take lost.

Published: July 04, 2016

Statue Stolen from Gakar Gompa in Dolpo, Nepal, on four/ten/2016: editors

On the evening of April 10th, 2016 at about 11 pm, several armed thieves stole four statues and a fine Buddhist manuscript with wooden covers from the business firm of the caretaker of Gakar and Mekin gompas in upper Dolpo, Nepal. 2 of the thieves accept since been apprehended and the manuscript and three of the iv statues stolen were recovered. However, the most precious and important of the sculptures, a xvi-xviii inch, ca. 15th c. statuary effigy of Sakyamuni is still missing, and may be in the Kathmandu area with one of the other members of this gang.

Published: Apr 25, 2016

Two Medieval Nepalese Buildings: An architectural and cultural report: By Mary Shepherd Slusser and Gautamavajra Vajrācārya

Asianart.com is pleased to republish this important early on article - originally published in 1974 - as part of the documentation on the damage inflicted by the earthquakes of Apr and May 2015, the get-go of which totally destroyed Kāṣṭhamaṇḍapa. Please as well see the article by Dipesh Risal published on Sept. 13, 2015, Kasthamandap: Microcosm of Kathmandu's Living Civilization and Storied History. Another of import article past Mary Slusser on this of import and now lost structure will be published soon.

Published: April 25, 2016

The ruins of Sen palace and temple in Saptari district of Nepal: Past Sanjib Chaudhary

Thought to exist the aboriginal kingdom of Sen kings, Saptari district in Eastern Nepal houses the ruins of a palace and a temple in Kanakpatti hamlet and Chandrabhoga jungle in the Chure hills. Though some select artefacts have been collected and established in temples at Shambhunath and Aginsair, most of the valuable items lie unattended and uncared for at the fate of nature, with many pieces being stolen by art thieves. It seems the expanse was a hub of ancient settlement long earlier Sen dynasty rule. The whole area, if excavated, can perhaps unearth an ancient settlement like Lumbini.

Published: February 02, 2016

The Splendor of Wall Paintings in Bundi: A Review Article of The Bundi Wall – Paintings in Rajasthan (Rediscovered Treasures): By Pratapaditya Pal

What is hit almost the murals at Bundi and other palaces of the period is that they are merely larger versions of the portable pictures, mostly on paper, that were as well produced at court simultaneously. Oftentimes the wall paintings are ane gigantic assemblage of a grouping of smaller and complete pictorial compositions, each of which, if cut out from the plaster and affixed to newspaper, would become a complete picture in its own right.

Published: Jan 26, 2016

Newar urban settlements: the development of Newar seismic engineering science solutions? An Occasional Paper from The Bhanimandal Evening Earthquake Seminars, Kathmandu, May 2015: Past James Goodman with Meryl Dowman

The April and May 2015 Bully Gorkha earthquakes in Nepal destroyed over half a million "low strength" houses in the rural areas to the north, east and west of Kathmandu. The stand-alone temple structures in the Kathmandu Valley suffered considerable if not catastrophic impairment. Still the historic densely packed high-rise tenement style urban settlements of the Kathmandu Valley were generally relatively unscathed. The question that this paper seeks to address is why was there not more harm to the primary Newar urban centres?

Published: January 25, 2016

Nataraja, Mysteries and More…: By Drs. Liesbeth Pankaja Bennink

At first glance the ii Natarajas appear to be the aforementioned. Only careful observation reveals a few differences. Where the larger Nataraja's locks are spread sideways from his caput, reflecting the sculptor'south intention to suggest the wild gyrating movement of his dance, the small Nataraja's locks fall on his shoulders and downwardly his back, suggesting a much softer, quieter movement. Two diminutive figures sit at his anxiety, accompanying his dance with percussion instruments. Less obvious differences can be establish in the divine dancer's headdress. These differences correspond a mystery that has non yet received much attention.

Published: Nov 23, 2015

Giuseppe Tucci'southward remarks on the country of preservation and conservation of Tibetan monasteries in the 1930s and 1940s: By Erberto Lo Bue

Throughout his writings Giuseppe Tucci complained frequently, sometimes bitterly, about the poor country of conservation of important aboriginal temples and religious images in Tibetan monasteries, especially those not belonging the Dalai Lama'south religious order, at the time of his expeditions to Tibet. This contribution is meant to analyze the Italian scholar'south remarks on the conditions and bug of conservation of religious buildings, images and texts, too as on Buddhist practice, every bit he could find them particularly in Due west Tibet and Southwest Tibet, prior to the Chinese invasion.

Published: October 19, 2015

Looking at "Himalayan style" following the earthquake in Nepal: By Claire Burkert

The writing of Himalayan Style, took 7 years. I could non have presaged the earthquakes in the leap of 2015 that damaged or destroyed each of the buildings in Nepal that we depicted in our book. Many of the traditional houses in the Kathmandu Valley and in 14 outlying districts were damaged or destroyed. After the earthquake, Thomas Kelly revisited and photographed the lost or damaged sites we'd earlier documented. We realized that our book had become an important tape for Nepal, besides equally a source of inspiration for rebuilding.

Published: Oct 09, 2015

Questions Regarding the Word Mudra: A Preliminary Survey of Gestures on Indian Icons and their Designation: By Richard Smith

If nosotros look at this Indian Buddhist figure, who would not agree is shown forming the Bhumisparsha Mudra? This term for this paw position, or its translation into modern languages, has get standardized and is used by fine art historians with little question of its appropriateness. This essay is an attempt to enhance questions about such designations, especially the usage of the word mudrā, its history, and what information technology may really refer to when information technology is used in diverse periods. Or perhaps, not refer to.

Published: September 09, 2015

Kasthamandap: Microcosm of Kathmandu's Living Civilization and Storied History: By Dipesh Risal

Kasthamandap is no more. It collapsed into a pile of rubble in the get-go of the earthquakes that rattled Nepal in Apr-May, 2015. Kasthamandap, originally a public rest-house (sattal), has also served many social and religious functions over its lifetime. It was hands the oldest standing building in all of Nepal, dating back to at to the lowest degree 1143 CE. … Let us locate the treasures lost in the debris of Kasthamandap, and let us rebuild it dorsum to its original iconic status. If we do not act, a significant part of Nepal'south heritage will be lost forever.

Published: September 03, 2015

Living masks of the Newars: The itinerant masked dances of the Kathmandu Valley: Past Gérard Toffin

The author situates the goddess choreographies of the Kathmandu Valley within the wider context of masked dances among Newars mainly past opposing Devī pyākhã to the well-known Nava Durgā goddess troupes. The opposition between these two traditional pageants highlights contrasting features of dance and theatre in Newar culture. In Devī pyākhãs, the deities are pacified and balmy, whereas in Nava Durgā performances, they are wild and untamed.

Published: August 28, 2015

The Enigmatic Prototype: Curious Subjects in Indian Art: By Stephen Markel

Some Hindu and Buddhist Bronzes from Bangladesh: Past Pratapaditya Pal

Prior to the departure of the British from the Indian subcontinent in 1947, leaving behind ii sovereign states – India and Pakistan – the history of Indian art was relatively like shooting fish in a barrel to study as it was non coloured by issues of nationalism. Later 1971 when East Pakistan declared independence and transformed itself into Bangladesh the job of the art historian became more than complicated. Works of art which could once be attributed to Bengal now had to be assigned to either Due west Bengal or Bangladesh to establish their precise geographical origin.

Published: July fifteen, 2015

The Eight Cornered Gift: Why was the Mandap not destroyed this time?: By Götz Hagmüller and Suresh Shrestha

The three Durbar Squares of the Kathmandu Valley captivate with the richness of their architectural heritage. But those who know what they were like earlier the 1934 convulsion as well feel the loss when they look at them. In the late 1980s, ii architects decided to rebuild one of Bhaktapur Durbar Foursquare's most iconic buildings, the Chyasilin Mandap, in an effort to give back to the square its most gorgeous building.

Published: June xiv, 2015

Nepal Earthquake: Rebuilding Hope, Rebuilding a Nation: By Dina Bangdel

If the globe has imagined and experienced the dazzler of Nepal and its people equally an idyllic Shangri-la, the brutal aftermath of the Apr 2015 convulsion has forever shattered that dream. The massive quake changed the fate of Nepal—from a frail, emerging democracy still recovering from a crippling decade of civil state of war, to a nation in crisis and mourning.

Published: June ten, 2015

Nepal Earthquake: An entreatment to our visitors: Asianart.com

Ten days ago, on April 25, Nepal experienced a major convulsion, which acquired widespread destruction throughout a large portion of central Nepal. So far the death toll from the quake is over 7000, and the number of injured is more than double that. These figures are expected to climb much higher equally the devastation in the remoter areas comes to lite.

Published: May 05, 2015

Issues in Dating Nepalese Metallic Sculpture: Three Images of Viṣṇu (corrected): By Ian Alsop

This article was first published in 1984 in CNAS journal of Tribhuvan University in Kathmandu. In an article published in 2012, Gautam Vajracarya made an of import correction to the dating of the first Visnu sculpture presented in this paper. This correction shows how over the years, those interested in the fine art history of Nepal accept made consistent strides to ameliorate our understanding of this important tradition. Internet publishing allows u.s.a. to publish this paper once once again with this important correction.

Published: February 04, 2015

Roshan Sabavala's Tryst with Himalayan Fine art: Past Pratapaditya Pal

Published: December 09, 2014

The Engagement of the Chandi Murals in the Hanuman Dhoka Palace: By Deepak Shimkhada

The paintings under investigation in this article come from Mohan Chowk in the Hanuman Dhoka palace of Kathmandu, Nepal; they are neither dated nor signed. Additionally, at that place are no literary, historical and oral accounts giving information virtually their existence. In the absence of this information, how does an fine art historian discover out when they were painted and by whom? In this paper, the author goes i step further similar a criminal investigator as to why they were painted.

Published: October 28, 2014

The Last of the Mohicans: Remembering Robert Ellsworth (1929–2014): Past Pratapaditya Pal

Published: September 17, 2014

Buddhist Feminine Divinities honey and adapted by Mongols and Buriats: By Surun-Khanda D. Syrtypova

The significance of the cult of Tārā is exceptionally high in Tibet and Mongolia, as well as in Buriatia. Numerous research works dedicated to the cult of Tārā are already published. Withal the regional features of female deities are still poorly understood and in that location is still much room for interesting studies on the adaption of cults to the different historical, cultural, and geographical specifics of dissimilar regions of the Buddhist world.

Published: June 26, 2014

Buddhist Initiation Paintings from the Yuan Courtroom (1271-1368) in the Sino-Himalayan Style: Past Jane Casey

This essay examines a group of Buddhist initiation paintings. They are likely to be rare surviving examples of a Himalayan-inspired schoolhouse of art that flourished at the Chinese Yuan court. The style combines Tibetan Buddhist iconography and mid-thirteenth century Newar painting traditions with elements of style—notably textile and costume design—that are demonstrably Chinese Yuan. Moreover, two paintings within the group portray a Yuan Mongol emperor and a Tibetan Buddhist Sakya hierarch.

Published: June 16, 2014

An early Tibetan mandala of Ekallavira Achala in a private collection: An Fine art Historical Analysis: Past Pratapaditya Pal

Published: September 09, 2013

Shiva'due south Karanas in the temples of Tamil Nadu: the Natya Shastra in stone: By Liesbeth P. Bennink, and Kandhan, Jayakumar and Sankar Raja Deekshithar

Karana means 'activeness' and in the context of dance it indicates a coordinated action of the body, the hands and the feet. 108 such karana or units of dance are named and defined in the Natya Shastra, the most ancient text on the performing arts composed by Bharata Muni. This text is dated to a period of around 2000 years ago, within a margin of 500 years and has been the most influential in defining and shaping Indian performing arts.

Published: August 20, 2013

Metallic sculptures of the Tibetan Imperial period: Past Yury Khokhlov

The fully developed product of metal sculptures during the Tibetan Imperial Period (600-842 Advertizing) has been extensively documented past Tibetan historical sources. However, only a few Tibetan statues have been attributed to that fourth dimension and the stylistic features of Buddhist art at this stage remain debatable. On the footing of two published sculptures attributed to the Tibetan Imperial period and two examples from the author'southward collection, this commodity provides additional data and highlights the key features of sculptural art during the Tibetan Imperial menstruation.

Published: Jan 24, 2013

The Sculpture of Chöying Dorjé, Tenth Karmapa: A Review: By Ulrich von Schroeder

Ian Alsop, in his commodity on the sculpture of the 10th Karmapa, argues that the copper statue in the von Schroeder collection, attributed by an inscription to the Tenth Karmapa, is non a later inscribed statue made during the Yarlung dynasty, simply was instead cast past the 10th Karmapa. In this review, Ulrich von Schoreder defends his view that this sculpture and other sculptures attributed by Ian Alsop to the tenth Karmapa are in fact ancient sculptures from the early Yarlung menstruum of Tibetan art, and can not have been fabricated in the 17th century.

Published: January 07, 2013

The Sculpture of Chöying Dorjé, Tenth Karmapa: By Ian Alsop

Establishing a chronology and a meaningful inventory of the sculptures of Chöying Dorjé, the 10th Karmapa, is a daunting task. There is considerable confusion and disagreement regarding who made what, and when. Vi extraordinary sculptures analyzed in this commodity are believed by Ulrich von Schroeder to be ancient works of artists from the seventh to eighth century, while Ian Alsop, the author of this commodity believes they are the works of this master himself. This article attempts a new examination of this great artist'due south sculptural works.

Published: January 07, 2013

The Arts of Tibetan Painting: Edited past Amy Heller

Published: September 20, 2012

The Rise and Autumn of the Hindu God of War: A Review article by Pratapaditya Pal

The Ascent of Mahāsena: The Transformation of Skanda-Kārttikeya in North Republic of india from the Kusāna to Gupta Empires, by Richard T. Mann (Brill: Leiden. Boston 2012. pp. Fourteen and 282. Figs 43), is a study of the early history or evolution and decline of the god of war in the Brahmanical/ Hindu pantheon.

Published: Baronial 01, 2012

Nepal's Oldest Himalayan Buddhist temple and monastery threatened past Floods: An eyewitnness account by Astrid Hovden

Published: July 16, 2012

THE INVISIBLE ENVISIONED: Phantoms of Asia : contemporary awakens the by: By Gary Gach

One of the peachy, deep-water ports of the world, San Francisco is a natural gateway to a cosmopolitan diversity of people, goods, and views. Now its Asian Art Museum opens its first large-scale exhibition of contemporary Asian art. This renewal of vision is well-timed, given current, unprecedented global interest in Asian art. Every bit ever, the Asian delivers the appurtenances in its distinctive, signature style.

Published: July 13, 2012

Shiva's Dance in Stone: Ananda Tandava, Bhujangalalita, Bhujangatrasa: Past Liesbeth Pankaja Bennink and Kandhan, Jayakumar and Sankar Deekshithar

Published: June 29, 2012

Tibetan Traditional Art and Contemporary Painting: By Sherab Gyaltsen

Sherab Gyaltsen of Lhasa explores traditional Tibetan themes in painting and the possibilities of expressing and relating to them in his own painting style within a gimmicky fine art context. "When a piece of work of art or any phenomena touches my soul, no thing whether cute or ugly, I believe this impression to be fine art. Naturally, my art is seeking to always express my internal spirit world; the wide and generous Buddhist world is my artistic resources."

Published: May 30, 2012

The Earliest Datable Mughal Painting: By Laura E. Parodi and Bruce Wannell

The album or grouping of albums known as "Gulshan" , alternatively named afterward the Mughal emperor Jahangir, now dispersed in diverse collections, comprise a few rare paintings attributable to the reign of the second Mughal ruler, Humayun. Among these the virtually famous is probably a big composition known to scholars equally "Humayun and his Brothers in a Landscape". In terms of size and quality, it is without doubt one of the finest works from the Mughal schoolhouse and has unsurprisingly attracted considerable scholarly attending.

Published: November 18, 2011

Thirteenth or Eighteenth Century? A response to David Weldon'due south "On Recent Attributions to Aniko": Past Michael Henss

It is my opinion that Nepalese and Tibetan art of the 13th and 14th century was influenced considerably past Indian Pala way models in a cracking variety of forms and atelier traditions. However, a closer look at all these "Pala-Newari" and "Pala-Tibetan" or Nepalo-Tibetan artistic traditions volition naturally assist identifying specific stylistic groups beyond a unproblematic Pala pattern which I feel characterises – in unlike degrees – the great bulk of "Himalayan" art works of that period.

Published: February 14, 2011

On recent attributions to Aniko: Past David Weldon

Publications of late have seen a tendency in the attribution of sculpture and painting to Aniko (1245-1306), the renowned Nepalese artist and builder. While these recent attributions could be of import steps forrard in our understanding of thirteenth century Tibeto-Chinese metal sculpture and portable painting, how tin can we be sure of the attributions when there is a paucity of his works with which to compare them and no inscriptional prove relating to the attributed works?

Published: October 21, 2010

A Voyage to Kanchipuram: By Thomas Cole

Passing through the verdant landscape of southward India (in dissimilarity to the parched countryside of the due north from whence nosotros had come), 1 can't help but call up the epic tales of the Ramayana and the Mahabharata, stories of chivalry and treachery, virtue and deceit, as well as enduring love and extended war. Paintings and sculpture depict some of the epic events of this history, complete with aspects of the rich mural that could be seen from the windows of our train.

Published: June 07, 2010

Shamans, Ancestors and Donors: A look at tribal arts and cultures in old Asia: By Christian Lequindre and Marc Petit

This fine art comes from the Himalayas, and more specifically from Nepal. Well-nigh a century afterward the Cubists and Fauvists discovered the "Negro arts" of Africa and Oceania, half a century later on André Breton and Claude Lévi-Strauss exhumed Amerindian and Inuit arts from the storerooms of ethnological history museums, a handful of adventurers, travelers, artists, collectors, and dealers, joined by a few ethnologists, have now unearthed the beingness of a new, still largely unexplored continent.

Published: June 07, 2010

Mysterious Pavilion ii, The wonder continues: By Raja Deekshithar

In my previous article "Mysterious Pavilion: Document in stone of astronomical events" I reported on my accidental discovery of a pavilion almost Mahabalipuram where unusual reliefs on the ceiling expressed astronomical events through unusual symbolism. At that time these reliefs and their astronomical and (art) historical implications seemed to exist similar the pavilion itself: isolated, away from whatsoever relevant link or context in the landscape. A i-off, unique. Amazingly interesting and mysterious. Mayhap even impossible to interpret beyond speculation.

Published: May 20, 2010

The Miniature Paintings of Mongolian Buddhism: By Stevan Davies

In Mongolia burhani zurags were used by both Mongolian laity and Mongolian monks for devotional purposes and to attract the favorable attention of the deity represented in the painting either to bring benefits or to protect from inimical forcefulness. Mongolian miniatures have no standardization in size whatsoever except (by definition) to be small. They are painted on cloth usually and newspaper occasionally but they are not made of strong cardboard textile and the cloth they are painted on may or may not be sized.

Published: Apr 08, 2010

Tracing the History of a Mughal Album Folio in the Los Angeles County Museum of Fine art by Laura Due east. Parodi, Jennifer H. Porter, Frank D. Preusser, Yosi Pozeilov

This article presents recent research on a Mughal album page whose image console bears a engagement corresponding to 1591 CE. On the footing of the suggestion that certain areas of the recto page may have been repainted, a technical examination focusing on the image panel was carried out. A complex sequence of successive interventions has been documented whose dates span a minimum of seventy years, from the mid-16th to the early 17th centuries.

Published: March 08, 2010

Mysterious Pavilion: Document in stone of astronomical events: By Raja Deekshithar

Mamallapuram is a repository of compages and sculpture created past the Pallava dynasty. Niggling is known nearly the Pallava emperors who built it, why they built information technology and why it was built here. A little away from this decorated tourist spot, across a bridge on the other side of s lilliputian back-water water, stands an unremarkable pavilion. It looks insignificant and isolated by the side of the road. But the unexpected and unknown treasure it contains is in its ain way as mysterious, as pregnant, and as valuable as the World Heritage Site of Mamallapuram.

Published: February 01, 2010

Seeing, Rather Than Looking At, Nepalese Art: The Figural Struts by Mary Shepherd Slusser

Not far from the imperial square of the sometime urban center of Patan in Nepal is an agile Buddhist establishment, a monastery in name simply one that no longer houses celibate monks. Among several popular names, the most favored is Uku, to which Nepalese suspend bāhāḥ or bāhāl (from vihāra, Sanskrit for monastery). Ukubāhāḥ is ane of the few essentially physically complete and active monasteries among more than 150 that once crowded the small city.

Published: December 18, 2009

Indra'southward Ratha in Melakkadambur, a Chola Masterpiece by Raja Deekshithar

It is one of the least known treasures of South Indian art. Subconscious in the isolated village of Melakkadambur, the Amritagateshvara temple is unique for its sculpture, its architecture and its astronomical significance. The shrine has been synthetic as a ratha or chariot.

Published: September 22, 2009

Sphinxes in Indian Fine art and Tradition by Raja Deekshithar

A pair of purushamrigas (sphinxes) guard the archway of the Shri Shiva Nataraja temple in Chidambaram, Republic of india. With lion bodies, total flowing and curling mane surrounding their human being faces, looking out at the worshippers with a Mona-Lisa-similar smile, they accurately represent to the sphinx and so well known from the mythology and art of other parts of the ancient world.

Published: July 31, 2009

The Silvery Jug of the Lhasa Jokhang: a Reply by Ulrich von Schroeder & Joachim K. Karsten

In 2003 Amy Heller published an commodity, where she attributes the famous silver jug with an animal head in custody of the Lhasa Jokhang indisputably to Tibetan craftsmen. She refutes categorically the possibility that Sogdian craftsmen from western Central Asia could accept created this masterpiece.

Published: July 13, 2009

NAGESHVARA NATARAJA; 885 past Raja Deekshithar

Nataraja is chosen "one of the well-nigh popular forms of the god Shiva" by the great scholar of South Indian fine art and architecture, Dr. Douglas Barrett. Following his and other scholars' piece of work, many authors support the thought that the Dancing Shiva as Nataraja was a tenth century innovation by Chola artists and architects.

Published: July 06, 2009

THE LUNGTA COLLABORATIVE: The Living Blessings of Lo by Maureen Drdak

LUNGTA - The Windhorse, is a collaboration of fine art, music, and dance, premiered to standing room just at the University of the Arts in Philadelphia on March sixth, 2009. The impetus for the collaborative and the imagery for its visual component-the LUNGTA Triptych - springs forth grade from that sublime altar of the earth that is the Himalaya—the Abode of the Gods, and from an artistic response to the global impact of accelerating change on its remarkable cultures.

Published: June 03, 2009

The Repoussé Images from Pharping by Kamal P. Malla

This paper attempts to analyze a group of sacred images and objects equally the images specifically made for festivities/Skt.utsavamūrtis of the Navadurgās made of gold copper repoussé. Information technology is focused on the social and cultural functions of these images, and equally a historical context, a dated copperplate, too is discussed.

Published: May 19, 2009

The Creatures of the Pelting Rivers, Deject Lakes: Newars Saw Them, So Did Ancient India by Gautama V. Vajracharya

The magnificent works of the Newar artists and architects of the Kathmandu valley include not only paintings, sculptures, residential houses, public edifice and majestic palaces but likewise water fountains comfortably positioned in public places nearly the residential surface area or inside the palaces. This article approaches presents a novel written report on the artistic significance of the water fountains and the meaning of the various creatures sumptuously carved on the spouts.

Published: Jan 07, 2009

Reflections on Amy Heller'southward Early on Himalayan Art by Melissa Kerin, Ph.D.

A review article: With up of 60 exhibitions and collections catalogues on Himalayan art published internationally since 1970, this genre has proven to be the nigh prevalent and well supported venue for addressing Himalayan cloth culture. Dr. Amy Heller's handsomely produced 175-page catalogue, Early Himalayan Fine art, while not an case of the massive, multi-authored undertaking of late, is indeed a volume of great significance.

Published: December 29, 2008

A Painted Book Cover from Ancient Kashmir by Pratapaditya Pal

The history of compages and sculpture from Kashmir'southward pre-Islamic past (1st c. BCE – 1300 CE) is well-apprised but nothing is known about painting. No example of pictorial art has yet come up to light in the Valley of Kashmir. The purpose of this article is to discuss a painted panel in woods that was introduced in the recent exhibition of the arts of Kashmir. This painted console is the only known object of its type that can be clearly traced to Kashmir itself and the artists there.

Published: December 22, 2008

A four-fold Vairocana in the Rinchen Zangpo tradition at Halji in Nepal past Mimi Church and Mariette Wiebenga

Halji is a village of some 85 households in the Limi valley of northwestern Nepal. It lies directly south of Mountain Kailash and Lake Manasarovar, separated from them by the Gurla Mandata massif. The village lies between steep rocky mountainsides and small terraced fields that descend to the river. The southeastern entrance to the village suggests the village'south importance as a religious center, with walls and cairns of inscribed stones between two stupas that each curvation over the trail.

Published: October 21, 2008

The Hereafter of Nepal'due south "Living" Goddess: Is Her Death Necessary? by Deepak Shimkhada

Many sensational articles accept recently appeared in the Western media, some with titles such as "Kumari in Peril," "Kumari Sacked from Her Throne," "Nepal's Living Goddess Retires," and "Nepal'due south Living Goddess May Die Before long." The final championship may bear witness to be prophetic because Kumari, as a tradition, is about to become extinct, if elements of Nepal'south new government and some Western human rights groups have their mode.

Published: September 10, 2008

Chinese Thumb Rings: From Battlefield to Jewelry Box by Eric J. Hoffman

It is not ofttimes that an implement of warfare evolves into an item of jewelry. But that is precisely what happened with Chinese archer's rings. From ancient times, archery in Asia was well developed for warfare, hunting, and sport. Archery implements have been unearthed in Chinese tombs going back at least 4000 years. A number of technological developments contributed to the success of archery in due north-eastern China. Among these was the employ of archer's rings, called she in ancient Red china (modern term banzhi).

Published: September 01, 2008

The Tibet Artisan Initiative and the Dropenling Handicraft Evolution Center by Claire Burkert and Tony Gleason

In the heart of the old Tibetan quarter in Lhasa, merely a 10 minute walk from the Jokhang temple, is the Dropenling Handicraft Heart. Because it sells crafts made simply by Tibetans, Dropenling has been popular with tourists who desire to purchase accurate Tibetan crafts. In 2007, Dropenling became a self-sustaining business whose profits are re-invested into further support of the Tibetan artisan customs.

Published: August 01, 2008

Mughal Jades - A Technical and Sculptural Perspective by Stephen Markel

Equally the French md François Bernier observed in a alphabetic character written in 1665 while traveling in Kashmir with the court entourage of the Mughal emperor Aurangzeb, jade was highly valued by the Mughal emperors. Mughal jade working presumably began nether the Mughal emperor Akbar, just did not achieve its full efflorescence as an art-form until the reigns of the two cracking aesthetes of the dynasty, the emperors Jahangir and Shah Jahan.

Published: July 14, 2008

TIBET – Monasteries Open Their Treasure Rooms by Michael Henss

A detailed review of a landmark exhibition of the art of Tibet: "monasteries and other institutions similar the Potala and the Norbulingka palaces in Lhasa have opened their doors – in many cases for the first time – and sent their treasures abroad, together with cultural relics at present preserved in the Tibet Museum at Lhasa...".

Published: December 25, 2007

Old Chinese Jades: Real or Fake? past Eric J. Hoffman

No textile is more than closely associated with China than jade, a stone the Chinese have used and revered for over 7000 years. But whenever growing numbers of collectors are chasing a fixed number of archaic and antique items, a profusion of copies, reproductions, and fakes arises to run across the demand. This article provides some hints on how to avoid beingness taken in when collecting Chinese jades. The focus is on older Chinese jades, which are typically carved from nephrite jade.

Published: December 10, 2007

A Rarity in Chinese Contemporary Art by William Hanbury-Tenison

Rarely, if always, does the auction marketplace beget a comprehensive snapshot of another fourth dimension and another identify. Yet, on the 20th September 2007 at 2pm, Sotheby'south New York volition be offering 12 paintings from the 1980s in China at the auction Contemporary Fine art Asia.

Published: September x, 2007

Snowlions Dancing on Clouds by Thomas L. Guta

Finding the core of weaving in Tibet is like unravelling a tangled skein. Loosening and loosening the loops and catches; getting down to the very heart of the knot, its nub, and seeing information technology to exist but a single strand. The realization dawns that nix was e'er at that place. This is the empty ground, the field of the carpeting upon which fertile imaginations played. Select another commodity on the Tibetan Carpet The Weavers of Tradition by Thomas L. Guta Auspicious Carpets: A Tibetan View of Aesthetics past Ted Worcester

Published: Baronial 21, 2007

Ophidian earrings of India past Waltraud Ganguly

Traditional earrings in the villages and tribal areas of Republic of india are manifestations of symbolism, religious meaning and social significance. A woman wears a item type of earring as a sign of identity, of membership in the defined social group into which she was born. Wearing the specific earrings of her community, she continues the tradition of her ancestors.

Published: July twenty, 2007

Organic Avatar: Teapot and Drinking Vessel Design Arroyo Nature from the East and W past Julie Rauer

Nature abounds in Yixing teapots, collaborative late Ming and Qing dynasty masterworks of artist-scholars, potters, calligraphers, poets, painters, and seal engravers. Quintessential literati object of the Due east, the Yixing teapot is 1 of dual refinement—as much intellectual vessel every bit pragmatic artwork—addressing the architecture and forms of the natural world on both intensely cerebral and purely aesthetic levels.

Published: May xiv, 2007

Auspicious Carpets: A Tibetan View of Aesthetics by Ted Worcester

This seminal article on Tibetan carpets by Ted Wo

johnsonraidearan.blogspot.com

Source: https://phohen.com/post-detail/asian-art-oriental-art-articles-on-asianartcom/50021239