By Marylin Rhie, Robert Thurman, John Bigelow Taylor

Tibetan Buddhists see the realm in realities, of relative and absolute: the relative international is skilled as both the normal global of samsaric ache or the intense country of common bliss and fulfillment.

these enlightened comprehend their crucial oneness with the universe and believe the comfort of a joyful connection to every little thing. A Shrine for Tibet is a fantastically illustrated party of this philosophy via Alice Kandell's great number of paintings from the fifteenth Century Ganden Renaissance all the way through to the seventeenth Century development of the Potala Palace, and into the 18th and nineteenth Centuries, the place Mongolian and Manchu Qing Buddhist artwork bloomed within the Tibetan culture.

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Additional info for A Shrine for Tibet: The Alice S. Kandell Collection of Tibetan Sacred Art

Sample text

Of rhe ci htcenth or early nineteenrh century (No. nI -6). The Tso ng Khapa sculpture No. II-J 2, the Padilla S3m bhava in No. 11-2. and th e Buddha images Nos. I- I) 1-4, 1-9, and IV-6 are all major images that exem plify the sry l~ frol11 Central Tibet around the mid-eighreenth ce ntury. during th e time of the Seventh Dalal Lal11:1 (1708-57). They reveal a sophisricated, eclectic sryle rhat com bines elements of hinese and traditional Tibcm n modes l particul arly using tb e repousse rechn ique.

There is a qu ality of bold cha racteriza rion in the faces th,:H links them with rhe Gyanrse style of rh e second quarter of rh e fifteenth cenrury. There is naive aw kwardn ess in the proporti oning; their massivel y rounded limbs :md midsection, shorr rorso, an d narrow shoulders are an unusua l combination, It nevertheless tends to impa rt a strong human appeal that is also fos rcred by the expre siveocss of the large, oudined facial fea rures heightened by colorful copper and silver in la)'.

5 from ca. the second quartc r of the fifteenth century. which prod uced the first major wav{' of naturalistic art in T ibet, one can see both the mdebtedness of this seventeenth-centur~' style to earlier modes and the development of a greater mastery of the forms mto a sop hl~lIcated. coherent emit},. 1 deeper level of underSlanding the inherent inner wo rkings of line and form functioning ,11 the service o f a na tura listic ideal. 'ater maturity 111 style withou t artificial in . cursions of d('(or;\II\"{' pancrlllng or manm'red touches.

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