A revolutionary artist of Tibet : Khyentse Chenmo of Gongkar / by David P. Jackson ; with contributions by Mathias Fermer

• Superior document: Masterworks of Tibetan painting 6. volume
• VerfasserIn: Jackson, David Paul 1951-
• MitwirkendeR: Fermer, Mathias
• Herausgebendes Organ: Rubin Museum of Art
• Place / Publishing House: New York, NY : Rubin Museum of Art, [2016]
• Year of Publication: 2016
• Language: English
• Series: Masterworks of Tibetan painting 6. volume
• Classification: 11.93 - Buddhismus; 20.30 - Kunstgeschichte: Allgemeines; 20.51 - Buddhistische Kunst
• Physical Description: XI, 361 Seiten; 31 cm
• Notes: Enthält: Khytentse Chenmo: his life and art -- Gonkar Dorjeden and its Thekchen Chöje traditions -- Previous research -- A recent introduction of Kyentse Chenmo and his art -- Original murals surviving in Gongkar Monastery -- Original paintings on the first and second floors -- Mural paintings of the Sakya founding masters with two Hevajra lineages / by Mathias Fermer -- Sculptures of the lineage masters from Drathang and related Khyenri paintings -- Four sculptures from Drathang and related Khyenri paintings -- Thangka sets depicting the Lamdrew lineage by Khyentse Chenmo -- Paintings of the kings and kalkins of Shambhala by Khyenste Chenmo -- Paintings of the sixteen arhats by Khyentse Chenmo -- Khyenri-style Thangka sets from the sixteenth century -- Khyreni-style Thangka sets from the seventheen century -- Yeshe Tendzin, a twentieth-century painter from Gongkar / by Mathis Fermer -- The possibilites and limitations of dating Tibetan art

In "A Revolutionary Artist of Tibet" author David Jackson focuses on the Khyenri style, the least known among the three major painting styles of Tibet, dating from the mid-fifteenth through the seventeenth century. The painting of Khyentse Chenmo, the founder of the Khyenri style who flourished from the 1450s to the 1490s, was significant for his radical rejection of the prevailing, classic Indic (especially Nepalese-inspired) styles with formal red backgrounds, enthusiastically replacing them with the intense greens and blues of Chinese landscapes. Khyentse was famed for his fine and realistic looking work, both as a painter and sculptor. His painting style has often been overlooked or misunderstood by scholars-sometimes misidentified as an early example of the Karma Gardri style - but it is a missing link in the history of Tibetan painting. The Khyenri style is now most closely linked with a small sub-school of the Sakya tradition, the Gongkarwa. The most important in-situ murals of the Khyenri style survive at the Gongkar Monastery in southern Tibet, south of Lhasa near the Gongkar airport. There we find murals by the hand of Khyentse Chenmo himself; many of them were covered by a layer of whitewash and thus escaped destruction during the Cultural Revolution. Jackson also brings to light several of Khyentse's paintings in museums outside Tibet, including some that have been unrecognized for over a century