Constructed between 1945 and 1947 by Jacques Marchais (the professional name of Jacqueline Klauber), the Jacques Marchais Museum of Tibetan Art in Staten Island houses more than 1200 pieces of Tibetan Buddhist art from China and Mongolia, dating from the 17th to the 19th centuries. Two essays about the history of the museum and the history of Tibetan Buddhism open the catalogue, which contains 169 objects from the museum's collections.

This book explores the iconography of Padmasambhava, a famous and timeless figure in Tibetan and Himalayan Buddhist cultures. Padmasambhava, a legendary Buddhist master believed to be instrumental in bringing Buddhism to Tibet, is often known as "The Second Buddha." According to popular legend, Padmasambhava miraculously appeared as a boy in a lotus blossom floating on a lake. The Second Buddha: Master of Time explores visual expressions of Padmasambhava's legends in sculptures, textiles, paintings, illuminated manuscripts, and a portable shrine that date from the 13th to the 19th century. Essays present new scholarship on Padmasambhava and show a central and multidimensional character with an enduring place in Tibetan and Himalayan Buddhist cultures. Published in association with the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College

Images and descriptions of art objects that represent the scope of the museum's collecting.

Accompanying an exhibition to be held in New York during late fall of 1998, Sacred Visions is a superbly illustrated volume of art works from the 11th to the mid-15th centuries which includes scholarly essays that relate to the paintings to be displayed.

This catalogue opens with two essays about the history of the Jacques Marchais Museum of Tibetan Art and the history of Tibetan Buddhism. It contains 169 objects from the museum's collections. It should be of interest to students of Tibetan studies and art historians.

The rich artistic heritage of Tibet reveals the depths of meditations of great masters, translated into the majestic abundance of iconic symbols that take the form of three-dimensional images or two-dimensional thankas. Tibetan Art is a comprehensive introduction to the complex iconography of thankas. It provides a glimpse of the mindground of this art and the land where it flourished. Although Tibetan Art portrays the historic Buddha Sakyamuni, the arhats, spiritual masters, great lamas, and founders of different religious lineages, the preponderance of its images depict supramundane beings. Predominantly these are: the Buddhas, Bodhisattvas, female deities, protectors or tutelary gods (yi-dams), defenders of the faith, guardians of the four cardinal points, minor deities and supernatural beings.

For millions of people around the world, Tibet is a domain of undisturbed tradition, the Dalai Lama a spiritual guide. By contrast, the Tibet Museum opened in Lhasa by the Chinese in 1999 was designed to reclassify Tibetan objects as cultural relics and the Dalai Lama as obsolete. Suggesting that both these views are suspect, Clare E. Harris argues in The Museum on the Roof of the World that for the past one hundred and fifty years, British and Chinese collectors and curators have tried to convert Tibet itself into a museum, an image some Tibetans have begun to contest. This book is a powerful account of the museums created by, for, or on behalf of Tibetans and the nationalist agendas that have played out in them. Harris begins with the British public’s first encounter with Tibetan culture in 1854. She then examines the role of imperial collectors and photographers in representations of the region and visits competing museums of Tibet in India and Lhasa. Drawing on fieldwork in Tibetan communities, she also documents the activities of contemporary Tibetan artists as they try to displace the utopian visions of their country prevalent in the West, as well as the negative assessments of their heritage common in China. Illustrated with many previously unpublished images, this book addresses the pressing question of who has the right to represent Tibet in museums and beyond.

Locate paintings geographically using a method similar to that used for locating paintings in time