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.

A millennium of paintings, textiles, metal sculptures, ritual objects; aesthetic, religious contexts.

By studying these texts within and examining the styles of the manuscript illuminations, Amy Heller was able to shed light on the lost history of this remote Tibetan enclave, the spread of Buddhism in the Himalayas and its artistic legacy. The manuscripts, sculptures and mural paintings discovered in Dolpo are the concrete expression of the complex economic, political, artistic and religious interactions between the people of Dolpo and their neighbors in India, Nepal and Tibet. --

Logan, who founded the nonprofit Kham Aid Foundation to support conservation of the murals of Tibet's Pewar Monastery, provides a firsthand look at Tibetan culture and the fate of their Buddhist monasteries under Chinese Communist rule. Maps, color and bandw illustrations, and appended material (with some references) help detail her travels from 1994-98 among these people, their languages, treasures, and conservation techniques. Annotation copyrighted by Book News, Inc., Portland, OR

The Treasure tradition of the Nyingma School of Tibetan Buddhism posits that in the eighth century, various adepts hid spiritual instructions (gter ma, lit. “Treasures”) for the purpose of future discovery at auspicious times. Tibetan Treasure Literature discusses central themes and personalities in the history and practice of this tradition. It presents the first thorough survey of the revelations of the great visionary master Chokgyur Dechen Lingpa (1829–1870), including translations of selected texts with detailed commentary by Khenpo Rinchen Namgyal, one of Chokgyur Lingpa’s foremost students. Also included is a discussion of the criteria for evaluating the authenticity of those beings who claim to have revealed such Treasures of Buddhist teaching, by the renowned master Ju Mipham (1846–1912).

The world-famous Buddhist monastery of Alchi in Ladakh, India, is the best-preserved temple complex in the Himalayas. Proposed for inclusion in the UNESCO World Cultural Heritage list in 1998, the monastery's artworks reveal influences from India and Tibet across Central Asia and Iran, even as far back as Ancient Greece. Housing thousands of rare paintings and sculptures from the area dating back to the eleventh century, it provides fascinating insight into the spiritual and secular life of medieval Kashmir and Western Tibet. The Dalai Lama has authorized the publication of images of these Buddhist masterpieces for the first and only time. Beautifully photographed by Peter van Ham, the images in this volume capture the miniaturesque delicacy and broad range of color of these precious works. With essays by renowned Tibetologist Amy Heller, and a foreward by His Holiness the Dalai Lama himself, this once-in-a-lifetime volume offers fascinating new insights--including a large panorama double gate fold--into one of the most beautiful monasteries in the Himalayas.

This magnificent volume commemorates a historic exhibition that brought early Buddhist treasures from Japan's ancient capital, mostly from the Nara National Museum, on their first visit to the West. Here are 87 transcendent masterpieces: archaeological finds, paintings, sculpture, crafts, and calligraphy from the seventh through the fourteenth centuries, works that capture Buddhism's yearning for a state of grace and for communion with the divine.

This book provides accurate, accessible translations of three classics of medieval Indian Buddhist mysticism. Since their composition around 1000 CE, these poems have exerted a powerful influence on spiritual life.

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.

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.