Principles of Tibetan art: Illustrations and explanations of Buddhist iconography and iconometry according to the Karma Gardri school

333 Pages·1983·13.11 MB·English

by  Lama Gega

PRINCIPLES OF TIBETAN ART
Illustrations and explanations of Buddhist
iconography and iconometry
according to the Karma Gardri School
by
GEGA LAMA
master painter of the Karma Gardri School
VOLUME I
DARJEELING, W B
INDIA
1983

RABSEL DAWA
q^ 'q? ^ ^ ^ | , ^ ^ , q ^
FOREWORD
This is s book on ths bodily proportions of sscrsd figures, ons of the
brsnohes of ths manual srts, s division of ths trsdltlonsl tsohnlosl solsness
which fora one of the five main fields of knowlsdgs. These Illustrations are
the work of ths Llngtsang artist Gaga Lama and they are authoritative, having
as their ultlaats sources the Sutras, Tantras and Practical Instructions.
This first publication of these drawings Is an act of ssrvics to ths Buddhist
Doctrine, and It la certainly trustworthy. Therefore I havs written this
foreword. In order that others aay energetically study and thus carry on ths
tradition of artistic practice In an undeteriorated state, and so that they
may have confidence In this book.
With prayers for ths Increase of excellent merit,
j I)S,\ •>. f ^
Dhlngo Khyentse Rlnpoche

TABLE OP CONTENTS
preface
Introduction
Dedication
Chapter One i The orlfflna of the Graphic arts of Buddhism
Chapter Two i The ties of Artist and patron
Chapter Three s The charaoteristics Determining the Quality of Images
Chapter Four i The proportions of Reoeptaoles of Fon — I sages
Chapter Fire t The proportions of Receptacles of Speech — calligraphy
Chapter Six i The proportions of Receptacles of Mind — stupas
Chapter Seven s The Ilesents of conposition — Garments, Hats» Gestures,
implements
Appendix i some controversial points in painting
Various Drawings
Colophon

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PREFACE
In explaining artistic traditions, there are physical, verbal, and mental
art forms to be considered: this book is concerned with physical media,
particularly the graphic arts. It is also concerned with traditional standards,
rather than improvisation; and with the finest expression of those traditional
forms, not the more ordinary applications. For these reasons, a word on the
sources used seems in order* The principal text used was Music to Delight a
Clear Intellect (bLo.gsal*dgyes*pa'i.rol.mo)f‘ which synthesises ideas found in
the works of various masters — (the eighth Karvnapa hierarch) MlkyO Dor Je, the
omniscient ButBn (Rlnchen Drup), Menla D&ndrup of Mentang, the regent (of the
fifth Dalai Lama,) Sangyay Gyatso, and Trengkawa Lodrb Zangpo. These masters
elaborated on earlier sources, sutras and tantras such as the Kalacakratantra
(dPal*dus*kyi*'khor*lo'i*rgyud), the Mahasamvarodayatantraraja (dPal.sdom.par*
•byuna.ba'l.rgyud), the (?) KSlayamatantra (aSin.rje.nag*po*i.rgyud), and the
¿¿rlputrapariprcchSsutra (Sa.ri*i.bus.zhus.pa'l.mdo). Additional sources for
this book were the texts Beautiful Ornaments of the Arts (bZo.ria.mdses.pa*i.
kha.rgyan) by Lobzang DamchO Gyatso, and Radiant Sun (Rab*asal*fTl*ma) by
Mipam Choklay Namgyal. The oral instructions of my teachers, and my own
experience, influenced my writing of this book as well. Althouqh the actual
text may differ slightly from the old manuals, I see no contradiction but only
harmony with the spirit of the tradition: there is no confusion or distortion
in what Is presented here*
Springwat^r, snowmelt, mountain streams — different, yet
All come from the ocean and flow back to the ocean:
Likewise, distinct traditions of knowledge deriving from
Indian and Tibetan masters.
Arise from the tantras and harmonize with the spirit of
the tantras*
A word on the system of dating u-ed in this book: there are numerous
different systems put forth by scholars; that adopted here for datlna the
buddhlst era (B.E.) from the year of the Buddha's parlnlrvSna follows the
widely-accepted method of the Theravada school of £rl Lanka* This agrees with
the system expounded by the great scholar of Kashmir (Kha*che*pan*chen ¿Skyadrl),
and is the same view as that expressed by the former hierarch of the Kagyu school,
the fourteenth Karmapa (Theg.mchog.rdo.rJe, 1798-1868). For example, in the
calendar currently in use among Tibetans, the length of time from the year of
the Teacher's passina until the end of the present and sixteenth actual cycle
of sixty years would comprise a total of forty-two such cycles, hypothetically,
with a surplus of ten years* Supposing the first of these cycles had begun with
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the fire hare year eleven years after the Teacher's passing (accountino for-the
ten-year surplus)« the Iron bird year of the ninth cycle would correspond to the
year of the passing of Jesus Christ; the fire ox year of the twentieth cycle,
to the birth of Songtsen Gampo, the thirty-third king of the Tibetan royal dynasty;
and the fire hare year of the twenty-seventh cycle« to the start of the first
sixty-year cycle In the calendar actually In use nowadays.
Noble character lies In the illumination of the depths of
one's experience;
Skilful transmission, In the continuing legacy of precise
intelligence:
With none of these qualities, I am an insignificant product
of my times.
Merely a follower In another’s footsteps.
Gega Lama.
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