In A Tibetan Artistic Genius and His Tradition, David Jackson's focus is the Khyenri style, the least known among the three major painting styles of Tibet, dating from the mid-fifteenth through the seventeenth centuries. The painting of Khyentse Chenmo, founder of the Khyenri style who flourished in the 1450s-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, but is a missing link in the history of Tibetan painting as it has often been misidentified as early examples of the Karma Gardri style. The Khyenri style is now most closely linked with a small sub-school of the Sakya school, 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. Dr. Jackson recently discovered several of Khyentse's paintings in museums outside Tibet, some of which had been unrecognized for over a century.

-A catalog to accompany the first museum exhibition devoted to the Indian influences in Francesco Clemente's work and relation to the artistic practices and traditions of various regions in India. Features approximately 20 works, including paintings from the last 30 years and four new sculptures created especially for the exhibition. In contrast to leading conceptual art practices of the 1970s, Clemente refocused attention on representation, narrative, and the figure, and explored traditional, artisanal materials, and modes of working. Since his first trip to India in the 1970s, Francesco Clemente immersed himself in the country's rich cultures as well as the everyday life and artistic practices of local people. Transforming ancient symbols, myths, and ideas, he has created a personal visual language of dreamlike landscapes, animals, and human figures drawn from recollections of his travels. Themes of sexuality, mythology, and spirituality, along with imaginary narratives of violence, intrigue, fragmentation, love, separation, and jealousy are seen throughout his oeuvre.---

Published in conjunction with an exhibition held at the Rubin Museum of Art, New York, Oct. 7, 2011-Feb. 27, 2012.

Romio Shrestha, Tibet's foremost traditional artist, uses the age-old technique of painting with rich minerals such as gold, lapis, and garnet to provide a beautiful re-creation of revered, 400-year-old, Tibetan "thangkas" on the art of healing--long considered lost. Tibetan scholar Ian Baker guides us through these exquisite paintings, unfolding their invaluable insights to remedies for a myriad of illnesses. Full color.

A complete introduction to Tibetan art presented in the context of Tibetan Buddhism. Amy Heller places the artwork within its historical social and religious context utilizing in situ photographs from Tibet. It spans 1400 years of art history.

From the highly respected authors of Abrams' acclaimed Wisdom and Compassion: The Sacred Art of Tibet comes a new volume devoted to 200 sublime Tibetan thangka paintings from the premier New York collection of Shelley and Donald Rubin. The works span the 12th through 20th centuries and the spectrum of Tibetan artistic schools; each one is reproduced in color and most are published here for the first time.This magnificent volume presents an analysis of each painting in terms of iconography and religious meaning, style, regional lineage, and sources. In addition, David Jackson discusses the paintings of the Kagyupa order in the Rubin Collection.This volume continues the authors' groundbreaking efforts to understand the complexity of Tibetan art, and seeks to make these splendid and profound works accessible to a wider public.

The thirty-four essays in this volume follow the particular interests of Leonard van der Kuijp, whose groundbreaking research in Tibetan intellectual and cultural history imbued his students with an abiding sense of curiosity and discovery. As part of Leonard van der Kuijp’s research in Tibetan history, as he patiently and expertly revealed treasures of the Tibetan intellectual tradition in fourteenth-century Tsang, or seventeenth-century Lhasa, or eighteenth-century Amdo, he developed an international community of colleagues and students. The thirty-four essays in this volume follow the particular interests of the honoree and express the comprehensive research that his international cohort have engaged in alongside his generous tutelage over the course of forty years. He imbued his students with the abiding sense of curiosity and discovery that can be experienced through every one of his writings, and that can be found as well in these new essays in intellectual, cultural, and institutional history by Christopher Beckwith, the late Hubert Decleer, Franz-Karl Ehrhard, Jörg Heimbel and David Jackson, Isabelle Henrion-Dourcy, Nathan Hill, Matthew Kapstein, Kurtis Schaeffer, Michael Witzel, Allison Aitken, Yael Bentor, Pieter Verhagen, Todd Lewis, William McGrath, Peter Schwieger, Gray Tuttle, and others.