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Ling Ding AR 494: Senior Thesis Professor Weitz 9/25/17 Research Proposal

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Ling Ding AR 494: Senior Thesis Professor Weitz 9/25/17 Research Proposal Ling Ding AR 494: Senior Thesis Professor Weitz 9/25/17 Research Proposal Research Question and Hypothesis: The main goal of this research paper is to analyze the historical and stylistic significance of the Buddhist wall paintings from Tholing Monastery in Ngari, Tibet, in the context from the first golden age of Western Himalayan culture to the heyday of Guge art from around 11th to 16th century. I will work specifically on “Portraits of Atisha and Te Shes’od” from the White Temple of Tholing Monastery, and talk about 1) how the subject matter of this painting represents the historical significance of Tholing Monastery, as the origination and religious center for Buddhism revival in 11th century in Western Tibet? 2) how does the artistic style of this painting represent a continuity of international style of Guge in previous period under strong Indian-Kashmir influence, at the same time preserved certain Western Tibetan idioms can be easily identified.1 1 Michael Henss, “Wall Paintings in Western Tibet: the Art of the Ancient Kingdom of Guge, 1000-1500”, Marg 48, no.I (1996): P35. Statement of Significance: A comprehensive investigation on Guge on its architectural sites, historical relics, religious significance, pilgrimage activities and local environment have already been taken, but more focused on the documentation of the buildings, artefacts, plans, inscriptions, photographs, and varies data. This paper will focus more on an analysis of subject matter, iconographical and art historical problems of the wall-paintings of Guge, specifically on a wall-paintings from around 15th century. Iconographic analysis will be done in comparison with paintings from the earlier period (around 11th century) in Guge area, as well as from mainland Tibetan area from the same time (around 15th century). As a result, the comparison between the ones from different periods or different areas, would points to the two main different influences on the artistic style of the paintings I researched on, under its religious and historical circumstances. Method and Process: I would first start with the historical review of Buddhist events in Guge area. Before “the First Propagation of Buddhism”, the major Buddhist art and architecture probability did not exist. The renewed monk-king Yeshe O promoted a revival of Buddhism and brought Buddhist dharma to a unique first heyday in this area, who became the patron of one of the greatest monk scholar and translator in Tibetan history, and Renchen Zangpo founded the important monastic centers including Tholing and Tabo.2 In 1042 Yeshe O invited the Bnegal master Atisha to visit his Kingdom. Renchen Zangpo, with several students went to Kashmir to study Buddhist philosophy returned in 995/96 from his intellectual center Mahayana to Guge with thirty-two Kashmir artists.3 As both characters are depicted as honored Buddhist teachers for local believers in the painting “Portraits of Atisha and Te Shes’od”, the painting can be regarded as the records of the historical Buddhist event. The facts also reveal the extreme close relationship between early Western Himalayan and Kashmir art, which would lead to our later discussion. 2 Henss, 35. 3 Henss, 36. Then I would start my iconographical analysis. The Tholing Monastery has remained for the most important center of Buddhism in the Western Himalaya for a hundred years. Due to the isolated location of Ngari district, it has particularly no artistic contact with the cultural “mainland” of Tibet, but closely related to Kashmir and Indian border areas such as Ladakh and Spiti in 11th century.4 However, until around 15th century, when “Portraits of Atisha and Te Shes’od” was painted, although the Guge paintings of the second Golden Age did not develop in isolation from central Tibetan art of the period, they still preserved certain Western Tibetan idioms can be easily identified.5 As a result, the painting “Portraits of Atisha and Te Shes’od” is a combination of the international style from previous period in Guge, as well as the mainland Tibetan local style. Result: The Buddhist wall-painting from the White Temple of Tholing Monastery in Ngari, Tibet, “Portraits of Atisha and Te Shes’od”, represents the historical and stylistic significance of Guge art from around 11th to 16th century. The subject matter of this painting represents the fact that Tholing Monastery was the origination and religious center for Buddhism revival in 11th century in Western Tibet, with frequent cultural exchange with India and Kashmir. And the artistic style of this painting represent a continuity of international style of Guge in previous period under strong Indian- Kashmir influence, at the same time preserved certain Western Tibetan style at that time period. Resources: Tucci, Giuseppe, Indian Paintings in Western Tibetan Temples, Artibus Asiae, Vol. 7, No. 1/4 (1937), pp. 191-204 Venerable Treasures, Ancient Fascination: Collections of Ancient Murals in Ngari, Tibet (the White Temple of Tholing Monastery), Zhejiang University Press, 2015. 4 Henss, 43. 5 Henss, 57. Henss, Michael, “Wall Paintings in Western Tibet: the Art of the Ancient Kingdom of Guge, 1000- 1500”, Marg 48, no.I (1996) 色莉玛《8-11 世纪西藏寺院建筑中来自印度佛教之因素：以桑耶寺与托林寺为例》 康 格桑益希，《阿里古格佛教壁画的艺术特色》 康 格桑益希，《西藏阿里古格藏传佛教壁画艺术特色初探》 桑吉扎西,《西藏阿里托林寺的建筑与壁画艺术》，《藏传佛教》2009 年第 2 期 次仁加布,《西藏阿里托林寺调查报告》，《中国藏学》1992 年第 3 期 .
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