Beginning in the early thirteenth century, works of art created in Tibet took on a distinctly Tibetan composition.
Beginning in the early thirteenth century, works of art created in Tibet took on a distinctly Tibetan composition.
Placed at the top of the paintings were the religious masters responsible for the transmission of the particular teaching depicted. The main figure and entourage representative of the teaching were depicted at the center. The practitioner and/or donor and subsidiary practices were shown at the bottom. The paintings had a rather rigid organization of space and a color palette dominated by red, occasionally set against a blue background. Beginning in the fifteenth century, green was used more prominently.
This section presents a range of early Tibetan works primarily dating prior to 1500. Although distinctive in composition, early Tibetan art quoted Indian and Nepalese art extensively. Accordingly Tibetans retrospectively differentiated works of the Eastern Indian Style (Sharri) and Kashmiri Tradition (Kache luk) from those of the Nepalese Style (Beri). These traditions remained strong, especially in western Tibet and the Western Himalayas, even while painting styles were rapidly changing in Central Tibet.
Select each work to learn more.
Tsang Province, Central Tibet
second half of the 14th century
This detailed representation of the Buddha’s life is based on a composition derived from northeastern India. At the center of the painting is a depiction of the Buddha’s awakening, with Mara, a personification of evil, and Mara’s army attempting to stop the Buddha from reaching enlightenment. Other scenes from the Buddha’s life surround this central image. They are arranged chronologically starting in the top-right corner and moving in a clockwise direction.
This artwork features many other characteristics of early Tibetan painting with close links to Nepalese art found across the Himalayas during the fourteenth and fifteenth centuries. These characteristics include the central Buddha sitting under a three-lobed arch supported by lotus columns; rosettes represented above his ears; his cranial protuberance (ushnisha) topped by a flame-shaped jewel; the dominant red color; the black background to differentiate the scenes from his life; and yellow lines defining the main parts of the composition.
Get the latest news and stories from the Rubin, plus occasional information on how to support our work.
