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Rare Cache of Centuries-Old Buddhist Murals Discovered in western Sichuan

2007-11-18T01:46:00.001-08:00

A team of architectural conservators working in the Minyak region of the eastern Tibetan plateau has discovered an unusual temple containing extensive Buddhist murals painted in a style that was previously known only in central Tibet.

The paintings were found in a small temple called Trupa Lhakhang in Pusarong Village, Kangding County. Because of the remoteness of the site, the paintings escaped the destruction of China's Cultural Revolution, surviving to the present day virtually intact.

Tibetan art historians consulted by Kham Aid Foundation observe that the paintings strongly resemble murals painted in central Tibet, specifically Gyantze, which is located more than 1,000 kilometers from Pusarong. They are tentatively dated at 16th century. It is not known how or why artists traveled from central Tibet to paint murals in Pusarong.

The temple building itself is also mysterious: it is constructed in an architectural style unlike others in the region. Details of roof and door construction, and metal decorative elements on the temple door, suggest influence by another ethnic group, possibly Naxi.

The paintings, which adorn four walls, ceiling panels, and columns, cover more than 160 square meters. Red is the dominant color, in contrast to most Buddhist art of the eastern Tibetan plateau which features dominant blue-green coloration. The main subject of the murals are figures of Buddhist deities embellished by elaborate backgrounds that include a multitude of symbolic pictorial elements. The use of strong red, lack of blending, shapes and coloration of deity faces, stylistic details, choice of embellishments, and what seems to be central Asian influence all contribute to an impression of similarity between the Pusarong paintings and those of central Tibet.

Because the temple roof is in poor condition, Kham Aid Foundation is undertaking to replace it so that the murals will be better protected from monsoon rains. The paintings, though in generally good condition, are threatened by flaking and separation from their underlying walls. Later this year Kham Aid Foundation will dispatch a wall paintings conservator who will recommend interventions to prevent future loss of this rare and potentially significant find.

To better understand the origins of the building and paintings, Kham Aid Foundation is working with art history researcher Luo Wenhua of the Palace Museum in Beijing.

Protection of the building and paintings will be coordinated with the Sichuan Cultural Relics Bureau and local authorities.

Kham Aid Foundation was established in 1997 to protect the cultural heritage of the eastern Tibetan plateau and to provide humanitarian and development assistance to the people living in the region. It has led wall paintings and architectural conservation at four other sites in Tibetan ethnic areas of western Sichuan.

Tibetan Om Mani Stones

2007-11-15T07:56:00.001-08:00

Tibetan Om Mani Stones for Peace and Compassion Tibetan believe that saying the mantra (prayer), Om Mani Padme Hum, out loud or silently to oneself, invokes the powerful benevolent attention and blessings of Chenrezig, the embodiment of compassion. Viewing the written form of the mantra is said to have the same effect -- it is often carved into stones, and placed where people can see them.

Tibetan Singing Bowls

2007-11-15T07:48:00.001-08:00

Tibetan Singing Bowls Singing are used in meditation and ritual practice. It is said that they produce the sacred sound of 'OM'. All of our bowls are chosen for their quality. We carry hand hammered. cast or older bowls.

Our cast bowls are wonderful for beginners. They have a single tone and are very easy to sing. Our hand hammered bowls are chosen by hand by owner Sander Cohen. Sander is a musician and alumni of the Berklee College of Music. He has been collecting bowls for over a decade and seeks out the finest bowls available.

Be wary of websites selling 'antique' bowls. Dating antique bowls is very tricky business and antiques are highly regulated in Nepal. You can click on the 'Listen' Logo to hear each bowl. ENJOY!

Statues of Buddha

2007-04-11T03:13:00.001-07:00

Copper，bronze，gold, silver，iron，crystal, graphite and mercury are all used in the making of Buddha images in monasteries．The processes include smelting，founding，engraving and polishing，and the statues are often inlaid with jade, pearls，gold and sliver Stone Buddha，wood－engraved Buddha and clay Buddha are also worshiped in Tibetan monasteries and temples．These images too exhibit the artistic characteristics of inland China，India and Nepal．

Statues of Songtsan Gambo,Tang Dynasty Princess Wencheng,and Nepalese Princess Bhributi.

Statue of Sakyamuni, founder of Buddhism, in the Jokhang Monastery, which equals the size of the Buddha when he was 12 years old.

Statue of Tsong khapa, founder of the Yellow Sect, enshrined in the Potala Palace.

Statue of Qamba Buddha in the Zhaxi Lhunbo Monastery.

Clay statue of Buddhist guardian in the Zhaibung Monastery.

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Ancient and modern adornments in Tibet

2007-04-09T05:25:00.001-07:00

As early as four thousand years ago, the Tibetans already had developed an initial aesthetic ideology, a case in point being the adornments unearthed from the Karub ruins in Qamdo. During that time, adornments were mainly made of pottery, stone and seashell and the types of adornments were also colorful and abundant, including plate adornments, necklaces, bracelets, jade, etc. The color was original and natural and the production method was simple and unsophisticated. In regard to stone adornments, colorful stones had already been selected and used besides common stones. In addition to some natural finished products, people had already exerted their imagination to carve the adornments into various shapes. Among those unearthed adornments there was a bone hairpin. On top of it there were carved three cuneiform shapes of different sizes. It has a very good adornment effect, and not only epitomizes the bone carving crafts of the early Tibetan ancestors but also indicates that they had the custom of wearing coiled hair. It is interesting to find some necklaces made of seashells among those unearthed objects. Each bead is so tiny that it is hard to imagine what tools they used to perforate the beads.

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Founder of "Clay Figure Zhang"

2006-10-31T19:22:00.000-08:00

Mr. Zhang Changlin, with the style name of Mingshan, began to learn the fabrication of the mud molding from his father since his childhood, and practiced with some stunt skills. When making figure for somebody, what he only need to do was to sit with people face to face, while twisting the mud in his hands, and made his composure and finished the work within a minute. The faces and eyes in the small size are not only lifelike, but also very vivid. The themes for the works of the colorful molding by " Mud Molding Zhang" were very extensive, either reflecting the fold customs, or adopting the materials from the folk story or the dramas on the stage, or directly adopting the materials from the famous classical works like "108 Rebellious Marshals", "the Red Mansion" and "The Story of Three Kingdoms", etc.. He molded the figures not only displaying the vivid shape, but also describing the spirit with the shape, combining the shape and the spirit perfect together.

The colorful mold by "Mud Molding Zhang" applies simple and bright color, with the elaborately selected materials. The mud mold can be preserved vividly and lifelike for a long period without being dried or cracked, enjoying a high reputation in the world.

Founder of "Clay Figure Zhang"

2006-10-23T00:50:00.000-07:00

The inventor of the "mud molding" art in Tianjin is Mr. Zhang Changlin.Mr. Zhang Changlin, with the style name of Mingshan, began to learn the fabrication of the mud molding from his father since his childhood, and practiced with some stunt skills.

The mud molding in Tianjin already had the tremendous reputation in Qianlong and Jiaqing periods in Qing Dynasty. What really made the mud molding in Tianjin shine the extraordinary splendor, and become the rare flower in the folk art, is the color molding by the "Mud Molding Zhang", who has improved the traditional mud molding into a level of the round-molding art, decorated with colors and properties, and forming the unique style. The inventor of the "mud molding" art in Tianjin is Mr. Zhang Changlin.

Alluring Artworks from Straws

2006-08-29T07:07:00.000-07:00

Alluring Artworks from Straws

The straw patchwork is basically an art of "cut-and-paste", just like paper-cuts. There is a series of complicated procedures to make wheat straw a beautiful artwork. With its unique luster, the straw patchwork is of high value both for decoration and esthetics. Human figures, birds and flowers as well as animals on the patchwork are all very lifelike, revealing an elegant and classic demeanor.

The straw patchwork was originally an imperial art craft during the Sui Dynasty (581-618) but later was lost for a long time. It first reappeared in Henan, Guangdong and Heilongjiang provinces. In 1980s, folk artist Liu Limin revived the art form after many failed attempts.

Liu lives in Henan Province, a place teeming with wheat, which provides good resources for the straw patchwork. The village where she lives has a tradition of producing various crafts made of wheat straw for more than 250 years. Here, Liu began to weave up her own dream of reviving the ancient art of straw patchwork. For more than five years, she has endeavored to make all kinds of experiments. With her imagination and artistic knowledge, she finally summed up a set of manufacture procedures, reviving the long-lost art form.

To make the patchwork, the wheat straw first has to be soaked in a special kind of chemicals for 30 minutes, which will make the straw antiseptic, mothproof and more flexible. Then the useless parts are cut off and the straw is split from the middle. The straws are flat when they are dry, but they are still raw materials and can't be used directly. The inside of the straws needs to be scraped thinner, leaving only the shining "skin" of straws. The straws also need to be colored. The method for coloring is not dye but carbonization, which is depigmentation-preventable.

In order to keep the shape of the straw patchwork for a longer time, Liu has developed a special kind of glue and chemicals used to intenerate the straw after years of research and hard work, which has been patented. The glue and chemicals are epurated from the herbals in the mountain, which makes the straw patchwork totally "natural" and environment-friendly.

The artists of straw patchwork make full use of the natural color and texture of wheat straws. In the deft hands of the artists, the common straws become alluring artworks. The huge straw patchwork made by Liu, Lady of Guo Country Goes Sightseeing in Spring, has been collected by the Great Hall of the People. Five cows, has won the Golden Award of Folk Art at the Second China International Folk Art Exposition.

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2006-08-22T10:05:00.000-07:00

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2006-08-17T01:43:00.000-07:00

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2006-08-04T09:15:00.000-07:00

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2006-08-01T01:14:00.000-07:00

From India to China: Transformation of Buddhist Philosophy

Buddhism didn't march into China with the entourage of the 28th Patriarch, but rather trickled in--the way most ideologies with staying power latch themselves to the minds and imaginations of a people.

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2006-07-31T09:07:00.000-07:00

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