Page 152 - Tibetan Thangka Painting Methodsand Mat, Jackson

IS. Zhu-chen, Gtsug lag, p.152.5. The Citralak~al)a was originally translated by
B. Laufer into German. See his Das Citralakshana
16. 'Brug-chen Padma-dkar-po, Bris sku'i rnam bshad (Leipzig, 1913). That translation has recently been
mthong ba don ldan, Collected Works (Darjeeling, rendered into English and published under the
1973), vol.7, p.310: 'dir sor phyed pa ma gsungs title An Early Document of Indian Art (New
pa ni rgyud zhal gsal mi gsal gyi khyad tsam du rig Delhi, 1976).
par bya stel don la de dgos pa yin nol
27. Tucci, voLl, p.292.
17. Bo-dong PaJ;].-chen, Sdom 'byung nas gsungs pa'i
sku gzugs sogs kyi cha tshad bshad pa, Collected 28. Mi-pham-rgya-mtsho, Sku gzugs, p.50.S.
Works, vol.2, p.356. Here the body length of the
Buddha in the Samvarodaya tradition is said to 29. No Tibetan writer known to us attributed the origin
measure ten thai mo of twelve and one-half sor. of the 120-sor Buddha to the bzo-rig treatises in the
See also p.373.2, where for the bodhisattvas he Tanjur.
specifies- that the extra one-half sor must be omitted
30. Rong-tha, p.133: yang thai mo drug pa dangl
from each thai mo measure. However, in another zhal tshad.gsum pa gnyis nil sngon rgya gar nas
work on religious art by Bo-dong PaJ;].-chen, Rten
gsum bzhengs tshul bstan bcos lugs bshad pa, byung ba'i sku gzugs tshad ldan la dpag nasi bod kyi
mkhas grub snga ma dag gis bshad laf. These two
Collected Works, voU, p.313.5, the class of peaceful
proportional classes, which Rong-tha termed
deities (including, apparently, Buddhas) are given a
measure of nine zhal tshad. See p.314.4. In the "Tibetan traditions" (bod kyi lugs) went back to at
same text (p.324.6) Bo-dong says that peaceful least the 14th century, since Rong-tha includes
them within Bu-ston's eighth class. See ibid., p.134,
proportions are mainly in accord with the Samvaro-
lines 11-13.
daya and the Sha ri bu yis zhus pa'i mdo. In this
system, he adds, the 125-sor measure of the There are a number of other traditional and
Kalacakra is not to be employed. See p.325.1. historical accounts wh~ch refer to the basing of the
proportions of painted images on old Indian statues.
18. Bo-dong in his Rten gsum, vol.2, p.317, stated that The chu len ma image, which in some traditions
sources such as the Samvarodaya mainly set forth was held to be the basis for an early style of painted
the proportions of pictorial representations: sdom Buddha images, was said by Stag-tshang lo-tsa-ba to
pa 'byung ba'i rgyud sogs lasl ri mo'i phyag tshad have originated from an impression of the Maha-
bodhi statue at Bodhgaya, made on a cloth using
gtso bar gsungsf. But he does not seem to be con-
trasting the Samvarodaya with the Kalacakra saffron dye. See Kong-sprul, Theg pa'i sgo kun las
btus pa shes bya kun khyab, (New Delhi, 1970),
system. He merely explains how the surface
voLl, p.S71.2. For a similar story see also KaJ:t-thog
measures of a three-dimensional figure must be
Si-tu, Gangs ljongs dbus gtsang gnas skor lam yig
appropriately expanded.
(Tashijong, 1972), p.30.S. Nam-mkha'-bkra-shis, the
founder of the Karma-sgar-bris painting style, as
19. Sde-srid, voLl, p.621.2: sman thang pa'i cha tshad
well as the Tenth Karma-pa Chos-dbyings-rdo-rje
kyi dgongs par gnas pa 'dra. See also vol. I, p.586.2.
were two later painters who are recorded to have
modeled some of their painted images on Indian
20. One of Gerasimova's main contributions to our metal figures.
understanding of Tibetan iconometry was her
insistence on this point, quite in agreement with 31. Rong-tha, p.133: yang zhal tshad lnga pa nil ratna
rak~ita sags bal po'i mkhas pa'i lugs yin laf. Ratna-
the Tibetan sources. See her "Compositional
rak~ita was the author of the Samvarodaya
Structure," p.4l, and also her "Anthropometric
Foundation," p.325. commentary. Dagyab, p.30, attributes to Ratna-
rak~ita the dimensions of the various postures of
figures, the eighth main section (thig chen or thig
21. Zhu-chen, Chos smra, p.348.4.
khang) of the Sman-thang-pa system.
22. Zhu-chen, Gtsug lag, pp.150-156. It is interesting to compare the Tibetan (or as
Rong-tha calls it, the "Newar") five-span propor-
23. Kriyasamuccaya, Peking Tanjur, vol.86 (Rgyud tion with the similar five-"face" proportion for
'grel, 'u), p.312.4.1 (f.35Ia.I). GaJ;].eSa as described by W. S. Hadaway, "Some
Hindu 'Silpa' Shastras in Their Relation to South
24. Rong-tha, p.133; Dagyab, p.29. Indian Sculpture," Ostasiatische Zeitschrift, vol. I
(1914), pAIL
25. Rong-tha,p.135.
32. Another Tanjur text, the Kriyasarrzgraha, actually
26. Peking Tibetan Tripitaka, voLl43, numbers gives proportions for all of the iconometric classes
5804-5807. But in the Derge Tanjur (according called into question by Rong-tha. To our knowledge
to the Ui catalogue) only two of these texts are no Tibetan writer on iconometry has cited this
found in the bzo-rig section: no.4315, Sambuddha- source. See Rigs-kyis-byin, Kriyasarrzgraha (Tib.:
bha~ita-pratibimbala/f;sanavivarana and no.4316 Bya ba btus ba), Derge Tanjur, Vi catalogue no.
Pratibimbamanalak~a~a.·· , 2531. See also Peking Tanjur, vol.74, p.IS6.

148 NOTES APPENDIX A