During my employment as senior curator at the Rubin Museum of Art the museum’s objects determined a good part of my research. There is a great range of questions to be answered, common threads being issues of style, donorship, cultural interrelationship, and religious usage.
Related Publications
- “Locating Great Perfection: the Murals of the Lhasa Lukhang.” Orientations 42, no. 2 (2011): 102–11.
- “Infinite Variety. Form and Appearance in Tibetan Buddhist Art.” Lotus Leaves 7, no. 2 (2005): 1–9 (Part I) and Lotus Leaves 8, no. 1 (2005): 7–14 (Part II). English variant of “Unendliche Vielfalt. Gestalt und Erscheinungsform im Buddhismus.” In Die Welt des Tibetischen Buddhismus, edited by Wulf Köpke and Bernd Schmelz, Hamburg: Museum für Völkerkunde, 2005: 43–77.
Research Notes
Research on the Flip Side of Tibetan scroll paintings not only brought many interesting details on individual pieces to light, but also helped me to understand the function of these texts better, as well as their relationship to the image and the resulting effect.
10/11/2013
The classification of Tibetan styles continues to be a problem, even more so as Tibetan taxonomies do not really describe styles but lineages and traditions of some sort. A panel at this year's College Art Association conference in New York, organized by Melissa Kerin and Rob Linrothe, was dedicated to this topic.
02/20/2011