A page of detail images of the various animals from the seven painting set depicting Dalai Lamas and previous incarnations.

A page of detail images of the various faces from the seven painting set depicting Dalai Lamas and previous incarnations.

A page of detail images of the 4th Dalai Lama and three other Dalai Lama pre-incarnations.

A page of detail images of the 3rd Dalai Lama and three other Dalai Lama pre-incarnations.

A page of detail images of the 2nd Dalai Lama and three other Dalai Lama pre-incarnations.

A page of detail images of the 1st Dalai Lama and two other Dalai Lama pre-incarnations.

A page of detail images of King Songtsen Gampo and two other Dalai Lama pre-incarnations.

A page of detail images of Dromton and two other Dalai Lama pre-incarnations.

This seven painting set depicts the previous incarnations of the Dalai Lamas along with the post 5th Dalai Lama incarnations up to and including the 9th Dalai Lama. The painting set has been highlighted on the HAR News Page previously, however, several hundred new detail images of the seven paintings have been added. The details especially highlight the portrait like faces, birds and animals, flowers and foliage. The animals and birds are very unusual because of their accuracy to real living creatures - not generally common in Tibetan painting.

The central painting depicts Ngagwang Lobzang Gyatso (1617-1682) with three paintings to either side. It is most probable, based on the last Dalai Lama depicted, that the paintings were done between 1810 and 1823 prior to the official selection and enthronement of the 10th Dalai Lama.

The artist is currently unidentified by name but known through a number of other paintings and painting sets following the same unique style, composition, colour and brushstrokes. It is believed at this time that the artist worked in the Chamdo area of Kham Tibet. (See the Outline Page depicting all seven paintings as they are typically depicted together).

This subject page contains detail images of Green Tara surrounded by numerous narrative vignettes. The detail images especially highlight the many Tibetan inscriptions identifying the various stories depicted. The painting is on wood and was likely a panel from a large piece of decorative Tibetan furniture.