Pema Lingpa (1450-1521) was a Treasure Revealer of the Nyingma Tradition of Tibetan Buddhism. (See a short biography).

'The Very Condensed Essence' Avalokiteshvara has one face and two hands, red in colour, seated in vajrasana posture. In the right hand he holds to the heart a lotus garland (mala). The left hand is in the lap and holds a nectar vase with a lotus flower above. Seated in the lap is the consort, the great mother, Sangyema, red in colour and holding the same objects as Avalokiteshvara. In the literature describing in full the appearance and surroundings of Avalokiteshvara there are a number of other deities and figures.

This form of Avalokiteshvara is commonly mistaken for the deity Amitayus Buddha.

The Arts of Tibetan Painting: Recent Research on Manuscripts, Murals and Thangkas of Tibet, the Himalayas and Mongolia (11th-19th century). Edited by Amy Heller.

This collection of articles is a hallmark in publication as Asianart.com's first venture in online publication of a complete volume, comprising 13 articles which stem from the 12th Seminar of the International Association for Tibetan Studies (Vancouver 2010). This volume of recent major discoveries and analyses by distinguished scholars of Tibetan and Mongolian art, history, and language is presented in a format accessible to non-specialist readers as well as specialists, copiously illustrated with detail enlargements. [The introduction above is taken from the Asianart website]. (See Table of Contents).

Additional images of Puntsog Ling Monastery of Jetsun Taranata have been uploaded courtesy of Uranchimeg Tsultem. Along with Gongkar Chode Monastery of Central Tibet, the wall murals of Puntsog Ling Monastery of Tsang Province are an excellent example of the Khyenri style of Tibetan painting.

Additional images of Dratang Monastery have been uploaded courtesy of Uranchimeg Tsultem. Located approximately half way between Lhasa and Samye monastery (by road), Dratang Monastery is an excellent example of large scale and beautiful 11th century Tibetan murals.

Chotsang is located in North Eastern Mustang above the walled town of Lo Monthang. The wall murals of the cave temple follow a Sakya/Ngorpa iconographic program while the various sculpture appear to be predominantly Kagyu. Apparently in the recent past there was another temple situated close by. That other temple was Kagyu in tradition and the location faced faster erosion than the Chotsang hillside location. The sculpture from the Kagyu Temple were removed prior to the collapse of the cave. They were then placed in the Chotsang cave Temple for safe keeping. (The images are courtesy of a private collection).

Additional images of Shalu Monastery have been uploaded courtesy of Uranchimeg Tsultem.

The monastery of Shalu, approximately 40 kilometers from Shigatse, was founded in 1040 A.D. by Chetsun Sherab Jungne. At the suggestion of Buton Rinchen Drub (1290-1364) the monastery was expanded and elaborately decorated by Kunzang Dragpa Gyaltsen in the early 14th century.

There are many different chapels and shrine rooms located on the various floors and sections of the Monastery. Surrounding the central assembly hall on the ground floor is a circumambulatory (korlam) that is fully decorated with murals. Also accessed from the circumambulatory is a very small storage room with a hidden Avalokiteshvara Chapel with murals painted in the iconographic tradition of the Shangpa Kagyu Tradition. For an overview of Shalu Monastery see the Shalu Association: Monastery Report.

Additional images of Sera Monastery have been uploaded courtesy of Uranchimeg Tsultem. The monastery was founded by Jamchen Choje Shakya Yeshe (1355–1435), a direct student of Je Tsongkapa, in 1419. Sera is counted as one of the largest monasteries of old Tibet along with Drepung, Ganden and Labrang Monasteries. For more information see the Sera Monastery Project on the Tibetan & Himalayan Library website.

Additional images of Samye Monastery have been uploaded courtesy of Uranchimeg Tsultem. Take note of the different mural styles and subjects. Some of the images are almost identical to murals found in the Potala Palace.

Images of the Karpo Lhakang (White Temple) of Tsaparang have been uploaded along with the Do Zhang Temple located some miles distant. These images accompany those of the Marpo Lhakang (Red Temple) which were highlighted on the Himalayan Art Resources Facebook page July 25th - last week.

Nyentog Monastery is located in the town of Rebkong in the region of Amdo, Tibet. In one small chapel at the side of the main monastery are several well preserved wall murals. These paintings are believed to have been created during the time of Ngagchang Jamyang Lodro in the late 17th century. This prominant teacher of Rebkong was a student of the 5th Dalai Lama and Trichen Lodro Gyatso. The painting style of the murals are also said to be in the mixed traditions of Menri and Khyenri. The Menri style referred to here is not the 'New' Menri Sarma of Choying Gyatso, associated with Tashi Lhunpo and the Panchen Lama, but rather the original Menri style of Manla Dondrub and the Khyenri style of Khyentse Chenmo of Gongkar Chode Monastery.

Regardless of the precise painting style names, the compositions are magnificent examples of the early, post-Sakya, Rebkong painting tradition.