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Stamps are used for making multiple copies of edible 'mantra' charms. After stamping and creating edible paper copies the paper imprints are then carefully rolled and stored in a jar or some type of container. Typically they would be blessed by a teacher who is an expert in mantra practice. The paper imprints are swallowed as needed, depending on the illness or condition, or according to auspicious days of the Lunar calendar. For example, edible mantras, appropriately blessed, have been a long standing treatment for individuals with epilepsy.

There are only a few prominent Female Teachers depicted in sculpture or in painting as the central subject. There are many more women depicted in lineage paintings and murals, specifically the Sakya Lamdre and Vajrayogini Lineages and also the more recent Nyingma Mindrolling Lineage.

A sculpture set depicting the teachers of the Lamdre Lineage is slowly being re-assembled. Other sculptures are known but not yet with images on the HAR website. The total number of figures in the set is not currently known.

Gyalse Kalzang Tubten Jigme (1743-1811 [TBRC P178]) was a student of the 3rd Panchen Lama. He received novice monastic vows from the 7th Dalai Lama and final vows from Purbu Chog Ngagwang Champa and a was a strong exponent of the Krishnacharya Chakrasamvara system of Tantra.

The story of the creation of the original Seven Buddhas painting set (of the Qianlong Period) and subsequent copies involves three main characters: the 3rd Panchen Lama, Lobzang Palden Yeshe (1738-1780), the Qianlong Emperor of China (1711-1799) and Changkya Rolpai Dorje (1717-1786).

The Black Ground Qianlong Period (1735-1796) style paintings were Chinese imperial commissions and generally inscribed and dated with verses in Tibetan, Mongolian, Manchu and Chinese language. They were often created as sets. The Qianlong paintings are related to the Tantric Black Ground paintings only in appearance, but NOT in origin or concept. The Qianlong paintings are unique to that time period and situation.

A gallery for the Tangut Region of China has been added and linked to the Regions, Countries & Places Main Page.

A gallery for Vajradhara Buddha (sculpture) has been added to the Masterworks Main Page.

A gallery for Vajradhara Buddha (painting) has been added to the Masterworks Main Page.

The Mahasiddha Damarupa Page has been updated with additional images and links.

The collection titled Private IV has an interesting selection of Tibetan Teachers. A number of the paintings are quite unique for the subject being portrayed or the composition style.

A gallery for Red Ground Book Covers has been added and linked to the Book Covers Main Page.

The Densatil Monastery Sculpture Page has been updated with additional images.

The Pagpa Lokeshvara Sculpture Page has been updated with additional images.

The Sakya Pandita Main Page has been updated with additional content.

A Dombi Heruka Masterworks Gallery has been added to the Masterworks Main Page.

A gallery for White Tara and the Six Pavilions of Light has been added. Many traditions of White Tara employ the six pavilions of light however they are not usually depicted in paintings. The two examples shown here follow the Dzongsar Monastery painting style which is similar to, but more decorative than, the Palpung Monastery style.

A page has been added for White Tara in a simple composition following the Palpung style of painting. Situ Panchen records in his autobiography that he sometimes made compositions of White Tara to give away as gifts. It is not known if any of these examples were drawn by Chokyi Jungne himself.

The Situ Panchen Painting Commissions Page has been updated with additional links.

A gallery for the goddess Siddha Lakshmi has been added to the Masterworks Main Page.