Himalayan scroll paintings: Conservation parameters

References

• Roerich , G. 1925 . Tibetan paintings , 17 Paris : Geutner . Reprinted Gian, Delhi, 1985
   Google Scholar
• Tucci , G. 1949 . Tibetan painted scrolls , 3 vols , 267 Rome : Libreria della Stato .
   Google Scholar
• Huntington , J. 1970 . The iconography and structure of the mountings of Tibetan paintings, Studies in conservation , 15 : 203
   Google Scholar
• Trungpa , C. 1975 . Visual Dharma , 116 Berkeley and London : Shambhala .
   Google Scholar
• Pal , P. 1978 . The arts of Nepal , Vol.2 , 6 Leiden : Brill .
   Google Scholar
• Tucci , G. Tibetan painted scrolls , 268
   Google Scholar
• Huntington , J. 1970 . The technique of Tibetan paintings, Studies in conservation , 15 : 124 Average loom widths between 16 and 23 ins. are quoted, and echoed in the literature, but continuous widths of over 40 ins. can be found
   Google Scholar
• Tucci , G. Tibetan painted scrolls , 268
   Google Scholar
• Huntington , J. The technique of Tibetan paintings , 125 Huntington surveyed a number of Tibetan paintings, not only in basic stylistic terms, but in the appearance of their preparation, and rightly concluded that weave‐counts cannot be reliably used as a guide to their region or date
   Google Scholar
• Tucci , G. Tibetan painted scrolls , 268 Tucci had suggested that the early paintings would be on the more open coarse weave. In the recent examination of two 14th c. lineage thang‐kas from western Tibet, stylistically and dimensionally similar, weave‐counts differed enormously, one 12:13 threads per sq.cm.; the latter proved to be a laminate of two canvases, the front finely woven and the backing rather coarse, and the original “lining” adhesive appearing to be a still supple flour type paste. Indeed, in sampling over 300 paintings, no coherent pattern could be discerned. Whatever the weave or degree of burnishing, the most remarkable quality common to these scroll paintings was their flexibility, which in many instances has survived to this day
   Google Scholar
• Pal , P. 1987 . Arts in Virginia . Virginia Museum of Fine Arts , Vol.7 ( No 1–3 ) : 47
   Google Scholar
• Jackson , D. and Jackson , J. 1984 . Tibetan thangka painting , London : Serinda . A full and useful survey and account of traditional materials and techniques demonstrated by contemporary painters
   Google Scholar
• Sankritayana , R. 1937 . Technique of Tibetan painting . Asia Magazine , : 776 – 80 . Usually cited are:
   Google Scholar
• Tucci , G. Tibetan painted scrolls , 269 The nomenclature is, however, vague or confusing and sometimes bizarre. Tucci lists: “green obtained from vitriol… vermillion obtained from carmine”
   Google Scholar
• Trungpa C. op cit. p. 17, includes: Yellow is made from sulphur, green from tailor's green stone.”
   Google Scholar
• Mehra , V. 1970 . Note on the technique and conservation of some Thang‐ka paintings, Studies in conservation , 15 : 207
   Google Scholar
• Jackson, D. & Jackson, J., op. cit. p.75–89.
   Google Scholar
• Trungpa, C., op. cit. p.17
   Google Scholar
• Tucci , G. Tibetan painted scrolls , 277 Although there are marked differences between the regional styles of Tibet and styles of the Kathmandu valley, there is also a significant category in which the geographical source is impossible to locate with certainty. The influence and indeed migration of Nepali artists in the 15th and 16th centuries to work in Tibet has helped to create such difficulties, as well as the ready exchange of texts and teachers, and the portability of the paintings themselves
   Google Scholar
• Huntington , J. The iconography and structure of the mountings of Tibetan paintings , 190 – 205 .
   Google Scholar
• Tucci , G. 1969 . Theory and practice of the mandala , Edited by: Broderick . 37 – 48 . London : Rider .
   Google Scholar
• Snellgrove , D. 1959 . The Hevajra Tantra, Part I , 114 – 115 . London : O.U.P. .
   Google Scholar
• Gordon , A. 1963 . Tibetan religious art , 2nd , 93 New York : Paragon . Illustrated
   Google Scholar
• Tucci , G. Tibetan painted scrolls , 308 – 316 .
   Google Scholar
• Gyatsho , I. 1979 . “ Gateway to the temple ” . In Bibliotheca Himalayica , Series III Edited by: Jackson , D. Vol.12 , 73 – 75 . Includes reference to the ritual re‐consecration of restored sacred objects
   Google Scholar
• Pallis , M. 1974 . Peaks and lamas , 402 London : Woburn . Revised
   Google Scholar
• Pal , P. Arts of Nepal , Vol.2 23 – 24 .
   Google Scholar
• Copeland , C. 1980 . “ Tankas from the Koelz Collection ” . In Museum of Anthropology Ann Arbor Michigan
   Google Scholar
• Pal , P. 1984 . Tibetan paintings , Ravi Kumar . Sotheby's Publications
   Google Scholar
• Mehra, V., op. cit. p.211–212.
   Google Scholar
• Agrawal , O. 1984 . Conservation of manuscripts and paintings of South East Asia , 239 – 270 . London : Butterworths .
   Google Scholar
• Huntingdon , J. 1969 . On the conservation of Tibetan thang‐kas, Studies in conservation , 14 : 152 – 154 . A point rightly emphasised by
   Google Scholar
• Welsh , E. A Consolidation treatment for powdery matte paint, A.I.C. Preprints . 8th Annual Meeting San Francisco. pp. 141 – 147 .
   Google Scholar
• Hofenk‐De Graaff , J. Hydroxypropyl cellulose, a multipurpose conservation material . ICOM committee for Conservation 6th Triennial Meeting, Ottawa.
   Google Scholar
• Mehra, V., op cit. p.212.
   Google Scholar
• Huntington , J. On the conservation of Tibetan thang‐kas , 153
   Google Scholar
• Agrawal, O., op cit. p.259–261.
   Google Scholar
• Hawker , J. 1985 . The effect of lining temperature and film thickness on the bond strengths of the adhesives BEVA 371 and Plextol D360 . Third year project, Courtauld Institute of Art ,
   Google Scholar
• Huntington , J. and Gu‐Ge , Bris . 1972 . A stylistic amalgam, In Aspects of Indian art , Edited by: P. , Pal, . 109 Leiden : Brill .
   Google Scholar
• Tucci , G. Tibetan painted scrolls , 300 – 307 .
   Google Scholar