- Singer , J. C. 1996 . “ ‘Early thankas: Eleventh-thirteenth centuries,’ ” . In On the Path to Void: Buddhist Art of the Tibetan Realm Edited by: Pal , P. 180 – 195 . Mumbai : Marg .
- Huntington , J. C. 1970 . 'The iconography and structure of the mountings of Tibetan paintings/ . Studies in Conservation , 15 : 190 – 205 .
- Karmay , S. G. 1988 . Secret Visions of the Fifth Dalai Lama 1 – 6 . London : Serindia Publications .
- Huntington , S. and Huntington , J. C. 1990 . Leaves from the Bodhi Tree: The Art of Pah India (8th-12th Centuries) and its International Legacy Seattle : University of Washington Press . 281–294; 556–562;Berger, P. and T.T. Bartholomew, Mongolia: The Legacy of Chinggis Khan (Hong Kong: Asian Art Museum of San Francisco, 1995) 310–313
- Jackson , D. P. and Jackson , J. A. 1984 . Tibetan Thangka Painting: Methods and Materials 9 – 11 . London : Serindia Publications .
- Bruce-Gardner , R. 1998 . “ ‘Realizations: Reflections on technique in early Central Tibetan painting’ ” . In Sacred Visions: Early Paintings From Central Tibet Edited by: O'Neill , J. P. 193 – 205 . New York : Metropolitan Museum of Art .
- Agrawal , O. P. “ Dhawan S., and U. Agrawal, ‘Study and conservation of some Tibetan than-kas’, IIC: Preprints of Kyoto Congress ” . In The Conservation of Far Eastern Art, eds. J. Mills et al. (London: International Institute for Conservation 1988) 75–82;Borrelli, E., Laurenzi Tabasso, M., Moioli, P., Santamaria, U., and R. Scafé, ‘Nondestructive and micro-destructive analysis for the study of painting technique of Tibetan thang-kas from the Tucci collection,’ International Conference (5th) on Non-Destructive Testing, Microanalytical Methods and Environmental Evaluation for Study and Conservation of Works of Art, Budapest 24–28 Sept 1996, (s.l.: s.n., 1996) 145–158; Duffy, K. and J. Elgar, ‘An investigation of palette and color notations used to create a set of Tibetan Thangkas’, Historical Painting Techniques, Materials and Studio Practice eds. A. Wallert, E. Hermens, and M. Peek (Los Angeles: Getty Conservation Institute, 1995) 78–84; Duffy, K. and J. Elgar, ‘Examination of thangkas from Central and Eastern Tibet,’ Art 99: 6th International Conference on Non-Destructive Testing, and Microanalysis for the Diagnostics and Conservation of the Cultural and Environmental Heritage, Rome 17–20 May 1999, eds. M. Marabelli, C Parisi, S. Gagliardi, G.M. Parisi, and G. Torcinaro, vol. 3 (Roma: Euroma, 1999) 1751–66; Mehra, V. R., ‘Note on the techniques and conservation of some thang-ka paintings,’ Studies in Conservation 15 (1970): 206–214
- Jackson and Jackson . ‘Tibetan’, 20. The Tibetan and Himalayan Digital Library (THLD) is an international community that uses web-based technologies to present knowledge about Tibet and the Himalayas. THDL has a database of videos on Tibetan art and culture; one series is called ‘The making of a thangka in Lhasa’ and contains a video in which a painter prepares the ground layer (video no. 1072), see http://www.thdl.org/index.html, accessed 19 Jul 2006
- Bruce-Gardner ‘Realizations’, 195
- Bön Since Bön, a system of shamanistic and animistic practices is the other religion found in Tibet, some paintings are devoted to Bön iconography. is considered to be the indigenous religion of Tibet, although some scholars cite historical evidence indicating that it developed under the influence of Buddhism
- Duffy , K. and Elgar , J. 2003 . “ 'Five protective goddess (Pancaraksha): A study of color notations and pigments/ ” . In Scientific Research in the Field of Asian Art: Proceedings of the First Forbes Symposium at the Freer Gallery of Art Edited by: Jett , P. London : Archetype . 164–169;Béguin, G. and S. Colinart, Les Peintures du Bouddhisme Tibetain (Paris: Reunion des Musses Nationaux, 1995) 20–31
- Duffy and Elgar . ‘Five protective goddess’, 167
- Duffy and Elgar . ‘Examination’, 82
- Agrawal ‘Study’, 76; Borrelli et al. ‘Nondestructive’, 153–4; Duffy and Elgar ‘Investigation’, 79; Duffy and Elgar ‘Examination’, 1756–9; Mehra ‘Note’, 207
- Wanzhang , Ge . 1996 . “ ‘Learning to paint thankas’ ” . In On the Path to Void: Buddhist Art of the Tibetan Realm Edited by: Pal , P. 258 – 269 . Mumbai : Marg .
- Tibetan Thangka Painting Jackson, Bruce-Gardner ‘Realizations’, and Wanzhang ‘Learning’
- Bruce-Gardner ‘Realizations’, 193
- 204 – 205 . Bruce-Gardner ‘Realizations’
- Singer , J. C. 1998 . Sacred Visions: Early Paintings From Central Tibet Edited by: O'Neill , J. P. 4 – 5 . New York : Metropolitan Museum of Art .
- 1919 . Vajrapani silk banner from Cave 17, Mogao, near Dunhuang, Gansu province, China, Tang dynasty, early ninth century [,1–1,0.103]. This and several other paintings in the Stein Collection at the British Museum are identified as Tibetan style. This painting has a small Tibetan inscription
- 1919 . Bodhisattva with a glass beaker from Cave 17, Mogao, near Dunhuang, Gansu province, China, Tang dynasty, ninth century [,1–1,0.120]. This is one of a few banners that have survived intact. The painting and motifs are in Chinese style, however, the ‘side’ streamers are attached to a small horizontal rod at the top of the painting and are in fact in front of the image and are similar to streamers used on thang kas.
- 190 – 205 . Huntington ‘Iconography’
- Copeland , C. 1980 . Tankas from the Koelz Collection Ann Arbor : Museum of Anthropology .
- 190 – 205 . Huntington ‘Iconography’
- Huntington ‘Iconography’, 199
- Huntington ‘Iconography’, 200
- Tucci , G. 1949 . Tibetan Painted Scrolls 267 – 268 . Rome : Libreria dello Stato .
- Blyth-Hill , V. 1996 . “ ‘The conservation of thankas’ ” . In On the Path to Void: Buddhist Art of the Tibetan Realm Edited by: Pal , P. 270 – 281 . Mumbai : Marg .
- Huntington ‘Iconography’, 200
- Huntington ‘Iconography’, 192
- Huntington ‘Iconography’, 201
- 190 – 205 . Huntington ‘Iconography’
- 1989 . How to Frame a Thanka Berkeley : Dharma . Nyingma Institute
- Loh , Jacinta Boon Nee . 2002 . ‘Decision from indecision: Conservation of thangka: Significance, perspectives and approaches,’ . Journal of Conservation and Museum Studies , 8 See,http://www.jcms.ud.ac.uk/issue8/0211Loh.pdf accessed 26 Feb 2007. With regards to treatment and display of Tibetan thang kas Loh's article addresses the complexities involved in the decision-making process. The appendix summarizes a number of varied case studies executed in the U.S.A., U.K., and India
- Yasha, a yellowish-brown dye extracted from the cones of the deciduous alder tree (Alnus firma Sieb.) that is traditionally used in Japan to tone textiles and paper. The dye is traditionally set with a strong alkaline agent, wood-ash lye or a saturated solution of calcium hydroxide. Usumino is a thin variation of mino paper that is generally used for the first lining of Japanese scroll paintings. Mino paper is produced in the province of Mino, Gifu prefecture. It is a kõzo-fibre paper that is relatively strong and naturally white
The Paper Conservator
Volume 30, 2006 - Issue 1