As the Center for Tibetan and Himalayan
Studies, one aspect of the Library’s mission is to preserve
and promote Central Asian art as exemplified in the paintings
and sculpture of the Dunhuang caves. Central Asian art was
formed by artists traveling the Silk Road which stretched
from France to China. Thus the art we find there has influences
from many cultures including Persian, Tibetan and Chinese.
This fascinating mix over the centuries produced masterpieces
that reflect the traditions and colors of all three cultures
as well as innovative works that look as though they could
have been done by modern artists today. The importance of
the collection of Songtsen Library documenting such a vast
range of styles and influences is that we can greatly expand
our view of Tibetan art (a particular style beginning in the
1500’s) to include Central Asian art history starting
from the 6th century AD. The artworks created for the library
take into account this view. The great libraries of India
and Tibetologists here and abroad were consulted to insure
historic accuracy of details.
King Songtsen Gampo (617 -650 AD) is believed to be an emanation
of Avalokitesvara, the Buddha of Compassion. He is credited
with bringing Buddhism to Tibet. During his reign he codified
Tibetan grammar so that the Buddhist texts from India could
be translated, created laws that established a moral code
still followed today and with unified the whole country.
Based on a vision of the 10th Panchen Lama, he is depicted
here in peaceful aspect carrying a text and Dorje. HH Chetsang
Rinpoche requested a naturalistic sculpture, thus artist Nyima
Drolma incorporated the figurative tradition of the west with
historical research. In the sculpture, the design of his robes
is taken from an 8th cent. painting in found the Dunhuang
caves depicting a Tibetan King. The four kinds of brocade
were copied from similar paintings and the earliest surviving
fabric samples circa 8th century. The horse bridle etc and
saddle can be dated to the 7th century and the saddle blanket
design is in the mountain and clouds pattern, an old and uniquely
Tibetan pattern.
Reading Room
^ Reading Room |
Thangkas on the ceiling depict
Buddha Sakyamuni facing the door, with Sariputra on his
right and Maudgalyayana on his left. King Nyatri Tsempo
(127 BC), the first king of Tibet, is on the large panel
to the right and Thonmi Sambhota (c.800 AD), the great
translator of the first Buddhist texts that came to Tibet
is on the left. Avaloketesvara, the Buddha of Compassion,
is over the main door. The smaller figures are that of
Bodhisattvas Manjusuri, on the right and Vajrapani on
the left. The Thangkas were painted in the Tibetan style
incorporating stonecolors, minerals, medicinal plants
and jewels in addition to dry pigments. The drawing style
and colors reflect the light colors of ancient paintings
of the Dunhuang and Guge regions. This Dunhuang style
influenced the Karma Gahdri style of northwest Tibet which
has been handed down to Tibetan artists since the 14th
century. |
Elements of the throne behind Buddha Sakyamuni
were taken from paintings in the eastern caves of Ngari in
southwestern Tibet. The architectural details of the seat
of Thonmi Sambhota as well as the style of Avaloketesvara
also
reflect Dunhuang paintings.
The most unusual of the paintings is that of Nyatri Tsenpo.
There are a few rare thangksa depicting Tibet’s first
king (c. 127 BC) and no existing tradition. Artist Rinzin
Chodrak has created an original composition based on the council
of artists at Kumbung Labrang in Amdo, Tibet. During this
council they collected the existing biographies and myths
of his life forming a source for the narrative in the painting.
In addition HH Chetsang Rinpoche suggested that he be clad
in furs as even in the early times clothes for kings were
luxurious (the few existing drawings show him in leaves).
With this and other histories as a base we see the king pointing
to the sky, sitting in a regal posture and carried by his
twelve ministers who each specialized in differing areas of
knowledge.  
^ Thangacherig
The Library Building
The architecture of Songtsen Library was inspired by the Yumu
Lakhar Palace, the oldest castle in Tibet, built by King Nyahri
Tsempo. The intricate design work painted on the doorway of
the Library is based on the door of the Potala in Tibet.
Lecture Hall
The colors of the great hall were selected from the colors
of a painting in the Dunhuang from the same time as King Songtsen
Gonpo. Above the stage is a frieze of flying apsaras or goddesses.
These apsaras appear in all the caves throughout the many
periods and styles. These particular goddesses were chosen
by HH Chetsang Rinpoche. They are a composite of two paintings
of apsaras from the 8th century and give the viewer a sense
of the magnificent cave art of the Dunhuang.
Reading Room Sculptures
Known as the “Three Dharma Kings” Songtsen Gonpo
(617 -650 AD) is in the center with Tri Relpa Chen (806 -
841) on the right and King Trisong Detsen (742 - 785) on the
left. They are carved in the natural sandstone of India.
^ the Three Dharma Kings
Avaloketesvara Chapel
^ Avaloketesvara Statue |
The 1000 armed Avaloketesvara
statue was made in Tibet. It is made of the rare medicinal
wood agaru, famed for its aroma. In the future this room
will include statues of the Drikung Kagyu lineage and
1000 tsa tsa’s of its founder Lord Jigten Sumgon.
Each Tsa Tsa carries a heart blessing pill of Lord Jigten
Sumgon.
Across from the Statue is a contemporary painting of Achi
the special dharma protector of the Drikung Kagyu by Taiwanese
artist, Miss Ho |
Art Supervisor Gelongma Nyima Drolma and
Head Painter GelongRinzin Chodrak
|
