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Additional resources for Proceedings of the 7th Seminar of the International Association for Tibetan Studies, Graz 1995: The Inner Asian International Style 12th-14th Centuries
Example text
E. iconographic, requisites. When evoking this question, the term "Indian influence" repeatedly occurs; I would rather say, even though this might cause an outburst of tenlper among some, that the local substratum crept into the genuine Indian religious image. A comparison of the reaction of Tibetan and Burmese artists, almost two centuries' interval between the first and the second, to the icons imported from India, reveals that the first ones were more conservative and really copied Indian images (and this conservatism lasted till the 13th century) while the other adapted them stylistically more quickly.
12, 20; Pal 1984, pIs. 8, 9). The same golden thread around the waist and the side puffs occur in the Oxford manuscript and, more adorned, in the New York one (C) (Zwalf 1985, cat. 156; Huntington/Huntington, ilL 58b). Besides, the short skirt with long flap-ends in the back appears in the Vredenburg manuscript (Zwalf 1985, cat. 157, ill. p. 110; Losty 1990, fig. 9 below) and in a manuscript preserved in Los Angeles (Pal 1993, cat. 5). These various elements had already appeared during Mahlpala [I]'s reign but they are only combined together toward the end of the 11th century - as they are noticed on the thangka of fig.
It can also be related to the makaras (L, M, N, P; CS 1994, figs. 17a, 18b; Rossi/CS 1994, cat. 11) or to the gandharvas (musicians) (CS 1994, figs. 19,27). Harrzsas Since they symbolize also the ether, the birds are logically distributed above the other animals, or monstrous animals, which symbolize the earth (elephant), the fire and the wind (leogryph) and the water (makara). They are profiled, with the nimbus in their back. Their tail can partly be hidden by the nimbus or it can apparently fall and transform itself into the volutes which run along the nimbus (figs.