Tibetan Arms and Armor Armor and weapons are certainly not among the images usually called to mind when considering the art or culture of Tibet, which is closely identified with the pacifism and deep spirituality of the Dalai Lama and with the compassionate nature of Tibetan Buddhism . However, this seeming paradox resolves itself when seen in the context of Tibetan history, which includes regular and extended periods of intense military activity from the seventh to the mid-twentieth century. Many excellent examples of Tibetan arms and armor can be found in museum collections today largely due to the fact that various types of armor and weapons continued to be used in Tibet into the early twentieth century, long after they had gone out of use in the West.
Camera's For Cultures; The Tibetan Photo Project, Sazzy Varga, Joe Mickey All images are Copyright 2000-2014, Joe Mickey, Sazzy Varga and the Tibetan Photo Project and may not be published without permission. While you may print the material on this site for easy reading or sharing with friends. For feature articles, publication or public use of any of the material or images contained on this site please contact Joe Mickey via e-mail at firstname.lastname@example.org and please reference your e-mail to the Tibetan Photo Project. Thank You.
Foundations of Buddhism / Vajradhara Vajradhara- Bearer of the Thunderbolt!! Vajradhara (Sanskrit: वज्रधार Vajradhāra, Tibetan: རྡོ་རྗེ་འཆང་། rdo rje 'chang (Dorje Chang); Chinese: 多杰羌佛; Javanese: Kabajradharan; Japanese: 執金剛神; English: Diamond-holder) The Bearer of the thunderbolt, Vajradhara, is said to be the primordial (or Adi) Buddha in certain schools of Tibetan Buddhism. Digital Collections The Pictures collection includes material in a wide variety of formats which document significant people, places and events in Australian history and society and to some extent, the activities of Australians overseas, especially in Antarctica and Papua New Guinea. Comprising photographs, prints, drawings, watercolours, cartoons, miniatures, paintings, architectural plans, objects and sculpture, the collection documents the lives of past and present Australians, and the communities and landscapes they inhabit. People seeking historical images of Australian towns and landscapes, portraits of public figures, images of colonial life, early illustrations of Australian flora and fauna, political cartoons or contemporary photographs of popular culture and current events, will find the collection invaluable. Pictures are acquired primarily for their documentary value, although the collection contains many great works of art.
Books with Full-Text Online Abbot Suger and Saint-Denis Gerson, Paula Lieber, ed. (1986) The Academy of the Sword: Illustrated Fencing Books 1500–1800 LaRocca, Donald J. (1998) The Adele and Arthur Lehman Collection Virch, Claus (1965) Adorning the World: Art of the Marquesas Islands Kjellgren, Eric, with Carol S. Ivory (2005) Afghanistan: Forging Civilizations along the Silk Road Aruz, Joan, and Elizabetta Valtz Fino (2012) The Tibetan Book of Proportions In this section of the site we bring you curated collections of images, books, audio and film, shining a light on curiosities and wonders from a wide range of online archives. With a leaning toward the surprising, the strange, and the beautiful, we hope to provide an ever-growing cabinet of curiosities for the digital age, a kind of hyperlinked Wunderkammer – an archive of materials which truly celebrates the breadth and variety of our shared cultural commons and the minds that have made it. Some of our most popular posts include visions of the future from late 19th century France, a dictionary of Victorian slang and a film showing the very talented “hand-farting” farmer of Michigan. With each post including links back to the original source we encourage you to explore these wonderful online sources for yourself. Check out our Sources page to see where we find the content.
Dorje - Tilly Campbell-Allen This Vajra, known as Dorje in Tibetan, represents the steadfast strength of spiritual awakening. Vajrasattva Hundred Syllable Mantra In future, when I reach Perfect Buddhahood, may those who have committed the five heinous crimes with immediate retribution, or anyone whose samaya commitments have been impaired, be purified entirely of all their harmful actions and impairments merely by hearing my name, thinking of me, or reciting the hundred-syllable mantra, the most majestic of all the secret mantras! Until then, may I remain in samsara! And may I be present before all those with impairments and breakages of samaya commitments and may I purify all their obscurations!oṃO Vajrasattva honour the agreement!Reveal yourself as the vajra-being!
fos: AscciTest2 Dr. Paul Gachet by Vincent Van Gogh !!! Symbolic Imagery in Himalayan and Tibetan Sacred Art The arts of India, Tibet, Nepal, and Bhutan display a rich stylistic diversity. However, these Himalayan regions share many symbols and important figures in their arts. Dating from the first millennium, Himalayan art is part of the Buddhist tradition. Why Beauty Matters: Philosopher Roger Scruton & Theologian, Painter, Michael Pearce On Why We Need to Reclaim Art for the Soul » Combustus rt matters. Let’s start from there. Regardless of your personal tastes or aesthetics as you stand before a painting, slip inside a photograph, run your hand along the length of a sculpture, or move your body to the arrangements spiraling out of the concert speakers…something very primary ~ and primal ~ is happening. And much of it sub-conscious. There’s an element of trust. Hannah Arendt
early Tibet Why does history get written? I think we’d all agree that the motives for creating history are mixed, and just as complex as the uses it gets put to after it’s written. Though most of Tibet’s histories are histories of religion, it would surely be naive to imagine that the motives of their authors were wholly religious. After all, the union of religion and politics (chösi zungdrel in Tibetan) was not just a fact of life in Tibet, it was an ideal, a dearly-held expression of the uniqueness of Tibet’s culture. So how does this apply to the story of the great debate between Chinese and Indian Buddhism that is supposed to have taken place at Samyé monastery under the aegis of the emperor Tri Song Detsen? The debate is certainly presented in religious terms, as a battle between two interpretations of the Buddhist scriptures.