Bon Phur pa rites photo archive

Buddhist circles but also among practitioners of Bon. The Bon pos possess several different ritual cycles of Phur pa in various forms with unique liturgies. These traditions, their history and their particularities are still little known and have not yet been the object of scholarly research. This article focuses on one such ritual cycle, that of the Black Phur pa tradition, which is considered one of the most ancient in Bon. The goal of this essay is to contribute to the understanding of the tradition based on contemporary settings, lineage history, ritual artifacts and the personal chronicles of some of its important lineage transmitters.

Tibetan Art and Architecture in Context. PIATS 2006: Tibetan Studies: Proceedings of the 11th Seminar of the International Association for Tibetan Studies

History of Photography, 2006

Throughout these major commissions, Van Kinsbergen continued to make portraits, topographical views and photographs of colonial development and infrastructure. These images, which were often circulated in various formats and reproduced as wood engravings in newspapers and journals, are perhaps better known than the government sponsored archaeological work, which had a more limited circulation. It is easy for the casual viewer to dismiss some such images as 'ethnographic types'. Certainly some will have entered those discourses, but they should also be seen as narratives of culture in which van Kinsbergen's theatrical sense of posing and composition coming through strongly. Their intentions and social relations are complex, reflecting van Kinsbergen's position in Batavian society and the cultural exchanges that characterised all levels of colonial society from elites, colonial and indigenous, to prisoners. His interest in theatre is apparent in the composition of his images and in the subject matter; in his wonderful photographs of dancers van Kinsbergen tried to suggest movement with which he was so familiar. This is not a book of analytical or theoretical pretension. No attempt, for example, is made to explore analytically the imaginative rhetorics of van Kinsbergen's intersecting worlds of photography, theatre, and opera, although with their heightened realism and emotional intensity there are interesting theoretical connections which could be made. Nor do the authors address the complex political and cultural discourses of colonial archaeology and colonial knowledge systems. The volume is honest and straightforward about its ambitions. It is a work of serious description and contextualisation with detailed chronologies, glossaries lists of collections and theatre productions. Its greatest value is in making this magnificeilt corpus available within a framework of exhaustive research in both primary and secondary sources. With the catalogue reproduction of whole series of photographs beautifully printed, this will surely be the definitive study of this photographer for many years.

2006

Identification of a bronze Lama portrait in the Simon Norton Museum.

Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, 2021

The author’s idea of this master’s photographic art project was to create a series of photographs that should draw attention to the current state of the sacred heritage of Boykivshchyna with the aim of their future preservation. The series of works consists of photographs that convey archaic architecture, a special style of icon painting, church objects, carvings and interior paintings that are typical of the Boyko ethnos.

ASIAN HIGHLANDS PERSPECTIVES, 2023

Rdo rje dpal 'byor རྡོ ་རྗེ ་དཔལ་འབྱྡོ ར། (Duojihuanjiao 多吉环角). 2023. Photo Essay: Religious Life in Bon Skor, an A mdo Tibetan Community, PR China. Asian Highlands Perspectives 63:288-314. This photo essay documents religious activities and sites in Bon skor (Wangshenke) Community, Bya mdo (Shagou) Township, Mang ra (Guinan) County, Mtsho lho (Hainan) Tibetan Autonomous Prefecture, Mtsho sngon (Qinghai) Province, PR China. Key aspects of community religious life include creating Buddhist clay images for stupas, turning prayer wheels, and offering butter lamps and water at a local ma Ni Hall where annual community religious rituals are held. Changes in local religious rituals are rapid, highlighting the value of this essay and its twentythree images in recording local religious life in the first and second decades of the twenty-first century.

Shared Sacred Sites, 2018

At first view the practice of sharing the sacred is not easy to concretely depict in an exhibition. In the field of art history, very few artists have illustrated holy places shared by the faithful of different religions. In fact, painters and sculptors have rarely presented interfaith sites or rituals in their work. Most religious art has been historically mono-confessional and non-interreligious. Exceptions, however, concern the drawings and writings of pilgrims and travelers, which testify to religious crossings such as in the Holy Land. Accounts of their journeys often describe lively interactions in sanctuaries dedicated to Abraham, Elijah, Mary, Saint George, and other shared holy figures. Nevertheless this general lack of artistic representation is not an end in itself. While searching for recent works focused on interreligious aspects, I decided to privilege photography and film to make the act of sharing visible and understandable...

Most of the Nepalese paintings (patta or paubha) date from the second period of the Malla dynasty (1482-1768) .They often represent a mandala or figures of gods and goddesses of Hinduism and of Vajrayana Buddhism and sometimes they depict monuments or rituals. The Buddhist Nepalese paintings are more numerous than the Hindu paintings. Most of the paintings were displayed on the walls of either temples or monasteries especially on the first floor where are usually kept the statues of gods and goddesses both Hindu and Buddhists. In the Buddhist monasteries the secret tantric sanctuary (agam che) is located on the first floor. Inside private houses, often on the last floor, is a private room which is the private sanctuary of the lineage and is decorated with paintings of the divinity of election (istadevata) of the lineage. The Nepalese paintings were painted on thick cotton cloth and were enclosed by pieces of cotton or a uniform dark

History of Padang Lawas, North Sumatra. II: Societies of Padang Lawas (Mid-Ninth – Thirteenth Century CE), , 2014

Buddhist Images from Padang Lawas region and the South Asian connection, in: History of Padang Lawas, North Sumatra. II: Societies of Padang Lawas (Mid-Ninth – Thirteenth Century CE), ed. Daniel Perret, Paris: Cahiers d'Archipel, vol. 43, 2014, pp. 107-28.

2006