Conservation of Buddhist cultural heritage treasures with consideration of Impermanence as fundam... more Conservation of Buddhist cultural heritage treasures with consideration of Impermanence as fundamental Buddhist understanding. Article based on 50 years of preservation work in monasteries and museums.
Conference on Protection of Cultural Property in Asia – Interpol
The loss of art and antiquities ... more Conference on Protection of Cultural Property in Asia – Interpol The loss of art and antiquities through destruction, theft, looting, and illegal export and sale has long been associated with dramatic and catastrophic changes in societies such as war, civil unrest, and natural or man-made disasters. However, even relatively peaceful and progressive changes such as the opening of countries for increased travel and tourism or the development of free markets and economies also may stimulate the illegal trade in cultural and religious heritage items. For traditional Buddhist monasteries and nunneries where valuable religious objects and relics are readily available to the religious community for daily contemplation and worship, there is a special challenge in protecting objects from damage and theft without restricting access. By Shaftel, Koestler, DePriest and Beaubien
ABSTRACT: This project investigates the materials and techniques used by Tibetan artists. Six Ti... more ABSTRACT: This project investigates the materials and techniques used by Tibetan artists. Six Tibetan thangkas were analyzed by infrared reflectography, energy dispersive x-ray fluorescence, Fourier transform infrared microspectroscopy, Raman spectroscopy, scanning electron microscopy-energy dispersive spectroscopy, and high-performance liquid chroma-tography. The analysis has suggested that three thangkas of the eighteenth - nineteenth century have a traditional palette, which includes azurite, vermilion, orpiment, bronchantite, red lead, dolomite, magnesite, organic red with calcite or magnesite substrate, and alumino-silicate clay minerals. Another late nineteenth or early twentieth century thangka shows the use of Western pigments such as emerald green, ultramarine, calcite, gypsum, chrome yellow, gold color from brass powder, and red and yellow dyes with barium sulfate substrates. Two twentieth century thangkas made for the tourist trade revealed a twentieth century palette such as titanium dioxide, phthalocyanine blue, phthalocyanine green, and other pigments such as red lead, chrome yellow, barium sulfate, and gypsum.
ABSTRACT: Thangkas are a sacred art form still in active use. All conservation efforts must be wi... more ABSTRACT: Thangkas are a sacred art form still in active use. All conservation efforts must be wide-awake to both the evolving form, and the continuous sacred nature of thangkas. This paper uses examples from decades of work with thangkas in the Himalayan region and in Western museums and private collections. 2008
The concept of Original Artistic Intent is difficult to apply to Tibetan thangkas. Thangkas are c... more The concept of Original Artistic Intent is difficult to apply to Tibetan thangkas. Thangkas are composite objects produced by painters and tailors with differing intents, skills and training. Iconographic specifications, regional and doctrinal differences in style, changes in form from harsh treatment and altered mountings all complicate the issue. 2008
ABSTRACT—The purpose of this discussion is to present the general characteristics of Tibetan tha... more ABSTRACT—The purpose of this discussion is to present the general characteristics of Tibetan thangka paintings and the forms of damage to which they are susceptible.
The purpose of this discussion is to present the general characteristics of Tibetan thangka paint... more The purpose of this discussion is to present the general characteristics of Tibetan thangka paintings and the forms of damage to which they are susceptible.
Conservation of Buddhist cultural heritage treasures with consideration of Impermanence as fundam... more Conservation of Buddhist cultural heritage treasures with consideration of Impermanence as fundamental Buddhist understanding. Article based on 50 years of preservation work in monasteries and museums.
Conference on Protection of Cultural Property in Asia – Interpol
The loss of art and antiquities ... more Conference on Protection of Cultural Property in Asia – Interpol The loss of art and antiquities through destruction, theft, looting, and illegal export and sale has long been associated with dramatic and catastrophic changes in societies such as war, civil unrest, and natural or man-made disasters. However, even relatively peaceful and progressive changes such as the opening of countries for increased travel and tourism or the development of free markets and economies also may stimulate the illegal trade in cultural and religious heritage items. For traditional Buddhist monasteries and nunneries where valuable religious objects and relics are readily available to the religious community for daily contemplation and worship, there is a special challenge in protecting objects from damage and theft without restricting access. By Shaftel, Koestler, DePriest and Beaubien
ABSTRACT: This project investigates the materials and techniques used by Tibetan artists. Six Ti... more ABSTRACT: This project investigates the materials and techniques used by Tibetan artists. Six Tibetan thangkas were analyzed by infrared reflectography, energy dispersive x-ray fluorescence, Fourier transform infrared microspectroscopy, Raman spectroscopy, scanning electron microscopy-energy dispersive spectroscopy, and high-performance liquid chroma-tography. The analysis has suggested that three thangkas of the eighteenth - nineteenth century have a traditional palette, which includes azurite, vermilion, orpiment, bronchantite, red lead, dolomite, magnesite, organic red with calcite or magnesite substrate, and alumino-silicate clay minerals. Another late nineteenth or early twentieth century thangka shows the use of Western pigments such as emerald green, ultramarine, calcite, gypsum, chrome yellow, gold color from brass powder, and red and yellow dyes with barium sulfate substrates. Two twentieth century thangkas made for the tourist trade revealed a twentieth century palette such as titanium dioxide, phthalocyanine blue, phthalocyanine green, and other pigments such as red lead, chrome yellow, barium sulfate, and gypsum.
ABSTRACT: Thangkas are a sacred art form still in active use. All conservation efforts must be wi... more ABSTRACT: Thangkas are a sacred art form still in active use. All conservation efforts must be wide-awake to both the evolving form, and the continuous sacred nature of thangkas. This paper uses examples from decades of work with thangkas in the Himalayan region and in Western museums and private collections. 2008
The concept of Original Artistic Intent is difficult to apply to Tibetan thangkas. Thangkas are c... more The concept of Original Artistic Intent is difficult to apply to Tibetan thangkas. Thangkas are composite objects produced by painters and tailors with differing intents, skills and training. Iconographic specifications, regional and doctrinal differences in style, changes in form from harsh treatment and altered mountings all complicate the issue. 2008
ABSTRACT—The purpose of this discussion is to present the general characteristics of Tibetan tha... more ABSTRACT—The purpose of this discussion is to present the general characteristics of Tibetan thangka paintings and the forms of damage to which they are susceptible.
The purpose of this discussion is to present the general characteristics of Tibetan thangka paint... more The purpose of this discussion is to present the general characteristics of Tibetan thangka paintings and the forms of damage to which they are susceptible.
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Papers by ann shaftel
The loss of art and antiquities through destruction, theft, looting, and illegal export and sale has long been associated with dramatic and catastrophic changes in societies such as war, civil unrest, and natural or man-made disasters. However, even relatively peaceful and progressive changes such as the opening of countries for increased travel and tourism or the development of free markets and economies also may stimulate the illegal trade in cultural and religious heritage items.
For traditional Buddhist monasteries and nunneries where valuable religious objects and relics are readily available to the religious community for daily contemplation and worship, there is a special challenge in protecting objects from damage and theft without restricting access.
By
Shaftel, Koestler, DePriest and Beaubien
The loss of art and antiquities through destruction, theft, looting, and illegal export and sale has long been associated with dramatic and catastrophic changes in societies such as war, civil unrest, and natural or man-made disasters. However, even relatively peaceful and progressive changes such as the opening of countries for increased travel and tourism or the development of free markets and economies also may stimulate the illegal trade in cultural and religious heritage items.
For traditional Buddhist monasteries and nunneries where valuable religious objects and relics are readily available to the religious community for daily contemplation and worship, there is a special challenge in protecting objects from damage and theft without restricting access.
By
Shaftel, Koestler, DePriest and Beaubien