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Session of 18 November

Lecture of M. François Leclère, under the patronage of M. Nicolas GRIMAL : « Mission française des fouilles de Tanis. Nouvelles recherches en cours ».




Lecture of M. Gilles Béguin, under the patronage of M. Pierre-Sylvain FILLIOZAT: « L’Inde comme paradoxe. A propos de la source stylistique d’un décor du Tibet méridional au XVIIe siècle».


Abstract : Since the XVIth century, the Tibetan painting makes evolutions to a “classical ecclectism”, style that will be little by little predominant after the unity of Tibet made but the Fith Dalaï-Lama in 1642, several personalities protect other pictorial traditions for religious or politic reasons.

Then the murals ordered by the religious scholar Târanâtha (1575-1634 ?) in his own monastery of Phun-tshogs-gling, in South Tibet. The place was mostly destroyed during the Cultural Revolution. Few photos taken during the Italian expeditions of Giuseppe Tucci are the only documents about several shrines disappeared today. Three of them show paradoxically Indian influences in the artistic context of the beginning of the XVIIth century: the mNgon-dga’ gzigs-snang-rtse (1617-1618), at the top of the hill, the mGon-khan-phar and the mKha’-spyod lha-khang, all both downwards, near the main assembly room.

The mGon-khan-phar mixes Indian elements and Chinese patterns. The murals of this shrine devoted to Kṛṣṇa Yamari are not executed on a dark or black background as usual for this type of furious deities chapel but on a clear one. This particularity is exceptional but not unique. It is the same in the mGon-khang of the monastery of ‘Dre-gun in the Chumbi Valley.

The mNgon-dga’ gzigs-snang-rtse and the mKha’-spyod lha-khang present strange and paradoxal stylistic affinities with some paintings and sculptures of the Naṭarāja temple in Cidambaram (Tamil Nādu) in South India. The link between the two areas is at present an enigma.



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