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<p>This paper explores the history of Zhalu (zha lu) monastery in Tsang (gtsang) province of Tibet, and its possible relationship with Atiśa. Both textual evidence and clues from the monastery's art are taken into account. In particular, one chapel seems to contain a representation of the Trisamayarāja Buddha, the iconography of which Atiśa wrote about. (Ben Deitle 2006-05-03)</p>

<b>Publisher's Description:</b> Recent archaeological discoveries and scientific research especially focussed on western Tibet and the western Himalayas have resulted in a remarkable redefinition of the historical and cultural processes of the entire Indo-Tibetan civilisation. The present volume reflects these sometimes startling new insights for the first time, covering the wide time range from the Zhang zhung period up to the 20th century, spanning secular, religious and economic history, as well as art and archaeology.

<p>This article looks at the sources of the deity Beg-ce, and contests that the term is a borrowed Mongolian term introduced to Tibet in the 16th century. Instead, Heller suggests that the term was borrowed first from Tibet to Mongolia as early as the 11th century.</p>

<p>The article outlines the procedure of an early Tibetan ritual which used a kyelbü (small bag or pouch). Because Buddhism prohibits animal and human sacrifice, the kyelbü becomes the object of exorcism and sacrifice rituals. (Mark Premo-Hopkins 2004-03-21)</p>

<p>Reviews by Amy Heller of C. Genoud and Takao Inoue, <em>Buddhist Wall-Painting of Ladakh</em>; P. Pal and Lionel Fournier, <em>A Buddhist Paradise: The Murals of Alchi Western Himalayas</em>; and P. Pal, <em>The Art of Tibet. A Catalogue of the Los Angeles County Museum Art Collection</em>.</p>

<p>With this thang ka one can categorically identify 'Jig rten mgon po, also known as 'Bri gung rin chen dpal or 'Jig rten gsum mgon (1143-1217), as the principal subject of a thang ka due to the fact that the inscription is written on the reverse of the canvas. Initially studied by the present writer prior to its inclusion in the exhibition "Himalayas: An Aesthetic Adventure," the full text of the inscription, an edited transcription and translation are here published for the first time. The identification is made possible by the fact that 'Jig rten mgon po's name is found in the Tibetan and Sanskrit inscriptions on the reverse of the painting. The identification of this thang ka sheds light on the history and identification of contemporary bla ma portraits in mural paintings in Alchi, Ladakh. (Than Garson 2005-09-22)</p>