Ars Tibetica et Mongolica (Andrea Loseries's Omnibus Series-3)

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Ars Tibetica and Mongolica with an appendix on Ars Buddhica Nova is the third of Andrea Loseries's Omnibus after Ethnologia Tibetica (2018) and Buddhica Tibetica (2020). It contains the selective writings of the author on Tibetan and Mongolian arts and iconography composed over three decades, with an appendix of the author's interpretation of three examples of modern art inspired by Buddhist outer and inner scenarios.

The first chapter Ars Tibetica presents detailed studies and analysis of rare Tibetan Thanka paintings, based on authentic textual studies, describing the iconography and symbolism of the respective deities in their Mandalas, namely the Mandala of the Great Lord Heruka (Che mchog Heruka), an ethno-art historical study on Ganapati, a rare presentation of Avalokitesvara as Hari-Hari- Hari Vahana, and an artistically singular painting of the Three Mahakala Brothers. The article "Buddhist Images of the Feminine" analyzes female deities according to the Trikaya system. A comparative study on Simhamukha and Durga is followed by a chapter on lions as Buddhist symbols.

The second part Ars Mongolica introduces stylistics and characteristics of Buddhist Mongolian painting styles, followed by a tribute to the great Mongolian religious leader and artist Zanabazar (1635-1723) and his magnificent sculptures, tracing their stylistic affinity to Pala art. They are followed by iconographic analysis of two rare 18" century Mongolian scroll paintings, one of the grand Bogda Lama, the successor of Zanabazar, and the "Twelve Tenma Goddesses".

The appendix Ars Buddhica Nova contains the author's essays on the works of three protagonists of "modernistic" Buddhist art: a study on the mountain paintings of the Tibet Series by the Russian artist Nicholas Roerich (1874-1947) with philosophical hermeneutics based on the view of the Great Perfection (rDzogs pa chen po), an interpretation of the works of the Indian artist Sohan Quadri's (19320 2011) paintings as a transcendence and immanence of Sahaja Arte, followed by a description of selected paintings by the Bengali Artist Shampa Sircar (b.1970) as borderline blendings in the matrix of Buddhist Tantric icons.

Andrea Loseries has studied History of Asian Arts and Museology at the Ecole du Louvre and Muse'e Guimet, as well as Tibetan Language and Culture at the Institute of Oriental Languages, and Sanskrit at the E'cole Pratique des Hautes E'tudes, in Paris. She then continued her studies in these fields at Visva-Bharati, Santiniketan, West Bengal. Her PH.D. she received from Vienna University in Ethnology, Tibetology and Buddhist Studies. She is an expert on comparative cultural Asian history, on Tantric Studies and Buddhist Art. She has carried out research and field studies in Tibet, Bhutan, Mongolia, India, Japan and the Austrian Alps. She has published numerous monographs, over hundred research papers, produced several ethnographical film documentaries, was curator of art exhibitions and convened many international conferences. Her teaching activities extended from the University of Graz and the Academy of Buddhist Studies, Salzburg, Austria, to Visva-Bharati, Santiniketan, where she was Head and Professor of the Department of Indo-Tibetan Studies, and Director of the Centre for Buddhist Studies (2006-2012). She was Guest Faculty (Professor) at the Department of Buddhist Studies, Calcutta University (2017-2018), and at the School of Buddhist Studies, Philosophy & Comparative Religions at Nalanda University, Rajgir (2020-2021). In 2022 she taught Buddhist Philosophy at the yearly Bodhgaya Study Program organized by Carleton University, USA. She is an independent scholar living in Kolkata

Her major publications are Tibetan Mahayoga Tantra. An Ethno-historical Study of Skulls, Bones and Relics (Delhi 2008), Buddhism and its social Significance in the Asian World (Delhi 2009), Tantrik Literature and Culture (Delhi 2013), Sahaja - The Role of Doha and Caryagiti in the Indo-Tibetan Interface (Delhi 2015) and Omnibus - Series 1. Ethnologia Tibetica (Delhi 2018) and Omnibus-Series 2. Buddhica Tibetica (Delhi 2021). She has also completed a pioneer translation of the lyrics and the prose versions of Rabindranath Tagore's dance drama Candalika, based on a Buddhist Avadana, into Tibetan in delos gar style.

Prof. Andrea Loseries, is an explorer pilgrim, engaged in the pursuit of researching the cultural space of the brilliant classical times. Her selected writings in the book Ars Tibetica et Mongolica is the third in her Omnibus series. The previous two are Ethnologia Tibetica and Buddhica Tibetica. They are a journey to the sacred world of the Tibetans and the Mongols, echoes of vibrations of cultural and spiritual lives of the people. She seems to be enthralled by Asian Buddhist arts through her quest for intensive Buddhist practices, studies and writings.

The author dives deep into the perennial soul in this book and brings to us her subtle observations and in-depth research on the resplendent paintings and statues. Through her writings she gives voice to the inmost feelings through iconographic descriptions of Tibetan and Mongolian art works. The paintings such as the Mandala of the Great Lord Heruka, transcend the mind, taking it along the path of transformation when a Tantric practitioner invokes the deity step by step. The entire composition of the thangka epitomizes the deep contemplation on Heruka with his consort. She narrates the legend and takes the reader onto a journey into the thangka starting from the innermost circle goes to the upper part and then below describing the figures painted around Heruka and in rows. The complexity of the mandala begins to unfold with her descriptions from Tibetan texts dealing with iconography and symbolism.

Ganapati in Buddhist art of Tibet and Mongolia and a comparative study of Simhamukha and Durga remind me of the common cultural inheritance embellished with ancient opulence and splendour. They are unique examples of interaction among countries. India has chosen lions from the Ashokan pillar at Sarnath. Their presence in multiple forms in Buddhist countries symbolize the spread of Buddhism at a fast pace.

Ars Tibetica et Mongolica with an appendix on Ars Buddhica Nova is the third of my Omnibus series -1 Ethnologia Tibetica (Delhi 2018) and -2 Buddhica Tibetica (Delhi 2020). Ethnologia Tibetica contained my main research and field studies of three decades in the form of ethnohistorical documentations and cultural and social anthropological writings, with still unique research on charnel ground traditions, psychic sports, pilgrimage, and sacred landscape. Buddhica Tibetica is a collection of articles published in various journals and publications since 2008, such as an extensive thesis on the cultural history of Buddhism in Tibet, as well as chapters on various aspects of Tantric Buddhist practices and rituals reflecting my special interest and experience in the field of these studies. Both volumes contain rare photographic materials of which most date from my personal archives. All three volumes contain my collected writings and contributions in various journals and publications over the last three decades. Some of them presented at conferences in India and abroad remained unpublished for whatever reason. Others were published in German and translated by me into English for these series. The remainder was published previously though many of them are not easily accessible. Some articles have been updated with minor corrections and restored passages left out in earlier publications. Exempted from my Omnibus series are my English papers published in books, for which I signed responsible as editor, as well as excerpts from my monographies.

The third series presented here contains my selected writings on Tibetan and Mongolian art and iconography for more than three decades, with an appendix of my interpretations of three examples of Buddhist art by recent artists.