A Brief Analysis Of The Contribution Of Ban Zhida, Lausanne West, To The Skill Of Engineering

In the 18 th century,Pandita(learned master in Sanskrit)Garu Lobsang Sherab was born in Rebkong,a town in the eastern Amdo province of Tibet.He grew up to become a well-known religious painter and carver in the region.He studied and mastered the Five Major Sciences of Tibet(Medicine,Art,Logic,Language,Mind)and became an expert in the field.Pandita Garu mastered Tibetan Buddhist arts and crafts from Yogi Jamyang Lodi,also known as Shadrang Painter,and perfected the painting styles of both Men and Khian.He once had acclaimed himself as the successor of the master painter Men Thang,“Even if the all-knowing truth examines,it is difficult to discern my artworks from that of ancient master Menlha Dhoundup's.I have attained and preserved the successor-ship of Men painting style from Men Thangpa,who was the reincarnation of Manjugosha(the sweet-voiced God of Wisdom)”.This is a clear indication that Pandita Garu possessed vast knowledge and learning of arts.His artworks are widespread all across Tibet.His pieces can be found in both small and major monasteries such as: Tashikyil Monastery,Rongwo Monastery,Yaer shong Monastery,Wido Monastery,Lobdrang Tashikyil Monastery,Lhamo Dechen Monastery,Nyianthok Monastery and Gomar Monastery in Amdo region.Pandita Garu's contribution to the development of Tibetan Buddhist arts and crafts reached its pinnacle after he transformed two major fundamental books,composed and outlined by his own teacher Yogi Jamyang,into doctrinal writing and presented it to scholars in the region.Even the 7th Dalai Lama,Kelsang Gyaltso,regarded his artwork as an authentic and authoritative source to Buddhist scripture.The Dalai Lama went on to build the De-sang-jig-sam(Chakrasamvara,Vajrapani and Bhairava)Mandala,made of gold and copper,in Lhilhang temple in Potala Palace,which based itself on the roots of his texts.His styles and traditions of painting and carving are still being preserved and practised in Chima,Nyianthok,Gomar and Kasar villages,and will continue to have a significant impact on the future generations of artists in Rebkong.My graduation thesis covers the history of Rebkong Thangka painting(scroll painting)and the legacy of Pandita Garu in particular.It begins with a brief introduction to the achievements and works of Garu's teacher Yogi Jamyang Lodi and Yarshong Chipa Rinpoche Tenpay Gyaltsen.It continues in detail with an analytical discourse on Pandita Garu's artworks of scroll and mural paintings in addition to the juxtaposition of other religious artists present during the same period.By studying the artworks of Garu style and tradition in museums,at home and abroad,the definition and features of Garu painting style is presented in this thesis.By analysing the differences between the artworks of Garu and Kongkar Gangdol Kyintsai Chanmo,the popular painting style flourished in Rebkong in 18 th century,in ten units in this thesis,I will show the significance of his contribution to art in the region.