Tibetan Buddhist Monastery Collections Today

近几十年来，西藏艺术研究取得了很大进展。寺庙、博物馆和私人收藏品都出版了插图丰富的出版物，藏于西方博物馆和藏传佛教院校的西藏绘画和金属雕塑杰作也可供查阅。然而，藏传佛教机构提供的研究远远超过了他们所拥有的最古老和最有价值的作品，因为他们的收藏更广泛，并且允许研究问题，而这些问题不能基于分散在博物馆和私人收藏中的对象提出。这些问题的例子包括：收藏品与地方和学校的关系，藏品的组成及其用途，过去和现在的收藏品的展示和用途。西方博物馆和私人收藏的西藏艺术品已经在许多出版物中进行了研究，最近的可能是对格鲁耶尔的Bordier收藏的研究（Béguin，Gilles，ed. 2013）。西藏艺术圣地：阿兰·博迪尔藏品。巴黎：芬达克利），到目前为止，还没有对西藏寺院机构的藏品进行过实质性的研究。该项目不仅弥补了这一点，而且还探讨了这些收藏品在当代世界面临的问题，从而直接参与了过去十年来在该地区突出出现的对话。本研究项目的重点是在拉达克，印度（如赫米斯寺及其附属机构和马索），和木斯塘，尼泊尔（如Namgyal，Choede，Kag Choede，Tsarang，Lo Gekhar，Gheling，Jar Choede）选定的寺庙的收藏品，并评估它们作为丰富的宝库，以完善我们的西藏艺术知识和收藏品。艺术品本身不仅提供了一个非常丰富的资源，新的上下文对象，其中许多与铭文，但也探索新的研究问题有关的内容，材料，设置，使用和显示。后几点与历史上形成和目前管理的藏品的一部分密切相关，这些藏品可能代表也可能不代表该机构所属的藏传佛教的各个分支。

The study of Tibetan art has made great progress in the last decades. Temples and monasteries as well as museum and private collections have become available in richly illustrated publications, and masterworks of Tibetan painting and metal sculpture housed in western museums and in Tibetan Buddhist institutions have become accessible as well. However, Tibetan Buddhist institutions have much more to offer for research than a selection of the most ancient and valuable pieces they own, as their collections are much broader and allow for research questions that cannot be asked on the basis of objects dispersed in museum and private collections. Examples for such questions are, the relationship of collections to place and school, the composition of sets of objects and their usage, the display and purpose of collections in the past and at present.While western museum and private collections of Tibetan art have been researched on in numerous publications, the latest probably being the study of the Bordier Collection in Gruyere (Béguin, Gilles, ed. 2013. Art sacré du Tibet: Collection Alain Bordier. Paris: Findakly), so far no substantial research has been done on the collections of Tibetan monastic institutions. This project not only makes up for this, but also looks into the questions these collections face in the contemporary world, and thus directly participates in a dialogue that has prominently emerged in the region over the last decade. This research project focuses on the collections of selected monasteries in Ladakh, India (such as Hemis Monastery and affiliated institutions and Matho), and Mustang, Nepal (such as Namgyal, Choede, Kag Choede, Tsarang, Lo Gekhar, Gheling, Jar Choede) and assesses them as both a rich depository to refine our knowledge of Tibetan art and as collections. The artworks themselves not only provide an extremely rich resource of new contextualised objects, many of them with inscriptions, but also for exploring new research questions pertaining to content, material, sets, usage, and display. The latter points intimately relate to the objects being part of historically formed and presently managed collections, which may or may not be representative of the respective branch of Tibetan Buddhism the institution pertains to.