TIBET Monasteries open their treasuries 19th August to 26th November 2006

Transcription

1 TIBET Monasteries open their treasuries 19th August to 26th November 2006 An exhibition of the Kulturstiftung Ruhr Essen in cooperation with the Administrative Bureau of Cultural Relics, Tibet Autonomous Region, China Press releases content List of contributors to the exhibition project Press information short version Press information long version Practical information The exhibition themes List of press photos The Kulturstiftung Ruhr Photos and press releases can be downloaded at Contact: Kulturstiftung Ruhr Essen Press bureau Claudia Holthausen Katja Lemmler Villa Hügel Essen Phone +49 (0)201/ Fax +49 (0)201/ Mobile +49 (0)172/

2 List of contributors to the exhibition project Prof. Dr. h. c. mult. Berthold Beitz Chair of the Board of Directors of Kulturstiftung Ruhr Prof. Dr. Paul Vogt CEO of the Board of Directors of Kulturstiftung Ruhr Prof. Dr. Jeong-hee Lee-Kalisch TIBET-exhibition Curator Prof. Dr. Roger Goepper TIBET-exhibition Academic advisor Juliane Noth TIBET-exhibition Assistant to the curator Andreas Kretschmar TIBET-exhibition Member of the curatorial staff Dr. Marit Kretschmar TIBET-exhibition Member of the curatorial staff Bernadette Bröskamp TIBET-exhibition Member of the curatorial staff Gregor Verhufen TIBET-exhibition Member of the curatorial staff Dr. Ute Kleinmann Curator of the Kulturstiftung Ruhr Nima Ciren Director of the Cultural Administration of the autonomous region of Tibet Liu Shizhong Head of the museum department, Cultural Administration of the autonomous region of Tibet Nima Danzeng, deputy-director of the Norbulinka Palace Baima Dunzhu, head of the restoration department at the Potala Palace Wei Go, head of the restoration department at the Tibet Museum Exhibition construction staff Complexx, Gelsenkirchen Exhibition architecture Kraftdesign Bernward Kraft, Essen Graphic design netzausstellung.de Dr. Stephan Brakensiek, Dirk Pörschmann M.A., Essen Web design

3 Press information I short version TIBET treasures from Tibetan monasteries 19th August to 26th November 2006: unique Tibet exhibition in the Villa Hügel The Villa Hügel in Essen, once the residence of the Krupp family, has made itself a nationwide reputation amongst the cultural institutions of North-Rhine Westphalia. Besides presenting important works by old masters it has attracted the attention of the general public with its major cultural and historical projects. One of its focal points is the art and culture of Central Asia and the Far East. Against the background of this tradition the Kulturstiftung Ruhr has now made it possible to visitors to familiarise themselves with a fascinating culture Tibet and its almost unknown monastic treasures. From 19 th August to 26 th November 2006 the Villa Hügel is showing a large number of old religious artworks from the treasuries of Tibetan monasteries. Some of these works date back 1500 years and the majority have never before left Tibet; all of which makes this not only a unique event but also a world première. When the exhibition closes in Essen there are plans for it to be taken over by the "Staatliche Museen" in Berlin. Around 150 exhibits ranging from life-size sculptures and paintings to altar equipment make clear the breadth of style in Tibetan art, and give visitors a vivid insight into Tibetan Buddhist culture. For Buddhism is the substance of Tibetan identity and all forms of art were always the expression of this philosophy. Even today the artworks, most of which were created anonymously between the 5 th and early 20th century still serve as ritual and cult objects in the monasteries of Tibet, and are held in awe by lay people and clerics alike. The exhibition is therefore not merely a presentation of highly valuable and beautiful artistic treasures, but also of the cultural and spiritual legacy of a self-assured people. The exhibition owes its existence to the generous cooperation of the Tibetan cultural authorities, above all to the monks in the country s monasteries. Although the principle of an art exhibition and the related consciousness of autonomous art is alien to their culture they were fascinated by the idea of making their monastic treasures accessible to a large general public. Thus the most prominent loans for the exhibition at the Villa Hügel come from the monasteries of Sakya, Tashi Lhunpo, Palkhor Chode in Gyantse, Shalu and Mindroling, along with the Potala Palace in Lhasa with its inconceivably huge collection of exhibits, the former summer palace of the Dalai Lama the Norbu Lingka the Tibet Museum and the Yarlung Museum in Tsethang. One of the focal points of the exhibition and certainly also one of its high points is a group of sculptures whose vividness and perfection defies comparison: ten almost life-size bronze portraits by the masters of the Sakya school dating back to the early 16th century. Further highlights include a huge sculpture of the thousand-armed Avalokitesvara with individually wrought hands, an exceptionally well-preserved illuminated Indian manuscript from the 11 th century and the so-called "thangkas", artistically painted, woven and embroidered Tibetan scroll paintings some of which are extraordinarily old. The particular merit of the exhibition is to further our knowledge of Tibetan art, which up till now has primarily been based on exhibits in private collections in the West, by extending our attention to those works which have remained in Tibet. In addition the exhibition has thrown up a considerable amount of pioneering academic work. Many of the exhibits shown here have been unpublicised to date and this is the first time that they have been subject to a thorough process of academic study. Sanskrit names and terms have been anglicised.

4 Press information I long version (p. 1) TIBET Treasures from Tibetan monasteries 19 th August to 26 th November 2006: Unique Tibet exhibition in the Villa Hügel The Villa Hügel in Essen, once the residence of the Krupp family, has made itself a nationwide reputation amongst the cultural institutions of North-Rhine Westphalia. Besides presenting important works by old masters it has attracted the attention of the general public with its major cultural and historical projects. One of its focal points is the art and culture of Central Asia and the Far East. Against the background of this tradition the Kulturstiftung Ruhr has now made it possible to visitors to familiarise themselves with a particularly fascinating culture Tibet and its almost unknown monastic treasures. From 19 th August to 26 th November 2006 the Villa Hügel will be showing a large number of old religious artworks from the treasuries of Tibetan monasteries. Some of these works date back 1500 years and the majority have never before left Tibet; all of which makes this not only a unique event but also a world première. When the exhibition closes in Essen there are plans for it to be taken over by the "Staatliche Museen" in Berlin. Over the last few years Tibetan art from Western collections has been presented in a considerable number of exhibitions in Europe. Two major exhibitions "Tesori del Tibet in Milan (1994) and "Tibet - Treasures from the Roof of the World in Santa Ana (2003), a mobile exhibition which was shown all over the USA for two years until 2005 also contained treasures from collections in and around Lhasa. But never before have religious and cultural objects from a variety of Tibetan monasteries and a provincial museum in Central Tibet (i.e. outside the capital of Lhasa) been shown in an exhibition. The most important loans for the exhibition at the Villa Hügel come from the Potala-Palast in Lhasa, the former summer palace of the Dalai Lamas Norbulingka, the Tibet Museum and the Yarlung Museum in Tsethang, in addition to the monasteries of Sakya, Tashi Lhunpo, Palkhor Chode in Gyantse, Shalu and Mindroling. The first steps on the road towards implementing the Tibet exhibition in the Villa Hügel began more than three years ago. After the Kulturstiftung Ruhr had decided to present art which is still held in Tibet for the first time in Germany, contact was initially made with the Chinese embassy in Berlin in its role as representative of the autonomous region of Tibet in Germany. The embassy signalised its willingness to support the project and established contact with the Tibetan cultural authorities. There followed four journeys by delegations from the Kulturstiftung Ruhr to Tibet; journeys which were full of extraordinary experiences and encounters for the team around Professor Dr. Jeong-hee Lee-Kalisch, Professor of the Far East department of the Art History Institute at the Free University of Berlin and curator of the exhibition. The first point of interest was fieldwork, i.e. the study of local Buddhist culture, the structures of museums and similar institutions, and the attitude of Tibetans to sacred art. But another driving force behind the exhausting expeditions was the search for hidden treasures. This yielded rich fruits. For the vast amount of objects which the team was allowed to view in museums, palaces and monasteries were quite simply fascinating on account of their outstanding quality. The quest for new discoveries and fresh research results quickly dissolved, however, at the meetings with the humble monks and abbots in the monasteries and their devout disciples. The team quickly realised that much patience and time would be required perhaps even a lifetime to really become acquainted with this little known terrain.

5 Press information I long version (p. 2) The team was all the more delighted with the generous spirit of cooperation shown by the abbots in the major monasteries of Tibet. Although the principle of an art exhibition and the related consciousness of autonomous art is alien to their culture they were fascinated by the idea of making their monastic treasures accessible to the general public in the West. They regarded the exhibition, as it were, as an opportunity to conduct a cultural and spiritual mission. Out of respect for their faith and their gentle and simultaneously dynamic religion, the delegation made a conscious decision not to borrow cults object which are deeply linked with the everyday religious context of monastic rituals. Around 150 exhibits have now arrived in Essen; from life-size sculptures to paintings and multifaceted mandalas, shrines, temple decorations and altar equipments. Fire gilded figures, minutely painted and embroidered scroll illustrations, silk wall hangings, bejewelled altar equipment, illuminated manuscripts with artistically carved book covers and precious shrines reveal Buddhas, Bodhisattvas, teachers, meditation and protective deities, and heavenly travellers in a huge number of widely different forms and symbols, The works are outstanding for their aesthetic qualities and impressive splendour. The oldest exhibit is a roughly thirtycentimetre high sitting Shakyamuni Buddha made of bronze, which dates back to 473 A.D. The most recent exhibits were made at the start of the 20 th century. One of the focal points of the exhibition and certainly also one of its high points is a group of sculptures whose vividness and perfection defies comparison: ten almost life-size portraits by the masters of the Sakya school dating back to the early 16 th century. Further highlights include a huge sculpture of the thousand-armed Avalokiteshvara, Bodhisattva full of limitless compassion, an exceptionally well-preserved illuminated manuscript from the 11 th century, and so-called "thangkas", highly colourful, textile scroll paintings. All these works, mostly by anonymous artists, were created not only in Tibet, but also in India, Nepal, Burma, Kashmir und China regions with which Tibet had lively relationships. In this way visitors will be able to grasp the broad range of artistic styles in Tibet more easily. At the same time the Villa Hügel wants the project to provide an insight into the culture of Tibet. In order to do justice to both these aspects and to the extraordinary generosity of the donors, the exhibition is called "Tibet artistic treasures from Tibetan monasteries". The title is not only a literal reference to the value and beauty of the artistic treasures, but also a symbolic reference to the exhibits as objects of refuge, which are referred to as "precious treasures" or "jewels" in the Sutra tradition. The visible presentation of the precious objects is intended to throw a light on the invisible spiritual aspects of these "jewels". Tibetan art history is inseparably linked with the spiritual and religious history of the country on the roof of the world, a name which, to the inhabitants of Western countries, whose philosophies are shot through with the idea of reason, has an almost magic feel and which is generally regarded as a symbol of secret knowledge about the meaning and ultimate aim of existence. There are good reasons for this. In scarcely any other country in the world is the conviction of the rightness and spiritual power of faith for all time, so deeply and constantly rooted in the consciousness of its inhabitants as it is in Tibet. Buddhism is the substance of Tibetan identity, and every single artistic creation has always been an expression of this attitude to life.

6 Press information I long version (p. 3) Even today the exhibits still serve as ritual and cult objects in the monasteries of Tibet, and are held in awe by lay people and clerics alike. The believer who meditates on the portraits of the Buddhas and deities is striving to develop an infinite empathy with all living creatures and thereby to experience his or her own Buddha nature. Thus all art works are regarded as valuable aids on the path to enlightenment. The exhibition is, therefore, not merely a presentation of highly valuable and beautiful artistic treasures, but also of the cultural and spiritual legacy of a self-assured people. In order to present all the many different aspects of Tibetan art as effectively as possible and to give a basic idea of how Buddhism is reflected in art, the exhibition has been arranged in five main thematic sections. At the centre are the ten figurative sculptures by the masters of the Sakya school. They document the tradition of one of the eight major meditation systems which were brought from India to Tibet between the 8 th and 12 th century. A further theme is devoted to monastic life and the huge amount of Buddhist deities and teachers. In their function as deeply symbolic objects, mandalas link the macrocosm of the universe with the microcosm of human experience. In the exhibition they represent Tantric Buddhism. Visitors to the exhibition can get an insight into everyday religious practices from a collection of insignia and personal utensils belonging to the religious leaders of Tibet. These include shrines and altar equipment, ritual and consecratory objects, temple decorations, musical instruments and dancing masks. The final section of the exhibition is devoted to Tibetan medicine whose total approach is closely linked to the culture and religion of the country. (see THE EXHIBITION THEMES) The particular merit of the exhibition is to further our knowledge of Tibetan art, which hitherto has primarily been based on exhibits in private collections in the West, by extending our attention to those works which have remained in Tibet and thereby throwing light on their spiritual background. In addition the exhibition has resulted in a considerable amount of pioneering academic work. Many of the exhibits shown here have been unpublicised to date and have been subjected to a thorough process of academic study for the first time. They have been collated, deciphered, ordered chronologically and interpreted a process which serves to protect a unique treasury of art and also to conserve a highly significant cultural legacy. A comprehensive 680 page, richly illustrated catalogue (30.00 ) documents the exhibition in the Villa Hügel. It starts with a section of essays, in which well-known academics from Europe, Tibet and America provide an introduction to art and culture in Tibet. In the catalogue section itself, the exhibits, like the exhibition itself, are divided into five major thematic areas according to the iconography and function of the artworks. The articles in the catalogue are fundamentally the joint work of teams of academics from the specific areas of Tibetology, Indology, South-Asian and East-Asian art history and Buddhist studies. Sanskrit names and terms have been anglicised.

7 Practical information OPENING HOURS 19. August 26. November 2006 Daily from to I Tuesdays and Fridays from to Bags, umbrellas and cameras must be handed in at the cloakroom! INFORMATION Tel.: (0) ADMISSION PRICES Adults 7.50 I concessions 5.50 I Groups of 10 persons or more 5.50 Family ticket (Adults with children up to 16 years old) School parties accompanied by teachers GUIDED TOURS BY ARRANGEMENT Tel.: (0) I info@villahuegel.de Max. 20 persons per group, ca. 90 minutes German I Other languages (English, French, Dutch) School parties (ca. 1 hour) Combined tour (Exhibition and Villa Hügel) German (ca. 90 minutes) I other languages (ca. 90 minutes) No tours with outside guides CATALOGUE ca. 680 pages I ca. 440 coloured illustrations I AUDIO GUIDE 4.00 TEACHING MATERIAL for all age groups (CD-Rom) 5.00 HOW TO REACH US S-BAHN S 6 from Essen or Cologne Central Station, alight: S-Bahnhof "Essen-Hügel" TRAM Line 101 or 107, alight: "Frankenstraße", From there, bus 194, alight: "Zur Villa Hügel" CAR Motorway A 52 exit 27, Essen-Haarzopf or exit 28, Essen-Rüttenscheid, and follow the signs to the "Villa Hügel" COACHES Entrance only from Frankenstraße, entrance Haraldstraße

8 Press information I The exhibition themes (p. 1) Buddhism as reflected in art In order to make clear the artistic and iconographic breadth of the ca. 150 exhibits from monasteries and museums, created between the 5 th and the 20 th century, and at the same time to familiarise visitors with the fundamentals of Tibetan Buddhism as reflected in art, the exhibition is divided into five main themes. I II III IV V Each of these main themes has been allotted its own respective colour. The colours white, blue, yellow, red and green have a complex symbolism. Amongst others, they stand for the five Buddha families, for the five heavenly directions including the centre, and for the five elements of fire, water, earth, air and space. In Tibet this symbolism finds an ever-present expression in prayer flags. The flags, printed with mantras, wishful prayers and drawings, flutter in the wind, are believed to carry strength, happiness and blessings for the benefit of all living creatures in the world. Because the majority of the exhibits are still used as ritual and cult objects, the artworks are housed within a discreetly indicated temple ambience created by lighting and the wall design, to allow the atmosphere to unfold in the mind of the beholder. Prior to this, visitors can put themselves in the appropriate mood in the entrance area by setting in motion a replica of a large prayer wheel. I The Lamdre masters: a spiritual line of tradition in the Sakya school Each school of Tibetan Buddhism uses illustrations of its religious teachers as visual evidence of the continuity of the teaching tradition, and to prove that the system of teaching has been passed on in a pure and unadulterated form. Furthermore the teachers of these systems are endowed with a status similar to that of the Buddha. Thus the veneration of teachers constantly finds its expression in art. The colour white provides us with an outstanding example of this practice in the very first section of the exhibition ten almost life-size 16th century sculptures which have been hot fire gilded on beaten copper. They belong to a group of 21 sculptures showing the early Lamdre masters of the Sakya school, and are now housed in the Mindröl Ling monastery. The Sakya school is one of the four major schools of Tibetan Buddhism. The so-called Lamdre system is one of its most important doctrines. It informs its students of the meditative path, by which they can attain the stage of becoming a Buddha in a single lifetime. In their liveliness and technical perfection the group of figures represent a high point of Tibetan sculpture. The sculptures are conspicuous for the excellent differentiation of their individual features and personalities. Furthermore the self-enclosed group is a unique representation of the line of transmission of a traditional doctrinal system in Tibetan Buddhism, in that they retrace the spiritual tradition back to early Indian teachers and, respectively, to a mystic revelation from the Godhead. For photos on this, see the list: TIBET1_Kanha.jpg (catalogue no. 3), TIBET2_Damarupa.jpg (catalogue no. 4), TIBET3_Gyaltshen.jpg (catalogue no. 9)

9 Press information I The exhibition themes (p. 2) II Buddhist deities and teachers in Tibet The colour blue is allocated to the second theme in the exhibition: the complex world of Buddhist deities and teachers in Tibet. It is ordered according to the principle of the Buddhist creed, the "Six Refuges". Believers accept the Buddha as teacher, Dharma (the Buddhist doctrine) as the path to liberation from suffering and the Sangha (the community of monks, lay persons and the Bodhisattvas) as a circle of friends, who support them on this journey. The Buddha, Dharma and the Sangha are known by Buddhists as the "Three Jewels". They make up the three "external" objects of refuge. Tantric Buddhism has, in addition, the three "internal" objects of refuge: the Lama as a teacher on an equal rank with the Buddha, the Yidam (meditation deity) and the Dakinis (heavenly travellers) along with the Dharmapalas (protective deities). Each of these six "objects of refuge" has a room of its own in the exhibition. The highlights of this section are a large sculpture of the thousand-armed Avalokiteshvara with individually wrought hands, an exceptionally well-preserved illuminated Indian manuscript from the 11 th century and the so-called "thangkas", artistically painted, woven and embroidered Tibetan scroll paintings some of which are extraordinarily old. For photos on this, see the list: TIBET4_Sakyamuni.jpg (catalogue no.. 14), TIBET5_Thangka1.jpg (catalogue no. 16), TIBET6_Temple model.jpg (catalogue no. 22), TIBET7_Manuscript.jpg (catalogue no. 26), TIBET8_Maitreya.jpg (catalogue no. 32), TIBET9_Thousand armed.jpg (catalogue no. 34), TIBET10_Thangka2.jpg (catalogue no. 36), TIBET11_Thangka3.jpg (catalogue no. 44), TIBET12_Thangka4.jpg (catalogue no. 55), TIBET13_Nada-Khecari.jpg (catalogue no. 60), TIBET14_Sridevi.jpg (catalogue no. 65), TIBET15_Yama.jpg (catalogue no. 66) III Mandalas For westerners, the mandala is possibly the most fascinating, and almost certainly the best known, visual expression of the culture of Tibetan Buddhism. Westerners think of the mandala as a geometric construction, dominated by the circle. Thus they most often tend to speak of the "mystic circle". However there are countless forms of mandalas rich in symbolism in both the microcosmic and macrocosmic areas imaginary palaces, in which believers conjure up a deity with his entourage before their eyes. Mandalas are used in rituals and meditative activities and are intended to help believers overcome the circle of reincarnation. Mandalas have been allocated the colour yellow in the exhibition. The exhibits give an impression of the manifold variations in mandalas: as paintings, sculptures, and even made out of wooden ritual daggers. The finely worked three dimensional Lotus mandalas are particularly precious. For photos on this, see the list: TIBET16_Mandala1.jpg (catalogue no. 74), TIBET17_Mandala2.jpg (catalogue no. 76)

10 Press information I The exhibition themes (p. 3) IV Rulers and monasteries The history of Tibets was shaped for centuries by the power of its religious rulers and the influence of the major monasteries on the cultural, economic and social live of the country. The section of the exhibiton marked in red is devoted to this particular aspect. The link between politics and religion is reflected in the portraits of religious rulers and leading spiritual dignitaries, their insignia, their personal cult objects and their everyday items of practical use like ritual utensils, tea bowls, as well as a throne robe and riding equipment from the palace of the Dalai Lama. Shrines and altar equipment, consecration items, temple decorations and ritual musical instruments illuminate everyday religious practices in the monastery temples. Here visitors can view finely worked amulet caskets, alongside votive images made of clay, prayer wheels and sacrificial bowls, butter lamps and valuable wall curtains. The frequent precious decorations on the objects reflect their worth to the believer. For a photo on this, see the list: TIBET18_Doctrinal wheel.jpg (catalogue no. 103) V Tibetan medicine Buddhists think of the Buddha as a physician and his doctrine as a remedy for their suffering. Ignorance of karmic connections is regarded as the basic reason why people become sick. Even today most Tibetan doctors regard themselves as medical Buddhas. In this way they try to awaken their inherent healing powers. Because of these relationships Tibetan medicine has been allocated the colour green in its own section of the exhibition. The series of "thangkas" (illustrated scrolls) comes from "The four Tantras", which is still regarded as the valid standard work in training Tibetan doctors. The eight medical Buddhas from the 18 th century are called on to stimulate positive powers in doctors, patients and medicines alike. Further illustrations deal with the prevention of sickness, the history of how poisons were created, and an introduction on how to make elixirs to prolong life. For photos on this, see the list: TIBET19_Thangka5.jpg (catalogue no. 135) Sanskrit names and terms have been anglicised.

11 List of press photos Photos can be downloaded (300 dpi) at and are also available on a CD TIBET1_Kanha.jpg The Indian Mahasiddha Kanha, Central Tibet, 1 st half of the 16 th century. Beaten sheet copper, hot fire gilding, partly decorated with paint and cold gold. Jewels, corals. Height: 101 cm, Mindröl Ling monastery, Central Tibet (Catalogue number 3) TIBET2_Damarupa.jpg The Indian Mahasiddha Damarupa, Central Tibet, 1 st half of the 16 th century. Beaten sheet copper, hot fire gilding, partly coloured, and painted with cold gold. Height: 105 cm, Mindröl Ling monastery, Central Tibet (Catalogue number 4) TIBET3_Gyaltshen.jpg Dragpa Gyaltshen ( ), fifth throne holder of Sakya, Central Tibet, 1 st half of the 16 th century. Beaten sheet copper, hot fire gilding, partly decorated with paint and cold gold. Height: 100 cm, Mindröl Ling monastery, Central Tibet (Catalogue number 9) TIBET4_Sakyamuni.jpg Standing Buddha Shakyamuni, Kashmir, 7 th /8 th century A.D. Copper base alloy, hot fire gilding, decorated with cold gold and paints. Height: 63.0 cm, width: 25.0 cm, depth: 20.0 cm, Tibet Museum, Lhasa (Catalogue number 14) TIBET5_Thangka1.jpg Buddha Shakyamuni: Scenes from the life of Buddha Sakyamuni, Nepal, 14 th century. Scroll painting. Gouache on cotton. Height: 70 cm, width: 59 cm, Tibet Museum, Lhasa (Catalogue number 16) TIBET6_Temple model.jpg Model of the Mahabodhi Temple in Bodh Gaya, India, probably Burmese work. Pala era, around the 11 th century. Sandalwood, joined together from innumerable parts. Height: 49 cm, width: 20,5 cm, depth: 26.2 cm, Potala, Lhasa (Catalogue number 22)

12 List of press photos (p. 2) TIBET7_Manuscript.jpg Astasahasrika Prajnaparamita Sutra, India, Pala era, late 11 th century. Illuminated manuscript on Pattra pages. Length: 58 cm, width: 7 cm, Yarlung Museum, Tsethang (Catalogue number 26) TIBET8_Maitreya.jpg The Bodhisattva Maitreya, North-East India, late Pala era, 11 th -12 th century. Copper base alloy, decorated with cold gold and paint, inlays of precious stones (mainly turquoise), silver and copper. Height: 154 cm, Potala, Lhasa (Catalogue number 32) TIBET9_Thousand-arm.jpg A thousand-arm Avalokiteshvara, Tibet, late 17 th century. Bronze, hot fire gilding. Turquoise, decorated with cold gold und paints. Height 78 cm; width 26 cm, Norbulingka, Lhasa (Catalogue number 34) TIBET10_Thangka2.jpg Shadakshari-Lokeshvara, Tibet, 1 st half of the 13 th century. Thangka, Gouache with gold on cotton. Height: 86 cm, width: 62.2 cm, Potala, Lhasa (Catalogue number 36) TIBET11_Thangka3.jpg A teacher from the Nyingma School, Tibet, 17 th - 18 th century. Thangka, Gouache on cotton. Height: 85 cm, width: 56 cm. Potala, Lhasa (Catalogue number 44) TIBET12_Thangka4.jpg Yidam Guhyasamaja Akshobhya, 15 th - 16 th century. Silk embroidered Thangka, 71 x 61.8 cm; with mounting 116 x 87 cm. Potala, Lhasa (Catalogue number 55)

13 List of press photos (p. 3) TIBET13_Nada-Khecari.jpg The Dakini Nada-Khechari, Tibet, 17 th -18 th century. Copper base alloy, partly hot fire gilding, decorated with cold gold and colours, inlays of turquoise, corals and bone. Height: 33.5 cm. Norbulingka, Lhasa (Catalogue number 60) TIBET14_Sridevi.jpg The protective Goddess Shridevi, China, Ming dynasty, Yongle period ( ). Copper, hot fire gilding, partly decorated with colours. Height: 20 cm, width: 17.3 cm. Tibet Museum, Lhasa (Catalogue number 65) TIBET15_Yama.jpg The Death God Yama, China, ca. 16 th century. Copper base alloy, hot fire gilding, decorated with cold gold and colours. Height: 28.0 cm, width: 17.6 cm, depth: 10.7 cm. Potala, Lhasa (Catalogue number 66) TIBET16_Mandala1.jpg Lotus mandala of Chakrasamvara, India, Pala era, 12 th century. Brass, decorated with cold gold and colours. Height (closed): 22 cm, (open): 16.9 cm, Diameter (closed): 9.1 cm, (open): 16.2 cm. Potala, Lhasa (Catalogue number 74) TIBET17_Mandala2.jpg Kalachakra mandala, Tibet, 18 th century. Thangka. Gouache on cotton. Height: 80.6 cm, width: 66.5 cm. Potala, Lhasa (Catalogue number 76) TIBET18_Wheel of Doctrine.jpg Wheel of Doctrine, Tibet, 18 th - 19 th century. Gold, chased, engraved and embossed. Height: 24.2 cm, width: 13.7 cm. Potala, Lhasa (Catalogue number 103) TIBET19_Thangka5.jpg Anatomy: the front of a male body showing the bones and organs. Tibet, 20 th century. Thangka. Gouache on paper. Length: 77 cm, width: 64.3 cm. Tibet Museum, Lhasa (Catalogue number 135)

14 The Kulturstiftung Ruhr (Ruhr Cultural Foundation) Cultural life in the Ruhr industrial area would be unthinkable without the old tradition of private patrons and sponsors. Here successful business firms have committed themselves more energetically than those in other regions, not only to the material but also the cultural welfare of the people living and working in the area. During the period when major industrial companies were being set up (around the turn of the 20 th century) they laid the foundation for a vital cultural and artistic life in the cities in the Ruhrgebiet, and made a decisive contribution to its renaissance and flowering in the years after Continuing in this tradition, the Kulturstiftung Ruhr was set up in 1984 by Prof. Dr. h. c. mult. Berthold Beitz, the honorary director of the board of directors of ThyssenKrupp AG and chairman of the "Alfried Krupp von Bohlen und Halbach-Stiftung". One of its statutory duties was to: "give new impulses to the cultural life in the Ruhrgebiet and set new standards and aims". Following the will of the founder, the Kulturstiftung Ruhr is intended to "bind the Ruhrgebiet once again more closely into international cultural activities, confirm its tradition as a significant cultural area, gain an outstanding position in the Federal Republic of Germany, thereby helping to overcome the sense of resignation which is beginning to paralyse the cultural life in the industrial cities of the region". The Kulturstiftung Ruhr is closely linked to the "Alfried Krupp von Bohlen und Halbach- Stiftung". Thus it regards itself as a body responsible for initiating and presenting high-quality exhibitions of art and cultural history. The former long-time Director of the Folkwang Museum in Essen, Prof. Dr. Paul Vogt, in his capacity as CEO of the Board of Directors of Kulturstiftung Ruhr, is responsible for the concept behind the exhibitions. The headquarters of the Foundation is Villa Hügel, the former residence of the Krupp family. From 1953 to the present day, on the initiative of the last owner of the company, Alfried Krupp, it has been one of the most important cultural centres in the country. Further central activities undertaken by the Foundation include the systematic review of the industrial history of the Ruhrgebiet, evidence of which was rapidly threatened with extinction after the Second World War. Over the years work on the "Documentary Photo Archive on Industrialisation in the Ruhrgebiet" has been completed; it now contains around 480,000 photos, slides and negatives in one of the largest special archives of its type anywhere in the world. The archive can be found in the Ruhrland Museum in the city of Essen. Exhibitions presented by the Kulturstiftung Ruhr in the Villa Hügel 1986 to the present day: Baroque in Dresden Prague, ca St. Petersburg ca Metropolis London Paris Belle Epoque Ancient China Brueghel Breughel Korea the ancient Kingdom Sense and sensuality Flemish still-life paintings Town Country River. Flemish landscape paintings Tibet Treasures from Tibetan monasteries