Focusing on the central and western parts of the region, this is the second of five volumes that comprehensively document rock art in Upper Tibet. It examines a panoply of graphic evidence found on stone surfaces, supplying an unprecedented view of the long-term development of culture and religion on a large swathe of the Tibetan Plateau.

Focusing on the eastern part of the region, this is the first in a series of five volumes that comprehensively document rock art in Upper Tibet. It examines a panoply of graphic evidence found on stone surfaces, supplying an unprecedented view of the long-term development of culture and religion on a large swathe of the Tibetan Plateau.

Focusing on the Eastern half of Stod, this is the third in a series of five volumes that comprehensively document rock art in Upper Tibet. It examines a panoply of graphic evidence found on stone surfaces, supplying an unprecedented view of the long-term development of culture and religion on a large swathe of the Tibetan Plateau. The pictographs (rock paintings) and petroglyphs (rock carvings), host sites, and descriptions and analyses presented are the direct result of intensive fieldwork conducted by the author in Upper Tibet between 1995 and 2016. Information on rock art production techniques, subject identification, thematic class, mode of presentation, physical condition, estimated age, and relative location are supplied for each piece of rock art. In addition to the datasets, the book offers rock art site descriptions and assesses the cultural, religious and artistic development of these locations.

Focusing on the eastern part of the region, this is the first in a series of five volumes that comprehensively document rock art in Upper Tibet. It examines a panoply of graphic evidence found on stone surfaces, supplying an unprecedented view of the long-term development of culture and religion on a large swathe of the Tibetan Plateau. The pictographs (rock paintings) and petroglyphs (rock carvings), host sites, and descriptions and analyses presented are the direct result of intensive fieldwork conducted by the author in Upper Tibet between 1995 and 2016. Information on rock art production techniques, subject identification, thematic class, mode of presentation, physical condition, estimated age, and relative location are supplied for each piece of rock art. In addition to the datasets, the book offers rock art site descriptions and assesses the cultural, religious and artistic development of these locations.

Focusing on the Eastern half of Stod, this is the third in a series of five volumes that comprehensively document rock art in Upper Tibet. It examines a panoply of graphic evidence found on stone surfaces, supplying an unprecedented view of the long-term development of culture and religion on a large swathe of the Tibetan Plateau.

This is a unique volume in the history of rock art studies, meant at once for the advanced scholar, serious student and the curious but conscientious layman, co-authored by K.K. Chakravarty and R.G. Bednarik, who co-chaired the Rock Art session of the World Archaeological Congress 3 at Delhi in 1994. It is a synoptic but comprehensive survey, illustrated by 221 photographs and sketches, including 172 photographs in colour. The two scholars have not only described the latest state of research on rock art, but also transported rock art studies into the realm of interdisciplinary, inter-cultural analysis. Buttressed by an indicative map of the rock art regions, a list of major up to date direct dating results on rock art, a glossary of keywords related to spatial, temporal, technological, managerial categories, and an index, this volume blends precise, dispassionate descriptions with eloquent evocations. It blends conclusions distilled from rigorous, hard headed field research with penetrating criticism and assessment of the evidence. It combines a ruthless brevity and density with extraordinary felicity and clarity of language. Above all, it is an wonderful attempt at dealing with the problems of understanding, which dog human attempts to comprehend the meaning and shape of human creativity.

Drawn and Written in Stone explores the religious history of the highest part of the TibetanPlateau through its rock art and inscriptions. It is focused on facsimiles ofritual and ceremonial monuments carved and painted on stone surfaces and rockinscriptions in the Tibetan language, vital archaeological and historicalmaterials for appraising the development of religion in Tibet, ca. 100 BCE to1400 CE. By probing the complexion of figures and letters in stone, this workconsiders how early cult traditions contributed to the establishment of TibetanBuddhism and a rival faith known as Yungdrung Bon. Outside of the Indiancultural context, relatively little has been written about the historicalantecedents of these popular Tibetan religions for a want of sources. Thismonograph helps remedy this large gap in Tibetan studies by drawing upon theauthor's surveys of rock art and rock inscriptions conducted in upmost Tibetbetween 1995 and 2013.

Drawn and Written in Stone' explores the religious history of the highest part of the Tibetan Plateau through its rock art and inscriptions. It is focused on facsimiles of ritual and ceremonial monuments carved and painted on stone surfaces together with rock inscriptions in the Tibetan language, vital archaeological and historical materials for appraising the development of religion in Tibet, ca. 100 BCE to 1400 CE. By probing the complexion of figures and letters in stone, this work considers how early cult traditions contributed to the establishment of Tibetan Buddhism and a rival faith known as Yungdrung Bon. Outside of the Indian cultural context, relatively little has been written about the historical antecedents of these popular Tibetan religions for a want of sources. This monograph helps remedy this large gap in Tibetan studies by drawing upon the author?s surveys of rock art and rock inscriptions conducted in upmost Tibet between 1995 and 2013.

Using archaeological, anthropological and philological methodologies, Zhang Zhung presents the formative elements in the development of civilization in Upper Tibet, the vast upland north and west of Lhasa. Part I of this major work provides a comprehensive examination of the monumental and aesthetic traces of the Metal Age and early historic period in Upper Tibet. Based on a field survey project of twelve years duration, the morphological, constructional, mythological and cross-cultural traits of the region's visible archaeological wealth are described in detail, laying the groundwork for the meticulous textual analysis that follows. In Part II of the book, annotated translations of numerous excerpts from Bon and Buddhist texts present the traditional view of Tibet's ancient past. These indigenous literary accounts of the early cultural, religious and political complex of the Plateau are in turn systematically compared to the archaeological record, revealing critical points of agreement. Zhang Zhung has pioneered the application of empirical evidence to gauge the historicity and significance of Tibetan Bon sources. Part III is devoted to the study of the archaic funerary heritage of Tibet, which proves to be highly useful with regard to analyzing the cultural evolution of the Plateau. New perspectives on the identity and contributions of the Tibetan ethnos are obtained by subjecting Dunhuang and Bon textual materials to rigorous archaeological and ethnographic interpretation. Considerable effort has been devoted to analyzing Tibetan funerary literature and to discerning its links to northern Inner Asian mythology and burial practices of the first millennium BCE and the first three-quarters of the first millennium CE. Critically edited transliterations of the Tibetan works, tables of all the surveyed archaeological sites, bibliographies and extensive indexes complement the main text.