An interview with

Erberto Lo Bue

Position & Affiliation: Associate Professor at the University of Bologna (retired)
Date: September 2019 in Torre Pellice, Italy

Interviewed by: Guido Vogliotti

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Oral History of Tibetan Studies. (2021, December 2). An interview with Erberto Lo Bue. Retrieved 15 October 2024, from https://oralhistory.iats.info/interviews/erberto-lo-bue/.

“An interview with Erberto Lo Bue.” Oral History of Tibetan Studies, 2 Dec. 2021, https://oralhistory.iats.info/interviews/erberto-lo-bue/.

Oral History of Tibetan Studies. 2021. An interview with Erberto Lo Bue. [online], Available at: https://oralhistory.iats.info/interviews/erberto-lo-bue/ [Accessed 15 October 2024]

Oral History of Tibetan Studies. “An interview with Erberto Lo Bue.” 2021, December 2. https://oralhistory.iats.info/interviews/erberto-lo-bue/.

Disclaimer: The views and opinions expressed in this interview are those of the interviewee and do not necessarily represent the official position of the Oral History of Tibetan Studies project.

Timestamps:

Regarding Question 2: “History” as a subject taught from the age of 8 onwards; religion was not compulsory, but civics was, like physical training.

Addenda in relation to Charles Rollier’s library: MacDonell’s Sanskrit-English Dictionary

Errata in relation to Charles Rollier: I contributed to “the catalogue of Rolllier’s exhibition”; Corrige: to “the monograph published on the occasion of Rollier’s exhibition

Errata: “Tibetans, who have become a minority in their own country”
Corrige: “Tibetans, who have become a minority in the People’s Republic of China” (as pointed out by Tsultrim Zangmo in “The New Trend of Han Migration to TAR”,The Tibet Journal, XLIV/1, 2019, p. 64).

Origin, childhood, and family background

I was born on the 30^th July 1946 at Torre Pellice, Turin province, in the Waldensian Valleys of Piedmont less than a year after the end of the civil war between the Fascist regime represented by the Salò Republic supported by its German allies and rebels who resisted their occupation.

Son of Iolanda Bianco, from a middle-class family in Turin, and Francesco Singleton lo Bue (1914–1955, on whom see Filippo Maria Giordano, Francesco Singleton Lo Bue, pastore valdese, antifascista e federalista, Torino 2013), Waldensian minister as well as high-school teacher with a degree in classical literature at Rome University and one in theology at the Waldensian Faculty of Theology in Rome, born in Tripoli (Libya) from an English Baptist missionary lady, and from a Sicilian Socialist and Freemason Baptist minister. My father joined the Waldensian Church and got his degree in theology with a thesis on Tyconius’ Fragments on the Apocalypse published in 1963 (The Turin fragments of Tyconius’ Commentary on Revelation, Cambridge University Press). I belonged to the middle class and was never a Christian, my father having given me the choice of being baptized or not, and the study of the Bible and catechism at school had the opposite effect to what he might have wished, especially after I studed Greek philosophy at “liceo classico”.

Primary and secondary education

As a teenager I attended middle and high schools, mostly in Turin, where I learned Italian, Latin, Greek and English languages and literatures, French, history (the subject I liked most), art history, philosophy, maths, geometry, trigonometry, natural sciences and chemistry, besides physical training as well as civic education, carrying out my first field work (1961–1962) among Italian immigrants dwelling in the lodgings of the Turin Borough Assistance Board (ECA) under the guidance of my teacher Giorgina Levi, a Jewish lady who had been compelled to leave Italy and move to Bolivia following the issue of the Fascist laws for the defence of the race, on whom see Marcella Filippa (ed.), Avrei capovolto le montagne. Giorgina Levi in Bolivia, 1939–1946 (Firenze 1990). Apart from my contributions, that research included drawings of mine and exemplifies what would be years later the methodology of my field work, based on interviews to artists and photographs. That kind of experience made me realize eventually that the gap between intellectual knowledge and reality may be overcome only by contact with real people and objects, that is field work, which would mean adding a social and anthropological dimension to my studies.

It was from Giorgina Levi that for the first time I heard the expression “oral history”, a subject she was particularly interested in besides politics and cinema: on Sundays she took us to the Cinema Museum in Turin, where we would watch films that were seldom or no longer shown in cinemas, although that was not the place where I saw the film that fascinated me most: Lawrence of Arabia. She was accredited journalist at the Biennale del Cinema in Venice where we would meet when I lived there. Giorgina Levi regarded me as a good student and eventually we became friends, visiting Italian art cities and archaeological sites from 1968 onwards, and eventually Peru and Bolivia (1971), where she had asked me to accompany her to visit the places where she had lived and worked as a refugee during the Fascist regime, our stay there ending with a military coup d’état with curfew, and Israel, which we visited in 1976–1977. In our correspondence, preserved at Archivio Diaristico Nazionale at Borgo Santo Stefano, I occasionally use Yiddish terms which had become part of our language. It is conceivable that an interest in minorities (Jews and later Newars, Sherpas, Ladakis, Tibetans besides Waldensians, though I am not a Christian), which I came to regard all as “salt of the earth” developed also because of our relationship.

In 1962 I became a member of “Nuova Resistenza”, an anti-Fascist organization, in Turin. Before that I had started travelling and having work experiences abroad, my most notable experience being a journey from Castle Donington (1964), where I had taken part in a camp organized by the United Nations Association to decorate rooms where children of German refugees lived and where I met volunteers from various countries, including North Africa. Instead of going back to Italy I decided to head northwards, hitchiking and sleeping in youth hostels as far as Scotland including the Orkney and Shetland Islands, where I was interviewed by a friendly journalist, no Italian having been seen there for a score of years. I asked a Norwegian fishing-boat at Lerwick for a lift and was taken to a village on the island of Vågsøy, the most important fishing harbour of Norway, from which I continued my trip in Norway, then heading to Sweden, Denmark and Germany, where I found a job in Hamburg for enough time to allow me earn enough money to pay for a train ticket to Italy, after returning most of the money I had received from my maternal grandmother for my good performance at high school, to prove to myself that I could manage on my own. After that experience I started playing the guitar and singing political songs in a group called “Cantimbanchi”, performing at festivals and in theatres in Turin and other places in Piedmont, as well as in Siena.

In 1965 I left my Turin home for good, never to return to live with my mother, with whom I had experienced problems since my childhood, and moved to a loft joining my lady friend, who was six years than I was, starting a long legal battle with with the former, for I was still a minor according to Italian law and she would not allow me the emancipation I had asked through our solicitor. My passport having been seized by her and given to the police, I could no longer travel abroad, so in 1966 I expatriated illegally across the Alps to meet an acquaintance of mine, Vittorio Chiaudano, who was then in southern France and was to be my first employer in Switzerland. Throughout my life I have been in good terms with my father’s family, on which I could always rely when I was in Italy.

Tertiary education & early adulthood influences

“Laurea” (honours degree) in Foreign Languages and Literatures (with a thesis related to Anglo-American literature; 110/110 marks), Ca’ Foscari, University of Venice (30th June 1976).
PhD in Tibetan Studies at the School of Oriental and African Studies (University of London) in 1981 with a thesis on traditional religious Himalayan sculpture in the 20th century

How did your interests during your high school develop?

They did on the basis of the study of history, art history, philosophy and civics in relation my first field work (1961–1962) among Italian immigrants dwelling in the lodgings of the Turin Borough Assistance Board (ECA) under the guidance of my teacher Giorgina Levi, a Jewish lady who had been compelled to leave Italy and move to Bolivia following the issue of the Fascist laws for the defence of the race. That kind of experience made me realize eventually that the gap between intellectual knowledge and reality may be overcome only by contact with real people and objects, that is field work, which would mean adding a social and anthropological dimension to my studies.

Why did you become interested in “Foreign Languages and Literatures” and especially English literature?

I was brought up in an Anglophile world, due to the fact that my father was the son of an English Baptist missionary. Among my readings, ranging from Peter Pan to texts by Kipling, Swift, Stevenson, Twain, Fenimore Cooper, Melville, besides Verne, Dumas, Salgari, the one that influenced me most was Robinson Crusoe. Having a half-English father, I met English relatives at Torre Pellice when they came to visit us after the war.

How do you remember the Italian academia and the University of Venice as a student in the 1970s? With whom and how did you study, your teachers and classmates?

I do not have a good recollection of Ca’ Foscari, which I attended regularly from 1966 to 1968, receiving two small grants and being then compelled to emigrate to French Switzerland to work in order to support my studies at a time when it was difficult to find a job in Venice. I found it easy to study with professors of English language and literature, history of the English language, French language and literature, Italian and Latin languages and literatures, German and Romance philology, medieval, modern and art history, history of philosophy and of the English language, but difficult with my professor of Anglo-American language and literature, Prof. Perosa, who was unfriendly and unnecessarily hard, unlike all other teachers, like prof. Zanmarchi (English language and literature) and prof. Caccia (Italian language and literature).

Of my classmates I remember in particular Claudio Ambrosini, with whom I have kept in touch. In Venice I made friends with Piero Morandi, of Italo-Argentinian origin, who travelled to the east overland as far as Afghanistan and Nepal, and above all with the musicologist Giovanni Morelli, in whose house I became legally resident from 1968 and who encouraged me to write my thesis on John Cage’s writings, where I found references to Zen, Buddhism and Hinduism.

When and why did you get interested in Oriental Studies/Tibetan language/art?

In 1968, when I started working as a secretary for the widow of the painter Charles Rollier in the Geneva canton to make an inventory and to organize exhibitions of her husband’s work, in whose library I came across for the first time with publications on Tibetan and Indian civilizations, of which I eventually compiled an inventory. On the subject later I published a couple of articles, “L’influence du bouddhisme et des arts indien et chinois sur la peinture de Charles Rollier” (in Charles Rollier. Les deux phases cardinales, Peintures 1955–1968, Musée Cantonal des Beaux-Arts, Lausanne 1984) and “The Painting of Charles Rollier: The Influence of Indian Culture on a European Artist” (Mârg. A Magazine of the Arts, 65/3, 2014), translated into Italian by Guido Vogliotti for the last exhibition I organized at Torre Pellice, where Rollier used to spend the summer, in 2018.

What did you find so fascinating about it?

I regarded Indo-Tibetan art as belonging to an Indo-European tradition to which I belonged and which I should know better.

Traveller, hippie times… Were you in some ways influenced by the anti-culture movement at that time?

I was indirectly, for I have always shunned exoticism and the conformism of anticonformism, being cautious with any kind of ideology or pseudo-ideology, and suspicious of cultural revolutions, except the Copernican and Galilean one.

How do you remember SOAS as a student in the 1970s and 1980s and the relevant fields of studies there?

SOAS with the relevant fields of studies had a pleasant atmosphere, but there were very few students of Tibetan.

My teachers were Philip Denwood, David Snellgrove and a lay Tibetan lecturer, whereas of my class mates I remember only Cathy Cantwell. We studied grammar, syntax and pronunciation and were translating Tibetan texts related to art with the first, translating a Tibetan text on mandalas with the second, and practising conversation with the third.

Your memories of David Snellgrove as a teacher and person?

High standards of scholarship, intellectually honest and helpful (cf. my “Obituary: David Llewllyn Snellgrove — 29 June 1920 – 25 March 2016”, The Tibet Journal, XLIII/2 — 2018)

Early fieldwork in Tibet and the Himalayas

From 1972 he carried out field work in Nepal, India and Tibet. How did your fieldwork look like, how do you remember it?

I remember it as a tiring but interesting series of experiences based on travels, long stays, visits and interviews to artists.

Why did you decide to work on religious Himalayan sculpture in the 20^th century?

I did because the contemporary production of traditional religious images by skilled artists should be recorded also to respect the feelings of Tibetan people, as pointed out by Bsod nams tshe ring, former director of The Tibet Journal, as quoted in my article “Tibetan Aesthetics versus Western Aesthetics in the Appreciation of Religious Art” (in M. Esposito, ed., Images of Tibet in the 19^th and 20^th Centuries, École française d’Extrême-Orient, Paris 2008, vol. II, pp. 701–2, n.70).

Did you do fieldwork with artists, how do you remember this?

I remember it as a tiring but interesting experience allowing to communicate with mind and body, also thanks to the assistance of people who assisted me taking pictures to document my research.

How do you remember the artists’ scene in Nepal/India at that time?

I remember it as a very active, religious and friendly world, often living in very simple conditions chiefly at Lalitpur, in the Nepal Valley.

Would you also have something to say about the Tibetan and Himalayan art trade in Nepal, India and the West at that time?

I was struck by the number of contemporary images that were aged artificially, sometimes with rather sophisticated techniques, to satisfy Western aesthetics.

Have you witnessed Tibetan art being carried outside Tibet and making its way into the exile and the West?

I have not, but I have witnessed and recorded the production of images and the reconstruction of temples as well as monasteries during all my unofficial fieldwork, travelling overland to southern, central, northern and eastern Tibet from 1987 to 1997 (when I reached Chengdu travelling with my expedition from Gong-dkar) and also in 2003 and 2004, sometimes leading groups of tourists and delivering evening lectures preparing them to the visits during the following day.

How have you experienced this trade and market?

I found it interesting, but eventually frustrating, since in the end I felt that collecting objects isolated from their religious and cultural context is a bit like collecting dead butterflies.

Research, fieldwork, exhibitions

In 1972 I established the Aniko Collection of Tibetan and Himalayan art in Geneva; since then I have organized fifteen exhibitions of Asian art in Italy, Switzerland and England. In 1978 I carried out fieldwork in Ladakh and the Nepal Valley under the sponsorship of the Central Research Fund of the University of London, and in the period 1980–1982 I extended my research to art collections in UK museums as well as to Sikkim and Tibetan settlements in India, thanks to a grant from the British Academy.

In 1987 I carried out fieldwork in south-western, southern and central Tibet under the sponsorship of CeSMEO (Turin), concentrating my research upon the monastery and the Great Stupa of Gyantse; I returned to Tibet in 1995, 1996, 1997, and then 2003 and 2004 thanks to funding from NORAD (Norwegian Agency for Development Cooperation).

Under the sponsorship of the University of Bologna I have carried out fieldwork in Nepal (2000), including Mustang (2008), as well as Ladakh, Spiti and Kunavar (2001, 2002, 2003 and 2005). In 2003 and 2004 I was a member the temporary committee for acquisitions for the future Museum of Oriental Art in Turin.

Guest Researcher at the Department of the Court History, Palace Museum, Beijing.

How did your interest and research in art develop?

From my childhood, when I liked drawing and painting, and later visiting museums, exhibitions, art cities and archaeological sites.

Very early on, when Tibetan and Himalayan art was not much studied yet, you established the Aniko Collection of Tibetan and Himalayan art in Geneva. Could you say something about it?

My exhibitions had an unexpected success in all parts of Switzerland

You have worked on a wide scope of art, on Tibetan, Newar and Indian. What do you like about art of these cultures?

Their polytheistic features and non-theistic aspect of Buddhism.

Is there something special about it for you?

It is an art produced as a support to devotees rather a narcissistic expression of the artist.

It seems you have linked research on art to fieldwork a lot…

I had the opportunity to study artistic productions entering also in the artists’ lives, sometimes living in their houses and quarters.

Why do you find this approach important?

Because it is more related to life than intellectual.

Would you have a favourite field site(s), and why is this / are these your favourite?

My favourite site was the artists’ quarter in Lalitpur, because I had the opportunity of entering the artists’ world at all levels.

You have been involved in a great number of exhibitions of Tibetan art. Could you say something about them, why do you like exhibitions, why do you consider them important?

I consider them important for they allow people to observe easily and closely objects belonging to distant cultures.

What would be your favourite exhibition that you’ve put together and your favourite art piece?

“Tesori del Tibet: oggetti d’arte dai monasteri di Lhasa” (1st March – 30th April 1994), Galleria “Ottavo Piano”, La Rinascente, Piazza Duomo, Milano. One of the objects I prefer is the 20^th-century Newar copper-alloy statue of the Green Tara in my collection.

Could you please say something about your diverse research work for various museums on Europe?

(for ex. 1980–1982. Grant from the British Academy (London) for fieldwork research on the collections of Tibetan and Himalayan art in British and Indian museums, and on 20^th-century Tibetan and Himalayan art and artists in India. In 1980 I copied and translated inscriptions from Tibetan into English and Newar dates, handing the relevant information to the Victoria and Albert Museum and British Museum in London, Ashmolean Museum in Oxford, Museum of Archaeology and Anthropology in Cambridge, the Museum of Antiquities in Liverpool, Gulbenkian Museum of Oriental Art in Durham, Royal Scottish Museum in Edinburgh, and Glasgow Museums and Art Galleries.

In 1981 I travelled to India to study the Tibetan and Himalayan collections in the Museum of Archaeology of New Delhi, in the Patna, Nalanda and Sarnath museums, and in Government Museum in Mathura), and to record the activities of Tibetan and Himalayan artists in West Bengal and Sikkim as well as in Tibetan settlements and monasteries in India (Bodhgaya, Sarnath and Karnataka) to integrate the research carried out earlier in Ladakh and Himachal Pradesh.)

My contacts with the London museums were the most interesting ones for they led to the publication of my “Statuary Metals in Tibet and the Himalayas”, in William Oddy & Wladimir Zwalf (eds), Aspects of Tibetan Metallurgy, special issue of British Museum Occasional Papers, 15 (1981), pp. 33–67 (and Bulletin of Tibetology, 1–3 (1991), pp. 7–41), and “Casting of Devotional Images in the Himalayas”, British Museum Occasional Papers, 15 (1981), pp. 69–86, and Bulletin of Tibetology, 1–3 (1991), pp. 43–75, and helped in the organization of the first exhibition of Tibetan painting in Italy, with painted scrolls from the V&A, “sKu-thang. Tibetan Painting from the 15th to the 20th Century” (14th October – 14th November 1983), Centro Incontri della Cassa di Risparmio di Torino, 23 corso Stati Uniti, Turin.

Museum of Oriental Art in Turin

You were involved in the establishment of the Museum of Oriental Art in Turin, which is one of the most important collections of Asian art in Italy. Could you say something about it, please?

MAO was established thanks to the initiative of Prof. Fanco Ricca, a scholar who had already been crucial in the foundation of CeSMEO.

How did it all originate and what was your role in it?

It resulted from the need of putting together different collections of Oriental art in Turin, supplementing them with the acquisition of objects of Tibetan and Himalayan art in which I played a role of advisor thanks to my experience in the subject.

Memories of others

One of your important books, The Great Stupa of Gyantse. A Complete Tibetan Pantheon of the Fifteenth Century written together with Prof Franco Ricca, was published with Serindia in London (1993).

Could you say something about working with Anthony Aris, please?

It was an interesting and friendly experience involving a journey of his to the Waldensian Valleys, where my present wife, Stella Rigo Righi, and I hosted him at our place at Luserna San Giovanni in 1993, before the proofs of the volume were sent to him, who in turn hosted us with his collaborative wife, Marie-Laure de Labriffe, at Toulouse-le-Château in the French Jura in 1993.

How did this book came about?

After the publication of my and Franco Ricca’s previous volume, Gyantse Revisited, following our first expedition to Tibet (1987), when the latter came to realize the importance of the sKu- ’bum, which was my main purpose of that journey and which had already been studied by Giuseppe Tucci, who had devoted three parts of his Indo-Tibetica to it (1941).

Also, did you happen to know Michael Aris?

I met him and his wife Aung San Suu Kyi in Oxford, where in 1979 I delivered my lecture “Himalayan Sacred Art in the 20th Century”, published in Art International two years later, receiving a kind letter from him in 1981 in reply to inquiries of mine.

How do you remember both of them?

I remember them as very kind and cooperative persons.

Have you worked with Giuseppe Tucci, Hugh Richardson, and others?

In my archives I keep three letters, one being a reference letter addressed to the Italian Foreign Office, from Giuseppe Tucci dating to 1978, as well as four letters from Hugh Richardson, three of which dated from 1992 to 1995 and dealing with Tibetological issues in reply to nine letters of mine dated from 1991 to 1996, as well as a greeting card dating to 1993 and congratulating me on the “splendid achievement and beautifully illustrated” volume on the Great Stupa of Gyantse. I met the former in Rome, where I accompanied David Snellgrove, and the latter in London and Piedmont, where I drove him around during his visit to the same.

You’ve been also instrumental in introducing David Snellgrove to the area of the foothills of Italian Alpes, where then David Snellgrove settled (“Having retired, he purchased a house with a garden at Torre Pellice and moved there in March 1984, completing his most important work, Indo-Tibetan Buddhism (Snellgrove, 2000: 336), and in December 2012 he retired to a flat in the hills of Lusernetta, where he was attended by his friend Carl Stacey and by the latter’s wife.”). Were you close friends?

Yes, we were.

Were you together with David Snellgrove in his final years?

I was until 1996, when I moved to Istanbul, but we met occasionally after I returned to Italy following my appointment at Bologna University.

Tibetan and Himalayan Studies

Could you tell us a bit more about Tibetan Studies in Italy and Bologna in general?

In Bologna my course disappeared after my retirement and has not been replaced following the absorption of my department into a larger one.

The developments and changes of Tibetan Studies in the West / Italy / Bologna and in general?

Tibetan studies have increased at the University of Naples, where Prof. Giacomella Orofino is particularly active with her students, having direct contacts with Tibet also thanks to Associazione Italia-Tibet, whereas at Rome University Tibetan language and civilization are now taught by Donatella Rossi.

Changes of theoretical discourses and approaches?

The latter seem to be generally cultural when compared with Prof. Luciano Petech’s strictly historical ones.

How were you involved/positioned in it?

I contributed as a teacher, lecturer, author of articles, editor of proceedings and organizer of a conference at Gabinetto Vieusseux, Florence.

Changes of research approaches / interpretative frameworks in Tibetan and Himalayan Studies in general? // to Tibetan and Himalayan art?

There have not been many. As pointed out by Franco Ricca and Guido Vogliotti in the preface to their recent history of early Tibet (Storia del Tibet. Monarchia e impero nel VI-IX secolo, Alessandria 2018, p. 1), the acquisition of new information on Tibetan history has not led to an adequate competence in historical phenomena, the limitations and obstacles being at least partly due to an attitude towards the Tibetan world that has often privileged its magical/religious aspects rather than its economic, social, historical and political ones: “The fascination for a country felt as a mysterious repository of extraordinary wisdom has been exerted not only on average-low cultural levels, but has invested also culturally and scientifically qualified milieux”, sometimes enchanted by the Tibetan religious tradition in environments at least partly influenced by the New Age, with publications inspired by members belonging to the various Buddhist schools of the Tibetan diaspora. Remarkable exceptions are represented by works such as Per Sørensen’s Tibetan Buddhist Historiography. The Mirror Illuminating the Royal Genealogies.

The same applies to Tibetan art history. In his introduction to Kongtrul’s Encyclopaedia of Tibetan Culture (New Delhi, 1970, p. 52) Gene Smith had already warned that “The pontifications of eminent museologists and art historians regarding the characteristics and dates of the various styles and schools represent nothing but uninformed guesses.”

More recently the greatest Tibetologist expert in Tibetan painting, David Jackson, in his The Place of Provenance. Regional Styles in Tibetan Painting, with a contribution by Rob Linroth, argues that Tibetan art history and concludes that hopes for improving its discipline “will be nothing but a dream” unless “younger scholars were to begin applying a sounder historical method, rejecting inexact and unreliable methods of the past” (p.19). A good example of the present unsatisfactory situation may be provided by the fact that in recent books on the Potala many murals from the 1920s were wrongly dated in the captions to the 1640s (pp. 33–34). Chapters three and four, far from the antiquarian aesthetics prevailing in the Western world, include the 20th-century production in Tibet proper, Ladakh as well as Nepal (pp. 33, 34, 39, 49, 70–72, 80–81, 91–92, 105, 108, 111–112).

Examples of 20^th-century paintings and painters are dealt with also in chapter six (pp. 146–147 and 149–150), confirming that Jackson shuns the prevalently antiquarian aesthetics in the West.

How would you say these fields of studies / degrees taught have changed (since you were a student)?

There seems to be less distance between teachers and students.

Additional info

Erberto Lo Bue was Associate Professor in Indology and Tibetology at the Department of Oriental and Linguistic Studies of the University of Bologna, where he taught history of Indian and Central Asian Art as well as classical Tibetan.

He obtained his Ph. D. in Tibetan Studies at the School of Oriental and African Studies (University of London) in 1981 with a thesis on Himalayan sculpture in the 20 th century. After the first of a number of journeys to Nepal, in 1972 he established the Aniko Collection of Tibetan and Himalayan art in Geneva; since then he has organized fifteen exhibitions of Asian art in Italy, Switzerland and England. In 1978 he carried out fieldwork in Ladakh and the Nepal Valley under the sponsorship of the Central Research Fund of the University of London, and in the period 19801982 he extended his research to art collections in U. K. museums as well as to Sikkim and Tibetan settlements in India, thanks to a grant from the British Academy. In 1987 he carried out fieldwork in south-western, southern and central Tibet under the sponsorship of CeSMEO (Turin), concentrating his research upon the monastery and the Great Stupa of Gyantse; he returned to Tibet in 1995, 1996, 1997, and then 2003 and 2004 thanks to funding from NORAD (Norwegian Agency for Development Cooperation).

Between 1983 and 1996 he taught Tibetan language, literature as well as cultural and art history at the universities of Turin, Milan and Bologna, and at CeSMEO; from 1997 to 1999 he taught in Istanbul on behalf of the Italian Foreign Office. He qualified as research associate at the University of Bologna in 1999 and as associate professor in 2002. Under the sponsorship of the University of Bologna he has carried out fieldwork in Nepal (2000), including Mustang (2008), as well as Ladakh, Spiti and Kunavar (2001, 2002, 2003 and 2005). In 2003 and 2004 he was a member the temporary committee for the future Museo d’Arte Orientale in Turin.

Most of his over 200 publications are related to Asian studies, and in particular to Tibetan, Newar and Indian art, with a special interest in contemporary religious artistic traditions in the Himalayas; they include books and exhibition catalogues, articles and reviews in international periodicals — Acta Orientalia, Arts Asiatiques, Asiatica Venetiana, Bulletin of the School of Oriental and African Studies, Bulletin of Tibetology, East and West, Marg, Oriental Art, The Journal of the Royal Asiatic Society and The Tibet Journal — as well as entries for encyclopaedic dictionaries.

Erberto Lo Bue was a member of the International Association for Tibetan Studies as well as Guest Researcher at the Department of the Court History, Palace Museum, Beijing.

Curriculum vitae

SURNAME: Lo Bue

FORENAMES: Erberto Francesco Michele

DATE OF BIRTH: 30th July, 1946

NATIONALITY: Italian

ADDRESSES

24/4 Viale Dante, 10066 Torre Fellice, Torino, Italy tel. 0039–0121–953040

e‑mail: erberto.lobue@unibo.it

e_lobue@yahoo.it

UNIVERSITY DEGREES AND QUALIFICATIONS

“Laurea” (honours degree) in Foreign Languages and Literatures (with a thesis related to Anglo- American literature; 110/110 marks), Ca’ Foscari, University of Venice (30th June 1976).
D. in Tibetan studies, School of Oriental and African Studies, University of London (18^thNovember 1981).
Qualifications of researcher at the University of Bologna (90/100 marks; 1^st October 1999) and senior researcher (1^st October 2002).
Qualification of associate professor obtained at the University “La Sapienza”, Roma (10^th October 2002) and recognized by the University of Bologna (9^th September 2004).

AFFILIATIONS

Member of the International Association for Tibetan Studies since August 1989.

Member of the Tibet Society since December 1992.

Member of the Shalu Association since August 1996.

Member of the advisory board of the International Association for Ladakh Studies from July 2003 to 2012.

Member of The Tibet Journal editorial board from the summer of 2006 and of the School of Doctorate in Eurasian Studies of the University of Turin from the autumn of the same year until 2012.

Guest Researcher at the Department of the Court History of the Palace Museum of Beijing since

2009.

Member of the scientific committee for the centenary of Fosco Marami’s birth (1912) from the 12^thMay 2011 to 2012, in charge with the organization of a conference on Tibet.

LIST OF POSTS AND TEMPORARY ASSIGNMENTS (see also under EXHIBITIONS below):

2011–2012.

Responsible for the course of Indology and president of MA degree board at the Department of Linguistic and Oriental Studies, University of Bologna.

2011–2012.

Membership in the scientific committee of the “Gabinetto Scientifico Letterario G. P. Vieusseux” in Florence for the centenary of Fosco Marami’s birth (1912) since the 12^th May 2011, in charge with the organization of a conference on Tibet.

From 2012. Honorary membership in the “Association Charles Rollier” in Geneva.

2005–2012.

Associate Professorship in Tibetology at the Department of Linguistic and Oriental Studies, University of Bologna.

2004–2012.

- Associate Professorship in Indian and Central Asian art history at the Department of Linguistic and Oriental Studies, University of Bologna.

1999–2010.

Lectureship in Indian and Central Asian art history entrusted to him in his capacity as full-time reseacher at the Department of Linguistic and Oriental Studies, University of Bologna.
Scientific consultancy for identifying Tibetan and Nakhi manuscripts in the library of the seat of the Gran San Bemando canons in Martigny, Switzerland (31^st July 2007).
Membership in the advisory board for acquisitions of images for the future Museum of Oriental Art in Turin (Turin Town Council and Piedmont Region; 2002–2003).
Planning of half a dozen exhibition rooms for the Museum of Asian Arts in the Malgrà Castle, Rivarolo Canavese (2002–2003).
Scientific consultancies for the exhibitions “Strumenti di Meditazione. Thang-ka. Antichi dipinti religiosi tibetani” (lst-30th October, Ethnoarte, Milano), “Tibet. Arte e spiritualità. Un contributo alla storia dell’uomo” (21st October 1999 — 9th January 2000, Galleria della Besana, Milan) and “Tibet. Arte e Spiritualità” (Rivarolo Canavese, spring 2003).
Consultancy for the art historical part in the production of the CD-ROM Arte in Tibet, Ministero dei Beni e delle Attività Culturali & Istituto Shang Shung (2000) and for the British television ITV for a broadcast on the Potala palace (August 2010).
Training of guides for the exhibition “Tibet. Arte e spiritualità. Un contributo alla storia dell’uomo” organized by ARDEA, Milan (13th and 29th October 1999).
Art expertises for Vittorio Tavecchia (Rho; December 1999), Renzo Freschi (Oriental Art, Milan; February 2000 and April 2002), Gianfranco Rossi (Ethnoarte, Milan; May-June 2002), Fosco Marami (Florence; July 2002), Marco Abbiati and Ferruccio Pilati (L’Asia, San Giuliano Nuovo* September 2002), Andrea Filippi (Etimologica, Forlì; March 2010), Antonio Ripariti (Cesena, 30^tÉMay 2010), Claudius Müller (director of the Staatliches Museum für Völkerkunde, München; July 2010).

1997–1999.

Appointment by the Italian Foreign Office to teach English and American language and literature at the Italian Lyceum in Istanbul.

1995–1997.

Teachership in English language and literature at Liceo Scientifico “Maria Curie” of Pinerolo.
Teachership in Tibetan art history at CeSMEO (CeSMEO (Centro Piemontese di Studi sul Medio ed Estremo Oriente — Istituto Intemazionale di Studi Asiatici Avanzati), Turin.

1995–1996. Teachership in Tibetan art history at CeSMEO, Turin.

1994–1995.

Teachership in Tibetan art history at CeSMEO, Turin.
Temporary professorship to teach Tibetan language at the Institute of Glottology and Oriental Studies, University of Milan.

-Teachership in English language and literature at Liceo Scientifico “Maria Curie” of Pinerolo.

Organization of two exhibitions of Tibetan art, one in Milan and the other in Modena (February- April 1994).

1993–1994.

Teachership in Indian and Tibetan art history at CeSMEO, Turin.
Temporary professorship to teach Tibetan language and cultural history at the Institute of Glottology and Oriental Studies, University of Milan.

1992–1994.

Teachership in Tibetan language and culture at CeSMEO.
Teachership in English language and civilization at Istituto Tecnico “Leon Battista Alberti” of Lusema San Giovanni (Torre Pellice branch).

1991–1992.

Temporary professorship to teach Tibetan art history and civilization at Istituto di Glottologia, University of Bologna.
Teachership in English language and civilization at Istituto Tecnico “Leon Battista Alberti” of Lusema San Giovanni (Torre Eellice branch).

1990–1991.

Temporary professorship of Tibetan language and literature at Istituto di Glottologia e Lingue Orientali, University of Milan.
Teachership in English language and civilization at Istituto Tecnico “Leon Battista Alberti” of Lusema San Giovanni (Torre Pellice branch).
Organization of an exhibition of traditional Tibetan and Himalayan art in Milan (October 1991).

1989–1990.

Temporary professorship of Tibetan language and literature at Istituto di Glottologia e Lingue Orientali, University of Milan.
Teachership in English language and civilization at Istituto Professionale per il Commercio “Valentino Bosso” of Turin (Torre Pellice branch).

1988–1989.

Temporary professorship of Tibetan language and literature at Istituto di Glottologia e Lingue Orientali, University of Milan.
“Detachment” by the Ministry of Public Education, to carry out a research on the monastic enclave of Gyantse at Istituto di Orientalistica, University of Turin.
Teachership in Tibetan language and culture at CeSMEO.

1987–1988.

Teachership in Tibetan language and culture at CeSMEO.
Teachership in English language and civilization at Istituto Professionale per il Commercio “Valentino Bosso” of Turin (Torre Pellice branch).

1986–1987.

Teachership in Tibetan language and culture at CeSMEO.

1985–1986.

Temporary professorship of Tibetan language and literature at Istituto di Orientalistica, University of Turin.
Teachership in Tibetan language and culture at CeSMEO.
Teachership in English and French language and literature at Ginnasio-Liceo Classico and Liceo Linguistico of Collegio Valdese at Torre Pellice.

1984–1985.

Teachership in Tibetan language and culture at CeSMEO.
Teachership in English language and literature at Ginnasio-Liceo Classico and Liceo Linguistico of Collegio Valdese at Torre Pellice.

1983–1984.

Temporary professorship of Tibetan language and literature at Istituto di Orientalistica, University of Turin.
Teachership in English language and literature at Ginnasio-Liceo Classico and Liceo Linguistico of Collegio Valdese (Waldensian College) at Torre Pellice (Turin).

1982–1983.

Temporary professorship of Tibetan language and literature at Istituto di Orientalistica, University of Turin.
Teachership in Tibetan language and culture at CeSMEO in Turin.

Part-time translating, researching and consultancy jobs for:

Brendan Lynch, Antiquities Department, Sotheby’s, London (translation without transliteration of inscriptions from Tibetan into English and historical research)
Philip Goldman, Kenwood House, 30 Cyprus Road, Finchley, London (translation of inscriptions from Tibetan into English and historical research, 1982);
Arturo Schwarz, Via M. Giuriati 17, Milan (translation of inscriptions from Tibetan into Italian and historical research, 1983);
Professor Franco Ricca, Via Madama Cristina 49, Turin (consultant for the exhibition “Pittura buddhista tibetana” organized by the Piedmont Region, 1984).
John Lowry, Indian Department, Victoria and Albert Museum, South Kensington, London SW7 2RL (translation of three texts from Tibet into English 1978–1980);
Ulrich Von Schroeder, for his publication Indo-Tibetan Bronzes, Hong Kong, Visual Dharma Publications, 1981, 576 pp. (translation of inscriptions from Tibetan into English and historical research, 1980 — 1981);
Anthony Thompson, Indian and Islamic Department, Christie’s, 8 King St., St. James’s, London SW1Y 6QT (translation of inscriptions from Tibetan into English and historical research, 1978– 1982);
Anthony Gardner, Oriental Department, Spink’s, 5–7 King St., St. James’s, London SW1Y 6QS (translation of inscriptions from Tibetan into English and historical research, 1978–1982).

1971–1984.

Curatorship of the Aniko Collection of Tibetan and Himalayan Art, Case Postale 178, CH — 1214 Vernier, Svizzera. Organization of exhibitions in Geneva (1973–1974, 1974–1975, 1976), Zurich (1974, 1975), La Chaux-de-Fonds (1977–1978) and London (1978, 1980).
Translation of Tibetan texts for the Victoria and Albert Museum, London, and of Tibetan inscriptions for Sotheby’s, Christie’s and Spink’s, London.

1970. Secretarial job at the Centre International de Recherches et Confrontations Artistiques, for Mrs. Jacqueline Jeanneret, Rue Saint-Laurent 2, CH-1207 Ginevra, Svizzera.

1968–1969. Research on behalf of the Department di Parapsychology of I. A. A. Anstalt, Route de 1’Etraz 54, CH-1260 Nyon, Switzerland, and contribution to The Open Index, Nyon, I. A. A. Anstalt, 1972, X- 190 pp.

CURATORSHIP OF EXHIBITIONS ON CHARLES ROLLIER

Galerie D. Benador, “Hommage à Charles Rollier”, Genève (24th June 1968 as collaborator of Mme Gisèle Rollier);
Salle Simon Patino, “Charles Rollier”, Genève (28th November 1968 — 4th January 1969 as collaborator of Mme Gisèle Rollier);
Musée Rath, “Charles Rollier, huiles, gouache et dessins”, Genève (16th May — 15th June 1969 as collaborator of Mme Gisèle Rollier);
Galerie L’Entracte, Lausanne (25th July — 5th September 1969 as collaborator of Mme Gisèle Rollier);
Civica Galleria d’arte contemporanea Filippo Scroppo, “Charles Rollier”, Torre Pellice (16th June — 9th September 2018).

CURATORSHIP OF EXHIBITIONS OF ASIAN ART:

“Tantra” (15th December 1972 — 23rd January 1973), Galerie du C. I. R. C. A., 5 rue Pierre- Fatio, Geneva
“Art tìbétain et himalayen” (27th November 1973 — 26th January 1974), Galerie du C. I. R. C.A., 5 rue Pierre-Fatio, Geneva
“Kunst-Objecte aus Tibet und Nepal” (26th April — 25th May 1974), Galerie 38, 38 Kirchgasse, Zurich

“Images of Tantra: Nepal — Tibet — India” (28th November 1974 — 24th January 1975), Galerie Aurora, 8 rue de l’Athénée, Geneva
“Sakrale Kunst aus Tibet — Nepal — Indien” (22nd February — 15th March 1975), Galerie 38, 38 Kirchgasse, Zurich
“Inde — Nepal — Tibet. Art et culture”, Librairie-Galerie Dèdale (10th June — 15th September 1976), 8 Avenue Pictet-de-Rochemont, Geneva
“Images du Tantra. Art de 1’Himalaya, du Tibet et de 1’Inde” (26th November 1977 — 14th January 1978), Galerie du Club 44, 64 Rue de la Serre, La Chaux-de-Fonds
“Tibetan and Himalayan Art” (23rd March — 28th June 1978), S. O. A. S., University of London, 8 Malet Street, London
“Tibetan and Himalayan Arts and Crafts: Past and Present” (4th October 1979 — 19th March 1980), S. O. A. S., University of London, 8 Malet Street, London
“sKu-thang. Tibetan Painting from the 15th to the 20th Century” (14th October — 14th November 1983), Centro Incontri della Cassa di Risparmio di Torino, 23 corso Stati Uniti, Turin
“Tibet: dimora degli dei” (2nd ‑26th October 1991), Galleria “Ottavo Piano”, La Rinascente, Piazza Duomo, Milan
“Le Montagne Sacre. Antica Arte del Tibet” (12th February — 20th March 1994), Palazzo Comunale, Piazza Grande, Modena
“Tesori del Tibet: oggetti d’arte dai monasteri di Lhasa” (1st March — 30th Aprii 1994), Galleria “Ottavo Piano”, La Rinascente, Piazza Duomo, Milano.
“Tibet. Oltre la leggenda. Civiltà ed arte dal XII al XX secolo” (4th May — 13th July 2003), Castello Malgrà, Rivarolo Canavese.
“India, Grecia dell’Asia. Tesori d’arte del subcontinente indiano dal III millennio a. C. al XIX sec. d. C.” (27th June — 2nd November 2003), Filatoio, Caraglio.

FIELDWORK GRANTS AND AWARDS:

1966–1967, 1967–1968 and 1971. Two grants and one scholarship from the University of Venice

1972; 1973; 1974; 1975. Sponsorship by I.A.A. Anstalt (Nyon) to carry out research aimed at the collection of religious images and objects as well as of domestic items, and to the study of techniques and materials used in Newar statuary in the Nepal Valley (1972–1974), and on officinal plants used for ceremonial purposes in Vol-mo (Helambu, 10–11.1975).

Millicent-Harrington Scholarship (S. O. A. S., University of London)

Research grant from the Central Research Fund of the University of London to carry out fieldwork on Himalayan art and artists in Ladakh and in the Nepal Valley

Millicent Harrington Scholarship (S. O. A. S., University of London)

B. C. Law Prize for Buddhist Studies (S. O. A. S., University of London)

1980–1982. Grant from the British Academy (London) for fieldwork research on the collections of Tibetan and Himalayan art in British and Indian museums, and on 20^th-century Tibetan and Himalayan art and artists in India. In 1980 he copied and translated inscriptions from Tibetan into English and Newar dates, handing the relevant information to the Victoria and Albert Museum and British Museum in London, Ashmolean Museum in Oxford, Museum of Archeology and Anthropology in Cambridge, the Museum of Antiquities in Liverpool, Gulbenkian Museum of Oriental Art in Durham, Royal Scottish Museum in Edinburgh, and Glasgow Museums and Art Galleries. In 1981 he travelled to India to study the Tibetan and Himalayan collections in the Museum of Archaeology of New Delhi, in the Patna, Nalanda and Samath museums, and in Government Museum in Mathura), and to record the activities of Tibetan and Himalayan artists in West Bengal and Sikkim as well as in Tibetan settlements and monasteries in India (Bodhgaya, Samath and Karnataka) to integrate the researches carried out earlier in Ladak and Himachal Pradesh.

Fieldwork research grant from CeSMEO (Turin) for a survey on the present state of preservation of the chief monasteries of central and southern Tibet, with particular reference to the sKu-‘bum and gTsug-lag-khang of Gyantse.
Funding from the Naritasan Shinshoji to participate in the 5th International Seminar on Tibetan Studies, Narita, Japan (27th August — 2nd September, 1989).
Funding from the Instituttet for Sammenlignende Kulturforskning in Oslo to participate in the 6th International Conference of the International Association for Tibetan Studies, Fagemes, Norway (21st — 28th August, 1992).
Funding from the School of Oriental and African Studies (University of London) to participate in the conference “Towards a Definition of Style: The Arts of Tibet”, Victoria and Albert Museum, London (13th — 17th June, 1994).
Funding from the Institut fur Kultur- und Geistesgeschichte Asiens (Österreichische Akademie der Wissenschaften) to participate in the 7th Seminar of the International Association for Tibetan Studies, Schloss Seggau, Leibnitz (Graz) (18th-24th June, 1995).
Funding from the University of Bologna to carry out fieldwork on traditional Buddhist Newar sculptors in the Nepal Valley (December 2000).
Funding from the University of Bologna to carry out fieldwork on traditional Buddhist artists in Ladakh (5th September — 18th October 2001).
Funding from the University of Bologna to carry out fieldwork in Ladakh as part of the national inter-university research project, “Places of the living — Places of the dead” (August 2002).
Funding from the Art Institute of Chicago to take part in the symposium organized on the occasion of the opening of the exhibition “Himalayas. An Aesthetic Adventure” (Chicago, 4^th-8^thApril 2003).

Funding from the University of Bologna to carry out fieldwork in Indian Tibet as part of the national inter-university research project, “Places of the living — Places of the dead” (August 2003), and to take part in the 11^th Colloquium of the International Association for Ladakh Studies (Leh, 21^st—25^th July 2003) and in the 10^th Seminar of the International Association for Tibetan Studies (Oxford, 6^th-12^th September 2003).
Funding from NORAD (Norwegian Agency for Development Cooperation), through NUFU and NUCTN, to attend the Lhasa Conservation Workshop 2003 organized by the Tibet-Norway University Network through the Universities of Bergen, Oslo and Trondheim, and hosted by the Arts Department and Engineering College of Tibet University (Lhasa, 12^th-17^th October 2003).
Funding from the Circle of Tibetan and Himalayan Studies to attend the symposium “Power, Wealth and Art. The Mongol Patronage of Tibetan Culture” at the School of Oriental and African Studies (London, 8^th November 2003).

Funding from the University of Bologna to take part in the 2^nd International Conference on Tibetan Archaeology and Arts (Beijing, Capital Normal University, 4^th-6^th September 2004).

Funding from NORAD (Norwegian Agency for Development Cooperation), through NUFU and NUCTN, to attend the International Conference on Traditional Architecture and Murals Conservation organized by the Tibet University in Lhasa and the Tibet-Norway University Network through the University of Trondheim, and hosted by the Arts Department and Engineering College of Tibet University (Lhasa, 23^rd-29® September 2004).
Grant from the Piedmont Region to attend the international conference “Religioni e Sacri Monti” (Torino, Moncalvo and Casale Monferrato, 12^th-16^th October 2004).

Funding from the University of Bologna to take part in the 12^th Colloquium of the International Association for Ladakh Studies (Largii, 12^st-15® July 2005) and to carry on fieldwork in Central Ladakh.
Funding from the University of Bologna to take part in the 11® Seminar of the International Association for Tibetan Studies (Königswinter, 28® August — 1^st September 2006) and in the 3^rdInternational Conference on Tibetan Archaeology and Arts (Beijing, Capital Normal University, 13®-16® October 2006).
Funding from the University of Bologna to take part in the 13® Colloquium of the International Association for Ladakh Studies (Rome, 7®- 11® September 2007).

Funding from ASIA (Association for International Solidarity in Asia) to take part in the international seminar “Mural Painting Conservation” (Rome, Istituto Centrale per il Restauro, 22^ndJune 2007) and in the international conference “Cultural Heritage and Sustainable Development of Historic Cities in Asia: Safeguarding traditions and ancient knowledge to promote development” in Berlin (Berlin University of Technology and Humboldt University, 4–5® December 2007).

Funding from the University of Bologna to carry out research on 15® and 16®-century Buddhist art in Lo (Mustang, September 2008).
Funding from ASIA (Association for International Solidarity in Asia) to take part in the international seminar “From Thangkas to Pokemon Buddha. A Journey through Tibetan Painting” (Naples, 3^rd March 2009).

Funding from the University of Bologna to take part in the colloquium “La creation artistique face aux contraintes politiques et religieuses de 1’Himalaya à l’Asie Centrale de l’antiquité à nos jours” organized by the Société Européenne pour l’Étude des Civilisations de l’Himalaya et de l’Asie Centrale at the Collège de France (27®-28® Aprii 2009) in Paris, where he chaired a session, and to carry out research at the Musée d’arts asiatiques “Guimet” in Paris (Paris, 24®-26® April 2009).
Funding from THUNDER (Trans-Himalayan University Network for Education and Research) to take part in the international conference “Traditional Settlements and Housing in Tibet Autonomous Region (TAR), China and Nepal” organized by THUNDER in cooperation with Tibet University (Lhasa), Tribhuvan University (Kathmandu) and the Norwegian University of Science and Technology (Trondheim) at Lalitpur (Godavari Village Resort, 26®-28® October 2009, and Institute of Engineering, 29®-30® October 2009).

Funding from the Universities of Rome and Bologna to take part in the seminar “Arte Tibetana tra passato e presente”, Dipartimento di Studi Orientali della “Sapienza”, Università di Roma (3^rd November 2010).
Funding from the Universities of Oxford and Bologna to deliver the third in a series of lectures on “Tibet Art: Culture at Crossroads” convened by Ulrike Roesler and Clare Harris, and sponsored by the Sub-Faculty of Inner and South Asian Studies of the University of Oxford and the Pitt Rivers Museum (Pitt Rivers Museum, Oxford, 23^rdMay 2011).

Funding from University of Bologna to take part in the colloquium “Politique et religions en Himalaya et Asie Centrale. L’expression politique et religieuse de la souveraineté en Himalaya et en Asie Centrale: rituels, textes, representations, institutions, de l’antiquité à nos jours” organized by the Société Européenne pour l’Étude des Civilisations de l’Himalaya et de l’Asie Centrale (Museo Nazionale d’Arte Orientale, Rome, 10®-11® October 2011) and in the round table “Avalokiteévara in India and Central Asia” (Museo Nazionale d’Arte Orientale, Rome, 12® October 2011).
Funding from the University of Bologna to complete a research on the pictures taken by Fosco Marami in Tibet and kept at the Archivio Contemporaneo “Alessandro Bonsanti”, Florence (13^thDecember 2011 — 3^rd February 2012).

Funding from University of Bologna to complete a research on the role played by tantric Hinduism and Buddhism on the painter Charles Rollier in his home at Chéne-Bourg, Switzerland (22.07–29.09.2012).

OVERSEAS CULTURAL JOURNEYS AND FIELDWORK:

1967 Tunisia;

Turkey;
Turkey, Afghanistan and Iran;
Bolivia and Peru;

1972, 1973 and 1974 Nepal;

1975 Uttar Pradesh, Maharashtra, Bihar and Nepal (Yol-mo);

1976–1977 Israel;

Nepal;
Kashmir, Ladakh, Himachal Pradesh and Nepal;

1981–1982 Uttar Pradesh, Bihar, Sikkim, Bengal, Maharashtra, Madhya Pradesh and Karnataka;

Nepal;
Tibet and Nepal;

1989 Japan;

Tibet and Nepal;
Tibet and Nepal;

1997–1999 Turkey and Jordania:

Tibet and China;
Nepal;
and 2002 Ladak;
S. A., Ladak, Lahul, Spiti, Kunavar and Tibet;
China and Tibet;
Ladak;
China;
Nepal (Mustang);

MAIN LECTURES AND PAPERS:

“Himalayan Sacred Art in the 20th Century”, Conference on Recent Work in the Art and Archaeology of South Asia 1979, Wolfson College, University of Oxford, Oxford, U. K. (14th September, 1979)
“The Princes of Gyantse and Their Building Activity”, 5th International Seminar on Tibetan Studies, Naritasan Shinshoji, Narita, Japan (31st August 1989)
“Aspects of Tibetan Art History”, University of Venice (13th-14th May, 1991)
“I Principi di Gyantse, mecenati delle arti nel Tibet del XV secolo”, National Library of Turin (7th May 1991).
“Ma-gcig Labs-sgron and Ma-gcic Zha-ma: A Case of Mistaken Identity”, 6th International Conference of the International Association for Tibetan Studies, Fagemes, Norway (21st — 28th August, 1992)
“11 Grande Stupa di Gyantse”, within the Tibetan Cultural Week organized by “Art Restoration for Cultural Heritage”, Lugano (Villa Favorita, 16th October, 1993).
“Art styles as viewed by Padma-dkar-po”, in “Towards a Definition of Style: The Arts of Tibet”, a conference organized by the School of Oriental and African Studies (University of London) at the Victoria and Albert Museum, London (16th June, 1994).
“The Sacred Enclave of Gyantse: Its History and Art”, as part of a series of lectures on Tibetan culture organized by the Deutsch-Tibetische Kulturgesellschaft at the Universitätsclub, Konviktstrasse 9, Bonn (13th November, 1994).
“The Great Stupa of Gyantse. The Princes of Gyantse and their role as builders and patrons of art”, Seminar fur Sprach- und Kulturwissenschaft Zentralasiens, University of Bonn (14th November, 1994).
“Mercury-gilding in traditional Himalayan sculpture”, 7th Seminar of the International Association for Tibetan Studies, Schloss Seggau, Leibnitz (Graz) (22nd June, 1995).
“Traditional Tibetan Painting after 1959, with Special Reference to Tshe-ring-dbang-‘dus” (read by Dr. Frank Korom), in Tibetan Culture in Exile, a symposium hosted by the International Folk Art Foundation and the Museum of International Folk Art, Sol y Sombra, Santa Fe (5th-6th October, 1995).
“Il Grande Stupa di Gyantse. Simbolismo di un monumento religioso tibetano del XV secolo”, lecturing tour organized by Associazione Culturale Italiana: Turin (Teatro Alfieri, 15th December, 1995), Florence (Palazzo Borghese, 16th December, 1995), Milano (Teatro Studio, 18th December, 1995), Rome (Teatro Eliseo, 19th December, 1995) and Bari (Teatro Esedra, 20th December, 1995).
“L’architettura sacra nel mondo indotibetano: la simbologia dello stupa”, in Allegoria e arte nella cultura asiatica, a series of lectures organized by CeSMEO (Istituto Intemazionale di Studi Asiatici Avanzati), 10th Aprii — 8th May 1996, Torino (Sala Convegni dell’istituto Bancario San Paolo, 24th May 1996).
“Il simbolismo del Grande Stupa di Gyantse e l’importanza del suo ruolo nel mantenimento dell’identità storica, religiosa e culturale del Tibet”, in Tibet: dall’occupazione ad oggi. Una civiltà in pericolo, 1st international meeting organized by the University of Trieste, Gorizia (Aula Magna del Polo Universitario di Gorizia, 21st June, 1996).
“Artistic contacts and exchanges between China and Tibet from the 11th to the 15th century”, at the international seminar Aspetti della tradizione religiosa tibetana e contatti con aree culturali attigue (“Incontri orientalistici 1999”), organized by Istituto “Venezia e l’Oriente”, Giorgio Cini Foundation, Venice (Isola di San Giorgio Maggiore, 18th October 1999).
“La pittura murale tibetana: i dipinti dei monasteri di Gonkar, Scialò, Gyantse”, in Arte in Tibet: conoscere, intervenire, conservare, international seminar organized by Ministero per i Beni e le Attività Culturali, Rome (Church of Santa Marta, 28th March 2000).
“La Valle del Nepal. Un esempio di conservazione, coesistenza e trasmissione di culture diverse nelle Prealpi Himalayane”, at the manifestation Transculture, organized by the Council of Belluno and the Associazione Italiana Cultura Sport, Belluno (Palazzo Crepadona — Auditorium, 6th May 2000).
“The holy art from Tibet: iconography, symbolism and techniques”, Foundation “la Caixa”, Girona (Auditorium Narcis de Carreras, 24th October 2000).
“Varna’s judgement in the Bar do thos grok an early Tibetan mystery play”, at the international conference L’opera tibetana — un teatro vivente”, organized by Istituto “Venezia e l’Oriente”, Giorgio Cini Foundation, Venice (Isola di San Giorgio Maggiore, 7th May 2001).
“Il Segno d’Oriente. Il simbolismo dello stupa con particolare riferimento al Kumbum di Gyantse”, at the international seminar il Segno, organized by “Il Punto”, Bari (Aula Magna, University of Bari, 27th October 2001).
“Il simbolismo dello stüpa, con particolare riferimento al sKu ’bum di Gyantse”, organized by the Buddhist Studies Group of the Department of Asiatic Studies at Istituto Universitario Orientale, Naples (Library of the Department of Asiatic Studies, Palazzo Corigliano, 16th January 2002).
“The Spirit of Tibetan Art: An Introduction”, at the symposium organized on the occasion of the opening of the exhibition “Himalayas. An Aesthetic Adventure” in the session “Aesthetic Principles and Theories” chaired by Pratapaditya Pal, Chicago (The Art Institute, 4^th April 2003).
“Traditional Buddhist Art in 20^th Century Ladakh”, 11^th Colloquium of the International Association for Ladakh Studies (hosted by the Jammu and Kashmir Academy of Art, Culture and Languages, Leh, 21^st July 2003).
“Guru IHa-khang. A little-studied temple at Phyi-dbang, central Ladakh”, 10^th Seminar of the International Association for Tibetan Studies (Oxford, 10^th September 2003).
“Tibetan Wall Painting. Problems of restoration in Lhasa and beyond”, Lhasa Conservation Workshop 2003 organized by the Tibet-Norway University Network, and hosted by the Arts Department and the Engineering College of Tibet University (Lhasa, 14^th October 2003).
“The Mongols and Tibet. A Historical Introduction”, at the symposium “Power, Wealth and Art. The Mongol Patronage of Tibetan Culture” organized by the Circle of Tibetan and Himalayan Studies at the School of Oriental and African Studies (University of London, 8^th November 2003).
“11 Grande Stupa di Gyantze” within the cultural event “Tibet. Una Porta verso Oriente” organized by “Orientalia Bugellae” — Istituto Biellese per l’Oriente (Biella, Museo del Territorio, 23^rd January 2004).
“Problems of Conservation of Murals in Tibetan Temples”, at the 2^nd International Conference on Tibetan Archaeology and Arts (Beijing, China Tibetology Research Center, 5^th September 2004) and at the International Conference on Traditional Architecture and Murals Conservation, organized by the Tibet University in Lhasa and the Tibet-Norway University Network, and hosted by the Arts Department and Engineering College of Tibet University (Lhasa, 24^th September 2004).
“Ruolo e iconografia dei monti sacri nella cultura tibetana”, at the international conference “Religioni e Sacri Monti”, organized by the Piedmont Region and by the University of Turin (Moncalvo, 14^th October 2004).
“Il contributo di Fosco Marami alla conoscenza della cultura tibetana nel primo Novecento”, at the gathering on “Viaggiatori italiani in Tibet”, organized by the Gabinetto Scientifico Letterario “G. P. Vieusseux” and Società di Studi Geografici in Firenze (Florence, 18^th January 2005).
“Buddhismo, islam e cristianesimo sul Tetto del Mondo”, Centro Culturale Italo-Arabo “Dar Al Hikma” (Turin, 17^th May 2005).
“A 16th-century Ladakhi School of Painting”, 12^th Colloquium of the International Association for Ladakh Studies (Kargil, 13^st July 2005).
“L’arte buddhista in India”, as part of the course “Conoscere l’Asia: l’india”, Università Aperta “Giulietta Masina e Federico Fellini” (Rimini, 10^th March 2006).
“Two Forgotten Chapels in the Naga Temple Behind the Potala, 11^th Seminar of the International Association for Tibetan Studies (Königswinter, 1^st September 2006).
“Chinese Influence in A Wall Painting at Zhwa lu and the Latter’s Political Meaning”, at the 3^rdInternational Conference on Tibetan Archaeology and Arts (Beijing, Capital Normal University, 15^th October 2006).
“Problems of Conservation and Appreciation of Tibetan Murals”, at the seminar “Mural Painting Conservation” organized by ASIA (Association for International Solidarity in Asia) in Rome (Istituto Centrale per il Restauro, 22^nd June 2007).
“Notes on sky-burial in Indian Tibet”, 13^th Colloquium of the International Association for Ladakh Studies (Rome, 7^th September 2007).
“The Snake Temple Behind the Potala. Problems of Conservation”, at the international conference “Cultural Heritage and Sustainable Development of Historic Cities in Asia: Safeguarding traditions and ancient knowledge to promote development” organized by ASIA (Association for International Solidarity in Asia) in Berlin (Humboldt University, Senatsaal, 5^thDecember 2007).
“Segreto Tibet e Fosco Marami”, at the presentation of Fosco Marami’s Pellegrino in Asia. Opere scelte organized by the Centro Romantico of Gabinetto Scientifico Letterario “G. P. Vieusseux” — “Vieusseux Asia” (Florence, 11^th December 2007).
“Ippolito Desideri’s remarks on Tibetan Architecture”, read by Robert Pompimi at the panel on Ippolito Desideri, Fifteenth Congress of the International Association of Buddhist Studies, Emory University in Atlanta, Georgia (June 23–29, 2008).
“Contemporary religious painting in geo-cultural Tibet”, at the international seminar “From Thangkas to Pokemon Buddha. A Journey through Tibetan Painting” organized by ASIA (Association for International Solidarity in Asia) in Naples (Università degli Studi di Napoli “L’Orientale”, 3^rd March 2009).
“Newar Influence at Gyantse”, at the international conference “Traditional Settlements and Housing in Tibet Autonomous Region (TAR), China and Nepal” organized by THUNDER in cooperation with Tibet University (Lhasa), Tribhuvan University (Kathmandu) and the Norwegian University of Science and Technology (Trondheim) at Lalitpm (Godavari Village Resort, 26^thOctober 2009).
“Disegnare il volto del Buddha”, workshop at Accademia delle Belle Arti, Bologna (22^nd March 2010).
“L’influenza artistica newar in Tibet fra VII e XV secolo”, at the seminar “Arte Tibetana tra passato e presente”, Dipartimento di Studi Orientali of “Sapienza”, University of Rome (3^rdNovember 2010)
“Newar Artistic Influence in Tibet according to Tibetan Historical Somces”, Pitt Rivers Museum, Oxford, 23^rd May 2011.
“The Mahäbodhi image in the gtsug-lag-khang at rGyal-rtse” at the colloquium “Politique et religions en Himalaya et Asie Centrale. L’expression politique et religieuse de la souveraineté en Himalaya et en Asie Centrale: rituels, textes, representations, institutions, de l’antiquité à nos )oms”, Museo Nazionale d’Arte Orientale, Rome, 11^th October 2011.
Message on the role played by tantric Hinduism and Buddhism on the painter Charles Rollier at the opening of an exhibition of works by the artist at the Foyer Point Favre, Chene-Bomg, Switzerland (27^th September 2012).
“Arte buddhista tibetana e himalayana attraverso il tempo”, Auditorio dell’università della Svizzera italiana, Lugano, 15th Aprii 2014 (for the cycle “L’arte del Tibet” organized by the Museo delle Culture di Lugano on behalf of Società Ticinese di Belle Arti with the collaboration of the Museo Nazionale d’ Arte Orientale “Giuseppe Tucci”, Rome), and Florence, 25th October 2014 (on the occasion of the opening of the sale-exhibition “Di spirito e metallo. Arti, forme e colori del mondo himalayano” and of the presentation of the book Immagini di fede nel mondo tibetano e himalayano, fiorence number nine, Firenze).

ORGANIZATION OF CONFERENCES:

“11 Tibet fra mito e realtà. Convegno per il centenario della nascita di Fosco Maraini”, Gabinetto “G. P. Vieusseux”, Palazzo Medici-Riccardi and Palazzo Strozzi, Florence, 14^th March 2012.

Books, Catalogues and Editorships:

1) sKu-thang. Pitture tibetane dal quindicesimo al ventesimo secolo, and sKu-thang. Tibetan Paintings from the Fifteenth to the Twentieth Century, Mario Luca Giusti, Firenze 1983, XXVIII109 pp.

2) (with F. Ricca) Gyantse Revisited, Le Lettere, Firenze, 1990, xiii-569 pp.

3) Tibet: dimora degli dei. Arte buddhista tibetana e himalayana dal XII al XX secolo, La Rinascente, Milano, 1991, 124 pp.

4) Tsàn-yan-ghia-tsò, VI Dalai Lama: Canti d’amore, Sellerio, Palermo, 1993, 133 pp.

5) Vita e canti del VI Dalai Lama, L’Angolo Manzoni, Torino, 1993, xiv-143 pp.

6) (with F. Ricca) The Great Stupa of Gyantse. A Complete Tibetan Pantheon of the Fifteenth Century, Serindia, London, 1993, 319 pp.

7) Le Montagne Sacre. Antica Arte del Tibet, Museo d’Arte Medievale e Moderna Modena, 1994, 35 pp.

8) Tesori del Tibet: oggetti d’arte dai monasteri di Lhasa, La Rinascente, Milano, 1994, 173 pp.

9) La preziosa ghirlanda degli insegnamenti degli uccelli [Bya chos rin-chen ‘phreng-ba], Adelphi, Milano, 1998, 108 pp.

10) A Tibetan Journey. Dipinti dal Tibet XIII-XIX secolo, Emil Mirzakhanian, Milano, 1998, 77 pp.

11) Tibet. Templi scomparsi fotografati da Fosco Maraini, Ananke, Torino, 1998, 127 pp. 12) L’Amante Divino. Il culto di Krishna nella pittura del Rajasthan, Emil Mirzakhanian, Milano, 2000, 46 pp.

13) Art of Tibet, Renzo Freschi, Milano, 2001, 80 pp.

14) (ed.), Contributions to the History of Tibetan Art, special double issue of The Tibet Journal, XXVI/3–4 (autumn-winter 2001), 236 pp.

15) (ed.), Contributions to the History of Tibetan Art, special double issue of The Tibet Journal, XXVII/1–2 (2002), 275 pp.

16) (ed.), Contributions to the History of Tibetan Art, special double issue of The Tibet Journal, XXVII/3–4 (2002), 214 pp. (with a dedication by the director of the Library of Tibetan Works and Archives to the editor)

17) (ed.), Contributions to the History of Tibetan Art, special double issue of The Tibet Journal, XXVIII/1–2 (2003), 220 pp.

18) India, Grecia dell’Asia. Tesori d’arte del subcontinente indiano dal III millennio a. C. al XIX sec. d. C., Marcovaldo, Cuneo, 2003, 153 pp.

19) (ed.), Wonders of Lo. The Artistic Heritage of Mustang, Marg, Mumbai 2010, 164 pp.

20) (ed.), Images of Devotion. Religious Sculpture from Nepal, Tibet and India, Capriaquar & Studio Nodo, Pescara – Como 2011, 95 pp.

21) (ed. with Christian Luczanits), Tibetan Art and Architecture in Context. Proceedings of the Eleventh Seminar of the International Association for Tibetan Studies, Königswinter 2006, International Institute for Tibetan and Buddhist Studies GmbH, Andiast 2010, xiii-406 pp.

22) (ed.), Art in Tibet. Issues in Traditional Tibetan Art from the Seventh to the Twentieth Century. Proceedings of the Tenth Seminar of the International Association for Tibetan Studies, Oxford, 2003, vol. 10/13, Brill, Leiden – Boston 2011, 336 pp.

23) Gods and Demons of the Himâlayas, Rossi & Rossi, London 2012, 83 pp.

24) (ed.), Il Tibet fra mito e realtà — Tibet between Myth and Reality. Atti del convegno per il centenario della nascita di Fosco Maraini, Leo S. Olschki, Firenze 2014, 139 pp.

25) (ed. with John Bray), Art and Architecture in Ladakh. Cross-Cultural Transmissions in the Himalayas and Karakoram, Brill, Leiden – Boston 2014, 438 pp.

26) Immagini di fede nel mondo tibetano e himalayano, florence number nine, Firenze 2014, 79 pp.

Articles and Essays:

1) “Buddhist Himalayan Art in the XXth Century”, Himalayan Culture, I/1 (October 1978), pp. 19–35.

2) “La saga di Gesar di Ling: risposte mitopoietiche continue a istanza epica “, in G. Morelli (ed.), Mitologie, Venezia, 1979, pp. 161–65.

3) “Himalayan Sacred Art in the 20th Century”, Art International, XXIV/5–6 (January-February 1981), pp. 114–28.

4) “The Use of Officinal Plants among the Lama People of Yol-mo”, Kailash, VIII/1–2 (1981), pp. 89–108.

5) “Statuary Metals in Tibet and the Himalayas”, in William Oddy & Wladimir Zwalf (eds), Aspects of Tibetan Metallurgy, special issue of British Museum Occasional Papers, 15 (1981), pp. 33–67, and Bulletin of Tibetology, 1–3 (1991), pp. 7–41.

6) “Casting of Devotional Images in the Himalayas”, British Museum Occasional Papers, 15 (1981), pp. 69–86, and Bulletin of Tibetology, 1–3 (1991), pp. 43–75.

7) “Tibet e Cina”, Calendario del Popolo, XXXVIII/441 (February 1982), pp. 8543–47.

8) “Tibet”, in R. Cavendish (ed.), Legends of the World, London 1982, pp. 38–44.

9) “Traditional Tibetan Painting in Ladakh in the 20th Century”, International Folklore Review, III (1983), pp. 52–72.

10) “Su alcuni frammenti di testi tibetani conservati alla Biblioteca dell’Accademia delle Scienze di Torino”, Atti dell’Accademia delle Scienze di Torino, CXVII (1983), pp. 53–54.

11) “L’influence du bouddhisme et des arts indien et chinois sur la peinture de Charles Rollier”, in Charles Rollier. Les deux phases cardinales, Peintures 1955–1968, Lausanne, 1984, 10 pp. “Der Einfluss der Buddhismus und der indischen und chinesischen Kunst auf die Malerei Charles Rolliers” (German version of the previous article), Herausgegeben vom Aargauer Kunsthaus, Aarau 1985, (pp. 1–7).

12) “The Newar Artists of the Nepal Valley. An historical account of their activities in neighbouring areas with particular reference to Tibet”, Oriental Art, XXXI/3 (autumn 1985), (pp.17

13) “The Artists of the Nepal Valley”, Oriental Art, XXXI/4 (winter 1985–1986), pp. 409–20.

14) “The Dharmamaˆ∂ala-sËtra by Buddhaguhya”, in G. Gnoli and L. Lanciotti (eds), Orientalia Iosephi Tucci Memoriae Dicata, Roma, 1987, pp. 787–818.

15) “Cultural Exchange and Social Interaction between Tibetans and Newars from the Seventh to the Twentieth Century”, International Folklore Review, VI (1988), pp. 86–114.

16) “Iconographic Sources and Iconometric Literature in Tibetan and Himalayan Art”, in Tadeusz Skorupski (ed.), Indo-Tibetan Studies, Tring, 1990, pp. 171–97.

17) “The Princes of Gyantse and Their Role as Builders and Patrons of Art”, in Sh. Ihara and Z. Yamaguchi (eds), Tibetan Studies. Proceedings of the 5th Seminar of the International Association for Tibetan Studies, Narita, 1992, vol. 2, pp. 559–73.

18) “Ma-gcig Labs-sgron and Ma-gcig Zha-ma: A Case of Mistaken Identity”, in P. Kvaerne (ed.), Proceedings of the 6th Seminar of the International Association for Tibetan Studies. Fagernes 1992, The Institute for Comparative Research in Human Culture, Oslo, 1994, pp. 481–90.

19) “Percorso tibetano”, Asia, 3 (1994), pp. 62–69.

20) “Tibetan Literature on Art”, in J. Cabezón & R. Jackson (eds), Tibetan Literature. Studies in Genre, Northfield, 1996, pp. 470–84.

21) “The Sacred Enclave of Gyantse”, in P. Pal (ed.), On the Path to Void. Buddhist Art of the Tibetan Realm, Mumbai, 1996, pp. 122–41; and in Marg, XLVII/4 (June 1996), pp. 38–57.

22–46) “Agiografia tibetana”, “Ancient Nepal”, “Centre d’études himalayennes”, “Concezione religiosa della storia in Tibet”, “Cronachistica tibetana”, “Fonti tibetane”, “Genealogie tibetane”, “Guide tibetane monastiche e di pellegrinaggio”, “International Association for Tibetan Studies”, “Journal of the Tibet Society, The”, “Lévi, S., Le Népal”, “Library of Tibetan Works and Archives”, “Locke, J., Buddhist Monasteries of Nepal”, “Nepal”, “Nepal Research Centre”, “Petech, Luciano”, “Reale/immaginario in Tibet”, “Richardson, Hugh”, “Storie ecclesiastiche tibetane”, “Tibet”, “Tibet centro del mondo”, “Tibet Journal, The”, “Tibetan Academy of Social Sciences”, “Tucci, G., Tibetan Painted Scrolls”, “Vostrikov, Andrei Ivanovich”, in A. De Bernardi & S. Guarracino (eds), Dizionario di storiografia, Milano, 1996, pp. 15, 41, 181, 233, 278, 416, 439–40, 497, 552, 575, 606, 612–13, 620, 740–41, 791, 852, 874, 1038, 1067–68, 1080 and 1107.

47–62) “Bodhnath”; “Buddhism: Nepal”; “Budhanilkanta”; “Changu Narayan”; “Dhumvarahi”; “Museums. Collections Outside Nepal”; “Nepal. Museums. Museums in Nepal”; “Nepal: Painting, Traditional painting, Painted scrolls. Stylistic developments C. 17th-19th centuries. (i) Tibetan influence”; “Nepal: Painting, Traditional painting, Painted scrolls. Stylistic developments C. 17th19th centuries. (ii) Influence of Indian miniatures”; “Nepal: Painting, Traditional painting, Painted scrolls. 19th and 20th centuries”; “Panauti”; “Pashupatinatha”; “Pharping”; “Sankhu”; “Stupa. Nepal and Tibet”, “Svayambhunatha”; in J. Shoaf Turner (ed.), The Dictionary of Art, London, 1996, vol. 4, p. 213; vol. 5, pp. 102–103 and 121; vol. 6, pp. 448–49; vol. 8, pp. 795–96 and 849; vol. 22, pp. 785–87; vol. 23, p. 907; vol. 24, pp. 226 and 592; vol. 27, p. 755; vol. 29, pp. 867–68; and vol. 30, p. 53.

63) “Tibet, una colonia cinese alle soglie del Duemila” (I), Riforma, IV/49 (20 th December 1996), p. 12.

64) “Tibet, una colonia cinese alle soglie del Duemila” (II), Riforma, IV/50 (27 th December 1996), p. 8.

65) “Sculptural Styles According to Pema Karpo”, in J. Casey Singer and P. Denwood (eds), Tibetan Art. Towards a definition of style, London, 1997, pp. 242–53 and 302–304.

66) “Mercury-gilding in Traditional Himalayan and Tibetan Sculpture”, in H. Krasser, M. Torsten Much, E. Steinkellner, H. Tauscher (eds), Tibetan Studies. Proceedings of the 7th Seminar of the International Association for Tibetan Studies, Wien, 1997, vol. II, pp. 573–82.

67) “The role of Newar scholars in transmitting the Indian Buddhist heritage to Tibet (c. 750 — c. 1200)”, in S. Karmay and Ph. Sagant (eds), Les habitants du Toit du monde. Études recueillies en hommage à Alexander W. Macdonald, Nanterre, 1997, pp. 629–58.

68) “Érudits, artistes et fêtes de Lhasa”, in F. Pommaret (ed.), Lhasa, lieu du divin, Genève, 1997, pp. 217–34; revised version: “Scholars, Artists and Feasts”, in F. Pommaret (ed.), Lhasa in the Seventeenth Century. The Capital of the Dalai Lamas, Leiden-Boston, 2003, pp. 179–98.

69) “The role of the scholars of the Nepal Valley in the transmission of the Indian Buddhist heritage to Tibet with particular reference to the 13th and 14 centuries”, in R. Arena, M. P. Bologna, M. L. Mayer Modena & A. Passi (eds), Bandhu. Scritti in onore di Carlo della Casa, Alessandria, 1997, pp. 191–205.

70) “I thang-ka”, Tibet. Oltre la leggenda. Civiltà ed arte dal XII al XX secolo, by various authors, Milano, 1998, pp. 95–153; and “Catalogo sezione museale” in S. Bazzeato Deotto (ed.), Tibet. Arte e spiritualità. Un contributo alla storia dell’uomo, Milano, 1999, pp. 119–76.

71) “Arquitectura religiosa tibetana: monasterios, templos y ermitas”, in R. Prats (ed.), Monasterios y lamas del Tibet, Barcelona, 2000, pp. 36–45.

72) “On Some Inscriptions in the Temples of the bum-pa of the Great Stupa at Gyantse”, East and West, 50/1–4, 2000, pp. 387–437.

73) “A Note on the Dictionaries Compiled by Italian Missionaries in Tibet”, The Tibet Journal, XXVI/2 (2001), pp. 88–92.

74) “Chinese Artistic Influence in Tibet from the 11th to the 15th Century”, in A. Cadonna & E. Bianchi (eds), Facets of Tibetan Religious Tradition and Contacts with Neighbouring Cultural Areas , Leo Olschki, Firenze, 2002”, pp. 179–201.

75) “Il simbolismo dello stupa, con particolare riferimento al ‘Kumbum’ di Gyantsé”, in M. Davy &A. Guarini (eds), Il Segno. Memoria e testimonianza, con espressioni d’arte in Oriente, Occidente e Africa, Il Punto, Bari, 2002, pp. 121–37.

76) “Newar Sculptors and Tibetan Patrons in the 20 th Century”, in E. Lo Bue (ed.), Contributions to the History of Tibetan Art, special issue of The Tibet Journal, XXVII/3–4 (autumn-winter 2002), pp. 121–70, partly reprinted in Shiromani, Krodhakala (ed.), Kalu Kumale (Sculptor of Wrathful Gods), Nepal Academy of Fine Arts, 2019.

77) “Shakyamuni” and “Mandala of Nairatma”, in R. Freschi (ed.), The Art Journey of Marco Polo, Oriental Art, Milano, 2003, pp. 25 and 32.

78) “Un Tibet clericale”, Riforma, XI/47 (5 th December 2003), p. 1.

79) “La statuaria in metallo”, in F. Ricca (ed.), Arte buddhista tibetana: dei e demoni dell’Himalaya, Mondadori Electa, Milano, 2004, pp. 96–101.

80) “Nepal Sculptors and Tibetan Patrons in the 20 th century: Man Jyoti Shakya and his Family”, in R J. Shakya (ed.), Nepal. A profile on Newar Sculptor’s Family & Lost Wax Casting Technique, Shakyamuni Art Concern, Lalitpur, 2005, pp. 7–11.

81) “, Works of Traditional Buddhist Artists in 20 th Century Ladakh. A Preliminary Account”, in J. Bray (ed.), Ladakhi Histories. Local and Regional Perspectives, Brill, Leiden — Boston, 2005, pp. 353–78; new edition, Library of Tibetan Works and Archives, Dharamsala, 2011, pp. 20–29.

82) “The Sixth Dalai Lama Tsangyang Gyatso”, in M. Brauen (ed.), The Dalai Lamas. A Visual History, Serindia, Chicago, 2005, pp. 92–101, and “Der Sechste Dalai Lama Tshangyang Gyatso”, in M. Brauen (ed.), Die Dalai Lamas. Tibets Reinkarnationen des Bodhisattva Avalokiteßvara, Völkerkundemuseum der Universität Zürich — Arnoldsche, Zürich and Stuttgart, 2005, pp. 92–101.

83) “Yama’s judgement in the Bar do thos grol chen mo: An Indic Mystery Play in Tibet”, The Tibet Journal, XXX/2 (summer 2005), pp. 9–24.

84) “A Short Biography of a Contemporary Buddhist Painter”, in M. Ahmed & C. Harris (eds), Ladakh. Culture at the Crossroads, special issue of Marg, 57/1 (September 2005), Marg Publications, Mumbai, 2005, pp. 94–103; reprinted in 2010.

85) Lo Bue, Erberto. 2005. “Lives and Works of Traditional Buddhist Artists in 20 th Century Ladakh. A Preliminary Account.” In John Bray (ed.). Ladakhi Histories. Local and Regional Perspectives. Leiden – Boston: Brill, 353–378; new edition, 2011. Dharamsala: Library of Tibetan Works and Archives, 20–29.

86) “Ruolo e iconografia dei monti sacri nella cultura tibetana”, in A. Barbero & S. Piano (eds), Religioni e Sacri Monti. Atti del Convegno internazionale, Torino, Moncalvo, Casale Monferrato, 12–16 ottobre 2004, Centro di Documentazione dei Sacri Monti, Calvari e Complessi devozionali europei, Ponzano Monferrato, 2006, pp. 263–70.

87) “Tibetische Malerei”, in Jeong-Hee Lee-Kalisch (ed.), Tibet. Klöster öffnen ihre Schatzkammern, Kulturstiftung Ruhr — Hirmer Verlag, Essen and München, 2006, pp. 90–95.

88) “Problems of Conservation of Murals in Tibetan Temples”, in Xie Jisheng, Shen Weirong and Liao Yang (eds), Studies in Sino-Tibetan Buddhist Art. Proceedings of the Second International Conference on Tibetan Archaeology and Art, Beijing, September 3–6, 2004, China Tibetology Publishing House, Beijing, 2006, pp. 404–26.

89) “A 16th ‑Century Ladakhi School of Buddhist Painting”, in Pratapaditya Pal (ed.), Buddhist Art. Form & Meaning, Marg publications, Mumbay, 2007, pp. 102–115; republished in an updated version under the title “A 16 th Century School of Ladakhi Painting”, in Monisha Ahmed & John Bray (eds), Recent Research on Ladakh 2009. Papers from the 12th Colloquium of the International Association for Ladakh Studies Kargil, International Association for Ladakh Studies, Kargil – Leh, 2009, pp. 20–29.

90) “Schede critiche”, in Maria Luisa Moncassoli Tibone (ed.), La scultura del Gandhara: il messaggio greco nelle immagini d’Oriente, Ananke, Torino, 2007, pp. 21, 23, 25, 27, 29, 31, 33 and 35.

91) “The Gu ru lha khang at Phyi dbang: a Mid-15 th Century Temple in Central Ladakh”, in Amy Heller & Giacomella Orofino (eds), Discoveries in Western Tibet and the Himalayas. Essays on History, Literature, Archaeology and Art. Proceedings of the Tenth Seminar of the International Association for Tibetan Studies, Oxford, 2003, vol. 10/8, Brill, Leiden – Boston, 2007, pp. 175–96.

92) “Traditional Buddhist Art in 20 th Century Ladakh”, in John Bray & Ngawang Tsering Shakspo (eds), Recent Research on Ladakh 2007, J & K Academy for Art Culture & Languages International Association for Ladakh Studies, Leh, 2007, pp. 89–98.

93) “Il velo nel mondo asiatico”, in Andrea Busto (ed.), Il Velo, CeSAC – SilvanaEditoriale, Cinisello Balsamo (Milano), 2007, pp. 44–46.

94) “Problems of Conservation and Appreciation of Tibetan Mural Painting”, in Francesca De Filippi (ed.), Restoration and Protection of Cultural Heritage in Historical Cities of Asia: between modernity and tradition, Politecnico di Torino — ASIA Onlus, Roma, 2007, pp. 113–24.

95) “Chinese Influence in Some Wall Paintings at Zhwa lu and Their Political Meaning within Their Cultural Context”, Gugong Bowuyuan Yuankan (Palace Museum Journal), 5 [133] (2007), pp. 67–77 (in Chinese) and 151 (abstract in English), and in Jisheng Xie, Wenhua Luo and Anning Jing (eds), Studies on Sino-Tibetan Buddhist Art. Proceedings of the Third International Conference of Tibetan Archaeology and Art (Beijing, Capital Normal University, October 13–16, 2006), Guji Publishing House, Shanghai, 2009, pp. 213–222.

96) “Giuseppe Tucci and Historical Studies on Tibetan Art”, The Tibet Journal, XXXII/1 (spring 2007), pp. 53–64.

97) “Il ginepraio tibetano: radice antica della rivolta”, il manifesto, XXXXVIII/70 (19 th March 2008), p. 11.

98) “Tibet e Cina: una tragica relazione”, Riforma, XVI/13 (28 th March 2008), p. 10.

99) “Tibet e Cina: le radici di una convivenza difficile”, laicità, XX/2 (June 2008), p. 15.

100) “Shadakshari Avalokiteshvara”, “Lama”, “Virupa”, “Akshobhya”, “Vajravarahi”, “Parnashavari”, “Shastradhara Hevajra”, “The 9 th Karmapa”, “Vajra water knife”, in Anna Maria and Fabio Rossi (eds), Images of Faith. A Private Collection of Himalayan Art, Rossi & Rossi, London, 2008, pp. 10–29, 32–33, 36–41 and 58–59.

101) “Alla scoperta degli evangelici del Nepal”, Riforma, XVI/40 (17 th October 2008), p. 16.

102) “Islam e Cristianesimo nel Tibet buddhista: il caso del Ladak”, in Daniele Cevenini & Svevo D’Onofrio (eds), ‘Uyûn al-Akhbâr. Studi sul mondo islamico, il Ponte, Bologna 2008, pp. 193–217.

103) “Tibetan Aesthetics versus Western Aesthetics in the Appreciation of Religious Art”, in Monica Esposito (ed.), Images of Tibet in the 19 th and 20 th Centuries, École française d’ExtrêmeOrient, Paris 2008, vol. II, pp. 687–704.

104) “Contemporary Religious Painting in Geo-Cultural Tibet”, in Valeria Donati & Mara Matta (eds), Tibetan Arts in Transition. A Journey through Theatre, Cinema and Painting, ASIA Onlus, Roma 2009, pp. 97–104; translated into Italian by Valeria Donati as “La pittura religiosa contemporanea nel Tibet geo-culturale” in Valeria Donati & Mara Matta (eds), Le arti tibetane in transizione. Un viaggio attraverso teatro, cinema e pittura, ASIA Onlus, Roma 2009, pp. 97–104.

105) “Notes on Sky-Burial in Indian, Chinese and Nepalese Tibet”, in John Bray & Elena De Rossi Filibeck (eds), Mountains, Monasteries and Mosques. Recent Research on Ladakh and the Western Himalaya. Proceedings of the 13 th Colloquium of the International Association for Ladakh Studies, supplement No. 2 to Rivista degli Studi Orientali, New Series, vol. LXXX, Fabrizio Serra Editore, Pisa – Roma, 2009, pp. 221–237.

106) “Considerations on the historical and political context of the iconography of three southwestern Tibetan temples”, in Jean-Luc Achard (ed.), Études tibétaines en l’honneur d’Anne Chayet, Droz, Genève 2010, pp. 147–173.

107) “An Introduction to the Cultural History of Lo (Mustang)”, in Erberto Lo Bue (ed.), Wonders of Lo. The Artistic Heritage of Mustang, Marg, Mumbai 2010, pp. 10–23.

108) “Cave Hermitages and Chapels in Eastern Lo”, in Erberto Lo Bue (ed.), Wonders of Lo. The Artistic Heritage of Mustang, Marg, Mumbai 2010, pp. 40–55.

109) “Wonders of Möntang”, in Erberto Lo Bue (ed.), Wonders of Lo. The Artistic Heritage of Mustang, Marg, Mumbai 2010, Marg, Mumbai 2010, pp. 76–89.

110) “Buddhist Art and Architecture in Nepal.” In Oxford Bibliographies in Buddhism. Ed. Richard Payne. New York: Oxford University Press, forthcoming.

111) “The Íambhala Murals in the Klu khang and Their Historical Context. A Preliminary Report”, in Erberto Lo Bue and Christian Luczanits (eds), Tibetan Art and Architecture in Context. Proceedings of the Eleventh Seminar of the International Association for Tibetan Studies, Königswinter 2006, International Institute for Tibetan and Buddhist Studies GmbH, Andiast 2010, pp. 353–374.

112) “Storia e ragioni di un’amicizia”, in Fosco Maraini, DREN-GIONG. Il primo libro di Fosco Maraini e i ricordi dei suoi amici (ed. by Mieko Maraini), Corbaccio, Milano 2012, pp. 161–176.

113) “Una piccola comunità protestante nel Tibet indiano”, Riforma, XXI/48 (20 dicembre 2013), p. 5.

114) “Newar Artistic Influence in Tibet and China between the 7 th and the 15 th Century”, in Elena de Rossi Filibeck (ed.), Tibetan Art Between Past and Present: Studies Dedicated to Luciano Petech. Proceedings of the Conference held in Rome on the 3 rd November 2010”, supplement No. 1 to Rivista di Studi Orientali. Nuova Serie, LXXXIV, Fabrizio Serra, Pisa — Roma 2012, pp. 25–62. Earlier version published in Sudarshan Raj Tiwari, Guo Hongwei and Hans Christie Bjoennes (eds), Conference Papers. International Conference on Traditional Settlements and Housing in Tibet Autonomous Region (TAR), China and Nepal. Institute of Engineering, Lalitpur, Nepal, 26, 27 and 28 Otober 2009, Trans-Himalayan University Network for Education and Research (THUNDER) Project – Institute of Engineering, Lalitpur [2013], pp. 25–50.

115) “Shâkyamuni”, “Vajradhâtu màndala” and “Shâkyamuni’s miracles”, in Eti Bonn-Muller (ed.), Classical Selection 2014 – Stand 166 – TEFAF Maastricht, Rossi & Rossi 2014, pp. 24–25, 30–31 and 48–49.

116) “Introduction” in Erberto Lo Bue (ed.), Il Tibet fra mito e realtà — Tibet between Myth and Reality, Leo S. Olschki, Firenze 2014, pp. 1–32.

117) “The Painting of Charles Rollier: The Influence of Indian Culture on a European Artist”, Mårg. A Magazine of the Arts, 65/3 (March 2014), pp. 14–27.

118) (with John Bray) “Introduction” in Erberto Lo Bue & John Bray (eds), Art and Architecture in Ladakh. Cross-Cultural Transmissions in the Himalayas and Karakoram, Brill, Leiden – Boston 2014, pp. 1–14.

119) “Tibet. Un buddhismo non sempre pacifico”, Riforma, XXII/19 (16 th May 2014), p. 5.

120) “In memory of Vittorio Chiaudano (1935–1996): 20th-century Buddhist and Hindu statues from the Nepal Valley belonging to the Aniko Collection on loan to the Victoria and Albert Museum”, The Tibet Journal, XXXIX/2 (autumn-winter 2014), pp. 3–35.

121) “Nepàl Màndala. È uno spazio sacro. Unico al mondo” [Original title: “Nepàl Màndala. Uno spazio sacro unico al mondo”], Il Giornale dell’arte, XXXIII/354 (June 2015), pp. 6–7.

122) “Giuseppe Tucci’s Remarks on the State of Preservation of Tibetan Monuments in the 1930s and 1940s”, October 2015, http://asianart.com/articles/lobue/index.html (pdf in http://asianart.com/articles/lobue/lobue.pdf)

123) “A zhabs-brtan Ceremony Performed in a rNying-ma Household at Jawalakhel, Lalitpur, Nepal (1986)”, in Hanna Havnekik and Charles Ramble (eds), From Bhakti to Bon. Festschrift for Per Kvaerne, The Institute for Comparative Research in Human Culture – Novus Press, Oslo 2015, pp. 325–336.

124) “Considerations on the Gtsug lag khang in the Dpal ’khor chos sde of Rgyal rtse”, in Olaf Czaja and Guntram Hazod (eds), The Illuminating Mirror. Tibetan Studies in Honour of Per K. Sørensen on the Occasion of his 65th Birthday, Dr. Ludwig Reichert Verlag, Wiesbaden 2015, pp. 283–302 and 596–600.

125) “Ippolito Desideri’s remarks on Tibetan Architecture”, in Pierfrancesco Fedi and Maurizio Paolillo (eds), Arte dal Mediterraneo al Mar della Cina. Genesi ed incontri di scuole e stili. Scritti in onore di Paola Mortari Vergara Caffarelli, Officina di Studi Medievali, Palermo 2015, pp. 299–310.

126) “Il Tibet e Lorenzo Alessandri”, in Concetta Leto (ed.), Il Tibet di Alessandri, Fondazione Ottavio Mazzonis, Torino 2016, pp. 22–37.

127) “The Condition of Tibetan Monasteries in the 1930s and ’40s as Recorded by Giuseppe Tucci”, Marg. A Magazine of the Arts, 67/3 (March-June 2016), pp. 66–75.

128) Interpretation of a Tibetan inscription on a Buddhist statue in Ilaria Bellucci (ed., in collaboration with Jacopo Pandolfini), Asian Art – Chinese, Islamic and Indian Works of Art, Casa d’Aste Capitoliumart, Bescia 2016, p. 131, n. 294.

129) “A Tibetan Mahābodhi. The Main Image in the dPal ’khor chos sde of rGyal rtse, in Elena de Rossi Filibeck, Michela Clemente, Giorgio Milanetti, Oscar Nalesini, Federica Venturi (eds), Studies in Honour of Luciano Petech. A Commemoration Volume, 1914–2014, supplement No. 1 to Rivista degli Studi Orientali, New Series, vol. LXXXIX, Fabrizio Serra Editore, Pisa – Roma, 2016, pp. 133–146 and 226–230.

130) “Tshe ring dngos grub, a Ladaki Painter and Astrologer”, The Tibet Journal, XLII/1 (springsummer 2017), pp. 3–12.

131) “The Dharmarājas of Gyantsé. Their Indian and Tibetan Masters, and the Iconography of the Main Assembly Hall in Their Vihāra”, in Alice Crisanti, Cinzia Pieruccini, Chiara Policardi, Paola M. Rossi (eds), Anantaratnaprabhava. Studi in onore di Giuliano Boccali, Università degli Studi di Milano–Dipartimento di Studi letterari, filologici e linguistici, Ledizioni (Consonanze, 11), Milano 2017, vol. 2, pp. 341–360.

132) “Obituary: David Snellgrove 1920–2016”, Ladakh Studies, 34 (July 2017), pp. 38–41; revised version: The Tibet Journal, XLIII/2 (Autumn/Winter 2018), “Obituary: David Llewellyn Snellgrove (29 June 1920 – 25 March 2016)”, pp. 89–93.

133) “Buddhist Art and Architecture in Tibet”, Oxford Research Encyclopedia of Religion, Feb.2018, DOI: 10.1093/acrefore/9780199340378.013.172, Oxford University Press USA 2016, 31 pp.

134) Lo Bue, Erberto, “Charles Rollier: l’influsso della cultura indiana su un artista europeo” (revised Italian version of “The Painting of Charles Rollier: The Influence of Indian Culture on a European Artist”, Mårg. A Magazine of the Arts, 65/3, March 2014, pp. 14–27), Association Charles Rollier, Chêne- Bourg 2018, 12 pp. 138); and “Charles Rollier: l’influence de la culture indienne su un artiste européen” (revised French version of “The Painting of Charles Rollier: The Influence of Indian Culture on a European Artist”, Mårg. A Magazine of the Arts, 65/3, March 2014, pp. 14–27), Association Charles Rollier, Chêne-Bourg 2020, 12 pp.

135) “Numeri indiani o ‘arabi’?”, L’Eco delle Valli Valdesi, 11 (November 2018), p. 15.

136) “Lettere dal Tibet”, Quaderni Asiatici, 124 (December 2018), pp. 25–49 and 91–94.

137) “Note in margine all’archivio fotografico di Fosco Maraini”, in Michela Clemente, Oscar Nalesini and Federica Venturi (eds), Perspectives on Tibetan Culture — A Small Garland of Forget-me-nots Offered to Elena De Rossi Filibeck, in Revue d’Etudes Tibétaines, 51 (July 2019), pp. 189–202.

Reviews and Review articles:

1) “Michael Aris and Aung San Suu Kyi (eds), Tibetan Studies in Honour of Hugh Richardson”, Religious Studies, XVII/14 (1981), pp. 580–84.

2) “David L. Snellgrove and Tadeusz Skorupski: The Cultural heritage of Ladakh, vol. II. Zangskar and the cave temples of Ladakh. With part 4 on the inscriptions at Alchi by Philip Denwood”, Bulletin of the School of Oriental and African Studies, XLV/1 (1982), pp. 208–10.

3) “Fernand Meyer: gSo-ba rig-pa. Le système médical tibétain”, Arts Asiatiques, XXXIX (1984), pp. 116–17.

4) “David P. Jackson and Janice A. Jackson: Tibetan Thangka Painting, methods and materials”, Arts Asiatiques, XL (1985), pp. 138–39.

5) “Pratapaditya Pal: Art of Tibet: a catalogue of the Los Angeles County Museum of Art Collection. With and appendix on inscriptions by H. E. Richardson”, Bulletin of the School of Oriental and African Studies, XLIX/1 (1986), pp. 233–34.

6) “Wladimir Zwalf (ed.), Buddhism: art and faith”, Bulletin of the School of Oriental and African Studies, L/2 (1987), p. 393.

7) “Karel Werner (ed.): Symbols in art and religion. The Indian and the comparative perspectives”, Bulletin of the School of Oriental and African Studies, LIV/3 (1991), pp. 598–99.

8) “Early temples of Central Tibet. By Roberto Vitali”, Journal of the Royal Asiatic Society (Third Series), II/1 (April 1992), pp. 125–28.

9) “The Ngor Mandalas of Tibet. Plates. By bSod nams rgya mtsho and Musashi Tachikawa”, Journal of the Royal Asiatic Society (Third Series), II/2 (July 1992), pp. 313–14.

10) “Tibet: Civilisation et société. Colloque organisé par la Fondation Singer-Polignac à Paris, les 27, 28, 29 Avril 1987. Edited by F. Meyer”, Journal of the Royal Asiatic Society (Third Series), II/2 (July 1992), pp. 315–18.

11) “Michael Aris [and] Patrick Booz: Lamas, princes, and brigands. Joseph Rock’s photographs of the Tibetan borderlands of China. Contributions by S. B. Sutton and Jeffrey Wagner”, Bulletin of the School of Oriental and African Studies, LVII/3 (1994), pp. 619–20.

12) “Druma-kinnara-råja-parip®cchå-sËtra. A critical edition of the Tibetan text (Recension A) based on eight editions of the Kanjur and the Dunhuang manuscript fragment. By Paul Harrison”, Journal of the Royal Asiatic Society (Third Series), 4/2 (July 1994), pp. 292–93.

13) (with Rolf W. Giebel) “A Critical Edition of the sGra sbyor bam po gnyis pa. An Old and Basic Commentary on the Mahåvyutpatti. Edited by Mie Ishikawa”, Journal of the Royal Asiatic Society (Third Series), 4/3 (November 1994), pp. 429–30.

14) “K∑emendra’s Bodhisattvâvadånakalpalatå. Studies and Materials. By Marek Mejor”, Journal of the Royal Asiatic Society (Third Series), 5/1 (April 1995), pp. 149–50.

15) “The Ngor Mandalas of Tibet. Listings of the Mandala Deities. By bSod-nams-rgya-mtsho”, Journal of the Royal Asiatic Society (Third Series), 5/1 (April 1995), p. 148.

16) “The Cult of the Deity Vajrak¥la, According to the Texts of the Northern Treasures Tradition of Tibet (Byang-gter phur-ba). By Martin Boord”, Journal of the Royal Asiatic Society (Third Series), 5/2 (July 1995), pp. 320–23.

17) “Hugh Richardson: Ceremonies of the Lhasa Year. Edited by Michael Aris”, Bulletin of the School of Oriental and African Studies, LVIII/3 (October 1995), pp. 593–95.

18) “Bulletin of Tibetology: aspects of classical Tibetan medicine, special volume of 1993, Gangtok, Sikkim Research Institute of Tibetology “, Medical History, 39 (October 1995), pp. 514–15.

19) “Per Sørensen, The Mirror Illuminating the Royal Genealogies”, Asia, 6 (1995), p. 74.

20) “David Jackson, A History of Tibetan Painting. The Great Tibetan Painters and Their Traditions”, East and West, 47/1–4 (December 1997), pp. 457–61.

21) “The Vajrabhairava Tantras. Tibetan and Mongolian Versions, English Translation and Annotations. By Bulcsu Siklós (ed.)”, Journal of the Royal Asiatic Society (Third Series), 8/2 (July 1998), pp. 290–93.

22) “Ordre spirituel et ordre temporel dans la pensée bouddhique de l’Inde et du Tibet. Quatre conférences au Collège de France. By David Seyfort Ruegg”, Journal of the Royal Asiatic Society (Third Series), 8/2 (July 1998), pp. 293–96.

23) “The Future Buddha Maitreya. An Iconological Study by Inchang Kim”, The Tibet Journal, XXIII/3 (autumn 1998), pp. 123–27.

24) “Per K. Sørensen: Tibetan Buddhist Historiography. The Mirror Illuminating the Royal Genealogies”, Acta Orientalia, 59 (1998), pp. 308–13.

25) “The Arts and Crafts of the Swat Valley. Living Traditions in the Hindu Kush, Johannes Kalter et al.”, The Tibet Journal, XXIV/2 (summer 1999), pp. 72–75.

26) (article) “Art of Tibet, Robert E. Fisher”, The Tibet Journal, XXV/1 (spring 2000), pp. 74–89.

27) (review article) “Hugh Richardson — David Snellgrove, Tibet. Storia della tradizione, della letteratura e dell’arte”, published with variants in Annali dell’Istituto Universitario Orientale, 58/3–4 (1998), pp. 583–86, Rivista degli Studi Orientali, LXXIII/1–4 (2000), pp. 335–39, and in G. R. Franci (ed.), Studi orientali e linguistici, VII, Bologna, Alma Mater Studiorum, 2000, pp. 564–69, Asiatica Venetiana, 10–11 (2009), pp. 175–78, and Quaderni Asiatici, 93 (March 2011), pp. 116–22.

28) “Giuseppe Tucci, Tibetan Painted Scrolls”, East and West, 50/1–4 (2000), pp. 597–603 and The Tibet Journal, XXVII/3–4 (autumn-winter 2002), pp. 183–90 (updated version).

29) (article) “Imaging Wisdom. Seeing and Knowing in the Art of Indian Buddhism, by Jacob N. Kinnard, The Tibet Journal, XXVI/2 (2001), pp. 68–77.

30) (article) “In the Image of Tibet. Painting after 1959, by Clare Harris”, in E. Lo Bue (ed.), Contributions to the History of Tibetan Art, special issue of The Tibet Journal, XXVI/3–4 (autumnwinter 2001), pp. 206–24.

31) “Ajanta. Handbook of the Paintings, by Dieter Schlingloff”, in E. Lo Bue (ed.), Contributions to the History of Tibetan Art, special issue of The Tibet Journal, XXVII/1–2 (spring-summer 2002), pp. 256–57.

32) “Christian Luczanits, Buddhist Sculpture in Clay. Early Western Himalayan Art, Late 10 th to Early 13 th Centuries”, East and West, 55/1–4 (December 2005), pp. 497–99.

33) “Per K. Sørensen and Guntram Hazod, Thundering Falcon. An Inquiry into the History and Cult of Khra-’brug Tibet’s First Buddhist Temple”, East and West, 56/4 (December 2006), pp. 476–78.

34) “Arms and Armor of Tibet, by Donald J. LaRocca with essays by John Clarke, Amy Heller, and Lozang Jamspal”, Marg, 58/3 (March 2007), pp. 66–69.

35) “The Temples of Lhasa: Tibetan Buddhist Architecture from the 7th to the 21st Centuries, by André Alexander”, Orientations, 38/4 (May 2007), pp. 99–101.

36) “Enzo Gualtiero Bargiacchi, Ippolito Desideri S. J. Opere e bibliografia, Institutum Historicum

S. I. Roma 2007”, The Tibet Journal, XXXII/1 (spring 2007), pp. 98–99.

37) “Per K. Sørensen and Guntram Hazod (in cooperation with Tsering Gyalbo), Rulers on the Celestial Plain. Ecclesiastical and Secular Hegemony in Medieval Tibet. A Study of Tshal Gungthang”, East and West, 58/1–4 (December 2008), pp. 480–81.

38) “Tradurre o tradire? Hugh Richardson – David Snellgrove, Tibet. Storia della tradizione della letteratura e dell’arte”, Asiatica Venetiana, 10/11 (2009), pp. 175–78.

39) “David Jackson, Steven Kossak, Painted Images of Enlightenment. Early Tibetan Thankas, 1050–1450, with a foreword by Pratapaditya Pal”, The Tibet Journal, XLI/1 (spring/summer 2016), pp. 147–53. Errata, The Tibet Journal, XLI/2 (autumn-winter 2016), p. 128.

40) “David Jackson, The Place of Provenance. Regional Styles in Tibetan Painting, with a contribution by Rob Linrothe, New York, Rubin Museum of Art (Masterworks of Tibetan painting series, 4), 2012. xix + 235 pages, most illustrations in colour, 5 maps, bibliography, index, Arts Asiatiques, 74 (2019), pp. 183–184.

Translations

Rosa M. Cimino, Life at Court in Rajasthan, Firenze, 1985, xlvi-121 pp.

Two lay visitors are being punished in the Potala palace’s courtyard. They were compelled to stay bound the whole day for having stolen offerings. © Stella Rigo Righi

My friend Renato Nisbet and I decided to walk to Colle Julian (2,451m) in the Turin Province with a mule carrying our tents and luggage, with the idea that he would carry out field work on plants growing in that area, whereas I would continue the preparation of a book on the 6th Dalai Lama, to be published in Turin (Vita e canti del VI Dalai Lama, Libreria L’Angolo Manzoni Editrice, 1993) camping in our respective tents: his, large enough to contain all his material and mine being a simple pup tent. A storm compelled us to leave and walk to a mountain hut below, where we carried out our respective work staying there for a few days with no kind of heating. © Stella Rigo Righi

in my kitchen in Turin, Italy, with my colleagues and friends Renato Nisbet and David Snellgrove (1990) © Stella Rigo Righi

Erberto in front of Convitto Valdese (2019) © Guido Vogliotti

Letters from Tibet. My first fieldwork in Tbet in Tibet (updated version)