An invaluable resource for students of Tibetan Buddhist art, history, symbolism, and culture.



This nonfiction debut illuminates the cultural heritage of the Golden Valley region in eastern Tibet, including its art, furniture, and rituals.

Many Tibetan artworks have been destroyed over the centuries, particularly following China’s occupation of Tibet and the Cultural Revolution. In the Golden Valley, some items still remain, chiefly in monasteries. Huber spent 12 years visiting the Golden Valley, focusing on the Lower Senge Monastery, examining its endangered treasures. He visited libraries and conducted interviews with monks and villagers, gathering oral history and insights into Buddhist artworks’ symbolism, manufacture, and so on to pinpoint their unique characteristics. Huber draws on his expertise in art and antique furniture restoration, as well as furniture design and manufacturing, to inform his discussion and to guide speculative judgments, which can be necessary because so little information exists—even employing radiocarbon dating to nail down a detail. Glantz, a professional market researcher and a traveler to Tibet, further analyzes Huber’s findings and tells the story. The book first gives background information and the history of the Golden Valley, both oral and documented, from the ninth century to 2008. Huber and Glantz assess the region’s various cultural productions, including art on cloth and other media, monastic furniture, and prayer wheels, identifying styles, techniques, and materials and how they changed. They also describe the Golden Valley’s monasteries and the village of Senge. Finally, they list the characteristics of Tibetan Buddhist symbolism as used in the Senge Monastery’s art. Three useful appendices give information on Buddhist rituals and monastic rules, and an index is included. The authors’ tone can be overly casual; for example, one Buddhist celestial realm “is not very popular, because who wants to do more work?” But Huber and Glantz gather information available nowhere else; they set the record straight on matters such as what is or is not a reading desk; they get into the nitty-gritty of materials, techniques, and changing styles; and they provide a wealth of photographs documenting their study.

An invaluable resource for students of Tibetan Buddhist art, history, symbolism, and culture.

Pub Date: May 22, 2016

ISBN: 978-0-9975669-0-1

Page Count: 210

Publisher: Baronet World Wide

Review Posted Online: Dec. 12, 2016

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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