Dharma Art

Rating:
Summary: Words, Words, Words...
Review: "A picture is worth a thousand words". But if you are expecting to see the beauty of Dharma Art in pictures, be prepared for real disappointment. There are NO color pictures/photos; only a few pages of black-and-white photos and the only one that can be considered as "art" is that of a thangka painting. If you want to see beautiful Dharma art, look elsewhere.

Rating:
Summary: Words, Words, Words...
Review: "A picture is worth a thousand words". But if you are expecting to see the beauty of Dharma Art in pictures, be prepared for real disappointment. There are NO color pictures/photos; only a few pages of black-and-white photos and the only one that can be considered as "art" is that of a thangka painting. If you want to see beautiful Dharma art, look elsewhere.

Rating:
Summary: how to make art
Review: One reviewer's 1-star rating is really unfair. The book was never intended as a visual presentation of particular artworks. It's a very rich set of essays, some very challenging, about how to make art, in particular, the kind of mental and emotional attitude that one needs to develop in order to be *spontaneously* creative -- as Trungpa puts it: "There is such a thing as unconditional expression that does not come from self or other. It manifests out of nowhere like mushrooms in a meadow, like hailstones, like thunderstorms."

Rating:
Summary: A Practical Manual, Not A Coffee Table Book
Review: This is NOT a coffee table book meant to showcase the artist's work; this is a practical manual for *doing* art from a contemplative (i.e. meditative) perspective--that is, fresh, unpremeditated, direct from one's sense perceptions, and unmediated by concept. Written in Trungpa Rinpoche's engaging, inimitable, and often elliptical style, it offers a number of startling and surprisingly useful insights into the nature of perception and the creative process--for instance: "Before we produce anything at all, we have to have a sense of free and open space with no obstacles of any kind" (p. 111). Now, this might seem elementary, but if you look carefully, the source of every creative or artistic block is having some concept in mind beforehand--either fear, or ambition, or an idea of where one wants to go before one gets there--"starting with the wrong end of the stick," as Trungpa Rinpoche used to say. This is a manual for freeing oneself of artistic blockages and reacquainting oneself with the freshness of unbiased perception. To my knowledge, there's nothing else remotely like this out there.