The text is written on black paper in different colors of ink. Measurements approximately 10x25 cm.
Provenance: Formerly in the collection of Danish Archaeologist, Ethnographer, Art Collector and Museum Director Werner Jacobsen (1914-79). For more information, see below.
6 000 - 8 000 SEK
564 - 752 EUR
539 - 718 USD
Formerly in the collection of Danish Archaeologist, Ethnographer, Art Collector and Museum Director Werner Jacobsen (1914-79). Jacobsen studied archeology and participated 1938-39 in the Danish Royal Geografic Societys Expedition to Mongolia under the lead of Henning Haslund-Christensens.
During the years 1946-59 he lived in India and Nepal and acquired many pieces for National Museum in Denmark, The Royal Library, the Moesgård Museum and himself. He set up a scientific center in Kathmandu, Nepal and later in Denmark where he organized all the material and information he had gathered.
In 1940-45 he was employed the Danish National Museum, in 1961 he became Museum Director for the Etnografic Collection. 1963-78 he was the head of the information and educational Department at the Museum. The collection was acquired from Werner Jacobsen as a whole when he sold it to gather funds for new expeditions. Thence by descent to the present owner.
Werner Jacobsen published various literary and academic works such as; Bronzer fra Mongoliet, Köpenhamn, 1940, Some Observations on the Origin of Sino-sibirian Animal Bronzes, Köpenhamn 1941, Buddhsitisk Skulptur I Kina, Köpenhamn, 1941, Kabuki, det Japanska folks teater, Köpenhamn 1941, Todaerne, - en idisk bjergstamme, Köpenhamn 1949, Maleri fra Puri, Orissa, Indien, Köpenhamn 1961, Thailand, Arkeologi og Kunst, Köpenhamn 1961. Originale Bloktryk fra Nepal, Köpehamn, 1966, Asiatiske Akkorder, Köpenhamn 1965, Buddha og det modern menneske, Köpenhamn, 1970, Kunsten, kunstneren og inderen, Köpenhamn, 1970, Den hvide mans byrde, Köpenhamn, 1970, Hvad er den egentlige virkelighed, Köpenhamn, 1976, Den hvide gud, Köpenhamn, 1973.
Because of their non-narrative character, many Buddhist religious texts have few illustrations.
The use of multiple ink colors is a tradition in Nepal and Mongolia as well as in Tibet. In some instances, the different colors are intended to signify different precious metals, such as silver and gold, or precious gems, such as lapis lazuli and coral.