Photography, painting, and prints in ladakh and zangskar. Intermediality and transmediality

Rob Linrothe

doi:10.4000/emscat.4462

Photography, painting, and prints in ladakh and zangskar. Intermediality and transmediality

Rob Linrothe^*

^*Corresponding author for this work

Art History

Research output: Contribution to journal › Article › peer-review

1 Scopus citations

Abstract

The central thesis of this essay is that one of the most important aspects of the pioneering use of photographic portraits of teachers in the late 19^th and early 20^th century in Western Himalayan Buddhist contexts is its ongoing visual relationship to and with pre-photographic media, including sculpture, printing, and especially painting. Evidence shows that the most common compositions for early portrait photographs drew closely on earlier templates already well-established by painting and sculpture.

Original language	English (US)
Pages (from-to)	1-61
Number of pages	61
Journal	Etudes Mongoles et Siberiennes, Centrasiatiques et Tibetaines
Volume	2020
Issue number	51
DOIs	https://doi.org/10.4000/emscat.4462
State	Published - 2020

Keywords

Ladakh
Photography
Portrait
Transmediality
Western Himalayas
Zangskar

ASJC Scopus subject areas

Cultural Studies
Language and Linguistics
Anthropology
Linguistics and Language

Access to Document

10.4000/emscat.4462

Cite this

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Photography, painting, and prints in ladakh and zangskar. Intermediality and transmediality

Abstract

Keywords

ASJC Scopus subject areas

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