Abstract

This close reading is undertaken in an effort to advance understanding of and appreciation for the art and architectural forms, which Tibetans have developed in service of Buddhism. Built between 1729 and 1744, the Derge Parkhang, stands today as the only remaining Tibetan press operating according to traditional methods. The murals in the Parkhang are among the few monastic murals in Eastern Tibet that survived the Cultural Revolution. The initial construction of the Parkhang was overseen by Situ Panchen Chökyi Jungné at the request of Derge King Tenpa Tsering. His son Künga Trinlé Gyatso completed a later expansion overseen by Zhuchen Rinchen. Of particular interest is demonstrating how the plan of the Parkhang, including murals and sacred objects are integral to the function of the building, and support the greater vision of spreading the Buddhist Dharma via the editing, translating and printing of the Tibetan Canon. I argue that the thoughtfulness of the overall design of the Derge Parkhang is deservedly understood as a performative space. Herein I explore how the plan of the building and the presence of particular figures and objects reinforce particular notions of authority and legitimacy. By understanding the murals as an element within a larger design that encompasses the building complex as a whole I explain how their subject matter is integrated with the surrounding space. I argue, that the walls of the Parkhang provide a theater to project and reinforce arguments for a particular view of authority and understanding of legitimacy fundamental to the distinct vision of canonical truth promoted by the founders of the Parkhang.

An accompanying appendix provides a transliteration and translation of Zhuchen's descriptive text, “An Account of the Construction of the Temple Named Tashi Gomang.” Using Zhuchen's text alongside photographs taken personally on site as well as those found in other sources, I identify many of the deities, illustrations and lineage figures pictured throughout the Parkhang, and consider why these particular figures were selected.