Tibetan Illuminated Manuscripts Online -Daisy zhang KCL by Daisy Zhang

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Material Culture of the Book

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7AAV7004

Essay no: (e.g. 1 or 2)

Essay Title: (may be abbreviated)

Tibetan Illuminated Manuscripts Online

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Peter Stokes

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30 May

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30 May

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TIMO

Tibetan Illuminated Manuscripts Online Candidate No.V21599

Part 1 Prototype Website 3-15 Wireframes 3-7 Mockup Screens 8-14 Homepage 8-9 Gallery 10 Manuscript Illustration Page 11 Collection 12 About Us 13 Site Map 14

Site Architecture Diagram 15

Part 2 Essay-Report 16-26 2

On the specific, single manuscript page, the relevant data to this unique item will be briefly listed alongside

The catalogue is fully accessible via use of a standard search box,

the image. The prototype of a single manuscript page is

enabling users to swiftly find the objects of interest. Visitors can also

illustrated by a mockup screen on page 11.

Other languages would be

scripts to saved collections they have previously created.

Home

avaliable in the future.

Gallery

Popular or new additions to the manuscript illustrations are featured on the home page, with a view to immediately drawing a captive audience. Links are established between the manuscript and corre-

The gallery page features popular manuscripts that are identified by the user, with the aim of encouraging sharing throughout social networks. Interested individuals can also browse other people’s favoured collections which are published by the ‘owners’.

sponding image by the click of a button.

Archives are categorised and can be browsed, ordered by year, type, location, event, or artist name.

About Us

Collection

The collection page includes the compiled sum of illustrated manuscripts from across the TIMO site.

Help

Site Map

Blog

The blog page enables users to post articles and talk about their favourite manuscripts, provoking discussion and generating further interest.

SPONSORS

Instagram

MAKE A DONATION

Make Your Own Collection

Form

TIMO

Tibetan Illuminated Manuscripts Online Candidate No.V21599

Part 2 Essay-Report: Tibetan Illuminated Manuscripts Online

Executive Summary The aim of this essay-report is to discuss Tibetan manuscript illuminations and their material culture. I intended to convey the purpose of the Tibetan Illuminated Manuscripts Online project (TIMO), the reasoning behind the prototype website and to concisely illustrate its concept and inherent value as a reliable online resource. The methodology and functions of the website are studied, followed by a discussion on the existence and cultural function of the manuscripts in question. Consequently, there was a need to analyse the delivery of the project which involved the process of digitisation, commonly undertaken in this modern field of information provision. The TIMO project is critically evaluated, exploring both strengths and any recognisable limitations. The resulting conclusion inspected the potential for development and future challenges to such an initiative relating to the material culture of Tibetan illuminated manuscripts.

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Tibetan Illuminated Manuscripts Online

TABLE OF CONTENTS 1.Introduction 2.Methodology 3.The Website 4.Discussion 4.1Evaluating Digitalisation Trends 4.2Religious Aspects 4.3The Opportunities and Risks 4.31 The Essence of TIMO 4.32 The Proposition 4.33 Opportunities 4.34 Risks

5.Conclusion 6.Bibliographies

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Tibetan Illuminated Manuscripts Online

1. Introduction Tibetan Illuminated Manuscripts Online (TIMO) provides free access to a fully searchable online collection, documenting illuminated manuscripts, of Tibetan origin, dating from the 11th to 17th centuries. This unique database of information will prove to be invaluable, not only to Tibetan scholars, but to all those with a genuine passion for Oriental art, religions and astrology. In an attempt to address the shortfall in digital resources available within this field, I propose to deliver a wide range of illuminated manuscripts online. This will comprise a single, highly accessible, digital collection, amalgamating rich content from various global sources. The visible manifest of the project is a website, forming an online collection of Tibetan manuscript illuminations, dedicated to identifying, securing and documenting items from physical copies, originating from mainly UK, US, Europe, Bhutan, Nepal and China. This platform will enable examination of the material culture of these illuminated manuscripts, primarily with respect Tibetan philology, codicology and art history. The project will inspire audiences to transcend the mere written text, encouraging the study of the physical elements of the manuscripts, prompting investigation of the cultural origin and the historical significance of the artefact. To this end, the online collection will enable a detailed exploration of the dirt, colour, pigment, production, damage, parchment, techniques, or any related physical influence on illuminated manuscripts with a view to revealing the inherent changes that artefacts are subjected to during their life; be it from periods of war or the effects of modern ownership.

2. Methodology Material culture is the physical evidence of a culture found within the objects and architecture it constructs. The material evidence of Tibetan illuminated manuscripts can be attributed to the culture and history of Tibet. The detailed study of these manuscripts will provide an invaluable source of information for researchers, enabling investigation into the relationships between people and their belongings, recording the making, history, preservation, and interpretation of the illumination arts. Historically, most research projects regarding Tibetan culture have concentrated on study of language, typography and religion such as the Tibetan Manuscripts Project of the Department of South Asian, Tibetan and Buddhist Studies (ISTB), University of Vienna (Stb.univie.ac.at), or the collaborative endeavour ‘The Tibetan-Mongolian Rare Books and Manuscripts (TMRBM)’ from UK, US, and European institutions, together with the Tibetan Academy of Social Sciences (TASS) in Tibet (Socanth.cam.ac.uk). However, none of the aforementioned focuses on the central and engaging theme of the material culture of the manuscript illuminations. The fundamental concept of the project is to finally address the scant presence of digitised resources of Tibetan illustrated manuscripts available online thus facilitating greater learning opportunities in this field. Common misinformation in this field results from the perception that digital technologies are a detrimental move for the arts, because of a simplification of convenient cultural resources, generated through competition for consumers’ limited attention and a threat to traditional research pathways. This somewhat blinkered view has more recently been proven incorrect, research showing that not only are digital technologies causing an influx of new audiences to the arts and culture sector, they are also generating new sources of cultural and economic worth; in some cases, bringing a new dimension to the art itself (Bakhshi and Throsby, 2010). In addition, Ekwelem, Okafor and Ukwoma (2011) noted that digitisation could cause the genesis of advanced research with historical documents and ancient manuscripts; the nature of the material suggesting prime candidature for digitization because of their historical importance and need for preservation yet thorough accessibility.

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Tibetan Illuminated Manuscripts Online

3. The Website

The gallery section is designed to feature popular manuscripts that are identified by the user, with the aim of encouraging sharing throughout social networks. Interested individuals can also browse other people’s favoured collections which are published by the ‘owners’.

The TIMO website aims to provide high quality digital reproductions of ancient illuminated manuscripts from Tibet which will be immediately accessible to researchers.

The collection page includes the compiled sum of illustrated manuscripts from across the TIMO site. Archives are categorised and can be browsed, ordered by year, type, location, event, or artist

To help facilitate this engaging image library, the project will fully utilise modern social networking

name. This is to give a better experience for researchers and professionals with particular interests

to raise awareness of Tibetan art and its material culture. Unlike EEBO (Eebo.chadwyck.com) or

in certain illuminators or periods of time.

ECCO (Nls.uk), the resources will be entirely free to the user. On the specific, single manuscript page, the relevant data to this unique item will be briefly listed The website will cater to both researchers and the wider public by incorporating two individual

alongside the image. This will enable audiences to be informed of the thickness, colour, and pliabil-

sub-repositories of the manuscripts, classified as ‘Gallery’ and ‘Collection’ (this prototype is de-

ity of paper, the production techniques, the artist, the damage and the time period of the artwork.

signed to demonstrate how the site would function once fully operational). Pages will be clearly

In addition, there will be a number of sharing options that will appear on the right hand side of the

defined as ‘index’, ‘gallery’, ‘collection’, ‘contact us’, ‘blog’, ‘about us’, ‘help’, ‘sponsor’, ‘make a

page and a comments box to feature at the bottom.

donation’, and the ‘site map’ (site architecture has also been formulated but will not be featured on the model website.

The ‘blog’ page enables users to post articles and talk about their favourite manuscripts, provoking discussion and generating further interest.

On the index page, popular or new additions to the manuscript illustrations are featured, with a view to immediately drawing a captive audience. Links are established between the manuscript and

Besides, public audiences can make a donation via the donation button in the footer.

corresponding image by the click of a button. The generic pages of ‘contact us’, ‘about us’, ‘help’, ‘sponsors’, and the ‘site map’ are functions to The catalogue is fully accessible via use of a standard search box, enabling users to swiftly find the

provide more in-depth information to the audiences.

objects of interest. Visitors can also log in to the site to view their favourite manuscripts, or add manuscripts to saved collections they have previously created.

The technology used for identification of the manuscript and the subsequent documenting of the material, will be analysed further in the discussion section.

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Tibetan Illuminated Manuscripts Online

4. Discussion

Despite the progress of the MINIARE project, there are critics of the techniques used. Mark Douglas (2013) has stated that while he is intrigued by illuminated manuscripts, he has claimed that even

4.1 Evaluating Digitalisation Trends Present trends in digitalisation will be considered in relation to how they may allow TIMO to be published. Current digitalisation methods allow us to establish a rough value and intended readers for a given manuscripts based on damage and production methods. Many methods for examining manuscripts now exist as a result of changes in digitalisation, and techniques used with cultural material initiatives will be discussed. Technologies that will potentially be used in TIMO are to be evaluated below. 4.11 Non Invasive Techniques Modern advances in technology have now enabled analysis of manuscripts without the use of samples, and as such, is non-invasive. While micro-sampling can provide very accurate analysis, non-invasive techniques will always be preferred for delicate items such as illuminated manuscripts. Non-invasive techniques have been more widely used over the last decade and multiple reports published on the use of analysis methods like XRF and Raman spectroscopy in relation to manuscript analysis (Ricciardi et al., 2012). Non-invasive techniques have had a spotlight on them recently, as protecting the sanctity of a work is the biggest challenged faced when conducting analysis. The MINIARE project (Miniare.org) has made use of non-invasive techniques, specifically through the use of a spectroradiometer that allowed the use of fiber optics reflectance spectroscopy at an extended range (350nm to 2500nm). Using this method, researchers have been able to characterise nearly all inorganic and organic materials on manuscripts inspected (Ricciardi et al., 2012).

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Tibetan Illuminated Manuscripts Online

with non-invasive techniques, analysis of materials is an intimidating task. TIMO hopes to make use of non-invasive techniques and aims to publicize the progress of this research through a blog page on the website (although this is currently not represented in the mock version). Illuminated manuscripts actually sustain pigment much better than similar artefacts, but as with printed materials, they remain greatly impacted by their environment, time, and usage. TIMO hopes to identify manuscripts that are a research priority by working alongside their curators, and then analysing the scientific data, and cultural and historic context of illuminated manuscripts. 4.12 Analysis of Pigments using Fibre Optic Spectrometer Systems It has been evidenced that with the use of fibre optic spectroradiometer systems, it is possible to identify paint binders and pigments in artworks (Ulrich, 2013). Materials used in the illuminated manuscripts are natural and synthetic, along with the media used to bind the artefacts, which was developed from proteins, lipids, and polysaccharides (Stulik and Florsheim, 1992). Pigments can degrade in a number of ways over time. Flaking, powdering, discolouration and general decline occurs with pigments as a result of their chemical makeup. Unfortunately, conservation is usually focussed on more noticeable issues such as structural damage or tearing. As such, itâ&#x20AC;&#x2122;s clear that sampling would damage the delicate nature of pigments used in manuscripts. Currently the Fitzwilliam Museum has adopted advanced pigment analysis techniques, and with their success it is likely that other institutions will follow soon. Due to advances in this area, TIMO hopes to apply fiber optic spectrometer analysis alongside the non-invasive methods noted earlier.

4.13 Densitometry Analysis with Dirt

4.15 Feel

Densitometer analysis is used to quantify the darkness in a reflective surface. TIMO could use this

As with smell, the mere feel of the material texture can inform us of its history. Qualities existing

technology to study dirt within illuminated manuscripts. Dirt from fingers will lodge in manuscript

in paper or other materials like leather and silk, are not accurately represented in digital media and

margins, and can offer clues as to readership over the course of time, including manuscript han-

as such it is hard for the feel or look of the materials to be reflected digitally. Research into material

dling and use. This kind of analysis could be very valuable to TIMO. Kathryn Rudy (2010) has

quality could also be advanced.

demonstrated in her research how dirt studies in medieval texts can be completed with the use of densitometer analysis. She notes that by studying dirt distribution we are able to better understand

Although many indentations left in texts are visible due to printing tools leaving behind some ex-

manuscript usage. Her analysis did, however, note that manuscripts with visible marks may actually

tra ink, there are also indentations remaining as a result of the papermaking process used that are

have been cleaned by recent curators to the points that dirt analysis is ineffective. As a result, we

not visible to the human eye. These sorts of indentations and markings are useful to TIMO as they

may need to consider the changes that occur in manuscripts with modern curatorship.

may allow us to study how illuminated manuscripts were made, but also how they were intended to appear. Analysis will be conducted on the physical aspects of illuminated manuscripts, including

4.14 Smell

examining binding, engraving processes, and holes from sewing and stitching.

Beyond studying dirt patterns, there are many other technologies that can help advance the study

4.16 Interactive Panoramic View

of manuscripts. In Antwerp a report was written noting that German texts maintained in Belgium smelled different to the ones maintained in Germany (Werner, 2012). This is a result of how the

Another advanced digitisation technique inspiring TIMO is the 360째 digital view of the Glasgow

paper has been treated. The report claimed the smell of texts could allow researchers to understand

School of Art library. The panoramic view demonstrates how the intricacies of buildings can by

how the paper were made, but also how texts were circulated. Technology has been used to analyse

portrayed digitally. The 360째 view is made by stitching together hundreds of high resolution photos,

the smell omitted by books, with software capable of mapping those smells to assess how and when

allowing you to browse the library in a flawless panoramic view (Moore, 2011). Jeffery Martin has

books were made, distributed, and utilised. During digitalisation, features such as smell would

also produced a similar 360째 panoramic view of the Strahov Monastic Library (Jeffrey, 2010). The

clearly be lost, but nonetheless, this idea could be valuable to TIMO. Studying the smell omitted by

view is so detailed that you are able to zoom in to view texts on the book covers.

illuminated manuscripts held in various countries could reveal unique data. As everything increasingly goes digital, different opinions have been presented as to whether the books and manuscripts should be represented as individual artefacts or as part of entire libraries. In our current age, digitalising books as our eyes view them may seem sensible, but perhaps we should not limit ourselves to merely recreating the familiar in the midst of so many technological advancements. TIMO must think critically about how to represent illuminated manuscripts visually with all modern technology.

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4.2 Religious Aspects Besides representing Tibetan culture, TIMO will also preserve and share the religious content and relevance of the manuscripts. It is believed that the religious purposes of the manuscripts directly influenced the quality and form that they ultimately took. An example of this is that the illuminated manuscripts originally from the Dunhuang region were normally produced on a form of rag paper built from hemp and ramie fibres. Inland China offered a different type of manuscript, created on Bark paper made of pulped mulberry. Manuscripts from Eastern Tibet were made on bark paper of pulped mulberry and formed on a textile sieve. Finally, manuscripts from Central Tibet were creat-

4.32 The Proposition •

niques. •

Scrutinize significantly sized and illustrative groups to provide a comprehensive digital database.

•

Understand the results through analysis whilst accounting for the manuscripts’ technical, social and historical relevance.

•

Deliver publically accessible, digitised collections of Tibetan illuminated manuscripts along with analysis – via the tools built into TIMO – of every item.

ed on bark paper made of Daphne or Edgeworthia fibres, created on a mixture of textile sieves and bamboo, reed or grass. Tibetan tradition previously held that the objective of creating manuscripts

Cultivate and implement methods for preserving the manuscripts’ artists’ materials and tech-

•

Enable the collection and study of Tibet’s culture as well as encouraging regional approaches

was to accumulate merit, which depended on quality and preciousness of the materials used. Devo-

to studying of the materials. Give the materials context in terms of cultural relevance and geog-

tion may likewise have been expressed by use of unusual materials to form the book such as using

raphy.

raised-gold lettering on a dark background or adding precious stones. Such analysis will be demon-

•

strated on the TIMO platform (Soas.ac.uk).

Attract scholars to the cultural and historical significance of these digital collections while providing the relevant analysis tools required to interpret the material.

•

Share the items preserved on the TIMO platform with global academic and public audiences through use of the research resources as well as a user-friendly, digitised and interactive gallery.

4.3 The Opportunities and Risks

The manuscripts should also be shareable via online social networks such as Twitter and Facebook.

Benefits and drawbacks TIMO will be considered and critically evaluated in this section to indicate opportunities and risks. 4.33 Opportunities 4.31 The Essence of TIMO Digitising the manuscripts will allow an increased level of public access to the items, as well as TIMO will explore and share the significance, form and constituent components of Tibetan illumi-

making them more available to new audiences. Many manuscripts can be converted to a digital for-

nated manuscripts – which have been carefully researched, analysed, and conserved – as physical

mat, which greatly improves their accessibility (Hughes, 2004). TIMO will provide research con-

and cultural objects.

tent to users, supporting the audiences and aiding their understanding of the content.

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Tibetan Illuminated Manuscripts Online

Ekwelem, Okafor and Ukwoma (2011) note that the world we live in becomes more reliant on dig-

It is argued that institutions pursuing cultural and historical preservation are devoting more and

ital technology with each passing year. Digitising of content allows preservation of historically sig-

more resources and time to digitising their collections. TIMO will require considerable cash flow in

nificant artworks that could otherwise be lost in the passage of time. By making high quality images

order to do similarly. Funding shortages or difficulty in finding backers could see a drop in the re-

publicly accessible through digital platforms, the works no longer require physical handling and

search quality. Due to the large amount of manuscripts to be stored, there is also a risk of failing to

will therefore be better preserves.

complete the research and development of the platform in the allotted time frame.

Many cultural institutions, numbering in the thousands across the world, have begun projects to make their collections available online. It is described as a trend that is “auspicious and ominous for cultural heritage institutions” (Ekwelem, Okafor and Ukwoma, 2011). Digitisation of content provided myriad benefits, such as enhancing access and improving physical preservation. It also allows cultural and historical institutions to enhance the availability of information and make it open

5. Conclusion

to everyone. Digitisation of content enables academics and casual users to browse collections without the hindrance of standard physical mediums whilst also improving availability and access. TIMO’s recording of historically significant materials allows their safe studying for generations to come; something that its competitors lack. Interesting types of computational analysis are available through digital technology, making it possible to pinpoint and see elements of artefacts that would be otherwise inaccessible. Examples include the marking of genre in terms of plot, as work by Michael Witmore and Jonathan Hope reveals (Werner, 2012).

Digitising content opens up new ways to reach existing academic as well as fresh viewers. By improving availability of the resources, the TIMO platform preserves art and history whilst offering scientific analysis of the manuscript illuminations and a comprehensive contextual interpretation of the materials. Tibetan illuminated manuscripts tell the stories of the making and preservation of the technological

4.34 Risks

progresses of this region of the world. As a result, TIMO will employ scientific analysis side-by-

Limits to digital technology may decrease the depth of the research and analysis available to be per-

the artworks. Scientific results resulting from TIMO could well influence future studies of the cre-

formed on the materials, and could also impact on the quality of the illuminated manuscripts when they are being digitised. Quality of the images will also be a consideration. One example of a method TIMO doesn’t intend to use is that of the EEBO web service, which offers digital copies of early

side with humanities methodologies, studying the relative materials and methods adopted to create ative, governmental, social, cultural, and economic situations of the world when the illuminated manuscripts were originally made. The final result will be the presentation of the TIMO website and its archives, which will be freely available to the public.

microfilms and books; however they are unfortunately of a lower than required quality for TIMO.

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6. Bibliographies

Eskenazi, J., Fogg, S. and Dorje, G. (2008). Tibetan elemental divination paintings. 2nd ed. Washington: University of Washington Press; 2nd edition.

6.1 Primary Sources 1.

Miniare.org, (n.d.). MINIARE > The Project. [online] Available at: http://www.miniare.org/Project.php [Accessed 21 Apr. 2015].

https://divinity.uchicago.edu/sites/default/files/imce/conferences/merits/conference%20abstra cts.pdf [Accessed 18 Apr. 2015]. 7.

Istb.univie.ac.at, (n.d.). [online] Available at: https://www.istb.univie.ac.at/kanjur/xml4/ xml/ [Accessed 21 Apr. 2015].

Stb.univie.ac.at, (n.d.). Faculty of Philological and Cultural Studies » Home. [online] Available at: https://stb.univie.ac.at/en/home/ [Accessed 18 Apr. 2015].

Idp.bl.uk, (n.d.). Understanding Manuscripts. [online] Available at: http://idp.bl.uk/4DCGI/education/comenius/manuscripts.a4d [Accessed 15 Apr. 2015].

8. 4.

https://divinity.uchicago.edu/, (2015). Merits of the Book: Buddhist Manuscript Traditions Across Asia. [online] Available at:

Nls.uk, (n.d.). Eighteenth Century Collections Online - National Library of Scotland. [online] Available at: http://www.nls.uk/collections/rare-books/ecco [Accessed 15 Apr. 2015].

Fogg, S. (2009). Tibetan Manuscripts. [online] http://abhidharma.ru. Available at: http://abhidharma.ru/A/Raznoe/Tibet/0022.pdf [Accessed 30 Apr. 2015].

Eebo.chadwyck.com, (n.d.). Early English Books Online - EEBO. [online] Available at: http://eebo.chadwyck.com/home [Accessed 7 Apr. 2015].

Jeffrey, M. (2010). Gigapixel Photo of Strahov Theological Library. [online] 360cities.net. Available at: https://www.360cities.net/image/strahov-theological-library-prague [Accessed

Socanth.cam.ac.uk, (n.d.). Tibetan-Mongolian Rare Books and Manuscripts « Socanth . [online] Available at: http://www.socanth.cam.ac.uk/2010/08/tibetan -mongolian-rare-booksand-manuscripts/ [Accessed 10 Apr. 2015].

Kb.dk, (2012). Det Kongelige Bibliotek - Det Kongelige Bibliotek. [online] Available at: http://www.kb.dk/da/index.html [Accessed 21 Apr. 2015].

14 Apr. 2015]. 10. Middleton, J. (1892). Illuminated manuscripts in classical and mediaeval times. Cambridge: University Press. 11. Moore, R. (2011). Glasgow School of Art, 1909. [online] The Guardian. Available at: http://www.theguardian.com/artanddesign/2011/jun/05/glasgow-school-of-art-360-degreeimage [Accessed 23 Apr. 2015]. 12. Museumsassociation.org, (n.d.). Research and conservation of illuminated manuscripts |

6.2 Secondary Sources

Museums Association. [online] Available at: http://www.museumsassociation.org/collections/16022015-research-and-conservation-ofilluminated-manuscripts [Accessed 7 Apr. 2015].

360Cities, (2011). Strahov Philosophical Library, Prague - 40 Gigapixels. [online] Available at: http://www.360cities.net/gigapixel/strahov-library.ht ml#tab1 [Accessed 17 Apr. 2015].

Douglas, M. (2013). Response to Unlocking the secrets of illuminated manuscripts. [online] Available at: http://www.labnews.co.uk/features/unlocking-the-secrets-of-illuminatedmanuscripts/ [Accessed 20 Apr. 2015].

13. Pallipurath, A., Vőfély, R., Skelton, J., Ricciardi, P., Bucklow, S. and Elliott, S. (2014). Estimating the concentrations of pigments and binders in lead -based paints using FT-Raman spectroscopy and principal component analysis. Journal of Raman Spectroscopy, 45(11-12), pp.1272-1278. 14. Ricciardi, P., Delaney, J., Glinsman, L., Thoury, M., Facini, M. and de la Rie, E. (2012). Use of visible and infrared reflectance and luminescence imaging spectroscopy to study

Ekwelem, V., Okafor, V. and Ukwoma, S. (2011). Preservation of Cultural Heritage: The

illuminated manuscripts: pigment identification and visualization of underdrawings. O3A:

Strategic Role of the Library and Information Science Professionals in South East Nigeria.

Optics for Arts, Architecture, and Archaeology II.

Library Philosophy and Practice 2011. [online] Available at: http://www.webpages.uidaho.edu/~mbolin/ekwelem-okafor-u kwo ma.ht m [Accessed 19 Apr. 2015].

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15. Rossi, A. and Rossi, F. (1996). Guardians of the Sacred Word: Tibetan Manuscript Covers on Asianart.com. [online] Asianart.com. Available at: http://www.asianart.com/exhibitions/covers/ [Accessed 13 Apr. 2015].

16. Rudy, K. (2010). Dirty Books: Quantifying Patterns of Use in Medieval Manuscripts Using a Densitometer. JHNA, 2(1-2). 17. Schaik, S. (2014). New Publication: The Tibetan Chan Manuscripts. [online] Early Tibet. Available at: http://earlytibet.com/2014/05/23/new-publication-the-tibetan-chan-manuscripts/ [Accessed 13 Apr. 2015]. 18. Sites.udel.edu, (n.d.). What is Material Culture? | Center for Material Culture Studies. [online] Available at: https://sites.udel.edu/materialculture/about/what-is-material-culture/ [Accessed 5 Apr. 2015]. 19. Soas.ac.uk, (n.d.). Illuminated Tibetan manuscripts. [online] Available at: https://www.soas.ac.uk/cia/tibetanstudies/events/02nov2012-indigo-gold-and-human-bloodilluminated-tibetan-manuscripts.html [Accessed 20 Apr. 2015]. 20. Socanth.cam.ac.uk, (n.d.). Tibetan-Mongolian Rare Books and Manuscripts ÂŤ Socanth . [online] Available at: http://www.socanth.cam.ac.uk/2010/08/tibetan -mongolian-rare-booksand-manuscripts/ [Accessed 11 Apr. 2015]. 21. Stulik, D. and Florsheim, H. (1992). Binding Media Identification in Painted Ethnographic Objects. Journal of the American Institute for Conservation, 31(3). 22. Tauscher, H. and Lasic, H. (n.d.). tibetan manuscripts. [online] Univie.ac.at. Available at: http://www.univie.ac.at/chwh/index.php/subprojects/tibetanmanuscripts [Accessed 13 Apr. 2015]. 23. Ulrich, T. (2013). Fitzwilliam Museum uses a FieldSpec 4 to Study Green Pigments used in Illuminated Manuscripts - an Analytik report. [online] Discover.asdi.com. Available at: http://discover.asdi.com/bid/101043/Fitzwilliam-Museum-uses-a-FieldSpec-4-to-StudyGreen-Pigments-used-in-Illu minated-Manuscripts-an-Analytik-report [Accessed 19 Apr. 2015]. 24. Univie.ac.at, (n.d.). tibetan manuscripts. [online] Available at: http://www.univie.ac.at/chwh/index.php/subprojects/tibetanmanuscripts [Accessed 15 Apr. 2015]. 25. Wellcomelibrary.org, (n.d.). Wellcome Library | Asian Collection. [online] Available at: http://wellcomelibrary.org/collections/about-the-collections/asian-collection/ [Accessed 21 Apr. 2015]. 26. Werner, S. (2012). Where Material Book Culture Meets Digital Humanities. Journal of Digital Humanities, 1(3).

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￼￼Tibetan Illuminated Manuscripts Online -Daisy zhang KCL

Tibetan Illuminated Manuscripts Online -Daisy zhang KCL