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Inside the Jokhang: Museum-Quality Print

SKU: aea3470a-d926-4569-8af6-687f922348d7
Regular price $65.00
Unit price
per

Inside the Jokhang

The 1300-year-old Jokhang Temple is the spiritual heart of Tibet: the continuous waves of awestruck pilgrims prostrating themselves outside are a testament to its timeless allure. The central golden Buddha image here is the most revered in all of Tibet.

The Jokhang was originally built to house an image of Buddha brought to Tibet by King Songtsen Gampo's Nepalese wife. However, another image, the Jowo Sakyamuni, was later moved here by the king's other wife (the Chinese Princess Wencheng), and it is this image that gives the Jokhang both its name and its spiritual potency: Jokhang means 'chapel of the Jowo'.

Our master's edition, off-white, archival museum-quality paper, is uncoated and the superior choice for art enthusiasts who appreciate world-class quality to enjoy artworks most luxuriously.

Features:The 250 gsm/ 110lb paper is perfect for fine art, designed to last for years without losing its original beauty. Our matte paper is uncoated and natural white (off-white).


With alkaline papermaking technology, this print is acid-free, meaning the pH of the pulp that is used to form the paper is above 7 (neutral). The paper is also buffered with an alkaline reserve, such as calcium carbonate, to neutralize acid compounds absorbed from the atmosphere or formed through natural aging. This ensures that your print will last many years without any yellowing or discoloration.


Our print is free from or low in OBA (optical brightener additives). This ensures that the natural white color of the paper remains consistent under different lighting conditions. In contrast, the color of papers that contain optical brighteners can shift depending on the light source. Additionally, the color of OBA-free paper remains more consistent over time so that you can enjoy the print for years without any shifts.


We use FSC-certified paper or equivalent certifications depending on regional availability. It’s better for the people and the planet.


Each print is shipped in robust packaging, ensuring it arrives safe and secure. Paper sizes may vary slightly by region. For the US and Canada, the measurement is in inches, while for the rest of the world, it is in centimeters.


Frame not included.

Karma Phuntsok

About the Artist

Karma Phuntsok is a Tibetan artist; he is regarded as the father of contemporary Tibetan art. He fled Tibet with his family after the uprising against the Chinese in 1959, escaping into India as refugees. He studied drawing and painting through his school years in India. In 1973 Karma studied thanka painting with a master of traditional Tibetan thanka painting in Nepal. Since then, he has been making paintings based on Tibetan Buddhist deities.

In 1981 Karma migrated to Australia and now lives in the bush north of Kyogle with his wife and son.

Karma's paintings are collected worldwide and published in various books and magazines. His recent works are mostly experiments, interweaving traditional techniques and symbols, with modern inspirations.

Inside the Jokhang: Museum-Quality Print

SKU: aea3470a-d926-4569-8af6-687f922348d7
Regular price $65.00
Unit price
per
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Inside the Jokhang

The 1300-year-old Jokhang Temple is the spiritual heart of Tibet: the continuous waves of awestruck pilgrims prostrating themselves outside are a testament to its timeless allure. The central golden Buddha image here is the most revered in all of Tibet.

The Jokhang was originally built to house an image of Buddha brought to Tibet by King Songtsen Gampo's Nepalese wife. However, another image, the Jowo Sakyamuni, was later moved here by the king's other wife (the Chinese Princess Wencheng), and it is this image that gives the Jokhang both its name and its spiritual potency: Jokhang means 'chapel of the Jowo'.

Our master's edition, off-white, archival museum-quality paper, is uncoated and the superior choice for art enthusiasts who appreciate world-class quality to enjoy artworks most luxuriously.

Features:The 250 gsm/ 110lb paper is perfect for fine art, designed to last for years without losing its original beauty. Our matte paper is uncoated and natural white (off-white).


With alkaline papermaking technology, this print is acid-free, meaning the pH of the pulp that is used to form the paper is above 7 (neutral). The paper is also buffered with an alkaline reserve, such as calcium carbonate, to neutralize acid compounds absorbed from the atmosphere or formed through natural aging. This ensures that your print will last many years without any yellowing or discoloration.


Our print is free from or low in OBA (optical brightener additives). This ensures that the natural white color of the paper remains consistent under different lighting conditions. In contrast, the color of papers that contain optical brighteners can shift depending on the light source. Additionally, the color of OBA-free paper remains more consistent over time so that you can enjoy the print for years without any shifts.


We use FSC-certified paper or equivalent certifications depending on regional availability. It’s better for the people and the planet.


Each print is shipped in robust packaging, ensuring it arrives safe and secure. Paper sizes may vary slightly by region. For the US and Canada, the measurement is in inches, while for the rest of the world, it is in centimeters.


Frame not included.

Karma Phuntsok

About the Artist

Karma Phuntsok is a Tibetan artist; he is regarded as the father of contemporary Tibetan art. He fled Tibet with his family after the uprising against the Chinese in 1959, escaping into India as refugees. He studied drawing and painting through his school years in India. In 1973 Karma studied thanka painting with a master of traditional Tibetan thanka painting in Nepal. Since then, he has been making paintings based on Tibetan Buddhist deities.

In 1981 Karma migrated to Australia and now lives in the bush north of Kyogle with his wife and son.

Karma's paintings are collected worldwide and published in various books and magazines. His recent works are mostly experiments, interweaving traditional techniques and symbols, with modern inspirations.