Stone curving is also one of the most popular categories in Tibetan Buddhism sculpture arts. Compared with the metal and clay related categories, stone curving is not only more in quantity, but also more widely spread and more freely created. In this category, stone sculpting, cliff curving, cave curving and stone curving are most frequently seen.
Stone sculpture can be further divided into round sculpture, half round sculpture and grand relief, etc. The stone sculptures created in earlier times that are still preserved today in Tibet are mainly those created in Tubo period. Among the all, the stone lions in Tibetan King Tombs in Qonggyai County, Shannan Prefecture, the Vairocana statues in Danmazha Monastery, in Chagyab County, Qamdo Prefecture and in Princess Wencheng Temple in Yushu County Qinghai Province are in the front rank. All these are in grand relief. There are two stone lions are still left in Tibetan King Tombs, Which are in front of the tomb of the king Trisong Detsan. One of them has been broken. The unbroken one is l .45 m high and made from an integral stone. It is in squatting pose and its short and strong limbs are erected on a stone base. It glazes at the sky and slightly opens its mouth. Its curly hairs wrap around its back head, looking like a waterfall. The curving is concise and skilful. The attention was paid to shaping of blocks and facets, expressing the sense of solidity. The modeling is full of power and grandeur, displaying the superb sculpting skills of the sculptors. The subject matters of the stone sculptures in Danmazha Monastery and Wencheng Temple are the same. Both are for Vairocana and his Eight Spiritual Sons, namely the Bodhisattva Savanivara, Manjusdri, Vajrapani, Kshitigarbha, Akarshgarbha, Avalokitesvara, Maitreya and Samanbhadra. This was one of the most prevalent subject matters in Tubo period. It is said that the sculptures in both places were made by the artisans on the way accompanying Princess Wencheng to Tibet at the order of the princess. The sculptures in both places are well preserved. Buddha and Bodhisattvas are all in standing pose and in grand relief. The statues are quite high. For example, the Buddha stature in Wencheng Temple is 7.3 meter high, while the Bodhisattva statutes in the same is 4 meters high. All are coated with golden powder. Though the coating is thick, the figures' plump cheeks and postures are vividly depicted. Those in Danmazha Temple are created with similar skills and techniques. Both were made in the way closed to thar in the central plains in Tang Dynast. The only difference is that the exact years of making the statues in Danmazha Monastery is known to us and is of the historic significance.
There are few grotto statues in Tibet. The Daklha Lubuk cave in Lhasa is the only one that has preserved the stone curving works till today The grotto was built in Tubo period, however, the statues in the grotto were curved in succession later on. The statues are mainly distributed around the center pillar and on the walls of the grotto The subject matters are for religious figures, such as Buddha, Bodhisattvas, eminent monks and so on, on one hand; and for profane figures, such as Tubo king Sontsan Gambo, Nepal princess Bhributi. The prominent minister Gar Tongtsan and so on, on the other hand. These statures in different style are relatively small and coated with gold. The earlier modeling is with thick Indian style. Most of Bodhisattva statues are naked in the upper body, with high chignon as hair dress and wrapped with silk and wear close-fit divided skirt. They also wear earrings, necklace, bracelets, arm1ets and with different kinds of hand gestures.
Statue curving on cliff is more widely seen in Tibet among the all, the distinguishing characteristic of which is that most of works were done on gigantic rocks or sheer cliffs.. most works are in the form of bass-relief or line curbing, instead of round sculpture, half round sculpture or grand relief. The cliff statues in Chakpori Hill, south west of the Potala Palace in Lhasa are the largest one in terms of covered area and quantity among all existing ones in Tibet. They are also the most famous among the all. The work stalled from the Tubo period. Along the west side of the hill in almost two kilometers long, various curved statues are fu1l of the cliffs. It looks like a natural open-air cliff statue museum, splendor and spectacle.. The stases are different in size. The smallest ones are only several centimeters high, while the largest ones are several meters high, randomly arranged and distributed. The subject matters are comprehensive. There are not only those of gods in Buddhism, such as Buddha, Bodhisattvas, disciples and guarding deities, and etc, but also those of historical figures, such as eminent monks, great masters, successive leaders of religious sects and etc. Compared with the sculptures in monasteries, these statues in the respect of modeling, hand gestures and body gestures were made in accordance with the traditions specified in Buddhist sutr3 and ritual books, but the way of artistic creating was relatively freer, breaking the mechanist and monotony limitation in Buddhist statues formed for quite some time. They look more natural and fresh. The works are rugged, plain, concise and full of folk style. The multi color application, matched by the surrounding prayer flags, adding a sharp mysterious atmosphere to these statues. The uninterrupted stream of pilgrims from the foot of the hill and the sound of curving tools hitting the rocks generated once in a while by the wander artisans, bring the site to a primitive cultural atmosphere. To these wander artisans and donor for the statues, as well as the religious believers, the purpose of creating these statues is not only for the art itself, but also for accumulation of the infinitive merits and virtues through the actions of curving or donation. This unique culture phenomenon is also reflected by large amount of stone curving works in Mani stone mounds around monasteries, mountain passes, sacred hills and lakes in Tibet.
Stone inscription is the largest kind among all Tibetan sculpture art categories in terms of quantity, size and popularity. The main techniques used are relief and line carving. Most of works were carved on slab stones; therefore full relief and grand relief works are seldom seen. The relief technique used for stone inscription is usually as follows: chipping the stone face, outlining the subject, and then carving to stand it out, giving watchers a sense of three dimensions. The line inscription can be divided into incised inscription and shade inscription. Incised inscription is to remain the subject and chip away the rest; similar to that of relief In contrast, the shade inscription is to carve single-lined patterns on smooth and even stone surface, similar to that of line drawing in traditional Chinese paintings, which represent subject with lines. Furthermore, there is a combination technique of relief and line carving, i.e., making relief first to outstand the subject or the main part of a pattern, and then use the single lined shade inscription technique to carve the details of the subject or pattern. This is a perfect incorporation of drastic cutting and fine carving, creating a bran-new mode of expression. Just as cliff carving and grotto statue, most of stone inscription had also been applied with pigments and gold.
With respect of subject of stone inscription, it not only deal with statues of Buddha, bodhisattvas, great monks, heavenly kings, Yidam, or guardian deity, but also the text of Buddhist sutra, such as the most famous "Six-syllable Mantra Prayer". Some sutra takes a few pieces of slab stones, while some covers up to l0,000 pieces, which are used to lay a wall with several kilometers, looking quite magnificent.
Now in Tibet, the ancient stone inscription works are distributed in almost every comer. Therefore Tibet is reputed as the "stone inscription gallery and library without wall". Among the all, those in Pobengang near Lhasa and Samye Monastery are the oldest. The stone inscription emerged in Pobengang as early as when Buddhism was just introduced into Tibet. According to the legends, Pobengang is the birthplace of Tibetan script, which was created by minister Thon mi Sambhota by order of the Tibetan king Songtsan Gambo. It is said that when Thon mi Sambhota completed his creative work, Songtsan Gambo was delighted and wrote the "Six-syllable Mantra Prayer" with the newly-created script on a giant rock there. All of a sudden, ten thousands golden beams were cast from south to the rock wall. Then three bodhisattvas, Avalokitesvara, Savanivara and Avalokitesvara appeared, flied out from the beam and printed their shades on the rock. Afterwards, Songtsan Gambo ordered artisans to inscribe the "Six--syllable Mantra Prayer" and the figures of the bodhisattvas. It is the first of its kind and then followed by a lot of stone inscriptions everywhere in Tibet later on. Samye Monastery located in Chanang County of Shannan Prefecture, was built in 763 A.D.. On the rock wall surrounding the monastery there are also inscription works in early time. While in terms of color application, those in Kangmar Monastery in Damxung County are the most impressive. In its courtyard with L-shaped layout, there is a close chamber, the four-sided walls of which are laid with slab stones sized between 30 and 50cm. These delicately inscribed works were all colored with three kind of pigments: dark red, earthy yellow and blue black. Fumigated by years' ghee lantern smoke inside temple, the three colors has been gradually united into one and the colors and the lines perfectly integrated, making the inscription works more dignified, solemn and unsearchably.
The traditional art categories, such as metal sculpture, clay modeling, and stone and wood carving, have been passed on generation by generation through apprentice and master links or family links. Wherever you go today you can see artists and their works scattered in monasteries, on divine mountains, or by sacred lakes. For example, on the foot of Chakpori Hill in the center of Lhasa, you will be amazed by the continuous multiplication of stone carving works. Following the rhythmic sound hammering, you can see artisans from different places at work. In order to better preserve the traditional art, the government of Tibet Autonomous Region has helped to found a number of artist associations and antique building teams, bringing the artists together for artistic creation and teaching, and antique building maintenance as well. In this way, more and more young artists proficient in different traditional art forms have been cultivated. In this way, the traditional arts have been well carried forward and the significant culture relic sites well maintained. Such function and contribution can be seen in Potala Palace in Lhasa, Samye Monastery in Shannan and Ruins of Guge Kingdom in Ngari, just enumerate a few.
