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    Tibetan Calligraphy: How to Write the Alphabet and More
    Tibetan Calligraphy: How to Write the Alphabet and More
    Tibetan Calligraphy: How to Write the Alphabet and More
    Ebook98 pages39 minutes

    Tibetan Calligraphy: How to Write the Alphabet and More

    By Sanje Elliott and Sarah Harding

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    About this ebook

    In Tibetan Calligraphy, Sanje Elliott shows us how to capture the elegance and grace of Tibetan calligraphy without prior knowledge of either Tibetan language or calligraphy. This beautiful book includes many prayers, mantras, and seed syllables to copy and study. Perfect for practitioners, artists, and anyone interested in the Tibetan language.
    LanguageEnglish
    PublisherWisdom Publications
    Release dateNov 21, 2011
    ISBN9781614290285
    Tibetan Calligraphy: How to Write the Alphabet and More
    Author

    Sanje Elliott

    Sanje Elliott has been practicing Tibetan arts since 1974. His first teacher was the American artist Glen Eddy, and he has studied with numerous Tibetan artists in Darjeeling and Kathmandu. A former head of the art department at Naropa University, he now lives in Portland, Oregon.

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      Book preview

      Tibetan Calligraphy - Sanje Elliott

      INTRODUCTION

      THE GOAL OF THIS BOOK is to introduce the classical uchen alphabet to Western students of Tibetan and to Tibetans growing up in the West, showing how the flat-edged pen is our equivalent to the reed pen that is the basic beginning tool of Tibetan monks and children. Unlike Chinese and Japanese characters, which are written with a brush, the forms of Tibetan letters are based on Sanskrit letters, which are meant to be written with a pen-like tool. It’s true of course that the modern Tibetan master Chögyam Trungpa Rinpoche and those who were inspired by him did wonderfully innovative uchen letters using a brush (see Tashi Mannox’s wonderful calligraphy on page 82), but this is a modern-day alternative to the classical uchen. Classical uchen has many similarities to classical roman letters, such as the crisp serif-like forms and the contrasting thicks and thins, all of which can be accomplished by a pen — or by a brush in the hands of a very skilled

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