Keywords:

Abstract:

It is not well known that the mountings of Tibetan paintings have an iconography and a cosmogeneric relationship to the painting. Hence, a painting without its mounting is incomplete. The iconography is described and the cosmogeneric relationships are discussed, leading to the suggestion that, where possible, the original mounting should be conserved or a logical replacement made. The structure and manner of construction of mountings is shown and de- scribed in order to provide a basis for repairs. Four major style varieties are shown as an additional guide in reconstruction. A glossary of Tibetan terms is included for reference.