The Handbook of Iconometry (Tibetan title: Cha tshad kyi dpe ris Dpyod ldan yid gsos) constitutes a lavishly illustrated treatise laying down the iconometic principles and measurements at the heart of the 17th-century art of Tibet. The book was produced in ca. 1687 at the instigation of the famous scholar and statesman sde srid Sangs rgyas rgya mtsho (1653–1705). Today, the original is kept in the Tibet Autonomous Region Archives (Lhasa). The Handbook includes more than 150 meticulously prepared drawings of buddhas, bodhisattvas and divinities, 70 script types and 14 stupa models all extrapolated from the rich heritage of Indo-Tibetan Buddhist art. These are accompanied by an introduction charting the production of the Handbook in the 17th century and the scholarly profile of its principal author Sangs rgyas rgya mtsho. In the appendix, it reproduces passages from the Vaiḍurya g.Ya' sel that provide valuable additional information about the illustrations.

The Handbook of Iconometry (ca. 1687) reproduces, in facsimile, a lavishly illustrated treatise describing the iconometic principles and measurements at the heart of the 17th-century art of Tibet. It includes over 150 drawings of buddhas, bodhisattvas and divinities, 70 script types and 14 stupa models from the rich world of Indo-Tibetan Buddhism.

A deep and encompassing dive into the vast array of symbols and attributes that appear within the complex iconography of Tibetan Buddhism The Handbook of Tibetan Buddhist Symbols is a portal into the rich, multifaceted, and profound symbolism of Tibetan sacred art. The succinct descriptions that accompany Robert Beer’s detailed line drawings reveal the origins, meanings, and functions of these symbols. Beer unravels the multiple layers of symbolism and meaning contained within the iconography, affording the reader a panoramic vision into the deeper dimensions of this sacred art. Drawn largely from Beer’s monumental work The Encyclopedia of Tibetan Symbols and Motifs, the meticulous brush drawings in this book depict all of the major Buddhist symbols and motifs, including the various groups of auspicious symbols; cosmological symbols; natural and mythical animals, such as the dragon, garuda, and makara; the entire assembly of ritual tantric implements and weapons; magical and wrathful symbols; handheld emblems, attributes, and plants; esoteric Vajrayana offerings; and mudras, or ritual hand gestures.

Bodies in Balance: The Art of Tibetan Medicine is the first comprehensive, interdisciplinary exploration of the triangular relationship among the Tibetan art and science of healing (Sowa Rigpa), Buddhism, and arts and crafts. Generously illustrated with more than 200 images, Bodies in Balance includes essays on contemporary practice, pharmacology and compounding medicines, astrology and divination, history and foundational treatises. The volume brings to life the theory and practice of this ancient healing art. 2015 Best Art Book Accolade, ICAS Book Prize in the Humanities Category Bodies in Balance: The Art of Tibetan Medicine is the first comprehensive, interdisciplinary exploration of the triangular relationship among the Tibetan art and science of healing (Sowa Rigpa), Buddhism, and arts and crafts. This book is dedicated to the history, theory, and practice of Tibetan medicine, a unique and complex system of understanding body and mind, treating illness, and fostering health and well-being. Sowa Rigpa has been influenced by Chinese, Indian, and Greco-Arab medical traditions but is distinct from them. Developed within the context of Buddhism, Tibetan medicine was adapted over centuries to different health needs and climates across the region encompassing the Tibetan Plateau, the Himalayas, and Mongolia. Its focus on a holistic approach to health has influenced Western medical thinking about the prevention, diagnoses, and treatment of illness. Generously illustrated with more than 200 images, Bodies in Balance includes essays on contemporary practice, pharmacology and compounding medicines, astrology and divination, history and foundational treatises. The volume brings to life the theory and practice of this ancient healing art.

Based on the author's previous publication The Encyclopedia of Tibetan Symbols and Motifs, this handbook contains an array of symbols and motifs, accompanied by succinct explanations. It provides treatment of the essential Tibetan religious figures, themes and motifs, both secular and religious.

The founder of Manichaeism, Mani (216-274/277 CE), not only wrote down his teachings to prevent their adulteration, but also created a set of paintings—the Book of Pictures—to be used in the context of oral instruction. That pictorial handscroll and its later editions became canonical art for Mani's followers for a millennium afterwards. This richly illustrated study systematically explores the artistic culture of religious instruction of the Manichaeans based on textual and artistic evidence. It discusses the doctrinal themes (soteriology, prophetology, theology, and cosmology) depicted in Mani’s canonical pictures. Moreover, it identifies 10th-century fragments of canonical picture books, as well as select didactic images adapted to other, non-canonical art objects (murals, hanging scrolls, mortuary banners, and illuminated liturgical manuscripts) in Uygur Central Asia and Tang-Ming China.

In Archaeological and Visual Sources of Meditation in the Ancient Monasteries of Kuča, Angela F. Howard and Giuseppe Vignato use diverse methodological approaches from archaeology, art history and religious studies to reconstruct monastic life and practices in the rock monasteries on the northern Silk Route (ca. 200-650). Analysis of the caves’ function, meditation manuals, and the cave murals highlights the centrality of meditation, a fundamental duty of Kuča monastics. This interdisciplinary study utilizes hitherto unpublished line drawings, maps, and photographs to reconstruct and interpret the architecture and décor of Kuča caves, thus revealing the close links between the spiritual and the physical, between doctrinal teaching and practice and the lay-out and décor of the monasteries.