Historians of Tibetan painting struggle to establish such basic points as iconographical content, place of origin, age, religious affiliation, and painting school or style, especially when confronted by portable works that were removed from their original monasteries and scattered throughout the world. In this groundbreaking catalog, the authors locate paintings geographically using the method similar to that used for locating paintings in time.
Conceptually the center is an area where all the vectors constituting a visual pattern are in equilibrium. According to the Buddhists the world is conceived to have four dimensions which are structured as two oppositional pairs of two axes. The meeting point of these axes is of religious significance as being the center of the physical world. The four dimensions are abstractions supporting the physical entities of the world.