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Paul Walter, however, must have been an exception; as a collector he was so passionate, avaricious, curious, eclectic, impulsive, gregarious and generous that I always felt he must have been born under all the planets and shared bits of all the zodiacal signs.He was a big man, with a big appetite and a big heart, like Mr. A lawyer recently told me that for institutional beneficiaries of my Estate I should write something about my life since often they like to know a little about the donor.There really was no arcadian, territorial Hollywood; only a state of mind.In any event on that initial visit, as I did walk the walk of fame on Hollywood Boulevard, I never dreamt that I would one day work in the neighborhood or meet any real movie stars. Pratapaditya Pal is an important contribution to the history of Indian art.

When I first encountered Coomaraswamy’s multivolume catalogue of the Boston Museum collections in the Calcutta University library as a student in 1956, I learnt that the great Indian collection for which the museum was famous at the time was identified as the hyphenated “Ross-Coomaraswamy Collection.” The “Ross” part of the moniker, however, remained a mystery until I came to occupy the position of Keeper of the Indian Collections in 1967 – exactly two decades after Coomaraswamy passed away.

However, a highly significant piece of information unfortunately escaped the attention of international, as well as native, scholars.

None of them realized that the Licchavi period inscription carved on the pedestal of the monolithic statue of Śiva and Pārvatī at Sikvabahi (or Siku Bahi) Patan is actually the Rosetta Stone; the date of the inscription being recorded there in two different eras, namely, the Mānadeva and the Śaka eras.) and the throne base into which the figure is secured.

The iconographic programme on this doorway represents the earliest known example in this region.

Khorchag Monastery was founded in 996 by Khorre, ruler of the kingdom of Purang, who—together with his brother Yeshe-Ö—transformed the region into a Buddhist kingdom.

Seeing these fragile treasures endangered and still relatively undocumented, Thomas Laird developed new methods to capture three hundred of the greatest murals painted in Tibet during the past thousand years, at life size resolution: gigapixel images. his image is the same size, at a resolution of 300 dpi.