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It is clear, however, that during the 1 3th century close relationships developed
between the Mongol court in China and some of the leaders of Tibetan Buddhism
. Kublai Khan himself became a supporter of the Tibetan form of Buddhism.
In all its forms Tibetan art has remained subservient to special lay or religious
intentions and has never become an art pursued for aesthetic ends alone. The
religious art is primarily didactic and symbolic; the lay art, decorative. Therefore,
(Tibetan literature): J. bacot, f.w. thomas, and g.c. toussaint. Documents de Touen
-houang relatifs a I'histoire du Tibet, (1940); J. bacot, Trois mysteres tibetains (
1921); w.y. evans wentz (ed.), Tibetan Yoga and Secret Doctrines (1935), The ...
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