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  • 1
     
  • 1a
  • 1b
    “Kernresonanz-Fourier-Transformations-Spektroskopie (Nobel-Vortrag)”, “Nuclear Magnetic Resonance Fourier Transform Spectroscopy (Nobel Lecture)”: R. R. Ernst, Angew. Chem. 1992, 104, 817; Angew. Chem. Int. Ed. Engl. 1992, 31, 805.
  • 2
    P. Sulzer, Zehn Komponisten um Werner Reinhart. Ein Ausschnitt aus dem Wirkungskreis des Musikkollegiums Winterthur, 1920–1950, Atlantis Musikbuch-Verlag, Zürich, 1983; 1. Band: 309. Neujahrsblatt der Stadtbibliothek Winterthur, 1979; 2. Band: 310. Neujahrsblatt der Stadtbibliothek Winterthur, 1980; 3. Band: 313. Neujahrsblatt der Stadtbibliothek Winterthur, 1983.
  • 3
     
  • 3a
    M. Fehr, Das Musikkollegium Winterthur, 1629–1837, Verlag des Musikkollegiums Winterthur, Wintherthur, 1929;
  • 3b
    L. Kempter, Festschrift zur Feier des dreihundertjährigen Bestehens 1629–1929. Zweiter Band: “Das Musikkollegium Winterthur, 1837–1953” Verlag des Musikkollegiums Winterthur, Wintherthur, 1959.
  • 4
    “Application of Fourier Transform Spectroscopy to Magnetic Resonance”: R. R. Ernst, W. A. Anderson, Rev. Sci. Instrum. 1966, 37, 93.
  • 5
    A. Heller, Tibetan Art, Tracing the Development of Spiritual Ideals and Art in Tibet, 600–2000 A.D., Jaca Book, Milan, 1999
  • 6
    P. Pal, Himalayas, an Aesthetic Adventure, The Art Institute of Chicago, Chicago, 2003.
  • 7
    M. Boyer, La Peinture Bouddhiste Tibétaine, découvrir, comprendre et conserver les thangkas, Eyrolles, Paris, 2010.
  • 8
    J. Okazaki, Pure Land Buddhist Painting, Kodansha International Ltd. and Shibundo, Tokyo, 1977.
  • 9
    W. R. LaFleur, Buddhism: a Cultural Perspective, Prentice-Hall, Englewood Cliffs, 1988.
  • 10
    D. P. Jackson, J. A. Jackson, Tibetan Thangka Painting, Methods and Materials, Serindia Publ., London, 1984.
  • 11
     
  • 11a
    Artists’ Pigments, A Handbook of Their History and Characteristics, Vol. 1 (Ed.: R. L. Feller), National Gallery of Art, Washington, 1986;
  • 11b
    Artists’ Pigments, Vol. 2 (Ed.: A. Roy), National Gallery of Art, Washington, 1993;
  • 11c
    Artists’ Pigments, Vol. 3 (Ed.: E. West Fitzhugh), National Gallery of Art, Washington, 1997.
  • 12
    H.-P. Schramm, B. Hering, Historische Malmaterialien und ihre Identifizierung, Ferdinand Enke, Stuttgart, 1995.
  • 13
    (Eds. B. G. Brunetti, A. Sgamellotti, A. J. Clark), Acc. Chem. Res. 2010, 43, 695–944 (Special Issue “Advanced Techniques in Art Conservation”).
  • 14
    B. Blümich, F. Casanova, J. Perlo, F. Presciutti, C. Anselmi, B. Doherty, Acc. Chem. Res. 2010, 43, 761770 (Special Issue “Advanced Techniques in Art Conservation”).
  • 15
    “New Advances in the Application of FTIR Microscopy and Spectroscopy for the Characterization of Artistic Materials”: S. Prati, E. Joseph, G. Sciutto, R. Mazzeo, Acc. Chem. Res. 2010, 43, 792801 (Special Issue “Advanced Techniques in Art Conservation”).
  • 16
    M. M. Mirabella, F. M. Mirabella, Internal Refection Spectroscopy: Methods and Techniques: Theory and Applications (Practical Spectroscopy), Taylor & Francis, London, 1992.
  • 17
    “UV-VIS-NIR, FT-IR, and FORS Spectroscopies”: M. Bacci in Modern Analytical Methods in Art and Archaeology (Eds.: E. Ciliberto, G. Spoto), Wiley, New York, 2000, pp. 321361.
  • 18
    “X-ray Fluorescence”: L. Moens, A. von Bohlen, P. Vandenabeele in Modern Analytical Methods in Art and Archaeology (Eds.: E. Ciliberto, G. Spoto), Wiley, New York, 2000, pp. 5579.
  • 19
    E. Smith, G. Dent, Modern Raman Spectroscopy. A Practical Approach, Wiley, Hoboken, 2005.
  • 20
    “Raman Spectroscopy”: F. Cariati, S. Bruni in Modern Analytical Methods in Art and Archaeology (Eds.: E. Ciliberto, G. Spoto), Wiley, New York, 2000, pp. 255278.
  • 21
     
  • 21a
    “In situ Raman microscopy applied to large Central Asian paintings”: R. R. Ernst, J. Raman Spectrosc. 2010, 41, 275287;
  • 21b
    “Science meets art—and dharma”: E. Zubritsky, Anal. Chem. 2009, 81, 78637865.
  • 22
    D. Snellgrove, H. Richardson, A Cultural History of Tibet, Shambala, Boston-London, 1995.
  • 23
    “Arts and Sciences. A Personal Perspective of Tibetan Painting”: R. R. Ernst, Chimia 2001, 55, 900914.
  • 24
    D. P. Jackson, Mirror of the Buddha, Early Portraits from Tibet, Rubin Museum of Art, New York, 2011.
  • 25
    N. Douglas, M. White, Karmapa, the Black Hat Lama of Tibet, Luzac, London, 1976.
  • 26
    Painting ET69 from Collection R.R.E. (unpublished); see also related Figure 5.10 in Ref. [24].
  • 27
    J. M. Stewart, The Life of Gampopa, Snow Lion, Ithaca, 1995.
  • 28
    G. K. Konchog, Prayer Flags: The Life and Spiritual Teachings of Jigten Sumgön, Snow Lion, Ithaca, 1986.
  • 29
    “Methodological Comments Regarding Recent Research on Tibetan Art”: C. Luczanits, Wiener Zeitschrift für die Kunde Südasiens 2001, 45, 125145.
  • 30
    “Crossing the Line: The Interplay between Scientific Examination and Conservation Approaches in the Treatment of a Fifteenth-Century Nepali Thangka”: M. Leona, S. S. Jain, in Scientific Research on the Pictorial Arts of Asia (Eds.: P. Jett, J. Winter, B. McCarthy), Archetype, London, 2005, p. 125134
  • 31
    RRUFF Project: Bob Downs, rdowns@u.arizona.edu; Dept. of Geosciences, University of Arizona, 1040 E 4th, Tuscon, AZ, USA, 85721-0077.