Even among Tibetans, Drigung Kagyu's art is still comparatively unknown, despite the fact that it was among the most well-known and influential schools of Tibetan Buddhism during its early years (12th–14th century). Due to the destruction of its mother monastery twice—once in the late 13th century and again during the Great Cultural Revolution—a large portion of the artwork was lost or scattered. In addition to the distinct influences of the Sharri, Khyenri, and Driri styles, the iconography of the Drigung School is analyzed in relation to its three primary periods, early, middle, and late. The book makes use of both traditional and contemporary Tibetan materials to clarify the painting practices of the Drigung Kagyu School and to study lineage depictions and dating techniques. The book and accompanying exhibition also examine the virtues associated with artistic creations and the materials that make them up.