An extremely unusual design decorates this cover from a well-used volume. The central panel of the outer surface consists of three lotus medallions separated by pillars. The inner two pillars are decorated with scrolls issuing from gandharvas (celestial beings)1. The outer pillars are similarly decorated with scroll work emanating from (hamsa) geese. The red and gold painted lotus leaves of the medallions are placed on silver painted discs on a red field. In each corner of the sections, there are additional, smaller medallions painted in red, blue and gold. Above and below, a deeply carved and boldly designed meander issues from a sheaf of flower buds, held together by a jewelled clasp. The three lotus medallions may represent the three jewels - the Buddha, his teachings (dharma), and the monastic community (sangha). There is a precedent for this design on a book seen in a 10th century painting from Dunhuang.2 In this Dunhuang painting, a book with three golden lotus medallions painted on its outer cover is held by the bodhisattva Avalokiteshvara. Roberto Vitali shows a lotus medallion of "Central Asian origin" as "the only palnted fragrnent surviving at Kwa-chu [Kachu]", an 8th century monastery south of Lhasa.3 While by no means identical in form to the lotus presented on this cover, certain comparisons may be made. Moreover, the elegant elongation of form and the movement of the gandharva echo the manner of the early Licchavi wood carving seen in Yarlung dynasty (7th-9th century) temple decoration (as in the Lhasa Jokhang), than the later, more squat forms as depicted, for instance, on the lower cover of the pair no. 15 (in the catalogue, not shown here). The continuity of styles and spheres of influence are thus exhibited in this early book cover.