The desire to attribute masterworks to specific painters is difficult to resist, particularly in the fifteenth century, when so many Tibetan masters began to sign their work. Intended for an audience of educated museum visitors, Sacred Visions does not claim to be a theoretical work. However, like an increasing number of exhibition catalogues, it deserves a long shelf life in part because it does not promote a specific theoretical or missionizing agenda. Moreover, its gorgeous production values and a high standard of accessible scholarship make it a lasting resource. Tibetan terms are simplified to approximate their spoken forms, so the text is not riddled with the unpronounceable, if accurate transcriptions of Classical Tibetan that make reading or remembering anything about Tibet so difficult for the amateur.
References are mostly to sources in English, rather than to primary texts.
Finally, Kossak and Singer do not question the permissibility of discussing early Tibetan painting without first apologizing for an explicitly art-historical perspective.