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entire idea of a contemporary Tibetan art form is a very novel and
nascent development, and is currently in transition.
Many contemporary Tibetan artists acknowledge the fact that
their work is contemporary, and carries a certain “post-ethnic”
quality. Their work is a combination of traditional Buddhist art and
freshly modernized styles. Many contemporary Tibetan artists use
themselves as the subject and their work is the result of self
analysis. This form of artistic self exploration is a new and highly
modern concept, entirely in contrast to the standards of traditional
art that denies the ego. The work of modern Tibetan artists largely
focuses on the divergence between their eastern and western
identities.
Tibet
has had a conservative history and due to its geographic location,
has been largely isolated. Traditional Tibetan art has been almost
entirely religious in nature. Traditional artists were trained to
conform to a very strict and standardized set of expectations
regarding the representations of Buddha and other deities. The
artists had to be precisely accurate in order for their work to be
considered quality and traditional Thangka
painters underwent extensive training. Colors were assigned specific
meaning, and their arrangement helped to create the overall meaning
for a work of art. Artists were trained to understand religious
symbolism and were expected to incorporate the symbols into their
art. Self expression was an irrelevant concept to traditional
art. Artists did not create to express their own ideas, feelings or
opinions; they worked on behalf of the deity they were painting.
Artists were viewed as a vehicle to convey the message of Buddha and
other Buddhist deities. Most Tibetan artists did not sign their work
because placing ones name on a work of art is considered to be a
highly egotistical act, and it is the duty of the Buddhist to destroy
the ego. In addition, creating art was often a form of meditation.
Modern
art was in some ways forcefully introduced into Tibetan culture.
Tibet was invaded by China in 1951 and by 1959, China had banned
traditional Tibetan painting (Regina Höfer). Tibetan artists were
forced to create propaganda in support of Mao, just as Chinese
artists were.
During
the Cultural Revolution in the 1980s, Tibetan youth was sent to art
schools in China, most often in Beijing (Höfer). It was in Chinese
art schools that Tibetans were taught art through a partially
westernized lens, in both theory and practice. The curriculum was
very contemporary, and students were educated in post-modern art, and
as a result, that generation of students was not taught the authentic
traditional ways. Thus, although most traditional Tibetan art was
thoroughly based upon religious symbolism, contemporary art students
are devoid of this precious. In addition, since Tibetan students were
studying in China, they did not receive any training in their native
country's artistic style, which further severed young Tibetan
students from their roots.
In
addition, many Tibetan artists fled their homeland to escape
oppression and settled in Europe and in America. Some attended
European and American art schools and were thoroughly taught about
post-modern art. Indeed, contemporary Tibetan artists are dispersed
all over the world, and although many still work in Tibet, there are
many notable Tibetan artists living and working in London, New York,
Germany, Switzerland, India and various other cities in America.
Thus, Tibetan art is not yet globalized, but it is no longer
traditional in the pure sense. Some of the very famous and notable
artists who fled their homeland at relatively young ages and
established their artistic careers in Europe and America include
Gonkar Gyatso,Pema Rinzin and Kesang Lamdark.
Works Cited:
Regina Höfer, "Strategies of Global Communication – Contemporary Tibetan Art and the West." . N.p., 2011. Web. 4 Dec 2011.