Contemporary Tibetan Art Movement
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The 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.
Gonkar Gyatso, "Gonkar Gyatso." N.p., 2009. Web. 4 Dec 2011.
http://gonkargyatso.com/
Rinzin, Pema, . "Pema Rinzin." N.p., 2011. Web. 5 Dec 2011.
http://pemarinzin.com/
Lamdark, Kesang, . "Kesang Lamdark." . N.p., n.d. Web. 5 Dec 2011.
http://www.lamdark.com/
The 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.
Gonkar Gyatso, "Gonkar Gyatso." N.p., 2009. Web. 4 Dec 2011.
http://gonkargyatso.com/
Rinzin, Pema, . "Pema Rinzin." N.p., 2011. Web. 5 Dec 2011.
http://pemarinzin.com/
Lamdark, Kesang, . "Kesang Lamdark." . N.p., n.d. Web. 5 Dec 2011.
http://www.lamdark.com/
