15/16th century carved manuscript cover. An excellent example of the Tibetan carvers art with simple designs containing sacred elements. Sculpted and lacquered, this manuscript cover has stupas and canopies within geometric designs. Primary to this woodcarvings rich appointment of iconography, are the auspicious symbols (ashtamangala) including: the "Precious Umbrella" that symbolizes the wholesome activity of preserving beings from harmful forces; the "Victory Banner" that celebrates the activities of one's own and others' body and mind over obstacles, as well as the "Vase of Treasure" holding and endless reign of wealth and prosperity.

Tibetan art refers to the art of Tibet and other present and former Himalayan kingdoms (Bhutan, Ladakh, Nepal, and Sikkim). Tibetan art is first and foremost a form of sacred art, reflecting the over-riding influence of Tibetan Buddhism on these cultures.

The art of Tibet may be studied in terms of influences which have contributed to it over the centuries.

Mahayana Buddhist influence

As Mahayana Buddhism emerged as a separate school in the 4th century BC it emphasized the role of bodhisattvas, compassionate beings who forego their personal escape to Nirvana in order to assist others. From an early time various bodhisattvas were also subjects of statuary art. Tibetan Buddhism, as an offspring of Mahayana Buddhism, inherited this tradition. But the additional dominating presence of the Vajrayana (or Buddhist tantra) may have had an overriding importance in the artistic culture. A common bodhisattva depicted in Tibetan art is the deity Chenrezig (Avalokitesvara), often portrayed as a thousand-armed saint with an eye in the middle of each hand, representing the all-seeing compassionate one who hears our requests. This deity can also be understood as a Yidam, or 'meditation Buddha' for Vajrayana practice.

Tantric influence

Dharmapala, Field Museum, Chicago.

A surprising aspect of Tantric Buddhism is the common representation of wrathful deities, often depicted with angry faces, circles of flame, or with the skulls of the dead. These images represent the Protectors (Skt. dharmapala) and their fearsome bearing belies their true compassionate nature. Actually their wrath represents their dedication to the protection of the dharma teaching as well as to the protection of the specific tantric practices to prevent corruption or disruption of the practice. They are most importantly used as wrathful psychological aspects that can be used to conquer the negative attitudes of the practitioner.

Bön influence

The indigenous shamanistic religion of the Himalayas is known as Bön. Bon contributes a pantheon of local tutelary deities to Tibetan art. In Tibetan temples (known as lhakhang), statues of the Buddha or Padmasambhava are often paired with statues of the tutelary deity of the district who often appears angry or dark. These gods once inflicted harm and sickness on the local citizens but after the arrival of Padmasambhava these negative forces have been subdued and now must serve Buddha.

Contemporary Tibetan art

See also

• Thangka paintings
• Mandala
• Sandpainting
• Chorten
• Dzong architecture
• Eight auspicious symbols
• Tibetan rugs

External links

• Database of 25,000 pieces of Himalayan art (Tibetan, Nepalese, Bhutanese, Indian, Chinese, Sikkimese, Mongolian, and Gandharan)
• Museum exhibit of Tibetan art.
• Video of interview with Richard Ernst, Nobel Laureate and scientist with a passion for Tibetan art (RealPlayer required - art discussion begins at about 49 minutes)
• (A magnificently illustrated down-loadable pdf book: ''Faces of Tibet: The Wesley and Carolyn Halpert Collection''. David Weldon and Jane Casey. New York, 2003

et:Tiibeti kunst fr:Art tibétain it:Arte tibetana nl:Tibetaanse kunst pt:Arte do Tibete