Contemporary Tibetan Art:

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• Contemporary Tibetan Art
• Revisioning Shangrila?

Dina Bangdel Virginia Commonwealth University
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• Modern art in Tibet never seems to relate to
  the modern art movements in the outside world,
  seldom even participating in any contemporary art
  in mainland China. So few people know the modern
  art of Tibet. It is like a strange creature,
  itself grown and developing without preparation,
  but it has just happened like the mingling of the
  neon-blue lights of the night-clubs in Lhasa with
  the butter lamps and the Potala Palace with the
  plastic evergreen coconut tree at its foot.
• Gade 2005

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2006
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Karma Phunshok. Vajra. 2005. Australia
Gonkar Gyatso. Pokemon Buddha. 2004. London
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Tsering Nyandak. Police Phobia. 2005. Tibet
Jhamsang. Buddha. 2005. Tibet
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Losang Gyatso (US), Nortse (Lhasa), Gade
(Lhasa) Shodon (Dharamsala), Gonkar Gyatso (UK),
Tsering Shakya (Tibetan historian), Tenzin Rigdol
(US)
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Krishna Kanwal. Gedun Choepel. 1938.
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Dedron, Woman. 2005.
Tsering Nyandak. Balloon. 2005
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Tsewang Tashi (b. 1963). Lhasa River and Hills.
1996
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Tsewang Tashi. Untitled Series. 2003-5.
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Tsewang Tashi Untitled Series.
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Tsewang Tashi Buddha Series. 2006
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GADE (b. 1971)
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Gade New Scripture Series. 2005
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Gade Sleeping Buddha, 2005
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Gade Nirvana 2006
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I sincerely want my work to be part of the
continuity of Tibetan art, to belong to a
Tibetanised context, rather than to a Western
or Chinese language system. The Buddhist
gods are wise they know precisely why I do what
I do. The responsibility of the artist goes
beyond creating beautiful things. I just say
what I believe.
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Gade. Railway Train. 2006.
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Han Shuli. Shangrila. 2001.
Gade. Railway Train. 2006.
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• In most peoples minds, Tibet is an ancient,
  mysterious and exotic place. The notion of
  Tibet is a conundrum. When outsiders actually
  visit Tibet, especially Lhasa, they get culture
  shock when they see all the pop culture, fast
  food, rock music, Coke and beer, brand Name
  clothing, Hollywood movies, the nightlife scene,
  etc. I think Lhasa ought to be renamed Lhasa
  Vegas.

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Tibet has gone through a cultural revolution,
and now commercialism, so now Tibetan culture has
become some sort of circus center, or resort
center, where you can see everything...the train
plays the role of instigator and is a focus
point. So now we cannot place our identity in a
fixed area, as there are too many things that
have happened. And we feel this loss of identity,
and maybe we are the only generation to
experience such a thing. I am just displaying
such circumstances."
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New Buddha, 2009
The Hulk, 2009
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• "My generation has grown up with thangka
  painting, martial arts, Hollywood movies, Mickey
  Mouse, Charlie Chaplin, Rock 'n' Roll and
  McDonalds. We still dont know where the
  spiritual homeland isNew York, Beijing or Lhasa.
  We wear jeans and T-shirts and when we drink a
  Budweiser it is only occasionally that we talk
  about Buddhahood.
• In most peoples minds, Tibet is an ancient,
  mysterious and exotic place. The notion of
  Tibet is a conundrum. When outsiders actually
  visit Tibet, especially Lhasa, they get culture
  shock when they see all the pop culture, fast
  food, rock music, Coke and beer, brand name
  clothing, Hollywood movies, the nightlife scene,
  etc. I think Lhasa ought to be
• renamed Lhasa Vegas.

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Wangshimin. Quiet Village. 2005
Zhungde. Drinking. 2005.
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Tsering Nyandak
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"The train is a foreign element and brings lots
of people - thinking of the train I go through
these emotions angry, sad, happy."
Tenzin Jigme. Laughter. 2006.
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Nyandak. Who Goes Furthest. 2006.
Yak Tseten. Self-Portrait Trip to China. 2006.
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Asia Week 2007
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DIASPORA ARTIST
Karma Phunshotk, Invocation of the Buddha.
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Gonkar Gyatso. My Identity 1. Photo-installation.
2006.
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Gonkar Gyatso. My Identity 2. Photo-installation.
2006.
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Gonkar Gyatso. My Identity 3. Photo-installation.
2006.
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Gonkar Gyatso. My Identity 4. Photo-installation.
2006.
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Gonkar Gyatso. Buddha of the 21st Century. 2007.
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My work revolves around the ideas and insights
of Tibetan culture, and how I as someone who has
lived most of his life outside of my country,
relate to them for identity and sustenance. So
no matter what direction my art takes, I want it
always to retain the flavor of Tibetan culture.