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Untitled Document
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Mystical Images of TibetSeptember 6 through October 19
This exhibition is an introduction to the visually rich traditions of Tibetan Buddhism. Tibetan bronze sculptures from the sixteenth through twentieth centuries C.E., are on loan from the Nelson and Joan Cousins Hartman Collection of Tibetan Bronzes at the Jule Collins Smith Museum of Fine Art at Auburn, University, Alabama. Photographs of the Tibetan landscape and people are on loan from the Mystical Arts of Tibet in Atlanta, Georgia.
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A Brief Introduction to the Tibetan Buddhist Context
By Ronald Green, Ph.D.
Department of Philosophy & Religion, Coastal Carolina University
Buddhism was likely introduced to Tibet slowly beginning in the second century C.E. Its influence and activities expanded markedly throughout the region in the ninth century with the arrival of the holy man Padmasambhava, whose name means “Lotus Born.” According to tradition, Padmasambhava was born in the center of a lotus blossom growing in a lake in present-day Pakistan or Afghanistan. Also known as Guru-Rinpoche, “Precious Teacher,” and revered as a divine being he is said to have introduced to Tibet the mystical or “Tantric” components of Buddhism. Over time, these Tantric teachings combined with indigenous religious beliefs and various elements of that mixture gained or lost strength in the course of social and political change. In this way, Tibetan Buddhism became a unique variety of Mahāyāna Buddhism, the type that developed largely in Nepal, China, Japan and Korea. In contrast with the ideal Buddhist practitioner as an arhat or “worthy one” of the Theravada tradition predominant in Sri Lanka and throughout Southeast Asia, the ideal being in Mahāyāna tradition is the Bodhisattva, literally an “Enlightening Being.” A Bodhisattva vows to bring Buddhist enlightenment to all sentient beings regardless of how difficult or impossible this task. Tantric Buddhism in Tibet infuses supernatural imagery into Mahāyāna concepts in order to tap into the subconscious potential for experiencing supramundane truth, which is considered equivalent to the Buddha’s enlightenment. Owing to this, while a number of historical Bodhisattvas are known, in Tibetan iconography the Bodhisattva is represented as a deity or celestial being capable of extraordinary acts of wisdom and compassion. Images of Bodhisattvas such as those in this exhibit become objects of intense visualization during meditation. The iconography of these images expresses the ideal attributes the practitioner strives to attain. To help the adherent assimilate these saintly traits, Tantric Buddhists additionally chant mantras believed to be charged with spiritual powers and employ a highly symbolic system of hand gestures known as mudras. If successful in completely absorbing the phenomenal characteristics of the Bodhisattva, the practitioner will literally become that deity and join the exalted ranks of living Buddhas. Such Tantric images and practices are outstanding features of Tibetan Buddhism today, penetrating every aspect of society.
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Mystical Images of Tibet
Curator’s Note
by Cynthia Farnell
The sublime imagery of Tibetan Buddhism has long captured my eye. It is a visually rich pantheon, inhabited by numerous fierce and benevolent celestial beings, all gracefully adorned in swathes of saffron, cerulean, crimson, and gold. This is a visceral art, steeped in tantric imagery that engages all of our senses and harkens back to
ancient, shamanistic roots. While in the presence of these images I am transported to a dim candlelit temple scented with veils of sweet, clean incense. I can almost hear the prayer flags flapping in the breeze and the turning Mani wheels mingling with the clash and clang of cymbals, bells and lightning bolts, rumbling across the high plains of time.
My engagement with Tibetan Buddhist art began with my personal research and reflections as an artist, teacher, and art writer. What immediately appealed to me about these intimate figures and objects was their balance of formal and expressive qualities. From the delicate gestures of the mudras to the bountiful iconography of the Bodhisattvas, this is an art that, visually, is a near perfect marriage of content and form.
It is also the art of a culture that has been suppressed and exploited. Sadly, countless great works of Tibetan art were destroyed or looted by the Chinese government during its invasion and occupation of Tibet in the mid 20th century.
Subsequently, Tibet has been turned into a monastic theme park of sorts, with a tourist railway and thousands of relocated Han Chinese replacing those Tibetans now in exile all over the world.
While it is unfortunate that we are currently unable to fully experience Tibetan art in its original context, it is my hope we may gather a sense of this vital culture through the presentation of objects, photographs, performances, and lectures such as those associated with this exhibition.
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Monday though Friday
