In a Borrowed Garden: A Rhizomatic Theory of Transnational Tibetan Art

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Document

According to standard interpretations of the Tibetan diaspora, with the incorporation of Tibet into the People’s Republic of China in the 1950s, all art in Tibet itself is degenerate, and the Tibetans in exile are framed as the sole custodians of their imperiled traditions. However, is it accurate to portray the 5.4 million Tibetans who still live in Chinese-occupied Tibet as having utterly repudiated their “culture”? This study seeks to answer this question through a comparative study of the parallel developments in diaspora of Tibetan Buddhist sculpture, based on ethnographic fieldwork conducted in workshops in exilic Dharamsala, India and in Chengdu, the major Chinese city closest to geographic Tibet.

    Item Description
    Name(s)
    Thesis advisor: Wagoner, Phillip
    Date
    April 15, 2012
    Extent
    226 pages
    Language
    eng
    Genre
    Physical Form
    electronic
    Discipline
    Rights and Use
    In Copyright – Non-Commercial Use Permitted
    Digital Collection
    PID
    ir:292