Category Archives: Tibet

Impressive Collections, Inspiring Speakers

As I’ve previously mentioned here and through my Twitter account, this past weekend the Philadelphia Museum of Art presented the Third Annual Anne d’Harnoncourt Symposium: Exhibiting India’s Art in the 21st Century (Sept. 30 – Oct. 2, 2011), a three-day event focusing on, as the title suggests, South Asian and Himalayan collections and the work that goes into presenting their contents to a museum audience. While I was only fortunate enough to be present for Saturday’s lecture series, the event began on Friday with an introduction by Director Timothy Rub and the University of Pennsylvania’s W. Norman Brown Professor of South Asia Studies, Michael W. Meister, and a tour of the collections with the Museum’s Stella Kramrisch Curator of Indian and Himalayan Art, Darielle Mason. This evening conveniently coincided with the Museum’s weekly Art After Five event, which I am told was South Asian-themed for the occasion. The Symposium continued with a five-lecture series and a dinner for weekend ticket holders on Saturday, and roundtable working sessions and a closing public talk by Yael Rice, the Museum’s Assistant Curator of Indian and Himalayan Art, on Sunday. Not only an informative intellectual endeavor, Dr. Meister and Dr. Mason hoped to use this opportunity to generate and debate new ideas to put into practice during the impending reinterpretation and reinstallation of the Museum’s acclaimed permanent South Asian galleries, which I’m sure will be an exciting and daunting endeavor for all involved.

Returning to this past Saturday, this was far from my first visit to the PMA or its famous South Asian Pillared Temple Hall. I lived in Philly for four years while studying for my undergraduate degree from Temple University and in that time I often visited museums throughout the city – especially on the annual Museum Day, when a poor college student could get in for free. Despite the years that have passed since that time, I instantly found myself feeling at home upon entering the Museum. I’d forgotten how many hours I’d spent there, particularly in the Asian and Medieval European galleries, gazing at the myriad of icons and artifacts of Buddhism, Tantra, and early Christianity (the three areas upon which my early studies in religion had focused on). Climbing the stairs of the Great Hall, I was awash in thoughts of this formative period of my life, and reminded of how this historic building just seems to feel so different from other places, even other museums of similar size and stature, as if infused with the stories of all the items it contains. Seeing the works I’d always loved so much and walking through the fully immersive “rooms” in which it feels as if you’ve stepped into another place and time reinvigorated me, and I was excited to have had the opportunity and incentive to return to a place I’d forgotten had meant so much to me.

Such nostalgia aside, I would find further inspiration from the numerous speakers that afternoon. The morning began with a lecture entitled Expanding the Canon: Garden and Cosmos, where, among other things, I learned about the critically acclaimed exhibition by Debra Diamond, Associate Curator of South and Southeast Asian Art at the Freer Gallery and Arthur M. Sackler Gallery in Washington, D.C. (Garden and Cosmos: The Royal Paintings of Jodhpur, Oct. 4, 2008 – Jan. 4, 2009 at the Freer and Sackler Galleries, on tour throughout the world afterwards)  and was enticed by her upcoming exhibit, Yoga: The Art of Transformation, to open in 2013 ( Not knowing much about modern Asian art personally, the following speaker, Sonya Rhie Quintanilla, San Diego Museum of Art’s Curator of Asian Art, introduced me to the amazing work of the Indian artist Nandalal Bose (1882-1966) in her lecture, Framing Modernity in South Asia, and spoke about the interpretation and use of contemporary South Asian art in the museum setting. Quintanilla helped to organize an exhibit of this artist’s work at the PMA in 2008 (Rhythms of India, June 27, 2008 – Sept. 1, 2008). This would segue nicely to later discussions on whether modern Asian art belonged with other Asian works, or beside the works of its contemporary artists from around the world.

"Sati" (1943) by Nandalal Bose

The talk I found to be the most personally motivating of the morning, however, came from the somewhat self-deprecating and quite personable Associate Curator of South Asian and Islamic Art at the Virginia Museum of Fine Art, John Henry Rice. Using examples from his own career both as a graduate student at the University of Pennsylvania and as a curator at the VMFA, his lecture, In the Field and in the Gallery: Clarifying Context through Scholarship and Display, focused on the careful balance a museum professional must strive to maintain between performing his own research in the field and finding ways to display that research and the research of others in an approachable way to a diverse public audience. This has been a very pertinent issue for Dr. Rice, who has tried to take this into account in his recent challenging opportunity to re-design and re-install the South Asian galleries at the VMFA into its new monumental building – an endeavor that from all accounts appears to have been a great success (  

 Following a brief break for lunch and my own whirl-wind tour of the Asian art galleries, most notably including the beautiful Himalayan pieces from The Natacha Rambova Collection of Lamaist Art and the large selection of South Asian stone images, the lectures continued with talks by Katherine Anne Paul, Curator of the Arts of Asia at the Newark Museum, and John E. Cort, Professor of Religion at Denison University and Faculty Consultant for the Denison Museum. Dr. Paul’s presentation, Prisms of Practice: Tibetan Buddhist Altars in Museum Settings, spoke directly to my specific interests and was the original catalyst driving my desire to visit the Symposium in the first place. I was not to be disappointed. Dr. Paul not only gave an account of the history of the consecrated Tibetan Altar at her current institution and the impact it has had on its audience, but compared the purpose of that permanent display to the temporary exhibition of a lay Tibetan altar that she helped to organize as the former Associate Curator of Indian and Himalayan Art at the Philadelphia Museum of Art several years prior (Conserving a Tibetan Altar, Dec. 9, 2006 – May 27, 2007). Her talk raised questions regarding the display of sacred items, the use of religious ritual as an educational tool, and the impact said use has on museum visitors, both for those  from within the culture on display and for those who might be considered “outsiders.” Ultimately, Dr. Paul argues, installations, or rather those that create them, should strive to present the various perspectives and practices related to these sacred items to the best that their ability and respective institutional missions allow. As something of a reverse, Dr. Cort, the only member of the panel who is not currently a museum professional, acted somewhat as a devil’s advocate, questioning just how far an institution should go in attempting to display the “original context” of a particular religious image lest it become something of a farce (or, in the case of bathing rituals and so forth, at least broach territory few conservators would allow their items to endure). This, again, featured as a prominent topic in the discussion panel to follow.

 At least for me, the Symposium was more than just a success, but rather something of a catalyst assuring me of what steps I’d most like to take in the coming months in regards to further education and a future career as a museum professional. I more than appreciate the work put into this past weekend by all those involved, and I look forward to future events of similar ilk, where hopefully I can devote more of my resources and time. As to the collections themselves, if you have not visited the Philadelphia Museum of Art I urge you to do so, and if you have, I hope you can visit again soon to be reminded of just what a special place it is. For further information on the history and contents of the Museum’s spectacular Indian and Himalayan Art Collection, see the official website:

Tashi Delek.


Openings, Endings, and Updates for October 2011

Perhaps in accordance with the end of spring and the ushering in of the fall, there are quite a few more endings in October than there are openings. Visit what you can before they are gone, and let me know what you think if you make it out. Despite all the closings, October is also full of a number of special events – including lectures, book signings, and performances – so it should be a busy month indeed if you plan on seeing it all!


The Metropolitan Museum of Art: While technically opening in September and not October, I must have missed this exhibit beginning this Wednesday called “Wonder of the Age”: Master Painters of India, 1100-1900 (September 28, 2011 – January 8, 2012). Accompanied by a catalogue co-written by John Guy and Jorrit Britschgi, this major loan exhibition will feature “some 220 works selected according to identifiable hands and named artists…dispel[ling] the notion of anonymity in Indian art.” For more information on this beautiful collection, see:–master-painters-of-india-11001900. May I also take this opportunity to note that the new design of the Met’s website is beautifully intuitive and comprehensive – they really did an amazing job!

 Rubin Museum of Art: Mirror of the Buddha: Early Portraits of Tibet (October 21, 2011 – March 5, 2012) opens towards the end of October, presenting portraits of founding masters and important teachers within the Buddhist traditions, primarily in the India-inspired Sharri style of painting. It is the first in a series of exhibitions exploring particular Tibetan painting styles, and according to the official website, “will clarify some of the confusion and correct misidentifications previously posited by Western scholars.” The exhibit is accompanied by a full-color catalog by its curator, David Jackson, who will also hold a special members-only key talk and preview the night before its opening, Thursday, October 20th at 6 pm. For more information on this new and potentially enlightening display, take a look at its official announcement:


Asia Society Museum: The extraordinary exhibition, The Buddhist Heritage of Pakistan: Art of Gandhara, ends Sunday, October 30. If you have not already seen the contents of this much-anticipated collection of early Buddhist artifacts, I urge you to make it out to the Museum before it is gone. A lot of work was put into getting these pieces to America from their home institutions, and it would be a shame to miss out on the opportunity to see them. Be sure to read my brief review of the exhibit and its accompanying lecture by Christian Luczanits if you haven’t already (, and for more information, see its official website (

 Brooklyn Museum: Vishnu: Hinduism’s Blue-Skinned Savior (June 24, 2011 – October 2, 2011) ends as soon as next week. Proclaimed as the first major museum exhibit to feature this deity, it is a must-see for anyone interested in Indian art and religious practice (

The Jacques Marchais Museum of Tibetan Art: The current exhibit, Artist Tashi Dhargyal and the Menris Tradition of Thangka Art, ends on October 9, 2011. Sadly, no further information is provided regarding this display and its contents on the Museum’s official website:

Newark Museum: While part of the Tibetan Collection Centennial Exhibitions, the small but particularly beautiful display, Pots of Silver and Gold (March 5, 2011 – October 30, 2011), will be removed at the end of October. While not grand enough to make a special trip, if you planned on making a visit to the Newark Museum this coming month, be sure to take a peek! See the first segment of my entry on the Centennial Exhibitions for more information (, as well as the official description on their context and fabrication (

Rubin Museum of Art: The exhibition Pilgrimage and Faith: Buddhism, Christianity, and Islam, having opened in July 1st of this year, will be closing on Monday, October 24, 2011. For more information on this cross-cultural exhibit, see the official website and press release here:

 One-Time Events

 American Museum of Natural History: While not at all related to anything particularly pertaining to Asian art, artifacts, or traditions, I had to mention the 16th Annual Halloween Celebration at AMNH, where (for $10 for non-members and $9 for members) children can trick-or-treat in costume, participate in arts and crafts, and carve pumpkins throughout the halls of this inspirational and historic Museum. The event takes place on Halloween itself (October 31, 2011) from 4 pm to 7 pm. For more information, see:

 Rubin Museum of Art: As always, the Rubin Museum of Art is hosting a number of exciting events next month for a variety of audiences (including a number of live musical performances), and I will only mention a small sampling –check out the website’s official calendar for more events than these:

This coming Friday and Saturday evenings the Museum will be featuring Public Rehearsals of The Vimalakirti Sutra with Peter Sellars, Kate Valk, & Michael Schumacher at 7 pm. This work-in-progress is meant to accompany the newly-opened exhibition Once Upon Many Times: Legends and Myth in Himalayan Art (September 16, 2011 – January 30, 2012). Tickets are $25 for non-members, $22.50 for members (

Additionally, on Wednesday, October 12, author Dana Micucci will be holding a Reading and Signing of her new travel memoir, Sojourns of the Soul: One Woman’s Journey around the World and into Her Truth, at 6 pm (, followed by the New York Film Premiere of the documentary Light of the Valley: The 15th Renovation of Swayambhu at 7pm (

The weekend of October 21-23 promises a three-day Traditional Thankga Painting Workshop with Carmen Mensink. Registration is required and all materials are included for $175 for non-members, $150 for members. Sign-up soon if you are interested, as spaces for these workshops often fill up fast (

The last event I will mention is the one I am most excited to see. Andrew Quintman, Assistant Professor of Religious Studies at Yale University, will be leading a discussion along with several other professors and professional authors entitled From Urdu Epic and Tibetan Sorcerers to Today: Fantasy in Tibetan and World Literature. Dr. Quintman specializes in the Buddhist traditions of Tibet and the Himalayas, and he currently serves as the Co-Chair of the Tibetan and Himalayan Religions Group of the American Academy of Religion. The event will take place on Wednesday, October 26 at 7 pm and costs $12 for non-members, $10.80 for members. Tickets also include a 6:15 pm tour of Once Upon Many Times: Legends and Myth in Himalayan Art (September 16, 2011 – January 30, 2012) (

The Tibet House: On Thursday, October 6 at 7 pm, the Tibet House will be hosting a Book Launch and Signing for Yangzom Brauen’s new book, Across Many Mountains: A Tibetan Family’s Epic Journey from Oppression to Freedom. This emotional memoir chronicles the lives of three generations of Tibetan women, covering almost one hundred years of Tibetan history and looks to be a moving and inspirational read. Admission to this event is free for all (

Tashi Delek!

Celebrating a Century – Part Two

On Saturday, I wrote about the Featured Exhibits on the Newark Museum’s Main Floor, which are currently being presented as part of the Tibetan Collection Centennial Celebrations until the end of December. Today, without any further ado, I present my account of the Ongoing Exhibits to be found past the breezeway currently displaying the Tibetan and Mongolian Pots of Silver and Gold and on the Third Floor of the North Wing of the Museum. Aside from the new exhibits on the floor, a number of the old exhibits have been revamped or their items reorganized, so there is still a lot to see even for those already familiar with the Museum’s collection.

The Contents of the Third Floor

The North Wing is home to all of the Ongoing Exhibits for the Asian Art
collections. The galleries for the Korean, Japanese, and Chinese Art exhibits surround the Atrium, while the Southeast Asian, South Asian, and Tibetan galleries extend along the large extension of the Wing in that order. For this trip, due to time and purpose, I was forced to skip the East Asian galleries and restrict my visit to those South Asian and Tibetan galleries, which more than filled up our day. While it would be utterly impossible (and probably rather tedious in this format) for me to describe all the magnificent items on display, I will try to at least provide some impressions of the exhibits as a whole, looking particularly at their cohesiveness, their successes, and a handful of specific items that stood out, at least to me, as especially impressive.

Ongoing Exhibits

I. Southeast and South Asian Art Galleries

Past the beautifully rendered centerpiece stone statue of Shiva’s mount Nanda and numerous detailed bronzes of the goddess Durga, one finds the Ongoing Exhibit called Influences of the Indic World: India and Nepal.  While I will not dwell on the pieces here, there are two Nepalese statues that I will mention not only because they relate to my personal research, but because they stand out to me for very different reasons – one due to its complexity, the other due to its simplicity. The first is an intricate sixteenth-century statue of the Tantric Buddha Samvara embracing his consort Vajravarahi. For those unfamiliar with Tantric Buddhism, it is a term even the greatest of scholars have difficulty defining. Suffice to say, ‘Tantra’ is used to designate a particular matrix of ritual practices and religious ideas that can be traced at least to early eighth century India. The term can be applied to a number of religions that call upon this heritage, including the sects of Tibetan Buddhism. Returning to the statue, it is rather tall and made of a copper alloy with detail work in gold and semi-precious stones, and the smaller Vajravarahi (a female Buddha in her own right) is a separately created piece that interlocks fluidly with the larger, multi-headed and multi-armed figure of Samvara. Vajravarahi holds her own ritual implements of the vajra-handled chopper, or crescent-shaped flaying knife (Tib. gri gug / Skt. kartri), and skull bowl (Tib. thod pa / Skt. kapala) in her hands, while each of Samvara’s hands are equipped with different accoutrements and weapons, including what is obviously the skin of an elephant spread out like a cape behind his back. The second statue, dating to the fourteenth century, is much smaller and again depicts the Buddha Vajravarahi. This time she appears alone in what is appropriately called the ‘dancer’s pose’ (ardhaparyankasana), in which the figure’s weight is supported by the toes of the left leg bent at the knee, while the right foot is drawn up close to the left thigh. The name of the pose itself is certainly appropriate, as my friend, before I said anything about the statue’s iconography, commented that it looked like she might be dancing. She carries the skull bowl as most Tantric Buddhist deities do in one hand, and in the other, rather than the chopper, she carries a simple vajra. What is unique about this piece is that, despite the fact that she appears to be missing what would have been a complete set of separately-made adornments and jewelry that would have covered her body, she as incredibly well-rendered and correct anatomy, giving her naked form a very realistic and feminine appearance. While both pieces are undoubtedly extraordinary, I have to admit that their particular interest to me betrays my own personal bias, as these deities, and Vajaravarahi specifically, featured prominently in the background research for my M.A. Thesis (about which I may at some point write an entry). Nevertheless, both pieces are extraordinary in their artisans’ attention to detail.

II. Chapel of the Masters & Chapel of Fierce Protectors

Travelling past the South Asian gallery, one finds that the exhibits of the Tibetan Collection fill the remaining hall and the six or so rooms that branch from it.  The Chapel of the Masters and the Chapel of Fierce Protectors, mirroring the functions of similar small buildings or rooms in the construction of Tibetan Buddhist temples, flank the consecrated Tibetan Buddhist Altar on either side. While the Chapel of the Masters (the first room on the right) appears mostly unchanged from my visit a year ago, the Chapel of Fierce Protectors on the other side of the altar has been reinstalled to better display these types of ferocious deities and their related functions in ritual practice, as well as to act as more of a counter-point to its sister chapel. The former contains some very beautiful thangkas and statues of various teachers revered by each of the sects and accurately explains the devotion to lamas in the religion. This will certainly be of interest to those who study lineage holders or who are unacquainted with these basics of the religion. Due to my own interests in subjects that I’m sure the average museum visitor would find gruesome or transgressive in nature, I was particularly drawn to the latter instead. While many deities known as Dharma Protectors (Tib. Chos kyong / Skt. Dharmapala) can  appear as passive, beatific figures, those featured in this exhibit are wrathful and ugly in appearance. Whereas it is often said that some only take on these visages as a form of skillful means (a Buddhist term that refers to an enlightened being’s particular method of teaching, in this case to frighten one out of dualistic thinking or to scare away the demons of negative thought and emotion), many fierce protectors are taught to be violent spirit-deities and demons only bound to protect the religion and its followers through strict oaths and the magical strength of powerful Buddhist adepts. Images of these wrathful deities – such as the detailed yab-yum statue of the fully-enlightened Yamantaka (Tib. Gshin rje gshed / Rdor rje ‘jigs byed) or the dark thangkas of the Geluk protectress Penden Lhamo (Dpal ldan lha mo) – fill this room alongside a variety of ritual implements and accoutrements used by practitioners to alternatively call upon their powers or keep them placated and under control. This includes a striking display of items used to create effigies for attraction and purification rituals, as well as a display of life-size implements often seen in the hands of deities, such several triangular ritual daggers  known as phurba (Tib. phur ba / Skt. kilaya), an actual alms-giving bowl made from a human skull, and a large, intricately carved chopper.  There is also a small triangular iron lock box that is used to both imprison harmful spirits and burn away negativities, which is described as rare to be found in such a collection. Furthermore, featured on the wall beside this glass display was something quite amazing – a nearly complete and wearable set of bone ornaments (rus rgyen) dating to the fifteenth century, consisting of a crown, chest piece, apron, and armlets of carved bone beads and amulets (missing only the earrings and anklets). These ornaments are often seen on depictions of fierce or tantric deities (such as Vajravarahi), and would have been worn for certain rites and ritual occasions. I could go on even longer on the astonishing finds of this gallery, but for those that are perhaps less enthused about such deities and practices, I will move on.

III. Tibetan Buddhist Altar

Between these two Chapels is situated the impressively large Tibetan Buddhist Altar, recently re-consecrated by His Holiness, the Fourteenth Dalai Lama, during the opening celebrations in March. His Holiness originally consecrated the altar in 1990 when he visited the site specifically for that purpose, and according to the Visitor’s Guide, the current altar has a long history, and even contains portions of a previous altar that was consecrated in 1935. The brightly painted walls, as would be expected of a typical temple, are hung with a variety of thangkas, and either side of the offering table are fitted with modular shelves, each holding a rather large individual Tibetan manuscript. These are called pechas (dpe cha), and they consist of loose-leaf pages held between two cover plates and wrapped in cloth for protection (as is currently pictured in the header image above). The cover plates of a pecha can be wood or metal, simple and flat or elaborately carved and inlaid, and today often simple cardboard or cardstock is used. The walls outside the altar display several rather large and delicately ornamented examples of these covers, and they depict scenes from the pages of the religious texts that were once held within them. The history behind the altar and its construction is fascinating, and the location is a must-see for anyone visiting the museum, particularly for children (and adults) who have had little in the way of an introduction to Tibetan or Buddhist cultures.

IV. From the Sacred Realm: Paradises and Pure Lands

Also outside the altar room is an exhibit that does not appear to have been changed much. It displays various depictions of the many peaceful deities of Himalayan Buddhism and their associated abodes, called Pure Lands or Buddha Realms. Unlike traditional heavenly realms of Buddhist cosmology, into which any individual with good enough karma could be reborn temporarily before continuing on through samsara, a Pure Land is a paradise created by a Buddha so that his (or less frequently her) followers may end their suffering and be reborn there by performing certain acts of devotion. The gallery contains numerous thangkas and statues, including images of the popular Buddha Amitabha and his Pure Land Sukhavati, who has a large cult following not only in Tibet but throughout East Asia as well.

V. ABC’s of Iconography: The Body, Speech and Mind of Buddhist Art

Following the hallway further, one finds an exhibit I found not only to be creatively structured but particularly engaging as well. Recently reorganized around the traditional Buddhist categories of Body, Speech, and Mind, this informative installation attempts to explain various aspects of iconography and symbolism seen throughout the art of the collection. Speech and Mind are addressed simply but succinctly – the first through the use of mantra recitation and prayer wheels by members of all levels of Tibetan society, and the second by showcasing the stupa (Tib. chos rten), a type of multi-tiered reliquary, as a physical representation of the Buddha and the enlightened mind. The most detailed aspect of the exhibit, however, is that of the Body, which consists of two side-by-side displays that explain, through the use of labeled line drawings, laminated placards, and a game of matching using real artifacts and statues within the display case, the symbolism, facial expressions, and body language in the iconographies of peaceful and wrathful deities. While the items on display were interesting in and of themselves, the interactive, educational quality of the exhibit stood out to me as especially innovated, and I appreciate the effort put into it by its designers.

VI. Tiaras to Toe Rings, Asian Ornaments

The last two side rooms contain completely new Ongoing Exhibits introduced to the gallery. Tiaras to Toe Rings, as the title suggests, presents a variety of jewelry, decorative pieces, and even everyday accoutrements that would have adorned the bodies of Himalayan peoples from all walks of life. Items from Tibet are emphasized, such as several large examples of women’s headwear decorated in pieces of coral, turquoise, gold, and other expensive materials. The photos of women wearing these tiaras seemed almost necessary in order to understand the beautifully complicated way the pieces would have been interwoven into the long hair of their wearers. Not to be outdone by the elaborate collections of women’s accoutrements, another case featured a large collection of individually smaller (but still quite detailed)  ornaments worn by both civil officials and everyday workers, such as golden earrings, bejeweled flint and tinder boxes, and finials representing one’s rank and occupation. The exhibit also holds a huge collection of gau amulets of all sizes, each different from the next. These wearable boxes can contain rolled prayers, medicine pills, bits of soil or mandala sand, or anything else considered auspicious or sacred, and have been worn as a means of protection from negative forces for centuries. As in many cultures, the particular style of ornamentation one wears designates his or her socio-economic station and cultural affiliations, and the information provided with these pieces more than capably demonstrates this phenomenon within the Tibetan, Nepalese, and Mongolian regions.

VII. Red Luster: Lacquer & Leatherworks of Asia

The final new Ongoing Exhibit contains a striking collection that compares and contrasts the various red lacquer and faux-lacquer methods used by East Asian, Southeast Asian, and Central Asian artisans for centuries. The variety of pieces, including pens, writing desks, large chests and small boxes, display not only the popularity of this technique but the durability it lent to its objects. From water-resistant leathers to fire-resistant woods, this collection and the way in which it is displayed is aesthetically pleasing and culturally informative, following the influences of one technique throughout all of Asia and a significant portion of its history. While all its pieces are beautiful, I was of course drawn to the early fifteenth century varnished red book covers that once contained a copy of the Kanjur (Bka’ ‘gyur), the Tibetan Buddhist canon of sutras. These are made of sandalwood, lacquered with incised gold, and decorated with the eight auspicious symbols.

VIII. Tibet Information Zone

The last stop in a tour of the Tibetan galleries of the North Wing is a fully interactive alcove equipped to teach younger visitors about the culture and practices of Tibet. The wall is painted in a colorful, playful mural of rolling hills, happy yaks, and smiling Tibetan figures, and with an interesting documentary on ritual celebrations playing to the side, children can dress themselves in traditional Tibetan garments, pour imaginary butter tea, or play in the small replica of a traditional tent. There are also a pile of children’s books on the subject at hand, including an activity book produced by the Museum and Snow Lion Publications called Explore Tibet. I liked it enough that, along with several black and white postcards, I bought a copy of this book upon our obligatory visit to the Museum Shop.  While I bought it with my friends’ small child in mind, I will admit that it is adorable enough that I just may just keep it for myself.

In Summation

Overall, I greatly enjoyed my second visit to the Newark Museum’s Tibetan exhibits, and I have little in the way of criticism. I am only further impressed by the creative ways found to display the beautiful collection of artifacts. My only regret is that I was once again not able to visit any of the other areas of the Museum, but hopefully I will rectify that on a future trip. While New York City certainly has its amazing museums and impressive collections, if you are in the area and interested in Himalayan art or subject matters I highly suggest a visit. In any case, I hope that you enjoyed my account of the Tibetan Collection Centennial Exhibitions, and that you will join me on my next venture, wherever that may be. For more information on these and the other exciting exhibits and events at the Newark Museum, visit their official website at

Tashi delek!

Footnote: I am aware that I am missing the diacritics needed in the Sanskrit words and names used in the above entry – I apologize that I have not yet figured out how to provide these accurately through the WordPress program. If anyone knows how to make these work, please feel free to send me an email or leave a comment, and I would certainly appreciate the assistance. 

A Quick Interlude

While Part Two of my trip to the Newark Museum will be posted early this week, I felt it important to mention an upcoming event I have gotten particularly excited about. Coming this fall (Friday, September 30, 2011 – Sunday, October 2, 2011), the Philadelphia Museum of Art will present the Third Annual Anne d’Harnoncourt Symposium, Exhibiting India’s Art in the Twenty-First Century, in conjunction with the University of Pennsylvania History of Art Department. Friday evening will feature a reception with the Museum Director Timothy Rub and the UPenn’s W. Norman Brown Professor of South Asia Studies, Michael W. Meister, as well as an introductory talk on the South Indian Pillared Temple Hall with the Museum’s Stella Kramrisch Curator of Indian and Himalayan Art, Darielle Mason. Saturday boasts a series of interesting talks in the morning and afternoon, including a presentation by the Newark Museum’s Curator of the Arts of Asia, Katherine Anne Paul, entitled “Prisms of Practice: Tibetan-Buddhist  Altars in Museum Settings.” Finally, Sunday will consist of roundtable  working sessions discussing the previous day’s sessions. I’m definitely looking forward to this event, and barring complications I hope to attend and give a full account come September. Maybe I’ll see you there too!

For more information and a full schedule of events, see the Philadelphia Museum of Art’s Official Calendar:

Celebrating a Century – Part One

As I mentioned in my first entry, this last Wednesday (July 20, 2011) I was finally able to make a trip over to the Newark Museum to see the Tibetan Collection Centennial Exhibitions that have been on display since March. Due to the number of exhibitions I visited and for ease of  reading, I will break this visit into two posts rather than one long one, starting  with the featured exhibits on the Main Floor in the first part, and ascending to the ongoing Tibetan exhibits on the third floor of the North Wing in the second.

As some background, in celebration of the Centennial marking one hundred years since the Newark Museum’s Tibetan Collection began in 1911, a number of events have taken place beginning with a Losar (Lo gsar), or Tibetan New Year celebration, and the opening of a temporary exhibit – Tsongkhapa: The Life of a Tibetan Visionary – on Saturday, March 5, 2011. This has been followed by a number of Tibetan-themed events, including a Tibetan Bazaar, the painting of a sand mandala, a lecture series, and even a visit from His Holiness, the Fourteenth Dalai Lama Tenzin Gyatso (1935 – Present), who served as the keynote speaker at the Newark Peace Education Summit  (May 13-15, 2011). While in Newark, His Holiness also re-consecrated the permanently installed Tibetan Buddhist Altar situated on the third floor of the North Wing of the Museum. Quite disappointingly, I was not able to attend any of these events personally, but instead could only follow them vicariously as they coincided precisely with the period of time in which I was preparing to and actually moving from my apartment in Florida back to my home in New Jersey. As such, while programs and classes continue for the rest of the year, I missed the primary celebrations. Nevertheless, I knew had to visit the Museum as soon as I was able, as the Centennial as a whole prompted a number of new exhibits as well as some reorganization of the permanent Tibetan exhibitions. I’d been the Museum during the early spring of 2010, and I was excited to see how the Museum staff could have improved on what I already found to be an astonishing presentation. Having perused the website, I knew I had at least eight exhibits to see specifically related to the Centennial. So, with a friend in tow who knew her way around museums but not much about the Himalayas in particular (and who was nice enough to put up with my one-tracked mind, occasionally faulty memory, and consistent spouting of facts and opinions), I was finally able to visit for myself.

Featured Exhibits

 I. Tsongkhapa: The Life of a Tibetan Visionary

This featured exhibit of the collection is installed on the first floor of the Main Building in a side room to your right if you are standing with your back to the Garden Entrance. It consists of a set of fifteen narrative thangkas (thang ka) displaying the complete hagiography of Tsongkhapa (1357-1419), the founder of the Geluk sect of Tibetan Buddhism (this is also the sect to which His Holiness, the Fourteenth Dalai Lama, belongs). The walls are painted a beautiful shade of maroon that directly compliments the royal blue embroidered silk framing the images hung upon them, and causes the room to sit in stark contrast to the white-washed walls of the rest of the Engelhard Court area. A thangka, for those unacquainted, is a particular kind of Tibetan icon consisting of a painting or an embroidery mounted on a colorful, often multi-layered rectangle of various textiles (usually embroidered silk). It hangs from wooden road, and is draped with silk covers and banners. While thangkas are most commonly seen as depicting a particular deity or saint as the central figure, they can also be used to show other things, such as visual representations of teachings (like thangkas of the Wheel of Life), groups of figures, and other religious ideas. This set was part of the 1911 founding collection around which the celebrations are revolving, and their conservation by the museums took place over a nine-month period (The Newark Museum describes this conservation in detail on their website:

What was probably my favorite part of this exhibit was the way in which it was complimented with informational materials.  Tucked unobtrusively in two places along the walls between the images were plexiglass bins holding laminated placards for each of the individually numbered thangkas.  On one side, a copy of the image is broken down into its individual parts and scenes, while on the other, each scene is described in a cohesive narrative form. There was even one bound book of the placards that you could take from image to image, that, if starting from one and working to fifteen, allows you to read an entire hagiography of revered teacher. It really made looking at each image far more engaging, and we spent quite a lot of time going from one to the other looking up individual scenes or characters that jumped out to us as interesting or unique.

II. Tibetan Photography Collection

Displayed on the walls outside of the room containing the Tsongkhapa exhibit is a small but fascinating collection of photos said to have been taken between 1905 and 1949. Not listed on the website or in the Museum brochures, it was something of a nice surprise. The black and white images consist mostly of portraits of Tibetan people (described as Nobles & Nomads in scrolling text on the wall) in various styles of traditional garb and adornments, but also show several scenes of everyday life prior to Tibet’s  incorporation into the People’s Republic of China. Not much accompanies the photos in terms of identifiers (perhaps due to their age and a lack of recordation on the photographers’ parts), but they are beautiful nonetheless.

III. Pots of Silver and Gold 

Along the corridor that connects the Main Building of the Museum to the North Wing (the half of the complex which conveniently houses the Asian Art exhibits) is another newly installed display of Tibetan and Mongolian artifacts from what appears to be the eighteenth through twentieth centuries. Tucked behind the glass are a gorgeous collection of tea pots, pitchers, cups and similar items made from various materials and decorated with intricate flourishes in silver and gold, such as motifs of lotuses, the eight auspicious symbols of Buddhism, and, most strikingly, dragon and makara-headed spouts and handles. This small collection spoke to both the tea lover in me and my own personal fascination with intricately crafted everyday items, not to mention my
interest in anything with a spirit-deity or animal-like creature involved.  I particularly liked that, along with a description of the items, the Museum provided some background into the traditional diet associated with these pieces, giving a brief description of home-made barley beer (chang), butter tea (bod ja), and tsampa (a type of dough ball eaten raw), among others. This was a nice touch regarding Tibetan and Mongolian food culture that those uninitiated might find interesting (For more information on this exhibit, see:

Both of these Featured Exhibits on the Main Floor (and I imagine the photography exhibit as well) will continue to be on display through December 31, 2011, and if you are in the area I strongly suggest you go take a look for yourself before they end.

In my next entry, I will continue with a discussion of the ongoing Tibetan exhibits on the Third Floor, which consist of the permanent children’s exhibit and the Tibetan Buddhist Altar, the recently revamped Chapel of the Masters, Chapel of the Fierce Protectors, and From the Sacred Realm: Paradises and Pure Lands, as well as the newly installed ABC’s of Iconography: The Body, Speech and Mind of Buddhist Art, Tiaras to Toe Rings: Asian Ornaments, and Red Luster: Lacquer & Leatherworks of Asia.

Tashi delek!


On a side note:

A team of scientists led by the Museum’s Provost of Science Mike Novacek and the Paleontology Division Chair Mark Norell have headed to Mongolia’s Gobi Desert to examine a particularly rich fossil bed that has produced hundreds of animal fossils from the Cretaceous period. You can follow their expedition as team member and Museum researcher Jonah Choiniere shares updates to be tweeted by @AMNH with the hashtag #GobiExpedition (