Dza (Day) no. 1

Tashi Delek Youngster's

Hi Ya ! My name is Zangmo and I am interning at the BGC. So far I have shaken my self into  self proclamations; shouting out to my self YOU ARE artist, comedian, photographer performer and now,  blogger. 

I will record some parts of parts of parts of parts apart of my thoughts and ins and outs. I wish I can put the whole thought process but my brain won't connect to the computer bluetooth stem for thought upload. Ugh technology. 

Today I began a deep study on the beginning of all of my collected research material, mainly consisting of scholarly articles, interviews, and a book. I decided to one, put aside some time to be informed about historical knowledge of important events in Tibetan history where thangka's where created or depicted. One of the texts had very advanced vocabulary. I looked up words like sinicize (- modified by Chinese influence) and consecrate (-dedicated to a sacred purpose). Which I am grateful to have come across, since they are essential for when I will articulating relevant ideas later. 

One authors research is based on her visit to an art school in Kathmadu run by a Tibetan artist contributed to the main argument in her distinction, The Thang ka's creation process is rigorous and meticulous.

Thangkas are beautiful and a creator will use artistic skills choices (including color choice, vibrancy, pattern work, and form of god realm figures) which reflect the desirable traits in Tibetan aesthetics.

But
 . . . for the ultimate purpose of worship or support of prayer, not observation.
I informally interviewed my father,  a religious devout about various aspect of the creation of Tibetan Thangka's.  My source says the object serves as sole purpose, to leave a strong aid on the worshipper to visualize the Buddha and his power. When one need to pray to a Deity they are supported, even guided by the thang ka imagery to chant and pray in connection to the God.

Jaimee, a BGC graduate counselor encouraged me to wonder about the conflicting views of what objects are categorized as. Continuing from this, I question shouldn't the greatest distinction be that a thang ka is foremost valued as a sacred religious object, rather than an artwork. It is a religious object, and can not alternate with artistic terms like "medium" (as done under one scholarly article)

From my most informative research, I searched into the author's background and found that she is a curator and research assistant at the Rubin Museum. I reached out to various (general, educational, reservation) departments at the Rubin Museum about getting in touch with her and possibly coordinating a tour this week. This was a nice coincidence because I planned to visit. Hopefully, I have the entire MA thesis annotated by then, so my observations and inquisition are narrower and more refined.



Remaining Ideas/ Q that I have yet to answer with confidence

+  Is the cloth of thang ka's traditionally made of silk ? Is that still followed modernly , what are alternate materials and how how popular?
+ How was silk available in Tibet
+ I would like to know more about thang ka variations or (uniformity) based on regional areas of Tibet?
+ Why are the eyes/ faces painted last?
+ Why do some creators add gild? How does that step look like?
+ Why add a wooden bar to the hem of the thang ka? Does it represent anything? Is it a rarity or valuable?  
+ What function does the veil serve? and the two narrow strips? Is it for protection or decoration?
+Is a thang ka painter = the title artist?
^
I think usually a painter equates to artist, however in this case, the makers goal is not plain museum art, it has multiple significant functions. 
Regular artist do not need character or virtuous quality, just a high skill level in their field to be titled artist, Thang ka painter's have to be aware of the intention of the object, according to the article Kelsang Namgyal says a "good thang ka" is painted best by a good person, with good intentions and motivations, educated about specific technique, routine/ course towards achieving the "good thangka". (Is there such thing as a best thang ka, can they be judged side by side with other thang ka's? )
+ Art as in "religious" are vs. "art"
+The correlation in Aesthetic element in religious "art" vs. art
+Medium vs. (subject) Object
+ Does a painted object necessarily mean it is prioritized as an art object rather than a religious/ ritual object? Can "art object" be misleading?

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Later in the day :
I was granted access to a super cool cannon camera from the BGC. It was funny, I thought I was borrowing a low key camera, that was inexpensive but it was a cool cannon. I took a few of the shots of the thangka Before I left at the BGC- I couldn't bring the Thangka home since it would conflict with the bulky cannon camera set bag. So I got home and couldn't take pictures of the star of my study. But at home I did get a few of other thang ka's and ritual objects from the shrine room at my home. (I also took some selfie's, sorry I am a teen)

The first photograph is the chosen object of the project~ Here is the central Medicine Buddha and retinue of bodhisattva students. 

In prayer for a healthy mind, health or well being.
Recite over to self :
 Tayta
 becandzi becandzi
 ma ha becandzi
 run zum sum ih
 gah teh sow ha
(Credit to my mom who taught me this when I was a young child . . . and again this week.)

Here are photos of the shrine room at my apartment.

For the rest of the week I will do further, more specific object observations and after a deeper back ground study (hope fully Tomorrow or Thursday?) I will funnel my collective research. 

Like the Hawaiian's~ Tashi Delek.