Pictorial Relationships in Tibetan Thangka Painting and Furniture, Part I: Flowers

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The Buddhist Goddess Sita Tara (White Tara) , Central Tibet, from a Gelukpa Monastery, 19th century Mineral Pigments And Gold On Cotton Cloth; Silk Borders Image: 32 3/4 X 21 In. (83.20 X 5.20 Cm); Overall: 58 X 31 1/4 In. (147.32 X 79.38 Cm) Gift Of Mrs. Anna C. Walter © Courtesy of LACMA - Los Angeles County Museum of Art
Pictorial Relationships in Tibetan Thangka Painting and Furniture, Part I: Flowers

5905 Wilshire Avenue
Los Angeles, CA 90036
May 11th, 2012 - May 19th, 2013

Mon-Tue,Thu 12-8; Fri 12-9; Sat-Sun 11-8


This special installation is the first part of a twofold presentation examining Tibetan thangkas (religious scroll paintings) and the paintings that adorn Tibetan furniture. The elaborate and often esoteric imagery of Tibetan thangkas, manuscript illustrations, and murals is generally paralleled in the painted decoration on the exterior of Tibetan furniture, especially trunks and cabinets.

In formal Tibetan Buddhist painting (and sculpture), deities and important religious teachers are the primary subjects. In these works, various flowers, animals, and auspicious symbols are depicted as minor elements of the larger composition. Some have religious significance, as when lotuses and other sacred flowers are used to create the overall form or structural components of the deity’s divine throne. Other elements, especially vegetation and flowering plants, are mainly decorative devices, although they also document the influence of Chinese landscape traditions on Tibetan painting.

With furniture, Tibetan artists were much freer to express their individual creativity. They would often enlarge, enliven, and combine subsidiary elements such as plants and flowers to serve as the primary subject or to create protective designs on certain types of cabinets used in religious rituals.

Ahmanson Building, Level 4