Stone ground pigments on cloth
Collection of Shelley and Donald Rubin
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what I see being transformed through tantric purification, ultimate Bodichita, and enlightenment: is to free all sentient beings in all worlds , through time and space from Samsaric suffering ; so that they also achieve Bliss and Emptiness and Permanent Peace.
yeah i think your right..!!!!!!!:)
do you make mandalas?
This painting really touched my heart! It reminded me of a short poem from “Zen Word, Zen Calligraphy” that is “a beautiful Pali verse” It goes:
You are the Light itself.
Rely on yourself,
Do not rely on others.
The Dharma is the Light,
Rely on the Dharma.
Do not rely on anything other than Dharma.”
The story goes, “We normally think of light as coming from the sun. Light also comes from the moon, the stars, candles and fire. From the Zen Buddhist point of view, however, the most important light is the internal light, or to be more precise, we are the light itself, nothing else. The light shines. “Endless Dimension Universal Light’ is another name for Amitabha Buddha and is a poetic expression of our true nature.”
it looks like he distrubutes all the good and beneficial things that he made. so kind of him. it touched my heart and my eyes. im crying right now. seriously this is the most beautiful picture I’ve ever seen.and also i can see that there are more people who sacrifies and try to help people all around the world. preety good and cool. loved it!
i’ve seane nine artist, made anexcellance proformance..
on this exhibiton..
Tashi Delek, Tenzin Norbu la,
Today i came to visited here in musuem and i was gazing very careful of all of artists’ arts and a few were read to learnt. But i have been seaing your art which monks are playing soccer and old monk is talking on the phone, i am still confussing your this art about. Or you are blaming monk, i have got no idea about the art of yours. I saw a couple of arts about monks in London and Paris, Milano, La Reunion but here in New York which art is i did not understand.
Tapain ko chitra haru dherai ramro lagyo. Kathmandu ayeko bela bhetnush hai.
A review I read online found works such as these boring, or just not pushing it far enough (I don’t remember exactly how the reviewer phrased his criticism).
But I look at a work like this, and I appreciate the cultural and art historical content, that the artist is very deliberately doing something very closely tied to his own tradition, rather than joining the bandwagon of a-cultural abstract “modern” art. This sets him apart in a positive way. How many artists in the West use stone-ground “traditional” pigments?
Tenzin combines traditional media, methods, and content with modern/Western styles, and Western perspective (see the butter lamps growing smaller as they recede into the distance), just like a Tibetan equivalent to the Nihonga movement. Nihonga was profoundly modern and radical in Japan 75-100 years ago – and produced gorgeous, stunning works of art that impressed with their beauty, rather than confusing with their abstractness – and this too is, to my mind, not “too” traditional at all, but actually quite modern as well, addressing the dense, complex subjects of modernizing and Westernizing, of keeping up with changes in the art world or whatever, while at the same time maintaining traditional skills, methods, media, iconography, etc…