Although early in its history Tibetan art was predominantly oriented toward India, Tibetan culture both influenced and absorbed successive Chinese artistic traditions. These connections were particularly close during periods when the emperor who ruled China adopted Tibetan Buddhism and invited Tibetan teachers to court.
Hence Chinese imperial workshops adopted Tibetan Buddhist artistic conventions, and Tibet became a repository of Chinese art. These Chinese objects collected in Tibet gradually inspired Tibetan artists to adopt certain Chinese artistic conventions, such as landscape, into Tibetan painting.
Mongolians were intimately involved in Tibetan affairs during the Mongol Empire (ca. 1206-1368), when they ruled both Tibet and China. Later, with the rise of the Geluk School, Mongolians directly aligned with branches of Tibetan Buddhism and converted to the religion. The Buddhist art of Mongolia was thus similar to that of Tibet but distinctive in certain subjects, materials, and styles.
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Zanabazar
Mongolia
late 17th century or early 18th century
This sculpture has many characteristics of the exceptional Mongolian artist Zanabazar (1635–1723) and his workshop. Zanabazar was Mongolia’s first recognized incarnate lama and leader of Mongolian Buddhism. He founded a sculptural style that has had a profound influence to this day. The style is marked by round faces; fleshy, bee-stung lips; patterned etching on garments; jewelry rendered with finesse; and warm, gilded surfaces.
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