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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China
16th century
This exceptional Chinese lacquered-wood sculpture represents Vaishravana, an important wealth deity and guardian king of the northern direction who is popular in both Tibet and China. One of the major differences between Chinese and Indian deity depictions is the relative size of the animal, or vehicle, upon which the deity sits. In China these animal companions are sometimes larger than the deity itself, a feature that carries into some Tibetan representations that use Chinese models. In this sculpture Vaishravana, wearing an elaborate coat of mail, sits on a massive crouching lion. Their bodies are relaxed, but their facial expressions are fierce, signifying the potential for action.
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