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.
Select each work to learn more.
Tibet or Mongolia
18th - 19th century
Such richly decorated saddles were public displays of status throughout the Himalayas, especially in Tibetan and Mongolian cultures where horses played such a prominent role, much as a luxury car does today. The richly decorated face plates on this saddle are made from thick iron, deeply chiseled and pierced, and gilt with a technique known in the West as damascening. The primary motif is long, thin scrollwork framing a pair of four-toed dragons that face a flaming jewel, the most popular motif used to decorate saddles. The cover is decorated with a lotus motif surrounded by smaller roundels with the Chinese character for long life. The wear of the silk saddle cloth reveals its construction, including the use of wool bunting beneath.
Get the latest news and stories from the Rubin, plus occasional information on how to support our work.
