<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101124/636b71fc9c7e80680e0600ffjpeg.jpg" alt="" width="1500" height="1125"/>This week Siddhartha Art Gallery brings to us the rare opportunity to view the works of two celebrated Tibetan thangka artists, Tenzing Dhargay and Lobsang Tseten (pictured). Viewers will be able to observe the beauty and intricacy of the painters’ works of devotional art, as well as the unique specialties of the paintings of their school when compared with the thangkas with which we are more familiar.The thangka tradition dates to antiquity and paintings were originally commissioned for temples and religious shrines. Artists used colours found in nature, grinding stones by hand. Four schools of thangka art developed in Tibet over time, and some of them share many similarities with Kathmandu Valley paubha art.There are, however, many ways to distinguish artistic works of various Himalayan traditions. Chief guest Rinpoche Tsepri Lopan Tulku pointed out during the exhibition’s inauguration that while Indian-influenced paintings of Buddha have his shawl going over his left shoulder and leave his right shoulder bare, Tibetan paintings have the shawl coming over the right shoulder. In his talk, Rinpoche also praised the two artists for using original stone colours and real gold in the paintings’ backgrounds. “I am not saying this just to flatter them, but because they are really good and represent the ancient art well,” he said.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Devoted-to-painting,1705" target="_blank" rel="noopener">Devoted to painting</a>, Stéphane HuëtTenzing Dhargay is a tenth-generation artist of the Khari Khangsar family who, like most thangka painters, learnt the art by assisting his father. Belonging to the Menri school, he has painted both peaceful and wrathful deities. “Many people have asked why we paint such scary figures. In Tibet we believe that the soul wanders in limbo for 49 days after death, where there are many demons. If children grow up looking at these figures, then they will not be scared when they see them after death,” he said. Dhargay also spoke of how thangka is changing. The Menri school that he comes from is known for artists’ profuse use of green colour, and detailed backgrounds including waterfalls, trees and other natural features. Dhargay has kept the dominance of green, but experimented with the background, leaving that of many of his paintings bare.Lobsang Tseten’s works are large, intricate pieces depicting Buddha at the center surrounded by many other deities. Depending on the level of detail, the paintings may take him 5-6 months to create. The fourth-generation artist is also of the Menri school and started learning with his father at the age of 12, but then went on to study contemporary art in Canada. “I have come back to this form because of a concern for it. It is disappearing in its true form, and my work is an attempt to preserve that,” he said.Read also: <a href="https://www.nepalitimes.com/review/guru-rimpoche-in-a-new-light/" target="_blank" rel="noopener">Guru Rimpoche in a new light</a>, Sewa BhattaraiTibetan Thangka paintings by celebrated Tibetan artistsSiddhartha Art Gallery, Babarmahal28 Jan-11 Feb

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Golden deities

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a56c29c7e80680e0547a2jpeg.jpg" alt="" width="1000" height="959"/><figcaption>Photo: TARAGAON MESUEM</figcaption></figure>Surrounded by overwhelmingly large ‘Sale’ signs is a tiny object in a large hall. Ang Tsherin Sherpa’s golden statue of a Tibetan deity in underwear is literally the object in focus at an exhibition at Taragaon Museum this week, part of the ‘Object in Focus’ series, designed to give viewers the opportunity to understand art in depth.“When we are surrounded by many exhibits, we often cannot digest what it all means. So this is our effort to delve deep into an important piece of art,” says museum curator Roshan Mishra. US-based Nepali artist Sherpa is the third artist featured in the series.Sherpa’s statue presents many interesting facets to explore: its face, hair and headgear are those of a Tibetan Buddhist deity. But instead of wearing the usual finery, it is attired like a modern superhero, and poses with one arm thrown in the air, Superman style.This piece ‘…and the winner is’ is a replica of Sherpa’s 2D work Victory in Spirit, but the actual metal casting was carried out by Shyam Maharjan, a traditional craftsman from Kathmandu.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank" rel="noopener">The world beyond thangkas</a>, Smriti BasnetSherpa’s work carries on his previous tradition of mixing traditional and modern art. Coming from a <a href="https://www.nepalitimes.com/banner/the-craft-of-art/" target="_blank" rel="noopener">family of renowned thangka painters</a>, Sherpa himself trained as a painter from the age of 13, and worked with his father on murals and monasteries for almost 20 years. He migrated to the US and painted there, also giving classes on traditional painting. That was when western art motifs began to infiltrate his work.Sherpa’s later works have depicted ancient deities caught in the modern world: gods in non-traditional poses, wearing western outfits, trying to break out of little boxes, shuttered inside claustrophobic modern motifs and trying to be heard amid the cacophony.The 3D work at Taragaon Museum fits this mould, but Sherpa does not want to talk about what it means. “To me, the pose symbolises a subjugation of negativity, it’s about hope,” he said at an interaction at the museum. “But I don’t want to attribute a particular significance to it. I would rather let viewers explore their imagination.”Read also: <a href="https://www.nepalitimes.com/review/us-nepali-art/" target="_blank" rel="noopener">US-Nepali Art</a>, Sonia AwaleInstead, Sherpa wants to talk about traditional art and his role in promoting it. “I used to work for months on a thangka piece, but then clients would ask why they should pay $3,000 for it when they can get a thangka for $200. The ordinary customer does not know the difference between real traditional art and souvenir art. Artists often fall prey to these market forces and are forced to compromise on quality,” he says.“That leads me to question what will happen to this art form 50 years down the line. Will we have any masters left, or only souvenir artists?” asks Sherpa.In an effort to promote traditional art, Sherpa visited many museums in the west and spoke to many curators. He found that they too had been desensitised by the flux of copies, and were unable to tell the difference between quality art and mediocre art. Sherpa then decided to contribute in his own way to get more recognition for traditional art.Read also: <a href="https://www.nepalitimes.com/banner/the-craft-of-art/" target="_blank" rel="noopener">The craft of art</a>, Sewa BhattaraiHe returned to Nepal after the 2015 earthquake, and has since been trying to serve as a bridge between traditional artists and the modern, western art world. For this exhibit, he sought out Shyam Maharjan, renowned for casting religious figures. “I did have to convince him to take up my unconventional work, by showing him photos of myself being blessed by several rinpoches,” laughs Sherpa. “But this is a way of highlighting high quality traditional metal casting as well, when this statue is exhibited abroad.”Taragaon’s Roshan Mishra also raised the question of ownership about pieces of art like this one: while the metal craftsman is the one who makes the physical object, the art is usually attributed to the designer who conceptualises it. For his part, Maharjan is glad that the statue came out so well.“Many religious teachers have complimented me on my work, and I know I am a good craftsman. I am happy to see that even this unconventional design looks so good,” he says.Though his work veers far from his traditional roots, Sherpa contends that he has a deep respect for traditional arts, and aims to put more focus on them. “We don’t have an infrastructure to support traditional artists, due to which it is dying out. Through my work I want to open up a conversation about how to best address this,” he says.Sherpa has sometimes been accused of ‘sacrilege’ but the art world has welcomed his work as a breath of fresh air. “Thanks to the artist for this diabolical piece,” says Sangeeta Thapa, founder of Siddhartha Art Gallery. “We always see the same deities everywhere and wonder why artists don’t experiment.”Read also: <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener">Nepali art going places</a>, Kunda Dixit Object in Focus 3rd Edition3-13 SeptemberTaragaon Museum, Bouddha

God and Superman

https://youtu.be/aG3NqSX0Sk8Woodcraft embellish Kathmandu Valley’s traditional architecture, adorning columns, eaves, windows and door frames with meticulously carved figures of gods and goddesses. Historically, these anonymous works of devotional art were carved by generations of the Shilpakar clan, whose surname was derived from their ancestral profession.Indra Prasad Shilpakar is from a long line of the woodcarvers from Bhaktapur who has decided to give new life to the craft by using traditional motifs, but adding artistic license with new elements. He has separated these pieces from architecture and created them as freestanding structures of art, modifying some background designs and poses of the gods.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ebb9c7e80680e04fcd0jpeg.jpg" alt="" width="1500" height="1000"/><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ebe9c7e80680e04fcd1jpeg.jpg" alt="" width="640" height="853">"Woodcarving on temples are strictly defined by rules that follow the storyline of the scriptures,” Shilpakar explained during a walk around his ongoing solo exhibition at the Taragaon Museum this week. “But outside of the architectural frame, I try to experiment.”Shilpakar has a degree in fine art from Tribhuvan University and he says the background in  contemporary art helps him try out new aesthetics so that traditional woodcarvings can also be viewed separately as individual pieces of art.In his day job these day, Shilpakar works in the restoration of Patan’s Bhai Dega temple which was destroyed in the 1934 earthquake. There he tries to replicate missing pieces of the temple based on old photographs and damaged pieces. After work, he is back at his basement workshop in Bhaktapur where with his father Indra Kaji Shilpakar he works on traditional carvings.Indra Kaji is not too enthusiastic about his son trying out new styles and selling them in galleries. He says: “Work in exhibitions ultimately end up in private collections, and only a few people will see them. On the other hand, when your carving adorns a temple everyone sees them, and it spans generations.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec19c7e80680e04fcd2jpeg.jpg" alt="" width="640" height="853"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec59c7e80680e04fcd3jpeg.jpg" alt="" width="1500" height="1000"></figure>Artist Indra Prasad Shilpakar (right) with his father Indra Kaji ShilpakarNonetheless, the younger Shilpakar says it is difficult to make a living making traditional wood carvings for temples, whereas experimenting with modern forms of traditional art and exhibiting them in galleries can earn the artist extra money.Shilpakar's Taragaon exhibition that ended on Tuesday depicted the best of woodcarving found in temples: windows with intricate patterns of flowers, deities like the Buddha, Ganesh, and Matrika, animals like crocodiles and Garuda, a pair of singing Gandharva and dancing Kinnara.Even more modern renditions of traditional wood carvings are strewn around Shilpakar’s workshop in Bhaktapur. Senior Shilpakar and his son share a passion for traditional woodcraft, and have designed their home keeping true to their Newa heritage. Carved wooden pillars line the ground floor, a traditional wooden staircase leads to the second floor which has intricately-carved wooden windows.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ec89c7e80680e04fcd4jpeg.jpg" alt="" width="1500" height="1000"></figure>Photos: Monica DeupalaThe attic kitchen has a high, triangular roof supported by wooden balustrades, and the balcony outside is lined with woodwork. The walls have a museum feel with displays of mallets, chisels, gouges and skews in various sizes that were used by their ancestors. "We wanted our house itself to reflect and preserve traditions," says the younger Shilpakar.Indra Prasad Shilpakar feels his family’s ancestral work is still seen as a lowly occupation, and he wants to be recognised as a creative artist as well. He says: "It is sad that we don’t know the names of the masters who created the exquisite carvings on our temples. They were never known as artists. But here in this gallery I am known as an artist in my own right.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108131140/636a4ecb9c7e80680e04fcd5jpeg.jpg" alt="" width="4000" height="3000">Wood Carving: The Art of the Newars of Nepal Solo exhibition of wood art by Indra Prasad ShilpakarTaragaon Museum, 1-9 July

In with the old, in with the new

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