Tibetan religious art has been conditioned by Indian aesthetics out of its necessity of conforming to the Buddhist iconography and iconometry which Tibet inherited from India. However, Tibetan artists and connoisseurs have been able to express their own perceptions of art works and to formulate independent aesthetic judgments in adequate terms, as illustrated by writings of 16th-, 18th and 20th-century authors. The author analyzes the conflicting aesthetic criteria adopted by Tibetans and Westerners with respect to the appreciation of religious images, and suggests that the latter should take into account also the aesthetic criteria of the former in their evaluation of art works from Tibet.
Lo Bue E. (2008). Tibetan Aesthetics versus Western Aesthetics in the Appreciation of Religious Art. PARIS : École française d'Extrême-Orient.
Tibetan Aesthetics versus Western Aesthetics in the Appreciation of Religious Art
LO BUE, ERBERTO
2008
Abstract
Tibetan religious art has been conditioned by Indian aesthetics out of its necessity of conforming to the Buddhist iconography and iconometry which Tibet inherited from India. However, Tibetan artists and connoisseurs have been able to express their own perceptions of art works and to formulate independent aesthetic judgments in adequate terms, as illustrated by writings of 16th-, 18th and 20th-century authors. The author analyzes the conflicting aesthetic criteria adopted by Tibetans and Westerners with respect to the appreciation of religious images, and suggests that the latter should take into account also the aesthetic criteria of the former in their evaluation of art works from Tibet.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
