Untitled+work+by+Ang+Sang



//Untitled// by Ang Sang from [|The Mechak Center for Contemporary Tibetan Art.]

Title: Untitled Artist: Ang Sang Date: Period: Country of Origin: Lhasa, Tibet Cultural/Ethnic Affiliation: Tibetan Medium: Oil on Canvas Dimensions: Museum/Collection: Accession Number: Current Location and Manner of Display: Mechak Center for Contemporary Tibetan Art Provenance:
 * Artwork Identification**

Ang Sang is one of many emerging contemporary Tibetan artists. Ang Sang was born in Lhasa, Tibet in 1962. He studied painting, including the traditional Thangka (religious scroll) style, at Tibet University and graduated in 1988. That same year, he won a prize for his artwork //Lamb// at the Tibet Contemporary Art Exhibition in Beijing. Since then, Ang Sang has won several other prizes. They include an outstanding prize for //Feeling of Tibet// at the 1997 China Art Exhibition and a prize in 1998 from Literature and Art of the Holy Land, Lhasa Government’s highest art prize. Additionally, his paintings //Backing Home// and //Tibetan Gir////l// have been chosen for both the Eighth and Ninth National Fine Art Exhibitions in 1994 and 1999, respectively. Sang is one of the founding members of the Gedun Choephel Artists Guild, Lhasa’s only cooperatively owned art gallery. He currently resides in Lhasa, Tibet.
 * Artist Background**

Typical of Sang’s work, this //Untitled// painting blends traditional Tibetan themes with Western avant-garde style (Ang Sang, 2004). The centralized and proportional dominant representation of the Buddha reflects the artist’s religious focus. The Buddha’s blue eyes simultaneously incite a calming effect and direct the viewer to the main focus of the piece. Surrounding the Buddha are depictions of the Griffon Vulture, a bird found in Tibet. The presence of these vultures is likely a reference to Tibetan sky-burials, a funerary practice where the dead are left exposed. Also known as bya-gtor, which literally translates to "offerings to birds." This practice reinforces the Buddhist idea of the impermanence of the material self. Allowing the corpse to be eaten by scavenger birds is considered an act of generosity which helps sustain the life of the birds.
 * Artist's Work and Influences**

The depiction of vultures not only reinforce the painting’s religious theme, but also reflects the influence of Sang’s life in Lhasa. He explains, “Inspiration for my painting comes from the things I see and feel every day” (Brahm, Buckley, & Miller, 2007, p. 136). Also indicative of the artist’s experience in Lhasa are the engraved stones in the background. The script on these stones is not Tibetan, but Sanskrit. The letters are only partially visible and cannot be fully read. These likely form a mantra, or magical incantation, found on prayer wheels and other objects associated with Buddhism. The smaller, rectangular-shaped objects are likely representations of prayer flags or prayer papers.

Other notable elements of this painting include its directional and unifying qualities. The vultures all face the same direction and leave the impression that there is just one woman depicted at three consecutive stages. The fact that both the woman and vultures face the same direction invokes the sense that the artist attempts to depict the alignment or common path of nature and humanity. Additionally, the color of the woman’s head adornment is repeated on the Buddha’s headdress and slightly in the background, symbolically unifying the Buddha, devotee, and Tibet together.

Another painting by Ang Sang that relies on similar themes and message is //Buddha Realm// (1997). In this painting the focal point is on the Buddha head at the top left. Sang uses the intensity of the eyes to capture the tone of the painting. The two other Buddhas heads receding on the bottom right and left of the painting seem mysterious. The primary Buddha may represent the new emerging Tibet while the other two are slowly fading as if they symbolize the past and current state of Tibet.

The background image has many sitting Buddhas as well as Sanskrit writing. One of these sitting Buddhas, upper right, is blank as if the carver was not sure how to finish the piece. However, the nature of the repetitive use of these images is conducive to a trance or a mantra. Also, the birds in this painting appear to be those of eagles and are central to the meaning behind the image. The eagles are flying through the image in the same direction with their claws outstretch as if they are about to grab onto something. In this painting it may be hope for a free Tibet that these eagles are trying to grasp or at the very least a place to land free of harm and persecution or it may again reference the bya-gator as there is an open flame beneath the central bird.

Both images, //Untitled// and //Buddha Realm//, share Sang's use of images of Buddhas, Sanskrit writing and birds all in earth tones. Sang use of these tones in his pieces denotes a harmony between his want of preserving and respecting the traditional Buddhist way and his need for a connection to contemporary Tibet.

//Buddha Realm// (1997), Oil on canvas, 148 x 115cm from [|Asianart.com]

Mani-stones. A Tibetan practice- mantras are carved into stones. Photo of a Tibetan eagle from [|The Arnold Arboretum of Harvard University]. From [|Symbols of Tibetan Buddhism].

The art of Tibet has significantly changed over the last half century. The religious oppression that came with the People's Republic of China’s domination of Tibet in 1959 resulted in the introduction of Socialist Realism in Tibetan art. Several artists trained in traditional Tibetan style, alongside many of Tibet's spiritual leaders, moved into exile, seeing themselves as authorities of "true" Tibetan culture ( Klieger, 2002, p.22). The consequence of this external authority and memory of Tibet before China’s occupation has led to the confusion of what is authentic Tibetan art today.
 * Historical & Social Influences**

Yet, for those who experience life inside Tibet, such as Sang, the encroaching effects of modernity have changed the landscape of Tibet. Kabir Heimsath writes, “Tibetans often stagger out of //nangma// nightclubs, playing a mix of traditional Tibetan, pop Chinese, Western and Hindi music, at four in the morning. About the same time a steady stream of pilgrims from all over Tibetan areas begin circumambulation around the Potala and inner city” (2006).

A world juxtaposed somewhere between tradition and modernity, while under the rule of a regime not of their choosing, has resulted in diverse themes in contemporary Tibetan art. Whether created inside or outside of Tibet, motivations range from political statements, questions of Tibetan identity, the preservation of the “Old Tibet” and, conversely, the quest to redefine what is accepted as “genuine” Tibetan art.

Additionally, some artists, like Sang, intentionally use their art as a form of religious practice. He states, “You see, every person has their own inner Buddha, and every person has their own temple palace within. Mine is expressed through my paintings” (Brahm, Buckley, & Miller, 2007, p. 136). Attempting to find the commonalities between traditional Tibetan and Western avant-garde art, Sang seeks a balance, both embracing modern style while preserving traditional religious practice.



Photo of Artist Ang Sang from Gedun Choephel Artists' Guild on [|Asianart.com]

All of my paintings show unintentional emotion, painting to me is Buddha nature in my heart, which I admire and respect unconditionally. My painting is different from Western painting, which emphasizes realistic description or expresses individuality and so on. Also it is different from Chinese traditional painting. Rather it is under the premise of faith and devotion. And it is the art language of the spirituality of our nationality; I am trying to find out the common point between the ancient Tibetan traditional art and Western avant-garde art. My purpose is to set up a special art language and soul of painting, which is based on our traditional and folk art, and to create special artworks, which have both nationality and modern characteristics. The more it expresses our nationality, the more it will be international (Quoting Ang Sang Gedum Choephel Artists' Guild).
 * In the Artist's Own Words**



//Budha// (2003), Mixed Media, 230 x 150cm from [|123 Soho Art Gallery].

Ang Sang. Retrieved February 27, 2009, from Gedun Choephel Artists' Guild on Asianart.com website: [|http://www.asianart.com/exhibitions/gendun/angsang/bio.html]
 * Image References:**

Ang Sang. //Budha// (2003). Retrieved February 28, 2009, from 123 Soho Art Gallery- Gedunchoephel Artists' Guild website: []

Ang Sang. //Buddha Realm// (1997). Retrieved February 28, 2009, from Gedun Choephel Artists' Guild on Asianart.com website: []

Ang Sang. //Unknown//. Retrieved October 7, 2008, from the Mechak Center for Contemporary Tibetan Art website: []

Mani-stones. Retrieved October 9, 2008, from the International Kalachakra Network website: [] Photo of a Tibetan eagle. Retrieved October 30, 2008, from The Arnold Arboretum of Harvard University website: []

//Ang Sang: Biography//. (2004, September 27). Retrieved October 14, 2008, from Asianart.com: []
 * Text References:**

Brahm, L. J., Buckley, C., & Miller, L. (2007). //Immersion Guides: Lhasa//. Beijing: True Run Media.

Heimsath, K. M. (2006, March 5). //Untitled Identities: Contemporary Art in Lhasa, Tibet//. Retrieved October 7, 2008, from Asianart.com: [] Klieger, P. C. (Ed.). (2002). //Tibet, Self, and the Tibetan Diaspora: Voices of Difference//. Boston: Brill Academic Publishers.

The Arnold Arboretum of Harvard University- [] Asianart.com - [|http://www.asianart.com/] Symbols of Tibetan Buddism- [] The Gedun Choephel Artists’ Guild – [|www.asianart.com/gendun/index.html] Mechak Center for Contemporary Tibetan Art – [|www.mechak.org] The Sweet Tea House – [|www.sweetteahouse.co.uk]
 * Links:**


 * Art Lesson 1**
 * Title:** Fusion of Beliefs
 * Grade Level:** High School
 * Time:** 15 class periods (50 minutes each)

This lesson meets the following [|National Standards for Arts Education] VA.9-12.1 Understanding and applying media, techniques, and processes (1 & 2, Advanced 1) VA.9-12.3 Choosing and evaluating a range of subject matter, symbols, and ideas (1, Advanced 2) VA.9-12.4 Understanding the visual arts in relation to history and cultures (1, 2, & 3, Advanced 2) VA.9-12.5 Reflecting upon and assessing the characteristics and merits of their work and the work of others (3)
 * Standards:**

This lesson meets the following [|National Educational Technology Standards]: 1. Creativity and Innovation (a) 2. Communication and Collaboration (a & b) 3. Research and Information Fluency (a, b, c& d) 4. Critical Thinking, Problem Solving, and Decision Making (a, b & c) 5. Digital Citizenship (a, b, c & d) 6. Technology Operations and Concepts (a, b & c)

The students will:
 * Significant Key Concepts** **and Objectives**
 * discuss and evaluate Ang Sang's and how the artist uses both traditional and contemporary Tibetan images in his paintings.
 * create a self portrait that provokes similar emotions from the viewer through fusing their own beliefs with their own culture they identify with as a visual juxtaposition.
 * articulate their beliefs through their Artist Statement.
 * critique their own work along with the work of their classmates

//Activity I: Introduction to Ang Sang// Day 1- 50 minutes After projecting Ang Sang's artwork only through a PowerPoint presentation. Ask the students what they think about his work and why? What do they see that reflects this? Why do you think the artist uses writing in his image? Buddha? Vultures? Allow students to make their own connections as this will be important for Activity II. After students have exhausted the possibilities, formally introduce them to Ang Sang and his philosophy behind his art with a handout that states his philosophy. Talk about the significance of the Sanskrit, the Buddha heads, the vultures and the female figure in the //Untitled// piece. Allow the students to ask questions.
 * Teaching and Learning Activities**

Ask students to choose another of Ang Sang's paintings and allow them to discuss in small predetermined groups of 5, what they see and make a list of similarities and differences as well as choose a spokesperson. Remind the students that symbols and emotions can be used to describe Sang's work in this exercise. More images can be found at [].

Once all groups have analyzed their image, create a diagram with Ang Sang as the center with attributes the students found in his work on the board for all students to see. Have each group spokesperson give different attributes first and then mark those that are repeated. This is to illustrate the complexities of the artist and his cultural beliefs.

//Activity II- Ang Sang Inspiration Diagram// Day 2 and 3- 50 minutes each At the beginning of the class have students get back into their groups and briefly discuss Sang's work again. Next, have students brainstorm what they consider their own beliefs and the symbols that convey this. Tell students that they will be creating a self portrait much like Ang Sang in which symbols are used to express his beliefs and culture. The criteria for this project, Fusion of Beliefs, is to have at least 2 images with at least 2 symbols that are manipulated in Photoshop with a minimum of 5 layers. The project and Artist Statement will be posted on the classroom [|Flickr]account and students will be posting to 3 fellow classmates that the teacher assigns to them.

The students will document their brainstorming process with a concept map diagram using online Webspiration software. Students will need to create a free account with [|myWebspiration]allowing students to have access to their work at school as well as at home or any other place they have computer access. In order to do this they will need to set up an account that will take less than 5 minutes. Have the students do the following steps:
 * 1) Go to www.mywebspiration.com.
 * 2) Click on "Sign Up Now."
 * 3) Fill out the information needed, agree with the terms and click on "sign up."
 * 4) Once they steps are done you will receive an email confirmation. Check your email and then return to myWebspiration.
 * 5) Login and select "Launch Webspiration." Click on "Diagram" to start the brainstorming chart.

Give a short tutorial on the use of the site; take them through the basic process of choosing symbols, colors and direction of arrows. Once they have an account they will need to create a diagram with themselves as the center with their beliefs and symbols connecting to one another. Have students save the file as Fusion. They will be able to access this file by choosing "Manage Documents" when they launch [|myWebspiration].

//Activity III- Visual Draft// Day 4 and 5- 50 minutes each Based on the diagrams students will create 3 collages using magazine pictures, family photographs, photographs or images from online sources, paintings, drawings, prints, text including handwritten or typed journals or objects (i.e. feather, clover, etc.) that visually represent their beliefs.

The Students will return to their initial groups and discuss their collages. This will allow students the opportunity to articulate their ideas to their peers as well as get feedback prior to the final project, Fusion of Belief(s).

//Activity IV: Fusion of Belief(s)// Day 6, 7, and 8- 50 minutes each Next students will need to create or locate images that they will be using in their Fusion of Belief(s) project. Images will all need to be scanned in at 180 dpi with the size of the picture canvas at 7.5 inches by 10 inches in CMYK as a jpeg. Images can also be imported through jpeg files from online sources or digital cameras. The students can apply filters during the Photoshop metamorphosis to aid in pixelation but there should be no apparent pixelation due to improper scanning or other photographic process. Each student should save their files to a flash drive, DVD-RW or shared network folder for backup.

Give an overview of the Photoshop functions including the lasso, magic wand, marquee, move tool and filters. (If possible use students work from past classes.) Allow student to work in class for the next two days as well as from home if possible. Students should prepare a printed draft for in-progress class critique.

As students enter the class, have them hang their drafts on the wall. Conduct a brief 2 to 5 minute per student mini critique with the class. For homework students will need to make changes to their images as well as write an Artist Statement. The Artist Statement must have the following: free of type-os, grammar errors and reflects the beliefs of that student.

//Activity V: Flickr Debut// Day 9 and 10- 50 minutes Have students log on to the class [|Flickr]page which is private. Walk them through the process if this is the first time. Have them login to make sure that they are able to access the site. Allow them to work on completing the projects. The project //Fusion of Beliefs//, Artist Statement, Fusion diagram, and 3 collages.

//Activity VI- Upload of Fusion of Beliefs Project// Day 11- 50 minutes The Students will upload their //Fusion of Beliefs// project along with Artist Statement to the class [|Flickr]page. Those students who upload before the deadline will receive 5 extra credit points. Have students finish up their collages and Fusion diagrams and turn them in. For those that did not upload in class, they will need to have that done before class start the next day otherwise they will have points deducted accordingly.

//Activity VII: Critique and Flickr Posting// Day 12 & 13- 50 minutes each The next two days will be the final critique and [|Flickr] postings. Students will have a formal critique. They will read their Artist Statements and they will have their images projected on the classroom screen as well as a hard copy.

Students may need help as many of the works will have religious symbols and meaning. Help students understand and bridge any conversation as a discussion to understand each other. Students should feel safe to discuss their personal beliefs about their religion or personal cultural viewpoints. Provide a safe environment for this and teach respect for differences as well as commonalities.

The [|Flickr] comments will be due that Friday by the end of class (Day 15). The students will be assigned to comment on 3 students' works who were not part of their group and they will not be allowed to repeat what was said in the final critique. The responses have to be original and appropriate.

> Scoring Rubric: > > //Ang Sang Inspiration Diagram// (20 Points) > - Successfully set up a myWebspiration account. > - Created a Fusion file with self at the center of the diagram from their brainstorming. > - Able to communicate beliefs and talk about symbols chosen in group discussion. > - Gave appropriate and constructive criticism to group members. > > > //Visual Sketches/Collages// (20 points) > - Successfully created 3 collages that contain images, texts and/or objects that related to their project. > - Collages relayed the students beliefs cohesively. > - Demonstrated basic understanding of elements of design. > - Turned them in on the first day of the final critique. > > > //Final Fusion of Beliefs Project// (30 points) > - Used at least 5 layers with 2 symbols. > - Aesthetically interesting image that shows principles of design. > - Followed formatting. > - Turned hard copy of Fusion of Beliefs, Fusion diagram, 3 collages and Artist Statement. > - Uploaded all project componets to Flicker > > //Artist Statement// (10 points) > - Statement free of grammatical errors and spelling. > - Articulates personal beliefs related to artworks. > > //Class Participation// (20 points) > - Participated in group brainstorming for Ang Sang. > - Participated in group critique of group members collages. > - Respectfully critiqued Fusion of Beliefs project in class. > - Created original comments for assigned images on Flickr. > > //Extra Credit// (5 points) > - 5 points for posting early. > > Total: /100 + Extra Credit= /100
 * Assessment:**