Portraits of the Dalai Lama in Tibet and Beyond DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sarah Jean Magnatta (née Getzelman) Graduate Program in History of Art The Ohio State University 2014 Dissertation Committee: Lisa Florman, PhD, Advisor Christian Kleinbub, PhD Namiko Kunimoto, PhD Copyright by Sarah Magnatta 2014 i Abstract The Dalai Lama is one of the world’s most recognizable religious figures. He is known by many as the exiled Buddhist leader of Tibet; others simply understand that he is a man of great wisdom. This new international audience might not realize that Tenzin Gyatso—the man they recognize as the Dalai Lama—is actually the fourteenth in a lineage of spiritual teachers. These teachers were (and are) recognized as incarnations of an enlightened being, Avalokiteśvara. As such, the Dalai Lama’s image requires the same reverence given to that of the Buddha. Although the Dalai Lama recognizes the great power which comes with his title, he often refers to himself as a simple monk. A collection of his speeches from 2010 uses the Dalai Lama’s own categorizations of human being, monk, and Dalai Lama in its divisions of lectures.1 My dissertation similarly uses the same type of division (man, monk, and political leader) in order to clarify different components of the Dalai Lama’s role; I propose, however, that these divisions can be found in the visual representations of the Dalai Lama. My research seeks to explore imagery of the Dalai Lamas, evaluating both intended functions of the image as well as audience reception. Further, I explore new avenues of Dalai Lama imagery—specifically those created in the recent past and 1 Tenzin Gyatso with Sofia Stril-Rever, My Spiritual Journey (New York: Harper Collins, 2010). ii especially those found on the internet—to compare and contrast their functions and audiences to those of the earlier portraits. I begin the dissertation by exploring religious and devotional imagery of the Dalai Lamas. The images I have selected are not an exhaustive overview of all early Dalai Lama portraiture; rather, I have selected imagery that is representative of the common characteristics found in such imagery. This section provides background on the function of “traditional” imagery. I also explore the three roles of the Dalai Lamas—man, monk, and political leader—as they are highlighted in various degrees in such imagery. I then turn to early documentary photography of the Thirteenth and Fourteenth Dalai Lamas. I explore the ways in which this new media changed the type of imagery acceptable to Tibetan audiences. What did it mean to the individual practitioner who now had access to an image of an incarnate buddha—an image relic? How did (and does) the practice of consecration factor in to new types of imagery? Could (and can) a photograph be used in the same manner as a thangka? Departure from Tibet in 1959 brought the Fourteenth Dalai Lama to the international stage—a role not held by the previous thirteen title holders. Tenzin Gyatso quickly became a different type of symbol to the global community that embraced him. At first, he was a symbol for the so-called “free world” against Chinese Communism. Later, through his message of non-violence, he became a symbol of peace to the West, but, at the same time, a symbol of dissension to the Communist regime, as exemplified by the 1996 ban on his images. The final chapters in this dissertation explore the “image” of the Dalai Lama as constructed by his own office (official photography, internet iii expansion, etc.) as well as the “image” of Tenzin Gyatso portrayed by the Chinese government. Today, one finds that the role of the institution of the Dalai Lama has changed. The original practice of creating portraits of lineage masters within the Tibetan tradition has given way to today’s multifaceted explosion of imagery of the Fourteenth Dalai Lama. Different audiences, media, and contexts for his image coincide with the leader’s shifting role in the political, social, and religious spheres. This dissertation evaluates each of these contexts. Which aspects of his imagery showcase the human nature of the man? How are these types of images accepted by his religious audience? His international audience? Much imagery certainly highlights Tenzin Gyatso’s role as a monk. How do these representations affect his role as a political figure? Given that Tenzon Gyatso is the only master teacher of the Geluk sect with worldwide renown, how has his status as international icon (and the responsibilities inherent in that role) changed the manner in which his image—and his teachings—are received by practitioners? This dissertation attempts to elucidate, amidst the proliferation of interest in and images of Tenzin Gyatso, both the similarities and differences between portrayals of him and those of the previous thirteen Dalai Lamas, and to draw what conclusions it can from that evidence. iv Dedication For Alfie v Acknowledgements This project would not have been possible without the generous financial support of the Philanthropic Educational Organization. I am honored to join the ranks of PEO fellows who have received funding for dissertation writing. I would also like to acknowledge the funding I received from The Ohio State University that allowed me to conduct research in Tibet as well as the Tibetan exile communities in India, Switzerland, and the United States. I am eternally grateful to my advisor, Lisa Florman, and committee members, Christian Kleinbub and Namiko Kunimoto, for helping me with the final stages of this journey. Many thanks also to Cosimo Giovine for his expert editing suggestions and Sarah Richardson for her support and content critique. I would also like to express my sincerest appreciation for the professors at the University of Denver for consistently supporting me throughout the last few years of this process. Finally, I am so grateful for a family that has supported me—both emotionally and financially—so that I could finish this project and degree. During those many moments of frustration, my husband had a key phrase to remind me to look beyond the negative and appreciate the positive… “What would the Dalai Lama do?” vi Vita 2001................................................................B.A. Art History, University of Colorado 2005................................................................M.A. Art History, University of Denver 2005-2006 ......................................................University Fellow, Department of History of Art, The Ohio State University 2007-2008 ......................................................Foreign Language and Area Studies Fellow, The Ohio State University 2009................................................................Graduate Teaching Assistant, Department of History of Art, The Ohio State University 2010-2011 .....................................................Philanthropic Educational Organization Fellow, Dissertation Research and Writing 2010-2011 .....................................................Instructor, Department of History of Art, University of Colorado, Denver 2011-2014…………………………………...Lecturer, School of Art and Art History, University of Denver 2014 …………………………………………Lecturer, Department of Art and Art History, University of Colorado, Boulder Publications Getzelman, Sarah. “Forbidden Image: The 1996 Chinese Ban on the Fourteenth Dalai Lama’s Image,” Stanford Journal of East Asian Affairs, vol. 1 no. 8 (Winter 2008). Fields of Study Major Fields: Himalayan art, South Asian art, Buddhist art vii Table of Contents Abstract ................................................................................................................................ ii Dedication ............................................................................................................................ v Acknowledgements ............................................................................................................. vi Vita ..................................................................................................................................... vii List of Figures ..................................................................................................................... xi Chapter 1: Introduction ........................................................................................................ 1 Literature Review .......................................................................................................... 11 Terminology and Translations ...................................................................................... 19 Chapter 2: Traditional Portraits from the Sixteenth Century to the 1950’s: Painting and Sculpture ....................................................................................................................... 21 History of the Dalai Lama Institution ........................................................................... 24 The Third Dalai Lama: Sonam Gyatso (1543-1588) .................................................... 33 The Fifth Dalai Lama: Ngawang Lobzang Gyatso (1617-1682) .................................. 39 The Seventh Dalai Lama: Kelsang Gyatso (1708-1757) .............................................. 47 The Thirteenth Dalai Lama: Thubten Gyatso (1876-1933) .......................................... 53 viii The Fourteenth Dalai Lama: Tenzin Gyatso (1935- ) ..................................................