PAINTING THE PLATEAU TIBETAN REGIONAL DRESS BY ANNE JENNINGS BROWN Relief Fund is delighted to present a unique exhibition celebrating the regional dress of Tibet through a collection of vibrant and intricately detailed portraits and studies.

All the works on display were created by Anne Jennings Brown during and after her time living and teaching within the Tibetan exile community in Dharamsala from 1982-83. Her collection of nearly 200 paintings and drawings is a wonderful resource that focuses on the people into whose community she was welcomed, and for whom she channelled her artistic skills; recording and preserving this part of their material culture.

Since much of Tibet’s rich and varied cultural heritage has been destroyed under Chinese occupation, this exhibition presents a rare opportunity to learn more about Tibet’s geography, history, and society, whilst enjoying this charming and distinctive collection.

Anne Jennings Brown and her husband with His Holiness the 14th . Dharamsala, 1982 The Anne Jennings Brown Collection

In 1982 Anne Jennings Brown travelled from England to Dharamsala, in the north Indian state of Himachal Pradesh, to live and work at the Tibetan Institute of Performing Arts (TIPA). TIPA was established to preserve and transmit the tangible and intangible cultural heritage of the Tibetan exile community who have made Dharamsala their home since the Chinese occupation of Tibet in the 1950s.

During her time in Dharamsala, Jennings Brown used her artistic training and skills to design marketing material for TIPA’s productions and touring companies, as well as on a variety of projects to raise funds for the institute. Amongst these projects were her paintings and drawings of Tibetan regional dress from which she intended to create prints.

In early 2017 Anne Jennings Brown’s son generously gave Tibet Relief Fund the collected paintings and drawings, along with her extensive research, from which this exhibition has been curated.

Every effort has been made to trace the original sources of the paintings’ subjects and, where possible, the period in time from which the clothing originates has been noted.

As described in her diaries, Jennings Brown worked from accounts by Tibetans in Dharamsala, describing the clothing and accessories worn in their home provinces. Some of the other images in the collection are painted reproductions of photographs in books Jennings Brown took with her to Dharamsala.

However, since most images remain as yet unsourced, it has not been possible to securely date many of the costumes depicted. Consequently it has been concluded in most cases that these examples of regional dress are more historical than contemporary, and do not include the innovations in clothing design and production made in recent decades. Illustrated map of Tibet, created by Anne Jennings Brown whilst living in Dharamsala. The geography of Tibet

The collection of paintings and drawings contains examples of clothing and accessories from all across Tibet.

Within the exhibition the collection has been divided along the lines of Tibet’s three major provinces: Ü-Tsang, , and (see map below). Ü-TSANG

The vast province of the most populous, Ü-Tsang in western Tibet prosperous, and mild areas encompasses those of the country surrounding most sparsely populated the capital of in the and remote northern south. Access to rich and regions where its people varied materials for clothing live a nomadic life and has always been guaranteed endure extreme weather. by the trade routes that In stark contrast, the span the country and province also contains terminate in the capital.

The most common boots worn by women in the western areas are made of embroidered felt with yak hair soles. They reach to the knees and are tied with coloured cords bound around the legs.

Known as a Tsering Kingkhap - long life hat - these are worn by men and women of all classes. The three brims can be worn at jaunty angles, or pulled down over the ears and forehead in cold weather. The brocade band around the crown can incorporate peacock feathers in the design, giving the hat an iridescent glow. A typical woman from the southern provinces, with her baby strapped to her back in a shawl, and wearing the basic dress of the peasant classes

Her chupa (wrap-around overgarment) is made of strips of home-woven sheep’s wool and would be replaced by a chupa of sheepskin in winter, if she could afford it. The very long sleeves are intended to keep her hands warm. All but the very poor wear a cotton or silk blouse beneath the chupa, at least for festive occasions.

Married women wear a home-woven pangden (apron), made from three panels of striped natural-dyed wool. A woman from Lhasa in her patruk headdress and festival dress

The ladies of Lhasa were bedecked in finery, particularly on festive occasions. Fabrics, precious stones and metals came from all over Tibet or were imported from , Mongolia, China, and Russia to attire them.

She wears a silk chupa with very long sleeves that reach to the knee, keeping her hands warm whilst demonstrating that she does no manual work - in keeping with her social standing. As shown here, women sometimes wear a long silk scarf around the top of their arms and across their shoulders, tied with a loose knot at one side.

Two heavy gold or silver earrings, inlaid with coral and turquoise, hang from a band on the top of the head over which are placed two long pieces of false hair. This is imported from China as, except for nuns, Tibetan women never cut the length of their hair. The triangular patruk headdress is derived from an early Mongol style, made of wood and covered in red felt. More costly examples are studded with seed-pearls and large pieces of coral and turquoise.

The false hair hangs from the corners of the patruk to the shoulders, where it is plaited to match the hair beneath that falls to the waist.

The patruk is so heavy that the strain on the hair causes balding at the crown of the head, over which older women often wear a small pearl cap.

A government official from Lhasa, offering akhata (silk scarf)

He wears a gold silk brocade chupa as part of his summer dress, and Rainbow Boots which are part of his official costume. These are never taken off, even on beautiful carpets or before His Holiness the Dalai Lama.

From his belt hangs two brocade pouches in which tsampa (roasted barley flour) and a tea bowl are kept, along with a silver and gilt sheath containing chopsticks and a knife. On his left hip, hangs the formalised version of what was originally a napkin.

The is a ceremonial silk scarf, usually white, that symbolises purity and compassion. They are worn or presented at many occasions, including births, funerals, weddings, and the arrival and departure of guests. A woman wearing four One, two, or four gau are worn, gau (reliquary boxes) but never three, with the first gau always at the neck.

Gau are made from silver or gold and During the early twentieth century, the are studded with precious and semi- gau moved from its original use as a precious stones. For peasants and purely religious object worn beneath the nuns, the gau is made from a cheaper chupa, to become a fashionable piece of alloy. They hang from necklaces of jewellery in combination with the ornate coral, turquoise, and agate, in which necklaces that hang around the neck. are carried amulets, religious reliquaries, and pictures of the Buddha. The gau of village women A Buddhist nun from Ralung monastery, between This nineteenth century example of a Lhasa and basic reliquary box is fashioned in silver and set with turquoise. It was hung After a period of initiation - novitiation around the neck by a cord, sometimes - a nun’s hair is shaved, or cut very threaded with coral and turquoise short. When appearing outside, nuns depending on what women could afford. of Ralung traditionally wear a large red wig of dyed yak hair or wool. Other orders wear a small dark red wool cap, or pull their shawl over their heads.

Their simple attire is made up of a rough woollen chupa, tied at the waist with a cord, and a sleeveless dark red cotton blouse beneath. If it is very cold, they can add a blanket to wrap around themselves.

Nuns wear felt boots to the knees, and often a gau around the neck, hanging from a thin cord. Yarsol General

Customarily, two prominent men were asked to impersonate Mongolian generals and act as hosts for the festival - a great honour and a great expense. Here, one wears the winter garb of a gentleman of the Khalkha Mongols, with brocade robes and a black fox-fur hat. His silk shirt had to have five colours showing. In hot weather a fabric cloak and a papier maché hat would be worn. Yarsol festival performer

During the last days of Monlam, archery, shooting, and wrestling displays are held, and this part of the festival is called Yarsol. Participants wear historical costumes, with this performer wearing a seventeenth century Mongolian-style uniform. He wears a vulture headdress and carries a battle axe in his left hand.

Yarsol is part of Monlam (The Great periodically banned and reinstated Prayer Festival), that falls during the by the occupying Chinese forces, first month of and before being suspended in 1990. was in the past held just outside The festival is still upheld by Tibetan of Lhasa at the Jokang Temple. Buddhist monasteries in exile.

Throughout the second half of the twentieth century, Monlam was A little girl wearing the basic attire of children

A cloth chupa is worn in the summer and exchanged for one of sheepskin in winter. This little girl wears a blouse underneath her chupa, which would be made of cotton or silk, depending on what the family can afford.

In colder weather, and when they were old enough to walk, children used to wear trousers without a seat underneath their miniature chupas, as there were no such thing as nappies.

Children wear felt boots like those worn by adults, and woollen or sheepskin hats in winter.

Both boys and girls have their ears pierced at birth and wear small turquoise earrings, with boys only wearing one in their right ear. Girls wear a conch shell bracelet from childhood that is never taken off, nor replaced if broken.

Necklaces from the Tingri area, seen at the neck of the chupa in the far right painting. A woman from Tingri shown Unmarried women wear one apron in the alongside pangden (apron) usual manner, whereas married women wear up to four, placed one upon the folding techniques next until their waist-line completely disappears under a swathe of thick cloth. The small town of Tingri sits at the base of Chomolungma, the This woman wears three pangden, the famous mountain known around fourth (shown bottom left), was worn the world as . optionally under the triangular one (fastened with a large jewelled buckle) The most distinctive feature of and wrapped around the waist over the women’s dress here is the various two long aprons. The top left illustration home-spun pangden that they depicts an older type of waist wrap wear together, folding and tucking of the region, made of brown felt. one in upon the other in layers.

Two views of a woman from Kirong

Kirong - meaning Happy Valley - lies on the border of , south-west of Lhasa. It’s climate is mild and its land fertile.

The outstanding feature of women’s dress in Kirong is the gyapden (sleeveless outer vestment), worn over the chupa. It hangs down the back and is tied around the front of the bodice. The back is sewn with bands of red and green silk and embellished with the auspicious design of two swastikas, signifying truth and eternity. An earring from Kirong

Rows of coral, turquoise, pearls, and zi stones hold the gau, which is shell-shaped rather than the box shape that is usual in other areas.

A gau of shell-shaped design common in southern and western areas

This is the earliest design of gau, as depicted on the thangkas (paintings on cloth) of the early kings of Tibet. This gau and necklace is that of a wealthy woman, and dated to post-1940. Drokpa (nomad) women from the western border of Ü-Tsang. They are dressed for festive occasions and wearing distinctive regional cloaks to protect against the harsh winter weather

Drokpa woman from Rudok

Drokpa women from Shipki A woman from Chang Tang In eastern Chang Tang, women wear a heavy fringe in the centre of the forehead and paint a curved line The people of the northern plains of of dots or diamonds across their Chang Tang brave extreme weather, noses and cheeks for decoration. living at an altitude of over 5000 metres. The average population is just one Women’s hair is then greased with person per 2.5 square kilometres. yak butter before being braided into one hundred and eight strands; this Here, the edges of women’s chupas are being a sacred number. Ornamented decorated with broad strips of green, red, bands of cloth, studded with silver, and black material, and are held around coral, and turquoise, hang from the the waist by a coloured sash. Often head to the hem and are tucked they leave one arm free for working and into the waist-band at the back. have the empty chupa sleeve hanging down the back or tucked into their belt.

Young unmarried girls wear a long scarf wrapped around their heads, turban- style, with the folded middle section forming a pleated brim over the forehead.

This painting shows how the length of cloth is doubled in half and tied into a hat with a peak to shade the face from the sun. AMDO

The province of Amdo is a Twice a year caravans great expanse which includes assemble at Tso Ngonpo, Tso Ngonpo (Koko Nor) - and merchants and pilgrims Tibet’s largest lake, measuring cross the plains to Lhasa to over 4000 km2 - as well as trade. Thus, despite being hundreds of kilometres of the a remote region, the people Tsaidam Swamp, reaching of Amdo have access to to the Mongolian border. all they need to dress in a varied and flamboyant style.

A drokpa woman from Kumbum with a detail of her woven hair ornamentation

To the east of Tso Ngonpo, almost on the Chinese border, is the large monastery of Kumbum. At one time over 8000 monks and lamas lived there, attracting a settled environment for some of the people of Amdo, not all of whom were nomads.

The women of Kumbum grease their hair with yak butter in the usual way, but plait it into two or three large strands from This vase-shaped panel of woven parts at the nape of the neck. From the and embroidered cloth was derived plaits hang woven bands of Lhasa cloth, from the water carrying vessel once decorated with different coloured threads, used by the women of the region. The embroidered flowers, coins, and silver whole decorative device is slipped discs. Long silk fringes were attached to over the shoulders like a halter. the bottom and hung to the hemline.

A drokpa (nomad) woman from the Tso Ngonpo area

The chupas of the women from this area are notable for the strip of striped woven cloth that is sewn around the hemline. This woman wears her sheepskin chupa wrapped around her waist so as to leave one arm free.

For some poorer nomads, their chupa is their only piece of clothing and is worn continuously day and night. In these cases, chupas can last for about five years. Those who are more well-off possess not only a sheepskin chupa, but also one of cloth, and in most cases one of brocade for festive occasions.

This woman carries her belongings in the ampa (pouch formed by the chupa’s folds), whilst from her waist is hung a knife, a mechak (flint lighter), and chopsticks in a sheath. A woman from Tsaidam holding a As with their western neighbours mani lakhor (prayer wheel) in Chang Tang, Amdo women braid their hair into the sacred one hundred and eight strands. Her chupa is of a rough woollen cloth, made in Sining and used widely Sometimes these strands are throughout the country. Women in gathered into one or two plaits, Amdo hitch up their chupas into the with felt hangings and silk tassels waistband to form a fuller, swinging skirt, attached that reach to the hemline. but here she has tied her chupa around her waist to show her under-blouse. This woman wears a strip of fine Lhasa cloth, dyed red and ornamented with coral, turquoise, and zi stones, hanging from her hat down her back.

She wears a Homburg hat - a stiff- brimmed felt hat that was introduced to Tibet during the British military incursion known as the Younghusband Expedition in 1904, and has remained popular. Historically, people in the Tsaidam area have worn a tall conical hat with long fringes that hang from the crown to the brim. A Golok drokpa (nomad) His sheepskin chupa would be of the Gza-yah tribe worn all year in the mountains, but in the valleys during summer people wear wool or brocade. The Goloks are a group of warriors, divided into clans, that historically Goloks work outside in all weathers, recognised no authority besides seemingly impervious to the cold, and their complete devotion to Gelugpa at night around the fire men and women Buddhism and thus the Dalai Lama. strip off their chupas to below to the They considered the Amne Machin waist to show off theirgau , which are mountain range in the east their sacred larger here than in other regions and territory, and they attacked and robbed embellished with copper repoussé. the caravans anywhere within their area This man’s large gau of silver is hung extending to the Chinese border. from strings of coral and amber beads, and red cords blessed by a lama. This drokpa man has his hair shaved at the front, with the hair at the back tied in a pigtail. KHAM

The eastern province of Kham of many different tribes, and lies to the south of Amdo the trading routes through and extends to the border their territories have been the of China. The Khampas scene of many skirmishes (people of Kham) are a group to establish a right of way of proud warriors made up for traders travelling to Lhasa from the east of the country.

Details of Khampa jewellery

Hair ornaments, an earring, a shirt button from Litang, and a shirt clasp from Tashienlu. A Khampa woman holding a string of coral prayer beads

This woman’s chupa is fastened at the neck, with the green shift worn beneath exposed at her throat and wrists. This is often the case in Kham, with shifts either dyed green or red, and if the woman is wealthy enough to afford it, made of silk.

The distinctive puru (long overgarment), traditionally made of a red, grey, or black striped cloth coarsely woven in the region, is held in place by a brooch at the waist. A man from the Kandze area in eastern Kham

This man wears his chupa hitched up at the waist so that the skirt is very short, with the four pleats at the back even shorter. He carries a gau and sword, whilst from his belt hangs his dagger and mechak (flint lighter).

In this painting he wears felt boots. The use of leather for footwear didn’t begin until the 1920s and ‘30s.

His plaited hair is threaded with jade and silver rings, and on occasion he might wear a very small turquoise stud earring.

A traveller’s gau

Much like in the painting above, this type of gau is usually attached at the waist. It holds religious amulets, a statue of Buddha, a length of red blessed cord, and charms to ward off evil spirits, and ensure good health and a safe journey. The wife of a Khampa brigand

Her hair, in the 108 plaits, is gathered at the back and ends in a long tail of black hair and black wool, with those plaits at the front often falling over women’s faces like a veil.

Depending on their wealth, drokpa women also wear a heavy and cumbersome chukti - a strip of felt studded with coral and turquoise set in gold and silver - which for convenience is wound around the head when desired.

A Khampa warrior prince

This prince wears ornamented boots and a richly decorated fur-lined silk chupa, with his two gau strapped across his chest and his mechak at his waist.

Every Khampa warrior would carry a long broad-sword and women often carried long knives. A Khampa chief

This chief wears a fur-trimmed chupa and a turban of rough, raw, silk that is so tough that it acts as a kind of helmet repelling sword cuts. A Khampa chief of the Kandze region wearing a flamboyant dancing cloak

Antelope horns are attached to his gun which, when lowered to the ground, allow it to be steadied when firing. Tibet Relief Fund would like to thank Anne’s family for their generous contributions and for donating these works.

About Tibet Relief Fund

Tibet Relief Fund was founded in 1959 to help Tibetan communities in need. Today we work with Tibetans in India, Nepal and Tibet through local projects that address basic needs and provide vital healthcare and education, as well as working to help Tibetans preserve their rich cultural heritage. We also support projects which encourage Tibetan communities to become more self-sufficient, so they can build a brighter future.

Please donate today and help make a difference for Tibetans!

• £5 could provide an elderly Tibetan with staple foods for two months

• £15 could provide an emergency medical grant for a new mother in Tibet

Donate online: www.tibetrelieffund.co.uk/donate Call us: 020 3119 0041 Send a cheque to: Tibet Relief Fund, 2 Baltic Place, London N1 5AQ

Thank you!