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Painting the Plateau

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Painting the Plateau PAINTING THE PLATEAU TIBETAN REGIONAL DRESS BY ANNE JENNINGS BROWN Tibet 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 Dalai Lama. 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, Amdo, and Kham (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 Lhasa 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 India, 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 khata 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 Gyantse 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 Tibetan Buddhism 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.
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