Antique collector: ancient Tibetan ethnic culture open, all-embracing _English

By Zhang Mingyu

BEIJING, May 14 (Xinhuanet) -- "The Tibetan ethnic culture, with indigenous characteristics, is all-embracing when absorbing the essence of other cultures," said Tharsen Pan, a collector of antique Tibetan Thogchag (an ancient Tibetan amulet).

The exhibition titled "Fade to the Sky" focusing on ancient Tibetan artistic works -- Thogchags and seals -- debuted in China with some exhibits never displayed abroad. The most ancient Thogchags date back to B.C. 3000 and the oldest seals have a history of more than 700 years.

Photo taken on May 13, 2009, shows the ancient Tibetan Thogchags displayed on the exhibition "Fade to the Sky" in Coral and Feather Gallery, the Art District 798, Beijing. (Xinhua/ Wang Lei)
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To many people, "Thogchag," a form of primitive culture of Tibet, is still little known.

In the Tibetan language, Thochag means the iron from the sky. Such Tibetan celestial bronze artworks are made of smelted meteorite, which is often found after thunderstorms in pastures at a high altitude in southwestern Tibet and west of Qinghai in China.

Generally considered as ornaments deserted by gods, the Thogchag was often used as amulets by Tibetans, who believed that it had unparalleled energy to protect their souls and bodies.

"This shows a totem worship in ancient Tibet. I regard it as a raw type of the Tibetan ethnic culture. In the sense of the first principle of culture, the Tibetan and Han Chinese cultures are similar to each other. That is a kind of awe to nature," said Pan.

Pointing to a Thogchag in the shape of what Tibetans called "lion," Pan said: "We can find its outline much like the Sphinx, indicating an integration and blending of different cultures in ancient times."

As early as the 7th century A.D. when the Buddhism was introduced into this region, Tibet's metal-working, painting, sculpture and refining techniques had been well developed.

Even so, the ancient Tibetan people always drew on what was progressive in foreign cultures, to enrich and update their own one.

Especially during the period of the Tang Dynasty and the Ming Dynasty (A.D 618 - 1644), the Tibetan native culture became more open and inclusive with the flourishing of trade with other parts of the world, said Pan.

"These artworks reflect economic prosperity and cultural thriving in ancient Tibet. I am sure that more people will be attracted by such irresistible charm of the Tibetan ethnic culture," Pan added.

Photo taken on May 13, 2009, shows the Tibetan seals displayed on the exhibition "Fade to Sky" in Coral and Feather Gallery, the Art District 798, Beijing. These seals were considered the symbol of status and power in old Tibet. (Xinhua/ Zhang Mingyu)
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Different from Thogchag, seal was considered a symbol of status and power in old Tibet.

"Serfs had no seals, which were regarded as as an evidence of the feudal serfdom in old Tibet. After the Democratic Reform was initiated in 1959, such seals dropped out the historical stage," Pan introduced.

Bearing inscriptions in different languages of Sankrit, ancient Mongolian and Tibetan or with designs related to religion, the seals were issued by the Central Government or made by monasteries, senior lamas or nobles in Tibet.

Photo taken on May 13, 2009, shows the Tibetan seals displayed on the exhibition "Fade to Sky" in Coral and Feather Gallery, the Art District 798, Beijing. (Xinhua/ Zhang Mingyu)
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Those made of valuable materials such as jade and gold in a large size signify the owners' high status and large power.

Among official seals, those used for contracts were specially made with different inscriptions at both ends, only for anti-counterfeit. In a serf trade, the serf-owners would use such seals; while, as owners' personal property, serfs had to use an inked thumbprint.　

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Photo shows the work titled "Tree of Good Luck" by Gama Gorjie Tsering, a famous Tibetan painter. (People's Daily online)
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