This thesis delves into the intersection of Buddhism, medicine, and art through the lens of seventeenth-century Tibetan paintings known as the Blue Beryl series. These intricate artworks not only...Show moreThis thesis delves into the intersection of Buddhism, medicine, and art through the lens of seventeenth-century Tibetan paintings known as the Blue Beryl series. These intricate artworks not only serve as repositories of medical knowledge but also reflect the cultural, religious, and political values of their time. Central to these paintings is the representation of indigenous Tibetan perspectives on spirit-caused illnesses, which focus on the existence of elemental spirits deeply rooted in local beliefs and landscapes. The research aims to investigate the indigenous Tibetan beliefs surrounding spirit causation and illness as depicted in the Blue Beryl paintings, offering a deeper understanding of these often misconstrued spiritual entities. By closely analyzing the iconography within these artworks, the study seeks to unveil the presence and significance of non-Buddhist beliefs and practices within Tibetan psychiatry, shedding light on a less-explored aspect of Tibetan medicine and spirituality.Show less
How did the distinct cultural, ethnic, and linguistic groups, who originated from valleys separated by natural barriers, and their cultural traditions, become one 'homogenous' constitutional monarchy?
The two autobiographies of the Dalai Lama contain a wide range of descriptions, visualizations and judgments about Tibet and Tibetans, the PRC and Chinese and others. Members of different groups...Show moreThe two autobiographies of the Dalai Lama contain a wide range of descriptions, visualizations and judgments about Tibet and Tibetans, the PRC and Chinese and others. Members of different groups come to judgments and valorize the other depending on their own point of view. According to researchers, Tibetan exile leaders have deliberately adopted and adapted images, including pre-1959 images that existed in the West, to entice public support for the Tibetan cause, yet there is little research into the use of images by the Dalai Lama. Using discourse analysis I will examine how the Dalai Lama uses images in My Land and My People and Freedom in Exile and argue that images such as myths, clichés and Western stereotypes are used to emphasize the uniqueness, victimhood and respectfulness of Tibet and Tibetans, whereas he uses negative images to describe the PRC and the Chinese. Analysis of the results confirms earlier research that people make use of preconceived images when describing others, while the Dalai Lama’s words are indeed beneficial to Tibetans and could in that way have convinced people for supporting the Tibetan cause. Broader research into his actions, as well as into his other work could provide more clarity in this, while research into his work and public performance meant for a Tibetan audience could give an idea whether he uses different imagery when describing the other and the self than in work catering to an international audience.Show less
Bachelor thesis | South and Southeast Asian Studies (BA)
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It is a sensitive question for many Tibetans nowadays what the use and thereby the survival of the Tibetan language could or could not mean for the preservation of a Tibetan cultural identity and...Show moreIt is a sensitive question for many Tibetans nowadays what the use and thereby the survival of the Tibetan language could or could not mean for the preservation of a Tibetan cultural identity and the survival Tibetan Buddhism.Show less
Lhamo, in the West called Tibetan Opera, is a form of total theatre combining dance, song, recitation, colorful costumes, and music, that traditionally is performed in the open air in Tibetan...Show moreLhamo, in the West called Tibetan Opera, is a form of total theatre combining dance, song, recitation, colorful costumes, and music, that traditionally is performed in the open air in Tibetan communities after harvest and at festive days. Within lhamo a number of conventions exist, one of which is the convention of percussion patterns. The musical accompaniment of lhamo is done by two musicians, one of whom plays a drum (rnga) and another who plays cymbals (rol mo). The drummer is the "master of ceremonies". By means of drum pattern variations, he indicates and controls which character(s) go on and off stage and when and how they move on stage. For that the drummer has a number of drum patterns at his disposal, that can be played singly or in various combinations and at various speeds. The cymbals player merely follows the dummer's lead. During my fieldwork in Boudhanath near Kathmandu with the Nepal Tibetan Lhamo Association (NTLA), I made an inventarisation of the lhamo drum patterns, which are described in this paper. The drum patterns are all recorded and come as appendix as sound files. Attention is given to organology of the instruments and lineage of drum pattern traditions. It appears that the traditional teaching method of oral transmission from teacher to student is not the only method used by NTLA. Often multiple instructors teach simultaneously. By teaching with multiple instructors, it is possible to learn a complete lhamo play in three or four rehearsals. A chapter is devoted to rhythm in Tibetan music. This is the first published inventarisation of lhamo patterns.Show less
This thesis argues that there is a hegemonic and inflexible discourse on Tibetan identity, though there are examples of dissent. This identity discourse constructs a narrative on ‘Tibet’ which...Show moreThis thesis argues that there is a hegemonic and inflexible discourse on Tibetan identity, though there are examples of dissent. This identity discourse constructs a narrative on ‘Tibet’ which Tibetans claim. In turn, by claiming ‘Tibet’, Tibetans are claiming their own identity. ‘Tibet’ is represented by the government in exile. This constitutive relationship between ‘Tibet’ and ‘Tibetanness’ results in a narrativising of history and an Othering of Shugden practitioners and Chinese, in order to define a coherent national identity.Show less
