Abstract

Western aesthetics attends to its art as a symbohsm-statement created by an artist with a signature-statement. Accompanying every piece is a unique set of informative signs, symbols and techniques which allow for interpretive readings from an individual expression within the Western cultural context. Does an art form from another culture, specifically the Tibetan thanka as selfless art in a selfless culture, retain its aflfectivity and integrity when attended to by Western perusal outside its cultural context? And when the thanka travels, does it come with all its baggage?