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学生作品ガイド

Updating Yamantaka

氏名 クラス 日付

Tenzing Rigdol, Updating Yamantaka (2010), Rubin Museum of Art. 参考用として複製。著作権は権利者に帰属します。

基本情報

作家
Tenzing Rigdol artsdot.com/ja/artists/tenzing-rigdol/
制作年
1982 – ?
彩色済み
2010
技法
Acrylic On Canvas
様式
Contemporary Tibetan
制作年代
Contemporary
開催場所
Rubin Museum of Art artsdot.com/ja/museums/rubin-museum-of-art-new-york-city_ja/
Artistic style
Thangka, ASL
Influences
Tibetan Buddhism
Notable elements
Bin Laden face
Subject/theme
Yamantaka, death

文脈内

Updating Yamantaka — Tenzing Rigdol

制作年

  1. 1980
  2. 1990
  3. 2000
  4. 2010

Shaded: Tenzing Rigdolの生涯 (1982–?) ▲ 本作品、2010

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カラーパレット

画像より計測

    主な色

    Putty #e4d6d2

    登録済みパレット

    • #E4D6D2
    • #8D95A4
    • #B97D5C
    • #414649
    パレット
    Neutrals 作品の中で主要な色調。
    主な色名
    Putty
    彩度
    Balanced 単一の落ち着いた色調から、多彩で鮮やかな色彩まで、色の彩度やバリエーションの豊かさ。
    コントラスト
    Statement 作品全体における、色の明度と彩度の差異の度合い。
    調和
    Discordant Palette 対照的な色合いから完全に調和したものまで、色彩がいかに美しく響き合っているか。
    明るさ
    Brilliant 深い影から明るいハイライトまで、作品全体の明暗の度合い。
    彩度
    Balanced Soft 限りなくグレーに近い色合いから、鮮やかな色彩まで、その純度と強さが際立ちます。

    この作品について

    Updating Yamantaka — Tenzing Rigdol

    The Weight of Mortality: Tenzing Rigdol’s “Updating Yamantaka”

    Tenzing Rigdol's "Updating Yamantaka" isn't merely a painting; it’s an arresting collision of ancient Tibetan iconography and contemporary unease. Created in 2010, this work transcends the boundaries of traditional thangka art, forcing us to confront uncomfortable truths about power, death, and the unsettling ways they intersect within our world. At first glance, the composition appears deceptively serene – a vibrant tapestry woven with pastel hues, intricate textile patterns reminiscent of Tibetan prayer rugs, and the solemn script of sacred texts. However, a closer examination reveals a deliberate subversion of established artistic conventions, culminating in an image that is both profoundly unsettling and intellectually stimulating.

    The central figure, Yamantaka – the Lord of Death and King of the Law within the Tibetan Buddhist tradition – dominates the canvas. Traditionally depicted astride a buffalo relentlessly pursuing a human victim, symbolizing the inescapable cycle of life and death, Rigdol’s interpretation diverges dramatically. The anonymous, everyman figure representing the sacrificed individual is replaced with the unmistakable face of Osama bin Laden. This jarring juxtaposition isn't gratuitous; it serves as a potent metaphor for the anxieties of the 21st century – a world grappling with global terrorism, political instability, and the pervasive sense that ancient philosophical concepts are suddenly rendered terrifyingly relevant.

    A Dialogue Between Tradition and Modernity

    Rigdol’s artistic approach is deeply rooted in his Tibetan heritage, yet he doesn't simply replicate traditional styles. He masterfully blends these established techniques with elements of contemporary art, incorporating influences from American Sign Language (ASL) – a subtle nod to his dual identity as a Tibetan-American artist – and personal iconography that speaks to his own experiences. The deliberate layering of sacred text alongside the unsettling image of bin Laden creates a dynamic tension, suggesting a critical engagement with both spiritual and secular realms. The use of pastel colors, typically associated with serenity and spirituality, is deliberately juxtaposed against the stark reality presented by the central figure, amplifying the work’s emotional impact.

    Born in Kathmandu, Nepal, in 1982, Rigdol's upbringing was shaped by his family’s displacement from Tibet. This personal history profoundly informs his artistic practice, fueling a desire to explore themes of cultural identity, exile, and the enduring legacy of tradition. His work is not simply an aesthetic exercise; it’s a deeply considered meditation on the complexities of navigating multiple worlds and grappling with profound questions about mortality and morality.

    Symbolism and its Shifting Meanings

    The symbolism within “Updating Yamantaka” operates on multiple levels. The buffalo, traditionally representing relentless pursuit and destruction, embodies the forces of chaos and violence that threaten to overwhelm human existence. Yamantaka himself represents the inevitable cycle of death and rebirth, a concept central to Buddhist philosophy. However, by placing the face of Osama bin Laden upon this figure, Rigdol transforms the traditional symbolism into a commentary on contemporary global conflict. The image becomes a visual representation of how ancient philosophical concepts can be reinterpreted and applied to address modern challenges – suggesting that even seemingly immutable truths are subject to change and re-evaluation.

    Furthermore, the inclusion of scripture alongside the unsettling imagery highlights the ongoing dialogue between faith and reason. Rigdol invites us to consider how traditional beliefs can be both comforting and challenging in a world increasingly defined by uncertainty and conflict. The work ultimately compels viewers to confront their own assumptions about power, death, and the role of violence in shaping human destiny.

    A Reproduction Worth Considering

    Updating Yamantaka” is more than just a striking image; it’s a powerful statement about the interconnectedness of past and present. WahooArt offers high-quality reproductions that faithfully capture the painting's intricate details and emotional depth. Whether you are an art collector, an interior designer seeking to infuse your space with thought-provoking imagery, or simply someone captivated by this unique work, a reproduction of “Updating Yamantaka” is a compelling addition to any collection – a reminder of the enduring relevance of ancient wisdom in our rapidly changing world.

    アーティストと美術館

    作家

    Tenzing Rigdol

    生誕地 Kathmandu, Nepal

    Early Life and Education

    Born: Kathmandu, Nepal (1982)

    Nationality: Tibetan-American

    Education: University of Colorado Denver College of Arts & Media – Master's Degree in Philosophy, BA-BFA in Art and Art History. Honorary Doctorate in 2022.

    Early life was marked by his parents fleeing occupied Tibet in the late 1960s.

    Studied traditional Tibetan sand painting and butter sculpture at the Shekar Chorten monastery in India.

    Studied thangka painting under Phenpo Tenthar at the Tibetan Thangka Art School in Kathmandu.

    Artistic Development and Influences

    Expertise: Primarily known for his expertise in thangka art, blending traditional techniques with modern artistic expressions.

    Influences: Philosophy, ongoing human conflicts, political issues. His family's history as refugees significantly influenced his work.

    Style: Combines Tibetan heritage with contemporary styles; incorporates elements of American Sign Language (ASL) and personal iconography.

    Themes: Cultural identity, displacement, dialogue, environmental pollution, existentialism, ignorance, mindfulness.

    Major Works and Projects

    "Pin drop silence: Eleven-headed Avalokiteshvara": Acquired by the Metropolitan Museum of Art in 2014; a significant recognition of his contemporary Tibetan art.

    20,000 kg of Tibetan Soil Installation: A project involving transporting soil from Shigatse to Dharamshala symbolizing connection to Tibet for displaced Tibetans. Documented in the film "Bringing Tibet Home."

    "Biography of a Thought": Site-specific installation at The Metropolitan Museum of Art, exploring Buddhist concepts and incorporating personal iconography.

    Poetry Collections: Published three collections – “R”– the Frozen Ink (2008), Anatomy of Nights (2011) and Butterfly’s Wings (2011).

    Dialogue Artist Residency (DAR) and Collaborative Efforts

    Establishment of DAR: Founded the Dialogue Artist Residency to encourage collaboration between Tibetan and international artists.

    Collaboration with Filmmakers: Contributed to the documentary "Bringing Tibet Home" (2013).

    Focus on Cultural Exchange: Actively fosters cultural exchange through his residency program and collaborative projects.

    Recognition and Historical Significance

    Metropolitan Museum of Art Acquisition: His work being acquired by the Met signifies a growing recognition of contemporary Tibetan art within mainstream Western institutions.

    Honorary Doctorate from CU Denver: The first Tibetan artist to receive this honor, highlighting his contribution to both artistic and intellectual fields.

    Bridging Tradition and Modernity: Rigdol's work is significant for its ability to bridge traditional Tibetan art forms with contemporary concerns, making them accessible to a wider audience while retaining their cultural depth.

    Addressing Social and Political Issues: His art serves as a platform for addressing social and political issues relevant to the Tibetan diaspora and beyond.

    美術館・博物館

    Rubin Museum of Art

    展示場所 New York City, United States of America

    A Sanctuary of Spirit: The Living Legacy of the Rubin Museum

    In the bustling, rhythmic heart of Manhattan, where the concrete canyons of Chelsea meet the relentless energy of New York City, lies a profound sanctuary of stillness and light. The

    Rubin Museum of Art

    is not merely a repository for ancient relics; it is a vibrant bridge connecting the ephemeral modern world to the eternal wisdom of the Himalayas. To step through its doors is to leave the cacophony of the streets behind and enter a realm where spirituality, color, and storytelling coalesce into a breathtaking panorama of human devotion. The museum serves as a luminous testament to the enduring artistic legacies of Tibet, Nepal, Bhutan, and the broader Indian subcontinent, offering an immersive experience that transcends the boundaries of time and geography.

    The soul of the collection resides in its extraordinary ability to transport the viewer into intricate cosmologies. Visitors are often first captivated by the

    Ancient Tibetan Thangkas

    —meticulously rendered silk scrolls where every brushstroke serves a sacred purpose, depicting Buddhist deities with a precision that feels both mathematical and divine. These paintings, alongside iconic religious sculptures that embody compassion and enlightenment, create a dialogue between the material and the metaphysical. For the discerning collector or art lover, these works represent more than historical artifacts; they are masterclasses in symbolic language, where every pigment and posture carries a weight of profound meaning, making them essential studies for anyone captivated by the intersection of fine art and spiritual practice.

    The architecture of the museum itself acts as a silent narrator of this cultural fusion. The building, once a grand fashion department store, has been reimagined through a harmonious blend of modern aesthetics and subtle Himalayan motifs. Designed with an emphasis on spatial flow and natural light, the galleries are arranged to encourage a meditative pace. The preservation of the original six-story spiral staircase provides a dramatic vertical axis that anchors the museum’s energy, while the carefully curated acoustics allow for moments of deep contemplation. This architectural intentionality creates an environment where the art is not just viewed, but felt—a crucial element for interior designers and curators seeking to understand how space can be utilized to evoke tranquility and reverence.

    What truly distinguishes the Rubin Museum is its evolution from a fixed destination into a "museum without walls." While its New York home has long been a beacon of innovation through exhibitions like

    “Men Walking on the Ocean,”

    which masterfully juxtaposed traditional iconography with contemporary perspectives, the museum’s recent transition toward a global, mobile presence marks a bold new chapter. By focusing on traveling exhibitions, digital resources, and international partnerships, the Rubin continues to fulfill its mission: to foster empathy and celebrate the transformative power of art. It remains a vital catalyst for cultural exchange, ensuring that the profound beauty of Himalayan traditions continues to illuminate shared human values across the globe.

    詳細はこちら

    オンラインで見る

    Updating YamantakaのダウンロードページへつながるQRコード

    artsdot.com/ja/art/download/tenzing-rigdol-updating-yamantaka-D7JSVG-en/

    この作品の引用方法

    MLA
    Rigdol, Tenzing. Updating Yamantaka. 2010, Rubin Museum of Art. https://artsdot.com/ja/art/tenzing-rigdol-updating-yamantaka-D7JSVG-en/
    APA
    Rigdol, Tenzing (2010). Updating Yamantaka [Painting]. Rubin Museum of Art. https://artsdot.com/ja/art/tenzing-rigdol-updating-yamantaka-D7JSVG-en/
    Chicago
    Tenzing Rigdol. Updating Yamantaka. 2010. Rubin Museum of Art. https://artsdot.com/ja/art/tenzing-rigdol-updating-yamantaka-D7JSVG-en/
    Harvard
    Rigdol, Tenzing (2010) Updating Yamantaka. Rubin Museum of Art. Available at: https://artsdot.com/ja/art/tenzing-rigdol-updating-yamantaka-D7JSVG-en/

    細部まで見る

    Updating Yamantaka — Tenzing Rigdol

    細部を観察する

    ご自身の言葉で回答してください。正解はありません。大切なのは、その答えを説明できるかどうかです。

    1. まず最初に目に飛び込んでくるのはどこですか?また、それはなぜでしょうか?
    2. どのような色や形がその情緒を作り出しているでしょうか。そして、それはどのような情緒なのでしょうか。
    3. 当カタログでは、この作品を tibetan buddhism, death, terrorism として分類しています。この分類は適切でしょうか?追加したい項目や、削除すべき項目があれば教えてください。
    4. このガイドの前述にある Pin drop silence: Eleven-headed Avalokiteshvara (2013) を改めて振り返ってみましょう。この作品と共通する点を2つ、そして異なる点を1つ挙げてください。
    5. Tenzing Rigdol は、この作品の制作当時 28 歳でした。作品のどのような点に、その時期のアーティストらしい特徴が見て取れるでしょうか。

    回答内容

    この作品について短い文章を書いてください。本ガイドの前半部分に記載されている事実と、上記での回答内容を活用してください。

    アートクイズ

    Updating Yamantaka — Tenzing Rigdol

    この作品について、どれくらいご存知ですか?

    以下の質問に対して、正しい答えを一つ選んでチェックを入れてください。正解は一つだけです。

    1. 1. What is the primary symbolic meaning conveyed by Tenzing Rigdol’s artwork, ‘Updating Yamantaka’?

      • A The celebration of Tibetan religious rituals.
      • B A commentary on global terrorism and its impact on contemporary society.
      • C An exploration of traditional Buddhist iconography.
    2. 2. In the artwork, what is unusual about the figure traditionally depicted beneath the buffalo?

      • A It is rendered in a highly stylized and abstract manner.
      • B It bears the face of Osama bin Laden.
      • C It represents a traditional Tibetan deity.
    3. 3. Tenzing Rigdol’s artistic background includes training in which traditional Tibetan art forms?

      • A Sand painting and thangka painting.
      • B Butter sculpture and calligraphy
      • C Textile weaving and metalwork.
    4. 4. The artwork ‘Updating Yamantaka’ was created in which year?

      • A 2008
      • B 2010
      • C 2014
    5. 5. What does the inclusion of Osama bin Laden’s face in ‘Updating Yamantaka’ suggest, according to the artist?

      • A A critique of Western foreign policy
      • B An attempt to apply traditional Tibetan symbolism to contemporary global issues
      • C A celebration of American military strength.

    スコア:5点中 ____点

    解答集 — 教員用

    こちらは新しいページから印刷されるため、コピーの際には除外していただいて構いません。

    1B · 2B · 3A · 4B · 5B