| Popis: |
Although the Fourteenth Dalai Lama, Tenzin Gyatso, recognizes the great power which comes with his title, he often refers to himself as a simple monk. A collection of his speeches from 2010 uses the Dalai Lama’s own categorizations of human being, monk, and Dalai Lama in its division of lectures. My dissertation similarly uses the same type of division (man, monk, and political leader) in order to clarify different components of the Dalai Lama’s role; I propose, however, that these divisions can be found in the visual representations of the Dalai Lama. My research seeks to explore imagery of the Dalai Lamas, evaluating both intended functions of the image as well as audience reception. Further, I explore new avenues of Dalai Lama imagery—specifically those created in the recent past and especially those found on the internet—to compare and contrast their functions and audiences to those of the earlier portraits.I begin the dissertation by exploring religious and devotional imagery of the Dalai Lamas. This section provides background on the function of “traditional” imagery. I also explore the three roles of the Dalai Lamas—man, monk, and political leader—as they are highlighted in various degrees in such imagery. I then turn to early documentary photography of the Thirteenth and Fourteenth Dalai Lamas. I explore the ways in which this new media changed the type of imagery acceptable to Tibetan audiences. What did it mean to the individual practitioner who now had access to an image of an incarnate buddha—an image relic? How did (and does) the practice of consecration factor in to new types of imagery? Could (and can) a photograph be used in the same manner as a thangka? The final chapters in this dissertation explore the “image” of the Dalai Lama as constructed by his own office (official photography, internet expansion, etc.) as well as the “image” of Tenzin Gyatso portrayed by the Chinese government. Today, one finds that the role of the institution of the Dalai Lama has changed. The original practice of creating portraits of lineage masters within the Tibetan tradition has given way to today’s multifaceted explosion of imagery of the Fourteenth Dalai Lama. How are these types of images accepted by his religious audience? His international audience? Much imagery certainly highlights Tenzin Gyatso’s role as a monk. How do these representations affect his role as a political figure? Given that Tenzon Gyatso is the only master teacher of the Geluk sect with worldwide renown, how has his status as international icon changed the manner in which his image—and his teachings—are received by practitioners? This dissertation attempts to elucidate, amidst the proliferation of interest in and images of Tenzin Gyatso, both the similarities and differences between portrayals of him and those of the previous thirteen Dalai Lamas, and to draw what conclusions it can from that evidence. |
