Dedication to a Unique Cultural and Artistic Phenomenon

(He is considered by many as the sole person responsible for the protection and promotion of the Tibetan cultural phenomenon, “tsha-tsha”. Such is the ground-breaking nature of his research that he has even caused the creation a new subcategory in the field of Tibetan studies. Liu Dong, an artist of Han nationality, recently presented his findings from 30 years of research on “tsha-tsha” at an exhibition in Beijing. Our reporter Shanshan went to the exhibition and talked in person with Liu Dong.)

Before I went to interview Liu Dong at his exhibition of “tsha-tsha”, I went to the library to find out more information on this subject. To my surprise, however, there was no relevant information available. It is therefore by no means an exaggeration to say that Liu Dong’s research has filled a blank in Tibetan studies.

For those living in Tibetan regions, “tsha-tsha” are everyday, household items. The word “tsha-tsha” is the transliteration of a Sanskrit word, which originally meant “copy”. It initially referred to small clay reliefs or figures representing different Buddhas and Bodhisattvas. These religious icons soon became commonplace in and around Tibetan households.

Da Zha is a living Buddha from the Dazha Monastery in southwest China’s Sichuan province, one of China’s major ethnic Tibetan areas. He says that Tibetan monks and laypeople have been making the miniature sculptures for a long time, and their crafts have now reached an incredible level of sophistication. After the artworks have been finished, ceremonies are held for eminent monks to chant Buddhist sutras in honour of the relevant Buddha or Bodhisattva. The ceremonies can last for a few days, or can be a matter of several minutes. Only after the ceremonies, can the artworks become votive and auspicious items.

“Tsha-tsha are used as objects for believers’ worship. The Tibetan people believe that the worship of tsha-tsha will bring blessings and drive away evils and misfortune. The more frequent the worship, and the greater the number of tsha-tsha, the more devout the believer.”

Tsha-tsha are placed at a number of sacred sites --- the peaks of snow mountains, beside sacred lakes and in mountain caves. Laypeople can either buy tsha-tsha or make them out of moulds by themselves. Well-off families in particular may make hundreds of thousands of tsha-tsha every year and build special shrines in which to worship them. The Tibetan people believe that, by walking around the tsha-tsha shrines clockwise, they will be blessed with good luck. What’s more, before setting out on a journey, a traveller will usually carry a small wooden box containing a tsha-tsha, so as to express his reverence to Buddha no matter where he is.

Tsha-tsha are so common and popular in Tibetan minority areas that few have ever given a second thought to their cultural and religious significance, until Liu Dong probed into this fascinating field of local culture.

Liu Dong, a painter and antique connoisseur, was born in 1944 in Tianjin, a port city in northern China. From an early age, he had a strong interest in calligraphy, painting and antiques, all influences from his family members. He is famous in the city for his paintings and engravings, the incomes of which have since helped finance his thirty-year-long research into the cultural phenomenon of tsha-tsha.

Although Tianjin is thousands of kilometres away from Tibet, the great distances didn’t deter Liu Dong’s great enthusiasm for his field of study. His first introduction to tsha-tsha was in 1969, when he was given four pieces as a Spring Festival gift by his brother, who was in Inner Mongolia at the time.

“His gift was like a key, which opened up a world of wonders to me. I was fascinated by the craftsmanship of the beautiful works. Their facial expressions and gestures are so lively, almost making it seem as though they could move and talk. Their costumes and decorations are also exquisitely carved.”

Attracted by the outstanding craftsmanship and rich culture of Tibetan Buddhism that were evident from the small moulded clay figures, Liu Dong tried to conduct further research into tsha-tsha. But he quickly came to a dead end in his studies due to a complete lack of academic material on the subject. Despite having a history of over 1,000 years, Liu Dong believes that the area of tsha-tsha has remained relatively unexplored because of the easily perishable nature of the clay figurines. As a result, few artifacts that could be used as references for academic research have been preserved from early times. Another reason may be that the popularity and cheap price of the pieces mean that most people have failed to realize their value.

With nothing on which to base his research, Liu Dong has been forced to take a bold step and conduct pioneering research into the area. Over the past 32 years, apart from setting aside money for his family’s basic living expenses, he has spent every penny from the sales of his paintings, calligraphy and seal engraving on buying books on the subject and financing his field trips. In the course of his explorations, Liu has passed through 149 counties throughout China in his quest to collect examples of tsha-tsha and learn about their origin and development. Liu Dong says he has received the encouragement and support of a number of people in his journey.

“I’ve visited a number of living Buddhas, eminent monks, and distinguished experts and scholars in the field. They’ve given me great encouragement and help in explaining the significance of tsha-tsha. Without their efforts, I would not have had the degree of success in my research that I have had to date.”

With such help, Liu Dong has deciphered little by little the mysteries of the tsha- tsha. According to first-hand evidence that he has collected, Liu Dong has come to the conclusion that tsha-tsha first came to Tibet during the 7th century with the popularisation of Buddhism in the region. The development of this phenomenon can be divided into four broad phases --- its importation to the region between the 7th and 9th centuries, its gradual artistic development from the 10th to the 13th century, its flourishing between the 14th and the 17th century and its popularisation since that time.

The more Liu Dong learns about tsha-tsha, the more he becomes fascinated by the subject. There are many different types of tsha-tsha. Some contain the relics of eminent monks after they have passed away, some were made by renowned latter-day Buddhas, such as the fifth Dalai Lama and the tenth Panchen Lama. And still others were even made using the materia medica of Tibetan medicine. Liu Dong has a particularly precious tsha-tsha that contains over 140 different kinds of Tibetan medicinal ingredients. Such tsha-tsha not only offer spiritual relief to believers, but can also serve as medicine if and when in necessary.

From the 1000 pieces or so of his collection, Liu Dong chose 368 representative examples to be presented at his exhibition recently held in Beijing. Many visitors were captivated by the beautiful craftsmanship of the tsha-tsha, as well as by their rich cultural significance. At the exhibition, copies of Liu Dong’s book, which is the first work on the market to present a systematic introduction to tsha-tsha, sold very well. The Municiple Library in Liu Dong’s hometown of Tianjin has opened a new subcategory in Tibetan studies for his book, which was published last year.

The exhibition and the book offered a brief summary of Liu Dong’s research, which, as the Living Buddha Dazha says, is a reflection of Tibetan Buddhism’s thousand-year history.

“Liu Dong is the first person to conduct a systematic and modern research into tsha-tsha. Tsha-tsha is highly representative of Tibetan Buddhist arts, and is a precious cultural inheritance left to us by our Tibetan ancestors. This art form reflects the wisdom and outstanding craftsmanship of the Tibetan people. Liu Dong’s study has really probed into Tibetan Buddhism and its associated culture.”

The living Buddha also quoted Ngapoi Ngawang Jigme, the Tibetan vice chairman of the Chinese People’s Political Consultative Conference, as saying that Liu Dong’s research has opened up a new branch of Tibetan studies and filled a niche in previous research. It is an unprecedented move, which has had a great impact on the protection, research, and development of traditional Tibetan culture.

In response to such comments, Liu Dong is as modest as ever, regarding as positive encouragement for future research in the field. To this end, he has set up a research and exhibition centre of tsha-tsha, which opened last Sunday in his hometown of Tianjin. His first goal after establishing the centre is to collect more information for his second book.

Liu Dong’s Tianjin centre is filled with the tsha-tsha that he has bought over the course of his travels. He says he is not an antique businessman, however, and will not exchange any of the pieces on display for money, even if the research centre faces serious financial difficulties in its infancy.

“The precious cultural relics are not mine. They belong to the country. I’ve collected them from across the country, and so there’s no reason for me to spread them again.”

Liu Dong says that, ever since the early days of his interest in tsha-tsha, he has developed a strong sense of responsibility for their protection. He is worried that the publication of his research may result in a rush amongst antiques collectors to find tsha-tsha. This would have a disastrous effect on the artefacts that would completely contravene his original intention in carrying out the research. To prevent such an outcome, Liu Dong claims that he will, if possible, devote a further 30 years to the study and preservation of this fascinating artefact. Let’s hope, for the good of this country’s cultural heritage, that he succeeds in his aim.