Tibetan “Post-Modernism” is the seamless integration of modernism with her deeply-rooted religious psyche of reconciliation and acceptance of “old” and “new” in which visual beauty is achieved through contrast and harmony of spirituality and forms: objects, colors and light; inheriting the past while breaking through to the future in which the artist shares with the outside world his own inner spirit of compassion and love.

Unique to Tibetan “Post-Modernism” is the blending of Surrealism of modern painting with her ancient religious art of thangka; of meticulous use of mineral and organic pigments. Its appeal is its capacity to uplift the spirit of the viewer closer to the realm of spirituality: form is emptiness, and emptiness is form.



西藏后现代主义

可以说完完全全地将先代主义与她根深蒂固的宗教灵魂观综合并调和在了一起，并且通过精神与形式上的冲突与和谐，接受了视觉美感上‘新’与‘旧’的元素，即物与色、光。秉承过去，开创未来。艺术家们与观者分享了外部世界在艺术家内心深处所引发出来的激情与爱的精神。

西藏后现代主义

的独特之处在于她将超现实主义的当代油画和其独特固有的精心运用矿物有机颜料的宗教唐卡绘画艺术融合在了一起。其才能在于它拉近并提升了观者的精神与灵性的领域——色即是空，空即是色。