Prisoners of Shangri-La

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• Once free of the specificity of Tibet, anything Tibetan begins to attract associations, whether Roman Catholic, sexual (the meaning of a mantra), or psychedelic (the reading of a Buddhist text); things Tibetan become not particular to a time and place, but universal, and in the process Tibet is everywhere and hence nowhere, functioning as an element of difference in which everything is possible. (查看原文)

  卖女孩的小火柴 1赞 2021-09-13 17:19:43

• Just as Tibetan art is encountered not in Tibet but is located elsewhere, so its meaning is not specific but universalised away from Tibet, to an imagined state of enlightenment in the future or to a primitive state of human evolution in the past, but never in the present, never in Tibet. Thus, as with other portrayals of things marked with the adjective "Tibetan," Tibetan art is represented as a field of opposites, of Chinese influence or Indian influence, or peaceful deities or wrathful deities, of sexual degradation or high symbolism, or works that compel abject devotion or that point only beyond, works executed by evil magicians or enlightened sages, who inhabit a land that can inspire only terror or mystic visions of emptiness. Invisible in all of these portrayals are Tibetans, actors... (查看原文)

  卖女孩的小火柴 1赞 2021-09-28 16:46:58

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