Tibetan Appliqué Project Proposal
INTRODUCTION:
The present proposed project focuses on reviving the disappearing art of Tibetan appliqué. It aims to to train a younger Tibetan female workforce in appliqué skills throughout the creation of a large-scale important traditional Tibetan appliqué lost during the Cultural revolution and now asked for by an important monastery in Tibet. It is also concerned with developing innovative ways to design and create new products in this medium for this workforce to be competitive.
B. BACKGROUND
1. The WHITE CONCH FACTORY (WCF)
The White Conch Factory is one of the earliest appliqué sewing factories in Lhasa. It was founded shortly after the Chinese invasion in 1959. Originally workers were allowed to only repair clothing for the local market. As the Communist government loosened cultural restriction they were finally able to revert to their traditional Tibetan appliqué skills. They have struggled through decades of changing politics and restrictions and relatively recently were able to complete huge religious images to replace lost cultural heritage assisted by Terris and Leslie particularly in the area of design and project management.
Because of recent economic hardships for Tibetans in Tibet, the project presently proposed is necessary for their survival. The identity of this workforce is unique and the vision of having them involved in this project will now move them into the next phase of developing their work competitively within modern changing Tibet. The sewing team is represented mainly by a group of women. The training of a group of younger women to acquire these amazing skills makes this project hopeful for the development within Tibet of a strong female workforce keeping their culture alive.
2. Terris and Leslie Nguyen Temple
Terris spent 10 years from 1966-76 studying Tibetan Sacred Art with various Tibetan masters in Nepal. His first teacher was the artist Jampa Tsedan, state artist of Tibet, followed by masters of the Nyingma and Kargyu sects. He has worked on large art projects in both Nepal and Tibet from 1969. Since 1974, Terris has taught Tibetan sacred art both at Naropa Institute and various centers in America. His experience covers more than 40 years.
Leslie, a Psychology graduate and trained in Art Therapy worked in mental health settings before focusing on Tibetan art in 1990. Since that time she has been involved in large scale Tibetan art projects in Tibet and continues to create work in this field in the west.
Both have worked since 1992 for Tsurphu Monastery and His Holiness the 17th Karmapa’s and reside in Thailand and USA when not working in Tibet.
3. Tsurphu Monastery and Past Projects
a. Tsurphu Gompa (monastery) is the original seat of all the Gyalwa Karmapas and the Karma Kagyu Lineage and was founded in 1187 by the 1st Karmapa, Dusum Khyenpa. Tsurphu’s rich history continues with the 17th Karmapa- the first lama recognized by the Chinese government as well as the Dalai Lama. His millennium escape to India has presently put significant pressure on the temple. All 17 Karmapas have lived, meditated and taught in the Monastery. Tsurphu is located in the Tolung Valley, about a 2-hour drive from Lhasa, above 15,000 feet.
b. Between 1992-1997, Terris and Leslie Nguyen Temple and the White Conch Factory in Lhasa created two giant applique thangkas for Tsurphu Gompa.
Terris and Leslie were responsible for fund raising, designing and supervision of these projects. They identified and involved the WCF who were responsible for the sewing and construction of these giant appliqués. As no photographic record existed for these thangkas, the images had to be entirely redesigned.
The first a 24 x 35 meter lineage thangka was completed in 1994 and is known as the Karma Kadri Thangka- named after the style of the Karmapa tradition of art.
The second thangka, a 10 meter sq. appliqué of the lineage protectors was completed in 1997,
Both these images are shown annually at Tsurphu and comprise replacement pieces to the lost heritage destroyed during the Cultural Revolution in the mid 1960s.
These projects represent a first and unprecedented fusion of Tibetan and Western expertise in the field of sacred art in Tibet.
c. The Drawa Drabje appliqués:
Norbu and Tsechur Drabje
The same teams were requested by the Karmapa and Tsurphu monastery to undertake the making of the two large ceremonial silk appliqué banners called Drawa Drabje. These are also used for important ceremonies in the main assembly hall at Tsurphu.
The Tsechur Drabje will complete Tsurphu's precious appliqués. The Norbu Drabje was completed in 2007. It is proposed to create the Tsechur Drabje piece as part of a training effort with the WCF to revive lost skills in a younger workforce and develop new appliqué handicrafts.
The Tsechur Drabje
The original peaceful Tsechur Drabje dates from the late 16th and is associated with the annual Sagadawa festival. This festival celebrates the birth and enlightenment of the Buddha, as well as Guru Rinpoche bringing Buddhism to Tibet. The Giant Karma Gadri Thangka is unfurled and displayed during this event.
Internet Resources for the Tsurphu Projects
http://www.tibetcolor.com/tatsurphu.htm
A short video on the Norbu Drabje work.
www.youtube.com/templeartstudios
http://www.tibetcolor.com/tafuture9.htm
B. The WCF Training Program Concept
The present project aims to train a younger workforce in appliqué skills throughout the creation of a large scale traditional Tibetan appliqué which was lost during the Cultural revolution and is now needed by Tsurphu monastery.
This project has two main objectives and phases:
1. The first objective is to recreate the Tsechur Drabje 120-foot appliqué lost to Tsurphu Monastery in 1959. Returning this great applique back to Tsurphu, where it will be after 50 years used once again in important ceremonies, and will be an inspiration for Tibetans as it once was for four hundred years.
2.The second objective relates to the long-term vision of developing skills within a community of younger women to keep the appliqué tradition alive in Tibet. Making high quality traditional designs as well as introducing new ideas for future products will accomplish keeping this workforce competitive.
The experience of working on the Tsechur Drabje appliqué with the older generation of master appliqué artists assisting the apprentices will lay the foundation for this selected group to acquire new skills and inspiration to create new designs that c will come from western guidance.
- Tasks
Below is a list of general tasks required in each production:
1.Tsechur Drabje
An estimated time of 18-24 months sewing time is required to complete the sewing. Four months is needed to make the scale working drawing. (This piece is 7 ft x 120 ft or 2 mt x 40 mt) This project involves the same team of workers who completed the last 3 appliqués for Tsurphu monastery- the White Conch Factory in Lhasa, Tibet.
2. Thangkas
We will also concentrate on producing traditional applique thangkas in both the small and large size. Both of these are not so common any longer. One of the differences is the large thangkas us thin silk fabric for outlining, while the small thangkas use horsehair wrapped with tread. All require large amounts of hand stitching and embroidery.
The trainees will learn all these skills.
3. New Products
An array of new and traditional designs will be made for domestic and overseas markets. These will include household items in both cotton, and silk fabrics. In this category bedroom sets will be one of the first areas of development. We shall concentrate on traditional as well as non-traditional designs. One of our biggest projected markets will be mainland China.
4. Tents
As the WCF is a successful maker of traditional Tibetan festival tents since the 1980s. One of the new ideas is making Tibetan applique tents using modern fabrics for a worldwide market. (New fabrics like pvc coated polyester) This would make a waterproof product for orders outside of Tibet. One potential market is Buddhist centers. Customs made marquee-tents are another area of development, for businesses and private use.
Our initial focus will be in locating a suitable workshop to work in. Purchasing the necessary equipment such as sewing machines and materials will be done while actively identifying an appropriate group of female apprentices.
Through outreach within the Lhasa community interested candidates will be selected based on mainly basic dexterity, interest and enthusiasm, commitment and ability to work as a team.
Apprentices will be trained in both hand and machine sewing work. During this phase we will be looking to identify a particularly skilled and enthusiastic sewer who shows an interest and inclination for design. She will be given extra training and guidance in the aim of gaining greater independence to take on design challenges herself and subsequently directing the team.
2. STAFF
a. Terris Temple
His main responsibilities are the Tsechur Drabje drawings, material selection and supervision of that project. Besides the Tsechur Drabje, he will be designing new products, assisting in quality control, market research, outside orders, and publicizing the factory’s work.
b. The Team:
1. Director: manager, Tashi Topgyal
2. Bookkeeper / translator, Phuntsok Tsering
3. Experienced woman sewers: 12
4. New apprentices: 10
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For further imformation contact:
Terris Nguyen Temple
Temple Art Studios
183/1 Chotana Rd.
Green Valley 12A
Mae Sa, Mae Rim,
Chiang Mai, 50180
Thailand
or
Po Box 747
Haiku, Hi
96708
USA
Tel. (623) 748-4603 (USA)
or
Tel. 6653414178 (Thailand)
Email: templeart@ tibetcolor.com
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