The Olmo Lungring Thangka of Bon Khyung Mo Monastery in Khrika-Linking Issues of Minority's Identity, Modernization and Cultural Heritage Protection in Modern China=貴德瓊毛寺的沃摩隆仁唐卡研究
Bon; Thangka=唐卡; Olmo Lungring=沃摩隆仁; Cultural heritage; Legal
摘要
The debate over Intellectual Property Rights and the protection of Cultural Heritage, TK and TCEs has grown rapidly in the last years, reflecting increased levels of academic interest in the subject. Studies on the Bon tradition of Tibet have also seen a growing interest. This cross-disciplinary Doctoral (PhD) illuminates a Tibetan Bon thangka from the 19th century A.D, illustrating the sacred land of Olmo Lungring. It gives insight into the life of Khri ka ba Kun bzang rgyal mtshan (b.1917/18), the pandita who’envisioned’the image of the pure land depicted in the thangka, and provides an historical and religious background to the cultural object. To determine the value of the painting as a cultural object worth of protection, it analyses it against longer socio-cultural and religious practices and beliefs. By focusing on its influence on the modern Bon identity in Amdo, it further links issues of minority identity, modernization and current legal framework for the protection of TK, TCEs and Cultural heritage, at the international level and in contemporary China.
目次
Abstract Acknowledgment Chapter 1 1.1 Searching for a Bon thangka 1.2 Methodology 1.3 Overview of the field 1.3.1 Trends in the study and research of Bon-within China 1.3.2 Trends in the study and research of Bon-outside of China 1.4 A cultural object and its significance Chapter 2 2.1 Overview of the Bon Religion 2.1.1 Tonpa Shenrab Miwo:the founder of Bon 2.2 Envisioning Olmo Lungring:A Biographical Overview of Kun bzang rgyal mtshan 2.3 Who was the painter of the Olmo Lungring thangka? 2.4 The place:Khyung mo monastery 2.5 Monasteries closely associated with Khyung Mo 2.6 The thangka:A religious artefact with sacred content 2.6.1 The image itself 2.6.2 Description of the thangka 2.6.3 The inner region (nang gling) of Olmo Lungring 2.6.4 The intermediate region (bar gling) 2.6.5 The third region 2.6.6 The next circle 2.7 The religious concept 2.8 The recent history of the thangka:from the cave to the market 2.9 Chapter two-Remarks Chapter 3 Textual background 3.1 Model of the Western sTag gzigs Holy Land and Magnificent Flower Garland of Prayers 3.2 Autobiography of gShen Master, Khri ka ba Kun bzang rgyal mtshan [1] Chapter 4 4.1 Introduction 4.2 What do we mean by Cultural Heritage? 4.3 The debate over ownership:local vs. universal 4.4 What is a TCE or Expression of Folcklore? 4.5 Protecting Cultural Heritage:who benefits? 4.6 What is Traditional Knowledge? 4.6.1 Approaches taken to protect the content of Traditional Knowledge 4.6.2 Three approaches to Traditional Knowledge protection Chapter 5 5.1 International standards 5.1.1 The international legal framework:its conventions and recommendations 5.1.2 The 1970s and 1980s 5.1.3 The 1990s and beyond Chapter 6 6.1 The protection of property rights in China 6.1.1 Cultural heritage and traditional knowledge protection in China 6.1.2 China as a 'traditional culture':some further issues 6.3 Main challenges that China faces today Chapter 7 CONCLUSIONS Bibliography APPENDIX SECTION APPENDIX Ⅰ Ⅰ. Tibetan text, Olmo Lungring prayer Ⅱ. Tibetan original text, Olmo Lungring prayer Ⅲ. Tibetan text, Autobiography Ⅳ. Tibetan original text, Autobiography APPENDIX Ⅱ Publications by the author
