Journal of Siberian Federal University. Humanities & Social Sciences / Master Sangye Yeshe and His Disciples: Preserving and Developing the Tibetan Thangka Painting Tradition in the Late 20th – Early 21st Centuries

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Issue
Journal of Siberian Federal University. Humanities & Social Sciences. 2026 19 (10)
Authors
Demenova, Viktoria V.; Shishmintseva, Anastasiia M.
Contact information
Demenova, Viktoria V.: Ural Federal University named after the First President of Russia B. N. Yeltsin (Ekaterinburg, Russian Federation); ORCID: 0000‑0002‑2348‑8817; Shishmintseva, Anastasiia M.: Regional Branch of the Urals, Siberia and the Far East of the Russian Academy of Arts in Krasnoyarsk (Krasnoyarsk, Russian Federation); ; ORCID: 0009‑0000‑5740‑1786
Keywords
Tibetan painting; Buddhist art; thangka; master‑disciple relationship; Sangye Yeshe; Alex Kocharov; Nikolai Dudko; Purevbat; Buddhist painting transmission
Abstract

The study analyzes the mechanisms of transmitting thangka art tradition through the oeuvre of Tibetan master Sangye Yeshe and his disciples.The research focuses on the master’s significant influence on Buddhist painting development in India, Mongolia, and Russia during the 20th‑21st centuries. The paper examines the pedagogical system at Sangye Yeshe’s school in Dharamsala and identifies key first‑ and second‑generation artists in the master’s lineage, including notable disciples from Tibet (Tenzin Ngodup, Migmar Tsering, Bhuchung Tsering), Mongolia (Purevbat), and Buryatia (Alex Kocharov, Nikolai Dudko). It reveals differences in individual and regional interpretations of the tradition. The study establishes that the transmission model implemented by Gen Sangye Yeshe – living with the master, absorbing his artistic vision, and creatively adapting it in one’s work – remains the most effective method

Pages
2105–2118
EDN
NAYQUY
Paper at repository of SibFU
https://elib.sfu-kras.ru/handle/2311/160174

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