THE IMAGE OF LHASA IN TIBETAN MODERN PROSE (ACCORDING TO THE STORY “RELEASED SHEEP” BY TSERING NORBU)
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Abstract
In reflected form, Lhasa is found on the pages of modern Tibetan literature, and its image is represented both in poetry and in prose, and in the Tibetan works written in Chinese language also. The article is dedicated to Lhasa’s image in “Released sheep” (“放生羊”) story by Tsering Norbu – modern author, who writes in Tibetan and the Chines languages. Tsering Norbu speaks of the old Lhasa – Tibetan so and the Chinese – a new its part, in summer of 1990. Such a perception of the city by Nyandak, the main hero of the story, is based on the personal memories of the author, who was born in Lhasa in 1966. Old Lhasa’s space is presented in Tsering Norbu’s story in accordance to koras (tib. skor-ba), or pilgrimage (Lingkor, Tsekor); it incloses sacral monuments and temples (Potala, Jokhang) with its sacred sculptures (Jovo, Mikyodorje), city’s toponyms; corresponds to the Tibetan concentric model of world; reverberates historical and cultural heritage of Tibet. The new Chinese part of Lhasa is represented as a linear open space, unlike the old Lhasa, as well as civilian buildings (hospital, teahouse), new streets (Dosenge). The real topography and architectural landscape, and the pure Potala land are combined, as a part of the physical space of the city and the embodiment of the sacred space of Potalaka – the pure land where Avalokiteshvara, the bodhisattva of Mercy, resides. Consciously or involuntarily Norbu Tsering draws attention to the problem of historical and cultural monuments, both during the tectonic socio-political changes, and in the periods formation of a new image due to the development of the city in the a modern and contemporary periods.
How to Cite
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architecture, Barkor, Dosenge, Jokhang, Lhasa, Mikyodorje, Tsering Norbu
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