Similar to the Cloisters, the architecture of the Rubin Museum of Himalayan Art works in concert with the exhibitions. The staircase that spirals up through the exhibits mimics the circular, sacred structure of the mandala and the soft low light likely resembles the temples that would have housed the works. In the Cloisters, the medieval, cavernous architecture evokes the era in which those artworks would have been viewed.  Unlike the Cloisters, I experienced a sense of calm when viewing the art at the Rubin, where at the Cloisters, I felt every much assailed by the art.  It was not any less fascinating, but many of the works depicted figures that appeared to me grotesque and stoic. In contrast, the intricate and colorful mandalas we viewed were beautiful and transcendent in their craftsmanship.

I should stop here and admit that my evaluation of Christianity during the Middle Ages probably does not lean toward a sympathetic assessment. Even so, the tapestries that depicted mandalas at the Rubin were vibrant and warm, in comparison to the austerity that typified religious art of Medieval Europe. Given a choice, I’d much rather have a large mandala hanging on my wall instead of a lifelike Crucifix.

But there are similarities.  In the same way that the symbol of a mandala is possessed of a narrative that imparts enormous spiritual significance, the image of Christ on a cross is the iconic culmination of a story known since the dawn of Christianity. Here, one sees two different civilizations utilize their own versions of symbol and myth to ignite spiritual fervor and devotion. In both cases, the narrative is symbolically repeating a divine event or events – a reminder to the devout that the religion is a never-ending and powerful cycle.  Although the religions of Central Asia are often considered by Westerners to be free of violent and exploitative pursuits – characteristic of other religions – a bit of research reveals that this is not true.

History reveals religious conflicts in Asia that were plentiful and bloody.
There have been continuous squabbles and violent clashes between or within Buddhists sects long before Christianity reared its doctrine in Europe. During the twentieth century, Buddhists continue to clash violently with each other and with non-Buddhists. In Sri Lanka, armed battles between Buddhist Sinhalese and Hindu Tamils have taken lives on both sides. This recalled to me the Protestant Reformation where a Christian reform movement broke from Catholicism and a bloody war ensued.  It is interesting to consider that during the most violent and tumultuous of times, religion, as opposed to reason, has the power to seize the psyche of civilizations.  Even more remarkable is that out of chaos, the symbols of religious doctrine are invested with great spiritual ferocity.

The average person in old Tibet would live life as a peasant, slave, or serf, reminiscent of feudal Europe in the Middle Ages. Serfs would be taxed heavily, and many would live in life long poverty. Illiteracy was widespread – only the secular wealthy or monks could learn to read and write and religious worship was enforced – sometimes brutally. Again, a parallel can be drawn to medieval Europe, where a disillusioned population would be overwhelmed with iconic images of supreme power. A vast, and impoverished population must be made to understand that God controlled every aspect of the physical Earth and the spiritual soul.  Once this task was complete, there would be no need for the poor masses to revolt against oppression, since their predicament was entirely out of their hands. The poor, illiterate populations of Asia fought a similar battle with the spiritual theocracy of Buddhism. Up until 1959, the serf system in Tibet was entrenched. That is a very long time after the Middle Ages for people to labor as slaves and to endure routine torture for minor infractions.

In both the Christian and Asian Religions, the iconic works we now view in museums were originally used as sacred tools to teach people the path to reach an enlightened state.  Also, in each religion it was important to historically trace teachings back to a central divinity.  As in most societies where people remain oppressed, religion is peddled to focus attention on a divine God, or spiritual doctrine.  Through this chaos, art has played a symbolic and ideological role for many cultures that continue to endure great disparity and hardship.  If we are able to step outside the culture as an objective viewer, we embark on a journey that seduces us to consider things beyond our comprehension.