Exploring Assimilations of the Traditional and Contemporary in Ladakh

Earlier in 2017, LAMO proposed an art collaboration between a thangka painter and a contemporary artist to explore the synergies between these two distinct artistic practices and their potential to generate new work. While thangka painting is an established and traditional art form in Ladakh, contemporary art is a relatively new field. Both practices reveal points of convergence and difference—thangka painting is taught in a structured manner within a fixed theological framework, whereas contemporary art operates within a more flexible and open-ended approach. Despite these differences, both share a common emphasis on line, form, colour, and composition. LAMO saw this dialogue as meaningful within the evolving art landscape of Ladakh.
The collaboration brought together Isaac Tsetan Gergan, a contemporary artist, and Stanzin Nyentak, a traditional thangka painter. During this period, they developed a body of work that reflected new directions through the use of traditional methods, styles, and techniques of art-making.
The paintings presented in the exhibition were the result of this collaboration. A range of methods was employed in their creation—some drawn from established practices and others newly conceived. Each work stood distinct in its approach, collectively setting a rhythm for future collaborations and exchanges between differing artistic styles.
This exhibition functioned as an experiment, bringing together practices that have long been valued and preserved, allowing them to interact and be reshaped through contemporary sensibilities. The works invited multiple readings and could be analysed, critiqued, and understood through various lenses, including religious symbolism, formal elements, comparative art histories, semiotics, and meanings emerging both within the works and in relation to the present context.
The exhibition also highlighted the expansive possibilities of such experimentation. At the same time, it underscored the importance of supporting structures—such as contextual presentation, engagement with art histories, academic critique, and dedicated spaces—to sustain and encourage such practices.