Tashi Mannox Gives a Meditative Approach to Creativity

One of the world's foremost calligraphy artists, his work is renowned for its innovative technique and concept, informed by two decades as a Tibetan Buddhist monk and acting to illuminate the ancient Buddhist wisdoms he absorbed there. His work is aesthetically compelling, as well as firmly rooted in the integrity of the tradition. Tashi regularly exhibits in London, Moscow, and New York, where he is today for the launch of a new book, Sacred Scripts - A Meditative Journey Through Tibetan Calligraphy.

The collaborative output of both Tashi and Robin Kyte-Coles, a photographer specializing in images of the Buddha, the book gives a great insight into a wealth of Buddhist wisdom, while making its own contribution to the tradition's continued preservation as well. To celebrate the release, we are pleased to share a short film in which Tashi explains his meditative approach and displays some of the new art pieces featured.

Before you became a Buddhist monk, you were an undergraduate art student in London. Where were you studying and what was the experience like?

I studied the Fine Arts at both Bournville School of Art, where the air was filled with the heavy scent of chocolate, followed by Lanchester Polytechnics, where I achieved a BA Honors. This was during the 2 Tone Ska movement in Coventry, so probably the most happening city to be at the time. At the beginning of every term, you would find me blowing all my grant at Vivienne Westwood's World's End, so I may have dressed amazing, but lived poorly for the rest of the academic year. Although I started my studies in Fine Art, I moved myself to the textiles department, where I dyed and printed cloth to mimic exotic brocades of Tibet. It was these exotic textiles that attracted the attention of a Tibetan Lama, who invited me to work on the interior decoration of the first Tibetan Buddhist temple built in the West, in the borders of Scotland.

How did you decide to become a Buddhist monk?

I was inspired to become a Buddhist monk at the early age of 11 when, as a family, we took a holiday in the Dordogne region of France. It was here we found a newly immersed Tibetan Buddhist center, run by two wizened Tibetan Lamas who were fantastically gregarious with us as children — good quality human beings. As a young impressionable boy, I was quite simply inspired by these Lamas to be as happy and down to earth as they were. I had finished my training in Fine Art when His Holiness The Dalai Lama was visiting the UK and it was said by his accompanying Lamas that I should become a Buddhist monk. This was a great surprise to me, because I had never told anyone that I had wanted to become a monk. I was very moved, and became a monk at the age of 22.

What was it like transitioning from being an art student in London into the life of a Buddhist monk?

The step from student life to the monastic life was a beautiful but strange transition. It was most definitely a relief as I was no longer affected by society's expectations. I had fully escaped all external distractions; it gravitated my attention towards my inner-self. It was a commitment, as abstaining from a young man's fundamental attractions is a daunting thing to have to do. It enabled me to focus more one pointedly on creativity and spiritual development. I remember seeing my Tibetan Lama teacher and sharing with him that I felt my feet were not on the ground. He advised me to focus into the life of a monk, and so I channeled my youthful energy into learning and studying all the rich and diverse rituals and artistic traditions that Tibetan Buddhism offered.

When did you start learning how to do calligraphy?

One of the disciplines of a monk or a nun was learning the language, as the teachings and prayers are predominantly in the Tibetan language. Being artistic, I adopted the job of a scribe, copying ancient Tibetan manuscripts that were in danger of crumbling to dust. So in the preservation and conservation of these ancient wisdoms, I spent many years copying word by word these manuscripts which gave me a strong and well practiced foundation of Tibetan Calligraphy.

What do you love most about calligraphy?

Leaving the Monastery in the year 2000, I quickly needed a career. However my CV was empty of all the conventional job experiences. Within job interviews, I may be asked, "what have you been doing for the past 17 years?" And I suppose my answer would be, "learning to be patient and learning to be a kind person." I decided to take on the discipline of a scribe and make it into an art form as a contemporary artist. So what better place to launch oneself as an artist than London? I always had the notion that if you made a success in London, the rest of the world would be a piece of cake. However, the first few years were a struggle. I lived frugally from my cheaply rented art studio in east London, and so I very much had to form my own niche within the art establishment and people struggled to put me into a particular pigeonhole. Gallery owners would be surprised to meet me as an Englishman when they knew my work as a Tibetan calligraphy artist. But with a few good meetings I began to find my place in the world of Tibetan calligraphy and the arts. A good example would be Isabella Blow, who invited me to illustrate her book on Philip Tracey hats and invitations to exhibit with calligraphy museums in Moscow and Sharjah. These were great aids to launch me on my career.

Tell us more about your new book, Sacred Scripts? Why is it called a 'meditative journey through Tibetan calligraphy'?

Two years ago I was invited by an American-based publisher called Mandala Earth to publish a book with Robin Kyte-Coles, who is famous for photographing Buddha statues across the Far East. This book called Sacred Scripts — which is intended to be inspiring, if not thought provoking for the reader — is formed of Buddhist quotes which compliment the beautiful photography found within. I have spent two years specifically creating the art pieces which you can find within this book. It is also a platform to showcase the beautiful and diverse Tibetan writing systems, as well as addressing the Tibetan language, which is one of many on the list of the world's endangered languages.

What makes a great piece of calligraphic art?

For me, what makes a great piece of calligraphic art is first to have a deep rooted foundation in the discipline of hand writing tradition. Sometimes when I look at a piece of calligraphy art created by a great master, I can see clarity and space within the unbiased mark making. It takes a calm, relaxed approach to creativity, without any great expectation or fear of failure. This is what I call non-bias. A calligraphy masterpiece can be a window into a realm of something more ultimate and pure, which from a Buddhist point of view is the true nature of mind innately within all of us.

Do you think there are any lessons from the practice of calligraphy that can be applied to everyday life?

I think that anything we do in everyday life can be a lesson to help us be more focused and aware. Like any small act which can be called a ritual, Calligraphy as an art form is one such discipline that requires being aware in the moment. It is like a meditation, as anything we do, can be like a meditation, if we are able to maintain a present state of mind awareness.

Tashi Mannox Gives a Meditative Approach to Creativity

Source: i-d.vice.com