Abstract
The article examines how the life experiences of a Tibetan female thangka painter, Lutsojam (known as Lutso), are intertwined with the meaning of her artworks, in particular, with the thangka painting, “Avalokiteśvara with Mind at Rest,” which I followed from its birth in Amdo Rebgong (Qinghai, China), to its visit to an art gallery in Beijing, and finally to its entry into the collection of an ethnographic museum in New York. Through painting thangkas and training her own apprentices (especially female apprentices), Lutso is able to support her family, empower other Tibetan women, and authenticate a religious identity that has been elided in the official narrative of Tibetan thangka art.
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