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The author explores creative types of the thanka art from the point of view
of iconology and religious studies. The Tibetan thanka art by means of
imposing and duplicating of art practice shows the sacred forces as constant and surpassing space and time. Withdrawal from “individual creativity” reveals “the creativity which is not creativity” and it originates in the religiousness of the thanka and the nature of the needs of society.
Keywords: thanka, religion and iconology.
REFERENCES
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