Hengshi An

Date of Award

2026

Document Type

Thesis - Open Access

Degree Name

Master of Arts (MA)

Department

Art Business

First Advisor

Judith Prowda

Second Advisor

Leo Krakowsky

Abstract

In recent years, the Himalayan art market in China has shown a remarkable transformation, emerging as one of the most dynamic segments within the broader Asian art economy. While much of the global and domestic art market has stagnated, Tibetan and Himalayan artworks have achieved sustainable growth and high auction price with major collections been published, showing structural strength rather than speculative enthusiasm. This paper examines the drivers behind this phenomenon through a qualitative analysis of auction data, dealer networks, and collector behavior across key hubs in China such as Beijing, Chengdu, Shanghai, and Hong Kong. The findings suggest that the rise of Himalayan art in China reflects cultural, spiritual, and legal factors. Rising cultural confidence among Chinese elites and an increasing search for spiritual authenticity have reshaped collecting preferences toward artworks that embody historical depth and moral resonance. In the meantime, the relative legal clarity of Tibetan Buddhist art—stemming from its non-archaeological provenance—has made it an attractive and secure category within China’s complex antique market. Moreover, institutional recognition by leading museums and auction houses has enhanced the legitimacy and global profile of this field. Together, although had gone through this evolution on the Western market decades ago, these forces have transformed Himalayan art in China from an interest of scholars and devout Buddhists into a mainstream collecting phenomenon. The study concludes that this market is underpinned not merely by demand cycles but by deeper cultural identification and structural advantages unique to the Chinese context.

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