About the Artist

Tashi Mannox is a name representative of both Eastern and Western artistic disciplines.

The latter, Mannox, originates in Celtic Ireland and translates as “the monastic”. The former, Tashi, was gifted to him upon ordainment as a Buddhist monk of the Tibetan Kagyu order.

Having recently graduated with a BA [Hons] degree in Fine Art, and at the tender age of twenty two, he committed to his monastic journey. For the next seventeen-years as a monk Tashi apprenticed under the direction of a master of Tibetan art, Sherab Palden Beru. Part of his training was in the elaborate art of temple decoration.

During his time in the monastery Tashi entered a four-year Buddhist retreat, where he worked as a scribe meticulously copying ancient Tibetan manuscripts. This highly disciplined training laid a firm foundation in the multiple forms of Tibetan calligraphy.

In the latter years as a monk, Tashi travelled to northern India, where he was privileged to study under Lama Pema Lodrup, one of the last masters of the ancient Lantsha and Wartu Sanskrit forms.

Since laying down his monastic robes at the turn of the millennium, Tashi has built on his disciplined training and meditative approach, to produce a substantial body of calligraphy and iconography artworks.

At its foundation, Tashi’s practice is a vehicle to communicate and transmit Dharma, whilst adapting and updating his approach within and for a contemporary context. He identifies three streams within his work: Contemporary and Traditional, Black on Black and Illuminated Iconographic. Moreover, his practice also serves to preserve the Tibetan written language and the multiple traditional script styles therein.

He is now recognised as one of the world’s foremost contemporary Tibetan calligraphy artists, exhibiting in New York, Moscow, London And Los Angeles.

In recent years Tashi has established his home and studio in Hay On Wye, near the Welsh border.

Tashi as a monk in the hills above Samye Ling, 1988.   

Tashi with his teachers, Sherab Palden and Akong Rinpoche, 2007.