Summary of Key Points
This article illustrates the new face of Lhasa, an ancient city, as it emerges from the collision of tradition and modernity through the stories of several post-90s youths. These young people have not completely abandoned traditional symbols such as religious culture and sweet tea houses; nor have they blindly followed foreign trends. Instead, they are using methods like architectural restoration, cultural space management, artistic creation, and life education to revive Lhasa's cultural heritage in a contemporary context. The article also reflects the career choices faced by local youths (such as the intense competition for government jobs) and their exploration of their own identities and cultural identities.
1. Bringing Old Buildings to Life: Turning Religious Heritage into Contemporary Cultural Spaces
In the old district of Lhasa, there is an ancient building called Jiben Gang, which was originally designed as a Buddhist mandala (a model of the Buddhist worldview). It was later converted into a power station and a grain storage facility and nearly forgotten. Architect Xia Yujun transformed it into an art center. The exterior corridor displays the history of the old building, while the interior hall hosts contemporary art exhibitions. Xia believes that although the building's function has changed, its essence as an "energy field" remains the same—once a place for religious practice, it now serves as a space for cultural exchange.
Xia Yujun also travels to the countryside every year to document ancient buildings on the verge of disappearing, such as Sakya Nan Temple (which combines Central Plains architectural styles with Buddhist elements) and Shalu Temple (a mix of Tibetan and Han architectural traditions). He views these old buildings not as mere artifacts but as "five-dimensional spaces" that allow modern visitors to experience Tibetan culture in a tangible way—through the scent of butter, murals, and the sounds of prayers. When designing, he puts aside his own identity as an architect and tries to understand the local history and the craftsmanship of the builders, integrating his work into the environment rather than highlighting his personal style.
2. The New Urban Lounge: Young People Connecting Tradition with Modernity through Art
After returning from New York, Gesang Yangla founded the hima hima隙ma space, which is not just an exhibition hall but also an open "urban lounge" where public issues are discussed weekly, and people can come to drink coffee and chat when there are no events. She initiated the "Sweet Tea House Youth Art Season," inspired by the "Sweet Tea House Painting Movement" of the late 20th century, which featured artists displaying their works in sweet tea houses. This art season has become a cultural landmark in Lhasa, with events such as film screenings and concerts, as well as markets. They even project movies in the courtyard of Jyehde Lin Temple, truly connecting art with community life.
Lhasa now has the highest density of cafes per capita in the country, but sweet tea houses remain an important part of local public life. Young people are blending coffee with traditional practices; for example, some sweet tea houses now offer coffee and turkey noodles, representing a subtle integration of tradition and modernity.
3. The Real Lhasa in Film: Breaking Stereotypes of Tibetan Youth
Young director Gangzhen made the film "Sweet Tea House Girl," featuring a young woman who comes to Lhasa from the countryside to work. She wears imitation red headphones and carries a JanSport backpack, defying the stereotype of being "tough-looking" due to high-altitude living conditions. She also made a documentary about her own growth experience titled "One Night and Three Summers," reflecting the fragmented memories she has of her hometown because she only returns to Lhasa in the summer while studying in another region. Many Tibetan youths share this sense of being both from and outside their homeland.
Gangzhen enjoys spending time in sweet tea houses and on the streets, observing the diverse lifestyles of Lhasa's youth. She wants her films to show a more authentic image of Tibetan youths, free from stereotypes.
4. New Attempts at Life Education: Finding Strength in Traditional Views of Life and Death
Three young people, Solang Quzhen, Denzeng Zhuoga, and Tashi Wangju, opened Lhasa's first funeral supplies store called "Shansuo." It is not just a place to buy items but also a cultural space, with an exhibition on "life rituals" on the second floor and interactive display boards that ask questions like "Have you thought about death?" They decided to forgo the traditional path of pursuing government jobs (the most popular career choice locally) because Denzeng Zhuoga realized that many young people lacked knowledge about traditional funeral customs, and these practices were disappearing. Tibetans have a relatively open attitude towards life and death (for example, they say "Impermanence is like the clouds in autumn"). They aim to convey these traditional views in a way that younger generations can relate to, helping people face death and think about how to live their lives more meaningfully. Shortly after opening, a senior student wrote them a long letter saying that the death education had helped her clarify her goals for the rest of her life.
5. The Competition for Government Jobs: Young People's Choices and Dilemmas
The competition for government jobs in Lhasa and throughout Tibet is intense; for example, the ratio of applicants to available positions in the Ali region is 20,000:1. This is due to the lack of large local enterprises, making government jobs the best option for stability and staying in one's hometown. Most of Xia Yujun's students choose to pursue government careers after graduation, and he even considers recruiting young people interested in Tibetan architecture from around the world. The founders of Shansuo face pressure from their families, but they insist on starting their own businesses to make a meaningful impact.
This reflects the dilemma faced by local youths: they desire stability provided by tradition while also longing to explore their own values. They find a balance between the two, allowing Lhasa to retain its roots while remaining vibrant.
The stories of these young people show that Lhasa is not just about mysterious religion and ancient architecture; it is also evolving with the times. Tradition is not being discarded but reinterpreted and revitalized, and modern elements are not foreign intrusions but have merged with local culture to create a new way of life. The changes in Lhasa are a result of the efforts of these young people, making this ancient city both old and fresh.