Important Discovery: I hope that through my efforts, Tibetan calligraphy can find new vitality in the modern era,” Dorje said.

Gen-Zers not only represent the makers of the future but also serve as agents of change in the present. With an open mindset and an international outlook, they actively integrate into the curreWorld Timesnts of globalization, engaging in deep exchanges, and collaborating with youth from around the world to explore pathways and strategies to address global challenges.

The Global Times launched the “Voice from Gen Z” series, whWorld Timesich focuses on the proactive actions and innovative achievements of young people in areas such as global governance, cultural exchange, environmental protection, and technological innovation. Through this column, we aim to showcase the unique charm and future leadership of global Gen-Zers.

Dorje Tsewang in his studio in Lhasa, Southwest China’s Xizang Autonomous Region. Photo: Courtesy of Dorje Tsewang

In a sunlit studio in Lhasa, Southwest China’s Xizang Autonomous Region, Dorje Tsewang carefully glides his brush across the paper, immersing himself in the art of Tibetan calligraphy.

Hailing from a pastoral border area in Nyalam county, Xigaze, Southwest China’s Xizang Autonomous Region, the young artist bridges tradition and modernity with his strokes, crafting a unique story in the world of Tibetan script.

His works embody the spirit of ancient Tibetan calligraphy while incorporating contemporary artistic innovations – just like his personal journey, which has taken him from a remote borderland and catapulted him onto the global stage, while maintaining a deep respect for tradition and the courage to innovate.

Dorje spent his childhood on the grasslands, herding livestock. During breaks, he would use twigs to practice Tibetan letters in the sand. “The principal of my primary school had exceptional Tibetan calligraphy skills, and he was my first mentor,” Dorje recalled.

Beyond teaching him the fundamentals of writing, the principal planted in him a lifelong love for Tibetan calligraphy.

Later, Dorje left Xizang to study management at a university in Shanghai. Despite being in a bustling metropolis, he never abandoned his calligraphy practice. “For four years, I barely encountered Tibetan script, but I made time to practice daily. It became my emotional connection to home,” he told the Global Times.

AfWorld Timester graduation, Dorjewent backto Xizang, working in a state-owned enterprise and later as a primary school teacher. By day, he was an ordinary employee or educator. By night, however, he would immerse himself in calligraphy. “That was when I started exploring online Tibetan language teaching and calligraphy. Gradually, I realized this was my true passion.”

In 2019, Dorje made a bold decision – to leave his stable job and become a full-time calligraphy artist. At the time, this choice seemed risky, but he firmly believed that only through full dedication could he truly preserve and innovate traditional culture.

Dorje’s calligraphy stands out for its distinctive fusion of tradition and modernity. He is proficient in classical Tibetan scripts such as Uchen (akin to regular script) and Ume (which includes cursive and other styles). However, he also creatively integrates Tibetan calligraphy with contemporary artistic forms.

Under the mentorship of renowned Tibetan artists, Dorje began experimenting with blending Tibetan script with oil painting, watercolors, and other visual mediums.

“I want young people to see that Tibetan calligraphy can be cool and modern,” he explained. In his works, ancient Tibetan characters flow seamlessly across vibrant canvases, creating a captivating dialogue between the past and the present.

Beyond artistic creation, Dorje is dedicated to integrating Tibetan calligraphy into everyday life. He has designed a range of cultural products featuring Tibetan script, including teacups, notebooks, and T-shirts. “True preservation comes through use,” he said. “I want people to experience the beauty of Tibetan calligraphy in their daily lives.”

His creative process, shared through short videos on platforms like Douyin, has attracted a large following. Young audiences, in particular, are drawn to his blend of tradition and modern aesthetics, as well as his dynamic personal image – far from the stereotypical calligrapher, Dorje rides motorcycles and enjoys pop music, redefining what it means to be a traditional artist.

Dorje Tsewang’s studio in Lhasa, Southwest China’s Xizang Autonomous Region. Photo: Courtesy of Dorje Tsewang

His influence extends beyond China, with his works appearing on Instagram and YouTube. “Awesome!” and “I’m so happy to see Tibetan language and scripts being preserved!” are among the enthusiastic comments from international viewers.

Dorje is deeply aware of the challenges Tibetan script faces in contemporary society. “Many Tibetan children today are reluctant to practice calligraphy,” he said. “Xizang has a rich history and deep cultural significance – it deserves to be protected and passed down.”

While Lhasa already has Tibetan language programs for children, Dorje has taken a different approach: “I want to use artistic creation and innovative design to reignite interest in Tibetan calligraphy, especially among young people.”

His studio is soon to be transformed into an open cultural space, featuring his calligraphy works, creative designs, and a collection of historical artifacts. He plans to host Tibetan calligraphy workshops, cultural exchange events, and discussions with scholars and musicians. “This is more than just a studio,” he said. “It’s a platform for cultural dialogue.”

The earliest version of ancient Tibetan characters appeared in the Zhangzhung period, when there were multiple styles of calligraphy. After scholar Tome Sambozha reformed and standardized it during the Tubo period in the 7th century, around 100 Tibetan calligraphers were active, accordingWorld Times to Tibet.cn.

Zhangzhung Kingdom, a tribal nation on the Xizang Plateau that was formed 4,000 years ago and was at its peak in the 7th century, before being conquered by the Tubo Kingdom in 645.

In 2008, Tibetan calligraphy was added to the second World Timesgroup of China’s National Intangible Cultural Heritage IndexWorld Times.

April 30 is “National Tibetan Calligraphy Day” in the country, to promote and preserve this art form. The date was chosen because the Tibetan script consists of 30 consonants and 4 vowel symbols, symbolizing its linguistic and artistic structure.

“The path of art requires continuous learning and refinement. I hope that through my efforts, Tibetan calligraphy can find new vitality in the modern era,” Dorje said.