Buddhist Art: Tibetan Thangka Painting

Thangka (唐卡) (also spelled Tangka) painting is a centuries-old Tibetan tradition. The Tibetan word “tangka” means silk, satin or cloth painting scroll. It is a painted or embroidered banner which lamas carry in ceremonial processions or, which is hung in a monastery or a family altar. Its origin can be traced back to the early Tubo period of the 7th century.

When Tubo King Songzan Ganbu (松赞干布) united the whole of Tibet, the country underwent great changes. His marriage to the princesses of Nepal and Tang Dynasty resulted in Buddhist scriptures, technology in architecture, medical texts, craftsmen, etc. being brought toTibet. Such cultural influx greatly stimulated the development of the Tibetan society.

Around this period, the Potala Palace and some other grand monasteries were built. The Tubo King ordered murals to be painted to decorate them. This greatly promoted Tibet’s art of painting.

According to the Catalogue of Jokhang Monastery, Songzan Ganbu used the blood from his nose to paint a portrait of the White Lhamo. This is the earliest record of a thangka painting.

With the development of Tibetan Buddhism, Tibetan Buddhism culture also flourished. At that time, frescos alone could not satisfy the need of the disciples. Thangka, a new Tibetan art, became popular among travelling monks because of its ease in storage and transport from monastery to monastery. Thangkas were also used as pictorial lessons to spread the religion to the illiterate masses.

From then on, murals and thangkas became the two bright pearls in the history of Tibetan painting.

Thangkas are categorized into bris-thang and gos-thang. Bris-thang are those which are painted and gos-thang are those made of silk, either by weaving or with embroidery.

Both bris-thang and gos-thang are further divided into five categories, based on the background colour and the kinds of silk used, respectively.

Thangkas cover various subject matters such as Tibetan history, religion doctrines, folklore, personage biographies, lives of spiritual masters, etc.

A considerable number of ancient thangkas had been preserved. These depicted ancient astronomy, Tibetan calendar, traditional Tibetan medicines, Buddhist images and many other topics.

Despite the wide range of topics covered, the main theme of thangkas is religion. The Tibetan worldview and the spiritual practice of Buddhists are represented in the iconography of the thangka. Strong religious flavour exists even in thangkas depicting history and science.

A religious-theme thangka is generally divided into three parts: upper, middle and lower, representing heaven, earth and the underworld, respectively. The upper part shows Bodhisattvas, the middle part shows Buddhas and the lower part has pictures of guardian deities and monks.

Thangkas in the West have often been treated as decorative wall hangings. However, in the East, they are usually used for religious purposes, such as:-

· As a sacred object of worship during a ritual or prayer ceremony, e.g. praying for protection or to overcome difficulties, such as illnesses.

· As a meditation tool for Tibetan Buddhism practitioners. Thangka enables the spiritual practitioner to visualize clearly a particular image in his or her meditation, thus helping to develop a close relationship with that deity.

· As a teaching tool depicting the lives of the Buddha, bodhisattvas, other deities and various influential lamas.

· Once properly consecrated, the thangka image is venerated as a genuine living embodiment of enlightened mind, bringing blessings on the household.

Thangka painting involves the following rigorous process:-

(1) Sketching the Tibetan Buddhist deities, in accordance to the measurements and proportions of Buddhas, Boddhisattvas and deities, as outlined in Buddhist iconography.

(2) Grinding and applying the mineral colours (made from natural stone pigments) and pure gold used in the painting, based on some special techniques.

(3) Silk brocade mounting of the finished work.

The creation of a thangka painting requires extended concentration, attention to detail, and knowledge of Buddhist philosophy. Each stage of the process involves skill and care. The ultimate product is the most complete display of artisanship.

Most Tibetan artists do not sign their works. Every act of creation is considered to be divine with the artist simply serving as a mortal instrument, and so his own identity is immaterial.

Today, thangkas are still made in Nepal, Bhutan, Tibet and India.

Over the past decade, from an object of religious veneration, thangkas has become an art object that is appreciated by collectors and art friends worldwide.

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