Thangka, An Introduction to Tibetan Art

To put it plainly, Gold Thangkas are not painted from an aesthetic perspective but rather completed only to earn merit on the part of the patron. It is because of the large amount of gold used in making the thangkas. It provides a similar context to that of Tibetans offering gold to paint the Jowo’s face in Lhasa and also painting the faces of statues in gold. 

An interesting Eastern Tibetan parable speculates the origin of the Gold Thangka. It concerns a highly spiritual Lama who once invited two famous artists one from Chamdo, the other from Central Tibet, to paint his shrine room from him. The Lama showed them his shrine room where they discovered the walls were covered with gold paint. The Lama explained that some time previously, he had actually experienced a vision of radiant gold figures.

He recounted his vision to the artists and asked if they could recreate these figures upon his wall He stated the forms were to be created without the use of sketch work or the application of a single brush stroke upon the gold. The two conceived the idea to utilize the technique of burnishing the gold, executing the outlining and shading with this method. The work was so finely accomplished that t is said the figures were animated in appearance. The artists then being renowned as divine artists The Tibetan term for the work is 'Serku jazer ma', translating into Serku (Gold image) jazer ma (rainbow with radiant), gold images with the radiance of rainbows.

Red Thangka:

Red Thangka (dmar thang) is particularly used for peaceful deities. The red background here symbolizes the color of the body of the deity. Vajrapani is the red wrathful protector. Hence, the Thangka that depicts the red wrathful protector showcases the wrathful and ferocious qualities of the deity. Thangka that depicts this deity, illustrates the symbolical stamping of Maya or illusion or any attachment to earthly illusions. This is the inordinate symbolism of the color red that is used in this thangka.  

Types of Figures in Thangka

In thangka painting, there are various types of figures that can be classified into these types:

1. Peaceful Deity
2. Semi-Wrathful Deity
3. Wrathful Deity
4. Worldly figures

Peaceful Figures

From the classifications of Dharmakaya, Sambhogakaya, and Nirmanakaya, the peaceful figures comprise the Buddhas and Bodhisattvas.

The peaceful Dharmakaya forms include Samantabhadra and Amitabha. The Sambhogakaya forms include Amitayus and Manjushri. And the Nirmanakaya forms include Padmasambhava. Even so, it is not always that they appear in peaceful forms – they can sometimes appear to be semi-wrathful or wrathful too.

Click here to view our collection of Peaceful Bodhisattva Thangka.

Semi-Wrathful Figures

The semi-wrathful figures fall between the spectrum of peaceful and fully wrathful beings.

They can be either female or male. Kalachakra, Vajrayogini, and Hevajra are included in the Istadevata figures. Vaishravana and Tenma Chuni are included in the Dharmapalas.

Padmasambhava is an ideal example of a mundane semi-wrathful being. The form is less muscular than fully-wrathful beings, especially the female renditions. They are portrayed with varying backgrounds and colors, including ornate decorations, shimmering nimbus, smoke, clouds, or even flames and wind. It essentially depends on the level and character of the individual figures.

A perfect example of semi-wrathful figure in Thangka painting.

Wrathful Figures

The dharmapalas are the protectors of the dharma, so they are usually depicted in these types of figures, along with the occasional Istadevatas in wrathful forms.

For example, Vajrabhairava and Vajrakalika are the most common wrathful figures in the Gelupa and the Nyingmapa sect respectively. The wrathful figures appear in different forms, sizes, and expressions such as Yakshas, Rakshas, and Yamas. The wrathful deities wear the eight adornments. They also wear:

1. Elephant skin
2. Tiger skin 
3. Human skin
   

There are also the five serpents, diadems of five human skulls, a garland of fifty freshly severed human heads. The last two are the sun and moon on each shoulder, and blood, fat, and ash.

Worldly Figures:

The worldly figures are generally depicted in the human form with varied and unique characteristics and expressions. These figures include but aren’t limited to the peaceful, semi-wrathful, or wrathful idiosyncrasies. In this type of thangka, the artist is allowed the greatest degree of creative expression and freedom in painting the mundane or worldly features. Their aspects include short stature with a shorter neck and visible skeletal structure and muscle definition, giving them a certain uniqueness among other thangkas.

The general figures can be classified as semi-human figures who showcase different expressions of human forms. The most common figures are Devas, the gods, demi-gods, asuras, nagas and serpent, Garuda, Yakshas and Rakshas, preta, as well as demons. All of these figures in the classification of the Eight Classes of Gods and Demons, display some, if not a lot of human-like features, more or less partially. Hence, they are grouped into this category.

 

Another perfect example of Worldly figures is Jambala

Click here to view our Dzambala Thangka collection.

Iconography in Thangka 

Iconography as defined in the sutras and tantras is necessary when depicting the forms of Buddhas, Bodhisattvas, and other many deities, either in thangka or statues or any work of supreme arts. It is very crucial to depict the sacred images with a correct proportion as well as visually pleasing manner. There must be the appealing shape and natural, flowing posture of the deity. 

 

For the peaceful deities, they should be portrayed in calm and smiling and for the wrathful, the portrayal must be angry and terrifying. 

 

As Rigdzin Jigme Lingpa said, "An artist should not draw the supreme enlightened forms entirely from their own creative inspiration. They must follow the proper conventions of proportion according to the sacred text."

 

Depiction of Buddha in Thangka 

Proportional measurement of Buddha's Head in Thangka

 

The upper part of the Usnisa, also called the "Jewel-Tip" (nor.tog), is two small units in height. Narrow at the tip and wide at the base like a jewel. Below this, the main part of the Usnisa is four small units high and four wide. It is in the shape of an inverted alms bowl or a pile of grain. 

The Forehead: 

The hair of the head is four and one-half small units from crown to hairline and shaped like an inverted pan. The forehead is nine small units wide; from the center of the hairline, it curves gradually to both sides like a bow. 

At a point, four small units below the hairline, in the center of the forehead, is the Urna or mid-brow point (mdzod, spu). Formed by thirty-two fine white hairs coiled to the right. It is drawn as a round dot with a diameter of one small unit. 

The Eyes:  

The eyebrows begin with three basic units (or three-quarters of a small unit) to the right and left of the urna. They are four small units long, one basic unit thick in their centers. And curved in shape like crescent moons. One small unit below the Urna is the lower lines of the eyes. The eyes are drawn as the "gaze of the fourth level of Dhyana (meditative stability)." And are one small unit to either side of the central vertical line. The eyes are four small units long and one basic unit wide, shaped like bows. The upper lines are tapered thinner, the lower lines thicker, and curved upwards.The inner and outer corners of the eyes are red for one-half of a small unit's width. The central white of the eyeball is three small units wide. In the center is the Iris (also, ‘kalita'), round and one small unit (diameter). In the center of that is the Pupil ('sutali'), round with a diameter of one-fifth of a small unit. Surrounding the pupils is a band one-fifth of a small unit wide, called the 'Rim' (mu.khyud). 

Surrounding the pupils is a band one-fifth of a small unit wide, called the 'Rim' (mu.khyud).

This band is traditionally yellow for peaceful divinities. And red and blue for the wrathful ones. The pupil is black, the eyeball veined with red. The eyes are clearly detailed, wide, and lovely. With the outer corners pointing towards the orifices of the ears.

The Nose:

From the mid-brow point (Urna) to the tip of the nose is a distance of four small units. And the tip of the nose is two small units wide. The bridge of the nose between the two nostrils is one-half of a small unit wide. The nostrils are each one-half of a small unit wide. The fleshy outer rims are each one-half of a small unit in thickness. Although some artists draw the nostrils and bridge of the nose one small unit each in width, this is somewhat lacking in beauty. 

The lips:

From the base of the nose to the upper lip is a distance of one small unit. The area above the upper lip has the shape of a lotus petal. The upper lip is one-half of a small unit thick, while the middle of the lower lip is a full small unit in thickness. The distance between the dimples is four small units. The lips are curved upwards for one small unit at the corners, in a gentle smile. There are some traditions where the upper and lower lips are drawn of equal thickness.

And the dimples of the smile curving up only six grains (three-quarters of a small unit). Beneath the lower lip, at a distance of two small units, is the Chin, four small units wide and rounded. 

Ears:

The Earlobes are two small units wide from the outer edge of the face, and four or four and one-half small units at the middle part. The lobes reach just below the level of the chin. Besides the jaw, in front of the orifices of the ears, are lobes of flesh shaped like flower petals. They are one-half a small unit wide and high. The orifices themselves are also one-half a small unit long and wide. The folds, termed (komo), are one small unit wide and high. It is encircled by the two-grain wide folds termed the 'shaku’. Outside these are the folds termed 'kani (ka.ni), which are two small units lengthwise and one across. Outside these are the rims of the upper ears, called 'curves' ('khyil.ba), one-half a small unit in width. They arched over the top of the upper ears to curve in to join the head. And circling down to meet the earlobes: these are also termed 'beka patterns'.