Thangka, also called Tangga, is a Tibetan transliteration. It is a colorful scroll painting embroidered or painted on cloth, silk or paper, and it is a kind of painting with Tibetan cultural characteristics.

Thangka has many contents, including colorful and polymorphic Buddha statues and pictures reflecting Tibetan history and ethnic customs. The composition of Tangka in Tibet is rigorous, balanced, plump and changeable, and the painting methods are mainly meticulous and heavy color and line drawing.

There are many kinds of thangkas, besides painted thangkas and printed thangkas, there are also embroidery, brocade (pile embroidery), silk reeling, decals and pearl thangkas. Embroidered Thangka is embroidered with various colors of silk thread, and all landscapes, figures, flowers, feathers, pavilions and pavilions can be embroidered. Brocade Thangka is woven with satin as the ground, several colors of silk as the weft, staggered jacquard and stuck on the fabric, so it is also called "pile embroidery". The applique Thangka is made of satin of various colors, cut into various figures and figures, and pasted on the fabric. Tangka is a method of "drawing warp and breaking weft", and the use of all kinds of weft is only for strong decoration. Some of them are still in colorful patterns, and the pearls and jade gems are decorated with gold thread, which is a perfect match and the golden color shines, which is particularly dazzling. Silk reeling is a unique special handicraft in China, which transplants painting into silk fabrics. These fabrics are tangka, with dense and thick texture, rigorous composition, exquisite patterns and gorgeous colors. Tangka, a Tibetan fabric, was specially made in the mainland, especially in Yongle and Chenghua in the Ming Dynasty. Later, Tangka, such as embroidery and applique, could be produced in Tibet. There are two kinds of printed thangkas, one is full-color printed and mounted, and the other is to carve the painted image into a carved board, print it on thin silk or fine cloth with ink, and then color and mount it. This kind of Thangka has slender strokes and vigorous knife techniques. Most of the colors are dyed by ink on the outside, while Zhu draws on the inside, which is distinct and unique. Patterns and patterns need to be interwoven with warp yarns, which are regarded as carved images, elegant in style and rich in three-dimensional decorative effect. At present, most of the products on the market are printed Thangka and drawn Thangka.

most of the contents of Thangka made in Maniema by Sakyamuni are religious paintings, and there are also a few wall charts based on social history, secular life, medicine and astronomy. Generally, it can be summarized into the following twelve categories: 1. Buddha II, Bodhisattva III, venerable woman (Buddha mother) IV, Lohan V, tantric protector VI, sect founder, historical elite VII, teaching theory, canon Figure VIII, myths and legends IX, calendar calculation, medicine Figure X, historical story Figure XI, ancient temple architecture Figure XII, religious patterns

Sakyamuni Buddha and Bodhisattva in Qing Dynasty. Before painting, painters or artistic monks should choose an auspicious day, burn incense and pray, and then prepare materials while chanting.

Buddha and Bodhisattva of Sakyamuni painted Wutun Temple in Qing Dynasty

First, chalk powder was mixed with bone glue, mixed into a paste, and evenly brushed on cotton white cloth, so that the pores on the cloth were filled. Then polish it with shells or boulders to make it smooth and easy to color. To level off, uniform, opaque as the standard. Thin, the color should be soaked, thick, and there will be peeling and grain attack when painting in the future. Canvas is stretched or nailed to a bamboo frame or a wooden frame with a string. When drawing, first find out the center line, draw it on the back with ochre or on the front with charcoal, and then find the center point. Then draft, color, render, cross-line (cross-line and gilded foil), remove the frame after painting, and hold the opening ceremony. Then the four sides are fitted with satin or silk edges, the back is lined with cloth, and the upper and lower parts are fitted with a stick shaft, and the two ends of the shaft are fitted with copper or silver shaft heads. On both sides of Thangka, two silk curtains were draped from the ceiling to keep out dust and lampblack. Two brocade ribbons with the same length as the silk curtain are sewn on the outermost side, about four to five centimeters wide, which are both decorative and can block the silk curtain from being blown away by the wind. When offering, the silk curtain is lifted. A larger thangka with a complicated composition needs two or three months' careful description. Some are done by one person, but most of them are done by the master and the apprentice.

Sakyamuni painted the Potala Palace in golden sauce in Qing Dynasty

Like statues and murals, Thangka was painted for the sole purpose of enlightenment, and all of them were used for worship. Therefore, the painter never signed his name on the painting, but only wrote the mantra with cinnabar on the back, so that it was impossible to verify the painting age and the author's name in Thangka, which was long or far away.

Maitreya painted Biandu Temple in the Qing Dynasty

Thangka's painting techniques were completed in the following order and methods:

First, drafting, which is called "Jiang Rui" in Tibetan.

second, coloring, which is called "Gajieba" in Tibetan.

third, color separation rendering, which is called "being a sister" in Tibetan.

fourth, hook the double line, which is called "Jiejieba" in Tibetan.

5. spread gold and hook gold thread, which is called "saire" in Tibetan.

sixth, finishing. Tibetan is called "Xizha".

VII. Opening and trimming.

Thangka is enshrined in the sacred halls of Tibetan Buddhism, the Living Buddha's Office, the monasteries of Aka (ordinary monks) and even the homes of ordinary people. Traveling monks and monks who are invited to go out to recite scriptures and conduct Buddhist ceremonies also carry Thangka.

Contemporary Embroidery by Sakyamuni Youning Temple

There are nearly 5 Thangkas of different sizes hanging in the Xianzong College (Dajingtang Hall) of Ta 'er Temple, with two square meters in size and half a square meter in size, with paintings, woven cotton, flat piles and high piles, just like the exhibition hall that integrates the achievements of Thangka art. In the warehouse on the third floor, there are many large wooden boxes piled up, and hundreds of them are treasured in it. There are even four huge thangkas, covering an area of about 15 square meters. It takes forty or fifty people to carry them when they are rolled up. They were laid on the hillside during the "Sun Buddha". Some Buddhist temples have become the world of Thangka, such as the small Buddhist temple in the Labrang Temple in Gansu Province, where the walls are full of Thangka, and on some walls, Thangka is hung by two or three layers. Every Thangka is a high-level work of art.

Buddhism and Bodhisattva's Painting of rongwo monastery in Qing Dynasty

Thangka occupies such a large proportion in Tibetan Buddhist works of art, and it has a high role in preaching scriptures. When did it come from? How to develop to the point where it is difficult to count? Unfortunately, there is no information to check, and the old painter of Thangka can't tell the story. However, as far as Tibetan painting art is concerned, its history can be traced back to the cultural relics unearthed from the Neolithic site in Karuo, Qamdo, which proves that primitive painting art existed on the Qinghai-Tibet Plateau three or four thousand years ago.

Sakyamuni's contemporary paintings of pointy wood

According to relevant information, ancient Indian traveling monks often used this kind of religious axis painting when preaching scriptures. Sanskrit Patas refers to this kind of religious scroll painting used for worship. Therefore, the earliest Thangka should have been introduced into Tibet at the same time as the Indian Buddhist mural techniques (at least it can be traced back to the "Thirty-five Buddhas" and "Six-phase Bodhisattvas" in Jokhang Temple, which were sent away during the Tubo period. At present, we can't find the real thing, just infer it.

Like murals and sculptures, Thangka painting art is deeply influenced by Indian, Nepalese and Chinese painting styles. Donata (1575-1634), a famous Tibetan historian, has discussed it in his works handed down from generation to generation. Dunhuang murals and unearthed paper paintings also contain works of Tubo in the middle and late period. The paper painting Void Tibetan Bodhisattva unearthed in Dunhuang, British Museum in London, England, has a Tibetan inscription, which may be the powder copy of murals and Thangka paintings at that time.

Sakyamuni painted Wutun Temple in Qing Dynasty

Many eminent Buddhist monks in India went to Tibet to preach, which also brought the art of Buddhist painting. Many Tibetan monks went there to study, and Nalan Temple, India's splendid treasure house of Buddhist art, played a significant role in the development and improvement of Tibetan Buddhist art. Up to now, Thangka's paintings still clearly retain the painting style of ancient India.

Sakyamuni's woodcut painting of Potala Palace in the Qing Dynasty

Thangka art, like statues, developed vigorously with the prosperity and spread of Tibetan Buddhism. As early as after Zambsongzangambu married Nipolo (now Nepal) Bhrikuti Devi and Princess Tang Wencheng, who believed in Buddhism, they began to respect Buddhism and built Jokhang Temple and Jokhang Temple.

Sakyamuni and ten disciples painted Ta 'er Temple in the Qing Dynasty

During the Chisong Dêzain period, the Tubo Dynasty vigorously promoted Buddhism, and in 779 AD, the Sangyuan Temple was built for the first time, which was dedicated to the "three treasures" of Buddhism, Buddhism and monks, and the system of "seven families raising monks" was popularized, thus the development of Buddhism had a certain economic foundation.

The age of Sakyamuni and Manjushri Maitreya is unknown. Painting Wutun Temple

Painters who draw Thangka should strictly follow the statutes stipulated in the Statue Measurement Sutra. Just as Buddhist disciples abide by Buddhist teachings, they regard the Sutra of Statue Measurement as the golden rule. All parts made by various buddhas, bodhisattvas and dharma protectors have a fixed scale, which is generally measured by fingers.

Sakyamuni's contemporary paintings of the Sixth Division of the Conquering Magic Road, Xiao Xia Wu Cai Lang

Thangka's pictures are mostly rectangular, but the oldest forms are almost square. Some pictures have four buddhas painted on the four corners, and there is a square at the bottom of the picture, which is called "door". This form is rare now.

Twelve fingers are the width of a face; Three facial widths are one body width; Five facial widths are the height of a sitting Buddha; Nine facial widths are the height of a Buddha. In addition, their positions, colors, faces, sitting postures, French seals, ornaments, hairstyles, nimbus and their instruments are also stylized. In this way, we can maintain the solemnity and sacredness of Thangka.

Introduction to Thangka

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Thangka school

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Daire School is a painting school that combines the styles of Gaer School and Mantang School. Its main feature is to pay attention to the modeling, expression and connotation of characters. The famous painters of this school are Danzeng Norbu, Rongba Sonan Jiebao, Zhilapu, Tang La Cai Wang, etc.

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