Thangka, also called Tangka, is a Tibetan transliteration. It is a colorful scroll painting embroidered or painted on cloth, silk or paper. It is a painting rich in Tibetan cultural characteristics. kind.
Thangkas contain various contents, including colorful Buddha statues and scenes reflecting Tibetan history and national customs. The composition of Tibetan thangka is rigorous, balanced, plump and changeable. The main painting methods include meticulous brushwork, heavy color and line drawing.
There are many varieties of thangkas. In addition to painted and printed thangkas, there are also embroidery, brocade (pile embroidery), tapestry, appliqué and pearl thangkas. Embroidered thangkas are made of silk threads of various colors. Landscapes, figures, flowers, feathers, pavilions, pavilions, etc. can be embroidered. The brocade thangka is made of satin as the ground, several colored silks as the weft, staggered jacquard weaving, and pasted on the fabric, so it is also called "dui embroidery". Appliqué thangkas are made of satin of various colors, cut into various characters and graphics, and pasted on the fabric. Kesi thangka uses the method of "opening the warp and breaking the weft", using various colored weft threads for strong decorative effect. Some even have colorful patterns with pearls, jade and precious stones interspersed with gold threads. The beads are perfectly matched and the gold shines, making them particularly dazzling. Kesi is a special handicraft unique to my country that transplants paintings onto silk fabrics. These fabric thangkas have tight and thick texture, rigorous composition, exquisite patterns and brilliant colors. Most Tibetan fabric thangkas are specially made in the mainland, and most of them were introduced to Tibet during the Yongle and Chenghua years of the Ming Dynasty. Later, Tibet could also produce fabric thangkas such as embroidery and appliqué. There are two types of printed thangkas, one is full-color printing and then mounted, and the other is made by first carving the painted image into a carving board, printing it on thin silk or fine cloth with ink, and then coloring and mounting it. This kind of thangka has slender strokes and powerful knife skills. The coloring is mostly ink dyed on the outside and vermilion on the inside. It has clear layers and is unique. The patterns are intertwined with warp threads wherever necessary, and look like carvings. They are elegant in style and have a three-dimensional decorative effect. Currently, most of the Thangkas sold on the market are printed and painted Thangkas.
Contemporary cut-outs of Sakyamuni made by Waimei and Nima
Most of the content of Thangkas are religious paintings, and there are also a small amount of materials drawn from social history, secular life and medicine. Wall charts with astronomy and other contents can be roughly summarized into the following twelve categories: 1. Buddha 2. Bodhisattva 3. Female Venerables (Buddha Mother) 4. Arhat 5. Tantra protector gods 6. Sect founders, historical elites 7. Doctrine and canon charts 8. Myths and legends 9. Calendar and medical pictures 10. Historical story pictures 11. Ancient temple architectural pictures 12. Religious patterns
Sakyamuni Buddhas and Bodhisattvas Qing Dynasty cloth paintings of Labrang Temple
p>The painting of thangkas is typical of the method used by artists from Wutun, Huangnan Autonomous Prefecture, Qinghai Province to draw cloth-painted thangkas. Before painting, the painter or artistic monk must choose an auspicious day, burn incense and pray, and then chant sutras and prepare materials.
The Qing Dynasty cloth painting of Sakyamuni Buddha and Bodhisattva at Wutun Temple
First, mix chalk powder into bone glue, mix it into a paste, and evenly apply it on the cotton white cloth. The pores in the cloth are filled. Then polish it with shells or pebbles to make it smooth and easy to color. The standards are smooth, uniform and opaque. If it is thin, the color will be soaked through; if it is thick, it will fall off and have streaks when painting in the future. The canvas is stretched or nailed to a bamboo or wooden frame with strings. When drawing, first find the center line and draw it on the back with ocher or with a charcoal strip on the front, and then find the center point. Then start the draft, color, render, outline (golden line and apply gold foil), remove the frame after drawing, and hold the consecration ceremony. Then install satin or silk edges on the four sides, lining cloth on the back, stick shafts on the top and bottom, and install copper or silver shaft heads on both ends of the shaft. Two silk curtains are draped from the top on both sides of the thangka to block dust and lamp smoke. Two brocade ribbons, which are as long as the silk curtain and about four to five centimeters wide, are sewn on the outermost edge. They are both decorative and can prevent the silk curtain from being blown open by the wind. The silk curtain is lifted only when worshiping. A larger thangka with a complicated composition requires two to three months of careful painting. Some are done by one person independently, but mostly the master draws the lines and gilding, and the apprentice applies color.
Sakyamuni, Qing Dynasty, Gold Ink Drawing, Potala Palace
Like statues and murals, the sole purpose of drawing Thangkas is to educate, and all are used for worship. Therefore, the painter never signed the painting, but only wrote sutras and mantras with cinnabar on the back. As a result, it is impossible to verify the age of the painting and the name of the author for older or distant thangkas.
Maitreya Buddha Qing Dynasty cloth painting Biandu Temple
The painting technique of Thangka is completed in the following order and method:
1. Draft, called in Tibetan "Jiang Rui".
2. Coloring, called "Gajieba" in Tibetan.
3. Color separation rendering, called "Dang Jie Ba" in Tibetan.
Four. The double line is called "Jiejieba" in Tibetan.
5. Paving gold and hooking gold thread, which is called "Sere" in Tibetan.
6. Trim. It is called "Xizha" in Tibetan.
7. Consecration and edging.
Thangkas are enshrined in the sacred temples of Tibetan Buddhism, the Office of the Living Buddha, the monasteries of Akha (ordinary monks), and even the homes of ordinary people. Traveling monks and monks who are invited to go out to chant sutras and perform Buddhist services also carry thangkas.
Sakyamuni’s Contemporary Embroidery at Youning Temple
In the Sutra Academy (Great Sutra Hall) of Kumbum Monastery, there are nearly 500 thangkas of various sizes hanging. Two square meters, small half a square meter, there are paintings, weaving cotton, flat piles, high piles, like an exhibition hall that collects the masterpieces of Thangka art. In the warehouse on the third floor, there are many large wooden boxes stacked , there are hundreds of thangkas in the collection, ready to be hung and worshiped at different religious events, such as Buddha's birthday, Buddha's Nirvana, etc. There are also four huge thangkas, covering an area of ??about 150 square meters. It takes forty or fifty people to carry them away when rolled up. They were spread on the hillside for worship during the "big Buddha". Some Buddhist halls have become a world of Thangkas, such as the small Buddhist hall in the Jiamuyang Living Buddha Office of Labrang Monastery in Gansu. The walls are densely covered with Thangkas. On some walls, Thangkas are overlapped in two or three layers. Hanging. Every thangka is a high-level work of art.
Buddhas and Bodhisattvas of Buddha and Bodhisattva in Qing Dynasty in Longwu Temple
Thangkas occupy such a large proportion among Tibetan Buddhist art works and have a high role in preaching scriptures. Function, when did it originate? How can it develop to the point where it is beyond planning? Unfortunately, there is no information to check, and the old thangka painter can't tell the origin. However, as far as Tibetan painting art is concerned, its history can be traced back to the cultural relics unearthed at the Karuo Neolithic site in Qamdo, which proves that primitive painting art existed on the Qinghai-Tibet Plateau three to four thousand years ago.
Sakyamuni Descends to Earth Contemporary Cloth Painting Jianmucuo Painting
According to relevant information, traveling monks in ancient India often used this kind of religious scroll painting when preaching scriptures. The Sanskrit word Patas refers to this kind of religious scroll painting used for worship and worship. Therefore, the earliest thangkas should have been introduced to Tibet at the same time as the Indian Buddhist mural techniques (at least it can be traced back to the Jokhang Temple murals "Thirty-Five Buddhas" and "Six-Phase Bodhisattvas" that were saved during the Tubo period. They cannot be found at present. The actual object is just an inference.
Like murals and sculptures, the art of Thangka painting is deeply influenced by the painting styles of India, Nepal and Han Dynasty. It has been discussed in the Dunhuang murals and unearthed paper paintings, and there are also works from the middle and late Tibet period. The unearthed Dunhuang paper painting Void Tibetan Bodhisattva, now in the British Museum, London, has a Tibetan inscription, which may be from that time. Pink copies of murals and thangka paintings
Qing Dynasty cloth paintings of Sakyamuni at Wutun Temple
Many Buddhist monks from India went to Tubo to preach and brought Buddhist painting art with them. Many Tibetan monks went there to study. The splendid treasure house of Buddhist art in India, Nalan Temple, played a significant role in the development and improvement of Tibetan Buddhist art. The ancient Indian style is still clearly preserved in Thangka paintings. Painting style.
Sakyamuni’s Qing Dynasty woodblock print of the Potala Palace
Thangka art, in view of its own religious attributes, is the same as the statue. The rise and spread of Tibetan Buddhism began to flourish as early as after Zampo Songtsen Gampo married Princess Chizun and Princess Wencheng of Tang Dynasty in Nepal (now Nepal) who believed deeply in Buddhism. He began to respect Buddhism and built the Jokhang Temple. and Ramoche Temple.
Sakyamuni and his ten disciples painted the Kumbum Monastery in the Qing Dynasty.
During the Trisong Detsen period, the Tubo Dynasty vigorously promoted Buddhism and was built in 779 AD. For the first time, the Sangyuan Temple was dedicated to the "Three Treasures" of Buddhism, Dharma and Sangha, and the "seven households raising monks" system was promoted. The development of Buddhism had a certain economic foundation.
Sakyamuni and Sakyamuni. Unknown age of Manjusri and Maitreya Bodhisattva Wutun Temple
Painters who draw thangkas must strictly follow the rules stipulated in the "Image Measurement Sutra", just like Buddhist disciples abide by the Buddhist teachings and regulations. The Sutra is regarded as the golden rule. All parts of various Buddhas, Bodhisattvas, and Dharma protectors have fixed proportions, which are generally measured based on fingers.
Sakyamuni Conquers the Demonic Way. Contemporary cloth painting by Xiao Xiawu Cailang of the Sixth Master
Most thangka pictures are rectangular, but the oldest forms are almost square. Some pictures have four Buddhas in the four corners and a square at the bottom. It's called "door". This form is rare now.
Twelve fingers are one width of the face; three widths of the face are one width of the body; five widths of the face are the height of a sitting Buddha. The width of the nine faces is the height of one standing Buddha. In addition, their positions, colors, faces, sitting and standing postures, seals, ornaments, hairstyles, halos and magical instruments are all stylized in this way. , in order to maintain the solemnity and sanctity of Thangka
About Thangka·
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At%fh:f0 Thangka (Thangka) is also called Tang. Ga, Tangka, is a Tibetan transliteration. It is a colorful scroll painting embroidered or painted on cloth, silk or paper. It is a type of painting rich in Tibetan cultural characteristics. Dadu.com S:Hr;V2L+g(['q
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Thangka content is rich, including various Buddha statues , there are also pictures that reflect Tibetan history and national customs. The composition of Tibetan thangka is rigorous, balanced, plump and changeable, and the painting methods mainly include meticulous brushwork, heavy color and line drawing.
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c M!]UL i.[Mt~0 There are many varieties of thangkas. In addition to painted and printed thangkas, there are also embroidery , brocade (pile embroidery), tapestry, appliqué and pearl thangka, etc. Embroidery thangka is made of various colors of silk thread, and all landscapes, figures, flowers, feathers, pavilions, pavilions, etc. can be embroidered. Satin is used as the ground, and several colors of silk are used as the weft, woven with staggered jacquard patterns, and pasted on the fabric, so it is also called "dui embroidery". Applique Thangka is made of satin of various colors, cut into various figures and figures, and pasted on it. On the fabric, the Kesi Thangka uses the method of "opening the warp and cutting the weft", using various colored weft threads for strong decorative purposes, and some even embroider pearls and gems with gold threads on them to create a perfect combination. The golden color is particularly dazzling. Kesi is a special handicraft that transplants paintings onto silk fabrics. These fabric thangkas have tight and thick textures, precise patterns, and gorgeous colors. They are specially made in the mainland, and most of them were introduced to Tibet during the Yongle and Chenghua years of the Ming Dynasty. Later, Tibet could also produce fabric Thangkas such as embroidery and applique. There are two types of printed Thangkas, one is full-frame. After color printing and mounting, there is another way to carve the painted image into a carving board, print it on thin silk or fine cloth with ink, and then color it and mount it. This kind of thangka has slender strokes, strong knife skills, and beautiful design. The color is mostly ink dyed on the outside and Zhu painted on the inside, with distinct layers and unique patterns. The patterns are intertwined with warp threads in certain places, which looks like carvings. They are elegant in style and have a three-dimensional decorative effect. They are printing thangkas and drawing thangkas in different styles. Thangka represents different painting schools in Tibet. Tibetan painting schools can be divided into: Dadu.com 4~!a3R+^/q {
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eUNO A$Mh2j0 Gazhi is a school of Tibetan painting and sculpture. It is said that this school follows the "Image Measurement Sutra" written by Karma Mojo Dorje. The Qinze School is famous for its painting style of peaceful and kind-hearted people. Dadu.com'hx't1VHO,x-o
The founder of the Qinze School is Qinze Qomao from Gonggarduo in Tibet. The school was born out of the Mantangba School of Painting, so it retains many of its paintings. Mantangba's painting style
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6@&T(@lD[NL0 Garre is the measurement of Tibetan paintings and the coloring and scenery of Namuka Tashi Living Buddha. A style of painting that combines layout. It is characterized by large pictures, large capacity, delicate faces, and hidden smiles.
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The Jejubi School of Painting was founded by Karma Quyang Dorje, who absorbed the Kashmiri painting style based on Tibetan paintings. Door School of Painting. Dadu Net 9`u8C"PNu#} G0Kb
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r'{b }!F Rj| h"u0 The painting style of scholars such as Zhijia and Mantang Chaka is called the Danlu School. This school has written art classics such as "The Statue of Gods Measuring the Ruyi Pearl". Dadu.com|~P+Xg,M}0BT
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dairepai is Gar A painting school that combines the Repa and Manthang styles. Its main characteristics are that it pays attention to the shape, expression and connotation of the characters. The more famous painters of this school include Tenzin Norbu and Rongpa Sonamgye. Bao, Zhi Lapu said Wu Cairang, Tang La Caiwang, etc.
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< p>%KoP PZG.s7L0Dadu.com:D*OaH`6iW/vThe painting style of Xigangba Living Buddha and the painting school that maintains this style of painting are called Xigangba. The Nepali painting style has a greater influence, so it is also called the Nepali School of Painting. >
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The Mannia School is the earliest painting school in Tibetan areas. Its founder was Manla Dongzhu in the 14th century. The characteristics of this sect are that anger resembles a smile in anger, a light body, gorgeous clothes, elegant colors, lifelike expressions, and moderate scales of various body parts.
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%S$c+C#lUYm\0 The Manlu School is the general name for the Manniang and Mansar schools of painting. Dadu Net: v[ vFQ2ca
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%R Yy:F]Kj0 The founder of the Mansar sect is Zangba Quyang Gyatso. The painting style of this sect is similar to that of the Mannyang sect, characterized by rough lines and powerful faces. , the coloring is heavier, the stature is slightly taller, the painting work is fine, etc. Dadu.com%[2R ^yQ#EsS[0g-J n
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This school is famous for its rigorous painting style, delicate brushwork and exquisite materials. Cidan Langjie is the first in this school. A tenth-generation painter, he is also the most accomplished and famous folk artist in the world. His paintings are very popular at home and abroad. In order to make Thangka, a national art treasure, flourish, he has successively recruited ten disciples and taught them carefully. The foundation was laid for the smooth inheritance of the painting school
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·Classification of thangka·
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Q?D3b\%D]&\9\0 Tibetans are a nation with a long history in China. Their culture is an important part of the cultural heritage of the Chinese nation, and Thangka is a famous religion in Tibetan culture ( Buddhist Tantra) artwork. It is a scroll painting framed with colorful satin and has always been regarded as a treasure by the Tibetan people.
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p>Cloth-covered Thangka: First, white cloth is stretched on a wooden frame, coated with a layer of colloidal white ash, then smoothed with talc, and then outlined and painted. Dadu.com WO_4uY @{
9]R8?3P/m'L0 Embroidered Thangka: It is embroidered with silk threads of various colors. Landscapes, figures, flowers, feathers, pavilions, pavilions, etc. can be embroidered. Dadu.com e0J$PM+@:JK
7o/mko0E"}zL0 Brocade Thangka: It is woven with satin as the ground, several colored silks as the weft, and staggered jacquard.
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Applique Thangka: It is made of satin of various colors, cut into various characters and graphics, and pasted on the fabric , so it is also called "Dui embroidery". The "weft" method uses various colored weft threads to interweave with the warp threads only where the pattern requires, which looks like a sculptured building. It is elegant in style and has a three-dimensional decorative effect. Kesi is a special handicraft unique to my country that transplants paintings onto silk fabrics. The texture is tight and thick, the composition is rigorous, the patterns are exquisite, and the colors are gorgeous. Some of them are decorated with pearls and gems with gold threads. Most of them were introduced to Tibet during the Yongle and Chenghua years of the Ming Dynasty. Later, Tibet could also produce fabrics such as embroidery and appliqué. Dadu.com me Z6V3u)i7w
&h"g8P'O ~/ zd/H0k;T0 Printed and colored thangka: The painted image is first carved into a carving board, printed on thin silk or fine cloth with ink, and then colored and framed. This kind of thangka has slender strokes and strong knife skills. The colors are mostly ink dyed on the outside and red on the inside, with distinct layers and unique style.
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0x)h;Y jbX{e0 Silk can be used. Make thangka painting cores and frame them in three styles: simple (brocade), Chinese scroll, and frame. All thangkas are decorated with luminous (Om Ah Hum) mantras (not visible during the day, but used to invite Buddha, consecrate light, ward off evil, and auspiciousness).
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IHQ7O? O6T p0 Among the beautiful Tibetan culture and art, thangka is well-deserved Called a wonderful rose.
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Thangka art has a long history. As far back as 45 In the Kano cultural sites thousands of years ago, we can glimpse the beginning of today's thangka art from the simple painted decorations. The triangular fold lines and triangular patterns painted in black may seem primitive, but they appear bold and bold. It has an inseparable connection with today's thangka art, especially in eastern Tibet.
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The thangka that people see today is also called cloth painting. It originated from After Buddhism was introduced to Tibet, along with the spread of Buddhism on the Tibetan Plateau, foreign culture and art penetrated, and Thangka art still injected fresh blood. On the one hand, it carried forward and updated the original artistic characteristics, and on the other hand, it absorbed the ideas of Han, India, Nepal, etc. The essence of exotic art has, over time, become a unique art school. Dadu Net,[s2g-M(nA dH
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Thangka uses linen or coarse cloth as the base cloth. The more precious ones are made of Silk, as the base cloth, has a direct relationship with the Han Dynasty. When Princess Wencheng came to Tibet, she had production technologies such as spinning and threading. From a historical perspective, these base cloths were those production technologies that were applied and then promoted in Tibet. Various places. The artist first makes a wooden frame, sews the four sides of the base fabric on four thin wooden sticks, and then threads the thin wooden sticks with ropes and stretches them on the wooden frame; The paste mixed with talc powder is evenly applied on the base cloth. The purpose is to make the base cloth even, smooth, hole-free, smooth and bright. After application, use a thin tool to smooth the paste on the base cloth. Scrape it evenly; after the base fabric is dry, use charcoal strips to draw the outline of the image, usually first inside and then outside. After drawing the main image in the middle, draw the surrounding auxiliary parts, and finally color it. /p>
/Ttf ~.nNC0 The pigments used to draw thangkas are all opaque mineral and plant pigments, with some animal glue and ox bile added in proportion. The formula of this raw material is scientific, and the climate of the Tibetan Plateau is unique. Dry, even after hundreds of years, the painted thangkas are still bright in color, just like newly painted works of art.
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\ o2? b#\0 The Thangka is not finished yet. There is still a process of mounting and mounting similar to that of the Han Dynasty. After the painting is completed, the base cloth is surrounded by various colors of cotton and satin, which harmoniously match the color of the image, and the upper and lower ends are run through. The wooden scroll is easy to hang; then it is covered with a piece of silk that is the same size as the Thangka. At this point, a framed scroll painting - Thangka is completed. Dadu.com?4lK&N2}
# a"j+]n+l@"R!qO-[0 The content of Thangka is a genre painting of social history, with a wide range of themes and all-encompassing contents, especially religious themes. Historical events, biographies, religious teachings, paintings, customs, folklore, myths, architectural layouts, etc. It can be said to be a comprehensive historical and cultural dictionary of Tibetan society, covering social politics, economy, culture, military, religion In all aspects, countless Thangkas, large and small, have provided precious historical materials for various fields of Tibetan studies. Dadu.com*f vF }i(C7@tv
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Thangka production techniques can be divided into several categories. In addition to painting, there are also various artistic techniques such as embroidery, appliqué, cotton weaving, silk threading, and pile embroidery. Thangkas made using these methods It is full of three-dimensionality and texture, and is also dynamic. When it is hung in the hall, the breeze blows, and the Buddha statues on the screen jump out of the cloth, lifelike. In the illusion of believers, they feel like they are in heaven, and they can't help but float. < /p>
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C+U\ A:R0 Now we will introduce the Thangkas with religious themes. Generally speaking, each thangka can be divided into three parts: upper, middle and lower parts, each representing heaven, earth and underground. This explains the teachings of Buddhism and also reflects the Three Realms theory of Tibet’s original religion, Benboism, which is just a change. The central part is usually painted with the statue of the deity, which is the object of worship by believers, such as Sakyamuni, the Five Vajra Dharma, the Patriarchs, etc.; the upper part is the empty realm, also known as the holy realm, and is painted with Buddhas and Bodhisattvas; the lower part is It is the earth realm, also known as the mortal realm, and is painted with protectors and lovers. However, the realm of saints and mortals is not so strictly divided, and there are often thangkas that are not arranged according to this system. The Buddha statue that lives in the middle of the sky is called the "Dingyan". This deity is a subordinate of this Buddha.
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*Ko2|1M `0 Various patterns painted on thangkas, such as the shapes of Buddhas and Bodhisattvas, the ornaments and crowns they wear, Necklaces, rosary beads, etc., each of the sacred instruments held has its own religious significance. The different shapes are not made by the artist's whim. Just in terms of the posture and placement of the hands, there are countless, or with hands clasped in front of the chest, Or place one hand upright on the lotus seat, and so on. Dadu.com%} Ksw_
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The size of thangka is irregular and varies in size. Generally, it is seven people and ten centimeters long and wide. The ones are as big as a palm, and the giant ones are tens of meters long. The largest thangka we can see today are two giant thangkas of more than 50 meters long collected in the Potala Palace. If tourists from other places are able to come to Tibet, they can hold it on February 30 of the Tibetan calendar year. At the Saibao Dharma Ceremony, witness the rare treasure thangka hanging on the Saibao platform in the Potala Palace. The spectacular scene will be unforgettable for you.
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·The composition form of Tibetan thangkas·Dadu.com'G9K@:Yg M7j
L(Q'U*i nn:k7U0 The composition form of Tibetan Thangka is very rich. The central composition is the most common composition form in Thangka, with the main character as the center. The storyline is unfolded up, down, left and right to achieve a clear, full and even effect. There are many changes in the uniformity. For example, in "The Statue of the Three Generations of Buddhas", dark flames rise into the sky on the back of Sakyamuni, and wind and fire are everywhere. , dense clouds and smoke, Chakrasamvara and Mahamighty Virtue are at the top, and the auspicious heavenly mother and subordinate protector gods on both sides and below are presented in various dynamics, making the entire picture rich and varied. The central figure dominates the picture, and the surrounding figures are in a dominant position. The characters are arranged in a balanced manner, so the picture has majestic momentum without a sense of clutter. This kind of composition is commonly used in drawing various Vajra and Dharma protector gods, such as Tara and Guanyin. , using the central composition method, but in addition to the headlight, bodylight and blooming flowers or patterns composed by hands, the background is mostly decorated with scenery to set off the blue sky, green mountains, green water, white clouds and flowers, all of which are cleverly cut and combined by the painter. It gives people a sense of tranquility and grace, and makes the image of Guanyin Tara's great compassion in rescuing people in distress more prominent. The paintings of eminent monks of all generations are combined with the movements, personalities, and characteristics of the central characters and the natural scenery. Special attention is paid to the location of the scenery in this kind of painting. Try to give full play to the role of realistic scenery. Dadu.com SlXfx4T
l8[ @+vH,`(wkm0 The composition of genre paintings is widely used in thangka. This composition is mostly used to draw biographies or stories in the form of comic strips. It Not affected by time, space and perspective, a story or storyline is often concentrated in one picture. The well-known large-scale thangka series "The Legend of Pasiba" covers the religious and political activities of Pasiba throughout his life. The scenery and customs of Pasiba's two trips to Beijing and the thousands of miles along the way are all included in the volume. The scenery in the picture changes according to the needs of the story, and is not limited by history, time, and space. The characters in the picture are not subject to the relationship between distance and perspective. The effect is vivid and lively, but the whole picture is unified on the big tone, making the composition very complete, such as the huge Thangka "The Life of Sakyamuni" in the Potala Palace, Drepung Monastery, and Tashilhunpo Monastery. "Buddha Jataka", as well as biographical thangkas of important historical events and historical figures are all drawn with this composition. The area of ??this kind of thangka can usually reach tens or even hundreds of square meters, and the composition is very complete and spectacular. Thangkas that mainly express architecture use a scatter-point perspective composition method that takes a bird's-eye view of the overall situation, fully expressing the characteristics and structure of the building, and developing a storyline around the building. For example, one of the Thangkas collected by the Potala Palace depicts the building. The grand scene of the Potala Palace, each plot of the thangka revolves around the building, interspersed with some legends and stories, making the picture more interesting, from the beginning of the construction to the completion ceremony, the plot is vividly expressed. The creation of large temples, etc. are all painted with thangka compositions that focus on architecture, which fully demonstrates the superb skills of the Tibetan people in architecture.
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The mandala diagram is a composition based on geometric figures. The mandala refers to the palace of the Buddha. It is composed of circular and shaped geometric shapes from the outside to the inside. In the middle is the Lord or Buddha. The outer graphics are decorated with water patterns and flame patterns. The second layer uses circular diamond patterns, water patterns, The lotus pattern decoration represents the sea, the wind wall, the fire wall, the diamond wall, the lotus wall, and the moat. The inner square pattern represents the city wall, the eaves, and finally reaches the main hall. Red, yellow, white, and blue are used to represent the southeast, northwest, and northwest. The mandala is very difficult to draw, with complex pattern structure and both abstract and figurative techniques. Only painters with superb skills and rich religious knowledge can draw it. Although the mandala is a palace of gods and Buddhas, its content is profound and difficult to understand. It is a Buddhist symbol. Tantra specialization course. The composition of the mandala is compact, the patterns are complex and varied, and it has a strong sense of form, such as the familiar Thangka "Six Paths of Reincarnation", "Four Continents and Wind, Fire, Water and Earth". "Celestial Bodies, Sun, Moon and Star Movement Chart", "Shambhala Chart", etc., the compositions are infinitely varied, covering everything from the earth's celestial bodies, the Tibetan calendar, the twelve zodiac signs, the changes in the four seasons, human reincarnation, heaven and hell. It provides people with artistic enjoyment and increases their knowledge.
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*FD9b7^}0 Various thangkas dedicated to Tibetan medicine can develop the human body. , human body veins, disease causes, treatment methods, drug applications, etc. are drawn in detail. This type of thangka has a concise, realistic composition and rich content, forming a systematic and complete set of Tibetan medical science wall charts. It is not only precious information for the study of Tibetan medicine, but also It also has appreciation value in art.
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Tibetan Tantric Buddhism began in the second half of the 10th century AD. It is the same as Tibetan Buddhism. , is the product of the combination of Indian Buddhism and ancient Tibetan Buddhism. Therefore, there are countless Tantric gods and Buddhas in Tibetan Buddhism. The author has seen 639 various Tantric gods and Buddhas painted in Thangka. Each god and Buddha has the ability to transform into a Buddha. Once transformed, he can take on many forms. The more changes there are, the greater the ability.
Therefore, except for some common Tantric gods and Buddhas with clear characteristics, it is generally difficult to identify their identities. In thangkas, the most common are the three tantric gods and Buddhas, namely Chakrasamvara, Samsara Vajra, and Yamantaka Vajra. There are 62 kinds of Chakrasamvara. The basic body is three heads, twelve arms, and two feet. The mother goddess is attached to the chest. Its shape is one head, two arms, and two feet, standing like a statue. There are 32 kinds of Gamasutra. The most common one is cross-legged. The seated statue has three heads, eight arms, and two legs. On the chest of Yamantaka is the Mother Goddess, which has three heads, four arms, and two legs. Yamantaka has many variations, and there are two common forms: One is with a statue of the mother goddess, and the other is without a statue of the mother goddess. Its shape is a buffalo head on the front with horns on top. There are eight other heads surrounding the cow head, with thirty-four arms and sixteen legs, and there are many seated statues. In addition to the above three Vajras who are often painted in thangkas, each temple also has its own tantric god thangka. For example, the Jie Duoji Thangka of Sakya Monastery has eight heads, sixteen arms, and two legs. The two interlocked hands hold the Mother Goddess, holding a vajra on the left, a skull on the right, and skeletons in each other hand; the Mother Goddess has one head, four The arms, legs, and hands also hold skulls. The Puba Thangka of Samye Monastery has two heads, six arms, and two feet, with hands clasped on the chest, wings behind the back, and tiger skin around the waist. The Tuanji Koro Thangka in Tashilhunpo Monastery has four heads, three arms, eight palms on each shoulder, two legs, a mother goddess on the chest, etc. The composition method of this type of thangka is very clever. When the painter handles the numerous heads, hands and the head and hands of the mother goddess, they form a circle, surrounding the Vajra body, making the picture look like "stars holding the moon" The many heads and hands of the Mother Goddess are scattered together and move within a small range of the main body, playing a foil and connection role with the main body. This not only maintains the intention of using circles in the composition, but also breaks the rigidity that circles bring to the composition. Through exaggeration, deformation, decoration and other artistic techniques, the vicious image does not lose its beauty, and the weird picture can be connected with reason, making the It meets aesthetic requirements and appreciation habits. In addition, this type of thangka also makes full use of the contrast of modeling requirements, combining abstract shapes with concrete shapes, giving full play to the language characteristics of the composition, which makes people excited. Dadu.com c;RH {)s5wI n
$\|5B?0E7m5GN0·Origin of Tibetan Thangka·
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Thangka is similar to scroll painting. It is usually painted on cloth or paper, and then sewn and framed with silk and satin. The lower axis end is decorated with exquisite axle heads. The painting is covered with thin silk and double ribbons. After it is mounted, the lama is asked to recite sutras and blessings, and the lama's gold or cinnabar hand mold is stamped on the back. There are also very few tapestry, embroidery and pearl thangkas.
The drawing of thangka is extremely complex and the materials used are extremely complex