Thangka: The Artistic Treasure of the Snowy Highlands

Thangka: The Artistic Treasure of the Snowy Highlands

Thangka, this invaluable cultural heritage from the snowy highlands, captivates with its unique artistic charm and profound cultural connotations, becoming a precious intangible cultural heritage among the folk arts of the Chinese nation. Today, let's journey into the world of Thangka and experience the artistic charm emanating from this plateau.

I. Definition and History of Thangka

Thangka, meaning "scroll painting" in Tibetan, is a religious art form integrating painting, embroidery, gold leaf application, and various other techniques. It originated during the Tibetan Empire in the 7th century, emerging as a visual representation of Buddhist teachings as Buddhism spread from Nepal and Central China to Tibet. Initially, Thangka was primarily used for religious rituals, such as worship and meditation, but gradually developed into an indispensable art form in Tibetan life. After more than 1,300 years of inheritance and development, Thangka art has formed multiple painting schools with distinct regional characteristics, such as the Garma Gharzhi School of Changdu and the Zhikong Embroidered Thangka of Moxu Gongka.

II. Types and Techniques of Thangka

Thangka comes in various forms, beyond painted Thangka, including embroidered, woven (pile embroidery), silk tapestry, appliqué, and pearl Thangka. These fabric Thangka are tightly woven, rigorously composed, exquisitely patterned, and vibrantly colored.

• Embroidered Thangka: Made by stitching with colored silk threads, capable of depicting landscapes, figures, flowers, birds, pavilions, towers, and more.
• Woven Thangka: Also known as "pile embroidery," it uses satin weave as the base, weaves in colored wefts only where needed for patterns, and is pasted onto fabric.
• Appliqué Thangka: Uses various colored silks to cut out various figures and shapes, which are then pasted onto fabric.
• Silk Tapestry Thangka: Utilizes the "weft-cut technique" to weave with colored wefts only where needed for patterns, interweaving with warp threads. Some even inlay pearls, jewels, and gold threads among the colorful patterns, creating a dazzling display.

Additionally, there is printed Thangka, which undergoes several processes including painting, woodcut, printing, coloring, mounting, and framing. This type of Thangka features delicate brushstrokes, vigorous knife work, and a unique style with outer parts inked and inner parts painted red, creating a distinct hierarchy of colors.

III. The Painting Process of Thangka

The painting process of Thangka is complex and intricate, encompassing material selection, outlining and drafting, coloring, shading, retracing lines, gold leaf application, finishing, consecration, mounting, and framing. Before painting, monasteries or folk artists meticulously choose an auspicious day, bathe, purify themselves, burn incense, and pray. They then prepare materials while chanting mantras. The canvas is typically fine white silk or cotton, specially treated and coated with white paint and animal glue, then polished smooth with pebbles. Pigments used in painting include stone yellow, azurite, malachite green, ochre, cinnabar, white lead, or gold powder, and even gold, pearls, agates, corals, and turquoise ground into powder and mixed with glue for painting.

In the drafting stage, artists follow strict proportional standards for Buddhist imagery, with precise requirements for facial features, head, chest, waist, and other parts. They then sequentially outline supporting figures, clouds, mountains, waterscapes, towers, pavilions, birds, animals, flowers, and trees. In the coloring stage, artists apply colors in a specific order and technique, creating a rich and layered palette. Finally, they add gold outlines, finish, consecrate, mount, and frame the Thangka.

IV. Cultural Connotation and Artistic Value of Thangka

Thangka is not only a religious and cultural expression but also a unique form of art. It integrates painting, sculpture, color, and pattern into a single art form, possessing profound religious and cultural connotations. Thangka often depicts Buddhist religious stories, figures, and teachings, serving as an important symbol of Tibetan belief. They help believers understand religious teachings, inspiring faith and practice. Meanwhile, Thangka is also an important carrier of Tibetan culture, showcasing Tibetan history, traditions, and values through painting and patterns. They are a crucial window into understanding Tibetan culture, aiding in the preservation and transmission of Tibetan cultural heritage.

In terms of artistic expression, Thangka is renowned for its unique artistic style and techniques. They demonstrate the creativity and aesthetic concepts of Tibetan artists, serving as treasures in the art world. Thangka compositions are rigorous, balanced, and full, with a well-organized layout that combines density and sparsity, using emptiness to complement solidity, resulting in lively and diverse compositions. Colors are rich, brilliant, and golden, exhibiting strong decorative qualities.

V. Modern Inheritance and Development of Thangka

In modern times, Thangka art has continued to grow and thrive through inheritance and innovation. On the one hand, the themes of Thangka have gradually diversified, no longer limited to religious subjects but extending to landscapes, portraits, and various auspicious symbols. This change reflects Thangka art's evolution with the times, making it more accessible to modern aesthetics. On the other hand, Thangka painting techniques have also undergone continuous innovation and improvement. Increasingly, non-Tibetan artists are learning and creating Thangka, infusing their artistic styles and techniques into Thangka creation, breathing new life into Thangka art.

Simultaneously, the commercialization of Thangka art has contributed positively to local economic development. In Qinghai, Tibet, and other regions, more residents are engaging in industries related to Thangka, such as painting, mounting, and sales. These industries not only provide employment opportunities for local residents but also promote the dissemination and exchange of local culture.

However, in the process of commercializing Thangka art, it faces challenges and issues. Some unscrupulous merchants pursue profits by using modern techniques like spray painting to create Thangka. Although these works resemble hand-painted Thangka in appearance, they lack the artistic charm and cultural connotation of the latter. Therefore, in promoting the commercialization of Thangka art, it is crucial to prioritize the preservation and transmission of traditional culture.

Conclusion

As a gem among the folk arts of the Chinese nation, Thangka boasts a long history, unique artistic charm, and significant collectible value. It is not only the crystallization of the spiritual beliefs, historical traditions, and artistic wisdom of the Tibetan people but also an important component of China's multicultural heritage. Let us jointly pay attention to and preserve this artistic treasure from the plateau, allowing it to radiate even more dazzling brilliance in the new era.