Thangka roughly translates to “recorded message” in Tibetan (“Thang yig”) and is an ancient form of Buddhist Art, that got exported to Tibet through princess Bhrikuti of Nepal who had married King Songtsen Gampo (7th century Tibetan King), it is believed, to have a hand in introducing Buddhism to Bhutan first.
Historically and traditionally, thangkas were a portable fabric scroll, kept unframed, and used as teaching aids, carried along by Buddhist teachers and scholars as they travelled imparting knowledge on Buddha’s life and teachings.
As it gained importance, it stopped being a simple fabric scroll, but became a complex three-dimensional object consisting of a picture panel that is painted or embroidered on silk, cotton, or textile, mounted over, and layered by a covering (usually of silk). In fact, it can be divided into two board categories, those that are painted, and those that are made of woven silk, silk tapestry or applique, webs of embroidery or embossed embroidery. Yet another type is beautifully designed coloured fabrics decorated with pearls and precious stones attached to the fabric with gold thread, thereby creating a dazzling effect. This is nowhere like your ordinary oil or acrylic painting and because of its precious and delicate nature, it requires to be preserved and stored well for it to retain its lustre for a very long time.
Because the art form is clearly religious, all symbols and references must be in accordance with strict guidelines laid out in Buddhist scripture. The artist must be properly trained, and have sufficient religious understanding, precise knowledge of the measurement and proportions of each deity as established by Buddhist iconography.
As part of the tradition to uphold the teachings of Buddhism, the three main themes are: didactic, narrative, and meditative. Therefore, the paintings may feature a deity or a landscape scene illustrating religious history, events concerning important religious figures, Buddha & Bodhisattvas, mandalas, retelling myths associated with deities, devotional images, rituals, religious ceremonies and often used as mediums through which one can offer prayers or as tools of meditation. It is believed that if painted correctly with purity and precision, these works could house the spirits of their deities, and so a very strict set of rules and patterns is taught and enforced.
The eastern Himalayan Kingdom of Bhutan, one of the last remaining nations that uphold sacred Buddhist teaching and practices is home to thousands of priceless thangka paintings. The fact that Bhutan opened to the world outside very late, proves that their Cultural heritage, arts & crafts are distinctive and centuries-old which developed with very little outside influence. However, this unique and distinct Bhutanese culture is under threat from globalization and efforts are being made to not only preserve the traditions but the fragile nature of these thangka’s call for extensive restoration of the existing heritage.
The Royal matriarchy has always been patrons of Art and Culture from the Royal Grandmother’s time. It is their strong sense of family duty and personal goal to promote and preserve Bhutan’s cultural heritage, that Princess Ashi Kesang Choden T. Wangchuk (niece of 4th King) is today dedicated to the task of restoring and preserving in the capacity of an Executive Director of Bhutan’s Thangka Conservation Center which strives to restore and preserve thangkas.
Buddhist Art & Cultural Conservation Center (BACCC) housing Thangka Conservation Center also have studios for the object, textile and paper conservation and restoration, with a team of highly-skilled, knowledgeable, and dedicated monastic and non-monastic body, trained by reputable international conservators sensitive to local culture and traditions. It is both under the patronage of the Monastic body and a Government body.
The Druk Foundation for Art Preservation is a recognized charitable entity based in the United States and are the main collaborators with BACCC, empowering the monk conservators with accurate knowledge, training, techniques, and tools for conservation works.
In this connection, it requires special mention here of Ephraim (Eddie) Jose – a specialist in conserving Asian Art, a master conservator, who along with his team has been doing rounds of Bhutanese Monasteries to teach monks on how to restore and preserve the thangkas in a proper manner since 2003. He was the main man behind the ground-breaking exhibition “The Dragon’s Gift: The Sacred Arts of Bhutan” (in Honolulu, the year 2008), for which his team restored close to over 60 precious thangkas. These amazing works have been immortalized in a documentary film called “1000 Hands of the Guru: Saving Bhutan’s Sacred Arts”
To preserve and propagate through education, many schools and studios have come into existence in Bhutan of which the notable ones are:
Zorig Chusum – which means the “thirteen arts and crafts of Bhutan (which are painting, paper making, carving, casting, sculpting, calligraphy, embroidery, weaving, carpentry, masonry, bamboo & cane weaving, Gold/Silver smithery and Black smithery) is also commonly known as Painting School. The institution was set up in Thimphu by the Government with the sole objective of preserving the rich cultural heritage by imparting knowledge and training to young students in all traditional art forms.
Choki Traditional Art School – established in 1999 (Thimphu), the school trains disadvantaged youngsters in age-old art forms. It is a non-profitable institute that provides free teaching, food, and lodging. At the end of a typical 6-year course, the young ones are well on their way to becoming skilled artists, who will be skilled enough to not only earn a livelihood but carry forward the legacy.
When in Bhutan, you can take a quick learn, of the art of Thangka painting here, also buy yourself a souvenir at the gift shop, the proceeds of which will go to the well-being of the students, you will therefore be a small part of a bigger cause.
Volunteer Artists’ Studio Thimphu (VAST) - founded by a group of like-minded and trained artists in 1998, is also a non-profitable organization, that aspires to promote and nurture the new generation of Bhutanese artists, encouraging them to participate and explore their potential, especially in contemporary art forms.
Difference between a Thangka & Thongdrel – typically, thangkas are small of about 18 to 30 inches tall or wide, displayed in monasteries, places of religious importance, museums or even homes, then there are these giant festive thangkas’ usually applique, which is designed to be unrolled against a monastery wall for specific religious and auspicious occasions and are called “Thongdrels”. They are composed of several layers of mostly silk and are the largest form of thangka painting, depicting most often, pictures of the second Buddha (Guru Rinpoche) and his manifestations, in a composition that, unlike smaller thangkas are in a landscape format, somewhat wider than taller, and always stored rolled up.
Thongdrel literally translates to “liberation by sight” and is believed that one is purged of sins just by having a glimpse of it. The highlight of most Festivals in Bhutan is the Thongdrel ceremony (which marks the closing of the festival), the most remarkable of which is witnessed at the Paro Festival. The Paro Thongdrel (30x45metres) is brought out of Rinpung Dzong and unfurled with intense religious fervour on the last day of the festival at dawn and rolled up before sunrise (as the rays of the Sun are not supposed to fall on the Thongdrel as per tradition). Devotees, who gather to witness this auspicious occasion pay obeisance in front of the Thongdrel and is an opportunity for them to cleanse themselves of bad karma and usher in blessings.
Originally, painted by lamas & Buddhist priests, over the years, thangkas came to be made by lay painters. Though thangkas are now also painted for sale, they are still largely integral to practised Buddhism. Commissioning a thangka is considered a means of generating spiritual merit. Highly revered objects are said to be a visual representation of spiritual reality.
