Thangka Time

by+Yin+Xing

In one of the halls of the crowded National Art Museum of China sits a young Tibetan painting a thangka. His name is Dargye Sangpo， and he is considered one of the most outstanding working thangka artists in China today. He was invited by organizers of the exhibition“Heavenly Thangka” to work and display the fruits of his labor all in one place.

Painting Pilgrimage

A traditional art of Tibetans， thangka displays Buddha images， legendary stories， history， medicine， life and production methods of the ethnic group. “For occasions like funerals， weddings and festivals， we usually have thangka painted，” explains Lhaba Tsering， secretary-general of the Tibetan Artists Association. “When someone dies， his family finds an astrologist to decide which Buddha to paint before going to the painter.”

Closely tied to religion， thangka was once mainly painted by monks. They would spend months or even years producing the Buddha images for worship. But there are also some thangka painters like young Dargye Sangpo who come from poor families， and learn thangka in the hope of making a living. Those studying the craft dont have to pay tuition， but they do have to feed themselves and help with chores. Learning thangka is a hard and time-consuming process， often lasting several years or even decades.

Actually， seven years had passed until Dargye Sangpo finished his first independent work， which won the gold prize at the first Thangka Art Festival. “A good thangka painter must be a pious disciple of Buddhism and seek great religious and artistic accomplishments，” says Lhaba Tsering.

For Dargye Sangpo， painting thangka is a sacred ritual akin to a pilgrimage. Before he paints， he washes his hands clean. While working， he neither eats nor drinks. Thangka painting has strict guidelines for proportions. “If I fail to follow those rules exactly， not only will the painting be considered bad， but it will also disrespect Buddha and be a sin，” stresses Sangpo.

Evolving Inheritance

The preservation of thangka painting skills primarily relies on the masterapprentice model. “Thangka painters usually retire from painting when they turn 40 to concentrate on teaching students，”explains Lhaba Tsering. “The extreme delicacy of thangka painting requires excellent eyesight， so the artists skill tends to deteriorate with age.” And only Tibetan men could learn it. But today， females and non-Tibetans are also welcome to learn the art. “Originally， people painted thangka to make a living，” says Lhaba Tsering. “But now， more practitioners are drawn to the artistic aura and religious connotations.”

For Dargye Sangpo， painting thangka is also not just about putting food on the table any more. “I consider great thangka masters my idols and hope to contribute to the conservation of the art.”

“When I discovered Dargye Sangpo， he had just finished studying thangka in Tobgyai Township， Namling County of Shigatse，”recalls Lhaba Tsering. “Despite his young age， his work stunned us. We invited him to join our association and submitted his work to the thangka contest in which he won the gold prize. Now， he occasionally goes with us to big cities like Beijing and Shanghai to broaden his horizons. Now he knows that he shoulders the responsibility to pass down and develop the art.”

Even though Dargye Sangpo has moved to Lhasa and now has his own studio， his life has not changed much. Sangpo does not smoke， drink or eat meat， and seldom hangs out with friends. He spends most of his time painting and reading books on Buddhism and art. “He still has room to improve，” says Lhaba Tsering. “We try not to bother him or let worldly things disturb him. We only invite him out for important occasions or educational events.”

Many talented thangka painters like Dargye Sangpo are supported by governments at all levels. “From a trade to cultural inheritance and then to fine art， the meaning of thangka has evolved over time，” opines Lhaba Tsering. “We are happy to see that happen.”

Reasonable Commercialization

Thangka has always been popular with both domestic and international art fans， but only a few people can appraise a thangka， leaving the market in disorder. Because of the booming market， some have proposed that thangka be mass produced to promote development.

“Thangka should not be controlled by commercial forces，” says Lhaba Tsering.“Tradition places great value on complicated techniques， religious devotion and Tibetan aesthetics. Mass production would only produce decorations， not art.”

Thangka boasts lasting bright colors because the paints are created from local minerals or plants. “Even the paints cannot be mass manufactured yet，” continues Tsering. “Additionally， the content is associated with Buddhism. For example， there are rules laid out in Buddhist classics about which objects can be positioned in front of the Buddha. And individual interpretations of Buddhist scriptures cannot be duplicated.”

Thanks to the ongoing thangka fever， more and more young Tibetans are trying their hands at the art. Some universities have founded thangka departments and masters have opened art studios to teach the skill. Many thangka works sell for lofty prices. “Both good and bad things come along with the flourishing market，”Tsering adds. “The price can indicate that a thangka is extremely well done， but the market also influences the painters. They should not be motivated by price.”

Shalu Wangdu spent thirteen years on the thangka painting The Tenth Panchen Lama. “Every day， I just painted when I felt the urge，” he reveals. “I was honored and happy to paint him.”

“This kind of work is priceless，”says Lhaba Tsering. “Actually， respect for Buddha and devotion to Buddhism are the genuine inspirations for thangka painting. Artists should pursue quality over price.”