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Pubished in Wellbeing Magazine December 2002
Thangkas - Sacred Art of
Tibet
By Laara and Cameron Cooper
Tibet has long been recognised as a place where true beauty prevails,
a magical kingdom where kindness and compassion rule and peace is
a way of life. It is one of the only civilizations dedicated to
full spiritual awakening, a basic principle that permeated every
aspect of their society from the government to education, and was
the focus of all their arts. The Buddhist philosophies of this culture
are directly infused in the art they create, seeking to reproduce
and give inspiration to the enlightened state. The sacred art of
Tibet is a reminder of a celestial realm. The statues and paintings,
called thangkas (pronounced tan-ka) are not considered mere decorative
pieces but are believed to be divine gifts, animate extensions of
celestial emanations which transmit a living presence. The creation
of this art began in the making of icons; an attempt to portray
the brilliance of Buddha and his teachings and to offer meditational
keys for those in search of this exalted state.
Thangkas, translated as 'scroll cloth painting' or 'written history'
originated in India more than two thousand years ago when reverent
visions of saints and sages were painted into books, making the
teachings of Buddha available to the mass population. Following
the emergence of Buddhism in Tibet as an integral part of its society
and culture, this later developed into a fine art when complex methods
and materials were introduced in the 13th century. These techniques
included the delicate and time consuming process of preparing the
canvas and the natural mineral pigments, the systematic graphing
of sacred geometry for balancing the image correctly, identifying
specific iconography, the intricate line drawings to the actual
painting itself, which involved delicate shading, elaborate gold
work and minuscule detail. Upon completion they would then be taken
to the local monastery to be blessed by a high lama.
Like many forms of art from ancient cultures, the thangka is an
endangered art. Unfortunately, nowadays the traditional practices
have for the most part been abandoned and this art has become victim
to mass commercialization and factory-like production. The majority
of thangkas produced today are laser printed onto pre-made canvas;
the image then filled in with acrylic paints in an assembly line
manner. Authentic thangkas in keeping with the holistic ancient
methods take months, sometimes years to complete, a contributing
factor to its near extinction. Each process involved in its creation
is executed with the same integrous intent of the spiritual seeker,
the creating itself a part of the journey rather than the focus
on a finished product. Many delicate processes go into the creation
of a thangka.
They are painted using colours made with natural mineral and gem
paints which take hours to grind and combine with the customary
yak hide glue which works as a binder. Turquoise is ground for green,
azurite for blue, cinnabar for the red and ochre for yellow. Charcoal
produces black and chalk makes the white shades. Many are painted
in pure gold or silver resulting in a very dramatic and luminous
effect.
The Process
In thangka painting, the traditional artist must first adhere to
the methodical techniques and processes involved. This includes
six distinct steps. The first is preparing the canvas which involves
repeatedly waxing a cotton cloth many times and stretching it onto
a frame. Secondly the image or design is then drawn or sketched
on to the blank surface. Steps three, four and five correspond to
the three different stages of the actual painting itself; the laying
down of the initial coat of paint, the shading and finally outlining.
Sometimes the detail of the image is so fine that brushes with only
one hair is needed. The last step involves the important and intricate
finishing touches which bring the thangka to life such as painting
the faces and burnishing the gold.
Correct iconography is very important as each thangka is an instrument
for prayer and meditation, each corresponding to a particular mantra
or chant, giving the meditator more power in his or her practice.
The image is placed on to an ancient graphing system called iconometry
which balances the placement of the icon. In addition to preparing
the materials, the artist must also ready himself. Prior to painting
the portrayed deity, the artist must undergo a complete teaching
on the meaning and spiritual significance of the deity or symbol.
Without exception, each depiction of a deity will imbibe overflowing
wisdom and compassion, which is the basic quality that all deities
of Buddhism possess. Many times this also demands rigorous fasting
and meditation practice to ensure that the artist acts as an open
channel to manifest the divine through his painting. However, considered
as a service to spreading the light of Buddhism, the artists of
thangka painting are not driven by personal recognition by the work
that they do. For this reason the thangkas are never signed by the
artist.
The final process of the thangka is its consecration. The thankga
is inscribed on the reverse with the prayer 'Om Ah Hum' each behind
the forehead, the throat and the heart of the main figure. These
sacred syllables represent the absolute enlightenment of the body,
speech and mind. These are three very important 'doorways' as these
are the ways in which we communicate ourselves to others and to
nature. The prayer serves as a reminder to remain aware of how we
act through these doorways. In addition it illustrates the enlightenment
of the depicted deity; all that is spoken, all that is thought and
all which moves through them is that of absolute purity. This prayer
has been imbued by a lama who blesses the painting and invites the
depicted deity to inhabit the painting, thereby becoming a living
extension of the deity itself. Although some are framed in modern
western styles, traditionally they come adorned in a silk brocade,
containing essential colours of the universe. The first outline
is in red and symbolises the immense energy of fire. The second
outline in yellow represents earth; and finally the main cloth is
in either blue, the colour corresponding to space or green, the
colour of nature.
Treasure
Thangkas are hung in monasteries, family altars and carried by lamas
in ceremonial processions. In a land that is influenced by the mystical
and esoteric forces, thangkas are considered treasures of great
value. They are used as objects of meditation, devotion and are
prized as sources of miraculous power. Initially, thangkas were
presented as a visual way of transmitting the teachings of Buddha
directly to the people. Monks would travel in a nomadic lifestyle
from village to village between monasteries to spread the vast teachings
of Buddha. Important Buddhist events and stories as well as depictions
of deities were the main focus. Besides teaching these events, it
was important to portray the purity and beauty of enlightened existence
that is, from the Buddhist perspective, the true nature of reality
in all its beauty and splendour.
As well as being examples of masterful artistry and images of beauty,
the thangka is also a physical form of the spiritual. It is used
as an instrument for realizing oneself through meditation as they
reflect the divine qualities within each of us. They are used for
creating an atmosphere within a particular space or home; an atmosphere
of purity. Each work is believed to be a living presence or an actual
embodiment of what it represents; essentially, the immense contentment
of enlightened life. Paintings of this realm are a natural expression
of the state of complete happiness. They express the enlightened
mind that manifests as wisdom and compassion.
Mandalas
The mandala, sanskrit for 'circle', is one of the most important
of all spiritual symbols and is often painted on the Tibetan thangka.
It has been implemented for thousands of years and was meditated
upon by monks, lamas, yogis and sages as a pathway into different
realms of consciousness. The mandala is a two dimensional image
based on the three dimensional geomantic structure known as the
'chorten' or 'stupa'. These sacred buildings were used to house
holy Buddhist relics and later became the symbol of the Buddha
's final liberation. The chorten is also employed as the sacred
burial monument, the architectural structure designed for the release
of the spirit into the transitory phases before rebirth.
A mandala is a form of concentric circles that represents all aspects
of the universe. It is considered to be a cosmological map of our
inner and outer world. The Tibetan approach is that there is no
difference between the journey towards one's centre and the centre
of the universe; all is one. They illustrate beautifully the potential
of harmony and balance for humanity and are used specifically in
meditation to assist in the journey towards enlightenment or freedom.
Mandalas have a specific purpose: to transform our ordinary perception
of the world into a pure perception of the Buddha nature. In graphic
forms, each circle or cycle of the mandala represents the stages
of one's own journey to the centre of the being. A mandala, then,
is surrounded and circumscribed by various cycles,
metaphorically representing the spiritual journey of awakening as
well as describing the journey through the process of death and
rebirth, what Tibetans call the Bardos. The outer cycles illustrate
the purification processes needed to commence the journey, the first
being the Moutnain of Fire, at times rendered in flaming rainbow
colours. Fire means knowledge. Fire also means that whosoever shall
enter is purified, and at their passage through the purging fire,
their ego and all their illusions will burn away. Immediately after
the flaming barrier is the circle of Diamond. The diamond symbolises
supreme cognition, illumination, Absolute Essence, Cosmic Consciousness,
which, once it has been attained is never lost again. A circle of
opening lotus petals, signifying rebirth is then portrayed. Next
comes the centre or 'palace' of the mandala which takes the form
of a circle within a square. In the middle of each four sides a
gateway opens in the form of a 'T', thus joining gate to gate and
constituting the walls of the sacred city. Within this sacred city
is the Absolute- the centre, surrounded by the pure lotus petals
invoking the flowering of the ultimate truth or pure consciousness;
the deity depicted brings the particular flavour of this divine
essence.
Deities
Deities are the thousands of different gods and goddesses recognised
in Tibetan Buddhism. They are emanations of the divine, representing
the godly elements that exist and preside over the universe and
within each individual. They offer themselves as protectors and
guides by sharing their unwavering presence to all who are willing
to receive. They reflect the ultimate potential of human existence
by revealing all that is good within humanity. They are used for
worship, not to only look with blind devotion towards something
separate to one's self, but to eventually attain one's own liberation
through the realization that the qualities inherent in the depicted
deity is the very same quality that exists within the viewer. The
pantheon of deities in the religious world of Tibet inhabit all
realms: celestial, earthly and that of the underworld. They come
under the basic classifications of Buddhas, Boddhisattvas, Goddesses
and Wrathful Protectors.
The Buddha is he who has attained enlightenment, a state of ultimate
selflessness and freedom. The founder of the Buddhist teaching was
Buddha Shakyamuni known once as
Prince Siddhartha. At the age of 29, he relinquished his kingdom
and fortune in search of truth and six years later accomplished
his great task, fulfilling the greatest potential in human evolution.
In this light he declared that all beings could reach this same
state and pledged the remainder of his life to help others to reach
the same bliss he experienced. Shakyamuni shared his tremendous
wisdom and compassion for over 45 years until his death. There are
also certain celestial Buddhas that are called upon to work with
what are referred to as the 'poisons' of the human personality.
Rather than rejecting these 'poisons', which inevitibly creates
an inner battle, the Buddhist approach is to become aware of them
and then embrace them thus transforming darkness into light.
Boddhisattvas are the ones who have pledged themselves to exist
for the benefit of all beings. They have delayed their final dissolution
upon death so as their spirit can be reborn in order to help others
release the bondage of suffering. The most well known of all Bodhisattvas
is Avalokiteshwara, Tibet's arch angel. He is the Supreme Lord of
Compassion and reincarnates as the Dalai Lama to share his guidance
and wisdom.
The Taras are the great Goddesses of transcendental wisdom and
compassion. Their compassion and love for humanity is that of a
mother to her child and they offer immense sanctity as the feminine
spirit. The most depicted of the Taras are Green Tara, the powerful
protectress and White Tara, the advocate of serenity and peace.
The Wrathful Deities, fierce and frightening in their portrayal
are actually benevolent protectors. They take on their fierce appearances
to be worthy opponents to the dark forces which exist within the
human condition. They give us the courage to face our own greatest
fears and weaknesses. They also act to protect the fragile nature
of the spiritual
journey which is likened to the delicateness of a flower opening
its petals. This state is very vulnerable and can be easily damaged
by aggression and doubt. The Wrathful Deities embody and emanate
the strength and power required to deflect these sabotaging manifestations
of the unconscious mind.
Since the tragic invasion and takeover of Tibet by the Chinese
in 1959 which has sought to anhililate the invaluable spiritual
content of this ancient culture, it is important to preserve this
sacred art. The esoteric knowledge and wisdom is infused in this
art. The thangkas themselves serve as a reminder of a wholesome,
integrated and unified 'wellbeingness' that permeates and uplifts.
In this day and age when turmoil and suffering are rampant, remembering
that a place of purity exists can be a hope and inspiration. The
paintings, through their beauty, touch the heart of the soul and
helps to reflect the 'Buddha' that lies within us all.
Cameron and Laara Cooper are directors of the Windhorse Gallery
in Bangalow NSW, Australia. Genuine high quality thangkas and statues
can be viewed in their showroom at 17 Byron St. Bangalow/Australia
or on the web: www.windhorsegallery.com.
Tel: +61 (0)2-6687 1933. Email: contact@windhorsegallery.com
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