By David Jackson, Janice Jackson
»Tibetan Thangka portray is the single designated description of the strategies and ideas of the sacred paintings of Tibetan scroll portray. it's the distillation of study conducted over a interval of ten years, gathered in the course of 5 trips to Nepal and India, and compiled from a few twenty conventional painters.»
This booklet provides, step by step, the recommendations used to make a thangka, from the instruction of the canvas to the ultimate program of the sacred syllables in the back of every one accomplished determine.
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Extra info for Tibetan Thangka Painting. Methods & Materials
4 /1'\ u, \ =+ '\. / '\ / 4 ~ -. ---- ~ ------- Class l: Seated Buddha. Class 2: Seated Bodhisattva. -+ 4 -L .. 12 12 1-8 -12t4-1-12 -1- 12 -1-4-12]-8-1 8 -1-4 :::t I 1 1- 8-121- 4-1-12" -1-12"-1- 4 -121- 8-1 :t 1 1-8-1 2l-4-1-12 -1- 12 -1-412]-8-1 Class 3: Seated goddess. 55 1 j 1 'J 6 2 1 6 2 '-:s Proportions of the face of a Buddha (Wangdrak). Note that in this artist's tradition the faces are slightly larger. 56 Class 1: Buddhas. The Buddha Sakyamuni (Wangdrak). Note that the outer vertical lines of the body grid are drawn differently from the description in the text, though the proportions remain the same.
In the composition, excluding the main figure. If no gurus were depicted, for instance, the next appropriate class could occupy the highest stratum. If no class but protectors was depicted, even they could be painted in the highest positions. Although a few established compositional types did not follow the above principle, such stratification was typical of complex thangkas of "desired deities" ('dod lha) that the painter had to design for a patron. At the very least the painter almost invariably placed gurus above, and protectors below, other types of figures.
It is 3 sor shorter than when drawn according to the proportions of Class 4 (compare the neck, knees and feet). (Wangdrak).