Tibetan Painting Technique. Ca. 12thc Vajrayogini Ca. 17thc.

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Presentation transcript:

Tibetan Painting Technique

Ca. 12thc

Vajrayogini Ca. 17thc

1,000 armed Avalokitesvara 20th century

Red Tara

1.Preparing the Canvas A painter begins by stretching his canvas, a cotton cloth, over a wooden frame. Then, he works the surface of his canvas which he seals with a coat of size.

2. Constructing the grid The painter plans the initial layout of the proposed painting, deciding upon the composition, layout and size of the deities to be painted. At this point the individual grids are calculated and drawn.

2. Constructing the grid The painter plans the initial layout of the proposed painting, deciding upon the composition, layout and size of the deities to be painted. At this point the individual grids are calculated and drawn.

3.Initial drawing of the deity/landscape elements The prerequisite for a thangka is a perfect line drawing. The chosen Buddhas are first drawn according to the iconographic prescription and measurements (iconometrics) within their grids. Landscape details are then added and landscape details are added.

Female Buddha Vajra-Varahi

Tara

4. Inking the Sketch The initial sketch is outlined in ink allowing the removal of the calculated grids.

The pigments are prepared by the artists, who grind and heat natural minerals or organic dyes and mix the resultant powder with a binder. Pigments include indigo, lapis, turquoise, gold, silver, lac dye, red sandal wood, saffron, and mountain plants. 5. Preparing the Pigments

PAINTING First Landscape then main figure

SHADING:

Application of gold The ornaments of the deities depicted and other objects in the thangka are painted with Tibetan gold according to commission.

- 'Opening the eyes' of the Buddha - Consecration The three Sanskrit letters are put at the back for consecreation. OM, AH and HUM mark the Crown, Throat and Heart Chakras respectively.

FRAMING: Support of Thankgas