Tibetan Thanka Paintings :: Buddhism Religion Art Creative Papers

Tibetan Thanka Paintings Tibet, with its isolated, harsh geographical location and history of political and social remoteness would seem an marvellous place to provide a cradle for creative art (Bailey 22). Yet it is in this desolate section of the world that one of the most intriguing chaste cultures has been cultivating over hundreds of centuries. One facet of what makes Tibetan art so unique and interesting is its interdependency on its religious beliefs.In Tibet one might map the words religion and culture almost as synonyms, especi tout ensembley for the artsliterature, drama, painting, and sculpture. Not only were they inspired by religion, but religion was their very raison dtre (Pal 18).Tibetan thanka1 paintings are a wonderful example of the interconnectedness of religion and art. These images are not meant to be the object of simple idolatry (Jackson 11), but sooner take on a more interactive role, which can be applied to nearly every facet of traditional Tibetan life. T ibetan Buddhism pervades all aspects of the creation and use of thanka paintingsin the training and requirements of the artists who create the paintings, in the physical creative process itself, in the iconography used, and in all the paintings quadruplex functions. Tibetan thanka paintings, throughout their entire lifespanfrom concept to consecrated imagehelp devotional religious activity for Tibetan Buddhism2.Thanka Artists Types of Artists Tibetan thanka artists, of which there were 2 types, monks and professionals, work within the confines of religious tradition. Trained professionals made up the majority of thanka artists, all of whom studied for years under strict instruction. Lamas were also obscure in the creation of many paintings, mainly in a supervisory capacity (Pal 25). The chief centers of Tibetan art were the monasteries that often supplied artists with work (Pal 24). Usually, professional artists both had their own studios or were attached to individu al monasteries for the duration of specific jobs. Being an artist was not automatically hereditary and any talented adolescent boy could join a studio as an apprentice. The training period each child underwent was usually extensive and demandingThe apprentice was expected to study drawing for astir(predicate) sixteen months, simple coloring for ten months, and mixed coloring for at least a year. Only then was he allowed to paint under his instructors strict vigilance. This he did for many years before he was qualified to set up his own workshop (Pal 25).