Tibetan Thanka Paintings :: Buddhism Religion Art Creative Papers

Tibetan Thanka Paintings Tibet, with its isolated, harsh geographical location and history of political and social distance would seem an unlikely place to provide a cradle for creative prowess (Bailey 22). Yet it is in this desolate section of the world that peerless of the most intriguing artistic polishs has been cultivating over hundreds of centuries. One facet of what makes Tibetan art so unique and interesting is its interdependency on its sacred beliefs.In Tibet one might use the words religion and culture almost as synonyms, especi ally for the artsliterature, drama, painting, and sculpture. Not only were they stir by religion, but religion was their very raison dtre (Pal 18).Tibetan thanka1 paintings be a wonderful example of the interconnectedness of religion and art. These images are non meant to be the object of simple idolatry (Jackson 11), but rather distribute on a more interactive role, which can be employ to nearly every facet of traditional Tibetan life. Tibetan 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 somatogenic creative process itself, in the iconography used, and in all the paintings multiple functions. Tibetan thanka paintings, throughout their entire lifespanfrom concept to divine imagehelp devotional religious activity for Tibetan Buddhism2.Thanka Artists Types of Artists Tibetan thanka artists, of which there were two types, monks and professionals, work within the confines of religious tradition. adroit professionals made up the majority of thanka artists, all of whom studied for years under(a) strict instruction. Lamas were also involved 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 either had their own studios or were accustomed to individual monasteries for the duration of specific jobs. Being an artist was not mechanically hereditary and any talented adolescent boy could join a studio as an apprentice. The training period each child underwent was normally extensive and demandingThe apprentice was expected to study drawing for about xvi months, simple coloring for ten months, and mixed coloring for at least a year. Only then was he allowed to paint under his teachers strict vigilance. This he did for many years before he was qualified to set up his own workshop (Pal 25).