Thangka tradition in Wutun Village
Thangka are visual expressions of the philosophy and psychology of Buddhism, painted on cotton or linen canvases that may be rolled up when not on display. They often depict of scriptures and scenes from the lives of saints and great masters. Predominantly Buddhist residents of Tongren County -- Regong in Tibetan -- in Huangnan Tibetan Autonomous Prefecture, have been creating the so-called Regong art forms of thangka, butter sculptures, murals and barbola since the 15th century. Wutun Villages in Tongren County is regarded as home of the thangka. It is, to all intents and purposes, an art institute for local residents wishing to study and perfect this iconic art form; 90 percent of male Wutun residents are Regong artists. Such is Wutun's thangka fame that the Potala Palace, Jokhang Temple and Tar'er Lamasery all order their thangka from Wutun.
In addition to the artistic and spiritual fulfillment that painting thangka brings, it is also an excellent alternative source of income for Wutun residents. Just one can fetch as much as RMB 10,000 (US$1,233), which compares very favorably indeed to earnings from 3.5 mu [0.57 acres] of farmland. The late national craftworks art master Shawo Tsering (1922-2004), who accompanied his master Zhang Daqian to Dunhuang's Mogao Grottoes to study their Buddhist frescoes, was a Wutun native. He is regarded as China's foremost thangka artist.
Thangka Techniques
A thangka can take anything from a few months to several years to finish. Creating, for example, numerous minute images of bodhisattva on a one-square meter thangka canvas requires perfect understanding of iconometric principles, not to mention painstaking brushwork. It is a discipline that takes at least a decade to master. Thangka painting is executed in four main stages. The canvas surface is first coated on both sides with a thin layer of plaster of Paris. This ensures smooth application of colors and inhibits peeling. The subject matter is then sketched on the canvas in charcoal. The third step is application of color from pigments of turquoise or carol according to the color gradations. Finally, the main features of the thangka, such as images of Buddha and bodhisattva, demarcated subdivisions of a certain form, or swirling masses of flames, are outlined in gold foil for greater effect.
Lama Artists
Wutun Village holds a sacrificial ceremony during the 6th lunar month every year in which all Thangkas dedicated to Gods are by the artists in the village.
Many Wutun boys aged seven or eight go to a monastery for at least one year and sometimes eleven, to study and receive training in Regong art. The temple, with its stupas, murals and atmosphere of worship is perfect for cultivation of thangka creating skills and talent.
Pad Wangchen, now 30, learned thangka art from his grandfather as a child, and went on to be apprenticed to Wutun's most famous son, Shawo Tsering. It was from illustrious master that Padma that learned pigments used to mix colors must be ground for a whole day in order to be smooth enough to apply in three layers and ensure a flawless finish. Upon completion of the sculpture of the fat laughing Buddha in the main hall of Wutun's Upper Temple in 2001, 30 lama artists were commissioned to create the wealth of thangka and sculptures that now grace the temple. Padma Wangchen was one.
Gendun Khedrup also began studying thankga art as a child. At the age of 19 he began receiving commissions to paint thangkas for prominent temples in Tibet, Qinghai, Gansu and Yunnan. In common with other thangka artists, he keeps his best works. As far as he is concerned, there is still much to learn about his chosen art.
In addition to the artistic and spiritual fulfillment that painting thangka brings, it is also an excellent alternative source of income for Wutun residents. Just one can fetch as much as RMB 10,000 (US$1,233), which compares very favorably indeed to earnings from 3.5 mu [0.57 acres] of farmland. The late national craftworks art master Shawo Tsering (1922-2004), who accompanied his master Zhang Daqian to Dunhuang's Mogao Grottoes to study their Buddhist frescoes, was a Wutun native. He is regarded as China's foremost thangka artist.
Thangka Techniques
A thangka can take anything from a few months to several years to finish. Creating, for example, numerous minute images of bodhisattva on a one-square meter thangka canvas requires perfect understanding of iconometric principles, not to mention painstaking brushwork. It is a discipline that takes at least a decade to master. Thangka painting is executed in four main stages. The canvas surface is first coated on both sides with a thin layer of plaster of Paris. This ensures smooth application of colors and inhibits peeling. The subject matter is then sketched on the canvas in charcoal. The third step is application of color from pigments of turquoise or carol according to the color gradations. Finally, the main features of the thangka, such as images of Buddha and bodhisattva, demarcated subdivisions of a certain form, or swirling masses of flames, are outlined in gold foil for greater effect.
Lama Artists
Wutun Village holds a sacrificial ceremony during the 6th lunar month every year in which all Thangkas dedicated to Gods are by the artists in the village.
Many Wutun boys aged seven or eight go to a monastery for at least one year and sometimes eleven, to study and receive training in Regong art. The temple, with its stupas, murals and atmosphere of worship is perfect for cultivation of thangka creating skills and talent.
Pad Wangchen, now 30, learned thangka art from his grandfather as a child, and went on to be apprenticed to Wutun's most famous son, Shawo Tsering. It was from illustrious master that Padma that learned pigments used to mix colors must be ground for a whole day in order to be smooth enough to apply in three layers and ensure a flawless finish. Upon completion of the sculpture of the fat laughing Buddha in the main hall of Wutun's Upper Temple in 2001, 30 lama artists were commissioned to create the wealth of thangka and sculptures that now grace the temple. Padma Wangchen was one.
Gendun Khedrup also began studying thankga art as a child. At the age of 19 he began receiving commissions to paint thangkas for prominent temples in Tibet, Qinghai, Gansu and Yunnan. In common with other thangka artists, he keeps his best works. As far as he is concerned, there is still much to learn about his chosen art.
Four-armed Avalokitesvara by Padma Wangchen.
Padma Wangchen working on Guardian God.
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