Silk Applique Thangka - Himachal Pradesh
Thangka is not just an artistic representation of form and design, but it is also entangled with religion and spiritual massage. The purpose of Thangka which is crafted, is treated differently in different parts of the world. Like many of other cultural heritage, Thangka has been passed down through generation, it is also used as an illustration for poetry, recite history and spiritual teaching. Thangka is one such art which is considered as sacred. Thangka artists are not just creator of art, there mission is to give deep spiritual meaning through Thangka art.
The use of textile for painting can be seen throughout the history, Thangka is one such example of religious scroll art. The literal meaning of word Thangka is “something rolled up”, this form of art is mostly painted or embroidered on fabric and generally cotton or silk is used to represent the Thangka art. According to sources, it is believed that Tibetan art and thangkas are closely associate with each other, many believe that the painting form of thangka is an inspiration from Gupta period of 330-520 A.D. Earliest examples of thangka can be traced back to 9th or 10th centuries in Tibet. The style and technique resembles the Indian cloth painting patas. Influence of Nepal, Kashmir and Central Asia, can be seen in thangka art. This art generally portrays Lord Buddha encircled by deities. In many Thangka, Lord Buddha’s life is being portrayed along the branches of cosmic tree known as the wheel of life, horoscope, etc. Thangka is meant to be more than a two-dimensional image, the full view of Thangka can be achieved once they are mounted and three-dimensional image can be seen. Usage of raised cover, ribbons and bottom rod (added in the bottom of the scroll for weight) helps in achieving the three-dimensional effect.
The applique Thangka was initiated by the great king Sontsen Gampo in 7th century from Tibet, Applique Thangka is an art form where colored cloth generally silk, which is imported from china or brought from Varanasi (India) is cut in required shape. Pieces are sewn to each other or to a background silk fabric. One of the main reason of introducing applique technique was to make it more durable then Thangka painting. Applique Thangka lasts longer compare to Thangka painting as the effect of moisture, dust and heat does not affect much to applique thangka while travelling. Due to the usage of pure silk fiber, applique thangka found expensive and were only afforded by wealthy individual, monastery and Chinese imperial government.
3rd century BC is the time when Buddhism influence was seen in Himachal Pradesh during Ashoka period. The great king Ashoka who believed in Buddhism, created many stupas (a hemispherical structure containing ashes of Buddhist monks, used as a place for meditation.) one such stupa is made at Kullu valley located near banks of the Beas River at Himachal Pradesh.
During the kingdom of King Songtsem Gampo at Tibet in 7th century, one of his seven students Thonmi Sambhota was chosen to send to India to find out the information about Indian Buddhist. During his visit he spread and collected the information about Buddhism and hence migration of artist from Tibet took existence.
Generally, thangka’s are made on canvas but following are few well known made from other material (Reference www.jcms-journal.com):-
- The dpar ma, Thangka is created on canvas using block printing. Outline for the Wheel of Life is printed before painting. This method shortens the painting duration.
- The metal thangka, these were used while travelling and due to its durability and foldable nature, they were used in procession.
- The paper mache thangka. A unique form of Thangka made up of paper Mache. Paper pulp is pressed, dried and colored. This technique gives a three dimensional look to Thangka
- The tshen drub ma, embroidered thangka. Which are made in eastern part of Tibet and mainly used in china.
- The woven thangka. One of the very rare kind of Thangka which is woven. This kind of thangka was made so that Tibetans could have a thangka for the family altar.
- The dras-drab-ma, gos-sku, appliqué thangka, mainly made of silk fabric.
Essential parts of a thangka / Designs of Thangka depicting certain character or thing and the particular color or fabric used to define it according to. (Huntington 1970; Unesco 1975)
|
Part |
Name |
Fabric/Colours |
Symbolism |
Other functions/features |
|
1 |
Ja |
Silk, various |
Spectrum of the rainbow |
|
|
2 |
The right strip is gyas-pa and the left gyan-pa |
Dyed black or blue cloth |
|
|
|
4 |
Gnam |
|
Heaven |
|
|
5 |
Sa |
Cloth, gold brocade or embroidered silk |
Earth |
Magic formulae are written on thin tissue paper and kept below the sa |
|
6 |
rtsa-ba |
Cloth |
The root |
|
|
7 |
thang-rgyugs or |
|
Wood of the thangka |
Inserted tightly into the seams in the sa and rtsaba. Suspends the thangka and keeps it stretched laterally. The lower rod acts as a weight to keep the thangka hanging straight; over it, the thangka is rolled up for storage. The lower rod is always round and often has ornamental knobs on either sides, made generally of brass, but sometimes of gold, silver or ivory |
|
8 |
thang-khebs or jalkhebs |
|
Picture cover or cover of respect |
Shields the painting from the eyes of disrespectful viewers as well as smoke, oil and dirt. The cover hangs over the thangka and the ribbons hang over the cover. The ends of the ribbons are weighted with small quantities of sand to keep the veil straight and immobile. The rolled up cover is held in position by the ribbons, which are wound round it. The ribbons also serve to tie the scroll when it is stored. |
