Tibetan wooden painting requires selection of fine quality of wood, which is shaped into desired form. Due to high durability, teak or pine wood is used for expensive items which are exported whereas marinda, kel and plywood is used to make the items which would be used locally.
Colors are extracted from vegetables and minerals which are blended with glue and water. Gold has played a very important in Thangka culture, many of the article are expensive due to the usage of real and pure gold. Gold paste is made by crushing the gold plate or fine gold dust mixing with water. The traditional method of making the paste is kept as a trade secret. The difference between original gold and gold paint can be only identified by the fascinating shine.
The wooden items are made into desired shape and sanded for even surface. Wooden article are coated with natural colors as the base color (primary coating) and sanded. Colors like white, black, red, orange and blue are commonly used to paint the wooden surface. This method is repeated for 3 times and the painted item is kept under diffused sun light for 2 days. About 7-8 Kgs of natural colors are required in a month. Motifs and art work is drawn on a white sheet, the back side of the sheet (not drawn area) is sprayed with natural white color, which does not stick to the paper but forms a thin layer on the surface of paper. The paper is then temporally fixed on to the wooden article and traced using a pen, the color powder leaves an outline print on the wooden surface.
Mixture made up of distemper (white or cream color) and glue is prepared, which is filled in the plastic syringe with needle, with the application of enough pressure, the mixture comes out uniformly through the needle, which is guided on to the outline of traced article. The outline of traced design is fully covered with distemper and glue mixture and kept in room temperature for 2 days to set. Dried article is coated with varnish for a matte finish. The area inside the outline is filled with oil based color, bright colors are chosen to highlight the features. Artisan uses brushes of 3 different size, known as chebir (in local language) -pointed brush size of zero, chubir (in local language) -pointed brush size of number 4 and tangbir (in local language) -flat tip brush of size of number 10. Chubir is used to fill the color and with help of tangbir gradient (color merging effect) is created. Once the colors are dried, using chebir, the outline is coated with pure gold paint. Once the paint is dried, it is coated with varnish for glossy finish and for some special painting mustard oil is used for polish.
According to the artisan these are some of the well-known Design themes in Thangka painting:
Tiger:
The hills of eastern Tibet were covered in thick forest, in which myriad wild animals roamed free. Prowling deep in the forest, far from human eye the Tiger retained a sense of mystery. Its great vigour and freedom from fear make it a natural symbol of strength and power, prerequisites for success in the spiritual as well as worldly life.
Garuda:
The Garuda is a mythological figure found throughout South and Southeast Asia. In Tibet, he is known as the King of Skies and seen soaring through the clouds. The enmity of Garudas and Nagas, the serpentine people is legendary and marked by the Garudas holding a snake in their beaks. Tibetan people stayed clear of these squabbles, maintaining neutrality by trying to keep both parties happy. Garudas and Nagas were both appointed to support and protect thrones.
Snow Lion:
The Snow Lion is a mythical creature who inhabits Tibet’s snowy peaks, dwelling only in the purest of environments, undefiled and fearless. White as the autumn moon, his mane is the color of Tibet’s pristine lakes and his roar expresses the sound of emptiness, the essence of the Buddhist doctrine. He bestrides the glaciers and snowfields, invariably followed by squeaking cubs rolling and tumbling in the snow. Sometimes he descends to our human realm, where he raises thrones and embellishes wall paintings.
Dragon:
Large scaled serpentine like figures with clawed feet, the dragon represents the primordial force of nature, holder of wisdom and longevity. Dragons are associated with water and are bringers of rain, announcing its coming through its thunderous roar. Often represented on brocade and banners they are also found painted on temple walls, carved into beams and woven into carpets.
Flycatcher:
The Paradise Flycatcher is a common sight in the Norbulingka gardens. The male, with undulating white tail feather crisscrosses the air space between the trees while the female, more compact and coral red, stands nearby tending to the nest.
