By Tashi Dorji
There are numerous theories on the origin of the art of Thangka painting. One theory states that the art of Thangka painting originated from Indian Buddhist cloth paintings called Pata of which no sample exists. The art travelled to Tibet through Pakistan.
As Tibetan Buddhism spread, Thangkas came to be painted in China, Nepal and Bhutan.
In Bhutan, the art of Thangka painting is supposed to have come from Tibet. But unavailability of accurate historical documents make it difficult to trace the date of origin of the art in Bhutan.
Some samples displayed during the annual Thangka exhibition in Paro last month dated back to the 16th and 17th centuries. Khenpo Phuntsho Tashi, an eminent Buddhist scholar and the acting director of the national museum at Paro, believes that these samples could even date back to 1100 AD.
What makes it more difficult to trace the painted date of the Thangka is that usually they don’t carry the names of the artists, date or provenance. Thus many Thangkas in Bhutan don’t have an exact date or profile of origin.
Although the original meaning of Thangka in Tibetan language was some kind of seal, Thangkas today are painted or embroidered scroll pictures depicting great Buddhist teachers or spiritual symbols in Buddhism.
A Thangka consists of a picture panel, a textile mounting; and one or more of the following: a silk cover, leather corners, wooden dowels at the top and bottom and metal or wooden decorative knobs on the bottom dowel. They have distinctive ethnic features and a strong religious flavour.
These paintings are used for visual support in meditation by those who have received initiation and instruction from eminent Buddhist masters. The images in the Thangka represent state of consciousness like compassion and wisdom which when visualised, facilitate inner transformation of the practitioner.
“Thangkas are an integral part of Mahayana Buddhism, but are not so popular with the Theravada sect which is based on the essence of self liberation as in Sri Lanka and Thailand,” said Khenpo Phuntsho Tashi.
Bhutanese Thangkas are very popular in Tibet, particularly in the Kham region. There is a belief among the Tibetans that in every hundred years, a jangchubsempa is born in Bhutan. A Thangka painted by a jangchubsempa needs no consecration and is a treasure for any Buddhist. Thus Bhutanese Thangkas are regarded highly, Khenpo Phuntsho said.
The actual proliferation of the art of Thangka painting in Bhutan took place during the time of the Shabdrung when he invited prominent Tibetan artists to Bhutan according to the Bhutanese Buddhist scholars.
There are also many artistic styles used in painting Thangka. Khenpo Phuntsho Tashi pointed out three prominent pre-17th century styles popular in Bhutan. The Karma-gardri style had a Chinese touch, the Tshangdri style that originated from the Tshang region in Tibet and the Khamdri style from the Kham region.
The three styles differ in the way they portray the background, ornaments and the attire of the painted figures.
In 1640, the Shabdrung invited one of his disciples who was the best artist in his time. Tshang Khenchen Jamyang Pelden Jamptso familiarised the natives Tshangdri and his art was further propagated by his Bhutanese disciples, the most famous of which were the ‘six Jamptshos’. Tsangdri is still very popular in Bhutan.
Another widely practiced style of Thangka painting in Bhutan, the Mendre style, was brought to Bhutan by a Tibetan artist Menlha Dondup, according to Dasho Karma Galey, a Bhutanese Buddhist scholar.
The Shabdrung also invited Tulku Phuntshok from Ralung, a Mendre style artist and Tulku Gonpo, an accomplished artist and sculptor for promoting the art in Bhutan. Eventually, art instructor Tulku Mepham Chophel became accomplished in both the Mendre and Chendre (the art style of Gangkar Chentse) styles of art.
Since then there has been a chain of accomplished traditional artists. Among others, the works of Tertoen Pema Lingpa and Gyalse Tenzin Rabgay still exists today.
tashi_dorji@kuensel.com.bt
