Thangka is a
Nepalese art form exported to Tibet after Princess
Bhrikuti of Nepal, daughter of King Lichchavi, married
Sron Tsan Gampo, the ruler of Tibet
[2][3] imported the images of Aryawalokirteshwar and other Nepalese deities to Tibet.
[4]
History of thangka Paintings in Nepal began in 11th century A.D. when
Buddhists and Hindus began to make illustration of the deities and
natural scenes. Historically, Tibetan and Chinese influence in Nepalese
paintings is quite evident in Paubhas (Thangkas). Paubhas are of two
types, the Palas which are illustrative paintings of the deities and the
Mandala, which are mystic diagrams paintings of complex test prescribed
patterns of circles an square each having specific significance. It was
through Nepal that Mahayana Buddhism was introduced into Tibet during
reign of Angshuvarma in the seventh century A.D. There was therefore a
great demand for religious icons and Buddhist manuscripts for newly
built monasteries throughout Tibet. A number of Buddhist manuscripts,
including Prajnaparamita, were copied in Kathmandu Valley for these
monasteries. Astasahas rika Prajnaparamita for example, was copied in
Patan in the year 999 A.D., during the reign of Narendra Dev and Udaya
Deva, for the Sa-Shakya monastery in Tibet. For the Nor monastery in
Tibet, two copies were made in Nepal-one of Astasahasrika Prajnaparamita
in 1069 A.D. and the other of Kavyadarsha in 1111 A.D. The influence of
Nepalese art extended till Tibet and even beyond in China in regular
order during the thirteenth century. Nepalese artisans were dispatched
to the courts of Chinese emperors at their request to perform their
workmanship and impart expert knowledge. The exemplary contribution made
by the artisans of Nepal, specially by the Nepalese innovator and
architect Balbahu, known by his popular name "Arniko" bear testimony to
this fact even today. After the introduction of paper, palm leaf became
less popular, however, it continued to be used until the eighteenth
century. Paper manuscripts imitated the oblong shape but were wider than
the palm leaves.
From the fifteenth century onwards, brighter colours gradually began
to appear in Nepalese.Thanka / Thangka. Because of the growing
importance of the Tantric cult, various aspects of Shiva and Shakti were
painted in conventional poses. Mahakala, Manjushri, Lokeshwara and
other deities were equally popular and so were also frequently
represented in Thanka / Thangka paintings of later dates. As Tantrism
embodies the ideas of esoteric power, magic forces, and a great variety
of symbols, strong emphasis is laid on the female element and sexuality
in the paintings of that period.
Religious paintings worshipped as icons are known as Paubha in Newari
and Thanka / Thangka in Tibetan. The origin of Paubha or Thanka /
Thangka paintings may be attributed to the Nepalese artists responsible
for creating a number of special metal works and wall- paintings as well
as illuminated manuscripts in Tibet. Realizing the great demand for
religious icons in Tibet, these artists, along with monks and traders,
took with them from Nepal not only metal sculptures but also a number of
Buddhist manuscripts. To better fulfil the ever - increasing demand
Nepalese artists initiated a new type of religious painting on cloth
that could be easily rolled up and carried along with them. This type of
painting became very popular both in Nepal and Tibet and so a new
school of Thanka / Thangka painting evolved as early as the ninth or
tenth century and has remained popular to this day. One of the earliest
specimens of Nepalese Thanka / Thangka painting dates from the
thirteenth /fourteenth century and shows Amitabha surrounded by
Bodhisattva. Another Nepalese Thanka / Thangka with three dates in the
inscription (the last one corresponding to 1369 A.D.), is one of the
earliest known Thanka / Thangka with inscriptions. The "Mandalaof Vishnu
" dated 1420 A.D., is another fine example of the painting of this
period. Early Nepalese Thangkas are simple in design and composition.
The main deity, a large figure, occupies the central position while
surrounded by smaller figures of lesser divinities.
Thanka / Thangka painting is one of the major science out the five
major and five minor fields of knowledge. Its origin can be traced all
the way back to the time of Lord Buddha. The main themes of Thanka /
Thangka paintings are religious. During the reign of Dharma King
Trisong, Duetsen the Tibetan masters refined there already well
developed arts through research and studies of different country's
tradition. Thanka painting's lining and measurement, costumes,
implementations and ornaments are all based on Indian style. The drawing
of figures are based on Nepalese style and the background sceneries are
based on Chinese style. Thus, the Thanka / Thangka paintings became a
unique and distinctive art.
Thanka / Thangka have developed in the northern Himalayan regions
among the Lamas. Besides Lamas, Gurung and Tamang communities are also
producing Tankas, which provide substantial employment opportunities for
many people in the hills. Newari Thankas (Also known as Paubha) has
been the hidden art work in Kathmandu valley from 13th century. We have
preserved this art and are exclusively creating this with some
particular painter family who have inherited their art from their
forefathers.Some of the artistic religious and historical paintings are
also done by the Newars of Kathmandu Valley.
