Thangka Painting
in Nepal began in 11th century A.D. Thangka have developed
in the northern Himalayan regions among the Lamas.Thangka
painting started when Buddhists and Hindus began to
make illustration of the deities. Historically, Tibetan
and Chinese influence in Nepalese paintings is quite
evident in Paubhas (Thankas). 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.Thangka /
Thanka. 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 Thangka
/ Thanka 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 thangka / thanka in Tibetan.
The origin of Paubha or thangka / thanka 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
thangka / thanka 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 thangka / thanka 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.
Thangka / Thanka painting is one of the major science
out the five major and five minor fields of knowledge.
It's origin can be traced all the way back to the
time of Lord Buddha. The main themes of thangka
/ thanka 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.
Thangka 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 thangka / thanka paintings
became a unique and distinctive art.
Thangka / Thanka 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.
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