Page 13 - Tibetan Thangka Painting Methodsand Mat, Jackson

People of Tarap (Dolpo) viewing thangkas during a religious gathering.

Paintings in the Religious Life of Tibet thangkas was also very much tied up with sad and
unavoidable events in the lives of ordinary people.
Among all these arts and crafts painting occupied a very A Tibetan artist once explained to us why most of
special position. Not only was it essential for designing, his patrons requested the painting of a thangka. The
decorating and finishing many mundane objects, but it main reasons he mentioned were (1) sickness or troubles,
was also a highly developed and important means of (2) death in the family and (3) the need for an image in
religious expression. To understand the place of paint- connection with a particular religious practice. Like any
ings in Tibetan culture it is thus necessary to look into other virtuous deed the commissioning of religious art
the religious beliefs and practices that led to their was believed to earn merit (bsod nams), the only thing
creation. that in the Buddhist view could give rise to future
Painting (along with sculpture) was crucial to the benefits and happiness. This wholesome force could be
religious life of Tibet because it was a medium through directed to improve a troublesome situation or produce
which the highest ideals of Buddhism were evoked and a desired good. Thus ordinary Tibetans were often
brought alive. A sacred painting was for the Tibetan a advised by their religious preceptors to commission a
"physical support" - in other words an embodiment - painting for the "removal" of physical or mental
of enlightenment. Naturally, the faithful of Tibet "obstacles" (bar chad sel ba), or to create the pre-
delighted in creating such images, but sacred paintings requisites for "a long and healthy life" (zhabs brtan).
were not always inspired by a joyful or pious urge to Usually there was an important. connection between
produce an object for worship. The commissioning of the deity designated for portrayal and the desired

PAINTINGS IN RELIGIOUS LIFE 9