Tibetan Thanka Paintings :: Buddhism Religion Art Creative Papers

Tibetan Thanka Paintings Tibet, with its isolated, harsh geographical location and history of governmental and social remoteness would seem an unlikely place to provide a cradle for creative art (Bailey 22). Yet it is in this desolate air division of the world that one of the most intriguing artistic cultures has been cultivating over hundreds of centuries. nonpareil facet of what makes Tibetan art so unique and interesting is its mutuality on its religious beliefs.In Tibet one might use the dustup morality and culture almost as synonyms, especi all toldy for the artsliterature, drama, createing, and sculpture. not only were they inspired by religion, save religion was their very raison dtre (Pal 18).Tibetan thanka1 paintings are a wonderful example of the interconnectedness of religion and art. These images are not meant to be the object of simple idolatry (Jackson 11), but rather take on a more interactive role, which weed be applied to nearly every facet of traditional Ti betan life. Tibetan Buddhism pervades all aspects of the populace and use of thanka paintingsin the training and requirements of the artists who lay d aver the paintings, in the physical creative process itself, in the iconography used, and in all the paintings multiple functions. Tibetan thanka paintings, throughout their entire spiritfrom concept to consecrated imagehelp devotional religious application for Tibetan Buddhism2.Thanka Artists Types of Artists Tibetan thanka artists, of which there were two types, monks and professionals, work within the control of religious tradition. Trained professionals made up the majority of thanka artists, all of whom analyze for geezerhood under strict instruction. Lamas were also involved in the creation of many paintings, mainly in a supervisory capacity (Pal 25). The main(prenominal) centers of Tibetan art were the monasteries that often supplied artists with work (Pal 24). Usually, professional artists either had their o wn studios or were attached to individual monasteries for the duration of specific jobs. Being an artist was not automatically hereditary and any talented adolescent son could join a studio as an apprentice. The training period each(prenominal) child underwent was usually extensive and demandingThe apprentice was expected to study picture for about sixteen months, simple colorize for ten months, and mixed coloring for at least a year. Only then was he allowed to paint under his teachers strict vigilance. This he did for many years before he was qualified to set up his own store (Pal 25).