Technique of Tibetan Thangkas

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NOTESON THETECHNIQUEOF TIBETANTHANGKAS

ANN SHAFTEL*

ABSTRACT--The urposeof this discussion s topresent hegeneralcharacteristicsf Tibetan hangkapaintingsand the formsof damageto whichtheyaresusceptible.

INTRODUCTIONND DESCRIPTIVEISTORY

THANGKASRESENTonservatorswith unique problems because of their traditionalmethods of constructionand usage.

A thangka s a Tibetanreligiousobject n the form of a scroll,which is generallyused as a teachingdevice or as an aid to variousreligious practices.ThangkasdepictBuddhist deities and/or mandalas. A thangkais a complex constructionincluding a

painting, a textile mounting (sometimes with leather corners), pendant ribbons, atextilecover, a cord to hold up the cover, a cord or ribbons from which to hang the

thangkafrom top and bottom dowels, and decorativeknobs on the bottom dowels.An iconographically complete and useable thangka consists of a painting and a

mounting:a paintingwithout a mountingis incomplete.The word thangkais thought by some to have derived fromthe Tibetanthang

yig' meaning "annal"or "writtenrecord."2Thangkasoriginated n India and evolved,in Tibet,fromthe nomadiclifestyleof earlyBuddhistmonastics.These monks traveled

extensively to outlying areas to spread the teachings of Buddha. Everything theyneeded and used traveled on the backs of yaks, including tents, furniture, andpaintings. Consequently, thangkas were damaged, then as now, by rolling and

unrolling.Later,when monasteries were built, thangkashung over shrines and wereoften damaged by direct contact with the walls behind them. The burning of butter

lamps and incense, traditional n TibetanBuddhistworship, deposited thicklayersof

darkeningsoot and greaseon the thangkas.Thangkas also present conservators with a unique challenge in choice of

treatment. These objects must be treated from the start as composite materials.Sometimes,a thangkamustbe dismantledand each mediumtreatedseparatelybefore

being reassembled. In order to preserve the original religious and aesthetic values,many treatments standardto Westernpainting conservationcannot be utilized; norshould

thangkasbe

givenconservationtreatment

appropriateor Chinese and

Japa-nese scrollpaintingson silkand paper.Finally,caremust be takenso thatinappropri-ate exhibitionand storage techniquesdo not stimulatedeterioration.

For a conservator to be able to offer complete and appropriateconservationtreatmentto a thangka,it is crucial o have some background n the techniquesof theirmanufacture. The author has been documenting thangka painting techniques forsixteenyears:first,by workingwith Tibetanmasterthangka painters n exile in Nepal,India and the United States;and second, throughthe examinationand conservationtreatmentof numerousthangkas.Thisdocumentationhas been valuablenot only as asource of information to the conservator but also as a way of preserving informationthat might otherwise die with the master painters in exile.

*P.O.Box18, Maitland,Nova ScotiaBON1TO





Notes ntheTechniquefTibetanhangkas 99

2. MeasurementndLayout fCanvas

The first step is the thig tse, the measurement and layout of the figures and

composition. A thigkii, or thread, is covered with colored chalk and strung onto thestrainer at measured intervals. With the end held tightly, it is snapped against the

canvas to make lines that establish the proportionsof the painting:the figures, theirlocation on the field, the border of the painted area, and the sections of the back-

ground.

3. Charcoalketch

Next, the kyari, a rough charcoalsketch, is drawn on the ground. Guidedbythe thigtsemarks,the masterartistsketchesthe majoroutlines of the mainfigures;the

entourageand backgroundare often drawnwith a bareminimumof measures. Thenthe sketch is examinedand correctionsmaybe made. Indigoor carbon nk is then usedover the charcoal sketch to delineate the areas for painting. Another method com-

monlyused by artiststodayis to tracewoodblockprints,orshingparonto the prepared

groundto outline standard

iconographies.4. ApplicationfFlatColors

The applicationof flat colors is calledlebts6inn Tibetan.Generally,a thangka s

painted in stages: first, the sky is painted, then the background,then the earth, or

foreground.Thefigurepainting progressesby orderof color: irst,darkblue is appliedwherever it is needed in the design. This is due to the workingpropertiesof azurite,the usual darkblue pigment, which tends to smudge and require burnishing. Lightblue (a finer grind of azurite)is then applied, then green (malachite), ight green (afiner grind of malachite),light orange (minium),then pink. (Some colors, includingpink, are produced both from mixingpigments and fromorganicdyes fromplants.)Then,

deep orange(minium),red

(vermillion),yellow (orpiment),and skin colorsare

applied. Whiteand gold are the last flatcolors to be laid down.5In the EasternTibetanstyle of painting, a color will be applied at least three

times; while in the CentralTibetanstyle, one thickercoat is applied. The damage to

paint layers (resultingfromthe techniqueof theirapplication)of Easternstyle paint-ings appearsas the loss of one or several of the finely appliedpaint layers;while thedamage to Centralstyle paintingsusually appearsas deep cracking hrough the onethicklayer.

5. Outlining

After the flat colors have been laid down, line drawing, or ri mo,is applied tothe

edges

of forms. Thisisusually

done with the two mainorganicdye colors, indigoandbrownish redlac.Thesecolors areused insteadof black,which is used to colorthe

hair of the figures:to outlineotherformsin black s consideredcheapandhasty. The rimomay, however, be done in darkershades of the colorbeing outlined.

6. Shading

Then shading, or dang, is done. It is described in Tibetan as the "falling ofdarkness, [like] an even and gradual change over the mountains. . ."6

There are two methods of shading, wet and dry. Dry shading, in its finest form,is done with a very dry, fine-pointed brush. Each stroke or dot applies a very small

JAIC25(1986):97-103



100 AnnShaftel

amount of pigment. It takes a very long time to build up any intensity of color, and

gradationsare achievedby the spacingof the delicate strokesor dots. Dry shadingcanbe applieddirectlyovera flatcolorordirectlyover the ground; t can also be combinedwith wet shading.

Wetshadingis done by blurring ogethertwo pools of wet pigmentwith a third

brushbearingno color.This can be done with organicdyes as well.

7. GoldOrnamentation

The next step is called serri, orthe applicationof gold ornamentation.Finegoldlines are painted on representationsof brocaderobes and cushions, and on flowers,leaves and rocks. (Thisstage should be distinguishedfromthe applicationof flatgoldareas,which is done as the lastof the flatcolorapplications.)Finally,boththe flatgoldareasand the gold lines arepolished with a gem stone, such as onyx. Afterpolishingof the golds, which is called serur,the paintingis cut offthe strainerand sewn onto itssilkframe,or mounting.Traditionally tailorwould sew the frame.

Fig.1. Photographf athangka ainted ndmountedntraditionalhamsegional tylebythemaster

ainterKhams-trul

inpoche.Thedark

backgroundfthe

paintingelates othe

iconographyf thesubjectmatter.

8. Mountings

Mountings are often made of silk imported from China, India, and more

recently,Japan.Fortwo reasons:the iconographical equirementof "rainbows" silkborders sewn around the picture panel), and financial limitations, mountings are

pieced togetherfrom fabricsof differentweaves and weights, which causes strain onthe weaker fabrics. Additional strain is caused by the structureof the thangka.

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Noteson theTechniquefTibetan hangkas 101

Common points of wear are these: the top corners where the dowels often tearthroughthe mounting;and the top edge of the mountingandcover,both of which areweakened by the weight hanging from them. The "door"panel, an iconographicalelement, is another weak area. This panel is often cut from a Ch'ing Dynasty courtrobe, showing a dragon or other design element. Because of their age and previoususage, these panels tend to be weaker than the surrounding silks, and they oftencontain gold-covered paper threads that require special care. Often all of the silkelements of the mounting arequitedessicatedand fragile.

Only in recenttimes have painting panelsbeen sewn into theirmountingswithsewing machines.Beforethe use of machines,cottonthreadwas usuallyused to stitchthrough the painting, the cordingand the mounting. These stitches were quite tightand held the painting panel firmlyin the mounting. As explainedabove, this tensionoften caused damage to the support.

The mountings are lined with a separatefabric,usually cotton chintz or plain-weave silk. The conservatoroften finds these linings to be quite loose, as gravitystretches the fabric,which is still securelyheld to the outside edges of the mounting.

Often, a tailorhas sewn amounting

over anedge

orcornerof apainting.

Whenthe mounting is removed for conservation treatment, it may reveal the protectedoriginal painting, with a clean surface, free from incense and butter lamp smokedamage.

9. "Opening ftheEyes"

Finally,thereis a consecration rabne)ceremonyforthe finishedthangkawhichincludes a cenje, or "Openingof the Eyes,"ceremony. This is a religiousceremony,traditionallydone by a monk or a religious teacher, which sometimes involves thewritingof an inscriptionon the back of the thangka.Only afterthe performanceof thisceremonyis the living presenceof the thangkaconsideredto be embodiedin the workand communicatedby it.

TYPESOFDAMAGE

THEMOST OMMONormsof damageto thangkapaintingsarecausedby theirreactive-ness to changes in relativehumidity,waterdamage,improperhandling, and depositsof greaseand soot frombutterlampsand incense smoke.

1. WaterDamage

Thangkasoften rested againstwalls of monasteries,causinga varietyof recog-nizable damage to the supports, ground and paint layers. When the back liningsbecame damp, and in thangkas where the back of the support was left exposed,cockling,staining,blurringof details and loss of colorclaritywere the result.

Specifically, changes in relative humidity cause the support to cockle andwrinkle unevenly. The support is firmly sewn into a silk mounting which reactsdifferentlythan the cotton support to environmentalchanges. Large cockles oftenappearin the center of the supportand along the sides, while tightwrinklesareoftenfound in the fourcorners.

Water damage is also caused, as mentioned above, by the use of water solubleadhesives to reline thangka picture panels. When the paintings are removed fromtheir cloth mountings and relined onto paper or cloth supports with the use of watersoluble adhesives, the water soluble yak-glue ground and subsequent paint layerssink into the support, and numerous paint layers blur into one another.

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102 AnnShaftel

hanging

dowelstrings

Ic o v e r

- - painting

I----ribbons

--inner cordouter cord

mounting

decorativedowel _ knob

Fig. 2. Diagramof the same painting shows majorstructuralelements. Due to the style and

subjectmatter, this particularmounting does not have either "rainbows" urroundingthe painting, ora "door" n the lower section of the mounting.

2. Improper andling

Improperhandling also causes great damage to these objects. The thangkaform was devised to facilitateeasy transportation;nevertheless, rollingand unrollinga paintingover the centuriescauses damage to the support, groundand paint layers.

Thetraditionalmethod of rollinga thangka s the only method consideredto be

respectful:the thangkais rolled from the bottom upwards, rollingthe cover into thescroll.Thiscompresses the pigment particlesand abradesthe surface.The crunched-

up cover or, if there is no cover, the back of the mountingand the paintingitself can

severely abrade the surface. Improper rolling also damages the silk mountings,covers, and ribbons,causingthem to crackalong fold lines or warp out of shape.

If the thangkais rolledby placingthe hands on the paintingpanel insteadof onthe mounting, or if the thangkais carriedwith hands aroundthe paintingpanel, then

furtherdamage can easily occur. Also, if the rolled thangkais stored lying flat, the

supportand groundcan fold and crack,resultingin visibledamageto the paint layers.This definition of improperhandling may seem like a stern condemnation of

the habits of the originalowners, who were monks and lay worshippers;however, in

this case, human-causeddamage is not limitedto the modern museum person.Damageto the paintlayersmay also show the effectsof the artists'techniques,

with interlayer cleavage or deep cracking, the exact nature of the damage often

depending on the paintlayerstructure,as describedabove.

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Notes ntheTechniquefTibetanhangkas 103

3. Accretions

TraditionalTibetanworship includes the burningof butterlamps and incensein front of thangkas. These deposit thick layers of darkeningsoot, grime and some-times grease, which areextremelydifficult o remove. Butter-lampand incense smoke

are also often imbedded in the silkscausingdeterioration.

SUMMARY

As ARESULTf the above-mentioneddamagingprocesses, the conservatoroften findsthe picture panels and mountingsof Tibetan hangkasto be in poorcondition. While itis not within the scope of this article to fully describea conservation treatmentof a

specific thangka, hopefully such an articlewill follow in the near future. The authorwelcomes enquirieson thangka techniqueand treatment.

REFERENCES

1. Thespelling f Tibetan ords nthispapersphonetic atherhan iterary.Correctedpellinghasbeenprovided yDavidJackson.

2. Ch6gyamTrungpa,VisualDharma,hambhala,9753. RinzinRongae,personal ommunication,976.4. Ibid.5. Ibid., nd scientificnalysesdone a samplesakenout ofTibet ytheRongae'sather ndon

pigment amplesrom hangkas.6.NoedrupRongae,personal ommunication,977.

ACKNOWLEDGEMENTS

THEAUTHORWISHESo gratefully acknowledge the help and inspiration of several

people, without whom this projectcould not have been successfully researched or

completed. The main informants on Tibetanthangkapainting were Vajracarya,heVenerableCh6gyam Trungpa, Rinpoche;and Noedrup and Rinzin Rongae, masterthangkapaintersfrom Eastern Tibet.Many thanks are also due to David and JaniceJackson,authors of TibetanThangkaainting,SerindiaPublications,London, 1984.

JAIC25(1986):97-103

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Technique of Tibetan Thangkas