The art of Thangka is inextricably linked to Buddhism and a genuine realization of the teachings. Thangkas, from their own side, do not posses any qualities over and above any other object you can find.

    The art form started when great meditation masters, with sincere realizations of the teachings, used great artists to help them pass on their wisdom. The symbiotic relationship between a person with a pure realization and an artist with a profound skill fused together to make a picture that can be an object of refuge and inspiration for future teachings and realizations.

    If neither the artist has the skill, or the master lacks the realizations, then the Thangka will not fulfill its purpose. In special cases both the pure realizations and the refined skill can manifest in one person, these people go on to become great Thangka master-painters.

    Contrary to popular belief, the art of Thangka painting is not about faithfully reproducing what has gone before, in a rote-learning fashion. Without some understanding of compassion, an artist could never really capture the face of compassion on a Buddha. Therefore, Thangka painting is a form of meditation. An exploration of the mind, representing both the teacher's and the student's understanding of that mind. If the understanding is pure and profound, then we can say that the Thangka represents that type of mind and can become an image of value and learning.

    This profound and delicate relationship is where the popular misconception about Thankga arises. We are told that this picture of Buddha represents this mind or this Buddha represents this action, but often what we're looking at is a startled, brightly coloured figure that seems completely removed from the idea it is supposed to ignite in us. This is because the artist had no genuine realization of the thing they were supposed to be portraying.

    Just like a classic piece of art, a genuine Thangka will easily spark in us the emotion that it is trying to represent. So when we look at a Turner painting, we are immediately struck by the power and awe of nature, or in a Van Gogh we understand the beautiful intricacies of the seemingly mundane. Likewise, when our mind connects to a real Thangka, painted by a genuine master, minds such a compassion, bodhicitta, emptiness will arise easily and spontaneously.

    Tangka, meaning stamp and print, or painting on cloth in Tibetan, is sourced from painting on the wall.  Painting, as RiMo in Tibetan language, means a woman in mountain.  An old story descripts a young sheep boy, who was born with talent and liked to paint by stone on the rock everywhere.  He was one day fascinated by a beautiful woman and then followed her into the mountain.  Suddenly the woman disappeared.  Young sheep boy started painting the woman’s face on the rock by stones every day, until the woman’s beautiful face is deeply locked on the rock.  RiMo connected to Buddha was in 7th century, the Songtsen Ganpo period.  Ancient grand monks expressed Buddha, Bodhisattva, and their noble teachers based on the image when they were meditating, and then hang up in the monasteries.  The most talent Tangka artist usually is from monastery, who are either Lama or some are Rinpoche.  They describe the Tang as grass land and Ka as blue sky, Buddha and whole world are between.  In Tibetan history, there was a dark time period that Buddhism was forbidden; Tangka and Buddha sculpture were forbidden in any kind exhibition.  The Grand Lama used their wisdom, painted animals, tress, and legend stories, to indicate the theories of Buddhism, therefore; created Tangka art and passed to generations.  It is a combination of art and Buddhism.  Artists are using the nature precious materials, making beautiful color, painting Buddha’s and his behavior, to express the Buddhism theory.  Tangka is expressing the philosophy, Buddhism, art, and also reflecting the actual life of the time.

    Today, either in the monastery or folk village, you can find the colorful Tangka.  The painting part is sewed on the silk.  A stick above is called as libera, and a stick below is called as earth balance, therefore Tangka can hang well vertically.  Usually the two ends of the earth balance are the nubs made by gold or silver.  Since the nomad people are highly appreciating the gold, silver, precious jewels, and Tibetan red rose, they are using quiet amount of such nature precious materials to make the color forpainting Tangka.  Besides the Buddha image, there are also many Buddhism symbols, animal, astronomy, mathematics, and folk stories, which are often coming from artists’ meditation image.  Tangka is not just a painting but also a piece of art itself.  It requires skillful sewing technique and quality fabric.  As Lama or Rinpoche, who need to be in diet and show before starting painting, further more need a time period of meditation.  While Tangka is completed, only the Buddhism words are written behind Tangka, non artist’s name on.  Lama will chant Buddhism sutra, pack Tangka in white silk (Kadai), finally the Tangka is ready to be taken out.

    Grand Penchen Rinpoche VV, in his life time, he cared Tibetan Tangka art very much.  He has funded Tangka art centers in Khampas territories and Tibet, educated a numbers of talent Tibetan young lama.  Our Shangri-La Association of Cultural Preservation now has two senior Tangka teachers, who both have had 23 years and 16 years Lama experiences.  Lama Khedup is an extraordinary talent Tangka artist and also sophisticates in Buddhism sutra.  Unfortunately the true value of Tangka art is missing today.  Our culture preservation mission and creation of Tangka art are based on the understanding and practicing of Buddhism theory, also demonstrating the world environment and life today.