During the Pre-iconic phase (5th–1st century BCE) artists were reluctant to depict the Buddha anthropomorphically, and developed sophisticated aniconic symbols to avoid doing so (even in narrative scenes where other human figures would appear).
This tendency remained as late as the 2nd century CE in the southern parts of India, in the art of the Amaravati School.
In Tibet the vast majority of surviving artworks created before the mid-20th century are dedicated to the depiction .
The brushes (pir) used by our main informants consisted of a brush tip of fine animal hairs attached to the pointed tip of a characteristic type of wooden handle. Brushes constructed in this manner contrast sharply with the Chinese style of paintbrush used throughout East Asia. The latter was usually made by bundling the brush hairs together and inserting them as a plug into a hollow-ended handle. Although many Tibetan artists were familiar with .
Steps for Preparing a Thanka Painting
The painters of Tibet pursued their art in an orderly and systematic I way. When creating thangkascroll paintings they proceeded through six clearly defined steps:
The first step was the preparation of the painting surface.
Second, came the establishment of a design on that surface by means of a sketch or transfer.
The third step involved laying down the initial coats of paint, and that was followed by .
Pema is a Thangka artist from Bhutan. He has been paintingThangkas and Mandalas for 15 years. He paints for a living.
Below is the short interview with Pema about his life and path to the Thangka Art.
Pema is from Bhutan. He is married and has a family. He does paintings for a living and to provide for his family. He is living in Thimphu Bhutan with his family.
Pema's Academic qualification
After Higher Secondary education he .