Category Design

Coloring the Avalokiteshvara Thangka Painting

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The design is the creation of a plan or base work for the painting or other objects by measurable human interaction.

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Kamala Yantra – Bestows prosperity, wealth and fertility

Kamala Yantra
Kamala is the tenth of the ten . Goddess Kamala or is considered the most supreme form of the goddess who is in the fullness of Her graceful aspect. She is not only compared with Goddess but also considered to be Goddess Lakshmi. She is also known as Lakshmi. The goddess in the form of Kamala bestows and , fertility and crops, and good luck. Hence She is  .

Determining the Quality of Tibetan Thangkas

There are three general skill levels of painters are hobbyist, professionals, and .  You can find out  the skill of the by looking closely at the lines, such as those used to make waves, clouds, and the faces of people, , , and . The finer and clearer the lines, the greater the skill involved. A thangka painted by a master will cost more than one painted by a professional. The student .

The origin of the Graphic Arts of Buddhism

 is the artistic implementations  that are perused by  . It includes media which idolize  , and other of remarkable figures, both and mythical. Buddhist art explains the scenes from  the lives of all of the  and other graphic that helps to practice as well as physical objects connected with Buddhist practice, such as ,  and Buddhist . Buddhist art originated on the  following the historical life of , 6th to 5th century .

Sketching – The power of Tibetan paintings

is the major in creating the . Sketching involved several steps, the first of which was to lay down the main lines of orientation. Most important was the central vertical axis, for this would be the exact center of the around which the would plan the rest of the . The vertical axis usually marked the center of the , and it was in relation to this line that .

Shading, Colouring and Grading of Thangkas and Mandalas

Another main step is to apply washes for and gradual transitions of tone. Shading is called  in which is one of the special feature of . Shading is an important feature of , taking up a large portion of the , and is done very carefully and precisely. Shading in this context does not mean the treatment of light and within the whole , for the distribution of light and .

Techiques of Paint Preparation and Application in Tibetan Art

Preparation and Application in Tibetan Art
After cleaning the pigment it had only to be mixed with the to become paint. For blending a pigment and binder you can simply mix it. Paint preparation can take a full day to prepare the five primary colors. Traditionally, the materials included a variety of mineral and vegetable substances minerals, precious stones, bark, leaves, flowers (especially the rock rose), gold, silver, copper, etc. Each had to be collected from its source in different .

The Sacred Composition of Colors in Tibetan  Art

The Sacred Composition of Colors in Tibetan  Art
The painter’s palette consisted mainly of paints derived from the mineral . also made some of their paints by mixing the pigments with organic dyes and lakes such as indigo and lac dye. Important of this type included the blending of each of these two dyes with white. But since the dyes and lakes were mainly used during the and outlining stages that followed the initial application of .

Final Touch and Finishing Details In a Traditional Thangka Paintings

Facial Features The last main step involving the application of colours was the rendering of the faces of the . This was in effect the final stage of outlining, and sometimes a painter would step in at this point and complete the of his student. Of all the finishing details, the facial features demanded the most attention, and among these it was the eyes that received the greatest care. The painting .

The Art Of Mastering and outlining of Tibetan Thangkas

Almost every object depicted in a required outlining or linear detail. Outlining proper (bead) served to set off most objects from their surroundings, and it was used to demarcate the main subdivisions within them. also used line to develop the form or texture inside a given area, for instance within a swirling mass of flames or within the hair of a deity. Furthermore, fine linear drawings were the main way .

Types of Brushes used in Tibetan Art – Construction and its maintenance

The brushes () 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 . The latter was usually made by bundling the brush hairs together and inserting them as a plug into a hollow-ended handle. Although many were familiar with .
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