This 18th-century essay drawing is similar in content to the photographic measurements. The so-called "image measurement" is the scale of the Buddha's human body and the scale of the figure.
This may be a reference guide for the painting of Buddha statues in Tibet or Nepal in the 18th century. It contains 36 detailed drawings and the text is in Tibetan.
The representation of the Buddhist figure is not fabricated out of thin air. The proportions, .
Tibetan noodle soup, called thenthuk (འཐེན་ཐུག་). This comfort food is a common noodle soup in Tibetan cuisine, especially in Amdo, Tibet and it is very popular in North East India and Nepal.
This is an easy Tibetan food recipe.
Traditionally it would be made with mutton or yak meat. Links to four other recipes, including vegetarian momos, are at the bottom of this post.
How to make Tibetan noodle soup?
Thenthuk Soup contains both veggies and wheat noodles in it.
Sketching is the major work in creating the art. 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 painting around which the artist would plan the rest of the composition.
The vertical axis usually marked the center of the main figure, and it was in relation to this line that all .
The thangka painter's palette consisted mainly of paints derived from the mineral pigments . Tibetan artists also made some of their paints by mixing the pigments with organic dyes and lakes such as indigo and lac dye. Important mixtures 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 shading and outlining stages that followed the initial application of .
Almost every object depicted in a thangka 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. Tibetan painters also used line drawings 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 of .
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 .
The application of colour to the thangkacanvas involved two main steps first, filling in the areas of different base colours, and second, the subsequent shading and outlining of those areas.
To these steps there corresponded the two essentially different types of paint in the Tibetan palette
Mineral pigments (rdo tshon and sa tshon) and
The organic dyes or lakes (tshos)
The mineral pigments had to be mixed with a binder before being applied as paints. .