TOP 13 articles about Tibetan art

About Tibetan art

For more than a thousand years, have played a key role in the cultural life of . From designs for painted furniture to elaborate murals in buildings, their efforts have permeated virtually every facet of life on the . The vast majority of surviving artworks created before the mid-20th century are dedicated to the depiction of religious subjects, with the main being , on cloth, , and small statues in bronze, or large ones in clay, stucco or . They were commissioned by religious establishments or by pious individuals for use within the practice of and were manufactured in large workshops by and lay , who are mostly unknown.

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Interpreting Buddhist Elder Rahula

Rahula is the elder of the actual son of the and the 10th from the set of 16 Great Arhats. Rahula is known in texts for his eagerness for learning and was honored by and nuns throughout Buddhist . The life of the Rahula In this portion, we are going to talk about the life of Rahula.  After that short etymological description of the word Rahula itself. Etymology of .

Explaining Vajrabhairava

with the consort Vetali surrounded by the main protectors of the Gelugpa School. Vajrabhairava is also called as . He is a meditational deity of the Classification of . As the supreme meditational deity of the Tradition Vajrabhairava is also looked upon as the Lord or . The life of Vajrabhairava In this section, we are going to learn about the life of Vajrabhairava, after the short etymological .
Tibetan Buddhist Eighth Karmapa Mikyo Dorje

Explaining Lama Teacher Karmapa Rolpai Dorje

Rolpai Dorje who is known as the 4th wearing the and Khacho Wangpoa was the 2nd . The Life of Karmapa Rolpai Dorje In this portion, we are going to learn the life of the Karmapa Rolpai Dorje, after the short etymological description of the word Karmapa Rolpai Dorje itself. Etymology of Rolpai Dorje Rolpaie Dorje (1340- 1383) was the fourth Gyalwa Karmapa. Earlier, we learn about the life of Rolpaie .

Interpreting Vajravarahi and 5 Deities Tibetan Painting

, 5 Deity principal tutelary deity of the . The life of Vajravarahi In this portion, we are going to learn about the life of Vajrabarahi, after that the short description of the word Vajravarahi itself. Etymology of Vajravarahi Vajravarahi is known as Asrdo Rje Phag mo in . Vajravarahi is one of the most popular female deities in all traditions of . Earlier, we learn about the life .
Sakyamuni Buddha with the 35 Buddhas of confession

Explaining Sakyamuni Buddha with the 35 Buddhas of confession

The are known from the of the Three Heaps,popular in . Sakyamuni is together with the two principal students, and standing at the sides, while surrounded by the Thirty-five Confession Buddhas. The life of Sakyamuni Buddha In this section, we are going to talk about the life of Sakyamuni Buddha, after the short etymological description of the word Sakyamuni Buddha itself, we will learn  .

Traditional Tibetan Carpet Making Process

making is a craft. and craft.  are traditionally made from Tibetan highland sheep’s wool, called changpel. Tibetans use the carpet for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. The knotting method used in Tibetan carpet making is different from that used in other carpet-making traditions worldwide. All the carpets are made of organic materials .

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 .

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 .
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 .

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 .