The Traditional Thangka Paintings of Tibet

 
Author’s Relation and Note
Before creating this post, I knew nothing about thangka paintings. Upon discovering it, I was captivated by its nuances and elaborate style. Thangka paintings are an extensive subject in themselves, riddled with symbolism and a deep understanding of the Buddhist religion. There are also a great number of schools and styles within thangka paintings, each providing an insight into the different branches found within the religion and its regional variations. I tried my very best to research not only thangka paintings but also Buddhism to create a cohesive and accurate blog post. The works are selected to portray various types of thangka paintings and aspects of Buddhism. In terms of the source and exact origin of each work, the vast majority of painters are not credited due to the separation of the person from worldly objects, and the art is created to serve as a religious tool. This tradition is still alive: today, thangka paintings have evolved with Western influences and modern art styles. They are vital to preserving the cultural heritage, identity, history, and traditions in the Himalayas and Buddhism. This post only scratches the surface, so I implore you to continue exploring thangka paintings to gain an even deeper understanding and appreciation of this beautiful, complex tradition.

Overview
Thangka paintings are artworks that are used in Tibetan Buddhism as teaching and meditative tools in the religion’s practices and history. Thangka painting dates back to the 7th century, from the Himalayan regions, developing alongside the spread of Buddhism in Tibet. Their purpose is spiritual rather than decorative, often depicting Buddhist deities, scenes, and mandalas.

Creating thangka paintings is extensive, with a strict process and requirements that still leave room for creative expression. Each painting is viewed as unique, even if copied, based on the principle that every artist has their own kind of expression. The process is considered a form of meditation: creating a Thangka is just as much an artistic practice as it is religious.

The Rubin Museum of Himalayan Art created a video briefly explaining the process: The Making of a Thangka Painting

Thangka paintings have a strong foundation in using natural material, free from any synthetics or “man-made” ingredients, adhering to standards established centuries ago. The canvases are pure cotton or silk, and the pigments are derived from plants or minerals. The canvas is prepped with glue and smoothed to assist against cracking and other age-related ailments. The subject is sketched first using strict iconometry based on the scene, subject, or deity depicted. Then, the paint is applied based on the religious significance of the color and subject being painted. Throughout the making of a thangka painting, the artist will partake in religious and spiritual practices such as prayer, purification rituals, and meditation. The symbolism in Thangka paintings is never-ending. Every aspect and color in a thangka painting has meaning, representing different Buddhist beliefs, teachings, and philosophies. (Altitude Himalaya)

Stories of the Previous Lives of the Buddha (Jataka) (Late 17th-18th century)

The Buddha Shakyamuni
Stories of the Previous Lives of the Buddha (Jataka), Late 17th-18th century, pigments on cloth, 37 x 26 in (estimated)
Created in Eastern Tibet, artist unknown
Currently located in the Rubin Museum of Himalayan Art’s collections

Stories of the Previous Lives of the Buddha (Jataka) depict scenes based on well-known stories of the Buddha Shakyamuni’s life and his reincarnations. The Buddha Shakyamuni is most likely the Buddha that you are familiar with. He was born sometime in the 6th to 4th century BCE and founded Buddhism. In this thangka, the Buddha’s lives are shown to teach others about the history of one of the most important people in the religion. The Buddha is not the first or the last being to reach enlightenment, but was the first teacher of Buddhism ("The Buddha"). The central figure of the Buddha is seated on a lotus throne, representing enlightenment, in the lotus position, which is associated with meditation, and his hands symbolize contemplation. Throughout the thangka, you can see various gestures of teaching, tantric unity, protection, and calling witnesses to awakening ("Looking Guide"). The Buddha is sitting under the Bodhi tree, where he first reached enlightenment. You can also find a symbol of Buddhism, the dharma, in the bottom left of the thangka. 

In this thangka, you can see how green and orange are used to complement each other and bring the overall work together. A pale shade of yellow is used to separate images of the Buddha from images of other humans. The natural curving of lines and shapes emphasizes nature and the tranquility of the Buddha’s teachings. 

I chose this piece because of the Buddha Shakyamuni’s importance in Buddhism, and the thangka is created using one of the lesser-known painting styles of Tibet, the Khyenri style. It shows that, like Western art, Tibetan art also experiences the rejection and creation of different expressions. The Khenri style is known for its natural landscapes, lush palette, attention to detail, and halos/circles around the heads of the main subject (Watt "Khyenri").

Here is a small collection of some of the scenes depicted in Stories of the Previous Lives of the Buddha (Jataka) from the Asian Art Museum. 

Wheel of Life (19th century)

The Bhavacakra
Wheel of Life, 19th century, pigments on cloth, 61.5 x 39.25 in
Created in Tibet or Mongolia, artist unknown
Currently located in the Rubin Museum of Himalayan Art’s collections

The Wheel of Life represents the cycle of life, death, and rebirth based on Buddhist beliefs, also known as samsara. In this thangka, each section represents a part of samsara, outlining the details of each. In the center are the three "poisons", the unavoidable roots of humanity’s suffering, represented by a pig (ignorance), a snake (anger), and a rooster (desire). In the bisected circle, various actions are depicted to display "good" karma (white) and "bad" karma (black). Your actions in your current life determine what realm you will be reborn into. The next layer represents the six realms. From the top going clockwise: realm of the gods, realm of demigods, hungry ghost realm, hell realm, animal ghosts realm, and the human realm. The furthest inner circle represents dependent origination, displaying how the cycle is dependent on each part concerning karma. Embracing the Wheel is Yama, the god of death, showing there is no escape from this cycle until one reaches enlightenment. (Pakhoutova)

Within this painting, we find the art elements of shape, pattern, and color. The circle represents the continuous movement found in this cycle, never-ending. The patterns add to the elaborate atmosphere and are naturally occurring, emphasizing the importance of the natural found within the thangka’s creation and Buddhism. The blue background accompanies the three “poisons” and other components of the bhavacakra to show that even though they are powerful, one can still achieve liberation from the cycle (Khantipalo). 

I chose this piece because it presents one of the fundamental ideas of Tibetan Buddhism. It showcases the intricate geometric design, strict depictions, and an intense amount of symbolism used in thangkas.

Here is another thangka depicting the bhavacakra with an in-depth breakdown. Notice the similarities between the two works in how the subject is depicted.

Green Tara (18th century)

The Twenty One Taras

Green Tara, 18th century, pigments on cloth, 46 x 30 in

Created in Tibet, artist unknown

Currently located in the Rubin Museum of Himalayan Art’s collections

 

Green Tara shows bodhisattva Tara and her twenty-one different forms aligned with the Atisha system, a reform movement within Buddhism. She is a significant female deity in Buddhism, known for her compassion and healing. According to legend, she emerged from the tears of bodhisattva Avalokiteshvara, a man on the path to enlightenment, after seeing the continuing suffering in the world. In Tibetan Buddhism, she is viewed as the mother of the Buddhas. Her specific depiction is based on her form. Overall, she is represented as peaceful, situated on a lotus seat, adorning a five-jeweled crown, a blue lotus in her right hand, and a vase in her left. Her hands are depicted in a giving and granting nature, representing her ease of suffering. At the top center of the painting, the bodhisattvas Manjushri, Avalokiteshvara, and Vajrapani. Surrounding the main figure are the twenty-one manifestations of Tara (Watt "Tara").

The repetitive pattern of each Tara unites the overall composition of the thangka and shows that she is one in herself as well as her twenty-one different manifestations. The natural shades are used to create a sense of tranquility and represent Tara’s forms. The circular shapes surrounding each individual separate them from each other and classify their significance. 

I chose this piece because of the significance of the twenty-one Taras in Tibetan Buddhism. All who practice Tibetan Buddhism know and recite the text, Praises to the 21 Taras. The text describes the twenty-one forms of Tara. To understand the twenty-one different forms and their qualities, see here.

Citations/Sources:

Altitude Himalaya. Thangka Painting, 1 Nov. 2023, www.altitudehimalaya.com.au/blog/thangka-painting. Accessed 24 April. 2025.

The Buddha, Wikimedia Foundation, 22 Apr. 2025, en.wikipedia.org/wiki/The_Buddha#Historical_person. Accessed 24 April. 2025.

Khantipalo, Bhikkhu. The Wheel of Birth and Death, Access to Insight (BCBS Edition), 30 Nov. 2013, www.accesstoinsight.org/lib/authors/khantipalo/wheel147.html. Accessed 24 April. 2025.

“Looking Guide.” Project Himalayan Art, The Rubin Museum of Art, 20 Oct. 2022, rubinmuseum.org/projecthimalayanart/wp-content/uploads/sites/2/2023/01/Looking-Guide-Project-Himalayan-Art.pdf?_gl=1*wh2tlz*_up*MQ..*_ga*MzA1MTQ2MTI2LjE3NDU1ODM2NzM.*_ga_9NZBVF4LWN*MTc0NTU4MzY3My4xLjEuMTc0NTU4MzcwMi4wLjAuMA. Accessed 24 April. 2025.

Pakhoutova, Elena. The Wheel of Life, Rubin Museum of Himalayan Art, 27 Feb. 2023, rubinmuseum.org/the-wheel-of-life/. Accessed 24 April. 2025.

Watt, Jeff. “Painting Tradition: Khyenri.” Himalayan Art Resources, June 2024, www.himalayanart.org/search/set.cfm?setID=83&page=2. Accessed 24 April. 2025.

Watt, Jeff. “Tara.” Tara (Buddhist Deity), Himalayan Art, Nov. 1998, www.himalayanart.org/items/672. Accessed 24 April. 2025.