1. PREPARING PAINTING SURFACE:
First, a piece of cotton material is obtained and stretched out on a wooden
frame. A mixture of buffalo glue and white clay is evenly applied to the
cotton surface. The cotton is then left to dry in a dark place. When the
cotton is dry, a portion of it is slightly moistened. This is done in
order to distribute the mixture uniformly over the cotton gauge. Then
the surface is rubbed with a smooth alluvial stone, which absorbs moisture.
While rubbing, the frame should be supported from behind by a smooth wooden
board. The process continues until the surface is very smooth and ready
to use for painting. If the surface is smooth and fine, then it is suitable
for painting. Should there be any flaws, either from insufficient rubbing
or an imbalance in the proportions of glue and clay, the surface may crack
and peel or it may be difficult to produce smooth brushstrokes.
2. LINE DRAWING:
To begin with, if the artist is conversant with the iconography of the
deity, some line sketches of the deity are made on the cotton surface.
In ancient Newar paintings, the artist drew figures according to iconometric
principles or angul measures. Every novice artist traced his master's
drawing. Even master artists did so after consulting with an expert Vajracharya
versed in iconography. An artist should have great mastery over the drawing
process; he should have a thorough understanding of iconometric principles
and the philosophy behind his subject matter. The execution of the drawing
requires profound vigilance and patience. After all, the art of Thanka
painting is itself a form of meditation.
3. COLORING
In tantric Buddhist tradition, color has profound spiritual significance.
The sadhaka gives expression to his psychic experience through the symbolism
of color. The five basic colors namely-- white,
blue yellow, red and green-have different religious meanings, as we will
later discuss in the context of the five Buddhas. Again in the candamaharoshana
tantra, black symbolizes killing and anger, white denotes rest and repose,
yellow stands for restraint and nourishment, red is indicative of subjugation,
and green symbolizes exorcism. In traditional paintings, only the primary
colors are used: red, blue, yellow, black and white, In addition, indigo
blue and crimson lacs are two supplementary colors which enhance the effect
of graduation. Buffalo glue is the medium of all opaque colors. From these
primary colors one can make any color one chooses.
4. SHAPE LINING
Shape lining is an important step in the process of Thanka paintings.
Each object depicted in the Thanka requires precise outlining. The skilled
artist may be recognized by his mastery of outlining detail, which should
remain harmonious throughout the painting. Harmonious outlining is at
the heart of Thanka painting sill. Note that the process of outlining
shapes takes place during the initial coat, when fundamental colors are
laid down. Principal design, such as background elements, toranas, ornamentation,
clothing lotuses, thrones and so forth are filled in during this shape
lining process.
5. SHADING
Artists use a special shading technique called 'wet on dry shading'. Dry
shading is executed with only one brush, thereby producing a graduation
with dark colors. The purpose of this shading technique is to applying
dark colors like crimson lac overt light colors such as red, orange, yellow
and white. White indigo is used to add highlights over a green or blue
base. The technique is mostly used to give a solid, three- dimensional
effect to objects.
Generally, the background of the painting is shaded first, and then the
artist proceeds to shade the central object. One of the features of Thanka
painting is that an artist often expends several months and then years
for one major painting. "Dry shading is what takes up most of the
time," recalls Mr. Lok Chitrakar.
6. ORNAMENTATION
There are both simple and elaborate methods for rendering for gold ornaments.
Especially large ornaments are painted first with yellow ochre as a primary
coat. Gold is then painted flat on the yellow ochre and lining is executed
on top of the gold, giving rise to various shapes and designs. Following
this, the artist uses different colors to simulate the effects of stones
or jewels, as required. With the exception of these ornaments, gold is
the last pigment to be laid down over certain areas of the Thankas, e.g.
Clothing, lotuses, toranas and other decorative patterns. In these cases,
the artist can use various designs as he desires. The use of gold in painting
stems from to make a pious offering. Offering gold brings forth tremendous
merit, depending upon the attitude and motivation of the sponsor.
7. FINISHING
After completing the facial features, finally the eyes of the deities
are painted. When the painting is finished, there remains the final task
of consecration, which is performed by a Tibetan Rinpoche.
Prior to the consecration of any Thanka, the Guru inspects it carefully
and thoroughly to make sure that it accords with canonical injunction.
If it passes inspection, then he inscribes it with the three seed syllables,
namely the white OM, the red AH and blue HUM. These correspond to the
crown, throat and heart----- the centers of body, speech and mind.
