Tibetan Thanka Paintings

Tibetan, Tanka's painting Tibet, its isolation, the geographically inferior place, the history of political and social distant places is unlikely to bring "the cradle of creative art" (Bailey 22) . But it has been this desolated area of ​​the world that one of the most interesting arts cultures has been cultivated for centuries. A very unique and interesting aspect of Tibetan art is interdependence of religious beliefs. In Tibetan, people sometimes use the terms "religion" and "culture" as synonyms, especially art, theater, paintings and sculptures.

For over a thousand years, Tibetan artists have played an important role in the cultural life of Tibet. From the painted furniture design to elaborate mural paintings in religious architecture, their efforts are mostly penetrated into every aspect of the life of the Qinghai Tibetan Plateau. The majority of surviving works made before the middle of the 20th century mainly draw religious themes in the form of tankas, paint paintings of cloth, Buddhist mural paintings of Tibet, bronze statues, or large statues of clay It was used for. , Stucco and trees. They are appointed by religious institutions or godly individuals to practice in Tibetan Buddhism, produced by monks and non-professional artists in large studio, most of them are unknown.

Historians point out that Chinese paintings have a great influence on Tibetan paintings. From the 14th century to the 15th century, Tibetan paintings incorporated a number of Chinese elements and Chinese paintings deeply and extensively influenced Tibetan visual art in the 18th century. Giuseppe Tucci of the Qing Dynasty said, "At that time the new Tibetan art was developed, in a sense reflecting China's sophisticated and gorgeous premonition of the 18th century."

The artwork produced during this period is characterized by a unique combination of Tibetan and Chinese artistic methods. They combine the details of the image of Tibetan features with Chinese style decorative elements. Inscriptions are usually written in Chinese, Manchurian, Tibetan, Mongolian, and Sanskrit, and paintings are often displayed in vivid colors. In addition, Emperor Qian Dragon began a large-scale construction project, re-established Eiwa Temple as a Tibetan Buddhist temple in Beijing in 1744, and donated many precious religious paintings, sculptures, textiles and inscriptions to the temple. Xumi Fushou Temple and its interior works is another project by Qianlong emperor commissioned to embody a unique blend of Tibetan and Manchu art style which is characteristic of Buddhist art produced in China during the Qianlong era .