Once
dry, the entire procedure is repeated for the other side of the canvas,
stretching it after each moistening and leaving it to dry. When it has been
thoroughly treated and dried, the canvas should be so tightly stretched that it
makes a nice drum sound when tapped. This is the sign it is ready to be
painted. The front of the canvas is then ready for the next step.
Line Drawing:
First step is to identify the center and the border of the canvas, with the help of a ruler and divider. The same is drawn on the backside of the canvas. Next step is to trace the drawing on the canvas, for which the sketch or the final drawing is taped to the backside of the canvas and placed against the light, which helps in seeing the lines clearly while tracing. Black water proof ink mixed with few drops of water is used for inking the pencil drawing and the pencil marks are erased as lead gets mixed with color pigments and spoil it.
Mixing Colors:
It takes a full day to prepare the colors. The materials include a variety of mineral and vegetable substances: minerals,
precious stones, bark, roots, leaves, flowers, gold, silver etc. Each is collected, cleaned, powered, crushed or cooked. Each color is then mixed, and tested on the edges of the canvas
and allowed to dry. Only after the paint has completely dried does it reveal
its true color.
Nowadays, artists have started opting for chemical based pigments, which are easily available for
purchase. At Thangde Gatsal, the traditional method is followed and so, natural materials were used in my painting as far as possible.
Painting:
There is a specific sequence to color application. In general, the Thangka is painted from top to bottom. The first step is the sky, which takes 3 to 4 days. An initial deep blue wash is followed by innumerable slender, length wise brush strokes to produce a stipple effect of lines. Another very important aspect is that gradient needs to gently shift from dark to light. Requires immense patience and going over and over again so shading looks natural and uniform. Then comes the dark green landscape followed by other colors, and finally white.
When
the whole series of base coat colors have been applied and allowed to dry, the
Thangka is scraped with a razor blade, held at an arched angle to the cloth, to
smooth away any roughness in the paint. The dust is brushed off with a clean
soft cloth. Master Locho and Lobsang did the scraping part for me, I might
have cut the canvas if I tried.
Redrawing and Shading:
The original detailed
lines which get covered by paint are redrawn in chalk. The artist then shades
them with a fine paintbrush. In general, a Thangka needs two-three applications
of paint, but flowers require many repeated applications of thin paint to give
them their effect of inherent radiance. For shading certain parts, ink is also used.
Detailing:
Painting the intricate
details of the landscape and clothing follows the
same sequence of color application.
Gold Application:
A considerable quantity of gold is used to highlight and give it its final glorious touches. Tiny pieces of gold are added to water and this is covered and allowed to stand overnight. By morning, the gold has sunk to the bottom and the surface water is poured
off. Finally, glue and water are added to the gold. After the gold has been
applied to the Thangka, it is polished with the tip of a fine pen or a special stone.
Body Shading and Finishing:
The artist then shades
in color to give shape to the body and face, aura, lotus seat, flowers, landscape, and other details.
Opening the Eyes:
This is the most
important part of the Thangka. I thank Master Locho from the bottom of my heart for
making the deity come to life with his expertise. Magic happened every time he held the brush with his fingers! I do not think this would
have been possible without his support. He also wrote
the Sanskrit seed syllables "Om Ah Hum" on the back of the Thangka. OM stands for the body, AH for the speech, and HUM for the mind. They represent the transformative blessings of the body, speech, and mind of all the Buddhas. Externally OM purifies all the negative actions committed through your body, AH through your speech, and HUM through your mind.
Brocade Selection and Framing:
Red paint is used to paint a border around the painting so as to ensure the dimensions for framing are clearly known. One can chose the brocade as per their preference. Usually artists use the traditional patterns available in red, yellow, blue and gold colors. A skilled Thangka tailor affixes a brocade frame
to the completed Thangka. Once this step is complete, Thangka is ready to be hung and venerated as a genuine living embodiment of enlightened mind. While these steps serve as a
guide in achieving the desired visual effects required for the creation of a quality
Thangka, one must remain aware that it is essential to combine these
processes with the correct motivation, philosophy, and positive thoughts.
Gratitude:
And last but not the least I would like to express gratitude towards my family especially my husband Bhupinder without whom I would have never been able to go ahead and live this dream, my boss Shivnath for allowing me to take this break, Master Locho, Sarika, Lobsang Tibet, staff at Thangde Gatsal for their support, and my lovely co-students Naomi, Natalie, Daniel, and Jared for helping me in making this dream come true.
Nobody said it was easy but when you stop and look around, this life is pretty amazing. Like one great canvas... so, throw all the paints you can on it and see the magic!
Stay blessed, stay happy!!!