STEP 1. PROPER MOTIVATION

Prior to beginning any work with the tradition of Tangka Painting, it is imperative that the artist cultivate proper motivation. Contemporary western art oftentimes emphasizes self expression and individual perspective. The first step is to allow oneself to be open to learning an art form that has been passed down from teacher to student for many generations. The practice of tangka painting is to learn to see what is, rather than to communicate one's particular version. In effect, students has to unlearn his or her preconceptions about art, or what it is to be an artist. The vanity of the artist becomes obsolete. For example, tangkas are never signed, but are consecrated by ceremony upon completion.

The second part of one's motivation has to do with cultivating respect for the practice of Tangka Painting. It might be safe to say, that traditionally, a Tangka, regardless of content, has but one intent in it's execution...to communicate to the viewer an aspect of enlightened mind. This can happen with every detail of a tangka, such as a flower, a brushstroke as well as a complex deity. The actual deities themselves are not considered solid, theistic beings, but rather represent the enlightened potential that exists within all of us. For that reason, much care is taken to delicately execute each line, and one's work is never done haphazardly, or frivolously. The artist holds the feeling that their work will point out the self existing sacredness that exists in our world, providing inspiration and the appeasement of inner turmoil.

STEP 2.THE FACE OF SHAKYAMUNI BUDDHA

Behind every Tangka is a geometrical graph called a tigse, or measure in Tibetan. Each deity has an architectural map of relative proportions, that provide the structure of a finely executed image. The geometry behind the deity is regarded as sacred, as it evokes symmetry, balance and precision. Some tigses create actual mandalas (sacred circle) to evoke certain mental effects.

The student must painstakingly learn the proper proportions of the Buddha, the basis of all other forms.

STEP 3. THE BODY OF THE BUDDHA

The body of the Buddha includes a tigse as well. The tigse varies slightly between teachers and lineages. It is suggested that the student memorize the lines and proportions of the Buddha. By doing so, he becomes self correcting, and internalizes the basic structure of all of the peaceful deities.

STEP 4. LEARNING TO SEE AND EXPANDING OUT

A student might spend many years perfecting his drawing skills before he has permission to paint. With the help of a teacher, he learns to see line properly and practices other common images used in the environment of a Tangka.

STEP 5. BEGINNING BRUSHWORK

Once the student has shown some accomplishment with drawing, he is given permission to begin brush and ink work. He outlines the pencil with a very fine bristled sable liner brush. The student develops confidence and patience as he becomes familiar with line work.

STEP 6. PREPARING A CANVAS

Tangkas are most often painted on cotton cloth, that is closely woven, but fine. The cloth is washed and stretched on a wooden frame. The cotton is primed with a melted rabbit skin glue resin, but some contemporary artists use acrylic gesso. There should be at least three thin coats of primer, each coat allowed to dry, and sanded before applying the next. The canvas is then polished with smooth stone to remove any imperfections.

STEP 7. LEARNING DRY AND WET SHADING

The teacher offers guidance about iconographically correct color, and the special techniques with wet and dry shading. Wet shading uses large brushes, and creates a flat, base wash of color. Dry shading is similar to pointillism in western art.

STEP 8. THE FIRST THANGKA

Under close supervision, the first Thangka is executed. It has been traditional, that the first mark on a Thangka would be the sacred Tibetan "seed" syllable of the deity directly in the center of the Thangka. This is painted very lightly, in gold. Each deity is said to have a corresponding syllable, but sometimes they are not available, or known.

The student transfers a completed ink drawing directly onto the canvas by pressing the drawing to the back of the canvas, and letting light shine through. A light box can be used for this purpose. The image is then traced onto the canvas with pencil.

The sky is said to be the first element to be painted. This represents the Mahayana Buddhist teaching, that "all form arises from emptiness," and thus the sky must be complete before any other element can be manifest.

STEP 9. OPENING OF THE EYES CEREMONY

The student often refrains from painting in the pupils of the main deity's eyes which is saved for last. The teacher will often fill in this final touch of the Thangka, thus bringing the deity "to life."

The Thangka is then blessed or consecrated by a master teacher, or Lama. More syllables are written on the back of the Thangka, usually placed on the forehead, throat, heart and above the navel of the main deity.

A fully consecrated Thangka is considered extremely sacred, and it not to be treated with disrespect. It should be hung in a high position, or carefully rolled, folding a silk cover over the front. Thangka's are never placed on the floor, or stepped on or over.

STEP 10. LEARNING ABOUT ICONOGRAPHY

A devoted Thangka Painter can spend a lifetime learning this profound tradition. One can always perfect color or line technique or study the method of painting environmental elements, different deities or sacred mandalas.

STEP 11. FRAMING A THANGKA WITH BROCADES

Silk brocades are used to create a scroll frame. The size if the frame is proportionate to the size of the Thangka. The frame is covered with a silk or satin cloth, and two red ribbons. When is Thangka is displayed, the satin cloth is folded at the top, and the ties are allowed to fall in front of the thangka.

Sometimes there are one or two separate panels of brocade on the front and center of the frame. These symbolize the entry into the "mandala," or the opening into the experience of sacred world.

The main color of the brocade frame is traditionally blue, representing the sky element as before-mentioned. There is a red border, and a thin white cord at the very center of the thangka window. These represent the union of the male and female elements. Red symbolizes the female, and white the male.