TECHNICAL NOTES ON TIBETAN TANTRIC BUDDHIST PAINTING....

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TECHNICAL NOTES ON TIBETAN TANTRIC BUDDHIST PAINTING:ARTISTIC HERITAGE AND TRADITIONAL TECHNIQUES Dr.Jia Peng Chongqing University, China

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Hosted by: TECHNICAL NOTES ON TIBETAN TANTRIC BUDDHIST PAINTING:ARTISTIC HERITAGE AND TRADITIONAL TECHNIQUES Dr.Jia Peng Chongqing University, China of Sri Lankan Feminine Identity in De Silva’s The Road from Elephant Pass An attempt by Jayantha Wannisinghe

Technical Notes on Tibetan Tantric Buddhist Painting :

Technical Notes on Tibetan Tantric Buddhist Painting Dr . Jia Peng (PhD) U niversity College London (UCL), England Chongqing University, China E - Mail: theresiapeng@gmail.com

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Sandro Botticelli 's The Birth of Venus , 1485, Italy

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Fig. 1 Tibetan artist La-ba was doing the mural painting at Ramoche Monastery, 2012. Photographedby Da-wa Yu-zhen. Fig. 2 Tibetan artist Suo-lang Ci-dan was doing the lower part of the mural painting at Ramoche Monastery, 2012. Photographed by Da-wa Yu-zhen.

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In the aspects of the content and the technique, and the materials for painting, there is not much difference between painting a thangka and a piece of mural painting [in Tibet]. Luo-bu Si-da (the successor of the Intangible Cultural Heritage)

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To my knowledge, there are generally five main steps in the process of a mural painting in Tibet: 1) the preparation; 2) the sketch; 3) application of colours and outlining; 4) the finishing touches; 5) the varnish.

1. The Preparation :

1. The Preparation The first step in making a piece of mural painting in Tibet is to prepare the painting surface by applying glue, and polishing the ground for the painting (outlined in the previous section), which is coupled with a religious ceremony to purify the site by means of prayer and offerings, as well as worship for the deities that are to be drafted.

2. The Sketch and the Most Commonly Used Compositions:

2. The Sketch and the Most Commonly Used Compositions In short, th is step is to lay down the main chalk lines for orientating and dividing the position of the central and other figures and to sketch the draft of the figures in pencil or charcoal on the wall.

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B efore beginning the sketch the artist needs to establish the very important eight lines for orientating. These are: ‘ two diagonals, the vertical, the horizontal and the four outer borders ’ .

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Fig. 7 Tibetan artist La-ba checking the hierarchy of size and position of deities in Buddhist texts while restoring the murals. Photographed by Da-wa Yu-zhen.

2.2 The arrangement of the composition:

2.2 The arrangement of the composition Gerasimova (1978: 47) stresses this compositional formula as follows: The construction of individual figures and decorative-ornamental combinations on a flat surface actually exhausted the entire problem of the organization of space in the representational icon. Its compositional formula consisted in the quantitative establishment of the centre and a symmetrical grouping of the secondary components according to a principle of simple transfer.

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The spiritual hierarchy of the Tibetan pantheon is obviously manifested in its painting through its vertical position and its figural proportions. Generally, the higher placement and the larger size of the figures represent figures that enjoy a relatively higher status of class compared to other classes of the same importance.

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Fig. 1 2. Completed sketch of Vajrasattvaby Legdrup Gyatsho, Tibet.

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Fig. 13 Completed sketch of The Wheel of Existence

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Fig. 2.78 A Drawing of Five Horses (part), Chinese traditional ‘iron-line’ style on paper, Li Gonglin, Song Dynasty, China.

3. The Usage of Pigments and the Application of Colours and Outlining:

3. The Usage of Pigments and the Application of Colours and Outlining

3.1 The traditional way of making paints:

3.1 The traditional way of making paints

3.2 The painting orders:

3.2 The painting orders

3.3 Applying the Outline of the Contour:

3.3 Applying the Outline of the Contour

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‘ T he white outlining’ part of Jie-zun Prajnapalita, mural painting, the first 14thcentury, Shalu Monastery

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‘ T he black outlining’, part of Honeysuckle Trim-Design, mural painting, the mid-15th century, the Red Palace, Tibet.

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‘ T he gold outlining’, The Mahsiddha Tilopa (part), contemporary t hangka , Tibet. (Meulenbeld, 2001: 56).

4. The Finishing Touches:

4. The Finishing Touches

5. The Varnish and the Unveiling Ceremony:

5. The Varnish and the Unveiling Ceremony

CONCLUSION:

CONCLUSION ... the treatment of the wall surface, the holding of religious ceremony, drafting of the sketch, the finalization of the sketch, the application of colours, tracing in golden or silvery lines, dripping with gold-power, drawing the outline of the contour, delineation of the facial part, suppressing and polishing the golden lines, glue-coating and holding the opening ceremony.

Thank you for your attention!!!:

Thank you for your attention!!!

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