BSU bulletin. Humanities Research of Inner Asia
Bibliographic description:
, BUDDHIST THANGKA: CANVAS MANUFACTURING TECHNIQUES // BSU bulletin. Humanities Research of Inner Asia. - 2017. №4. . - С. 41-46.
Title:
BUDDHIST THANGKA: CANVAS MANUFACTURING TECHNIQUES
Financing:
Codes:
Annotation:
In article the author describes methods of the production of the canvas which is used at
school of a thangka painting of venerable SangyeYeshi, the master of Tibetan painting –
Menris style in India. Also in the article will be opened the practical moments and experiences
of the author in preparation of canvas concerning the supervision that emphasizes
their relevance for Buddhist icon painters. At the initial stage production of a
suitable art surface is one of the major criteria in the Tibetan painting of the thangka
and is the essential basis for durability of the represented drawing. The preparation
of a good soil canvas is one of the most important and initial points in the Tibetan
painting, especially if thangka is drawn on the fabric basis. As the roll painting was
twisted during the transporting, storage and then developed for display. Therefore after
frequent deployment if the canvas possesses defects, they will be shown as a crack, fall
or a peeling of mineral paints and the subsequent paint coats.
school of a thangka painting of venerable SangyeYeshi, the master of Tibetan painting –
Menris style in India. Also in the article will be opened the practical moments and experiences
of the author in preparation of canvas concerning the supervision that emphasizes
their relevance for Buddhist icon painters. At the initial stage production of a
suitable art surface is one of the major criteria in the Tibetan painting of the thangka
and is the essential basis for durability of the represented drawing. The preparation
of a good soil canvas is one of the most important and initial points in the Tibetan
painting, especially if thangka is drawn on the fabric basis. As the roll painting was
twisted during the transporting, storage and then developed for display. Therefore after
frequent deployment if the canvas possesses defects, they will be shown as a crack, fall
or a peeling of mineral paints and the subsequent paint coats.
Keywords:
Buddhist art, thangka, technology of production of canvas, preservation,
stretcher, primer, polishing.
stretcher, primer, polishing.
List of references:
1. David P. Jackson and Janice A. Jackson // Shambhala Publications, Inc. Boulder. - Colorado.
80306-0271, 1984. – 183 r.
2. Bo-dong, Mkhaspa, vol.2, pp. 254.4.-255.3.
3. Sumpa Mkhanpo, p.399 ,
4. Mi-Pham-rgyamtso, Bzognas, pp. 89.6-90.1.
80306-0271, 1984. – 183 r.
2. Bo-dong, Mkhaspa, vol.2, pp. 254.4.-255.3.
3. Sumpa Mkhanpo, p.399 ,
4. Mi-Pham-rgyamtso, Bzognas, pp. 89.6-90.1.
Article.pdf