Thangka "The Three Essences of Bodhisattvas": Touching the Spiritual Universe of Tibetan Buddhism through Color and Line
Thangka Artist: Zheng Weizhong
Thangka Dimensions: 300cm * 120cm
Thangka "Three Aspects of Bodhisattvas":
Touch the Spiritual Cosmos of Tibetan Buddhism Through Colors and Lines
Theme: The Embodiment of the Spiritual World
The theme of the thangka "Three Aspects of Bodhisattvas" is profoundly meaningful, featuring three principal deities: Chenrezig (Four-Armed Avalokiteshvara), Manjushri Bodhisattva, and Amitayus Buddha.
Chenrezig (Four-Armed Avalokiteshvara), situated at the center of the painting, is one of the manifestations of Avalokiteshvara Bodhisattva, symbolizing "compassion." Each of his four arms carries a distinct significance: his hands pressed together in Anjali Mudra express devotion to the Dharma, while the other two hands hold a prayer bead mala and a lotus flower respectively, signifying the deliverance of all sentient beings from suffering through a compassionate heart. In Tibetan Buddhist belief, Chenrezig (Four-Armed Avalokiteshvara) is the tangible symbol of "compassionate spirit," and devotees deeply trust in his compassionate power.
Manjushri Bodhisattva, positioned on the left side of the painting, appears in golden hue, symbolizing "wisdom." He holds a sword and a sutra scroll: the sword represents the cutting off of sentient beings' afflictions and ignorance, while the sutra scroll embodies the transmission of wisdom. Manjushri Bodhisattva holds an exalted position in Tibetan Buddhism as the core symbol of "enlightenment through wisdom." Revered as the teacher of the Three Buddhas of the Ages and the Seven Buddhas, he illuminates the path of practice for all sentient beings with the light of wisdom.
Amitayus Buddha on the right side shines in pink, symbolizing "blessing and longevity." Holding a longevity vase, he blesses all sentient beings to overcome obstacles to longevity and attain profound blessings and wisdom. In Tibetan Buddhism, Amitayus Buddha dispels calamities of premature death, extends life span, and embodies the Tibetan people's spiritual aspirations for a fulfilled life. Through offering reverence and worship to Amitayus Buddha, people pray for good health, longevity, and family happiness.
Together, these three bodhisattvas form a spiritual triangle of "compassion - wisdom - blessing and longevity," encompassing Tibetan Buddhism's care for the spiritual needs of all sentient beings. Surrounding them are figures of revered masters reciting sutras, attendants paying homage, apsaras offering reverence, and ordinary people worshipping, extending this spiritual system from the sacred realm to secular life. The revered masters' focused sutra recitation reflects their dedication to the Dharma; the attendants' respectful service demonstrates their veneration for the principal deities; the apsaras' graceful offerings bring an aura of agility and peace, as if descending from heaven with blessings; and ordinary people's devout worship expresses their faith and prayers to the Buddhas and bodhisattvas. Together, they construct the Buddhist cosmology of "all dharmas converge into one, and one embraces all dharmas," allowing viewers to feel the omnipresence of the Buddhas' and bodhisattvas' compassion and wisdom, guiding all sentient beings toward liberation.
Iconography: The Fusion of Sacred and Secular
Thangka iconography strictly adheres to the "Iconometric Canon of Painting," with every proportion and posture embodying religious rituals. However, the artist of "Three Aspects of Bodhisattvas" infused vivid artistic expression into these "norms," endowing the figures with both divine dignity and secular warmth.
The three principal bodhisattvas all sit in full lotus position (Padmasana) on lotus thrones, their postures upright yet gentle. For example, Chenrezig (Four-Armed Avalokiteshvara) adopts a "triple-bend" posture, with a slight curve of the body that conveys dynamic movement. Their faces display a "peaceful expression" (Shantamukha), with downcast eyes and a compassionate curve of the lips, exuding both divine solemnity and tender care for all sentient beings. Manjushri Bodhisattva's golden body radiates the brilliance and nobility of wisdom; Amitayus Buddha's pink body signifies the auspiciousness and beauty of blessings and longevity; and Chenrezig (Four-Armed Avalokiteshvara)'s white body symbolizes the purity and innocence of compassion. These distinct body colors not only clarify their identities but also enhance visual focus, allowing viewers to immediately perceive the unique qualities of each principal deity.
The surrounding revered masters, apsaras, and donors are significantly smaller in size than the principal deities but exquisitely crafted. The revered masters, either reciting sutras or in meditation, feature clearly distinguishable folds in their robes and intricate details of their ritual implements, reflecting their dedication to Dharma practice. The apsaras move gracefully, holding flowers or playing musical instruments, their silk ribbons fluttering, infusing the painting with agility and vitality as if bringing heavenly blessings to the mortal world. The donors bear traces of secular life, some holding offerings and others displaying devotion—they may be ordinary Tibetans or practitioners, serving as a bridge for "dialogue between the sacred and the secular," allowing viewers to feel the intimate connection between the Buddhas' and bodhisattvas' compassion and wisdom and people's daily lives.
This iconographic logic of "distinct hierarchy yet meticulous craftsmanship throughout" embodies the artistic wisdom of thangka: "using the secular to set off the sacred, and using the sacred to transform the secular." By depicting secular figures' reverence and offerings to the Buddhas and bodhisattvas, the sacred status of the principal deities is emphasized; in turn, the compassion and wisdom of the principal deities shine like light, illuminating and transforming secular sentient beings, guiding them toward enlightenment and liberation.
Colors: The Beauty of Faith Painted with Mineral Pigments
The color aesthetics of "Three Aspects of Bodhisattvas" represent the perfect integration of natural mineral pigments and religious symbolism.
The painting is based on blue, gold, and green: the blue-dyed background resembles the vast void, symbolizing the boundlessness of the Buddhist cosmos, evoking images of the deep night sky and expansive oceans, as if containing infinite wisdom and compassion. Gold is used for the principal deities' auras, necklaces, and decorations, shimmering brightly to highlight their inviolable sacred dignity, representing the nobility and light of the Dharma, like sunlight illuminating the hearts of all sentient beings. The green flowers and plants symbolize life and vitality, infusing the solemn painting with freshness, embodying the harmony of nature and the vigor of life, as well as the flourishing development of practitioners' wisdom and spiritual endeavors. The body colors of the three principal deities (gold, white, pink) form a striking contrast: Manjushri Bodhisattva's gold radiates wisdom, Chenrezig (Four-Armed Avalokiteshvara)'s white embodies pure compassion, and Amitayus Buddha's pink signifies auspicious blessings and longevity. These distinct colors not only differentiate their identities but also create a layered visual effect, enabling viewers to quickly grasp the unique characteristics of each bodhisattva.
In terms of shading technique, the artist employed the traditional "gradation method," achieving natural and soft color transitions. For example, the bodhisattvas' robes display a gradient from dark to light from the edges to the center, delicately simulating the texture of silk and light effects, as if the robes are gently fluttering in the breeze, exuding a vivid beauty. The shading of the flowers enriches their layers, making the petals as vibrant and lifelike as real flowers, each petal seemingly brimming with vitality. This technique is not only a display of skill but also the key to endowing the two-dimensional thangka with a three-dimensional sense and life. Every subtle change in color depth reflects the artist's contemplation on "materializing faith," presenting the Buddhas' and bodhisattvas' compassion and wisdom in a vivid and intuitive way through color transitions and integration, guiding people to feel the power of faith.
Craftsmanship: Time-Honored Ingenuity Passed Down Through Millennia
Thangka craftsmanship has been passed down for millennia, embodying the ingenuity and piety of Tibetan artisans. "Three Aspects of Bodhisattvas" is a vivid manifestation of traditional thangka techniques.
In terms of pigment use, thangkas employ natural mineral pigments such as gold, silver, pearls, agate, and malachite. These natural minerals are carefully ground into pigments for painting. Gold powder imparts a sacred luster to the painting, silver powder adds a touch of mystery and solemnity, pearl powder lends a warm texture, agate powder creates unique color layers, and malachite powder presents a fresh green hue. These natural pigments offer exceptional color stability, retaining their vividness for centuries. This is a crucial reason why thangkas can transcend time and continue to captivate viewers with their brilliant colors—each stroke of color carries the gifts of nature and the Tibetan people's piety toward religion.
The process of painting a thangka is extremely intricate, involving dozens of steps such as sketching, line drawing, color filling, shading, and facial rendering. During the sketching phase, the artist gently outlines the general composition and figure positions on the canvas with charcoal. Line drawing requires the artist to use a fine brush to meticulously depict the figures' muscles, robes, and background elements such as mountains, rivers, trees, and clouds—each line's thickness, density, and curvature must be precisely executed to convey the form and texture of the objects. For color filling, the artist selects appropriate pigments and applies them evenly to the corresponding areas. In the shading process, the traditional "gradation method" is used to achieve natural and soft color transitions, creating a three-dimensional and layered effect.
"Facial rendering" is the most critical step, requiring the artist to maintain complete concentration, extreme patience, and exquisite skill to depict the bodhisattvas' charm. With a single delicate stroke, the artist endows the images with a soul, presenting them in a state of solemnity, compassion, and gentleness. Viewers can almost feel the bodhisattvas' gaze, evoking reverence and piety. This is not merely a craft but a form of spiritual practice for Tibetan artisans—through painting thangkas, they express their faith and reverence for the Dharma, infusing their spiritual world into every brushstroke.
Contemporary Value: The Timeless Resonance of Art
In the context of contemporary art, the value of the thangka "Three Aspects of Bodhisattvas" has become increasingly prominent. It is a crystallization of Tibetan artistic wisdom, passed down through centuries and embodying the dedication and talent of countless artists. From theme selection to iconographic depiction, from color application to craftsmanship, every detail reflects the unique aesthetic concepts and artistic creativity of the Tibetan people.
"Three Aspects of Bodhisattvas" is also a precious specimen for the study of Tibetan Buddhist art's form, color, and craftsmanship. Through research on this thangka, scholars can gain an in-depth understanding of the development context of Tibetan Buddhist art, iconometric norms, color symbolism, and traditional craft processes. It provides intuitive and vivid materials for the study of Tibetan Buddhist art, allowing future generations to glimpse the splendor of ancient Tibetan Buddhist art.
More importantly, "Three Aspects of Bodhisattvas" serves as a bridge connecting tradition and modernity, enabling people to experience faith and spiritual pursuit. In the fast-paced modern life, people often become lost in the pursuit of material wealth. However, this thangka, with its solemn iconography, brilliant colors, and profound religious connotations, offers a spiritual sanctuary. While appreciating its artistic beauty, viewers can also touch the Tibetan people's spiritual pursuit of compassion, wisdom, and blessings, feeling the power of faith. This timeless spiritual resonance has breathed new life into thangka art in contemporary times, allowing more people to recognize and cherish this unique art form.