Religious paintings worshipped, as icons are known as Paubha in
Newari and Thangka in Tibetan. The origin of Paubha or Thangka
paintings may be attributed to the Nepalese artists responsible for
creating a number of special metal works and wall paintings as well
as illuminated manuscripts in Tibet.
Realizing the great demand for religious icons in Tibet, these
artists along with monks and traders, took with them from Nepal not
only metal sculptures but also a number of Buddhist manuscripts. To
better fulfill the ever – increasing demand, Nepalese artist
initiated a new type of religious paintings on cloth that could be
easily rolled up and carried along with them. This type of painting
became very popular both in Nepal & Tibet and so a new school of
thangka painting evolved as early as the ninth or tenth century and
has remained popular to these days. The “Mandala” of Vishnu dated
1420 AD is another fine example of the painting. Early Nepalese
Thangkas are simple in design and composition. The main deity, a
large figure occupies the central position while surrounded by
smaller figures of lesser divinities.
From the fifteenth century onwards, brighter colors gradually began
to appear in Nepalese Thangka. Because of growing importance of
Tantric cult, various aspects of Shiva and Shakti (Goddess of
Hindus) were printed, in conventional poses.
Mahakala, Manjushree, Lokeshwora and other deities were equally
popular and so were also frequently represented in Thangka
paintings of later dates. The embrace of male and female is another
common symbolism of the Tantric Buddhist art of this period.
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