PAINTING THANGKAS - Depicting MoralitySarika Singh,
The paper emphasizes on the Buddhist tradition of thangka paintings (thangka meaning- scroll). Thangka paintingsdeveloped in Tibet for over a thousand years and are seen as a continuum of the Buddhist paintings that emerged in India. Thangka paintings are based on the Indian guidelines as well as are also influenced by Nepalese, Chinese and Kashmiri styles. The paper defines the role of the artist in the creation of thangka paintings, while clarifying the purpose behind creating these Buddhist paintings. The role of the artists has mostly been anonymous and not much information is available about them; the paintings are their only impression and beyond that he or she is silent. No names of the artists are written on the paintings. The artist ensures that the purpose of creating these paintings is never lost beginning with the Ajanta cave paintings in India around the 2 B.C., and spanning through over a thousand years to include the Tibetan thangka paintings created in the present day. The artist understands his or her significant responsibility to translate morality visually, elevate mankind, aid in spiritual practices andevoke deities as well as to connect people to the beauty and the divine. All in order to benefit and elevate the humanity!!! In addition, the paper mentions the various steps in the creation of a thangka painting and the various styles in which these paintings can be executed.
IMAGE AND IMAGERY - Making BuddhaSarika Singh,
The paper emphasizes on what makes the image of the Buddha. When an artist takes refuge in the Triratnaor ‘Three Jewels’ or ‘Triple Gem’, the artist honors Buddha (enlightened being), Dhamma (Buddha’s teachings) and Sangha(assembly) and is reminded of their qualities. The artist now diligently works to develop or emulate these qualities and prepares to translate them visually. By taking refuge in ‘Triratna’, understanding the marks of Buddha, paramis (perfections), boddhicitta (the mind dedicated to enlightenment), mudras (hand gestures), iconographic guidelines, colors and having acquired the skills needed, an artist lays the foundation for creating the image of the Buddha. The image of Buddha is then, nothing but ‘Dhamma’ personified.
ISKUSTVO THANGKA SLIKARSTVA U NOVOM CIKLUSU CRTEŽA JOSIPA ZANKIJA - Wittgenstein mantraIgor Loinjak,
Najnoviji ciklus Josipa Zankija proizašao je iz njegovih antropološko-umjetničkih istraživanja provedenih u sklopu doktorskog studija u kojem se između ostaloga bavio i statusom slike i načina na koji se pristupa vizualizaciji svijeta i božanstva u okviru tibetanskoga budizma