From Canvas to Cosmos: The Enigmatic Motifs of Ladakhi Thangkas

Cradled within the colossal heights of the Trans-Himalayas, Ladakh is a land of mesmerizing landscapes and deep spiritual roots. Tibetan Buddhism, as a profound spiritual or philosophical tradition, holds an imperative place in the socio-cultural and religious landscape of Ladakh. Owing to its geographical, historical, and cultural ties with Tibet, it has also earned a unique sobriquet, “Little Tibet.” Moreover, the very essence of Tibetan Buddhism is deeply intertwined with India, as in the 8^th century, Indian spiritual or tantric master Padmasambhava, also known as Guru Rinpoche, played a paramount role in introducing the esoteric tantra practices into the existing Bon beliefs of Tibet, which eventually solidified into the Nyingma school, the oldest school of Tibetan Buddhism and esoteric Vajrayana practices in the region, which eventually made their way to Ladakh.

A majestic view of vast landscape of Ladakh. (Vanshika Sai, personal         photograph, May 14, 2024).

Unrolling the Meaning of Exquisite Art

Drawing inspiration from the artistic sensibilities of Tibetan, Chinese, Indian, and Nepalese culture, Ladakh has over the centuries, crafted a distinct identity, showcasing its rich cultural heritage through variegated forms of religious art, with ‘thangkas’ standing as the epicenter of tangible cultural heritage in Ladakh. In Tibetan, the word “thangka” (ཐང་ཀ་) means “something which can be ‘rolled up’ or ‘scroll.’

Comprehensively, thangkas can be explained as highly elaborate Buddhist paintings, intricately painted, or meticulously embroidered on cotton, linen, or silk using natural, vibrant pigments and gold dust, mounted on a brocade frame, and are often portable, reflecting the spirit of nomadic traditions of Ladakh. These scroll paintings not only provide exquisite decoration to the walls, augmenting the aesthetic aura of the monasteries, but also serve as powerful visual aids for meditation, ritual, and spiritual upliftment.

Blending Thangka Painting with detailed Embroidery. (Image Courtesy; Medium)

Tracing the origin

The origin of Thangka painting is a complex interplay of diverse influences, significantly rooted in India and Tibet. The earliest preserved thangkas on fabric come from Tibet and date to the 11^th and 12^th centuries. The formative influences that culminated in the crystallization of Thangka as a religious art can be traced back to ancient India, especially during the Gupta period (4^th-6^th centuries), when diverse art forms flourished. Indian Buddhist monks brought ‘Pattachitra’ (where patta means cloth or canvas and chitra means painting; together they refer to cloth painting) and wall murals depicting Buddhist deities and teachings to Tibet, serving as early inspirations for thangka art.

Some scholars have also opined that the art of thangka paintings originated in Nepal around the 8^th century AD. Therefore, it would be appropriate to deduce that while the foundational or proto elements of thangka painting originated in the Indian subcontinent, the unique art form we now associate with thangkas is primarily a product of Tibet. Over time, the art assimilated through the Himalayan region, including Ladakh, where artists refined these early influences, eventually creating a unique style that is rich in spiritual imagery and shares a deep connection with Buddhist teachings.

A Sacred Process

The art of crafting thangkas is also deeply entrenched in the Tibetan concept of ‘sacred process,’ where the act or the process of making artwork itself is considered as instrumental as the finished piece. This process is not only artistic but also a profound meditative and ritualistic practice that requires utter sincerity, consistency, sacred intent, and mindfulness. Thangkas are an art form that transcends individual expression. More than reflecting the artist’s personal identity, they act as sacred vehicle for spiritual enlightenment, channeling the viewer’s energy toward a deeper connection with the divine.

The spiritual essence of the process of making thangkas can be gauged from the practices that precede its inception. Artists engage in purification ceremonies and prayers to achieve peace of mind, often seeking blessings from a lama or spiritual mentor. Even during the crafting process, they chant mantras to infuse the painting with positive energy and spiritual aura. Upon completion, the scroll painting is being consecrated by lamas through practicing elaborate rituals, transforming the painting into a spiritual artwork, which would then act as a mediator between the divine and earthly world, eventually leading the practitioners on to the path of achieving enlightenment.

A Thangka master working on the project, the 108 Masters of the Dzogchen Lineage. (Image Courtesy: Tretyakov Gallery Magazine)

Symbolism and Art of Iconometry

Thangkas of Ladakh, although deeply rooted in Tibetan Buddhism, are also intrinsic to Vajrayana Buddhism, the esoteric branch of Mahayana practiced in the region. In this context, thangkas take on a more obscure role where they are particularly used in advanced and complex meditation practices, such as deity visualization and mandala meditation, forming an essential part of the practice of Vajrayana’s “tantric” rituals.

The design of thangka incorporates a variety of spiritual motifs from depictions of Tsog-shing (Assembly Trees), Tathagata Buddhas, male and female Bodhisattvas (deities), Buddha’s life events, Patriarchs, Tutelary deities, Arhats, as well as dharma-protecting and wrathful deities, to intricate mandalas and cosmic symbols, all adhering to a well-established system of iconometry, referring to the precise measurements and strict proportions used to create sacred Buddhist images, which are elaborately explained in revered Buddhist scriptures like the Chakrasamvara Tantra or Vajrabhairava Tantra. This system ensures that the images, symbols, or compositions are crafted in coherence with cosmic and spiritual principles.

Iconographic grids guiding the depiction of Buddhist deities in Thangkas. (Image Courtesy: ramaarya.blog)

Mandala Motif: Spiritual Geometry in Thangka

Among the myriads of motifs or patterns depicted on Ladakhi thangkas, the mandala holds supreme importance. The word mandala means circle in Sanskrit, but it represents much more than merely a geometric shape. It symbolizes a geometric representation of the whole universe, representing cosmic harmony and spiritual balance while integrating both macrocosm (universe) with microcosm (individual mind).

Om Mandala, Ladakh Art Palace. (Image Courtesy: Baro Art)

Typically, a mandala is organized in nested concentric circles and squares, with a prominent deity or spiritual motif acting as an epicenter of the whole craft. Mostly, ‘historical Buddha,’ bodhisattva, or tantric deity, such as Avalokiteshvara, Vajrapani, Vajrayogini, or a religious symbol like Kalachakra, are being represented as the focus point of the mandala.  Surrounding this are intricate patterns of lotus petals, fire, and vajra, where the lotus symbolizes spiritual purity, representing the sacred realm, uncorrupted by the worldly defilements.

The flaming circle symbolizes the burning away of ignorance and worldly desires while acting as a protective boundary, shielding the sacred space of the mandala from impure influences of negative spirits. The vajra, meaning ‘diamond’ or ‘thunderbolt,’ represents the indestructible power and spiritual truth, reflecting the unwavering power of enlightenment with the amalgamation of wisdom and compassion. Together these motifs form an intricate motif of mandala, which guides practitioners on their path to achieving nirvana, liberation from the cycle of birth, death, and rebirth, emphasizing the transformative power of Vajrayana Buddhism.

Buddha Mandala, Ladakh Art Gallery. (Image Courtesy: Baro Art)

From Creation to Liberation

The sacred motifs of mandala also play a prominent role in religious practices like Wangkur (empowerment ceremonies), where practitioners receive blessings, mantras, or instructions for advanced and more rigorous meditation, leading them from the outer world to the ultimate state of enlightenment at the center. Additionally, the practice of creating sand mandalas, which are ritually destroyed just in a few seconds after their completion, points towards one of the most imperative teachings of Buddhism that “nothing in the world lasts forever, and everything is temporary.” It also underscores the value of detachment to achieve liberation from all sufferings.

The vibrant colors used in the motifs of mandalas carry deep spiritual meaning, with each hue representing specific qualities. White embodies purity and wisdom, red reflects compassion and energy, blue signifies seamless space and serenity, yellow conveys prosperity, and green conveys harmony and balance. The consciously chosen colors of mandala augment its spiritual energy, enhancing its effectiveness as a meditative tool. These colors also represent five fundamental elements of nature, including earth, water, fire, air, and space, reflecting the Buddhist philosophy.

The Bhavachakra Symbol: Cycle of Samsara

Another recurring motif in Ladakhi Thangkas is the Bhavachakra (Wheel of Life), offering a visual presentation of samsara, the cyclical existence of life marked by birth, death, and rebirth. The center of the Wheel of Life is marked by imagery of a pig, rooster, and snake chasing each other in a circle. They are believed to be the representation of the three poisons—delusion, attachment, and aversion—propelling the cycle of samsara, as all these emotions are the root cause of all sufferings

Bhavachakra artwork in the courtyard of Thiksey Monastery, Ladakh. (Image Courtesy: Wikimedia Commons)

Surrounding the center is the wheel of Karma, characterized by the universal law of cause and effect. In this wheel, positive karma is depicted as a luminous white light, representing virtuous actions that guide beings upward into higher realms. In contrast, negative karma, resulting from harmful actions, symbolizes the descent of beings into lower realms of suffering.

The wheel is surrounded by the six realms of existence, representing diverse states of rebirth based on karma. The God Realm is one of comfort and momentary happiness, as eventually it is marred by pride and suffering, while the Demi-God Realm is characterized by envy and conflict. The human realm is also marked by attachment and suffering, but it also offers the potential for liberation through choice and awareness.

The Animal Realm symbolizes ignorance and servitude, and the Hungry Ghosts Realm signifies insatiable desire. Lastly, the Hell Realm symbolizes extreme suffering and hatred. The first three realms are depicted at the top, considering them higher realms, while the last three realms are considered lower ones, due to which they have been given the lower position in the craft. Holistically, these realms provide the perspective of various forms of suffering inherent in samsara.

The outermost ring shows Pratityasamutpada, “the twelve links of dependent origination,” explaining the interconnectedness of actions and their consequences. The whole wheel itself is held by the demon Yama, the lord of death, symbolizing impermanence, while the Buddha is being depicted outside the wheel signal towards lightning moon, representing the path of liberation. The motif of bhavachakra profoundly encapsulates the basic tenets or core philosophical values of Tibetan and Vajrayana Buddhism. It explains how our life and world are being shaped by our own actions, directly or indirectly, providing agency in the hands of living beings.

Wheel of Life (Bhavachakra) Thangka, Tibet, c.1900 (Image Courtesy: Pinterest)

Thangka Art: A Sacred Legacy in the Face of Modernization

Thangka paintings, as a religious art form, continue to remain a living testament to the region’s spiritual essence and artistic heritage. These sacred scrolls are still extensively used in monasteries such as Hemis, Thiksey, and Spituk Monastery. For instance, during the great Hemis Festival, colossal thangkas featuring Padmasambhava, are unfurled as part of the celebrations, which are considered a revered source of spiritual blessings and protection for the community. Similarly, giant thangkas portraying intricate mandalas are particularly used in Kalachakra initiations, an exclusive Vajrayana practice.

Thiksey Monastery showcasing a 15-meters high Maitreya statue with scroll and wall paintings (murals), narrating the story of Future Buddha, Ladakh. (Vanshika Sai, personal photograph, May 15, 2024).

Traditional art of thangka-making thrives in Ladakh with the dedicated efforts of institutions like the Central Institute of Buddhist Studies (CIBS) and the Ladakh Arts and Media Organization (LAMO), where young artisans are meticulously trained in following ancient methods using natural pigments and sacred iconometry. However, challenges such as the commercialization of thangkas for facilitating the thriving tourism of Ladakh have raised concerns pertaining to the dilution of their sacred significance as the bulk production of thangkas with synthetic materials deteriorates the authentic and spiritual nature of this art. The series of considerate efforts are being made by Ladakhi monasteries by maintaining dedicated workshops, ensuring that the authentic, spiritual, and artistic legacy is passed to posterity.

Conclusion

Thangka paintings of Ladakh, encompassing a variegated set of intricate spiritual motifs, are more than aesthetic or artistic expressions. They are the gateways to the divine path of nirvana, the ultimate reality. From the depiction of mandalas and sacred deities to that of bhavachakra, each motif encapsulates the profound interplay of cosmic order and inner spiritual metamorphosis, ensuring the continuity of Ladakh’s unique cultural and artistic legacy.