A thangka wall is, in Tibetan religious architecture, a stone-built structure used for hanging giant, or monumental, appliqued thangkas, or scrolls, in some of the major Buddhist monasteries of Tibet. These giant thangkas are called gos ku, goku, gheku, kiku (cloth image) in Tibetan, and thongdrel in Bhutan. The thangka wall stands on a hillside from where it overlooks the monastic settlement. Its form is that of a narrow, elongated and tall rectangular building with a battered façade and a flat roof surrounded by a parapet. The side and rear walls are normally vertical.
Thangkas are only displayed hung on the walls on special occasions such as major festivals, when they are or were unrolled by monks at the top of the wall, with considerable ceremony. Tibetan Buddhists believe that viewing the thangka with the proper spirit brings great spiritual benefits. Often the thangka was only displayed on one day in the year.
Smaller monasteries that lack a special thangka wall, like those in Bhutan, may hang their large thangkas from the other monastery buildings, often in the main courtyard. This was presumably the practice everywhere before the emergence of special thangka walls. The creation of silk appliqué thangkas appears to have begun in China, perhaps in the 14th century, using existing Chinese textile techniques to copy painted Tibetan thangkas. These reached Tibet, where they were well received, and the Tibetans, also already used to silk appliqué for decorating tents and clothes, began to make their own. Initially these were relatively small, for hanging inside prayer-halls, but by at least the 15th century some were being made large enough that large outside locations were needed to display them. [1]
At Tashilhunpo monastery in Shigatse, the thangka wall has had the following designations:
At Palcho Chode monastery in Gyantse, the thangka wall is called
The words kugo, gos-sku, goku, gheku and kiku refer to the monumental thangka (kugo being apparently the result of inverting the two syllables of goku while gheku and kiku are supposed to be informal pronunciations of gos sku or goku).
In English-language writings, this type of building is referred to as "thangka wall" (Victor Chan, 1994; [10] Andreas Gruschke, 2001; [11] The Tibet Album, 2006; Michael Henss, 2011; Tibet, Lonely Planet, 2015; Diana Lange, 2016), [12] or sometimes "support wall" (Tibet, Lonely Planet, 2015) or "display wall" (Ronald M. Bernier, 1997).
American explorer F. Bailey Vanderhoef, Jr. uses the term "pylon" in his memoirs published in 1938. [13]
In the original captions attached to the photos taken by the 1938–39 German expedition to Tibet, the Palcho Chode edifice is called große Gebetsmauer (large prayer wall) while its counterpart at Tashilhunpo is termed große Tangamauer (large thangka wall). [14]
At least four large monasteries in China's Tibet Autonomous Region possess a giant thangka wall : Sera (Lhasa), Palcho Chode (Gyantse), Tashilhunpo (Shigatse) and Riwo Dechen (Qonggyai). The walls at Sera and Riwo Dechen are recent additions while those at Tashilhunpo and Palcho Chode are centuries-old monuments.
The thangka wall at Sera stands near the Chöding hermitage (Tsongkhapa's retreat before the monastery was built). The wall is a recent replacement to a scaffolding erected on a slope. [15] It has some semblance to its counterpart at Tashilhunpo (see beneath). The wall is used for lifting giant thangkas of the Buddha during the Shoton festival in August. The wide yard fronting the building is where the faithful gather to gaze on the giant thangkas.
The massive, stark thangka wall at Palcho Chode towers above a hillside in the north-eastern part of the monastic enclosure built in 1425. The building of the wall is not supposed to have taken place before the 1430s when the associated monumental thangkas were commissioned. [16]
During the Gyantse festival in the fourth month of the Tibetan year, the wall is used, within a two-year cycle, to display the Sakyamuni thangka in alternation with the Maitreya thangka. A third one, the Dīpankara thangka, is no longer displayed due to its poor state of repair. [17]
The Tashilhunpo thangka wall stands on a hillside in the north-eastern part of the monastic complex. Because of its overbearing position, it can be seen from afar. It is the largest and the most impressive thangka wall still extant. It is approximately 32 metres high by 42 metres long at the base. It was built in 1468 [18]
The wall is used for displaying giant representations of Maitreya (the Buddha of the future), Amitabha (the Buddha of the infinite light), and Sakyamuni (the enlightened Buddha) on the basis of one different thangka a day during the festival taking place on the 14th, 15th and 16th of the fifth Tibetan month (ie 1, 2 and 3 July). [19]
The Riwo Dechen kagyupa monastery in the Qonggyai Town possesses a thangka wall that overbears the other monastic buildings and can be seen from afar. It is a recently built addition to the complex. The front face of the building has a strong batter. A stone masonry retaining wall marks out the platform that extends outside the thangka wall.[ citation needed ]
A giant thangka of Maitreya, the Buddha of the future, is preserved and maintained by the monastery. [20]
A silk brocade is used to mount the thangka onto the wall. While mounting the thangka on the wall, it may alter some details on the iconography and overall aesthetic of the thangka. Hanging thangkas on damp thangka walls can also be detrimental to the condition of the thangka. [21]
The vast majority of surviving Tibetan art created before the mid-20th century is religious, with the main forms being thangka, paintings on cloth, mostly in a technique described as gouache or distemper, Tibetan Buddhist wall paintings, and small statues in bronze, or large ones in clay, stucco or wood. They were commissioned by religious establishments or by pious individuals for use within the practice of Tibetan Buddhism and were manufactured in large workshops by monks and lay artists, who are mostly unknown. Various types of religious objects, such as the phurba or ritual dagger, are finely made and lavishly decorated. Secular objects, in particular jewellery and textiles, were also made, with Chinese influences strong in the latter.
A thangka is a Tibetan Buddhist painting on cotton, silk appliqué, usually depicting a Buddhist deity, scene, or mandala. Thangkas are traditionally kept unframed and rolled up when not on display, mounted on a textile backing somewhat in the style of Chinese scroll paintings, with a further silk cover on the front. So treated, thangkas can last a long time, but because of their delicate nature, they have to be kept in dry places where moisture will not affect the quality of the silk. Most thangkas are relatively small, comparable in size to a Western half-length portrait, but some are extremely large, several metres in each dimension; these were designed to be displayed, typically for very brief periods on a monastery wall, as part of religious festivals. Most thangkas were intended for personal meditation or instruction of monastic students. They often have elaborate compositions including many very small figures. A central deity is often surrounded by other identified figures in a symmetrical composition. Narrative scenes are less common, but do appear.
Gyantse, officially Gyangzê Town, is a town located in Gyantse County, Shigatse Prefecture, Tibet Autonomous Region, China. It was historically considered the third largest and most prominent town in the Tibet region, but there are now at least ten larger Tibetan cities.
Tashi Lhunpo Monastery is an historically and culturally important monastery in Shigatse, the second-largest city in Tibet. Founded in 1447 by the 1st Dalai Lama, it is the traditional monastic seat of the Panchen Lama.
Sera Monastery is one of the "great three" Gelug university monasteries of Tibet, located 1.25 miles (2.01 km) north of Lhasa and about 5 km (3.1 mi) north of the Jokhang.
A Kumbum is a multi-storied aggregate of Buddhist chapels in Tibetan Buddhism. The most famous Kumbum forms part of Palcho Monastery.
The Palcho Monastery or Pelkor Chode Monastery or Shekar Gyantse is the main monastery in the Nyangchu river valley in Gyantse, Gyantse County, Shigatse Prefecture, Tibet Autonomous Region. The monastery precinct is a complex of structures which, apart from the Tsuklakhang Monastery, also includes its Kumbum, believed to be the largest such structure in Tibet, that is most notable for its 108 chapels in its several floors and the old Dzong or fort.
Muru Ningba or Meru Nyingba is a small Buddhist monastery located between the larger monasteries of Jokhang and Barkhor in the city of Lhasa, Tibet, China. It was the Lhasa seat of the former State Oracle who had his main residence at Nechung Monastery.
Tibetan Buddhist architecture, in the cultural regions of the Tibetan people, has been highly influenced by Nepal, China and India. For example, the Buddhist prayer wheel, along with two dragons, can be seen on nearly every temple in Tibet. Many of the houses and monasteries are typically built on elevated, sunny sites facing the south. Rocks, wood, cement and earth are the primary building materials. Flat roofs are built to conserve heat and multiple windows are constructed to let in the sunlight. Due to frequent earthquakes, walls are usually sloped inward at 10 degrees.
Kumbum Monastery, also called Ta'er Temple, is a Tibetan gompa in Lusar, Huangzhong County, Xining, Qinghai, China. It was founded in 1583 in a narrow valley close to the village of Lusar in the historical Tibetan region of Amdo. Its superior monastery is Drepung Monastery, immediately to the west of Lhasa. It is ranked in importance as second only to Lhasa.
Thiksey Monastery or Thiksey Gompa is a Buddhist monastery affiliated with the Gelug school of Tibetan Buddhism. It is located on top of a hill in Thiksey approximately 19 kilometres (12 mi) east of Leh, in the Ladakh region of northern India. It is noted for its resemblance to the Potala Palace in Lhasa, Tibet, and is the largest monastery in central Ladakh, notably containing a separate set of buildings for female renunciates that has been the source of significant recent building and reorganization.
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Keutsang Hermitage is a historical hermitage, belonging to the Sera Monastery, about 8 kilometres (26,000 ft) northwest of Lhasa in Tibet Autonomous Region. The hermitage was in a precariously perched cave once inhabited by the great Tibetan guru Tsongkhapa. However, the original cave collapsed in a landslide. What is present now was rebuilt, adjoining the ruined Keutsang West Hermitage, at a safer location. As it exists now, Keutsang is to the east of Sera on a hillside above Lhasa’s principal cemetery. Rakhadrak Hermitage is above and close to this hermitage.
The Shigatse Dzong, also known as Samdruptse Dzong, is located in Shigatse, Tibet, China. It is spelt Rikaze Dzong.
The conservation and restoration of Tibetan thangkas is the physical preservation of the traditional religious Tibetan painting form known as a thangka. When applied to thangkas of significant cultural heritage, this activity is generally undertaken by a conservator-restorer.
Terris Nguyen Temple, born in Bakersfield, California, May 5, 1944,died on July 8, 2024. studied the art of Tibetan thangka painting in Nepal during the years 1966 to 1975. For the past twenty five years, the Nguyen Temples have been the official artists to Ogyen Trinley Dorje, the 17th Gyalwa Karmapa, and Tsurphu Monastery, Tibet.
Originaltitel:info Taschilumpo [Tashilhunpo], große Tangamauer im Hintergrund und Pferdesteppe.