Making a Statement with Original Art

Ever noticed how every one has the same stuff on their walls these days? It’s not a new trend – the idea of fashionable art works has been around for centuries, started by the age-old desire of the hoi polloi to copy cat their rich and famous masters. Whenever it became known that a Duke or Duchess had a certain print on their walls – well, then every serf in town set out to decorate their hovel in similar fashion. Not much has changed about that: except, of course, that one now looks more at the glamour palaces of the rich and infamous to dictate the style of one’s home. Not very original. Fortunately, all that is starting to change since people discovered that it is possible to get good original art online.

See, the thing about decorating one’s home, which is really the same as the thing about fashion, is this: everyone wants to individualise, they want to make a unique statement – but they also want to be a part of whatever trend happens to be current. It’s the dichotomy of personal style writ large. One wants to be unique but one cannot be seen to be too different. So one’s uniqueness ends up having to conform to an overall idea of what acceptable individuality might be – which, for want of a better metaphor, ends up with everyone wearing boot cut jeans and lumberjack shirts.

Original art, thank whatever power it might be that governs the tastes of a nation, is managing to circumvent this sameness rather neatly, by allowing people to have the same sorts of things in their homes (i.e. original artworks) – but letting those things be individual in their own right.

Let’s explain. Unlike any other form of fashion, where there has to be a degree of visual conformity in order for the whole thing to work, an artistic fashion that demands originality as its key point opens a rather marvellous world in which anything goes. The only criterion, in a fashion for having original art on one’s walls, is that the art in question be original. Anything reproduced, or the same as something someone else has, is automatically out. And so, suddenly, fashion itself becomes about not being like the neighbours.

If that’s the case, and it is, then praise be for the Internet – which is how all this came about. Pre Web, no-one had any access at all to art, unless it was forced on them by galleries (notorious for “deciding” what is, or is not, art) or sold them as repro posters. Who could find original art back then, let alone afford to buy it? Now, pioneering super sites, like UK based Art2Arts, are bringing a world of genuinely original pieces to the everyday buyer – quality controlled, guaranteed original and easily searchable by all sorts of decorative factors: style, size, colour, depiction and so on. Now that’s how art should be, original art- available for the masses to decide what’s good and what’s not – and to buy and stick up on the wall.

Making of thangka paintings

Most of the thangkas are painted on a canvas. Some are painted on paper or leather. Other are embroidered, appliquéd, woven and patchwork thangkas, but theSketching else forms are not discussed here. Technically making a painted thangka occurs in four stages.

Preparing the foundation:

The kind of thangka under discussion here, the canvas you buy, is made of a woven material: cotton, linen, and sometimes silk. A finely woven structure, made of a single piece of fabric, is best, because paint easily chips off of thicker to rougher fabrics when the thangka is rolled up. The painted canvas is rectangular in shape, taller than it is wide, ideally measuring on the average 30inches tall by 20 inches wide (75 by 50centimeters). The same 3:2 ratio f height to width can also be found in other formats: 12 by 8 inches (30by 20cm); 48 by 32 inches (120 by 80 cm); 120 by 80 inches (300 by 200 cm) for exceptionally large specimens. These proportions generally also apply to the huge thangkas – measuring up to 180 by 130 feet (55 by 40 meters) that are hung out side the wall of the monasteries during festivals. There are also elongated thangkas that are wider than they are tall, with a size ratio of 2:3.The edges of the canvas are folded over twice, rather than hemmed, to prevent them from unraveling. Then the canvas is fastened with thread to four laths that are firmly attached with twine to a wooden frame, and strung tightly, so that it looks like an upright trampoline.The front and the back of the cloth are swabbed with a sizing of anima; glue consisting of boiled bones and skins, often of a water buffalo. After this layer has been applied, it is polished with a smooth stone or shell. This produces a smooth, even layer on rough or uneven cloth that will function well for sketching and painting and will keep the paint from seeping into the cloth.

Sketching

For orientation, the painter will often first lay down a grid of coordinates in the form of eight lines: two diagonal lines with a horizontal and a vertical axis drawn through their intersection, and four lines drawn parallel to the frame. Sometimes the painter will do this on the back so that the lines show through when the canvas is held up to the light the next step is a charcoal sketch. When the painter is satisfied with the result, the lines will be accentuated with ink.There are separate drawings, of templates, available for many of the figures that are to be painted. They can be transferred to the canvas by pricking holes through them along the contours and on the most important lines and components. Powder is blown through these holes, resulting in a dotted outline on the canvas. Another technique for transferring figures uses block prints. The wood or metal blocks are painted black; the figures are colored in at later stages.

Painting

                                When the sketch is finished, it is time for the coloring stage. Large color area areas are often applied by brushing or writing numbers or syllables into the area in question. Black, for instant, is indicated with the number two or with the syllable Na, yellow with five or SA. When applying the colors, a particular sequence is commonly followed. First, the area furthest away in perspective, the sky, is colored. Then the closer landscape is done, followed by trees, rocks, and water. After this come the deities and other figures. The throne, clothing, and nimbus are painted first. Light colors are applied before dark colors, and then details in gold are added.

Framing

                Once the painting is finished, the canvas is loosened from it’s stretchers and framed with textile edging. The silk or brocade trim is of an established width, so that the depth of the bottom trim is half the length of the painting, the top one fourth, and the sides are one-eighth of the length. Still, the framed thangka is not completely rectangular but splays out a little toward the bottom, and metal caps are usually slipped over the ends. If a thangka is not in use, but not rolled up either, a thin piece it from soot and smoky lamps, and to avoid the image being visually touched bye uninitiated eyes. Often the curtain will be yellow silk, with red or blue dots, or sometimes it has a flower motion on it. Over this lowered curtain two bands of red silk hang down to the very bottom. At the top between these two strips hangs a lightweight read cord with which the veil can be tied up. At the very top there is a cord by which the thangka can be hung or with it can be tied together when it is rolled up.