Thangka paintings have been around for thousands of years, dating back as far as the 11th century. An amalgamation of culture, history, religion, and beauty is displayed in this artform, matched only by the combination of unique materials such as gold and precious stones. The time, effort, and materials that go into these paintings are just some of the aspects that make this type of art unique.
There is a man that has mastered the craft and worked his whole life to share it with the world. His devotion and fascination with it have sparked a life-long journey whose goal is so close in sight. Niangben is considered a master of Thangka paintings on a national scale and he has come to Boston for his first solo Boston show at the Pellas Gallery in an exhibition titled The Lost Art of Thangka: A Tibetan Monk’s Journey.
At the opening on Sept 29, pianist Lang Lang was in attendance. Exclaimed by the New York Times as “the hottest artist on the classical music planet.” Lang Lang described that, “Niangben’s Thangka is one of the most spectacular artworks I have ever known, and it is an absolute great privilege to be a close friend with Master Niangben. His art should be celebrated around the world. He brings a lot of emotions and the most beautiful colors into his work. Some of them took him several years to finish. I am a huge fani of him.”
This reporter had the distinct privilege to meet with Niangben and Lang Lang at the opening.
Niangben has spent years on his work. Indeed, some of his pieces took years to finish because of the intricacy and materials used. He was able to give me insight into his work with the aid of the translator, Hui Joseph Zou, PhD. “It takes a long time for an artist to produce one.” Niangben explained. “It can be 3- 5 months, but for a huge piece it can take 2-3 years to get one piece out. Also, the materials used to paint are all natural materials, very expensive minerals, including gold and different precious stones. They are crushed and mixed together. The art will preserve very well for hundreds of years. It is very unique.”
This art form hasn’t achieved world status merely because of the precious materials used. The art form is also known a spiritual practice of Buddhism and as historical representation of Buddhism which was once so closely guarded. Niangben celebrates both the history and importance of Buddhism in his work. He explained, “This Thangka art form, they have had this for over 2000 years in Tibet and in the Buddhism related culture. It’s an inherited property… Thangka itself is a form of art and it originated in Buddhism as a way to represent the belief. The bottom line is to treat others well, to try to help and save others. And this is the essence of the belief. And the art tries to reflect this in all the artwork. Thangka is not limited to the creation of images of Buddha and Buddhism. It also depicts beautiful natural scenery and figures. But what’s behind it all is still love and the belief of treating others well.”
As an expression of Buddhism and the culture, Niangben talked about his own thoughts and influences as he paints. “The Buddhist belief has a profound influence on the art. But it isn’t just art; you have to have this belief and the belief will be in you to inspire you to put out these art pieces. It’s a combination of belief and art.” To combine belief and art in this way evokes emotions themselves Lang Lang talked about. “It becomes more than a painting, more than art.”
The art of Thangka has been named by UNESCO as one of the intangible culture and heritage. The Master Thangka artist said. “Both on the national and world level, it’s a very highly regarded form of art. The art piece doesn’t just belong to China but all of mankind and that’s why I want to bring this art to the world.”
Niangben has worked since he was twelve years old to perfect the craft in order to share it with the world. But his artistic development was conflicted with many personal challenges. Faced with severe poverty, Niangben graduated from elementary school and promptly stopped attending school. “I was number five in my family. I had four sisters and as the son in the family-usually the son is supposed to take care of the family, as the eldest son who was still younger than four sisters, I felt I needed take on the role of supporting the family.” At that time, there was a Master of Chinese arts and crafts in his village, Xiawu Cairang. Niangben began an apprenticeship with him, starting his early education and eventual inspiration of the Thangka art form. “I took an internship with him as a way to make money, but over time, by the age of 14 to 15, I became more into the art form and was getting amazed at the materials used and how they were reflected in the paintings.” To end his own education to care for his family at such an early age took self sacrifice snd deep love for his family.
Now that he is a master Thangka artist, Niangben has found that his new purpose is to reach others. “I have devoted my life to this art…I believe it is my responsibility to take and preserve this art and firmly develop and make it known and teach other people.” It is an immense goal but one that he is in completely dedication to. Through his many exhibitions at throughout Asia and now in America, Niangben’s personal mission to share Thangka with the world will no doubt be realized.
It is not a well-known art form and, in its early stages, was rarely seen. Niangben talked of its early stages “Originally Thangka was only found in Buddhist temples, very high-level temples in Tibet or in the nearby province in Shanghai. People didn’t get to see them. Only high ranking leaders. They were preserved as prestigious offerings so very few people knew about these paintings. It was only until the Chinese government recognized Thangka as a national heritage and wanted to preserved it and make the art form known; that more people learned about the art form
However, this art form was always more than art, blending the expression of Buddhism and unique materials to contain so much more. “Not only is it a piece of art but also a record of history.” Niangben explained. “History was preserved in the paintings. It’s getting to know the value as both art and culture. What I wanted to do was bring this to the world so different people who never had a chance to see this will realize that this kind of art is so beautiful, so people will learn about that, and people will learn to preserve and develop this art and make it known in the world.”
The show at Pellas Gallery includes some of Niangben’s best work. The blend of colors he uses in his paintings to depict enchanting scenery with light and decadent blues, greens, and golds sloping down mountains and across valleys that lay beneath waterfalls portray a depth of history that is unmatched. The intricacies of the designs that swim amongst and around figures like Green Tara, Fohai Avalokitesvara, and even Manjushri Bodhisattva compliment the entire portrait and add to the elegance and beauty of the story and history. His colors contrast and work together, showing his range of style and attention to detail. Pieces like the stunning red depiction of Manjushri Bodhisattva with the deep contrast of figures in deep blue at the bottom and even the portrait of White Tara, bright and luminescent in the middle, against a backdrop of dark browns and blacks with deep gold show that range. It’s captivating and invokes a feeling of both unparalleled respect and unbridled wonder. To share this with the world would be to truly beneficial and enriching to all. To look upon it is to be drawn in, to be caught, leaning close to see every detail but feeling as though there isn’t enough time in the world to notice it all. This artist is truly a master. Niangben has adhered to the traditional form of Thangka but has continually employed his own style, making it what it is today and evoking the admiration of so many. . He expressed his excitement of being here in Boston and that this exhibition is yet another to fulfill his purpose to spread love and education about the Thangka art form. His show is at Pellas Gallery to November 26.
