Kelsang Cidan- Inheritor of Miantang Painting of Tangka Painting in Tibet

Kelsang Cidan (格桑次旦), born in 1958, is a Tibetan Thangka artist and a representative inheritor of the Mian Tang School of Thangka painting. In 2006, he was awarded the prestigious title of Chinese Master of Arts and Crafts. He has played a pivotal role in establishing a comprehensive Thangka education system at Tibet University, offering both undergraduate and postgraduate programs in Thangka painting. His efforts have helped to preserve and innovate upon the ancient art of Tibetan Thangka while adapting it to modern educational practices. In 2007, Kelsang was included in the first batch of national-level intangible cultural heritage representatives.

Personal Information

Name: Kelsang Cidan (格桑次旦)

Date of Birth: 1958

Title: Chinese Master of Arts and Crafts (中国工艺美术大师)

School of Art: Mian Tang School of Thangka Painting (勉唐画派)

Affiliation: Tibet University Art College (西藏大学艺术学院)

Non-heritage Recognition: 2007

Representative Works: “Miao Yin Tian Nu” (妙音天女) and “Qi Zheng Bao” (七政宝)

Artistic Career and Mentorship

Teaching and Inheritance

Achievements in Arts and Honors

Intangible Cultural Heritage Protection and Industry Impact

Representative Works and Artistic Characteristics

1. Artistic Career and Mentorship

Kelsang’s artistic journey began at a young age when he learned the basics of art through copying religious patterns found in the Jokhang Temple (大昭寺). From 1970 to 1973, he participated in the restoration of murals at Jokhang Temple, gaining a deep understanding of ancient mural restoration techniques and the preparation of mineral pigments.

In the 1980s, after China’s economic reforms, Kelsang formally became a disciple of Danba Rao Dan, a master of the Mian Tang School of Thangka painting, marking the beginning of his formal apprenticeship. This school is known for its unique style, and Kelsang became the sixth-generation inheritor of its legacy.

His artistic career has evolved in three significant phases: early religious mural copying (1970s), systematic study of Thangka painting techniques (1980s), and the establishment of a modern Thangka education system (1990s-present).

In 1989, he co-founded the Thangka Department at Tibet University, which reformed the traditional master-apprentice model into a modern academic structure, combining academic rigor with artistic tradition.

2. Teaching and Inheritance

Kelsang has been instrumental in building a complete education system for Tibetan painting at Tibet University, incorporating both undergraduate and master’s level training. The Tibetan Painting program he led was recognized as a “premium course” by the Tibet Autonomous Region in 2007.

In addition to his formal academic role, Kelsang established family inheritance classes, teaching artisans using the traditional method of “oral transmission”, ensuring the continuity of this ancient craft. His combined approach of academic education and master-apprentice mentorship has produced over 100 professional artists, making a significant impact on both the academic and practical aspects of the Thangka industry.

3. Achievements in Arts and Honors

In 2006, Kelsang was honored with the title of “Chinese Master of Arts and Crafts” by the Ministry of Culture. He received the “Grand National Intangible Cultural Heritage Craftsman” title in 2017. His artistic achievements are particularly notable for the following:

Maintaining traditional craftsmanship, including the intricate processes of outlining, coloring, and gilding—32 core steps involved in Thangka creation.

Developing a mural restoration technique that meets the cultural preservation standards for ancient artworks.

Establishing modern mineral pigment standards for use in Thangka painting.

As of 2023, Kelsang remains one of the five current Chinese Masters of Arts and Crafts in the Tibet Autonomous Region. He has mentored 12 students who have gone on to receive regional Arts and Crafts Master honors.

4. Intangible Cultural Heritage Protection and Industry Impact

Kelsang is the first Mian Tang School Thangka artist to be recognized as a “modern academic inheritor” of the tradition. He pioneered the “Intangible Heritage in the Classroom” model, incorporating non-material cultural heritage into formal education.

In the field of Thangka pigments, Kelsang has made significant contributions by:

Using pure gold leaf in the gilding process, with each Thangka requiring 3 to 5 grams of gold.

Establishing a mineral pigment classification system, expanding traditional 72 colors to 112 colors.

During the 2010 gold price surge, he played a key role in establishing a raw material reserve system for the Thangka industry.

He also led the creation of the “Tibetan Traditional Pattern Database”, cataloging 217 patterns, which include designs found in religious instruments, architectural decorations, and more. The project achieved:

Digital archiving of traditional patterns.

Standardization of Thangka composition elements.

The interdisciplinary innovation of patterns for modern applications.

5. Representative Works and Artistic Characteristics

Kelsang’s masterpieces include:

“Miao Yin Tian Nu” (妙音天女), a Thangka created using pure mineral pigments and completed over 11 months. This piece features:

24K gold leaf as a base for the artwork.
Lapis Lazuli ground into powder, giving the Thangka its iconic “Tibetan Blue” tone.
A 3D technique for depicting clothing patterns.

“Qi Zheng Bao” (七政宝), a series of works that break the traditional religious boundaries of Thangka, incorporating political symbols as decorative elements. This collection:

Strictly follows the “Human Proportions” as described in Tibetan sacred texts.
Introduces innovative background shading techniques.
Depicts secular life scenes with a religious expression.

During the 2004-2014 Thangka auction boom, Kelsang adhered to the principle of prioritizing intangible heritage preservation over commercial development, refusing to mass-produce artworks for auction markets.