Qinze Painting of Tangka Painting in Tibet

Qinze Tangka (藏族唐卡—钦泽画派), a traditional Tibetan art form, is a national-level Intangible Cultural Heritage recognized by the Chinese State Council. This unique style of painting was founded in the early 15th century by Master Gongga Gangdui Qinze Qiem (贡嘎岗堆·钦泽切姆) and became widely popular in Shannan (山南) and Qinghai (青海) regions of Tibet. Known for its vibrant colors, strong contrasts, and decorative compositions, Qinze Tangka remains one of the most distinct and influential forms of Tibetan art.

Key Information

  • Heritage Name: Qinze Tangka (藏族唐卡—钦泽画派)

  • Approval Date: May 20, 2006

  • Heritage Level: National

  • Heritage Category: Traditional Art

  • Heritage ID: VII-14

  • Protection Authority: Tibet University Art College (西藏大学艺术学院)

  • Region: Tibet Autonomous Region (西藏自治区)

Historical Origins

The Founding of Qinze Painting

The Qinze School (钦泽画派) was founded by Gongga Gangdui Qinze Qiem (贡嘎岗堆·钦泽切姆) in the early 15th century. Born in the Shannan region (山南), Qinze Qiem was fascinated with art from a young age. He began his studies in traditional Tibetan-Nepalese painting and expanded his expertise by incorporating techniques from Central China, India, and other regions. His innovative approach laid the foundation for the Qinze School, marking the decline of the Nepalese style that had previously dominated U-Tsang (卫藏) region.

By the mid-15th century, the Qinze School began to gain prominence across Tibet and beyond, especially in the Shannan and Qinghai regions. Its influence continued to expand, and by the 17th century, the Qinze School played a vital role in the development of Tibetan art.

Cultural Characteristics of Qinze Tangka

Artistic Features

Qinze Tangka retains the characteristic of larger central figures, as seen in Tibetan-Nepalese paintings. However, the school introduced a significant shift in its landscape depictions, incorporating Chinese elements, resulting in more dynamic and lively compositions.

The Qinze School excels in portraying dynamic movements, often depicting wrathful deities (愤怒金刚) and intricate mandalas (坛城图). The main deity or Buddha occupies around one-third of the painting, while the rest of the space is carefully balanced with other divine figures, ensuring a symmetrical composition.

The figures in Qinze Tangka are noted for their rounded, harmonious shapes. Faces are depicted as square, with slightly arched eyebrows and highlighted noses. The color palette is bold and contrasts cool background tones with warm, vibrant colors used for the figures. This striking use of contrasting hues gives the painting a lively, energetic quality.

Techniques and Use of Color

The Qinze Tangka is particularly known for its bold color contrasts. The background is typically painted with cool colors such as blue or green, while the main figures are highlighted with warm tones like red, yellow, and gold. This strong color contrast enhances the visual impact of the paintings and contributes to their dynamic effect.

Composition and Layout

The composition of Qinze Tangka is marked by a central focus, with the main figure placed at the heart of the painting. Surrounding this central figure are other deities, arranged in a balanced manner. The background often features intricate cloud patterns and landscapes, creating depth and layers within the painting.

The overall structure follows golden ratio principles for proportional balance and harmony, ensuring that each element in the painting is carefully placed to create an aesthetic flow.

The Creation Process of Qinze Tangka

The creation of Qinze Tangka follows a meticulous and detailed process, typically involving six stages:

1. Sketching the Outline

  • There are three traditional methods of sketching:

    • Powder sketching (粉本起稿): A rough outline is drawn on ma-pap (麻纸), and color powder is used to transfer the design to the canvas.

    • Direct sketching (直接起稿): The outline is drawn directly onto the canvas with charcoal or pencil.

    • Tracing (拷贝台): Using a tracing table, the design is copied, adhering to golden ratio proportions and the iconographic rules.

2. Base Coloring

  • The artist first applies base colors to the painting, starting with the larger sections (like robes). Sky, scenery, and ground are then painted, followed by the face. Generally, the artist works from dark to light, ensuring each color is fully saturated before moving on to the next.

3. Layered Rendering

  • After applying the base colors, the artist uses a brush to layer various shades and tones, enhancing the depth and light contrast within the painting.

4. Outlining

  • The lines that were covered by colors are carefully traced again with fine lines. Two types of outlines are used:

    • Iron lines (铁线), which are solid and bold, are used for the main figures and architectural elements.

    • Variation lines (变化线) are softer, varying in thickness, and used for background elements like landscapes and animals.

5. Gold Leaf Application

  • Gold leaf is applied to the faces of Buddhas and Bodhisattvas, as well as gold thread to outline their clothing. The gold leaf is carefully adhered using bone glue and silk fabric to create a smooth, lustrous finish.

6. Final Touches

  • The final step involves refining the artwork, adjusting color inconsistencies, and enhancing the overall balance of the composition to ensure that the primary and secondary elements are distinct.

Subject Matter of Qinze Tangka

The primary themes of Qinze Tangka are rooted in Tibetan Buddhist Tantra. The paintings often depict Buddhas, Bodhisattvas, Wrathful Kings (明王), Vajras (金刚), and mandala patterns (坛城). These works are highly revered for their spiritual significance and their ability to express the deep philosophical and religious values of Tibetan Buddhism.

Notable Works

  • “Great Vajra King” (大威德金刚)

  • “Victory Buddha Mother” (尊胜佛母)

Inheritance and Protection of Qinze Tangka

Inheritance Value

The art of Tibetan Tangka is a highly valued aspect of both Tibetan and Chinese cultural heritage. With its rich subject matter and unique artistic expression, it is not only a treasure of the Tibetan culture but also a key component of the global artistic heritage.

Current Inheritance Status

By the late 19th century, the Qinze School was in decline, and by the early 20th century, it had become difficult to find practitioners of the Qinze style. Despite this, efforts to revive the tradition were made in the 1980s, especially through the work of scholars and artists from Tibet University.

Key Figures in Qinze Tangka

  • Tsering Norbu (次仁罗布), a prominent inheritor of the Qinze School, was one of the first representatives to receive recognition for his work in preserving this art form.

  • Tashi (扎西), another key figure, has played an instrumental role in passing down the traditions of Qinze Tangka.

Protection Efforts

In 2019, Tibet University Art College (西藏大学艺术学院) was granted the responsibility of preserving the Qinze Tangka art form. In October 2023, Tibet University was again re-designated as the official protection unit for the Qinze Tangka heritage project.

Social Influence and Key Exhibitions

The Qinze Tangka tradition continues to inspire contemporary Tibetan art and remains a vital component of Tibetan culture.

Major Exhibitions

  • August 3, 2013: The 3rd Tibetan Tangka Art Expo (西藏唐卡艺术博览会) opened at Norbulingka Palace (罗布林卡) in Lhasa, with Qinze Tangka works showcased.

  • June 9, 2018: The 2nd Tibetan Tangka Qinze School Exhibition (第二届西藏唐卡钦泽画派传承人作品展) opened at the Qunyi Art Gallery (自治区群艺馆), highlighting Qinze Tangka works.