Tsurphu Monastery was completely destroyed during the Cultural Revolution in the mid 1960's. The late Ven. Drupon Dechen Rimpoche was given the challenging responsibility of initiating the rebuilding the monastery in 1980 by the His Holiness the 16th Karmapa, Rigpe Dorje while living in exile in India. That rebuilding is nearing completion.

Thangkas, religious scroll paintings,were necessary in Tibet because of the nomadic lifestyle of Tibetan early culture. Originally painted with mineral pigments and pure gold ink on a prepared cotton, and framed as a scroll in silk brocade.

The earliest known use of applique to create huge thangkas dates from the fourteenth century when a giant image was designed by the 4th Karmapa Rolpe Dorje, 1340-1383. Known in Tibet as "Goku", ( silk brocade image ), or "thongdrol", meaning liberation by sight.

These pieces combined Tibetan artistic style with Indian and Chinese textiles, utilizing indigenous appliqué techniques in the use in the making of  festival tents, ritual dance costumes, and altar decorations. The Karmapa traveling tent encampments, traveled to remote areas of Tibet brining the Dharma teachings.

By the eighteenth and nineteenth centuries, with the popularly of applique, and goku in Tibet, this influence traveled to Mongolia, Bhutan, and parts of North India.. Many large monasteries had adapted their sewing workshops to making appliques.

The  silk applique form was especially used for large pieces, some many stories high, which were displayed on hillsides or lowered down temple buildings for special holidays.

The Amdo Applique Process

This unusual hand painted silk applique technique named

"tre-jar"(meaning cut-glue) finds its origin in the Amdo area of Easrtern Tibet.

More specifically, it comes from a famous village called Senge Shong, near Regong Monastery. Almost everyone there is an artist dedicating their lives to the religious tradition of their ancestors.

The first stage of the work is to construct the prescribed grid adhering to measurements ( Tibetan iconogrphy, sacred geometery) to position the deity's body. The drawing is worked and refined to become the template for the intricate silk puzzle to be built. Silks and brocades are selected and assembled as the deity takes shape. Dimension is added through dry brush shading of face and body. Final detailed painting and shading harmonizes the image.

The final image is 100% fabric made, using best quality silks, satins and brocades (from China/Hong Kong, India, Thailand and Vietnam) and backed with cotton. Painting materials are mostly vegetable dyes with some fabric paints with mineral pigments.

Most patrons of such a Buddha image would have the completed piece consecrated by a lama's prayers to activate its nature as a meditation tool.

It is stated in both the Sutras and the Tantras that the patron who commissions a Buddhist image gains merit. Merit (sonam) in Tibetan.

We accept commissions to create applique thangkas for a patrons personal use and collection as well as for their offerings to lamas or Dharma centers.

Knowledge of thangka art is vast and esoteric. It is also refered to as tantric art. I was initially fascinated by the inner, outer and secret meanings embedded in these enigmatic images. Presently, I am fulfilled by the opportunity to create them to the best of my talents. It is a priviledge for me to immerse myself in the creation of deity and direct my mind with a spirit of offering and humility.

The gallery link is below: