Art as a path to enlightenment: tibetan thangkas and the pursuit of bodhicitta

Throughout history, art has been a profound extension of the human experience, capturing our daily lives, emotions, and the mysteries beyond our understanding. This is especially true when it comes to the ethereal and the divine — elements that, although elusive, are deeply woven into the fabric of our societies and cultures. In fact, many early artistic endeavors focused on exploring the intricate relationship between divinity and human existence. Tibetan art, for example, vividly exemplifies the intersection of belief, spirituality, and artistic expression. Here, the subject matter is inextricably linked with the tenets and philosophies of Vajrayana Buddhism, a connection that transcends mere representation.

In Tibetan art, each piece isn’t just a depiction of human experiences, an aesthetic creation, or a religious artifact. It embodies the very essence of Vajrayana Buddhism’s pursuit of enlightenment. These artworks are not just visual representations; they serve a deeper purpose, playing a pivotal role in the spiritual journey of practitioners. They act as both a guiding compass and a transformative medium, aiding the path towards enlightenment. To fully appreciate Tibetan art, one must understand the foundational principles and the framework that shape this unique and spiritually rich tradition.

 

The Basics of Vajrayana and Tibetan Art

Delving into Tibetan art means exploring its inseparable bond with Vajrayana Buddhism. This journey begins with grasping the basics of Vajrayana Buddhism, which is essential for understanding Tibetan art’s essence. Vajrayana, also known as Tibetan Buddhism and symbolically referred to as the Diamond Vehicle (with vajra meaning ‘indestructible’ and yana denoting ‘vehicle’), originated in India around the 5th century CE as a distinctive branch of Mahayana Buddhism. While Vajrayana shares its roots with Mahayana Buddhism, it distinguishes itself with a more elaborate set of rituals and a broader pantheon of deities.

Pratapaditya Pal, in “The Art of Tibet,” explains that the core aim of Vajrayana is to attain an enlightened state of mind, known as bodhicitta. This philosophy asserts that everyone has the inherent potential to achieve enlightenment, or become a Buddha. Those who strive for bodhicitta, not only for themselves but for the welfare of all beings, are known as bodhisattvas. Unique to Vajrayana Buddhism is its inclusive approach, which embraces every facet of human experience as a path to enlightenment. It suggests that the energy inherent in all aspects of life, even those considered taboo by other belief systems — from sexual experiences to everyday activities — can be harnessed in the pursuit of bodhicitta. This inclusive philosophy is vividly reflected in Tibetan art.

In Vajrayana tradition, an artwork’s life transcends its aesthetic value, becoming an integral part of religious and spiritual practice. These artworks are not just visual creations; they are mediums and blueprints for practitioners on their enlightenment journey. Essentially, Tibetan art embodies the profound and all-encompassing nature of Vajrayana Buddhism.

 

Tibetan Art: Merging Symbolism & Spirituality

Tibetan art is known for its rich use of imagery, intricate iconography, and profound symbolism, serving as a visual embodiment of Buddhist beliefs. Influenced by South Asian traditions, indigenous shamanistic Bon practices, and Chinese elements, Tibetan art includes forms like mandalas, thangkas (scroll paintings), and sculptures in stone and metal. Fredrick Lieberman, in “Tibetan Buddhist Wall Paintings,” notes that the Buddha’s emphasis on reasoning and experiential understanding over blind faith elevates the role of visual art in perceiving spiritual truths. This emphasis on ‘seeing’ is crucial in practices like visualization, a central aspect of deity yoga.

Visualization involves meditating on a thangka, absorbing its qualities, and integrating them into one’s life. Practitioners intensely observe the deity’s attributes — from posture and ornaments to hand gestures and colors — internalizing these qualities until the deity seems to come alive within their perception. This process of embodying the deity’s traits is a transformative spiritual exercise. As Laura Wein explains, citing David Jackson, thangkas facilitate four religious activities: accumulating merit or prosperity, aiding the deceased in transmigration, devotional practices or meditation, and elaborate visualizations. Over time, guided by a teacher, practitioners engaging with a thangka gradually assimilate the deity’s characteristics.

Thangkas, typically painted on cotton or silk, depict spiritual figures or mandalas and act as conduits for transmitting religious teachings, often from a specific lineage or master to disciples. Their creation is usually commissioned, and the anonymity of the artists underscores the emphasis on religious significance over individual fame. Thangkas stand out from other religious artworks due to their precise and methodical creation process. As Louise Tythacott and Chiara Bellini articulate in “Deity and Display: Meanings, Transformations, and Exhibitions of Tibetan Buddhist Objects,” the figures’ proportions and aesthetics in thangkas are strictly governed by religious texts, leaving minimal room for individual artistic influence. Every element — from figures’ proportions to colors, symbols, and gestures — holds significant symbolic meaning, making thangkas not just artworks but spiritual tools embedded with deep religious and cultural significance.

 

Green Tara

KDK Temple, photographed Frances Belleza, Green Tara. 2023. Photocopy. 4x6

In the image above (See Figure 1), we encounter Green Tara, a revered and widely celebrated deity in Tibetan Buddhism. Green Tara is recognized as the principal manifestation of Tara and is revered as the feminine symbol of enlightenment within this tradition. My teacher, Lama Lodu Rinpoche, explains that Green Tara originated from Princess Jnanachandra, a devoted follower of Buddha’s teachings. Contrary to the monks’ suggestion to pray for reincarnation as a man to achieve nirvana, she vowed to attain enlightenment in a woman’s body. Through her steadfast devotion, good karma, and mastery in meditation, she achieved enlightenment and became known as Green Tara, the swift liberator. In Vajrayana, it is believed that venerating and praying to Green Tara can remove obstacles and fulfill wishes, aiding in the transcendence of maya — delusion — to achieve bodhicitta.

Analyzing the image of Green Tara, which I personally photographed and was given to me by my teacher, her dominant presence is immediately evident. Her figure occupies most of the canvas, creating an impression of her presence in the viewer’s space. The bright green hue of her form represents compassion, wisdom, and enlightened action, and is also associated with the wind element, symbolizing her “commitment to act for the benefit of beings with the swiftness of the wind.” Seated in sukhasana atop a lotus, she is encircled by halos, accentuating her buddha nature and enlightenment. The blue lotus in her left hand, symbolic of Dharma’s power to navigate life’s challenges, is held in a mudra that may signify a union of compassion and wisdom. In contrast, her right hand, open and resting on her extended leg, symbolizes her readiness to assist sentient beings on their path to liberation.

Adorned with intricate jewelry and depicted with a youthful, robust form, Tara exudes both internal and external beauty and strength. The painting, embellished with florals and subtle nods to nature, suggests themes of life and rejuvenation. In practicing visualization with this thangka, a practitioner, guided by a knowledgeable teacher, dives deep into the symbolism and archetype represented. After thorough physical analysis, the practitioner meditates on the deity without the thangka, chants Tara’s mantra, and gradually internalizes and embodies her qualities, ultimately envisioning themselves as the deity.

 

Conclusion

Exploring Tibetan art and its profound connection with Vajrayana Buddhism reveals a rich tapestry of symbolism and spirituality. The analysis of Green Tara merely grazes the surface of the intricate iconography inherent in a thangka. My goal has been to illuminate the profound iconography of thangkas, demonstrating their integral role in the practice of visualization. This journey through Tibetan art reveals not only the aesthetic brilliance of these works but, more importantly, their deep-seated spiritual and religious significance. Each element of a thangka’s design — from color and form to gesture and motif — is imbued with meaning, serving as a guide and inspiration for the practitioner’s path to enlightenment.

In essence, Tibetan art, epitomized by thangkas, transcends mere artistic expression; it is a vivid manifestation of spiritual wisdom and a vital instrument in the pursuit of bodhicitta. These artworks stand as testaments to the symbiotic relationship between art and spirituality in Tibetan culture, where every brushstroke and symbol is a step on the journey toward spiritual awakening. Through this exploration, it becomes evident that the true essence of Tibetan art lies in its ability to transcend the visual realm, offering a transformative experience that guides the practitioner toward the ultimate goal of enlightenment.

 

Works Cited

• Landaw, Jonathan, and Andy Weber. Images of Enlightenment: Tibetan Art in Practice. Boston, Snow Lion, 2006.
• Pal, Pratapaditya, and Hugh Edward Richardson. Art of Tibet. Expanded Edition ed., Los Angeles, Los Angeles County Museum of Art, 1990.
• Lieberman, Philip. “Tibetan Buddhist Wall Paintings, Tibetan Art.” Tibetan Art, 2023,
• Tythacott, Louise, and Chiara Bellini. “Deity and display: Meanings, transformations, and exhibitions of Tibetan Buddhist objects.” Religions, vol. 11, no. 3, 202