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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.

 

Training

 On a first trip to the DUNHUANG Buddhist Caves in Northwest China in 1988, I was overwhelmed by the presence of Spirit and tradition. I sketched the huge representations, with an eager sense of rekindling a connection.

The applique thangkas really awakened my curiosity. The ingenious piecing together of rich ornamental brocades combined with delicate painting adds dimension and elegance to deities. Inspired, I began to explore these techniques in my work space.

As a spiritual being, the journey has led me to a lineage rooted in the Tibetan tradition. The inspiration in my work reflects the passion in appreciating and working with Tibetan art alongside a continued interest and respect for teachings from the Dharma .

Creating an applique thangka is a lengthy, focused process. My iconographical study is largely based on the Karmapa Karma Kagyu painting tradition described by Gega Lama.

In 1990, I was fortunate to connect with the Western thangka painting teacher, Terris Temple, who generously passed on teachings and skills that remained respectful to the tradition and lineage in methods and spirit. Immersed in the study of Tibetan Iconography and grinding mineral stone colours, I happily embarked on painting thangkas.

The projects completed in Tibet for H.H.the Karmapa (1992-1997) and Tsurphu Monastery solidified much of these teachings and also led to pursuing the exploration of making applique thangkas. It was here that I first evolved the technique presently used of glued and painted images.