Temple Art Studios; Tsurphu

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TSURPHU MONASTERY

Tsurphu, May 22 1994

Photos of the Tsechur Drabje

Click on images for large size

Tsurphu monastery dates to 1187 when the first Karmapa - Dusum Kyenpa - identified the auspicious location for his dwelling. It is with this Karmapa that the tradition of reincarnating lamas was introduced in Tibet throughout the various schools of Tibetan Buddhism. Significantly, the present constructive energy at Tsurphu has arisen with the arrival of the reincarnate 17th Karmapa- Urgyen Drodul Tinley Dorje- who was enthroned at Tsurphu September 1992.

Tsurphu was completely destroyed during the Cultural Revolution in the mid 1960's.The Ven. Drupon Dechen Rimpoche was given the challenging responsibility of re- building the monastery by the His Holiness the16th Karmapa, Rigpe Dorje while living in exile in India.

Many great monasteries in Tibet once possessed giant silk appliqué hangings for public display and worship. These often huge banners comprise some of Tibet's greatest art treasures because of their spiritual significance, size and intricate design. Some survived the cultural revolution - most did not. The giant banners of Tsurphu monastery in central Tibet - traditional seat of the Karmapas - were both destroyed during this time.

Terris and Leslie were asked to design these new thangkas for the Kagyu Lineage.

Between 1992-1994, the making of a 23 x 35 ( 108' x 76" ) meter silk brocade appliqué banner of Sakyamuni was undertaken fusing Tibetan and Western expertise. The first ceremonial display of this image, May 22nd 1994, marked the revival of an age old tradition that had not been observed at Tsurphu for 40 years.

The same team of artists also focused on the making of a second large scale appliqué thangka- 9 x 9 meters ( 30" x 30' ) for the same monastery (1994-97).

Completing both these works coincided with a major restoration and rebuilding effort underway at Tsurphu. A decade earlier this important 300 square meter temple complex was still mainly rubble.

The Tsurphu Drachey Project was requested in 1997 by His Holiness and Ven. Drupon Dechen Rinpoche.

Due to obstacles the actual work began in 2005. Phase 1 was completed July 2007.

Phase 2 Fundraising has now begun.

For more information see the bottom of this page or:
Tibet Projects

The First Giant Thangka for Tsurphu

Tsurphu monastery is situated in a valley two hours northwest of The landscape here, at over 4600m, is mainly sloping mountainsides brightly speckled with wild flowers in the warm season --white peaks ahead and a rushing river below. On the south bank of the river, in front of the new monastery, are the old steeply inclined steps upon which the gigantic appliqué Thangka is displayed for a few hours once each year.

The creation of these huge thangkas is traditional throughout Tibet. It seems tradition of the giant applique thangkas is a Karma Kagyu inovation.

These thangkas are referred to as "gos.sKu." (pronounced Kye-gu) in Tibetan, literally means "Satin-image or body". Another name for them is "tongdro", which means liberation through sight. These hangings are, in fact, constructed using a range of heavy brocades, silks and satins sewn together in the appliqué or "patch work". The intricate line work is translated using a technique similar to that found in Tibetan tent design, typical of this culturally nomadic people. The Karmapas, in particular, were renowned for their elaborate tent settlements. They traveled throughout Tibet in giant tented encampments bring the Buddhist teachings to the most remote regions. Styles in art and iconography differ according to the various religious schools. The Karma Kagyu style of painting, known as Karma Gadri, was established in 1500, reflects influence from India (in its form), China (in its coloring) and Tibet (in its composition).

These aspects were very much considered when constructing the new gos.sKu for Tsurphu monastery. This Thangka, completed in the spring of 1994, was made to replace the previous 16th century appliqué made during the time of the 9th Karmapa.

The artist responsible for this ancient thangka which was know as the "Ornament of the World" (Dzam-ling mdzes-rgyan), was the famous Karma sGar-bris sculpturer, Karma-srid bral. It was completed in 1590.

His Holiness Urgyan Tenle has named the new Thangka as the Karma Gadri Thangka (gos. sku). (giant thangka in Tibetan) in honor of the unique Karmapa lineage painting style.

The Karma Gadri Thangka

This thangka, completed in the spring of 1994, and was made to replace the previous 16th century appliqué made during the time of the 9th Karmapa.

As there was no photographic record of this image, the artists were requested to design the work based on the oral instructions and guidance given by the now late abbot of Tsurphu, the Venerable Drupon Dechen Rimpoche. Hence the new design is closely based on the previous banner, though two Lamas now represented, but not found in the original design, reflect its contemporary nature. Such updating is a traditional feature of making devotional lineage images in Tibet.

The work, 23x35 meter in size, features nine figures: Sakyamuni Buddha in the center (9m high) (; Manjusri and Maitreya Bodhisattvas flanking him (7m high); the Primordial Buddha at the top center and a fierce wrathful protector at the bottom center. At each corner of the image sits a great Lama of the lineage - The First and Second Karmapas are in the upper corners; the Sixteenth Karmapa, who passed away in 1981, and the Third Jamgon Kontrul, one of the Karmapa's foremost disciples who passed away in 1992, are featured in the lower corners. It is of significance that both these great Lamas focused much energy in propagating Dharma to the West; in consequence funding for this work was found among Eastern and Western disciples alike.

Other than these main figures, each individual in gesture, ornaments and flowing robes, this image is adorned with additional elements giving it a particularly intricate quality for such a huge design. Symbolic beings and animals support the Buddha's throne; clouds and rainbows illuminate the sky above; peacocks and gazelles graze peacefully before the lamas below, particularly, the endangered species of Tibet's wildlife are featured: yaks, asses, white-lipped deer, antelopes and the blue horned sheep all have a place in the image for special protection. Tibetan cranes and various other birds are also present, even if sometimes hidden in the foliage.

Over 1500 meters of silks and brocades were used to make the Tsurphu gos.sku. Seventy shades of color were chosen and a large part of this palette was specifically dyed in Hong Kong to meet the requirement of a Karma Gadri design which is noted for its use of pastel shades. Additional materials for finishing the thangka include: backing cloth (2000m), a protective cover (1100m), a brocade border (90m) and a 24 meter leather bag for storage. For ceremonial purposes, a 24 meter canopy to be positioned above the gos.sKu was made, banners, umbrella and 140 meters of multicolored traditional streamers were all required and made for the unveiling event.


Assembly in the Gym	White Conch Workshop	HE Jamgon Khamtrul the 3rd	Leslie inking a portion of the 700 sq. meter pattern

The Makers and Funds for the Tsurphu gos.sKu

This project was originally initiated by the Tsurphu Foundation, a Western based organization which had been involved with the rebuilding of Tsurphu monastery since 1985. Through the request and consultation of the Ven. Drupon Dechen Rimpoche (who was given the challenging responsibility of re building the destroyed Tsurphu monastery by the previous Karmapa) two Westerners trained in Tibetan art were encouraged to design and direct the making of the giant thangka . These two artists were not part of Tsurphu Foundation, but worked directly with Drupon Rinpoche.


1st Completed Figure	Factory visits Tsurphu 1992	Picnic after Tsurphu visit	Artists w/ His Holiness discussing the Thangka

Terris Temple (USA) has been involved in studying, creating and teaching Tibetan thangka art for the last fourty years. Prior to working on this project he focused on teaching thangka iconography and painting to his student, presently he is reediting the Tsurphu Thangka film. Leslie Nguyen (UK), former psychology graduate and art therapist, has been making thangkas for the last 17 years worked together with him. It was fortunate that both artists had together earlier taken a growing interest in learning about appliqué thangkas, particularly those made in the Amdo region, which are glued and folded to create a traditional image using a combination of silks, brocades and painted details.

Creating a large scale image, however, demanded quite a different approach; notably that of an important workforce of sewers to prepare and assemble large pieces of fabrics together. From researching the various sewing techniques used mainly in the Lhasa tent making factories, the artists found the perfect team of sewers who immediately accepted to participate in the work. The White Conch factory, based in Lhasa, makes an array of Tibetan handicrafts ranging from huge elaborate festival tents to traditional opera costumes and temple hangings. It was the first time that a group from the 70 odd workers there was involved in the making of a huge religious image. The six main sewers who spent eight months diligently cutting and sewing silks together by both machine and hand, were all women with over 20 years sewing experience in this setting. Their efforts were coordinated by one Tibetan master tailor Tenpa Rabgay who, together with the artists, translated the giant drawing, meticulously measured and inked according to iconographical standards, into silken appliqué forms. It was all the more special and appropriate for this individual to be part of the making, as his father, some sixty years earlier, had also participated in sewing the gos.sKu for the Potala palace.


Sewing Team	Buddha in courtyard	60' tall Buddha in the Lhasa Gym	Offerings

The benefit of this project is twofold: as well as replacing important lost religious images, it also offers an opportunity to train a skilled workforce in the making of these fine art pieces using traditional techniques. The continued supervision aims to fine-tune existing sewing skills to construct sacred images. The artists' guidance in use of color, design and assembling work emphasizes the creation of a high quality finished work.

A younger workforce, until now not exposed to some of these intricate and specialized skills, is being trained in the hope of a long term use of these talents. As well as a revival of these methods, realizing such large scale and symbolically charged images clearly results in this Tibetan workforce gaining a new confidence and recognition within their community. For both the Tibetan and Western artists it was an immense privilege to be involved in such work: The spirit of devotion, fueled by the continued blessings from H.H. Karmapa and all the monks at Tsurphu, enabled the huge image to be conscientiously created in a joyful atmosphere, free of obstacles. This, in itself, is somewhat miraculous when one considers the scale of the project.

As well as designing and drawing the thangka and, identifying the team of sewers in Lhasa, both westerners were responsible to acquire best quality materials, and, more urgently, raise the funds required to make the image. This they did by pledging to make a 2x3 meter replica of the Tsurphu gos.sKu and offering it to the main patron of the giant work. Subsequently, a German disciple of the late Jamgon Kontrul Rimpoche presented her generous donation. Additional funds were needed to cover costs of the large border and ceremonial items; these were offered from the Hong Kong Karma Kagyu center, Malaysian Karma Kagyu centers (courtesy of the Tsurphu Foundation) and a USA devotee from Hawaii. Furthermore, the "Yuo Hwa Emporium" in Hong Kong greatly facilitated the purchasing and specific dyeing of many of the satins needed.

The entire project took the artists a total of two years to complete, from its inception in 1992. The next 4 months were spent making the small scale replica of the thangka. Both worked together on this piece; sewers were not needed as it was made using the glued, folded and painted techniques mentioned above. This was given to the main patron of the project, she in turn has presented it to Pulahari Monastery, Nepal.


Karmapa Dusum Khenpa	Maitreya	Gonpo Bernag Chen	Thangka Arrives

Assembling Buddha

The Giant Thangka Ceremony, Tsurphu Monastery

The month of final assembling work began outside, in the factory courtyard; but as the image quickly grew larger, a gymnasium in Lhasa became the workspace. This allowed half of the thangka to be unrolled and viewed. Before the finished image was delivered to the monastery, certain preparations were made for it to be faithfully consecrated. The sacred syllables "OM", "AH", "HUNG" were cut out in fabric and sewn behind each figure, traditionally placed at their body, speech and mind centers. Also, a fragment of the 400-year old previous Tsurphu gos.sKu, a Bodhisattva head, was placed behind the Buddha's heart as a relic.

The finished work was brought to Tsurphu and was consecrated that same day by H.H. Karmapa, as it was displayed on the original wall as a rehearsal for the coming event.

This project was completed in 1994. Terris and Leslie in 2006 initiated the Tsurphu Drachey Project which is a phase of this complete applique project for the Monastary. Drabje

Arrival at Tsurphu

Consecration

View from the top

Ceremony

The ceremonial hanging of the Tsurphu gos.sKu takes place each year on the 12th day of the Tibetan 4th lunar month. This date is the important religious event of "Saga Dawa" which marks the Buddha's birth, enlightenment and passing into Nirvana. Also included in this festival is Guru Rinpoche's bringing of Buddhism from India to Tibet, the 10th lunar day is sacred to him.


Dorje Chang	Thangka Procession	Tsurphu Morning	Pilgrims

In the early morning, the huge thangka is carried from inside the main temple, where it is kept, through the monastery courtyard, across the river and up the facing hill to the top of the steep inclined wall on which it is unfurled. This physically demanding preliminary requires the effort of at least 70 monks. The image is then unrolled and once its protective veil is raised, is visible for about 4 hours. During this time formal ritual offerings are performed and prayers are recited by monks below. This is followed by streams of pilgrims of all generations, presenting themselves before the giant thangka to make their devotional offerings (through the giving of silken scarves and making prostrations) whilst receiving its great blessing. From his balcony at the temple, the Karmapa witnesses the ceremony and crowded scenes below. Before the image is carefully rolled up and carried away for another year, the lines of pilgrims move away from it, across the landscape, towards the temple courtyard, where they wait to pay their respects and make offerings to H.H. Karmapa and receive his blessings.

February 4th 1997
Consecration ceremony

The 2nd Giant Thangka for Tsurphu Monastery:

The Mahakala Thangka

In May, 1994, with the successful completion of this first large scale thangka, the abbot Ven. Drupon Dechen Rimpoche, requested the artists to make the second lost Tsurphu gos.sKu. This is to replace a 9 meter square appliqué thangka offered by the Mongolian king to the 15th Karmapa. This image is shown on the last day of the Tibetan lunar calendar as part of a major purification ceremony to dispel impending obstacles before starting the new year.

Again for this image, no photographic record existed making the creation of an exact reproduction impossible. The very generous Ven. Tenga Rinpoche gave many answers to all our questions and advice on the images. However what was clearly known is that the thangka represents the protector Mahakala with his consort surrounded by his retinue of five wrathful attendants. It is shown at the Lotsar Festival which takes place on the last day of the Tibetan lunar calendar. The religious hanging is unfurled from the main temple's top balcony covering the front of the building. Meanwhile, ritual Lama dances are performed in the courtyard before the thangka; this is accompanied by the chanting of prayers. The festival traditionally attracts crowds of pilgrims who attend this major purification ceremony before beginning the new year afresh and, it is hoped that the year will be cleansed of any impending obstacles.

The central figures are those of Gonpo Bernagchen in union with his consort Palden Lhamo, both riding on her mule. To their right and left respectively, sits the great snake-tailed Naga King "Nadag" and the wealth guardian "Namthose". Below these, on the lower left side, the lion faced protectors "Shing Kyong" ride their horses through a smoke filled background. On the lower right side, the skull garland black ogress "Sin Gon" stands in an aura of wild flames. At the bottom center, the grandfather of all Mahakalas, "Damchen", the Blacksmith vow holder, rides seated on a goat.

Damchen

King Naga

Karma Pakashi

Ma-Gon Yab-Yum
w/ artists

Overlooking these ferocious protectors, at the top center of the image, sits the imposing frowning figure of the 2nd Karmapa, Karma Pakshi. Traditionally, in painting, such wrathful compositions would be represented against a black background with landscape elements highlighted in lines of real gold. Similarly, this thangka is translated as a black appliqué thangka whereby the colorful wrathful deities are stitched against a black satin background. They are surrounded by a landscape of golden silk line work depicting mountains against clouds and rainbows all amidst detail of flora, fauna and symbolic offerings.

Pattern and assembly

Horse and Mule

Naga King

Shing Kyong

Though this work is clearly smaller in scale than the previous gos.sKu created, its function is no less powerful:The act of representing these wrathful deities may result a possible arising of subsequent obstacles: this was forewarning given by the abbot to the artists, shielding them against any overconfidence resulting from their successful completion of the much larger image. Furthermore, on a technical level, smaller does not necessarily mean
easier as this ensemble of ferocious deities are much more intricate in form, features and attributes than thei peaceful counterparts. The"Giant Tsurphu Thangka"video
was used in a fundraising campaign in Hong Kong, Malaysia and Taiwan which successfully raised more than half th money needed by showings at Buddhist centers. At this time,
Leslie and Terris celebrated the birth of their son, Karma Sonam Dorje.This thangka was completed and consecrated by H.H. the 17th Karmapa. The first public showing took place February 4, 1997, at twilight, as opposed to the morning showing of the Buddha image. H. H. Karmapa greeted his protector image with an extremely rareperformance of Mahakala dancing. After hours of masked rituals and lama dancing, the image was unfurled across the front of the monastery at dusk

Mahakala consecration and ceremony


Sringon Yab-yum	Karma Pakshi	Factory courtyard assembly	Artists

The showings of both thangkas are accompanied by elaborate cultural events. The Buddha image is followed by the dance of Guru Rinpoche and his eight manifestations and attendants. The Mahakala Protector image is associated with eighty masked and brocade robed dancers filling the monastery's courtyard. Both events are attended by thousands of colorful nomads and pilgrims in lively encampments.This is the first time Westerners have participated in such a Tibetan project. For a male/female team of artists to find expression within the Tibetan tradition is unique

The Tsurphu Drabje Project

Norbu Drabje

Tsechur Drabje

They are presently the artists to H.H. the 17th Gyalwa Karmapa and have been requested to undertake the making of the two ceremonial silk applique banners for display in the main assembly hall at Tsurphu. These are the companion pieces of the two Giant *Applique Thangkas. These two hangings called Drawa Drabje (dra wa dap che), one peaceful 1st and one wrathful, 2nd each measuring 2 mts x 40 mts, ( 7' x 120' ) will be used during Saga Dawa and Lotsar festivals anually. This will complete Tsurphu's precious applique relics lost during the cultural revolution. These important applique have the complete approval of His Holiness and Tsurphu Gompa

The Tsurphu Drabje Project

It was wonderful to reconnect with the monastery then and be again asked to do the two ceremonial banners which are a part of the two thangka projects already completed between 1992-97. This would complete Tsurphu's ceremonial giant appliqué collection, which was lost to the Temple during the Cultural Revolution.

Between 1992-1997 Terris and Leslie Nguyen Temple created the two giant thangkas for Tsurphu Gompa H.H.Karmapa's main seat in Tibet established in 1187 by the 1st Karmapa Dusum Khyenpa.
For the last sixteen years they have been the artists to H.H. the Gyalwa Karmapa’s Tsurphu Monastery in Tibet.
They now have been requested to undertake the making of the two large ceremonial silk appliqué banners for display in the main assembly hall at Tsurphu. These are the companion pieces of the two Giant Appliqué Thangkas completed in 1997, and are to be used in the main assembly hall for the ceremonial aspect of the both festivals.
Unlike the 2 giant thangkas these 2 Drawa Drabje appliqués were not destroyed, but taken to Sikkim by the 16th Karmapa Rigpe Dorje in 1959, and are now at Rumtek Monastery, India. These are to be copied for Tsurphu at the request of His Holiness Karmapa, Ven. Drupon Dechen Rinpoche (the late the abbot of Tsurphu), and Tsurphu Gompa.
These two hangings called dra. wa. dap. che, (pronounced drawa Drabje) one is peaceful (Tsechur Drabje) and one is wrathful (Norbu Drabje), each measuring 2 mts x 40 mt, (approximately 7’ x 120’) will be used during Saga Dawa and Lotsar festivals annually. This will complete Tsurphu's precious appliqué relics lost during the Cultural Revolution. As with the past projects, the responsibilities of the artists range from drawing the images, acquiring the materials, supervising the sewing work in Lhasa, as well as fund raising. The same team of Tibetan women part of the White Conch Factory in Lhasa, and the artists are the work force.
Tsurphu Gompa is the original seat of all the Gyalwa Karmapas and the Karma Kagyu Lineage. They need this support and these pieces to continue their important work for the benefit of all beings.

June 2006 the Norbu Drabje project sewing began in Lhasa, the pattern was completed in Chiang Mai in May 2006. Beginining photos are located here:

June 2006: click here

Nov.2006 click here

2005: click here

Temple Art Studios video clip of the Norbu Drabje Project

PHASE ONE of the Tsurphu Drabje Projects (Norbu Drabje) is complete
click here to see images Tsurphu is now using it in important ceremonies July 2007

The Lotsar celebrations are where the second Drabje (Norbu) is used to purify the coming new year. Mahakala puja is performed, as well as the protector’s cham (lama dances). Again approximately 80 beautifully costumed dancers perform this ritual cleaning ceremony. Dignitaries, nomads, local villagers and foreign guests attend both of these festivals.
The Norbu Drabje sewing was begun in Lhasa, June 2006, and was completed July 2007.

PHASE TWO
photos of the Tsechur Drabje

The peaceful Drabje (Tsechur) is associated with the Sagadawa festival. Celebrating the birth and enlightenment of the Buddha. This event is celebrated with the Guru Senge Cham (Guru Rinpoche Lama dances). These traditional elaborately costumed dances are preformed by about 80 lamas, and take up a good part of the day. The Giant Karma Gadri Thangka is shown the following day. Now the more complex Tsechur Drachey will be started.
Now an estimated total cost of US $35,000 is required to complete the last project with a prospective minimum 18 months of sewing time. (This piece is 7 ft x 120 ft or 2 mt x 40 mt) This project involves the same team of workers who completed the last 3 appliqués for Tsurphu monastery, the White Conch Factory, Lhasa, Tibet.
This project has the support of His Holiness and Tsurphu Monastery.

Authorization letters and additional information can be viewed www.tibetcolor.com/tafuture.htm
Funds can be donated online or
Temple Art Studios
P. O. Box 747
Haiku, HI. USA, 96708

Tel. 623 748-4603

Donate to Tsurphu Project

Tsurphu Nov 25 1999

Giant Thangka Film

1992, Terris and Leslie created a small replica of the 1st Giant Thangka as part of the fund raising effort needed. This project was completed in 1994.
In 1994, Terris and Leslie created and distributed a video in Asia, presenting the making and displaying of the1 st project. This was instrumental in raising funds for the 2nd giant project, the Mahakala thangka was completed in 1997. The video is presently to be reedited for a wider audience.

Further information is located here

The month of May and part of June 2005 we visited Tsurphu Gompa as part of our film project Giant Tsurphu Thangka. Saga Dawa this year was the 20th of May. All of the ceremony took place except the unrolling of the thangka. Snowfall was heavy and the administration decided the thangka could be damaged and the program was canceled. As sorry as we were to miss the showing, as pleased we are with the desire to preserve this image from possible damage.

All other parts of this project went smoothly. We accomplished most of the filming necessary to do the major editing, with only next years festival (2006) to revisit and to film that unveiling.

The film is still in the editing phase awaiting a little more funding to complete.

Obviously it has its own time.

The artists w/ HH the 17th Karmapa
Sarnath Dec. 2004

2006 photos of Tsurphu
click here

*There are many spellings for thangka: tangka,tangkha,thangkha
applique thangka, applique thangkas, applique thangkha, applique thangkhas

leslie art...terris art...applique thangkas...tibetan iconography...past projects...tsurphu ...
stupa...the movie...to order...white conch...tibet projects...aboutus...home

To contact Temple Art Studios
Write: Temple Art Studios
P. O. Box 747
Haiku, HI 96708
USA
Tel. (623) 748-4603