A matured use of shadow and detail can be seen in this tangka, indicating a later, more developed art form. It lacks the detail to symmetry found in the other two examples as well. This piece provides an excellent contrast to the earlier two Tangka that were examined. it's attention to shading, clear outlines, and accents in gold may indicate the Menris school of the 1500s (Tibetanartschool.com).
Conclusion
Tangka paintings are an important part of Tibetian life. Many regional differences exist in the painting styles and techniques that are employed in the paintings. It might be noted that Tangkas in western Tibet take on a Chinese flavor. Tangkas of the religious nature are divided into three major portions. They are the top, middle and lower portions of the painting, representing the heaven, earth and underworld (U-wayttours.com). In the last two paintings, this was accomplished through the use of top and bottom borders on the picture. However, in the Cleveland Green Tara, an actual sky behind the altar was used.
The artists who created the three Tangkas explored in this research gave many clues as to the time and place that the painting was produced. It is apparent that some variation was allowed, even when the picture was of the same deity and was meant to portray a similar meaning. The three renditions of the Green Tara had several points that seemed to endure throughout the years. The first is the presence of the Lotus flower upon which she sat. The second is the presence of the blue flowers flanking her. The third point that endures throughout the pieces is the presence of representations of the eight physical perils of man. The use of blue elements reminds the viewer not to let anger get the best of them. The constancy of these...
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