“Beyond its aesthetic appeal, thangka painting offers more than just livelihood; each brushstroke contributes to spiritual merit.”
In an exclusive interview with BDG, Kinzang Chojay, a renowned Bhutanese thangka artist, shared insights into his early years spent in a monastery and how these experiences profoundly influenced his artistic path. Raised in a devout Buddhist family with a rich artistic legacy, Kinzang was captivated by the vibrant murals and religious art that adorned the monastery walls. His fascination with Tang-era painting sparked a quest across Bhutan in search of natural color pigments. Today, his art is patronized by both the Bhutan Queen Mother and the country’s Chief Abbot, Je Khenpo.
“Growing up in a devout Buddhist family, where both my grandfather and father served as abbots at our village monastery, I was immersed in a world rich with artistic tradition. My grandfather was renowned for crafting intricate religious masks, while my father not only followed in his footsteps but also excelled as a painter. Following family tradition, I began my education as a lay novitiate at the monastery, learning basic literacy in the classical script known as Chhokye. However, it was the monastery’s vibrant murals, depicting the pantheons of Buddhist deities, that truly captivated my imagination. These vivid artworks ignited a deep passion for art within me, and I found myself eagerly sketching them at every opportunity. As time passed, it became clear that my true calling lay in the world of art rather than traditional monastic studies. The inspiration I drew from those murals set me on a path to become a thangka artist, blending my spiritual heritage with my artistic aspirations,” he told me.
At the age of 16, another pivotal change reshaped Kinzang’s path. He left his village school to join the Institute of Zorig Chusum in Thimphu, Bhutan’s capital. This institute, dedicated to the country’s 13 traditional arts and crafts, became a turning point in his life. Here, Kinzang discovered a profound passion and enthusiasm for the subjects taught.
The seven years he spent at the institute were enriching and eventful. Kinzang graduated at the top of his class, a testament to the transformative experiences he had there. These formative years at the Institute of Zorig Chusum significantly shaped who he is today.
During his first year at the Institute of 13 Arts and Crafts, Kinzang encountered a moment of profound clarity. It was mid-term, and students were required to choose a specialization. As the top student, Kinzang had the privilege to select any course, yet he found himself torn between his passions for sculpture and painting.
At that time, he was apprenticed at a serene monastery in Tsirang, nestled in the heart of south-central Bhutan. One day, while working in a hall adorned with statues, Kinzang slipped into a dream-like state. In this ethereal vision, he beheld a statue of Guru Padmasambhava, the revered Second Buddha. The statue stood majestically, holding a paintbrush in one hand and a sculpting chisel in the other. He notes: “This vision felt like a divine sign, a celestial assurance that I could excel in either painting or sculpting.”
Inspired and guided by this mystical experience, Kinzang chose to specialize in painting. The moment was made even more significant by the presence of a renowned lama at the worksite, adding a layer of spiritual affirmation to his decision. This encounter not only shaped his artistic journey but also deepened his connection to the sacred art forms he cherishes.
In the heart of every creative endeavor lies a wellspring of inspiration. For Kinzang and his fellow painters, that source is the divine Kalachakra (Duekyi Khorlo). This deity, with his four faces and black complexion, and his 24 limbs, embodies the essence of time and cycles, represented by the wheel of time.
Before they set their brushes to canvas, they turn to a sacred prayer composed by the 70th Je Khenpo of Bhutan, Trulku Jigme Choeda. This prayer is their constant companion, recited at the start of their work, during the creative process, and upon completion. Through these sacred words, they seek the blessings of inspiration, the removal of obstacles, and the purification of their body, speech, and mind.
The Tang style of painting deeply inspired Kinzang. During the Tang dynasty (618–907), Buddhist art reached unprecedented heights, particularly in mural production. This period marked a dramatic evolution in painting techniques, styles, and intricacy. It was also a time when Buddhism began to spread to Bhutan, leading to the construction of the first Buddhist temples, Kyichu Lhakhang and Jambay Lhakhang. This cultural exchange sparked the flourishing of thangka art in Bhutan, heavily influenced by Tibetan traditions, which were themselves intertwined with the Tang empire’s artistic advancements.
As thangka art took root in Bhutan, it began to develop unique characteristics suited to its geographical and cultural context. Despite these evolutions, Bhutanese thangka painting continues to reflect many elements from the Tang era, preserving historical influences while forging its own distinctive identity. This blend of ancient and local artistry has allowed Bhutanese thangka to maintain a rich, historical essence while evolving into a unique form of expression.
In order to recreate the ancient color palette, Kinzang spent three months traveling around Bhutan to source pigments from the soil and nature. In the heart of Bhutan, the ancient art of using soil pigments, known as Satsoen, has been a cornerstone of painting traditions since ancient time. While green pigments were historically reserved for dyeing textiles, the use of Satsoen dates back to the 7th century AD. This is evident in the enduring temples from that era, their vibrant hues standing the test of time.
Driven by a passion for authenticity, Kinzang embarked on a journey across Bhutan, delving into the rich soils of Trashigang and Monger. This ancient craft of pigment extraction required the wisdom of local experts, whom he enlisted not only to aid in the process but also to impart their knowledge.
Yet, this quest was not without its challenges. Many local communities guard their secrets closely, viewing the practice as sacred and confidential. In some instances, Kinzang negotiated with landowners for the rights to extract pigments from their private lands. His team also scoured sites of new road construction, where the upheaval of earth by heavy machinery often revealed rare and unique colors hidden deep within the soil.
Through perseverance and respect for tradition, Kinzang and his team unearthed the finest pigments, each with a story as rich as the colors they produce.
Kinzang’s artistic career began with a significant opportunity at the Druk Wangyel Temple in Dochula. This temple, dedicated to Bhutan’s 4th King and commissioned by the Queen Mother, is renowned for its exquisite art and paintwork. Kinzang was one of three artists chosen to create the murals, a project that spanned four years.
The recognition he gained from his work at Druk Wangyel opened doors within the Bhutanese art community. Soon after, under the command of Bhutan’s 70th Chief Abbot, he painted frescoes depicting the Buddha’s deeds at Namdroling Dratshang in eastern Bhutan. Currently, he is working on frescoes for the Yongphula Lhakhang, a site associated with the Dudjom Tersar lineage. In between, he has completed various artworks for several temples commissioned by renowned Buddhist masters.
These projects have been both rewarding and humbling, enriching Kinzang as an artist and a Buddhist devotee. “While I have gained invaluable experience and skills, my greatest joy comes from knowing that my work inspires devotion in the people who visit these sacred sites year after year.”
This month, Kinzang welcomed to his November solo exhibition Bhutan’s Laytshog Lopen, or chairman of the Central Monastic Administration (who is also my teacher), Ven. Sangay Dorji. A solo exhibit is a remarkable achievement for a Bhutanese artist. It seeks to reshape the way thangka art is perceived, and the spotlight is on its aesthetic allure as much as its spiritual essence. This ambitious endeavor seeks to elevate thangka from a purely religious artifact to a celebrated form of artistic expression. This exhibition, which began on 8 November and runs until 30 January 2025, is making waves, not just for its artistic brilliance but for what it represents—a significant milestone for all classic thangka painters in the country. This revered art form has seen remarkable evolution over the centuries. Yet many Bhutanese remain unaware that the materials used in these intricate artworks are indigenous, organic, and rooted in traditions dating back to the 7th century AD.
The first goal is to showcase thangka as a unique artistic genre. In Bhutanese culture, religious art is often viewed solely through the lens of spirituality, which can overshadow the remarkable artistry, intricate details, and creative genius involved in its creation. This exhibition invites audiences to appreciate the finesse and craftsmanship that transform a thangka into a stunning work of art. It is a call for the evolution and refinement of this ancient art form.
Within the Himalayan Buddhist tradition, religious art is typically seen as an act of devotion. While this perspective is significant, the exhibition aims to highlight that true faith is best demonstrated through exceptional artistry. It is a reminder that the highest form of devotion is reflected in the quality and beauty of the art itself.
Finally, thangka and other traditional art forms are vital to Bhutanese heritage and identity. Their preservation and promotion are crucial, not just for adorning monastery walls, but for their role in the cultural narrative. By bringing these artworks to the forefront, the exhibition underscores their invaluable contribution to heritage and encourages future generations to engage with and cherish the artistic legacy.
”Embrace Your Artistic Heritage: Thangka Painting as a Timeless Vocation”
During his seven years of study at the institute, Kinzang delved deep into the world of Buddhist iconography, symbolism, composition, and thematic elements, honing his practical skills. But it was his apprenticeships at monasteries beyond the institute’s walls that truly shaped his journey.
One such apprenticeship was with the late Sangay, a master painter whose influence on Kinzang was nothing short of transformative. Under Sangay’s guidance, Kinzang learned to infuse his work with spiritual resonance, creating images that spoke to the soul. Sangay’s mentorship was a beacon of inspiration, significantly boosting Kinzang’s confidence and paving the way for his independent artistic endeavors.
As Kinzang ventured into his early career, he had the privilege of collaborating with other talented artists. These collaborations were a crucible of creativity, enriching his stylistic development and refining his technical skills. Each experience added a new layer to his artistic identity, helping him grow not just as an artist, but as a storyteller through his art.
Today’s thangka paintings are a testament to fascinating transformations in both technique and composition. While the foundational principles remain anchored in tradition, there is an exciting evolution taking place. For the first time in his 22 years as an artist, this exhibition is not solely about preservation; it is about forging a new path forward.
This exhibition is a platform for classic thangka painters like Kinzang to showcase their skills and creativity. It invites the audience to move beyond mere preservation and take pride in the vibrant art being created today. Kinzang aspires to inspire fellow painters to take charge of this artistic journey, demonstrating how dynamic and alive traditional painting can be. He hopes to replicate this initiative beyond Bhutan’s borders, spreading the rich heritage of thangka art far and wide.
Kinzang’s journey as a thangka artist is a testament to boundless aspirations. With a heart set on mastering ancient techniques, Kinzang’s dedication goes beyond mere business pursuits. His vision encompasses a broader mission: to preserve and elevate the appreciation of thangka art.
Through teaching, community engagement, and philanthropic efforts, Kinzang aims to breathe new life into this revered art form. His studio, a sanctuary for creativity, welcomes fellow Bhutanese artists, fostering a vibrant community of shared passion and learning.
Ultimately, Kinzang dreams of creating a body of work that not only reflects his unique vision but also leaves an indelible mark on the world of thangka art, ensuring its legacy for generations to come.
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