Tibetan Thanka Painting is very important to Tibetans as part of Buddhisme, Art and Culture. The value of the Thanka includes the aspects of meditation, sacredness and aesthetics. International there is an increasing interest in Thanka Paintings and the Paintings are valued and appreciated for their intrinsic qualities.

The development of Thanka Painting

Picturing the Buddha is said to go back to the time of the Buddha himself. There were two works created in that time according to Tibetan legends, namely: 'Thupa Chu lenma' and 'Hoed Zerma'.

'Thupa Chu lenma' is a Tibetan term, meaning ;"The image of the sage taken from a reflection in the water". The artist is said to have painted the image of a reflection in the water. 'Hoed Zerma' means; "Radiation Ligth". The Buddha is believed to have emitted rays of light from his body onto a cloth enabling the artist to depict his form.

Tibet's first contact with Buddhisme occurred in the seventh century. Artistic influences in that time came from Nepal and China. Later under the next king from 790 to 844 the first monestry 'Samye' was build in Tibet by Shantarakshita and Padmasambava.

Many artists were invited to participate in the construction and this was the beginning of the Tibetan artistic tradition.

Later, in the eleventh century,the most profound Tibetian artistic tradition took place. Rinchen Zangpo, a great scholar, returned from Kashmir to Tibet with many great artists and craftsman. They construct numerous temples in western Tibet and this part was strongly influenced by this Kashmiri artstyle.

Central Tibet has sinds earliest times expressed the influence of both India-Nepalese and Central asian (Khotannese) styles. After the thirtheenth century the Newary style became quite widespread in Tibet. The Nepalese style is also evident in the construction style of the Kumbum stupa in Gyantse, the most famous and biggest stupa in Tibet.

Eastern Tibetan art has also a strong Chinese influence. What later emerged around the seventeenth century was a very distinct Tibetan style. It began with the in 1450-80 developed Menri School of painting by Menthangpa Menlha Dhondup. Having mastered various styles, Newary, Chinese and Indian, and due his creative nature he influenced a new and quite distinct style. Examples of this style can be seen on some of the wall paintings in the Potala Palace and thankas of this period.

Several other artistic styles had also devoleped in this period in Tibet, such as: Khyendrie, Karma Gardi, Juri and MenKhen. Most are influenced by the dominant Menri style. Only Karma Gadri was an exeption, displaying clearly unique features.

Menri paintings, very detailed, rich in colour with dominance of blue and green and utilise gold to a great extent with intricate patterns designed on the gold outline. Menri figures are portrayed with relaxed postures.
In comparison, Karma Gadri paintings having a strong Chinese influence, are less detailed, utilise thinly aplied pale colours, have more spacious and expansive backgrounds and place more emphasis on dry dot shading.

The Menri style had a profound influence in Tibet and paved the way for a Tibetan style of painting to emerge.
Still to this day the elements of this distinct Tibetan art style are followed.