Q1. Congratulations on receiving the State Award 2024 in the field of fine arts! Could you tell us a bit about your background? 

First and foremost, I would like to thank Reach Ladakh team for congratulating me. Speaking about my background, my journey started at Lamayuru Monastery, where I became a monk and received my early education. Then, I enrolled at the Central Institute of Buddhist Studies, Choglamsar, where I developed an interest in Thangka painting. There, I had the opportunity to learn from many well-known artists who were monks. Additionally, I had the privilege of studying mandala painting under the guidance of Khenpo Thodol from Shang village and Gyen Ishay Jamyang, the Abbot of the Lamayuru Monastery. My inaugural painting experience unfolded at Tsetrul Rinpoche’s abode, where I created my first mandala, blessed by Tsetrul Rinpoche and another Rinpoche. 

Q2 What inspired your interest in Thangka painting and who was your mentor? 

Essentially, there are ten sciences (Rignas), comprising the major five: Zo Rigpa, Sowa Rigpa, Da Rigpa, Tsema Rigpa, Nangthon Rigpa, and the minor five: Karsi, Ldasgar, Synan Nag, Sdebjor, Tsikzod. My expertise lies in Zo Rigpa. My passion for painting traces back to my childhood, where I consistently practiced, sensing a profound connection to actions from a previous birth. Throughout my journey, I encountered minimal challenges, and I credit my smooth progression to the guidance of my mentor, Late Tsering Wangdus from Nimmo, a recipient of the Padma Shri award. 

Q3. Could you elaborate on Thangka painting and its significance?

Certainly. In the context of Buddhism, our prayer rooms are adorned with stupas and Buddha statues, with Thangka holding a pivotal role as an essential element. Thangka carries profound spiritual importance, serving as a visual aid to meditation and a means of conveying complex teachings. In the 21st century, it becomes the collective responsibility of both younger and older generations to safeguard and delve into the art of Thangka, ensuring its preservation. By doing so, we contribute to the preservation of our language and culture, preventing future generations from questioning our rich heritage. Thangka art thus becomes a bridge connecting our past with the present and the future. 

Q4. Can you share details about your work and accomplishments thus far? 

Certainly. Over the course of my artistic journey, I have created numerous paintings, and I would like to highlight a few noteworthy ones. Some of my paintings, including Genduk Choknis, are on display at prestigious institutions such as the Bhopal Museum, Dehradun, and in Nepal. Additionally, I have had the privilege of working in France for several years, contributing to the global appreciation of Thangka art. In Ladakh, my artistic endeavors have left an indelible mark, with paintings adorning various significant locations like Zanskar Stakrim, Skurbuchan Gonpa, Thekchokling, Phokar Urgyanling Gonpa, Wanla Gonpa, Hemis, Stakna, and many more. I take pride in having covered every region of Ladakh, and my work has gained recognition and appreciation from diverse audiences. It is truly heartening to see the resonance of my art reaching and connecting with people across Ladakh and beyond. 

Q5. What is the current state of traditional art in Ladakh, and what measures can be taken to preserve it? 

The current status of traditional art in Ladakh is relatively stable, thanks to the efforts of dedicated practitioners and growing support from various quarters. In the 20th century, my teacher was renowned for his exceptional paintings and played a pivotal role in passing down this art form to many students while contributing to numerous monasteries. However, contemporary times have witnessed rapid changes, emphasizing the importance of ensuring proper education in Thangka painting, especially for the younger generation. While challenges such as access to materials, training, and financial resources have been prevalent, there has been a positive shift. Government initiatives now provide funds, establish training centers, and support private institutions, alleviating some of these obstacles. Additionally, individuals like me offer classes and share knowledge with aspiring artists, contributing to the preservation and evolution of traditional art in Ladakh. It is crucial to continue nurturing this rich heritage by fostering a conducive environment for learning, innovation, and appreciation of traditional art forms. 

Q6. Do you see any challenges in the field of Thangka painting? 

Painting a Thangka takes a long time, as the foundational lines are drawn in pencil and the duration depends on the size and complexity of the Thangka which must be genuine. Nowadays people including both Ladakhis and outsiders often want their demands to be completed quickly, within one or two months. This is a big challenge because Thanka painting is a manual process that requires a lot of time, calmness and passion. 

Q7. Are today’s younger generations interested in Thangka painting? What are the big differences you see in today’s generation?

When I compare today’s generation with the past, I notice significant differences. They rely on technology which makes many tasks easier, and they can get help and support from anywhere; the internet is the best example. Earlier we used to struggle for light and paper, but nowadays aspiring Thangka artists can pursue their passion without many difficulties. It is important for them to know the local language (Bhoti) to become proficient Thangka artists.

Message to the readers.

Youths should seek quality edu- cation from experienced teach- ers across all fields, acknowledg- ing and overcoming challenges. The saying goes, “Efficient in- dividuals may face obstacles in studies; excessive attachment to temporary pleasures hinders ul- timate success.