The Tantric in the Thangka

Most artists believe their practice is a form of meditation as it forces them to be completely present, focused on the activity and mindful of its outcome. Tibetan artist Anay Ngawang Chodak’s meditation is art. He refers to his paintings as spiritual offerings, calling their creation, “a way to share the essence of the teachings of Buddha beyond words, of embodying Buddhist philosophy instead of simply depicting it.” His works were recently on display at Delhi’s Arushi Arts, titled Oneness: Exploring Universal Values—Chodak’s first solo show in India. Through 21 paintings completed over a period of nearly 10 years, one is witness to the different stages of his artistic journey.

Chodak, who spends his time between Kathmandu, Nepal, and New York City, US, is a devoted Buddhist practitioner and direct descendant in the lineage of Repa Dorje Chang. Pretty cool as labels go; Repas are solitary tantrics, but within a particular lineage or tradition. “Dorje Chang” is Tibetan for Vajradhara, the primordial Buddha. Chodak is also a master of the Buddhist thangka painting, which depicts deities and scenes from the life of the Buddha, influential lamas and bodhisattvas. Chodak’s refinement of this rarefied art form earned him the prestigious position of the artist-in-residence at the Dalai Lama’s home to complete a prominent Buddhist project from 2003 to 2021. Chodak was also chosen to complete the mural thangka paintings in the sanctum sanctorum of the five-story Great Stupa in Tawang in Arunachal Pradesh.

His discovery of the connection between centuries-old Buddhist scriptures and the rich art of India’s Nalanda tradition, as well as his admiration for ancient Indian art in Alchi, Kashmir and the Ajanta Ellora caves, led him to go beyond strict traditionalism. He began to pursue a unique artistic style which was a fusion of Newa Paubha art, Kashmiri Alchi art and Tibetan art presented with a contemporary expression to connect to today’s audience. However, he adds the caveat: “It was not about moving away from tradition but about expanding its reach, honouring its wisdom while allowing it to evolve in a way that speaks to the modern world.”

The interconnectedness is represented through intricate chain links painted in the backdrops of paintings like Happiness Emerging from Positive Seeds. Its concept is inspired by the Buddhist philosophical understanding that the source and cause of happiness and suffering are often one and the same. Three vibrant and smiling ‘happiness pods’ emerge from the links in the painting to signal the importance of nurturing positive qualities to overcome suffering and pave the way to happiness.

“I am drawn to concepts that highlight the science of the mind—impermanence, interconnectedness, compassion, and the balance between seen and unseen worlds. These themes are not just intellectual explorations, but personal experiences translated into colour, form, and composition, which intuitively and meaningfully reflect my philosophical understanding,” says Chodak.

His preoccupation with wisdom shines through in works like Arise and Grow More and More, as lotus flowers bloom amidst interconnected links. Chodak tells the viewer that the result of nurturing our inner selves by embodying wisdom of the mind and spirit, is indeed beautiful. Great Compassion is another work along this theme. Stylised Tibetan calligraphy sits at the centre of this painting, while a painstakingly detailed backdrop containing flowers and human faces depicts the importance of being compassionate to all living creatures— because we are, after all, interconnected.

Another recurring theme is the focus on the divine feminine, believed to be the essence of wisdom and insight in Buddhism. The female presence is present in most of his works, sometimes as an abstract entity and other times woven into delicate floral motifs or vibrant links. He explains, “She is not separate from us but exists within all of us, guiding our journey toward deeper understanding and enlightenment.”

Chodak uses mineral pigments sourced from Japan, French gouache and pure 24k gold and silver paints. His canvases are handmade cotton or French hot and cold-pressed paper, to get closest to the traditional medium of thangka paintings. He distinguishes himself by employing modern art methodologies like developing his own colour combinations, creating new symbols and layering and shading with paints to add texture and depth to the work.

Summarising the meditative nature of his art for himself and those who view it, Chodak says, “Just as meditation allows the mind to become still and clear, I hope my art serves as a contemplative space for viewers to experience peace, introspection, and a deeper sense of connection. I intend for my artwork to be analysed and meditated on in order for its deeper philosophical meanings to surface. In this manner, we can each find the keys to discovering the profound meanings of our states of mind as nature intended.”