The news was updated on July 12, 2019.

The 2019 China Kunming International Stone Expo opened in the city of Kunming, southwest China’s Yunnan Province Wednesday.

Exhibitors from 24 countries and regions including Italy, Germany, Sri Lanka, Myanmar and Afghanistan are participating in the six-day expo.

More than 2,800 booths and seven exhibition halls have been set up in a 65,000 square meter area.

Over 50 forums and lectures on jewelry, design, the gemstone industry and advanced technology will be held during the expo.

More than 600 jewelry designers are also participating in the jewelry culture and art week that opened Wednesday to discuss and share design and innovation ideas and experience.

Yunnan is among the first areas in China to develop and utilize gemstone resources. As of 2018, the output value of the stone industry in Yunnan has exceed 100 billion yuan (14.53 billion U.S. dollars), creating nearly 2 million jobs.

Source from Yunnan Gateway.

Founded in 1969, Dongfeng Motor Corporation is one of the backbone enterprises in China’s automobile industry. After 48 years of development, the company has built up industry-leading product of research and development capabilities, manufacturing capabilities and marketing capabilities. Dongfeng brand is wildly known nowadays.

Dongfeng 4-seat truck luggage van is a versatile vehicle designed to meet transportation needs while ensuring reliability and efficiency. Manufactured by Dongfeng Motor Corporation, one of China’s largest automobile manufacturers, this truck combines practicality with robust performance.

Key Features

• Compact Design: The 4-seat truck is compact yet spacious enough to accommodate both passengers and cargo, making it suitable for various logistical tasks.
• Cargo Capacity: Designed primarily as a luggage van, it offers ample storage space for transporting goods, luggage, equipment, or supplies over short to medium distances.
• Seating Capacity: Equipped with seating for four passengers, including the driver, the truck ensures comfort and convenience during transportation operations.
• Performance and Efficiency: Powered by Dongfeng’s efficient engine technology, the truck delivers reliable performance while maintaining fuel efficiency, making it cost-effective for commercial use.

Applications

• Logistics and Delivery: Ideal for urban logistics, last-mile delivery services, and transporting goods between warehouses, retail outlets, and distribution centers.
• Utility and Maintenance: Used by utility service providers, maintenance teams, and construction crews for transporting tools, equipment, and personnel to job sites.
• Commercial Operations: Suitable for small businesses, agricultural enterprises, and local vendors requiring a versatile vehicle for daily operations.

Safety and Technology

• Safety Features: Includes standard safety features such as airbags, ABS (Anti-lock Braking System), and stability control systems to ensure driver and passenger safety.
• Technology Integration: May feature modern amenities such as GPS navigation systems, multimedia entertainment options, and connectivity solutions for enhanced driver convenience.

Conclusion

The Dongfeng 4-seat truck luggage van stands out as a practical solution for businesses and organizations seeking reliable transportation with cargo carrying capabilities. Its compact size, coupled with efficient performance and ergonomic design, makes it a valuable asset across various industries in China’s dynamic commercial landscape.

Suzhou Kinglong 19-seat Higer bus represents a hallmark of reliable transportation solutions within China, renowned for its blend of comfort, safety features, and robust design. Manufactured by Suzhou Kinglong Bus Co., Ltd., a subsidiary of the globally recognized King Long United Automotive Industry Co., Ltd., these buses cater to various travel needs with efficiency and style.

Key Features

• Comfort and Design: The interior of the Suzhou Kinglong 19-seat Higer bus is crafted with passenger comfort in mind, featuring spacious seating arrangements, ergonomic designs, and quality materials that ensure a pleasant journey.
• Safety Standards: Equipped with advanced safety features such as ABS (Anti-lock Braking System), traction control, airbags, and reinforced chassis, the Higer bus prioritizes passenger safety and confidence on the road.
• Durability and Reliability: Known for its robust construction and low maintenance requirements, the Suzhou Kinglong Higer bus delivers dependable performance under various operational conditions, making it a preferred choice for both short and long-distance travel.

Applications

• Tourism and Sightseeing: Ideal for guided tours, city sightseeing excursions, and exploring scenic routes, providing tourists with a comfortable and enjoyable travel experience.
• Shuttle Services: Widely used for airport transfers, hotel shuttles, corporate events, and public transportation, offering efficient mobility solutions with a focus on passenger convenience.

Conclusion

The Suzhou Kinglong 19-seat Higer bus stands out as a versatile and reliable option in China’s transportation industry, combining comfort, safety, and durability to meet diverse travel requirements. Whether for tourism ventures or commercial use, this bus model exemplifies excellence in passenger transport.

This overview highlights the Suzhou Kinglong 19-seat Higer bus, emphasizing its comfort, safety features, and suitability for various applications such as tourism, shuttle services, and corporate transportation in China.

The Yutong 19-seat van is a versatile and popular choice for group travel, renowned for its comfort, safety features, and reliability. Manufactured by Zhengzhou Yutong Group Co., Ltd., one of China’s leading bus and coach manufacturers, these vans are well-suited for various travel needs, including tourism, shuttle services, and corporate transportation.

Key Features

• Comfortable Seating: Designed with spacious seating and ergonomic interiors, the Yutong van ensures a comfortable journey for passengers, making it ideal for long-distance travel.
• Safety and Reliability: Equipped with advanced safety features, such as ABS (Anti-lock Braking System) and airbags, the Yutong van prioritizes passenger safety.
• Efficiency: Known for its fuel efficiency and low operating costs, the Yutong van offers a reliable and cost-effective solution for transportation needs.

Applications

• Tourism: Perfect for guided tours, excursions, and airport transfers, providing comfort and convenience for travelers exploring Yunnan’s diverse attractions.
• Shuttle Services: Used extensively for hotel shuttles, corporate events, and inter-city transfers, ensuring efficient and comfortable transportation for passengers.

Conclusion

The Yutong 19-seat van by Zhengzhou Yutong Group Co., Ltd., combines comfort, safety, and efficiency, making it an excellent choice for various travel requirements in Yunnan and beyond. Whether for tourism, shuttle services, or corporate transportation, this van delivers a superior travel experience.

The Iveco Maozai, also known as the Iveco Venice Tour, entered the market on July 19, 2017, manufactured by Nanjing Iveco Company. This bus model is celebrated for its lightweight design and comfortable interiors, making it an ideal choice for various travel needs.

About Iveco

Iveco stands for Nanjing Iveco Automobile Co., Ltd., a joint venture between China Nanjing Automobile Group and Italy’s F.I.A.T. (Fabbrica Italiana Automobili Torino). This collaboration is not only the largest cooperation project between the Chinese and Italian governments but also one of the most successful overseas cooperation models since the inception of the F.I.A.T. group a century ago.

Key Features

• Comfort: Designed with passenger comfort in mind, the Iveco Maozai offers a pleasant travel experience with its spacious seating and ergonomic design.
• Efficiency: Known for its efficiency, the bus is suitable for both short trips and longer journeys, providing reliability and smooth performance.

Conclusion

The Iveco Maozai 18-seat bus combines Italian automotive expertise with Chinese manufacturing prowess, offering a blend of comfort, efficiency, and reliability ideal for exploring the diverse landscapes and destinations of Yunnan province.

Tiger Leaping Gorge

The Tiger Leaping Gorge is famous for its steepness, one of the deepest gorges in the world and sits between Haba Snow Mountain sitting in the north and Jade Dragon Snow Mountain in the south. The gorge consists of three parts: the upper section, middle section and lower section. The hiking route of Tiger Leaping Gorge is depicted as one of the top 10 classic hiking routes all over the world.

Upper Section of Tiger Leaping Gorge

The upper gorge is 9 kilometers from Tiger Leaping Gorge Town, and its degree of difficulty is the lowest one among the three sections and most tourists prefer to visit because it’s a safer tourist site built by the authorities with available road, wooden steps, secure guardrails and short distance.

The most narrow part of the whole Tiger Leaping Gorge sits in the upper section. There is a huge stone in the middle of the river and the water is rushing, which leads to a shocking scene with great wave. It’s said that a tiger leaps to the Haba Snow Mountain from Jade Dragon Snow Mountain by stepping on the stone, so it’s named as “Tiger Leaping Stone”.

What to Do at Upper Section of Tiger Leaping Gorge

The Upper Tiger Leaping Gorge is a paradise for hiker. Travelers need to hike for two hours to Naxi Family Guesthouse and have lunch. Continue to hike another 2 hours up the steep wending gorge called 28-bends before the next break. It’s said by travelers 28-bends is the highlights of the Upper Tiger Leaping Gorge and the view from the First observation deck is indelible. After a break, hike another one or two hours, and then we will arrive at Halfway Guesthouse where travelers can enjoy the great view of Yulong Snow Mountain and overlook the Jinsha (Golden Sands) River Valley.

How to get there

By Car Rental
Taking a shuttle car from Shangri-La or Lijiang to the Tiger Leaping Gorge in Shangri-La costs 300-500RMB. Travellers can firstly take a bus to Qiaotou Town(桥头镇) and then transfer to the Upper Section of Tiger Leaping Gorge in Shangri-La with a car rental for the fee of 60RMB.

By Bus
There is a bus departing from Zhongxia International Youth Hostel(中峡国际青年旅舍) at 8:00am in Shangri-La for Tina’s Guest House（中峡客栈） via Qiaotou Town(桥头镇) with the fee for 50RMB per person. Hikers can get off the bus at the park lot in the Upper Section of the Tiger Leaping Gorge. The buses depart from Tina’s at 3:00pm for Shangri-La with the fee for 50RMB per person.

The buses depart from Lijiang Ancient Town for the Middle Section of Tiger Leaping Gorge via Qiaotou Town(桥头镇) and the upper section. Hikers can get off the bus at park lot in the Upper Section of the Tiger Leaping Gorge. The buses depart from Tina’s at 3:00pm for Lijiang with the fee for 50RMB per person.

Best Time to Go

April, May and June in the Gorge is the finest time for hiking Tiger Leaping Gorge with crisp air. September, October are the second best time to hike Tiger Leaping Gorge. June to August is the rainy season and the road is sloppy. Try to avoid the rainy season. After October the weather turns to cold, if you want to go, bring warm clothes.

Attractions Nearby

Jade Dragon Snow Mountain
Jade Dragon Snow Mountain is a mountain massif near Lijiang. It is the southernmost glacier in the Northern Hemisphere. There are 13 peaks all together and the group of mountains stretches about 35 kilometers from north to south. The highest peak is named Shanzidou at an altitude of 5,596m. On the eastern side of Jade Dragon Snow Mountain, there is a deep valley where the Yangtze River runs. Tiger Leaping Gorge is in the northern part of the valley and Yuhu Village Is located in the south of the valley. Travelers can see Jade Dragon Snow Mountain over Tiger Leaping Gorge, Yuhu Village, Black Dragon Pool Park and other locations.

Haba Snow Mountain
Haba Snow Mountain is a mountain in southeast of Shangri-La, rising above the northwest side of Tiger Leaping Gorge, opposite off Jade Dragon Snow Mountain, with the highest peak of 5,396 m. It boasts glaciers, lakes and waterfalls and contains one of the best preserved nature reserves. Each year from June to August, millions of azaleas are in blossom. To avoid the rainy season, the best time to travel Haba Snow Mountain is mid-March to June, mid-September to mid-December.

Useful Travel Tips

► It’s rainy season from July to September, Please pay attention to some clastic rock rolling down from the mountain and don’t get too close to the river with water surging.

► It’s dry season from December to February, strong wind or flocks of sheep may bring about the clastic rock. Get perpared before hiking.

►Sun creams are MUST to prevent from the strong sunlight.

Map of The Upper Section of Tiger Leaping Gorge (Shangrila Side)

According to information on the airport’s official website in August 2017, Lijiang City is about 30 kilometers away from Sanyi International Airport in Lijiang, the journey is about 40-45 minutes. There is only one departure point of airport bus in Lijiang Downtown, that is Lantian(Blue Sky) Hotel, which is about 1 kilometers from the large water wheel of Lijiang Ancient Town.

Lijiang Downtown-Lijiang Sanyi Airport

Lijiang Sanyi Airport-Lijiang Downtown 

Southwest China’s Yunnan Province announced on Monday the establishment of a protection network for the province’s golden hair monkeys, also known as the black-and-white snub-nosed monkeys.

The network is the province’s first wildlife safety network and will be managed by both the local government and the private sector.

“Protecting the Yunnan golden hair monkeys and their habitats is of strategic significance for the conservation of global biodiversity and maintaining inter-regional species and ecological balance,” said Xiao Wen, head of the Institute of Eastern-Himalaya Biodiversity Research of Dali University.

The monkeys live in the mountainous forests in Yunnan and neighboring Tibet Autonomous Region, with most in the Baima Snow Mountain National Nature Reserve.

As one of the world’s most endangered primates, the monkey is considered a bellwether species for biodiversity in the high-altitude region.

Local poachers drove them close to extinction in the 1980s, but their number has since risen above 3,500 nationally thanks to the joint efforts of government, researchers and local villagers. 

China – Thailand Railway, or Sino – Thai Railway hasn’t been opened yet. The construction began in December, 2017. About 4 years are needed to complete this high speed rail project, by when it will run through three countries including China, Laos and Thailand. It will serve trains running between Kunming and Bangkok. In the far future, this China – Thailand railway project will be extended all the way to Singapore, shaping a high speed railway as long as 1,864 miles (3,000 km), namely Kunming – Singapore Railway.

 Kunming – Bangkok Trains

 Scheduled Open Time: 2021
 Designed Speed: 99–124 mph (160-200 km/h)
 Running Length: about 790 miles (1,272 km)
 Expected Duration: about 12 hours
 Estimated Round-trip Ticket Price: CNY 700 or THB 3,600, equaling to half or 1/3 of the flight ticket fare
 Planned Stations along the Way: Kunming South, Kunyang, Jinning East, Huacheng, Baofeng, Yuxi, Yuxi South, Yuanjiang, Mojiang, Puer, Jinghong, Mohan, Vientiane, Nong Khai, Khon Kaen, Nakhon Ratchasima, and Bangkok
 

 Kunming-Mohan: This section consists of the Kunming-Yuxi Railroad and Yuxi-Mohan Railroad. Currently, the former section has been put into service since December 15th, 2016 and the journey time is 1.5 hours. The construction of the latter section began on 29th April, 2016 and the distance is 315 miles (507 km); the designed speed is 99 mph (160 km/h) and the intermediate stations include Yuanjiang, Mojiang, Puer, and Jinghong.

 Mohan (Boten)- Vientiane: This section started on 2nd December, 2015 and it will be put into service before 2020. The planned running speed is 99 mph (160 km/h) and the total journey is 265 miles (427 km).

 Vientiane (Nong Khai) – Bangkok: The designed speed is 99–112 mph (160-180 km/h) for this section. The construction started in Dec. 21, 2017 and will last for 4 years. It will completely change the rail provision of Thailand and the country will have the first standard-gauge rail track. The stations along this way include Nong Khai, Khon Kaen, Nakhon Ratchasima. In the future, this railroad will be extended to eastern Rayong Province in Thailand.
 

Thailand – China High Speed Railway Project will make traveling between the two countries cheaper, easier and more convenient. Thailand is one of the top outbound tourism destinations among Chinese. When the China – Thailand high speed trains are put into service, they are estimated to attract 2 million more Chinese to visit the mysterious and colorful country each year, greatly boost the develop of its tourism industry.

For China, the railroad will greatly deduct the cost for exporting agricultural products such as rice, vegetables, and fresh tropical fruit from Thailand, as the rail freight fee is only about 1/3 of air freight fee. This in return, will also boost the development of Thai’s agriculture industry.
 

At present, the most convenient way to travel between the two countries should be flights. The direct flights between Bangkok and Beijing, Shanghai, Guangzhou and Kunming are the most popular; and the air duration is 5.5 hours, 4.5 hours, 3 hours, and 2.5 hours respectively.

Last year, China and Vietnam unveiled plans to refurbish a colonial-era railway between the two countries. It was an attempt to update a historical legacy – and also signified new bilateral dynamics in a consequential and sometimes fraught regional relationship.

Announced on 25 November, the Vietnamese government has proposed a rail project from Hai Phong through Hanoi to Lao Cai, on the border with China, for both freight and passenger trains. Vietnamese officials have said the project has been in planning since at least 2008, and a Chinese rail consultant completed a survey of the route between 2015 and 2019, delivering a blueprint of a 392-kilometre rail line with 38 stations, at an estimated cost of US $4.3 billion. Yet despite the new plan, it is not, in fact, a new route.

The rail line from Hanoi through Lao Cai to Kunming, the capital of China’s Yunnan province, was built by the French in the 1900s, the final decade of the Chinese (Qing) Empire. At that time, Beijing had difficulty retaining sovereignty over territory which the colonial powers claimed for their respective areas of interests, and France sought control in Yunnan and Guangxi provinces. The rail line from Hanoi to Kunming, along with another to Guangxi, allowed France to exert its influence in Southern China from its Indochina colony. The rail line has remained through the momentous political changes and wars in the years since.

But the proposed update is intriguing.

From Beijing’s perspective, the metre gauge (1.0 metre) rail line typically used in Vietnam is incompatible with its network of standard gauge (1.435 metre) lines, so the upgade will allow for direct services into Vietnam. China had already gradually completed a newer standard gauge line alongside an older narrow gauge one in southern Yunnan to the border town Hekou, across from Lao Cai. Allowing for an extension of this line into Vietnam will provide a smoother connection – which, in more than one sense, is a goal of the Belt and Road Initiative (BRI). The rail connection was even mentioned during Xi Jinping’s visit to Hanoi in 2017.

The Nujiang Railway Bridge (Darui Railway) is an impressive engineering feat located in Lamengxiang, Yunnan, China. Here are the key details about this remarkable structure:

Overview

• Name: Nujiang Railway Bridge (Darui Railway) 大瑞铁路怒江大桥
• Location: Lamengxiang, Yunnan, China
• Completion Year: 2018

Specifications

• Height: 212 meters (696 feet) high above normal river level; during rare floods, the deck height can decrease to 167 meters.
• Main Span: 490 meters (1,608 feet), making it the longest span railway-only arch bridge in existence.
• Total Length: 1,024 meters, including approach spans and tunnel terminations.
• Structure: All steel bridge designed for railway traffic, featuring a unique station positioned at the center of the span.

Design Features

• Architectural Significance: Among the top 10 longest arch bridges globally by main span length.
• Unique Configuration: Terminates into long tunnels at both ends, with a station located at the midpoint of the bridge span.
• Span Details: Includes 12 approach spans of 41 meters each and 14 simple spans above the main arch, each 37.2 meters long.

Historical Context

• Battlefield Location: Located near the Songshan Battlefield, where the Battle of Mount Song occurred in 1944 during World War II.
• Strategic Importance: The Japanese Army strategically positioned themselves in tunnels and bunkers along the river slopes to control the Nujiang River crossing point and block the Burma Road supply route to China.
• Military History: The battle was fierce and prolonged, eventually resulting in the retreat of Japanese forces and reopening of the Burma Road to aid China with vital supplies.

The location of the railway bridge is near the famous Songshan Battlefield where the battle of Mount Song took place in 1944 between Chinese Nationalist Forces and the Japanese Army. The Japanese Army was holed up in deep tunnels and bunkers high along the river slopes to block troops on the Burma Road from crossing the suspension bridge over the Nujiang River. The slow battle went on for many months with heavy casualties before the Japanese troops retreated and the Burma Road was once again open to aid China with supplies.

 

Nujiang Railway Bridge Darui Elevation

Image by Eric Sakowski / HighestBridges.com

The west railway tunnel is the 4th longest railway tunnel in the world excluding metro lines at 34.54 kilometers. Only the Gotthard, Seikan and Chunnel are longer.

Image by Eric Sakowski / HighestBridges.com

The highline construction towers will rank as the tallest in the world along with the Yachi Railway Bridge in nearby Guizhou Province.

Nujiang Railway Bridge foundation elevation drawing.

A map showing the Burma Road in brown and some of the strategic locations during the Songshan Battle.

The Nujiang Railway Bridge station will be the highest in the world at 212 meters.

Nujiang Railway Bridge satellite image.

Nujiang Railway Bridge location map.

A map of the Dali to Ruili Railway line with the Nujiang River Bridge crossing at the very bottom left and the Lancanjiang River Bridge crossing in the upper right.

Definition

Thangka (唐卡) (also called Tangga (唐嘎) or Tangka (唐喀)), a Tibetan term meaning “scroll painting,” refers to religious artworks mounted on brocade for worship. These distinctive Tibetan paintings depict diverse subjects including history, politics, culture, and social life, with most surviving works representing Tibetan Buddhism (藏传佛教) or Bon Religion (苯教) traditions.

Artistic Features

Thangkas are celebrated for their:

• Distinctive ethnic characteristics
• Rich religious symbolism
• Unique artistic style
• Vibrant depictions of Buddhist realms

Pigments

Traditional thangkas use sacred natural materials:
Mineral pigments:

• Gold
• Silver
• Pearl
• Agate (玛瑙)
• Coral (珊瑚)
• Turquoise (松石)
• Malachite (孔雀石)
• Cinnabar (朱砂)

Plant-based pigments:

• Saffron (藏红花)
• Rhubarb (大黄)
• Indigo (蓝靛)

These premium materials ensure thangkas retain luminous colors for centuries, earning recognition as:

• “Treasures of Chinese ethnic painting”
• Tibet’s “encyclopedia”
• Priceless intangible cultural heritage (非物质文化遗产)

Production Process

Creating a thangka involves rigorous, multi-step rituals:

1. Pre-painting ceremonies (绘前仪式)
2. Canvas preparation (制作画布)
3. Composition sketching (构图起稿)
4. Color application (着色染色)
5. Line definition (勾线定型)
6. Gold/silver detailing (铺金描银)
7. Eye-opening ceremony (开眼)
8. Mounting and consecration (缝裱开光)

Completion requires 6 months to over 10 years, following strict religious scriptures and master guidance.

This sacred art form embodies the spiritual essence and artistic brilliance of Tibetan culture.

Academic Perspectives on Origins

Scholars hold four main theories about thangka’s origins:

1. Indian Buddhist Origin Theory
   Proposed by Italian scholar Giuseppe Tucci, this theory suggests thangka derived from India’s ancient religious cloth paintings called “Pata (钵陀)”. Key evidence includes:

• Similar use of cotton canvas
• Identical proportions for mandala (曼荼罗)  and Buddha

2. Central Chinese Influence Theory
   Chinese scholar Xie Jisheng argues in The Origins of Thangka that:

“Thangka did not originate from India, but evolved alongside Han Chinese scroll paintings from the Han-Tang to Song-Yuan periods. It emerged in Dunhuang (敦煌), a hub of Tibetan-Han exchange, developing from Tibetan banner paintings along Buddhist artistic trajectories.”

3. Tibetan Imperial Origin Theory
   Recorded in the 5th Dalai Lama’s Śākyamuni·Crystal Mirror:

“King Songtsen Gampo (松赞干布) painted the goddess Palden Lhamo (吉祥天母) with his own nose blood. During the Tsalpa (蔡巴) period, the Guozhu Xihuo Living Buddha (果竹西活佛) enshrined this painting inside a statue.” This is the mainstream Tibetan academic view.

4. Bon Religion Development Theory
   Thangka evolved from portable cloth paintings used by Bon (苯教) priests for missionary work, later adopted by Buddhism.

Painting Themes

Known as the “Encyclopedia of Tibetan Culture,” thangka covers:

Religious Themes

• Mandala (曼荼罗)
• Jataka tales
• Assembly trees
• Guru portraits
• Buddha biographies
• Deities (Buddhas (佛), Bodhisattvas (菩萨), Yidams (本尊), Protectors (护法))
• Dakinis (空行母)
• Arhats
• Wheel of Life
• Western Pure Land

Secular Themes

• Historical events
• Folktales
• Astronomy/calendar systems
• Tibetan medicine (藏医药学)

Composition Characteristics

Most common are Buddha-image thangkas featuring:

1. Central deity depiction
2. Surrounding narrative scenes (clockwise from upper right)
3. Flexible spacetime representation
4. Non-perspective figure scaling
5. Balanced, intricate layouts

Each thangka typically presents a complete story through symbolic visual language unrestricted by physical laws.

Thangka Art Schools

Development of Thangka Styles

Thangka art was initially influenced by Nepalese style (尼泊尔风格) in the 7th century AD during massive temple construction. From then until the 15th century, works by Nepalese and Tibetan artists were collectively called the Nepalese School (尼泊尔画派). Later schools included:

• Qigang School (齐岗画派) during Tsongkhapa’s era
• Miantang School (勉唐画派) and Qinze School (钦则画派) in the 15th century
• Karma Gadri School (噶玛嘎孜画派) in the 16th century

Major Thangka Schools

Nepalese School (尼泊尔画派)

Dominant during 11th-13th centuries after Princess Bhrikuti (尺尊公主) brought Nepalese artists to Tibet. Characteristics:

• Warm color palette
• Prominent central deity
• Guardians arranged in neat surrounding grids
• Simplified figures with rigid postures
• Light clothing with heavy ornaments

Qigang School (齐岗画派)

Founded by Yadui Qiwugangba (雅堆·齐乌岗巴), prevalent in 13th century Ü-Tsang (卫藏) region. Features:

• Inherited Tibetan and Nepalese styles
• Reduced central deity prominence
• Scroll-pattern backgrounds
• Detailed fingers/toes depiction
• Flowing postures and garments

Miantang School (勉唐画派)

Originated during the Tsangpa period, flourished until Ganden Phodrang (甘丹颇章) era. Founded by Mianla Dünzhujiacuo (勉拉·顿珠嘉措) who authored The Wish-Fulfilling Jewel of Iconometry. Characteristics:

• Strict iconometric standards
• Emphasis on precise lines
• Bright, lively colors
• Local landscapes/floral motifs
• Gold outline techniques

Reached peak during 17th-18th centuries with masterpieces in Potala Palace (布达拉宫), Norbulingka (罗布林卡), and major monasteries. Declined post-1960s despite preservation efforts.

Qinze School (钦则画派)

Emerging mid-15th century in Tsang (后藏) and Lhoka (山南) regions, founded by Kunga Gangui Qinzeqinmo (贡嘎岗堆·钦则钦莫). Features:

• Large central deities (Indian-Nepalese tradition)
• Ordered surrounding figures
• Incorporation of Han landscape techniques
• Specialization in wrathful deities
• Dynamic yet balanced compositions
• Rich contrasting colors
• Exquisite mandala designs

Karma Gadri School (噶玛嘎孜画派)

Originated 16th century in Kham (康区), centered in Garze (甘孜), Derge (德格), and Chamdo (昌都). Founded by Namkha Tashi (南喀扎西). Characteristics:

• Combination of Indian, Han and Tibetan styles
• Meticulous brushwork
• Blue-green landscape techniques
• Three masters (“Three Tashis”):

Choje Tashi (却吉扎西): Known for mineral pigments

Kaxiu Karma Tashi (噶旭噶玛扎西): Innovative styles

• Later masters like Langkarje (郎卡杰) of Luhuo created exquisite miniature thangkas

New Miantang School (新勉画派)

Developed by Tsangpa Chöying Gyatso (藏巴·曲英嘉措) during the 5th Dalai Lama’s reign. Became the “standard style” through:

• Strict adherence to Iconometric Sutra
• Integration of:

Miantang’s color vibrancy

Karma Gadri’s landscape techniques

Qinze’s dynamic figures

Characteristics:

1. Thick base colors
2. “Orchid-leaf” drapery lines
3. Decorative mountains/clouds
4. Subtle skin tone gradations
5. Rich edge-line rhythms

These schools collectively represent the evolution of Tibetan sacred art, blending indigenous traditions with cross-cultural influences.

Main Categories

• (1) Embroidered Thangka. Made with various colored silk threads. This type of Thangka is durable and not easily damaged.
• (2) Kesi Thangka. Using the “continuous warp and discontinuous weft” technique, different colored weft threads are interwoven with the warp threads at the required pattern areas, creating a three-dimensional effect similar to carving or woodcutting.
• (3) Brocade Thangka. The base material is mostly satin, with weft threads composed of various colored silk threads, woven in an interlocking pattern to form the desired designs, images, and scenes.
• (4) Appliqué Thangka, also known as Patchwork Thangka. Various colored satins are cut into shapes (such as figures, birds, animals, trees, pavilions, flowers, etc.) and then glued onto the Thangka base fabric.
• (5) Painted Thangka. Mostly painted on paper, cloth, cowhide, or sheepskin, and then made into a Thangka. Its basic painting technique is similar to that of murals. In later developments, some painted Thangkas were carved into printing blocks to create “Printed Thangkas.”
• (6) Pearl Thangka. Pearl Thangka is a rare and special type of Thangka. The Tara Pearl Thangka in Shannan Changzhu Temple (山南昌珠寺) is made of tens of thousands of pearls and artistic stones, with an elegant and graceful design, and is extremely valuable.

Hand-painted Thangkas are further divided into:

Sources of Pigments

• Earth Pigments: White earth, Nanjian (南碱), Vajra earth, red earth.
• Stone Pigments: Silver ore, yellow copper ore, mica, lapis lazuli, malachite, cinnabar, hawksbill stone, ochre, etc.
• Water Pigments: Huangdan (黄丹), Sangzhu Re (桑珠热), indigo, iron indigo, etc.
• Fire Pigments: Ink, arsenic, realgar, etc.
• Wood Pigments: Red tree, gold tree, birch, hard tree, purple stalk, etc.
• Grass Pigments: Lishi grass (力士草), chicken claw goldthread (鸡爪黄连), wolf poison grass (狼毒草), amaranth, etc.
• Flower Pigments: Wild chrysanthemum, birch flower, primrose, etc.
• Bone Pigments: Clam, conch, dragon bone, etc.
• Gemstone Pigments: Gold, silver, Dzi bead (天珠), coral, turquoise, etc.

• White: White earth, Nanjian (南碱), Vajra earth, conch, mica, etc.
• Yellow: Arsenic, realgar, Lishi grass (力士草), chicken claw goldthread (鸡爪黄连), gold tree, wild chrysanthemum, birch bark, etc.
• Red: Cinnabar, amaranth, red earth, etc.
• Blue: Lapis lazuli, indigo, hard tree, etc.
• Green: Copper rust, malachite, turquoise, etc.
• Black: Soot, coal ore, etc.
• Purple: Sangzhu Re (桑珠热), hawksbill stone, ochre, purple tree, etc.

• Mineral Pigments: Commonly used are Renbu White Earth (Renbu Bai Tu, 仁布白土, white), cinnabar (red), lapis lazuli (stone blue), malachite (stone green), realgar/realgarite (yellow), orpiment (orange).
• Plant Pigments: Commonly used are flower blue, rouge, etc. The production process of plant pigments is simpler compared to that of mineral pigments. First, collect flowers, wood, or bark, wash and soak or boil them to obtain colored liquid. After evaporation, the pigments are made into color pills.

Painting Process

1. Selecting the Canvas: The canvas is usually a light-colored fabric, not too thick or stiff, as a thick and hard canvas can easily cause the pigment to peel off and crack. The most suitable canvas is finely woven pure white silk or cotton cloth. Plain white silk without patterns is also very appropriate. For large Thangkas, several pieces of canvas may need to be sewn together with very fine stitches. The seam between the sewn pieces must not interfere with the integrity of the Thangka’s image.
2. Fixing the Canvas: Sew the canvas along its four edges onto a thin wooden frame (the frame is made of branches about the thickness of an ordinary pencil). Tighten the canvas on the thin wooden frame, and then securely bind the frame to a large easel called “Tangzhuo” (唐卓), using sturdy ropes in a zigzag pattern to tie the four sides of the thin wooden frame to the four sides of the large easel.
3. Applying Glue and Polishing: First, apply a thin layer of glue to the canvas as the “base color,” and then let it dry. The purpose of applying the light glue is to prevent the canvas from absorbing and seeping in the pigments; it also prevents the pigments from “spreading” on the canvas and ensures that the pigments retain their original colors when applied. After that, apply a thin layer of paste mixed with lime. Once the second layer of coating is dry, lay the canvas on a flat surface such as a wooden board or a table, and repeatedly rub the canvas surface with a smooth object like a piece of glass, shell, or round stone until the fabric texture is no longer visible.
4. Correcting the Canvas: Adjust the warp and weft.
5. Drawing Guide Lines: Draw the main positioning lines, including the border lines, center vertical line, two diagonal lines, and any other contours that need to be marked.
6. Sketching: After sketching the outline of the Buddha image with charcoal (called the “white drawing”), trace it with ink to form the ink lines (the ink line sketch, also known as the “black drawing”).
7. Coloring: Apply colors to different elements such as ponds, rocks, hills, and clouds according to the depiction in the painting. Apply only one color at a time, starting with lighter colors and then moving to darker ones. When painting Buddha images, start with the lotus seat, then the decorations, and finally the body of the Buddha. For the background, also follow the sequence of lighter colors first and then darker ones.
8. Outlining: After completing the aforementioned parts, use gold to draw patterns on the clothing (these gold patterns are called “gold drawings”). Various colored lines are also used to outline other decorations and parts of the painting.
9. Detailing the Face: The final and most important step in the Thangka painting process is detailing the facial features, including the eyes, lips, nostrils, fingernails, and toenails. The success of a Thangka often depends on whether the facial features are well executed. Therefore, some veteran artists consider the skill of detailing the facial features a closely guarded secret, passed down through a single lineage and not easily revealed to others. According to traditional customs, a good day and time must be chosen for this step. Properly detailing the facial features can bring the painting to life, like the finishing touch on a dragon’s eye, and signifies the completion of the Thangka.

Thangka Mounting Process

1. Mounting the Border: First, a border called “tooth border” (6 vja-dmar-ser, meaning “red and yellow rainbow,” referring to the main colors of red and yellow in the tooth border, though the color combination is actually quite free and not limited to these colors; there are even cases where no tooth border is used) was mounted around the painting. The tooth border comes in various types, such as red and yellow brocade tooth border, moon-white gold-thread five-color tooth border, red gold-thread tooth border, red and yellow green foreign brocade tooth border, red and yellow gold-thread tooth border, red gold-thread tooth border, and longevity lantern brocade tooth border. These multi-layered and multi-colored borders are called rainbows in Tibetan. Sometimes a single-layer brocade border is used, known as the large tooth border, which is a simplified form. Outside the tooth border is the main border. The seam between the tooth border and the main border is sewn with a thin white thread, and the outermost edge of the main border is also sewn with a white thread or a red and white thread. These two lines have almost become a hallmark of the Thangka mounting in the palace.
2. Dividing the Border into Sections: The border is divided into four parts: the top pool (5 gnam), the bottom jade (2 sa), the left side (4 gyon-pa), and the right side (3 g-yas-pa). The border is equivalent to the mounting work in Chinese painting, and the materials used are very particular. There are red and blue foreign brocade borders, plain foreign brocade, mixed-color brocade, Western lotus gold-thread satin borders, dragon-embroidered stone-blue gold-thread borders, and gold-thread satin, among others. The more important the Thangka, the more precious the materials used. For Thangkas with auspicious meanings for birthdays, large red cloud-dragon gold-thread satin borders, stone-blue longevity character satin, or large red longevity character satin are used for flat mounting to highlight the theme. For example, the Thangka depicting the lineage of the Sixth Panchen Lama was mounted with such materials. In standard Tibetan Thangkas, a piece of satin is sewn in the center of the bottom border. This satin, which can be square or rectangular in shape, is called Thangka door (1 thang-sgo) in Tibetan and is a signature decorative element of Thangkas. Except for those intentionally imitating the Tibetan style, Thangkas in the palace generally do not use this decoration. The Thangkas from Tibet that were stored in the palace were often re-mounted with palace materials due to their rough original mounting, so some “barbarian paintings” in the palace have Thangka mounting that is completely consistent with that of the palace Thangkas.
3. Attaching the Scroll Rod and the Header Rod: In Tibetan, both rods are called thang shing, meaning “Thangka wood” or “Thangka rod.” However, in practice, there are clear differences between the two. The scroll rod (10) is attached to the lower end of the bottom jade, cylindrical in shape, slightly protruding beyond the side borders of the Thangka, with an axle head (11 thang tog) installed at the end of the rod. The header rod (9) is attached to the upper end of the top pool, in the form of a wide flat or flat round wooden piece, with both ends flush with or slightly protruding beyond the sides of the top pool. The Tibetan style involves wrapping the ends with leather, which is rarely adopted in the palace. The materials used for the scroll rod and header rod in the palace Thangkas include white sandalwood, rosewood, and fir, with the first two being the most precious. The craftsmanship of the axle is also very meticulous, with materials such as copper, silver, rosewood, copper-plated gold, and silver-plated gold. As decorations for the scroll rod, rosewood axle heads are mostly plain mushroom-shaped; silver and copper axle heads often feature engraved flowers or Aoqili (Mongolian for “vajra”) patterns, or are decorated with small beads of coral, turquoise, pearls, and lapis lazuli.
4. Adding the Buddha Curtain: A layer of Buddha curtain (thang-vdzar, or translated as “Thangka curtain”) is sewn below the header rod of the Thangka, extending to the scroll rod, made of five-colored hada or five-colored brocade. Unlike Tibetan Buddha curtains, which are often composed of two or three overlapping pieces, the soft and thin Buddha curtains in the palace are usually made of a single piece of fabric, with few cases of being divided into several pieces. The Buddha curtain serves both as a decoration and as an important protective element for the Thangka. Outside the Buddha curtain, two ribbons are sewn, hanging down to the scroll rod, with bird-beak-shaped ends, hence the name “bird mouth” (bya-kha), similar to the “scare swallow” in Chinese painting mounting.
5. Attaching Hooks and Ribbons: Two hooks are nailed at the upper end of the header rod, each with an iron ring made of cast iron. In the Qing Palace, gold-plated iron rings with beads or silver-plated iron rings with beads were commonly used, with a flower ribbon tied to each ring. Sometimes a Goryeo paper tag is also tied to the ring, with content slightly simpler than that on the white silk tag on the back of the Thangka. When the Thangka is hung for worship, the two ribbons are tied together to serve as a hanging rope. After the Thangka is rolled up, the two flower ribbons are used to tie the Thangka tightly, with a length sufficient to wrap around the rolled-up Thangka twice. The ribbons are mostly woven from coarse hemp threads in five colors, which are not easy to loosen after being tied, durable, and colorful, matching the colors of the Thangka, becoming one of the characteristics of the palace Thangkas. The use of red silk ribbons is also quite common. The use of thick threads as hanging ropes is more common in Thangkas from Tibet.

Consecration and Veneration

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