Karma Gardri School｜The Lyrical Spaciousness of Thangka Art

【Origins and History】

Name: Karma Gardri School

Period: Emerged in the 17th century

Founder: 10th Karmapa, Chöying Dorje (1604–1674)

Meaning: "Karma" refers to Karma Kagyu lineage; "Gardri" means "encampment style"

Innovation: Blends Tibetan Buddhist iconography with Chinese landscape painting and Nepalese ornamentation

【Artistic Features】

Color Palette: Light and refined, contrasting with Menri's richness and Chiwugangba's density

Line Work: Free, fluid, less bound to strict symmetry, creating natural openness

Backgrounds: Expansive landscapes, vegetation, clouds influenced by Chinese ink aesthetics

Figures: Deities with gentle expressions, natural postures in serene landscapes

Artistic Language: Celebrated for "lyrical spaciousness," breaking from earlier solemn rigidity

【Technical Highlight: Stippling Method】

Signature Technique: Extensive use of stippling in landscapes

Process: Dry-brush tip applied dot by dot with mineral pigments for subtle gradations

Demanding Nature: Far more time-consuming than flat washes or blended shading

Visual Effect: Creates transparency, delicacy, and ethereal beauty—hallmark of the school

【Artistic and Collecting Value】

Uniqueness: Defined by landscapes and stippling, instantly recognizable

Influence: Shaped painting traditions of Kham and Amdo, influenced later developments

Collecting Prestige: Labor-intensive methods and rarity of authentic masterpieces

Artistic Recognition: Celebrated as one of the most artistically captivating Tibetan painting schools

【Religious and Cultural Value】

Iconographic Integrity: Maintains sacred precision of Buddhist imagery

Expressive Expansion: Infuses naturalistic and lyrical elements into Thangka painting

Meditative Function: Serves as support for meditation and visualization

Cultural Dialogue: Records artistic exchange between Tibet, China, and Nepal in 17th century