Menri School｜The Orthodox Canon of Tibetan Buddhist Painting

【Origins and History】

Name: Menri School, also transliterated as Menri or Manri

Status: One of the most authoritative and orthodox traditions of Tibetan Buddhist painting

Founder: Master painter Könchok Chökyi (1432–1478)

Region: Shigatse area, particularly around Sakya Monastery and Menri region

Historical Impact: Became dominant Thangka style across Tibet by 16th century, profoundly influencing later traditions

【Artistic Features】

Color Palette: Bold, saturated mineral pigments with extensive gold powder use

Line Work: Precise, disciplined, strictly following canonical iconographic measurements

Figures: Deities appear tall, upright, majestic, radiating religious authority

Composition: Symmetrical, highly ordered with balanced arrangement of elements

Core Principle: Emphasis on accuracy of proportions and doctrinal iconography

【Religious and Cultural Value】

Canonical Status: Regarded as the standard canon of Thangka painting, like visual scripture

Iconographic Integrity: Embodies precise measurements and iconography prescribed in Buddhist texts

Religious Function: Widely used in monasteries for offerings and meditation, vital to Tibetan Buddhist practice

【Artistic and Collecting Value】

Orthodoxy: Acknowledged as the most canonical style of Tibetan Buddhist painting

Influence: Directly gave rise to Mensar (New Menri) School, inspired countless later painters

Collecting Significance: Authentic Menri Thangkas serve as benchmarks for evaluating painter skill

Cultural Heritage: Ownership represents participation in preserving Tibetan religious and cultural heritage

【Historical Legacy】

System Establishment: 15th-century creation of complete iconometric and painting system

Cultural Propagation: Became mainstream Thangka style across Tibetan monasteries and communities from 16th century

Contemporary Relevance: Remains essential reference standard for evaluating Thangka authenticity and artistry