Traditional Tibetan Appliqués

Leslie Rinchen-Wongmo (aka Leslie Freilich) is probably the only Westerner to be formally trained in the traditional art of Tibetan fabric thangka, in which sacred Buddhist images are rendered in mosaics of silk. I was so stunned and impressed by her unique art, that I asked her for an interview - and she agreed! Her thorough, in-depth answers open the veil to a completely unknown for the most of us world.

Which came first – the interest to Buddhism, or the interest to quilting?

The seeds of both were planted early in my life. I think I've always been interested in Buddhism, or at least in an Eastern-oriented world view. Though I was not specifically aware of Buddhism as a child, I've resonated with eastern spiritual teachings at least since I was 12 years old.

And I've made things – painted, written stories, scrapbooked – for just about as long.

I saw the Dalai Lama on his first visit to the US during my first year of college. He made a strong impression on me, but I wouldn't have called myself a Buddhist. Toward the end of college I did some quilting. I dropped it for a while, and then ended up in India, getting to know the Tibetans and delving more deeply into Buddhist philosophy. There, I found Tibetan appliqué and felt a wonderful sense of connection as two strands of my passion became intertwined.

What are the things you personally love the most about the Tibetan appliqué thangkas?

Visually, I love the colors and the light and the three-dimensional textural quality. I also love the richness of symbolism and meaning in every form, and the connection of these forms to a great lineage of spiritual practice.

Tell us more about your full-time apprenticeship to master T.G. Dorjee Wangdu? How is this specific art being taught? Does it include an in-depth study of the Buddhist religion?

In my experience, the teaching of artistic techniques and the teaching of philosophy were always managed separately.

I attended Buddhist philosophy classes led by lamas or geshes (learned and accomplished spiritual teachers in the Tibetan Buddhist tradition) as well as Tibetan language classes each morning at the Library of Tibetan Works and Archives in Dharamsala. Then I hiked a half hour uphill to Dorjee Wangdu's workshop where I had lunch with the other apprentices before sitting down to work all afternoon. The workshop was at the perimeter of Namgyal Monastery which is just next to the Dalai Lama's residence. The spiritual context was pervasive. Sacredness was implicit in everything we were making, but religion was not taught at the workshop. It was the backdrop. I recently read something in the collected works of Chogyam Trungpa Rinpoche which explains this arrangement well. He wrote: “It is widely thought that thangka painting is a form of meditation. This is not true. Though all the thangkas have religious subjects, most of the artists were and are laypeople... Naturally, also artists have a sense of reverence for the sacredness of their work. Nevertheless, the painting of thangkas is primarily a craft rather than a religious exercise.”

People often imagine that thangkas are created in a solemn and meditative environment. Perhaps in some places that is true. But my own experience in a fabric thangka workshop (as well as what I saw among thangka painters in Dharamsala) is something much more integrated and natural and seamless. Not detached from worldly life at all but, rather, channeling all the energy and vivacity of worldly life into the creation of beautiful supports for spiritual practice.

I sat around a big table with 8 to 10 young Tibetans. Conversation was lively. Gossip, laughter, camaraderie. We listened alternately to traditional Tibetan folk music and to dance tunes by Madonna and Michael Jackson. Butter tea and Tibetan cookies (sometimes the offerings left from a recent ritual in the temple) were served mid-afternoon. It was a joyful, friendly, relaxed environment. My Tibetan was pretty good, but not good enough to keep up with active group conversations, so sometimes I retreated into my own thoughts and sat quietly as I stitched.

The teaching method was straightforward. Learn while doing. We worked as a team on large projects. Genla (teacher) Dorjee Wangdu selected pieces of the design that were appropriate for each student's level of skill. He transferred a section of the design to silk and handed it to a chosen apprentice with instructions as to what color and line weight to use. We sat on cushions around a big table – or, when appropriate, at one of the many foot treadle sewing machines in the workshop – and each worked on our assigned pieces. When we'd finished a piece, we returned to Genla for comment and for our next assignment.

Working on big projects like this allowed us to get lots of repeated practice on each step. When I finally learned to embroider eyes, I spent a year practicing only eyes.

Are there any requirements the artist have to follow while creating a thangka? Is the creative process in Buddhism connected with any rituals?

I knew one thangka painter who was asked to engage in certain rituals each day before working on a particular painting and there is one special practice for painters called nyin thang in which a thangka is created in one day as part of a particular sadhana... but, generally, no.

The work is always to be undertaken with a beneficial motivation – primarily to offer excellent and sincere effort for the support of others' spiritual advancement. One's own profit, fame, or acknowlegement should be secondary, if considered at all. To keep a positive motivation in mind, many artists will create their own ritual for focusing their intention in the morning, by saying a prayer, lighting incense, or making offerings... It's also good to dedicate the positive energy of one's work at the end of the day. Reflecting on the meaning and the benefit of the work is encouraged -- as we're always encouraged to make the best use of this precious human life! My lama also suggested that I use some of my stitching time to recite mantras and to occasionally visualize light emanating from the image I'm working on, sending out blessings to all beings.

What steps does the process of creating a thangka involve? How long does it take to make one of them?

It takes a few months to make a typical fabric thangka. A few months for one person to create a single-peaceful-deity appliqué measuring approximately 20 x 30 inches (or 50 x 75 cm) OR a few months for a team of many stitchers to create a much larger more intricate image.

The basic steps are:

1. Stabilizing the silk satin and brocade (traditionallly done with meat grease, but I've come up with a more appetizing substitute)
2. Making a line drawing and transferring sections of that drawing to various pieces of silk
3. Making cords of horsehair and silk to define the outlines and contours of the images
4. Couching the cords to the silk pieces
5. Embroidering details
6. Cutting out and finishing the many silk pieces
7. Assembling the pieces like a jugsaw puzzle, using the line drawing as a guide and glue to hold the pieces in place
8. Stitching the pieces together, each piece slightly overlapping the one next to it
9. Framing the finished thangka in brocade or otherwise finishing its edges for hanging.

By the way, is Rinchen-Wongmo an artistic, or a spiritual name?

Rinchen Wongmo is my Tibetan name, a spiritual name granted me by Geshe Sonam Rinchen, the wonderful lama with whom I took refuge in the Buddhist teachings. It means “precious empowered woman” or “valuable initiate.” Remembering that keeps me motivated.

When I lived in Dharamsala and was learning to make fabric thangkas, my teacher, fellow apprentices, and many friends called me Rinchen Wongmo. When I returned to the West, I wanted to bring that identity with me into my work, so I transformed it into a kind of artistic surname. I still use my original surname (Freilich) in many contexts, and sometimes don't know what to call myself! It can get confusing, but don't we all carry many identities anyway?

Vajrayana practices (the practices associated with the images in thangkas) help us to release rigid concepts of identity and to play with more spacious, more realistic, more beneficial senses of identity. I like to think that using my Tibetan name helps me do that too in some small way.

What inspires you?

People who live freely. People who are clear, kind, and unflappable. People who are unafraid to make mistakes or look foolish.

The ocean, the mountains, wide open spaces. Beautiful places, both built and natural.

Community. Connecting with other human hearts, especially when there's a shared intention to grow, to understand, and to live without artifice.

What are your creative plans for the nearest future?

I'm enjoying creating artwork which unites the Tibetan fabric thangka techniques and imagery with quilting. I will continue to create traditional fabric thangkas on commission. But my independent work is likely to expand along the lines of my last few works – particularly Chenrezig and Nomad Girls. I'm currently working on a thangka of the primordial buddha Samantabhadra. As with Chenrezig, the figure is traditionally drawn and hand-pieced, but the background will be machine-quilted.

In addition, I'm thrilled to be teaching this precious craft to a handful of passionate students around the world. I call them “virtual apprentices.” The Stitching Buddhas Virtual Apprentice Program is my vehicle for sharing what I've learned with people who may not be able to spend years in Dharamsala like I did. Through monthly lessons, photos, video clips, a discussion forum, and individual coaching, I guide students as best I can through the learning process. Readers can visit the website and contact me for more info.

Is there anything else you would like to share?

I recently started sending weekly doses of inspiration to my mailing list. Every Monday, I send a close-up view of one of my thangkas, accompanied by a quote that inspires me to become more and more present, more and more alive. I invite anyone reading this to sign up for the Weekly Wake-Ups on my website. I'd love to share them with you. Please also feel free to contact me for any other questions or thoughts inspired by this interview and to follow me on Twitter or Facebook.

Links:

• Website
• Squidoo Lens (it contains detailed information about the art of Tibetan applique thangkas, its history and techniques)
• Blog