Nestled in the heart of Tongren, Qinghai Province—known locally as Rebgong—the
Regong Art Museum stands as a vibrant tribute to Tibetan Buddhist artistry.
This region is famed for its Regong arts, a UNESCO-recognized tradition
encompassing thangka painting, sculpture, embroidery, and architectural
design. The museum itself serves as a cultural beacon, preserving
centuries-old techniques and showcasing the spiritual depth and intricate
craftsmanship of Tibetan and Tu ethnic communities who have long inhabited the
Longwu River basin.
Inside the museum, visitors encounter a dazzling array of thangka scrolls,
each meticulously painted using natural pigments and 24k gold accents. These
sacred artworks often depict Buddhist deities, mandalas, and scenes from
spiritual lore, serving both meditative and ceremonial purposes. Alongside
thangkas, the museum features barbola (duixiu)—a form of silk applique that
creates vivid relief images of flora, fauna, and divine figures—as well as
clay, wood, and stone sculptures that once adorned temples and homes
throughout the region.
Beyond its role as a gallery, the Regong Art Museum functions as a living
workshop and educational hub. It supports local artists and apprentices who
continue to pass down traditional methods through master-apprentice
relationships, guided by ancient Buddhist painting manuals. The museum also
plays a central role in community festivals, such as the June Festival, where
monks perform rituals to ward off evil spirits and folk dances animate the
streets. In this way, the museum is not just a repository of art—it’s a
dynamic space where heritage, spirituality, and creativity converge.
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Facade of the Regong Art Museum
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Panorama of the museum's interior
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Natural pigments used in thangka painting
Thangka painting,
especially in the Regong tradition of Tongren, Qinghai, is renowned for
its use of natural pigments that lend the artworks their vivid, enduring
beauty.
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These pigments are derived from a variety of mineral and organic
sources, including coral, agate, sapphire, pearl, and even 24k gold.
Artists grind these materials into fine powders and mix them with
animal glue or other natural binders to create paints that not only
resist fading but also carry symbolic and spiritual significance. The
use of such pigments reflects a deep reverence for nature and the
divine, aligning with the Buddhist philosophy that underpins thangka
art.
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At the Rebgong Art Museum, visitors can witness firsthand the
brilliance of these pigments in the thangkas on display. The blues
shimmer with crushed lapis lazuli, reds glow from cinnabar or coral,
and gold leaf is applied to highlight sacred figures and mandalas.
These colors are not chosen merely for aesthetic appeal—they follow
strict iconographic guidelines laid out in ancient Buddhist painting
manuals. For example, wrathful deities are often depicted with deep
reds and blacks, while peaceful bodhisattvas are adorned in soft blues
and greens. The museum’s collection showcases both historical and
contemporary works, allowing viewers to appreciate the continuity of
these pigment traditions across generations.
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Beyond their visual impact, the pigments used in Regong thangka
painting embody centuries of artisanal knowledge passed down through
master-apprentice relationships. The Rebgong Art Museum plays a vital
role in preserving this heritage, offering workshops and
demonstrations where artists explain the sourcing and preparation of
pigments. These sessions reveal the labor-intensive process behind
each hue—from mining and grinding to testing for purity and
consistency. In this way, the museum not only displays finished
masterpieces but also honors the invisible craftsmanship that makes
Regong thangka a living cultural treasure.
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White Mahakala Mask
The White Mahakala Mask is a powerful
symbol in Tibetan Buddhist iconography, representing a benevolent aspect
of Mahakala, the fierce protector deity.
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Unlike his more wrathful black counterpart, White Mahakala embodies
compassion through protection and prosperity, often invoked to remove
obstacles and ensure abundance. His mask typically features three
glaring eyes, a crown of skulls, and a fierce expression meant to ward
off evil, yet his white hue signifies purity and the pacifying nature
of his blessings. These masks are not merely decorative—they are
ritual objects used in sacred dances and ceremonies, especially during
monastic festivals.
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At the Regong Art Museum in Tongren, Qinghai, the White Mahakala Mask
on display is a striking example of Regong craftsmanship. Created by
local artisans steeped in centuries-old techniques, the mask is carved
from wood and adorned with mineral-based pigments and gold leaf,
reflecting the region’s devotion to natural materials and spiritual
symbolism. The mask’s intricate detailing—such as the flaming
eyebrows, sharp fangs, and lotus motifs—demonstrates the fusion of
artistic mastery and religious devotion that defines Regong arts. It’s
not just a visual centerpiece; it’s a cultural artifact that connects
viewers to the living traditions of Tibetan Buddhism practiced in the
Longwu River basin.
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What makes this particular mask especially significant is its role in
community rituals and its preservation within the museum’s educational
mission. The Regong Art Museum doesn’t merely exhibit the mask—it
contextualizes it within the broader tapestry of Tibetan spiritual
life. Visitors can learn about its use in cham dances, where monks don
the mask to embody Mahakala and perform movements that symbolize the
destruction of ignorance and the protection of dharma. Through guided
tours and artist demonstrations, the museum ensures that the White
Mahakala Mask is not just admired but understood as a living conduit
of faith, artistry, and cultural resilience.
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Palden Lhamo
Palden Lhamo is one of the most formidable
protector deities in Tibetan Buddhism.
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She is revered as the guardian of the Dalai Lama and the spiritual
defender of Lhasa and the Tibetan people. Her iconography is striking
and fearsome: she is typically depicted with a midnight-blue
complexion, blazing eyes, and a wrathful expression that embodies her
power to annihilate ignorance and evil. As a dharmapala, or defender
of the faith, she is not malevolent but fiercely compassionate, using
her terrifying appearance to protect practitioners and uphold the
teachings of the Buddha.
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One of the most captivating representations of Palden Lhamo is housed
at the Regong Art Museum in Tongren, Qinghai. This particular thangka
shows her riding a vivid red mule, a creature as symbolic as the
goddess herself. The mule is adorned with a bridle made of poisonous
snakes and carries a third eye on its rump—an eerie detail that
signifies omniscience and vigilance, even from behind. The saddle
blanket is said to be the flayed skin of her own son, whom she
sacrificed to prevent him from following his father’s path of violence
against Buddhism. This gruesome yet deeply symbolic imagery reflects
the extreme lengths to which Palden Lhamo will go to protect the
dharma.
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The Regong Art Museum’s portrayal of Palden Lhamo is not just a visual
spectacle but a spiritual and cultural anchor. Crafted using
traditional Regong techniques, the piece employs mineral pigments,
gold leaf, and intricate detailing that highlight the region’s
artistic mastery. Visitors can learn about the deity’s role in ritual
dances and monastic ceremonies, where her image is invoked to dispel
negativity and safeguard sacred spaces. Through guided interpretation
and contextual exhibits, the museum ensures that this fierce blue
goddess on her red mule is understood not only as a mythic figure but
as a living embodiment of Tibetan resilience and spiritual power.
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Padmasambhava
Padmasambhava, also known as Guru Rinpoche, is
a revered figure in Tibetan Buddhism credited with bringing Vajrayana
teachings to Tibet in the 8th century.
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Often portrayed as a tantric master and enlightened being, he embodies
the union of wisdom and method, appearing in iconography with a serene
yet commanding presence. His depictions are rich with symbolic
elements that reflect his mastery over spiritual and worldly realms.
The thangka tradition, especially in the Regong style of Tongren,
Qinghai, captures his essence with meticulous detail and vibrant
natural pigments, preserving both the spiritual potency and artistic
heritage of Tibetan Buddhism.
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At the Regong Art Museum, one particularly striking thangka of
Padmasambhava stands out for its iconographic precision and spiritual
depth. In this depiction, he holds a vajra—a ritual thunderbolt
symbolizing indestructible compassion and skillful means—in his right
hand. His left hand cradles a skullcap, or kapala, filled with nectar,
representing the transformation of ignorance into wisdom. Nestled in
the crook of his left arm is a trident, or khatvanga, adorned with
symbolic elements like severed heads and a vajra top, signifying his
consort and the integration of bliss and emptiness. These attributes
are not merely decorative; they encode profound teachings and serve as
meditative aids for practitioners.
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The thangka itself is a masterwork of Regong artistry, painted with
mineral-based pigments and gold leaf on cotton canvas. The deep blues,
fiery reds, and luminous golds are applied with precision, following
ancient manuals passed down through generations of artists. The museum
contextualizes this piece within Padmasambhava’s legacy, offering
insights into his role in establishing Tibetan monasticism and
subduing negative forces. Visitors can explore how this thangka
functions not only as a devotional image but also as a visual
scripture, guiding the viewer through layers of tantric symbolism and
spiritual aspiration. It’s a living testament to the fusion of art,
faith, and cultural continuity in the Longwu River basin.
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Shakyamuni Buddha with the 35 Buddhas of Confession
Shakyamuni Buddha, the historical founder of Buddhism, is often
depicted in Tibetan thangka art surrounded by the 35 Buddhas of
Confession—a group of enlightened beings invoked in purification
rituals.
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These Buddhas are central to the practice of the
Triskandha Sutra, where practitioners confess misdeeds and vow
to uphold virtuous conduct. Each of the 35 Buddhas represents a unique
aspect of awakened wisdom and compassion, and their collective
presence in thangka form serves as a visual mandala for spiritual
cleansing and renewal. The central figure, Shakyamuni, is typically
portrayed in serene meditation, flanked by his two principal
disciples, Shariputra and Maudgalyayana.
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At the Regong Art Museum in Tongren, Qinghai, a remarkable thangka of
Shakyamuni Buddha with the 35 Buddhas of Confession exemplifies the
region’s mastery of Regong art. Painted with mineral pigments and gold
on cotton canvas, the composition radiates with intricate detail and
spiritual symbolism. Shakyamuni sits at the center, his golden form
illuminated against a backdrop of deep blues and reds, while the
surrounding Buddhas are arranged in symmetrical rows, each rendered
with distinct mudras and expressions. The inclusion of figures like
Amitayus at the top of the composition adds auspicious elements, even
though he is not formally part of the 35 Buddhas. This layering of
iconography reflects both artistic creativity and deep religious
reverence.
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What makes this thangka especially compelling is its connection to the
Karma Kagyu lineage, as evidenced by the presence of lineage masters
wearing their distinctive black and red hats. These figures anchor the
artwork in a specific spiritual tradition, linking it to centuries of
Tibetan Buddhist practice. The museum provides interpretive materials
that explain the ritual use of this thangka in confession ceremonies,
where practitioners visualize the Buddhas and recite verses to purify
karma. Through its preservation and display of such works, the Regong
Art Museum not only showcases aesthetic brilliance but also sustains
the living spiritual heritage of the Longwu River basin.
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Eighteenth century Cai Tang - Auspicious Heavenly Mother
The
18th-century painting of Cai Tang, or the
Auspicious Heavenly Mother, housed at the Regong Art Museum in
Tongren, Qinghai, is a rare and evocative example of Tibetan Buddhist
devotional art.
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Known in Tibetan tradition as a fierce guardian of the Dharma and
protector of Lhasa, this deity is depicted with multiple arms, each
bearing symbolic implements such as weapons and ritual objects. Her
terrifying visage is not meant to instill fear in the faithful, but to
ward off malevolent forces and safeguard spiritual practice. The name
“Cai Tang” evokes celestial authority, and her role as a wrathful yet
compassionate protector places her among the most revered female
deities in Vajrayana Buddhism.
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The painting itself is executed in the thangka style—an intricate
scroll format traditionally used for meditation and ritual. Mounted on
a white horse with an ornate saddle, the Auspicious Heavenly Mother
holds a scepter and a drum, symbols of command and rhythm in spiritual
warfare. Surrounding her are a host of divine and demonic figures, as
well as mythical beasts, all rendered in vivid mineral pigments and
highlighted with gold leaf. The composition is dense with iconographic
meaning: each gesture, accessory, and companion figure contributes to
a layered narrative of cosmic protection and spiritual purification.
Dated to the 18th century, the work reflects the flourishing of
Tibetan Buddhist art under Qing patronage, when such images were
commissioned for temples and private devotion.
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More than a visual marvel, this painting serves as a living conduit of
faith and cultural memory. At the Regong Art Museum, it is not only
preserved as a historical artifact but also contextualized within the
broader ritual and artistic traditions of the Longwu River basin.
Visitors can explore its religious significance through interpretive
displays and learn how such thangkas were used in ceremonies to invoke
divine protection. The museum’s commitment to showcasing Regong art
ensures that pieces like the
Auspicious Heavenly Mother continue to inspire reverence and
scholarly interest, bridging centuries of spiritual devotion with
contemporary appreciation.
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Yungdron Dorje Pal
Yungdron Dorje Pal, born in 1284, was a
distinguished disciple of Buton Rinchen Drup, one of the most
influential scholars in Tibetan Buddhist history.
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As a master of tantric practice and philosophical insight, Yungdron
Dorje Pal is revered for his role in preserving and transmitting
esoteric teachings within the Sakya tradition. His legacy is
immortalized in a powerful thangka painting on display at the Regong
Art Museum in Tongren, Qinghai—a region renowned for its Regong arts,
where thangka painting flourishes as both spiritual expression and
cultural heritage.
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The thangka presents Yungdron Dorje Pal in a dynamic and commanding
pose: his right hand brandishes a kila dagger, a ritual
implement used to subdue negative forces, while his left hand extends
a skullcup toward the mouth of a wrathful red deity, symbolizing the
offering of transformed consciousness. Draped in the orange and red
robes of a monk and crowned with the red pandita hat of a
scholar, he sits atop a tiger skin in relaxed meditation, embodying
both ferocity and wisdom. Surrounding him are potent figures—Rakta
Yamari, his tutelary deity, stands atop a buffalo in the top left; a
lama immersed in scripture glows within a sphere of blue light on the
right; and at the bottom, three monks and the formidable protector
Mahakala Gonpo Legden complete the composition, each contributing to
the thangka’s layered spiritual narrative.
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This painting belongs to a series portraying the lives of the Panchen
Lamas, and it serves not only as a visual biography but also as a
meditative aid. The verse associated with the image—“Paying homage to
Zurwang Jampa Sengge…”—invokes a lineage of wisdom and wrathful
compassion, culminating in Yungdron Dorje Pal as a subjugator of
demons and guardian of the Dharma. The Regong Art Museum’s display of
this thangka offers viewers a rare glimpse into the fusion of
iconography, ritual power, and historical reverence. Through its
intricate detail and symbolic depth, the painting stands as a
testament to the enduring vitality of Tibetan Buddhist art and the
spiritual legacy of its masters.
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Je Tsongkhapa Lobsang Dragpa as Dhombi Heruka
Je Tsongkhapa
Lobsang Dragpa, the revered founder of the Gelug school of Tibetan
Buddhism, is traditionally remembered for his scholarly brilliance and
deep commitment to monastic discipline.
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Yet, after his passing in 1419, his spiritual presence endured in the
form of visionary appearances to his disciple Khedrub Je Geleg
Pelsang. In five distinct visions, Tsongkhapa revealed himself as an
enlightened being, each time adopting a different form to convey the
transcendence of death and the continuity of awakened wisdom. One of
the most striking manifestations was his appearance as Dombi Heruka—a
legendary Indian tantric master known for his unconventional behavior
and miraculous powers.
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In the thangka displayed at the Regong Art Museum in Tongren, Qinghai,
Tsongkhapa is portrayed in this fierce and mystical guise. He sits
astride a roaring tiger, symbolizing mastery over primal forces and
fearlessness in the face of spiritual challenges. His right hand
wields a sword, cutting through ignorance, while his left holds a
skull cup brimming with symbolic nectar—representing the
transformation of worldly attachments into enlightened awareness. The
image is rich in tantric iconography, blending wrathful energy with
serene wisdom, and is painted in the vibrant Regong style using
mineral pigments and gold leaf. The tiger, often associated with Dombi
Heruka’s ability to tame wildness, becomes a visual metaphor for
Tsongkhapa’s spiritual power and his ability to guide disciples beyond
conventional boundaries.
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This thangka is more than a devotional image—it’s a profound teaching
tool and a testament to the visionary lineage of Tibetan Buddhism. The
Regong Art Museum contextualizes the piece within the broader
tradition of posthumous visionary appearances, emphasizing its role in
affirming the immortality of enlightened beings. Through this
depiction, viewers are invited to contemplate the unity of form and
emptiness, discipline and spontaneity, and the enduring presence of
the teacher beyond physical death. Tsongkhapa as Dombi Heruka
challenges the viewer to embrace the paradoxes of the tantric path,
where wisdom often wears the mask of wildness, and compassion rides
the back of a tiger.
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Hayagriva
Hayagriva is a wrathful manifestation of
Avalokiteshvara, the bodhisattva of compassion, revered in Tibetan
Buddhism for his fierce power to overcome obstacles and subdue harmful
forces.
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His name, meaning “Horse-Necked,” refers to the horse head that often
emerges from his crown, symbolizing the piercing sound of enlightened
speech that shatters ignorance. Though terrifying in appearance—with
bulging eyes, flaming hair, and a roaring expression—Hayagriva’s wrath
is rooted in compassion, directed toward protecting the Dharma and
liberating beings from suffering. He is especially invoked in healing
rituals and tantric practices aimed at conquering inner and outer
demons.
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The thangka of Hayagriva at the Regong Art Museum in Tongren, Qinghai,
is a masterwork of Regong artistry, blending spiritual symbolism with
exquisite craftsmanship. In this depiction, Hayagriva wears a necklace
of hanging skulls and a tiger-skin skirt, signifying his dominion over
death and primal instincts. His three eyes are wide open, representing
his omniscient awareness of past, present, and future. Coiled serpents
wrap around his knees, wrists, hands, and neck, embodying his control
over elemental forces and his role as a tantric guardian. Each of his
hands holds ritual implements—a skull bowl, rope, snake, and skull
staff—each charged with esoteric meaning, from the transformation of
desire to the severing of ignorance.
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This thangka is not merely a visual representation but a sacred tool
for meditation and ritual. Painted with natural mineral pigments and
gold leaf, it reflects the Regong tradition’s commitment to spiritual
depth and artistic precision. The museum contextualizes the piece
within the broader framework of Tibetan tantric iconography, offering
insights into Hayagriva’s role in monastic ceremonies and protective
rites. Visitors are invited to contemplate the deity’s paradoxical
nature—terrifying yet compassionate, wild yet wise—and to appreciate
how this thangka serves as both a devotional object and a testament to
the enduring vitality of Tibetan Buddhist art.
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Bronze statue of Vajrapani
Vajrapani, whose name means
“Holder of the Thunderbolt,” is one of the most powerful protector
deities in Tibetan Buddhism.
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He embodies the strength of all Buddhas and is often depicted in
wrathful form to symbolize his role in subduing ignorance and
obstacles on the spiritual path. As a guardian of the Vajrayana
teachings, Vajrapani is typically shown with a muscular body, fierce
expression, and a vajra (thunderbolt) raised in his hand—ready to
strike down delusion. His presence in Buddhist iconography serves as a
reminder that compassion must sometimes take the form of fierce
determination.
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The bronze statue of Vajrapani at the Regong Art Museum in Tongren,
Qinghai, is a stunning example of Regong sculpture, blending spiritual
symbolism with masterful craftsmanship. Cast in rich bronze and
polished to a dark gleam, the statue captures Vajrapani in dynamic
posture—his body slightly twisted, one arm raised with the vajra, and
the other poised in a gesture of subjugation. His face is contorted in
a wrathful expression, with bulging eyes and bared fangs, while flames
encircle his head and shoulders, representing his fiery energy. The
statue is adorned with intricate details: serpents coil around his
limbs, a garland of skulls hangs from his neck, and his feet crush
symbolic demons beneath him.
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This statue is not merely a work of art—it’s a ritual object infused
with spiritual power. At the Regong Art Museum, it is displayed
alongside interpretive materials that explain Vajrapani’s role in
tantric practice and his connection to other wrathful deities like
Mahakala and Hayagriva. The museum emphasizes the continuity of Regong
artistic traditions, where bronze casting techniques have been passed
down through generations of Tibetan and Tu artisans. Visitors are
invited to contemplate the statue not only as a visual marvel but as a
guardian of wisdom, standing watch over the sacred teachings preserved
in the Longwu River basin.
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Bardo Mandala
The Bardo Mandala thangka is a profound visual
guide rooted in Tibetan Buddhist teachings on the intermediate state
between death and rebirth, known as bardo.
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This mandala serves as a spiritual map, depicting the peaceful and
wrathful deities that appear to consciousness during its journey
through the bardo realms. Each figure within the mandala represents
aspects of mind and karmic imprints, and their arrangement follows a
precise iconographic structure designed to aid practitioners in
recognizing these visions as projections of their own awareness. The
thangka is not merely decorative—it functions as a meditative tool and
a ritual aid in funerary practices, helping the deceased navigate the
path toward liberation or favorable rebirth.
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At the Regong Art Museum in Tongren, Qinghai, a particularly striking
Bardo Mandala thangka is on display, exemplifying the region’s
renowned Regong art tradition. Painted with mineral pigments and gold
leaf on cotton canvas, the thangka features a central Buddha
figure—often Vajradhara or Samantabhadra—surrounded by concentric
rings of deities. Peaceful figures radiate from the center in serene
poses, while wrathful ones populate the outer layers with fierce
expressions, flaming hair, and symbolic weapons. These wrathful
deities, though terrifying in appearance, embody compassionate force
meant to awaken the consciousness from delusion. The thangka’s
intricate detailing and vibrant colors reflect the spiritual intensity
and artistic mastery of the Regong painters, whose work is guided by
centuries-old Buddhist manuals.
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This thangka is part of the museum’s broader effort to preserve and
educate visitors about the spiritual and cultural heritage of the
Longwu River basin. Through interpretive displays and guided
explanations, the museum contextualizes the Bardo Mandala within
Tibetan funerary rites and tantric visualization practices. Visitors
learn how monks use such thangkas during rituals to assist the dying
and the dead, invoking the deities depicted to guide consciousness
through the bardo. The Regong Art Museum’s presentation of this
thangka transforms it from a static image into a living embodiment of
Tibetan Buddhist cosmology, offering both aesthetic wonder and deep
spiritual insight.
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Multicolored Garuda
The fragment of a painting featuring the
Multicolored Garuda at the Regong Art Museum in Tongren, Qinghai, is a
vivid and arresting example of Tibetan Buddhist iconography rendered in
the celebrated Regong style.
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Garuda, a mythical bird-like creature originating in Indian lore and
adopted into Buddhist and Hindu traditions, is revered as a powerful
protector and enemy of serpents. In this particular fragment, the
Garuda is depicted in a dynamic pose, its fierce expression and
vibrant plumage radiating spiritual energy. The painting, though
incomplete, retains a remarkable intensity, showcasing the artist’s
mastery of color, symbolism, and movement.
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This Garuda is portrayed with a striking palette: a red head and arms
that convey vitality and wrathful power; dark blue horns, beak, chest,
and legs that suggest depth and spiritual strength; yellow wings that
evoke divine radiance; and a white belly symbolizing purity. Between
its lower claws, it grips a male and a female serpent—an image rich in
tantric symbolism, representing the subjugation of dualistic forces
and the triumph of enlightened awareness over ignorance. Above its
head, nestled between its horns, are a crescent moon and a jewel,
signifying wisdom and the fulfillment of spiritual aspirations. Behind
its head blazes a flaming nimbus, a visual metaphor for the deity’s
transcendent energy and protective force.
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Though only a fragment, this painting encapsulates the essence of
Regong art: meticulous detail, spiritual symbolism, and vibrant
natural pigments. The Regong Art Museum presents it not merely as a
decorative relic but as a living testament to the region’s artistic
and religious heritage. Visitors are invited to contemplate the
Garuda’s role in ritual and mythology, and to appreciate how even a
partial image can convey the full force of a deity’s presence. Through
this fragment, the museum bridges the mythic and the material,
offering a glimpse into the cosmic drama that unfolds within Tibetan
Buddhist visual culture.
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