News from tibetanart.com
March 8th 2017 - Update on new Giclee Print availability
Over these past few months I have been scanning and digitally enhancing a number of new Tibetan deity compositions, some from original thangkas and many others from studio transparencies. Now I am in the process of writing accurate descriptions of all these thangkas to accompany these images as forthcoming Giclee Prints. The more complex of these take several days to write, and often involve some painstaking research.
In the near future my webmaster will redesign the structure of this website to make it compatible with smart-phone and tablet viewing. He will also upgrade the site so that I will be able to input these large-format ‘Zoom’ images myself, which at present I cannot do.
I have listed nearly all of these new and forthcoming Tibetan compositions below, the first group being recently painted masterpieces by three of Kathmandu’s finest thangka painters. The second group are gold-on-black and mostly single-figure compositions of important protector and yidam deities that mainly belong to the Nyingma and Kagyu Traditions. Most of these were painted by Chewang Dorje, scanned from transparencies, and will be only available in A4 or A3 sizes. And similarly the third group are mainly small single-figure colour compositions by Chewang and others.
New Tibetan Colour Masterpieces: 1. Troma Nagmo Assembly (Dudjom Tersar): 2. Dorje Bernagchen Lineage (Kagyu): 3. Karmapa Dorje Drolo (Kagyu): 4. Guru Yoga Assembly (8th Karmapa): 5. Vajradhara with Manjushri and Vajrapani: 6. Usnishavijaya Nine-deity Assembly: 7. Avalokiteshvara, Manjushri and Vajrapani (Rigsum Gonpo): 8. Medicine Buddha: 9. Green Tara: 10. White Tara.
New A4 and A3 size Gold on Black Thangkas: 1. Ekajati: 2. Guru Dragpo: 3. Guru Dragpur: 4. Rahula: 5. Vajrapani: 6. Vajrakila. 7. Hayagiva, Vajrapani and Garuda: 8. Kalachakra: 9. Hayagriva: 10. Two-arm Chakrasamvara: 11. Twelve-arm Chakrasamvara: 12. Dorje Bernagchen: 13. Four-armed Mahakala: 14. Four-faced Mahakala: 15. Five-deity Vajravarahi: 16. Thousand-armed Sitatapatra: 17. Kshetrapala and retinue: 18. Mahamaya and Consort.
New A4 size Colour Thangkas: 1. Dorje Drolo: 2. Red Tara: 3. Samantabhadra yab-yum: 4. Yeshe Tsogyal: 5. Manjushri: 6. Vajravarahi: 7. Five-forms of Jambhala: 8. Bodhisattva Samantabhadra and Protectors: 9. Kshitigarbha Bodhisattva: 10. Red Kurukulla assembly
January 14th 2017 - More about new Giclee Print availability.
Having recently added various less expensive Giclee Prints to the site, I also add some free items to each order that I pack and post myself. This applies to the A4, A3 and A3+ size Giclee prints, along with all the Postcards, Posters, Digital Art Prints and Silk Screen Prints. Thus if someone orders six postcards I add a few more for free. With A3 sized Giclees, Digital Art and Screen Print orders I add one or more free A3 Posters to the tube. And with all A4 size print orders I add an A4 Screen Print or two.
This helps balance out the postage costs that are determined by weight, as it costs the same to post nine postcards as it does to post six, and the same applies to an extra poster or two in a tube. I enjoy doing this, as I have more postcards and posters than I do hours of life. And its always good to be generous, with generosity being listed as the first of the ‘six perfections’ (Skt. paramita) of the Buddhist path, although often the most neglected here in the west.
These free additions only apply to the A4, A3, and A3+ Giclee Prints I now produce myself, and not to the SMALL, MEDIUM and LARGE sized Giclee prints on 308 gsm Hahnemuhle fine-art paper, which my printer friend Peter makes, packs and posts out on my behalf.
New Year 2017 - New sizes of Giclee Prints now available.
After having reduced the original prices of my Giclee prints by around 20% in late October, I am now able to produce new and cheaper versions of these prints myself in format sizes up to 13 x 19 inches (320 x 483 mm). All these prints are now listed on this website and are available in A4, A3 and A3+ sizes.
At present I am only making these prints on Epson Archival Matte Paper, which at 189 gsm is lighter in weight than the Hahnemuhle 308 gsm that my printer friend Peter will continue to use. These SMALL, MEDIUM and LARGE sized fine-art Hahnemuhle prints have more spacious white outer borders and because of their thickness have to be shipped in strong wide cardboard tubes.
The A4 size prints on Epson paper measure 8.3 x 11.7 inches (210 x 297 mm) are all priced at UK £28.00 each. Most of these A4 prints are also available matted and backed in grey mounting board to fit standard sized 11 x 14 inch frames. These mounted prints are priced at UK £42.00 each and are assembled by myself. These A4 prints will be shipped flat in cardboard envelopes, while the mounted and cello-wrapped 11 x 14 inch versions will be shipped in reinforced padded envelopes.
The A3 and A3+ size Epson prints make maximum use of the image width, leaving only a half-inch white border on either side. In general, the more square paintings are printed on A3 size paper, while the more elongated ones are on A3+ size paper. The A3 paper measures 11.7 x 16.5 inches (297 x 420 mm), while the A3+ paper measures 13 x 19 inches (329 x 483 mm). These prints can be rolled more easily and thus are cheaper to ship in narrower cardboard tubes.
In the near future I plan to add a variety of Giclee prints of other paintings in these new sizes, a few of which will be my own compositions. At present I am digitally reworking the original scan for each painting, removing each minute blemish, improving any poorly painted areas, and generally removing each painting’s outer borders to create a cleanly cropped and perfectly squared image ready for mounting and framing.
October 17th 2016 - All Giclee Prints now reduced by 20%
October 17th 2016. As of today I have now reduced the prices of all my Giclee Prints by around 20% or more. This is because I’m now running this website myself, following on from the recent closure of Wisdom Books UK, who previously administered my site for me. I wish to stress that all of these fine-art or ‘archival museum quality’ prints are each individually produced to the highest possible standard, and everyone who has so far purchased and commented on them has been amazed by their meticulous detail, clarity and colour fidelity.
For not only are these original compositions created by the finest contemporary Newar paubha and Tibetan thangka painters of the Kathmandu Valley, they have each been skilfully photographed, processed and proofed for printing in the studio of Peter Mennim in Cambridge, who is not only a talented and highly respected artist in his own right, but also one of the most experienced fine-art photographers and colour management technicians here in the UK.
To create these ‘Archival Pigment Prints’ - which is a more accurate way of defining the nebulous French verb ‘giclee’, meaning ‘to squirt or spray’ - Peter and I work together for hours on each of the best high-resolution image selected, squaring and cropping it correctly, restoring any damage, removing every blemish, and accurately reproducing the original’s colour fidelity – especially in the fine decorative and burnished areas of pure gold pigment, which are very difficult to replicate in any form of printing process.
In this respect many of these prints are actually more refined, clean and squarely framed than the original compositions. And they certainly will last a lot longer, because the pure cotton art paper and archival pigment inks used in printing are far more permanent than the synthetic Indian poster paints that virtually all artists use throughout India and Nepal. The same applies to the commercial Indian oil pigments that some Newar artist’s use with dexterity to create amazing effects, but unfortunately some of these oil-based pigments never dry properly and cannot be varnished.
The commercial claims of ‘stone colours’ ground from lapis-lazuli and other precious minerals, along with the tales of ‘single-hair’ brushes used by the artists, and the ‘monks’ said to have created them are all myths of the tourist markets where these paintings are sold. However, the pure ‘drop gold’ used in commercial Tibetan thangka painting is definitely real, as are the innate skills of the largely untrained and often poorly paid local artisans who paint them.
The paper we use for our prints is Hahnemuhle Photo Rag 308 gsm, which is a heavyweight 100% cotton matt fine-art paper, with a smooth surface texture like watercolour paper that closely replicates the cotton ground of the original paintings. It is also one of the most expensive digital art printing papers available. The same degree of quality applies to the revolutionary new technology of Epson Ultra Chrome K3 pigment inks, which uses a system of eight colours that actually reproduces the exact wide colour gamut of the original composition, with the exception of the real ‘drop gold’ pigment. The microscopic particle size of the ink drops sprayed creates a true facsimile of the original painting, such that when are both framed behind glass they are virtually indistinguishable, except where real gold has been used. These Ultra Chrome pigment inks are more waterproof and scratch resistant than the original painting and are far more permanent, which according to Epson have ‘lightfast ratings of up to 108 years for colour and over 200 years for black and white under rigorous industry accepted display conditions’.
Thus at present it is not actually technologically possible to produce any finer Giclee or ‘Archival Pigment Prints’ than the ones displayed on this website. These can all be viewed in larger-than-life size by clicking on the red ‘View Details’, then the red ‘click to enlarge++’ and then using the sliding bar of the Zoom faculty (Z) below the image to vastly increase the image size. Please note that all of these high-resolution JPG images in the Zoom function are watermarked for security on this website.