Thangka master Niangben often spends weeks or even months completing a single piece, depending on its size. He said that painting thangka is time-consuming and demands sincerity and patience. PHOTO PROVIDED TO CHINA DAILY

Once he was a 12-year-old boy painting strokes and grinding pigments from dawn till dusk. Now, four decades later, Niangben stands as a thangka master, passing on the ancient technique to a new generation.

Niangben recently concluded his latest exhibition, Inheritance and Beyond, in New York, presenting 16 pieces that celebrate Tibetan Buddhism — a culture deeply tied to the Xizang autonomous region, known for its towering mountains and sweeping river valleys.

The exhibition, held at the Rockefeller State Park Preserve art gallery in Pleasantville, New York, in the Hudson Valley, mirrors the essence of Northwest China — particularly Qinghai province, and Xizang in Southwest China — with its picturesque terraces, plateaus, rivers and mountains at a gentler elevation, making Niangben's art "feel like home".

"I felt truly proud, as an artist, bringing such rich cultural heritage to the United States and the world," Niangben, 53, told China Daily.

"It's more than just art, it's a record of history. This painting tells the stories of the past. I want more people to see the value of thangka art and culture. My goal is to bring thangka to the world so that those who've never seen it can understand its beauty," he said. "I believe people will appreciate it, learn to preserve and build upon it, and share it," Niangben said at the exhibition's reception, wearing traditional Tibetan clothing that he said represents himself and his culture.

Regong art, which includes thangka painting, clay sculpture, applique, and wood and stone carving, has been passed down through generations by local artisans. The distinctive art form from the Regong region, especially thangka, is recognized as a national intangible cultural heritage and also has been recognized by the United Nations Educational, Scientific and Cultural Organization, or UNESCO.

Growing up in the Regong region of Huangnan Tibetan autonomous prefecture in southeast Qinghai, his family and the village faced poverty.

With two younger brothers and four elder sisters, Niangben took on the responsibility of supporting his family and began an apprenticeship under thangka master Xiawu Cairang, who himself was a student of the renowned artist Zhang Daqian, one of the most famous Chinese artists of the 20th century.

Thangka artist Niangben. PHOTO PROVIDED TO CHINA DAILY

Initially, painting thangka was merely a way for Niangben to earn money, but he soon developed a deep passion and talent for the art. Over the years, he dedicated himself to studying Regong Thangka and Tibetan Buddhism.

In August 2006, Niangben established the Qinghai Huangnan Regong Painting Institute, the first thangka art institute in the region, and became its director.

"Our goal in starting this institute was to open up learning opportunities for more people," Niangben said. "Traditionally, this art was passed down within families, from father to son, one-on-one, but that just wasn't enough. At first, I could only take in about a dozen kids to study at my place, but now we're able to accept over 70 each year."

The institute covers 120,000 square meters, with a building area of 7,000 square meters, focusing on protecting, preserving and promoting the intangible cultural heritage of Regong art, as well as training local artists. Niangben said that this large space allows more children to learn and engage with the art.

"Every year, we check how many students graduate and how many new kids we can take in. Our institute is really here for kids from low-income families, the 'left-behind' children (who remain in rural areas while their parents migrate to cities for work). We cover their meals, housing and education — all free of charge," Niangben said.

The institute has been recognized as a National Cultural Industry Demonstration Base, a National Intangible Cultural Heritage Productive Protection Demonstration Base, and a Youth Employment and Entrepreneurship Training Base.

"Painting thangka is time-consuming and requires sincerity and patience," Niangben said. "It takes an artist weeks or months to finish a painting."

The pieces he brought to New York took an average of two to three months each to complete. Visitors can view not only the vibrant, colorful Buddha figures but also the line-drawn sketches. They can observe the detailed color-mixing Niangben uses, with precious mineral pigments like gold, silver and cinnabar, along with natural dyes from plants such as saffron and gardenia, which can make the art last for decades.

Avalokiteshvara With One Thousand Hands and One Thousand Eyes by thangka master Niangben. Painted on cotton, Niangben used pure gold and other mineral pigments for the colors. PHOTO PROVIDED TO CHINA DAILY

"It's amazing to see how so many beautiful works have been preserved because artists used this type of mineral pigment. Take the murals at Dunhuang or in the Potala Palace, for example — they've stayed vibrant for hundreds of years without fading. That's really something unique about our Eastern murals," Niangben said.

The use of natural mineral pigments allows thangka paintings to endure for millennia, giving them exceptional collectible value. The high-quality materials are also very costly.

He said that the use of the pigments makes the art form hard to replace with today's digital painting — as thangka art has strict requirements for color-mixing, outlining and more. It not only requires the meticulous techniques of traditional Chinese painting but also demands the artist's skill in grinding pigments and controlling temperature and humidity.

When painting Buddha figures, he likes to use bold, exaggerated colors alongside the statues' graceful forms, blending reality with imaginative settings to create a vivid artistic world. In contrast, when depicting real-life scenes, he uses natural colors to capture the simplicity of the landscape.

"These colors aren't just basic watercolors or oil paint colors — they are all carefully mixed and ground by hand. The progress is also pretty complex. We need to grind the minerals daily, and even small changes in pressure can subtly shift the color. For example, heavier grinding might produce one shade, while a lighter grind gives you another," Niangben said.

In August 2006, Niangben founded the Qinghai Huangnan Regong Painting Institute, the first thangka art institute in the region, where he serves as director. The institute provides opportunities for children from low-income families and “left-behind” children (those who remain in rural areas while their parents work in cities) to learn thangka painting. PHOTO PROVIDED TO CHINA DAILY

"Each step — drafting, coloring, shading, adding gold lines and drawing fine details — tests the artist's skill. The artist has to keep learning all the time: studying Buddhist culture, understanding the deeper meaning and putting real heart into thangka," Niangben said. "We need to continue to refine our artistry and keep learning."

Thangka is also considered a spiritual practice of Buddhism and a historical representation of the religion.

"This thangka art form has over 2,000 years of history in Tibetan and Buddhist-related culture. It is a heritage. … Thangka itself is an art form that originated in Buddhism as a way to represent faith. The core message is to be kind to others, to do one's best to help others," he said.

Niangben said that his faith has been his reason for persevering all these years — not only his dedication to Buddhism but also his commitment to introducing this niche form of traditional Chinese and ethnic art to more people.

He traveled to Chengdu, Sichuan province, from 1995 to 1997 to deepen his understanding of traditional Chinese gongbi painting techniques. He said he believed that thangka holds great potential for creativity, capable of portraying everything from astronomy to geography, bridging ancient and modern themes.

In July 2008, to celebrate the successful hosting of the 29th Olympic Games in Beijing, Niangben created three paintings of the Fuwa mascots, later collected by the Beijing Olympic Committee.

In 2009, he painted two works, Princess Wencheng's Journey to Tibet, symbolizing unity between Han and Tibetan peoples, and The Founding Ceremony, celebrating the establishment of the People's Republic of China, both donated to the State Council.

In November 2009, he created The Tenth Anniversary of Macao's Return to China, which he donated to the Macao Special Administrative Region. Niangben received the first Chinese Youth Arts Award in December 2011 and, in January 2013 earned the title of Chinese Master of Arts and Crafts.

"Our Chinese nation is home to 56 ethnic groups, each with its rich cultural heritage. As an artist from a minority region, creating works with such themes fills me with pride," he said. "These pieces reflect the harmony and unity among our 56 ethnic groups, and anyone who sees them feels a deep connection."

Promoting thangka art overseas is difficult, Niangben said, but his passion for sharing its beauty keeps him motivated.

"It's my responsibility, and I hope this culture of Tibet can be preserved by more artists like me," Niangben said. "Art knows no borders, and this painting technique is truly rare. We hope that thangka art can be appreciated and loved by more people in the US and the world."