Tshatsha, a literal translation from a Sanskrit word which mean
"copy" in English, stands for small clay sculptures cut from a
mold, including mini-statues of Buddha, stupas or Buddhist
scriptures. Usually, they are put inside large stupas or special
shrines (tsha-kang). They can also be found on top of Mani stones
flanked by prayer flags along tracks, on the revered snow-peaks or
in sacred caves. The Tibetans carry them in small amulet boxes to
guard against evil.
Tshatshas are believed to have come from India together with
Buddhism. Although most tshatshas are made of clay, there are also
wooden or stone ones. The former are used to fill the stupas, with
some are placed on top of the Mani stones or in special shrines,
while most of the latter are placed in Buddhist shrines or
altars.
Tshatshas, whether ancient or modern, generally fall into two
categories in terms of their forms: relief sculptures, including
high and low reliefs, made with a one-sided mold; and round
sculptures that are made with a double- sided mold.
To make a tshatsha, first a mold, an indispensable item known as
tsha-shi-gong in Tibetan, has to be made. Most molds are made of
bronze or brass, and those made of porcelain, paper, or wood are
rare and hence especially precious.
Once the mold is made, one can begin to make a clay tshatsha, a
process that has been compared to working with the popular
children's toy of plasticene (named after the famous
trademark).
First step, a lump of clay is stuffed into the mold after being
rolled into a clay pie. Then, a pit is made within which several
grains of the highland barley (grown in Tibet and Qinghai in West
China) are placed. The process, known as filling the scripture
(Zhuangzang in Chinese), is believed to be able to give superhuman
strength to the clay sculptures. Next, the clay is pressed so that
its surface will be smooth and the design pattern clear. A pedestal
is modeled by hand in the third step.
When all the above is done, the moist clay tshatsha is taken out
from the mold and placed in sunshine to dry off, completing the
process. This is called the lost wax method, which was considered
the most advanced technique more than a millennium ago. It is still
in use today to make delicate modern sculptures and replicas of
antiques.
Since all the tshatshas are molded, they are not too large in
size, hence their name "little statues of Buddha". By far, the
largest one of those excavated measures no more than an inch in
both width and height and the smallest one is no larger than a
thumbnail. In most cases, they are about 9 centimeters in width and
7 inches height.
Though small, tshatsha serves the same purposes as other Buddhist
forms, such as the mural painting and thangka. Buddhists recognize
them as symbols of Buddhist merits, and use them to express their
adoration and reverence for the Buddha, and their explanation of
and devotion to the Buddhist doctrines, as well as their aspiration
for riches and honor.
The tshatshas are colored with traditional Tibetan pigment,
which is in fact a kind of mineral paint traditionally made by
mixing different amounts of minerals so that they still retain
their bright original colors after hundreds of years.
Though made with the same techniques, tshatshas vary greatly
from place to place. Tshatshas found in the stupas in Jiama County,
dating back to over 600 years ago in the Yuan Dynasty (1271-1368
AD), feature three-dimensional patterns in high relief; details
like figures and background decorations are also emphasized.
The most distinctive aspect of these tshatshas is their large
size, as most of them are 10 centimeters high and 8 centimeters
wide, with the largest reaching as much as 26 centimeters in height
and 20 centimeters in width. These tshatshas are believed to be of
great value for the research on the Tibetan Buddhist art in the
Yuan Dynasty.
Compared with tshatshas found in other places, those found in
Xialu Temple are said to be unique and worthy of collection, as
they have the largest variety in terms of the ages, the patterns
and the styles as well as the colors.
Tshatshas also abound in Sajia Temple, and are famed for their
delicacy and exquisiteness. Most of them are burned into colors
such as red, gray or black. There are also tshatshas with two
colors, an uncommon feature.
In the Northern Sajia Temple, tshatshas with typical Indian or
Nepalese artistic features can be found, which were put in the
stupas when the temple was built nearly a thousand years ago.
Therefore, they are referred to as having matchless artistic and
historical value.
Due to its long history and unique artistic charm as well as the
mysterious cultural implications, tshatsha has grown into a special
category, arousing the interests of numerous experts, artists and
collectors. Over the years, tshatshas, with its rich implications,
various design patterns, long history and different artistic styles
have become a treasured collectible item.
(China Daily August 6, 2007)
