According to the Gelug and Kagyu schools of Tibetan Buddhism, Vajradhara is also known as the ultimate Primordial Buddha or Adi Buddha. Vajradhara displaced Samantabhadra who remains the Primordial Buddha in the Nyingma or Ancient School and the Sakya school. However, the two are metaphysically equivalent. Achieving the state of Vajradhara is synonymous with complete realization. According to Kagyu Vajradhara, the primordial buddha is also known as the Darmakaya buddha. Depicted as dark blue .
Shri Devi wrathful with one face and four hands holding upraised a sword, a skullcup to the heart, a peg dagger and a trident, riding atop a mule. At the top center is the Heruka form of Shri Hevajra and Vajra Nairatmya. Shri Devi is a category of Tantric Buddhist deity. Her primary function is as a protector (Dharmapala) and specifically the primary female Wisdom Protector of Himalayan and Tibetan Buddhism. There are dozens .
Vajravarahi, 5 Deity principal tutelary deity of the Six Dharmas of Naropa. Vajravarahi is with a fierce expression, slightly peaceful and slightly wrathful, she is red in color with one face, three eyes and dark yellow hair flowing upward, at the crown a black boar’s head. The right-hand holds aloft a curved flaying knife with a gold vajra handle and the left to the heart a white skullcup. At the bend of the left .
Shakyamuni Buddha (Tibetan: sha kya tu pa, sang gye. English: the Enlightened One, Sage of the Shakya Clan) together with the two principal students, Shariputra and Maudgalyayana standing at the sides, while surrounded by the Thirty-five Confession Buddhas. The general subject of the painting is Shakyamuni Buddha and the Thirty-five Confession Buddhas. Karma Kagyu Tradition in Tibetan Buddhism Shakyamuni is the leader of the Thirty-five Buddhas. The painting belongs to the Karma Kagyu Tradition .
Wutaishan Mountain in China is considered special for the Buddhist deity/bodhisattva Manjushri. According to oral history and Chinese literature, it was Drogön Chögyal Phagpa who first talked about the five different forms of Manjushri. 5 forms of Manjushree are represented on each of the five peaks: central and four directions. The Five Manjushri forms are not depicted in a consistent manner. There are many iconographic differences appearing between the various paintings be they central .
This painting of Atiśa is from the early to mid-12th century and features extensive inscriptions on the reverse side. Atisha was the abbot of Vikramashila monastery in northern India, one of the maha viharas that granted the learned degree of Pandita, here indicated by his yellow hat. In 1042, he traveled to Tibet at the invitation of the western Tibetan king Yeshe ‘Od to help purify Buddhist practices there. Atisha’s authority was rooted in .
The subject depicted in this thangka is called Guruparampara, a “Line of Teachers.” It depicts the family tree of Nyingma lineage, as it were, and its function is to indicate a line of descent. The meaning of this presentation is to show a refuge for believers. It creates a kind of structure with a number of deities and teachers in whom devotees take refuge, because they will help believers in the course of their .
This 18th-century essay drawing is similar in content to the photographic measurements. The so-called “image measurement” is the scale of the Buddha’s human body and the scale of the figure. This may be a reference guide for the painting of Buddha statues in Tibet or Nepal in the 18th century. It contains 36 detailed drawings and the text is in Tibetan. The representation of the Buddhist figure is not fabricated out of thin air. .
Drawing mandalas is fun. When you are trying to create something new relax and think echo of your soul and the surroundings. Sketching and giving shape to the mandala can be a new experience in your life which can help to explore yourself and find the shapes, colors, and patterns to represent your current state of mind to your most deeply-desired wish for yourself, for a loved one, or for humanity. You can design .
According to Tibetan Buddhist myth, Gyalpo Pehar ( Tibetan: རྒྱལ་པོ་དཔེ་ཧར ) is a spirit belonging to the gyalpo class. When Padmasambhava arrived in Tibet in the eighth century, he subdued all gyalpo spirits and put them under control of Gyalpo Pehar, who promised not to harm any sentient beings and was made the chief guardian spirit of Samye during the reign of Trisong Deutsen. The protector deity Pehar Gyalpo is depicted with three Geluk .