Category Thangka


About Thangka

category describes the about the thangka making process, , and many more.
It is a on , , usually depicting a deity, scene, or .

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Manjushree Thangka in process #54345

Green Tara Thangka in process #47258

Karmapa Thangka in process #8555

Avalokiteshvara Thangka in process #8475

Tibetan thangka

Depicting 5 Forms of Manjushri Thangka

5 forms of Manjushri
Wutaishan Mountain in is considered special for the deity/. According to oral and Chinese literature, it was who first talked about the five different of . 5 forms of 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 be they central .

Atiśa Thangka Painting from Mid 12th century

This of is from the early to mid-12th century and features extensive inscriptions on the reverse side. Atisha was the of in northern , one of the maha that granted the learned degree of Pandita, here indicated by his yellow hat. In 1042, he traveled to at the invitation of the western Yeshe ‘Od to help purify practices there. Atisha’s authority was rooted in .

Nyingma Lineage tree thangka with explanation chart

Nyingma refuge tree - Longchen Nyingtik Lineage
The subject depicted in this is called Guruparampara, a “Line of Teachers.” It depicts the family tree of 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 .

Depicting the Pehar Gyalpo with 3 Geluk Masters

Pehar Gyelpo
According to myth, Gyalpo Pehar ( : རྒྱལ་པོ་དཔེ་ཧར ) is a spirit belonging to the gyalpo class. When arrived in in the eighth century, he subdued all and put them under control of Gyalpo Pehar, who promised not to harm any sentient beings and was made the chief guardian spirit of during the reign of Trisong Deutsen. The protector deity is depicted with three Geluk .

Way to Heaven – meaning and symbolism

The way to Heaven is also known as a way to . Way to heaven gives deeply symbolic meaning and explanation of the path to . in way of heaven The way to heaven consists of different symbols which have different meanings. This of the development of mental tranquility is often painted on walls. This mnemonic diagram depicts the nine progressive stages of mental development, which are obtained through the six .

Depicting the Painting of Machik Labdron and Chod Refuge

Machik Labdron and Chod Refuge
This is mid-20th-century of Machik Labdron and the Chod refuge field displaying teachers and deities. Painting Chart N°1  Asaṅga was “one of the most important spiritual figures” of and the “founder of the Yogacara school”. Traditionally, he and his half-brother are regarded as the major classical Indian exponents of Mahayana , Vijñanavada (awareness only) thought and Mahayana on path. N°2 The lineage of .

Depicting the Painting of Shakyamuni with Geluk Masters

Shakyamuni with Geluk Masters
This 18th-century depicts with primordial , and , and Geluk . Painting Chart N°1 Maitreya Maitreya is regarded as a future Buddha of this world in eschatology. In some Buddhist literature, such as the and Sutra, he is referred to as Ajita. According to Buddhist tradition, Maitreya is a bodhisattva who will appear on in the future, achieve complete , .

Sketching – The power of Tibetan paintings

is the major in creating the . Sketching involved several steps, the first of which was to lay down the main lines of orientation. Most important was the central vertical axis, for this would be the exact center of the around which the would plan the rest of the . The vertical axis usually marked the center of the , and it was in relation to this line that .

Shading, Colouring and Grading of Thangkas and Mandalas

Another main step is to apply washes for and gradual transitions of tone. Shading is called  in which is one of the special feature of . Shading is an important feature of , taking up a large portion of the , and is done very carefully and precisely. Shading in this context does not mean the treatment of light and within the whole , for the distribution of light and .

Final Touch and Finishing Details In a Traditional Thangka Paintings

Facial Features The last main step involving the application of colours was the rendering of the faces of the . This was in effect the final stage of outlining, and sometimes a painter would step in at this point and complete the of his student. Of all the finishing details, the facial features demanded the most attention, and among these it was the eyes that received the greatest care. The painting .