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 .
Lion-faced Dakini is a secret form of Vajrayogini also has a relationship to Troma and the practice of chöd. She is appropriate for clearing obstacles of the most pervasive and malignant kind and cutting through the “three poisons” of mind. This ancient practice has been important in Tibetan Buddhism since the time of Guru Rinpoche. PeGyal Lingpa received this revelation directly from Padmasambhava, appearing in a red-black form, instead of the more common dark .
Goddess Tara holds the second significant position among all the ten, Dus Mahavidyas. The Goddess Tara is the almighty Goddess of Shakti decimates all malevolent, is invulnerable and expels idleness, numbness, and haziness from the lover’s life. The word Tara means ‘star’ and it symbolizes light. Thus, Goddess Tara as ‘light’ is known to guide, carry over, overcome and conquer hurdles for acquiring knowledge, attain powerful speech and acquire the qualities of learning. Goddess .
The root chakra is also called Muladhara in Sanskrit which is primary energy storage. It is located at the base of the spine in the vicinity of the coccygeal plexus beneath the sacrum. It is associated with your most basic survival needs. Where is root chakra is located on the body? Muladhara is located at the base of the spine, the pelvic floor, and the first three vertebrae, the root chakra is responsible for .
Avalokitesvara, the Lord of Compassion, gazes out across the world, his white radiance soothing the sufferings of living beings. With one pair of hands, he clasps to his heart the wish-fulfilling gem of his vow to eradicate the world’s pain. In his upper left hand, he holds the lotus of spiritual receptivity, the desire to leave the mud of samsara and reach up toward the sun of true happiness. Above his head, we sense .
The word ‘karma’ sounds very romantic, because it is Sanskrit and people don’t know exactly what it means. To me, karma is some kind of natural law, which governs the things that are happening in our minds and within our lives. What is taking place has definitely not been created by anybody other than ourselves, yet, when we start experiencing the result, we have no control over it. Points to think about in Relation .
In Tibetan Buddhist circles, it will not be long before to hear someone talk about their yidam. Especially if they have been meditating for some years you will gather from the way they talk that it is something of the greatest importance for them. This Tibetan word literally means oath, vow, or promise, and connotes the Buddhist deity to whose meditation you are committed to whom you are linked by a promise or vow, .
Sketching is the major work in creating the art. 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 painting around which the artist would plan the rest of the composition. The vertical axis usually marked the center of the main figure, and it was in relation to this line that .
Facial Features The last main step involving the application of colours was the rendering of the faces of the main figures. This was in effect the final stage of outlining, and sometimes a master painter would step in at this point and complete the painting 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 .
Almost every object depicted in a thangka required outlining or linear detail. Outlining proper (bead) served to set off most objects from their surroundings, and it was used to demarcate the main subdivisions within them. Tibetan painters also used line drawings to develop the form or texture inside a given area, for instance within a swirling mass of flames or within the hair of a deity. Furthermore, fine linear drawings were the main way .