Thubten Norbu Ling - Santa Fe
About Painting
Painting is the action or skill of using paint, either in a picture or as decoration.
Khyentse Foundation - US
Glorisun Global Buddhist Network
19th century Painting of Namkhai Nyingpo
Namkha'i Nyingpo one of the twenty-five disciples of Padmasambhava, is depicted with long-life ritual implements. Other details of this nineteenth-century painting from Kham suggest elements from Jamgon Kongtrul's story of Namkhai Nyingpo and Dorje Tso.
Namkhai Nyingpo is performing a long-life ritual in this Thangka Painting. He holds upraised in the right hand an arrow of longevity and a vajra scepter. In the left hand, a bell is held close to the heart.
In the sky above, at the .
All you need to know about the types of Thangka Paintings
Thangkas The origin of Paubha or Thangka paintings may be attributed to the Nepalese artists responsible for creating a number of special metal works and wall- paintings as well as illuminated manuscripts in Tibet.
Realizing the great demand for religious icons in Tibet, these artists, along with monks and traders, took with them from Nepal not only metal sculptures but also a number of Buddhist manuscripts.
To better fulfill the ever-increasing demand Nepalese artists initiated a .
Interpreting Vajravarahi and 5 Deities Tibetan Painting
Vajravarahi, 5 Deity principal tutelary deity of the Six Dharmas of Naropa.
The life of Vajravarahi
In this portion, we are going to learn about the life of Vajrabarahi, after that the short description of the word Vajravarahi itself.
Etymology of Vajravarahi
Vajravarahi is known as Asrdo Rje Phag mo in Tibet. Vajravarahi is one of the most popular female Tantric deities in all traditions of Tibetan Buddhism.
Earlier, we learn about the life of the Vajravarahi. Now, we .
Atiśa Thangka Painting from Mid 12th century
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 his lineage, an .
Depicting the Painting of Machik Labdron and Chod Refuge
This is mid-20th-century painting of Machik Labdron and the Chod refuge field displaying teachers and deities.
Thangka Painting Chart
Depicting the Painting of Machik Labdron and Chod Refuge
N°1 Asanga
Asaṅga was "one of the most important spiritual figures" of Mahayana Buddhism and the "founder of the Yogacara school".
Traditionally, he and his half-brother Vasubandhu are regarded as the major classical Indian Sanskrit exponents of Mahayana Abhidharma, Vijñanavada (awareness only) thought and Mahayana teachings on the .
Depicting the Painting of Shakyamuni with Geluk Masters
This 18th-century painting depicts Shakyamuni Buddha with primordial buddha Vajradhara, bodhisattvas Maitreya and Manjushri, and Geluk masters.
Thangka Painting Chart
Shakyamuni with Geluk Masters
N°1 Bodhisattva Maitreya
Maitreya is regarded as a future Buddha of this world in Buddhist eschatology. In some Buddhist literature, such as the Amitabha Sutra and the Lotus Sutra, he is referred to as Ajita.
According to Buddhist tradition, Maitreya is a bodhisattva who will appear on Earth in the future, .
Sketching – The power of Tibetan paintings
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 all .
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 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 of the .
Top 10 Composition of Pigments in the Tibetan paintings
The application of colour to the thangka canvas involved two main steps first, filling in the areas of different base colours, and second, the subsequent shading and outlining of those areas.
To these steps there corresponded the two essentially different types of paint in the Tibetan palette
Mineral pigments (rdo tshon and sa tshon) and
The organic dyes or lakes (tshos)
The mineral pigments had to be mixed with a binder before being applied as paints. .
The Magic of Composition in Tibetan paintings
By the time the painter sat down to begin the sketch he already had in mind the main contents and design of the thangka. Usually, the patron had indicated to the painter precisely which deities he wanted to be depicted.
Sometimes the patron also furnished a diagram that showe the names and relative positions of each figure in the painting, such diagrams often having been composed by the lama of the patron.
When the patron provided .