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Tara Yantra Sketching #48463

Karmapa Thangka in process #8555

Avalokiteshvara Thangka in process #8475

Where to find Mandalas in Nepal?

What is the difference between a Pauba and 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

atisa
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 .

36 measurements of Tibetan Buddhism figures

This 18th-century essay drawing is similar in content to the photographic measurements. The so-called “image measurement” is the scale of the ’s human and the scale of the figure. This may be a reference guide for the of Buddha statues in or in the 18th century. It contains 36 detailed and the text is in . The representation of the figure is not fabricated out of thin . .

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 .

The Dark Armies of the Dharma

, the Lord of , gazes out across the world, his white radiance soothing the of living beings. With one pair of hands, he clasps to his heart the wish-fulfilling gem of his to eradicate the world’s pain. In his upper left hand, he holds of spiritual receptivity, the to leave the mud of and reach up toward the of true . Above his head, we sense .

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 , .

The origin of the Graphic Arts of Buddhism

 is the artistic implementations  that are perused by  . It includes media which idolize  , and other of remarkable figures, both and mythical. Buddhist art explains the scenes from  the lives of all of the  and other graphic that helps to practice as well as physical objects connected with Buddhist practice, such as ,  and  . Buddhist art originated on the  following the historical life of , 6th to 5th century .

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 .

Techiques of Paint Preparation and Application in Tibetan Art

Preparation and Application in Tibetan Art
After cleaning the pigment it had only to be mixed with the to become paint. For blending a pigment and binder you can simply mix it. Paint preparation can take a full day to prepare the five primary colors. Traditionally, the materials included a variety of mineral and vegetable substances minerals, precious stones, bark, leaves, flowers (especially the rock rose), gold, silver, copper, etc. Each had to be collected from its source in different .
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