Vishvarupa (Universal form) of Heruka Yab-Yum

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The wrathful aspect of the deity came into existence to fight against negative forces with compassion and to destroy obstacles in the path toward righteousness, thereby helping all-sentient beings reach enlightenment. Moreover, they also provide protection and prosperity to the sentient beings. Although the wrathful deities grasp dangerous weapon, snarl furiously, and make threatening gesture, but they are neither malignant nor harmful to humans. They rather protect their devotees like their own child; they quickly remove obstacles if properly worshipped and invoked. They terrify the terrifiers. It is believed that wrathful deities are more efficacious if worshipped in company with his consort. The wrathful deities are also depicted in universal form as the of present one; their meaning and purpose are same as in the case of peaceful deities, as discussed above. The universal form of wrathful deities with their consort are considered as more powerful and suitable for high level of tantric sadhana

At the centre of this grand black thangka, stand an eighteen-headed and twenty-six armed Heruka with his consort in sexual embrace. His ferocious face is adamantly demonic indicating his determination not to succumb to the instinct to reify the beings and things of any world as substantially real. Below him two more figures of multi-headed and armed Heruka are depicted very closely in a way that they are emanating from the main figure. The main figure of Heruka is holding bowls and beings in his hands, which are actually raised, to protect and blessed the devotees. His main hands are not visible as it is covered by the figures, depicted below. His eighteen heads rises magnificently, perhaps indicating that the vision of his critical wisdom penetrates all level of reality, and the agility of his dynamic compassion knows no limitations. He tramples underfoot beings, representing ignorance or evil. The other two manifestation of Heruka below the main figure are also in sexual embrace with the consort. Their hands are in threatening gesture; however one of the main hands of the figure third from the top is holding a bowl. He has also powerful wings, indicating his omnipresent for beings. Heruka is wearing the crowns of skulls with jewels; elephant, wolf, human skin, and tiger-skin skirt. The consort of all the three figures of Heruka is also wrathful. She is also adorned with bone ornaments. Aureole flames encircle all the three images of Heruka, which suggest the extension of the deity's power radiating outward. On the top of the aureole, Garuda, and wrathful dragons are depicted.

The central figures are surrounded with wrathful deities, Cosmic Buddhas etc. On the top, two figures of Brahmanrupa Mahakala are flanking a figure of Demonic Divine. The upper left corner has a beautifully rendered Nyingma lama in yab-yum posture and the upper right corner a wrathful deity on a hearth. Ranged down the left side are the figures of Cosmic Buddhas, a ferocious deity on a hearth, a dakini, and an angry god also on the hearth. Ranged down the right side are the figures of Cosmic Buddha, wrathful deities on hearth, and dakini. The foreground has also wrathful deities on the hearth and offerings.

The black background makes this thangka very significant as this is highly mystical and esoteric, and suitable for advanced practice.

Select Bibliography

B. Meulenbeld, Buddhist Symbolism in Tibetan Thangkas: The Story of Siddhartha and Other Buddhas Interpreted in Modern Nepalese Painting, Holland, 2001

H.E. Krejger, Kathmandu Valley Painting: The Jucker Collection, London, 1999

Marylin M. Rhie & Robert A.F. Thurman, World of Transformation: Tibetan Art of Wisdom and Compassion, New York, 1999

R. Linrothe & Watt, Demonic Divine: Himalayan Art and Beyond, New York, 2004

Robert Beer, The Encyclopedia of Tibetan Symbols and Motifs, Boston, 1999

This description is by Dr. Shailendra K. Verma, whose Doctorate thesis is on "Emergence and Evolution of the Buddha Image (From its inception to 8th century A.D.).

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Unveiling the Divine Art: Journey into the Making of Thangkas

A Thangka is a traditional Tibetan Buddhist painting that usually depicts a Buddhist Deity (Buddha or Bodhisattva), a scene, or a mandala. These paintings are considered important paraphernalia in Buddhist rituals. They are used to teach the life of the Buddha, various lamas, and Bodhisattvas to the monastic students, and are also useful in visualizing the deity while meditating. One of the most important subjects of thangkas is the Bhavacakra (the wheel of life) which depicts the Art of Enlightenment. It is believed that Thangka paintings were developed over the centuries from the murals, of which only a few can be seen in the Ajanta caves in India and the Mogao caves in Gansu Province, Tibet. Thangkas are painted on cotton or silk applique and are usually small in size. The artist of these paintings is highly trained and has a proper understanding of Buddhist philosophy, knowledge, and background to create a realistic and bona fide painting.

The process of making a thangka begins with stitching a loosely woven cotton fabric onto a wooden frame. Traditionally, the canvas was prepared by coating it with gesso, chalk, and base pigment.

After this, the outline of the form of the deity is sketched with a pencil or charcoal onto the canvas using iconographic grids. The drawing process is followed in accordance with strict guidelines laid out in Buddhist scriptures. The systematic grid helps the artist to make a geometrical and professional painting. When the drawing of the figures is finalized and adjusted, it is then outlined with black ink.

Earlier, a special paint of different colors was made by mixing powdered forms of organic (vegetable) and mineral pigments in a water-soluble adhesive. Nowadays, artists use acrylic paints instead. The colors are now applied to the sketch using the wet and dry brush techniques. One of the characteristic features of a thangka is the use of vibrant colors such as red, blue, black, green, yellow, etc.

In the final step, pure gold is coated over some parts of the thangka to increase its beauty. Due to this beautification, thangkas are much more expensive and also stand out from other ordinary paintings.

Thangka paintings are generally kept unrolled when not on display on the wall. They also come with a frame, a silken cover in front, and a textile backing to protect the painting from getting damaged. Because Thangkas are delicate in nature, they are recommended to be kept in places with no excess moisture and where there is not much exposure to sunlight. This makes them last a long time without their colors fading away. Painting a thangka is an elaborate and complex process and requires excellent skills. A skilled artist can take up to 6 months to complete a detailed thangka painting. In earlier times, thangka painters were lamas that spent many years on Buddhist studies before they painted.