Mandala to Conquer the Negative Influences in Our Lives

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Here the mandala is a series of concentric circles. In the outermost circle one finds a ring of fire, depicted here as a stylized scrollwork. This symbolizes the process of transformation which ordinary human beings have to undergo before entering the sacred territory within.

Next is depicted the eight cremation grounds arranged in a wide band. These represent the eight aggregates of human consciousness which tie man to the phenomenal world and to the cycle of birth and rebirth.

The next circle is made up of lotus petals, a symbol of purity and auspiciousness.

Finally there is a square structure housed concentrically inside these circles. Its perfect square shape indicates that the absolute space of wisdom is without aberration. This square form defines the architecture of the mandala described as a four-sided palace or temple. A palace because it is the residence of the presiding deity of the mandala, a temple because it contains the essence of the Buddha.

Finally entering the heart of the mandala we encounter the deity residing therein. Here we behold not one, but two deities, a male and a female, wrathful in appearance, and locked in a sexual embrace. Wrathful deities signify and embody all the inner afflictions which darken our thoughts, our words, and our deeds and which prohibit attainment of the Buddhist goal of full enlightenment. Traditionally, wrathful deities are understood to be aspects of benevolent principles, fearful only to those who perceive them as alien forces. When recognized as aspects of one's self and tamed by spiritual practice, they assume a purely benevolent guise. By meditating on these deities as concrete realizations of our own innermost thoughts, the practitioner can ultimately conquer these negative influences, and strive towards a radiating, positive existence.

The sexual imagery of course suggests the integrative process which lies at the heart of the mandala. Male and female elements are nothing but symbols of the countless pairs of opposites (e.g. love and hate; good and evil etc.) which one experiences in mundane existence. The initiate seeks to curtail his or her alienation, by accepting and enjoying all things as a seamless, interconnected field of experience. Sexual imagery can also be understood as a metaphor for enlightenment, with its qualities of satisfaction, bliss, unity and completion.

Each of our thangkas comes framed in silk brocade and veil, ready to be hung in your altar.

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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.