Esoteric Mandala of Shakyamuni with Mandalas of Dhyani Buddhas

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Shakyamuni is draped in monastic garments, covering both the shoulders with bare breast. The Buddha is surrounded with eight lotus petals which perhaps signify his teachings noble eight-fold path. There are two circles inside and outside of these petals. There is a square, outside the circle, divided into four triangles and the square has four gateways. Lotus flowers and leaves are beautifully depicted around the gateways and corners outside the building.

The center of upper left mandala portrays the figure of Akshobhya Buddha who is seated in vajraparyankasana on a lotus throne. His right hand is in earth-touching gesture and the left hand is in meditation position and holds a mendicant bowl. Akshobhya is the lord of vajra clan and occupies the eastern direction in many popular tantras. He originates from the blue syllable Hum which is placed on the orb of the sun. He represents the primordial cosmic element vijnana (consciousness). He is popular in Nepal, Tibet and China.

The upper right corner depicts the mandala of Buddha Ratnasambhava who is seated on lotus throne in the center of the square. His right hand is in varada-mudra, while the left hand, held in meditation position is holding an alms bowl. He is third Dhyani-Buddha. He represents the cosmic element of vedana (sensation). He is associated with the southern direction and with the addiction of pride and avarice, which he helps the practitioner to transform wisdom of equanimity. His color is yellow and his clan is the jewel.

The bottom left is the mandala of Vairochana Buddha. Like the other Dhyani Buddhas he is seated in vajraparyankasana on a lotus throne. His both the hands are in preaching gesture. He is regarded as the oldest and the first Dhyani Buddha and his place is in the sanctum of the stupa where he is the master of the whole temple and its contents. His colour is white. He represents the cosmic element of rupa (form). Vairochana is the embodiment of the Tathagata family and is established as an embodiment of adarsha (ideal) knowledge. The bottom right is the mandala of Buddha Amoghasiddhi, who is seated in adamantine posture in the centre of the square. His complexion is green. His right hand is in abhaya-mudra, a pose of the hand indicating protection. His left hand, held near the chest, should carry a double-vajra, here it is missing. Amoghasiddhi represents the cosmic element of samskara (conformation). He has the power of infallible magic. He is the embodiment of the rainy season.

Above the central mandala a blessing Buddha is seated on a lotus throne in clouds and above him is the Dhyani Buddha Amitabha, god of infinite light. He is also seated on lotus throne in clouds. He is the lord of the western paradise called sukhavati, also known as lord of bliss or pureland. Below the central mandala is another figure of Akshobhya Buddha and below him Shadakshari Lokeshvara is seated on a lotus throne. The bottom center is filled with auspicious offerings. The painting is suitable for sadhana and practices.

Select Bibliography

Alice Getty, The Gods of Northern Buddhism, Tokyo, 1962

B. Bhattacharyya, Indian Buddhist Iconography, Calcutta, 1968

D. L. Snellgrove (Ed.), The Image of the Buddha, Delhi, 1979

Ben Meulenbeld, Buddhist Symbolism in Tibetan Thangkas, Holland, 2001

Lokesh Chandra, Transcendental Art of Tibet, Delhi, 1996

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.