This handsome thangka depicts the saviouress goddess Green Tara in the center. She is surrounded with the group of twenty-one Taras. The large central image of Green Tara is seated in lalitasana on a beautiful lotus flower that sprang up in a lake. Her right leg is pendant on a smaller lotus. Her left leg is folded into her lap. Her right hand, gracefully held on her right knee, is in varada mudra of presenting boon and also holding a stem of a lotus flower by thumb and index finger. The left hand is in the attitude of protection with a lotus flower. She has a lovely young face and her body is slim and slender. Her hair is partly upswept in a knot with beautiful decoration on it and falls on her shoulders. She has two compassionate eyes and there is a circle between the eyebrows. Her lips are painted red. She is adorned with exquisitely designed gold ornaments five-lobbed crown, Hoop earrings, necklaces, armlets, bracelets and anklets. Moreover she is wearing a white blouse, flowing silk scarves and dhoti with leggings made of multicolored bands of silk. A red halo and yellow mandorla are behind her. The offerings to the five senses are beautifully depicted below the throne of central image of Green Tara.
The small images of twenty-one Taras surround the central image. These images of Taras are depicted in similar posture and gesture as in the case of central image, except the image, depicted in upper right corner. The complexions of small images of Taras differ from each other. All of them are holding lotus flower in left hands. Their right hands are in the gesture of vara. They are wearing beautiful costumes and ornaments crown, necklaces, earrings, armlets, bracelets, anklets; blouse, flowing scarves, and dhoti with leggings made of multicolored bands of silk. All of them are seated on lotus throne. The images depicted in the background and upper middle ground, are shown in clouds, while the images depicted in lower middle ground and foreground are depicted on a beautiful mountainous landscape with natural vegetation. There is an image of svayambhunath stupa in the foreground. All the images are brilliantly drawn and painted. The painting of twenty-one are considered as very auspicious and powerful thus the present thangka is very much suitable for sadhana and ritual practices.
A. Getty, The Gods of Northern Buddhism, Tokyo, 1962
Ben Meulenbeld, Buddhist Symbolism in Tibetan Thangka, Holland, 2001
B. Bhattacharyya, The Indian Buddhist Iconography, Calcutta, 1968
L. A Waddell, Buddhism and Lamaism of Tibet, Delh1979, (reprint)
Marylin M. Rhie & Robert A.F. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, Thames and Hudson, 1996
Stephen Beyer, The Cult of Tara: Magic and Ritual in Tibet, Berkely, 1973
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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