Tibetan Thangka Paintings
The history of thangka Paintings in Nepal began in 11th century A.D. when Buddhists and Hindus began to make illustration of the deities and natural scenes. Thangka painting is one of the major sciences out the five major and five minor fields of knowledge. It's origin can be traced all the way back to the time of Lord Buddha. The main themes of Thangka paintings are religious. During the reign of Dharma King Trisong, Duetsen the Tibetan masters refined there already well developed arts through research and studies of different country's tradition. Thanka painting's lining and measurement, costumes, implementations and ornaments are all based on Indian style. The drawing of figures are based on Nepalese style and the background sceneries are based on Chinese style. Thus, the Thangka paintings became a unique and distinctive art. The original Thangka's were easily rolled up and carried by monks. The teachings of the buddha were illustrated on the thangka and this is how the teachings were transmitted.
Since the military occupation of Tibet by Communist China fifty years ago, many aspects of Tibetan culture have been threatened. Among them is the centuries-old tradition of thangka painting. Since the genocide many Tibetans have relocated to Dharmasala, India where there leader in exile resides. I was fortunate enough to study under Master Lobsang Namgyal during my stay there.
The White Tara is always seated in the diamond lotus position, with the soles of her feet pointed upward. Her posture is one of grace and calm. Her right hand makes the boon-granting gesture and her left hand is in the protective mudra. In her left hand, the White Tara holds an elaborate lotus flower that contains three blooms. The first is in seed and represents the past Buddha Kashyapa; the second is in full bloom and symbolizes the present Buddha Shakyamuni; the third is ready to bloom and signifies the future Buddha Maitreya. These three blooms symbolize that Tara is the essence of the three Buddhas.
White Tara is often referred to as the Mother of all the Buddhas. She represents the motherly aspect of compassion. Her white colour indicates purity, but also indicates that she is Truth, complete and undifferentiated. In religious practice, White Tara is believed to help her followers overcome obstacles, espeically those that inhibit the practice of religion. She is also associated with longevity.
She has seven eyes: the two usual eyes, plus an eye in the centre of her forehead and eyes in each of her hands and feet. These indicate that she sees all suffering and all cries for help in the human world using both ordinary and psychic or extraordinary means of perception. They thus symbolize the vigil.
The Green Tara is Tara's most dynamic manifestation. Her color symbolizes youthful vigor and activity.
The Buddhist Lord of karma (action), Amoghasiddhi,
is also associated with the green color,
thus signifying that they belong to the same family.
This is a further affirmation of the perception that Green Tara is a goddess of action.
She is often depicted in a posture of ease with right leg extended, signifying her readiness to spring into action. The left leg is folded in the contemplative position on the lotus pedestal, the two together thus symbolizing the integration of wisdom and art. Her left hand, in the gesture of granting refuge holds the stem of a blue lotus that floats over her left shoulder as a symbol of purity and power. With her right hand she makes the boon-granting gesture.
The followers of Green Tara believe that her special powers will help overcome dangers, fears, and anxieties, and that she will grant wishes. She is also believed to help one cross over from danger to safety or from suffering to happiness. Her femininity imbues her with soft and compassionate feelings, and she acts very quickly and directly as a savioress. Representing active compassion, she is particularly worshipped for her ability to overcome the most difficult situations.
The Blue Buddha. The central figure of this lovely painting is Bhaishajyaguru, the medicine Buddha. There are usually considered to be eight brother Medicine Buddhas, one of whom is Shakyamuni Buddha, who transformed himself into a blue Buddha, sending out healing rays of light.
He wears the monastic robe, and is seated with the legs crossed as he sits on a moon disk on lotus petals. His left hand, lying in his lap in 'meditation' mudra, holds a bowl containing medicine nuts, while the right, hand in 'charity' mudra, holds the branch of the myrobalan, a medicinal plant found in India and other tropical countries.
For newcomers to Buddhism, Vajrapani does not look very Buddhist at all. He is a Bodhisattva who represents the energy of the enlightened mind, and his mantra also symbolizes that quality. Vajrapani is pictured dancing wildly within a halo of flames, which represents transformation.
He holds a vajra (thunderbolt) in his right hand, which emphasizes the power to cut through the darkness of delusion. Vajrapani looks wrathful, but as a representation of the enlightened mind, he’s completely free from hatred.
The painting above has just been started and will be highlighted during the next update.