Buddha Shaves His Hair

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He thought, "These locks of mine are not suited to a monk; but there is no one to cut the hair of a future Buddha. Therefore I will cut them off myself with my sword." And grasping a scimitar with his right hand, he seized his top-knot with his left hand, and cut it off, together with his jewelled turban. His hair thus became two finger-breadths in length, and curling to the right, lay close to his head. As long as he lived it remained of that length.

Seizing hold of his top-knot and diadem, he threw them into the air, saying: "If I am to become a Buddha, let them stay in the sky; but if not, let them fall to the ground."

The top-knot and the turban rose into the air for a distance of one league before Vasava (corresponding to the Indra), the chief of gods, perceiving them with his divine eyes, received them in an appropriate jewelled casket, and established them in heaven.

"His hair he cut, so sweet with many pleasant scents,
This Chief of men, and high impelled it towards the sky;
And there god Vasava, the god with a thousand eyes,
In golden casket caught it, bowing low his head."

Also represented in this painting are various episodes from Buddha's life. At the right most corner can be seen the temptation of Buddha by Mara. At the bottom left corner is the episode from Buddha's life when while wandering in his search for Truth, he was offered a nourishing bowl of milk by the daughter of a herdsman,

This thangka was made in Nepal.

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This description by Nitin Kumar, Executive Editor, Exotic India.

References:

Beer, Robert. The Encyclopedia of Tibetan Symbols and Motifs. Boston: Shambhala Publications, 1999.

Getty, Alice. The Gods of Northern Buddhism. New Delhi: Munshiram Manoharlal, 1978.

Lipton, Barbara, and Ragnubs, Nima Dorjee. Treasures of Tibetan Art: Collection of the Jacques Marchais Museum of Tibetan Art. New York: Oxford University Press, 1996.

Pal, Pratapaditya. Art of Tibet. Los Angeles: The Los Angeles County Museum of Art, 1990.

Rhie, Marylin M. & Thurman, Robert A.F. Wisdom and Compassion: The Sacred Art of Tibet. London: Thames and Hudson, 1996.

Of Related Interest:

Mudras of the Great Buddha: Symbolic Gestures and Postures (Article)

Buddha in the Varada Mudra (Sterling Silver Box Pendant)

Gautam Buddha (Handcrafted Sterling Silver Finger-Ring)

Buddha Seated on The Six-Ornament Throne of Enlightenment (Tibetan Thangka Painting)

The Temptation Of Buddha (Batik Painting)

Buddha (Silk Painting)

Transcendent Buddha (Kalamkari Painting)

Buddha Shakyamuni (Copper Sculpture gilted with 24 Karat Gold)

Buddha, the Universal Teacher (Brass Statue)

Emaciated Buddha (Grey Stone Sculpture)

Meditating Buddha (Wood Sculpture)

Four Headed Buddha Bust (Green Stone)

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.