T1 he tradition of Thangka painting was just outset in Tibet and now is not confined only within Tibet and Tibetan community but those who adopted the Tibetan Buddhism learnt this art so as Tamangs, Sherpas, Thakalis, Yolmos Manangeys and Newars are the instances.
Most of the Thangka viewer simply think that Thangka is an art of the Buddhist monk otherelse nothing but, the Buddhist scholar of higher intellectuality revere it with entire homage considering mystic power of Lamaistic dieties. In accordance with the religious culture, the Thangka to be kept at the worship room sanctfies with holy water muttering mantras to enliven Thangkas mistice power and puts khada (a -,wo feet long silk cloth) on it. Since then the devotee use to bow his/her head before it at the time of worship specially in the morning time.
Almost people never consider the Thangka as an object of decoration. By worship of Tara (Dolma) goddess results lucrative for the business and as well as the (wrathful diety) Dharmapala protect from the hazardous, calamity, subduing enemies, averting accident and fulfilling ones desire in believed with empty heart.
In conclusion, the 14th Dalai Lama has been preaching about Kalachakra over the world for a decade and the importance, significance and the utility of it has been described well in this book. So, those who are interested to come to know about Kalachakra will help to some extent through this book.
Tibetan Thangka painting is famous and popular worldwide for the last some years. At the present more than 200 Thangka Shops are now in existence at the tourist hub around Thamel, Basantapur, Bhaktapur,Patan, Bouddha and Pokhara Lakeside.
Among the Thangka manufacturers, Tamangs are the dominant in number. The masterpieces displayed at the shop probably most of the Thangka buyers think it a production of Tibetan artist but, Tamangs are expert hand in production such a masterpieces where as Tamangs are involved in this profession since time immemorial.
The description about the Thangka mentioned within this book is not the self composition but the transcription of the different text of the Lamaism and the extraction of some books and magazines.
I am very much grateful to Lucky Thangka, Thamel who provided me some rare photoes for this book and some other Thangka shops who helped me to take photos from their Thangkas as I required.
I, from the side of compiler anticipate the positive responses by the readers pointing out drawbacks for the proper updating in the future publication.
**Contents and Sample Pages**
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