Goddess Saraswati Thangkas

As regards her status in the Vedas, Saraswati has priority over Mahadevi and Mahalakshmi – other two deities of the Puranic Trio manifesting Divine Female. Saraswati apart, the two deities of the Rig-Vedic Trio were Ila and Bharti, not Mahadevi and Mahalakshmi. Both, Ila and Bharti merged into the all-pervading personality of Saraswati during the later Vedic period – substantially in Brahmans. Though Vishwadevah is the primary object of the prayers that the Rig-Vedic richas – usually four-line verses offer, at least eighty of these richas laud and pray Saraswati. Saraswati, along with Illa and Bharti, is one of the twelve components of Vishwadevah. These collective richas apart, three of the suktas – conceptual hymns, are also devoted to Saraswati, which elevates her to the status of a sukta-bhak deity – a deity of higher order with a distinct and independent identity, one that is the subject of conceptual verses.

The role of the goddess as one who fulfills wishes has remained one of enduring strength and consequence. In the ancient collection of sacred hymns known as the Veda, this aspect of the goddess already becomes manifest. The two most shining examples in this context are The Great Goddesses Lakshmi and Saraswati. Overall, the goddesses Lakshmi and Saraswati are highly revered in Hindu mythology and are seen as the embodiments of wealth, prosperity, knowledge, and the arts. Their representation in art and iconography serves as a reminder of the importance of achieving a balance between material and spiritual wealth.

The Thangkas developed their ethnic characteristics and features from the early Buddhist paintings which were mostly done on the walls of temples and monasteries. Many of the murals had Tibetan inscriptions and incorporated many elements from Han Chinese paintings and some elements reflecting Indian styles. These emphasized more on the landscape background. Some traditional Buddhist paintings survive even today in a few sites such as the Ajanta Caves in India and the Mogao Caves in China. It is from this time that Thangka paintings were developed from the tradition of Tibetan Buddhist wall paintings.

A Thangka, diversely referred to as Thangka, Tangka, Thanka, or Tanka, is a Tibetan Buddhist painting on cotton, silk appliqué, usually depicting a Buddhist deity, scene, or mandala. Thangka is also known as scroll painting. Roughly translating to “recorded message” in Tibetan, it is an ancient form of Buddhist art that originated within Tibet around the 11th century. These are densely illustrative, and painstakingly detailed, and serve as a striking centrepiece that can be appreciated by all admirers of Asian art. Buddhist thangka paintings are visually captivating and impressive — but there is more to them than meets the eye. Thangkas often focus on a specific deity and scene, and their form and surrounding details are often rich with symbolism, turning them into a medium for religious storytelling. Because of this, extracting all the intricacies and meanings from the paintings requires training. Tibetan thangkas were originally created for the purpose of helping the viewer or Buddhist practitioner on his journey to enlightenment. A thangka\'s characteristics like organization and juxtaposition of figures, repetition of figures, and size contribute to the storytelling of the painting.