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Mandala of the Deity with a ‘Merciful Eye’

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Item Code:	TR87
Specifications:	Tibetan Thangka Painting
Dimensions	Size of Painted Surface 14.0 inches X 19.5 inches Size with Brocade 24.5 inches X 34.0 inches

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The painting portrays a red mandala of Sahasrabhuja (thousand-armed) Avalokiteshvara who is standing in the centre of the mandala on a lotus. Avalokiteshvara is one of the most popular deities of Mahayana Buddhism. He is the Bodhisattva of compassion and the manifestation of compassion of all Buddhas. He is the patron deity of Tibet. Tibetans call him Chenrezig, meaning "to look with a merciful eye". All the Dalai Lamas, Kings and Gesar of Ling are considered as incarnation of Avalokiteshvara. Here Avalokiteshvara has been depicted with eleven heads and thousand arms. In this manifestation Avalokiteshvara is Samantamukha or the "All-sided one" – the god who looks every direction to save all creature. The thousand hands have been formed an aura behind him, while the principal hands are held in front of the heart, holding wish-granting gem, which stands for the spirit of enlightenment that consists of love and wisdom. Only the first eight hands have particular symbols or gesture; the other 992 being all in varada-mudra, the gesture of presenting boon. The eleven heads of Avalokiteshvara are arranged in five series from below upwards of 3,3,3,1 and 1. The topmost head is that of Amitabha Buddha, the spiritual father of Avalokiteshvara. The eleven heads symbolize the 'synthesis of space' – the four directions, the four intermediate points, the centre, zenith and nadir. The wrathful head, below the head of Amitabha, symbolizes dominant action.

Outside the centre circle there is another larger concentric circle which is divided into eight lotus petals, each containing one of the eight auspicious symbols of Buddhism (Ashtamangala). Outside this is a square with four gateways, one in each cardinal direction. This central part of the Mandala rests on a crossed vajra. Then there is a circle of lotus petals following which finally is a protective ring of flames.

Located at the top and bottom of the Mandala are the five Dhyani Buddhas.

This artwork is a particular example of the special type of paintings known as red thangkas. A style requiring high technical virtuosity, all elements making up these painting are subsumed in the overall red field characteristic to this unique genre. Red is the color of powerful rituals and deeds. It is the color of passion, transmuted to discriminating wisdom. Such artworks are especially relevant in especially vigorous meditation rituals requiring equally potent meditative tools.

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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.

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