Paradise of Chenrezig

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Shadakshari Lokeshvara embodies his six-syllable mantra, OM MANI PADME HUM. While there are many interpretations of the mantra, one of the most important is that the sacred syllables invoke the Buddhas of the six realms, who are manifestations of Avalokiteshvara as he appears to the beings there to alleviate their suffering. The six realms, or forms, of rebirths are hell-beings, hungry ghosts, animals, human, demigods, and gods. Tibetans and many others who do practices by repeatedly intoning the mantra, centering upon Shadakshari Lokeshvara, invoke the presence of a Buddha for the benefit of beings in each of those realms, as well as for increasing their own compassion. This form of Avalokiteshvara is extremely popular in Tibet, and the Dalai Lama is regarded as his emanation. Avalokiteshvara is the spiritual offspring of Amitabha Buddha. Tibetans call him Chenrezig, meaning "to look with a merciful eye." He is also the patron deity of Tibet. According to tradition Avalokiteshvara appeared on earth in two ways – coming into existence from ray of white light from the left eye of Amitabha, and being born as a young man of sixteen from a lotus bud. There are 108 forms of Bodhisattva Avalokiteshvara, each with his own mantra.

The painting depicts here the Bodhisattva seated in vajraparyankasana on a lotus throne against a brilliant aureole in his paradise in a courtyard with palatial structure and walls behind. The palace is in golden colour including the trees behind. Within the courtyard are perhaps his companion Manidhara and Shadakshari Mahavidya who are seated each side of Chenrezig on lotus seat. Two monks are also seated within the courtyard near the staircase with folded hand, one on the left side holding mount Meru offering. Outside the courtyard are attendant deities, each side of the central deity, holding flag, parasol and banner. There is a pool of water surrounded by a wall in which is a lotus flower containing auspicious peaceful offerings. The foreground depicts mountainous landscape with jewels and Dharmachakra at the centre, natural vegetation, lakes and rock formations.

The complexion of Chenrezig is white which emits rays of light, for he is untouched by any imperfection. He has a smiling countenance, as he is filled with compassion for all beings. His two eyes look down with tranquility, as he feels equal compassion for all. His two main hands with palm together hold chintamani, a wish fulfilling gem. The folded hand gesture of the Bodhisattva symbolizes the unity of Wisdom and Method. His right hand holds a rosary a sign that he draws forth beings from phenomenal existence. His left hand holds a lotus-flower – assign that he serves living beings but is free from attachment. His hair is partly upswept in knots with decoration on it and partly falls on his shoulders. He is adorned with five-leaved crown with jewels and jeweled ornaments, as a sign that while pure he has not abandoned pleasant things. He wears finely crafted hoop earrings, necklaces, armlets, bracelets and anklets; silk scarves and dhoti. An antelope skin is over his left shoulder which indicates his compassion for all human beings.

A simply organized painting, it is neatly patterned and softly and harmoniously coloured in yellow gold, green and red. It is perhaps a rare example of Chenrezig's Pure Land, which is not commonly seen. The extended brocade of the painting depicts auspicious Ashtamangala symbols, Dharmachakra and Endless Knot. The painting is very much suitable for sadhana and practices.

This description is by Dr. Shailendra K. Verma, whose Doctorate thesis is on "Emergence and Evolution of the Buddha Image (From its inception to 8th century A.D.)".

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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.