Paramasukha Chakrasamvara Yab Yum Mandala

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Item Code:	TM93
Specifications:	Tibetan Thangka Painting
Dimensions	Size of Painted Surface 21.0" X 28.0" Size with Brocade 32.0" X 42.0"

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The central of the Mandala depicts Paramasukha Chakrasamvara and Vajravarahi Father-Mother. Chakrasamvara has a very important place in Buddhist pantheon and he represents the Buddha's mind of compassion, while Vajravarahi, 'Adamantine Sow' symbolizes the nature of omniscient wisdom of a Buddha. In Meditations, the no-dual Chakrasamvara and Vajravarahi are visualized as generating from within the heart of the practitioner in a brilliant red aura of fire that signifies the flame of transcendent insight (maha jnanagni). His aureole is radiating agni. There are many legends about the origin of Chakrasamvara, according to one, the Buddha emanated the mandala palace and adopted this archetype deity form to teach the knowledge of tantra to Shiva and Parvati on the top of Mount Kailash. According to other, Shiva became the Buddhist deity Chakrasamvara and his teachings were brought to Tibet. It is also said that both Shiva and Chakrasamvara are supposed to dwell on Mount Kailash, a place of pilgrimage both for Hindus and Tibetan Buddhists

. There are several forms of Chakrasamvara; in the present painting he is depicted with four heads and twelve-armed. Textual descriptions describe Chakrasamvara as displaying the nine moods, among which his three physical moods are of majesty, heroism, and menace; his three verbal moods of laughter, wrath and ferocity; while his three mental moods are of compassion, attentiveness, and serenity.

His principal hands are in vajrahumkara-mudra, and holding his consort. His upper two hands grasp the flayed skin of an elephant. His remaining hands are in threatening gesture and boon-bestowing gesture, respectively. His twelve arms represent the overcoming of the twelve folded chain of causation (nidana) . In union with Chakrasamvara is female Buddha Vajravarahi, who is one-faced, with two hands and three eyes. Vajravarahi is visualized as an energetic, luminous female, naked, except for the bone apron she wear as a lower garment. Vajravarahi's legs are entwined around Chakrasamvara's waist, a position that indicates a specific lineage teaching of the Chakrasamvara meditative practices. Chakrasamvara stands in alidha posture of outstretched legs on solar disk on the prostrate figures. He is adorned with a gold crown with skulls, bone ornaments, silk flowing scarves and a tiger-skin skirt.

The figures are surrounded with eight Dakinis and auspicious symbols. The four corners also depict the figures of dakinis. The walls of the square are decorated with stylized design. There are four gates in the square in cardinal direction and in which live the protector deities. Over the gates are houses with decorations. The upper centre depicts dharma wheel flanked by two deer. Victory banner in a vase and a vase with jewel stand on each side of gate outside the wall. The area outside the square is filled with stylized design.

The square is surrounded by fire fence which is florally rendered here. Fire in Vajrayana means knowledge, and without knowledge (prajna) there is no possibility of arriving at supreme understanding. Moreover, here fire means that believers who enter the mandala are purified, as it were, and at their passage through the purging fire, their ego and all their illusions will burn away. Then there is a circle of lotus petals. Here the spiritual realm begins. Thereafter is the circle of skulls, symbolizing enlightenment's power to transform death into eternal life.

The upper centre depicts Chenrezig, in front of a shrine, seated in a courtyard with fantastic garden surrounded by a wall. Chenrezig or Avalokiteshvara is a Lord Who Gazes Down with compassion. He is one of the most popular deities of Buddhism, and the Bodhisattva of compassion. Chenrezig is the patron deity of Tibet. All the Dalai Lamas are considered manifestation of Avalokiteshvara. A Dragon and A Garuda are depicted each side of the shrine of Chenrezig shrine. Upper left corner is filled with the figure of Padmasambhava in clouds; he is seated on a throne and flanked by his two wives. Padmasambhava or Guru Rinpoche was a great Buddhist teacher of Tibet, and tantric master. Upper right corner depicts a preaching Buddha with two attendant disciples. He is seated on a lotus throne in clouds. The middle ground is filled with figures of stylized fame or Agni, lotuses, leaves etc. The lower middle ground portrays pointed high peaks, covered with snow, stupas, charnel ground with siddhas and trees.

Lower left corner depicts Dharmaraja Yama, a protector of Buddhism and the lord of Death. The bottom centre depicts Simhavaktra; Lion headed Dakini, who is dancing on a solar disk on a lotus, in the centre of a lake. Dakinis are esoteric female sky-goers that appear to esoteric parishioners to teach, inspire, assist, and admonish. Among the dakinis Simhavaktra is considered a most powerful. Charnel ground and wrathful offerings. The bottom right corner is filled with the figure of six-armed Mahakala, who is dancing on prostrate human figures on a solar disk. Mahakala is the wrathful manifestation of Avalokiteshvara. He removes obstacles, grant power and knowledge and fulfill wishes.

Select Bibliography

A. Getty, The Gods of Northern Buddhism, Tokyo, 1962

Ben Meulenbeld, Buddhist Symbolism in Tibetan Thangka, Holland, 2001

J.C. Huntington and D. Bangdel, The Circle of Bliss: Buddhist Meditational Art, Ohio, 2004

Lokesh Chandra, Transcendental Art of Tibet, Delhi, 1996

L. A Waddell, Buddhism and Lamaism of Tibet, Delh1979, (reprint)

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.

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