The Primeval Parent

Email

Whatsapp

Facebook

Pinterest

Twitter

Copy link

The thangka portrays a handsome image of Ardhanarishvara (Shiva and Parvati). The image is shown vertically divided into sections, the left showing female features pertaining to the iconography of Parvati, while the right section depicting male features relevant to the iconography of Shiva. The image thus represents the combine form of the male and the female principles, of Shiva and Parvati, and thus of the primordial parents – Parvati and Parameshvara. The opening verse of Raghuvamsam of Kalidasa gives a beautiful exposition of the concept of Ardhanarishvara in the following inimitable words - Vagarthavina sampriktau vagartha-pratipattaye, jagatah pitarau vande parvati-parameshvarau. Kalidasa's sublime concept of primeval parents of the world Parvati-Parameshvara, united closely and inseparably like words and their senses, brings to our mind the image of Ardhanarishvara.

Apart from Ardhanarishvara or Parvati-Parameshvara, there are several other terms frequently used to denote the combine form of Shiva and Parvati. The Vishnudharmottaram refers to this image-type as Gaurishvara and states that this type of image has its left part visualized as the consort of Shambhu or Shiva. It further states that this type of image embodies the concept of non-duality of Purush(male principle) and Prakriti(female principle). The text also furnishes information pertaining to the iconography of Ardhanarishvara. A chapter of Matsya-Purana provides a detailed direction for the construction of an image of Ardhanarishvara.

There are many legends about the appearance of Ardhanarishvara, according to one, as mentioned in the 45 chapter of Kalika-Purana, One, Gauri's form was reflected crystal-like breast of Shiva. The jealous wife mistook the reflection to be another and a more favored woman and a conjugal rupture ensued. When amiable relations were restored, the goddess expressed a desire to be so united with her lord as to leave no possibility of the recurrence of a feeling of separation. They accordingly, allowed their bodies to be half-fused into each other and thus were created united Ardhanarishvara.

In the present beautiful thangka the figure of Ardhanarishvara is shown standing perhaps on the Globe (Earth) as Primeval Parents. The background depicts sky, covered with clouds of different complexions. The right half of the head of the image has a snake and crescent moon in headdress. River Ganga is flowing from the coils of Shiva's matted hair. All the three eyes are beautifully drawn. The right half is wearing necklaces of snake Vasuki, and Rudraksha, while the left half, necklaces of gemstone. Moreover the right half is adorned with armlets, bracelets and anklets of Rudraksha and snake, tiger-skin skirt. The right hand is holding a trident, while the left hand is in blessing gesture. There are shaivite tilak mark on the forehead of the right half of the image. A swelling breast is shown on the left, while the right side is bright and level. The female half is wearing a scarf, beautiful dhoti with a covering and waistband. The two halves of the waist are similarly discriminated. The image is brilliantly drawn and painted.

Select Bibliography

Jitendra Nath Banerjea, The Development of Hindu Iconography, Delhi, 2002

T.A.Gopinatha Rao, Elements Of Hindu Iconography, Delhi, 1997

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.)".

Click Here to View the Thangka Painting along with its Brocade

Free Shipping. Delivered by to all international destinations within 3 to 5 days, fully insured.

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.