Shakyamuni On a Dragon Throne with His two Chief Disciples

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The large figure of Shakyamuni dominates the scene. He sits cross-legged, making the bhumisparsha mudra and holding a monk's bowl. Literally, bhumisparsha translates into 'touching the earth'. This gesture symbolizes the Buddha's enlightenment under the bodhi tree, when he summoned the earth goddess, Sthavara, to bear witness to his attainment of enlightenment. The right hand, placed upon the right knee in earth-pressing mudra, and complemented by the left hand-which is held flat in the lap in the dhyana mudra of meditation, symbolizes the union of method and wisdom, samasara and nirvana, and also the realizations of the conventional and ultimate truths.

He is seated on a moon disc placed above a multicolored lotus. His throne is awesomely framed by dragons.

Having gained enlightenment, Gautama came to be called Shakyamuni, or the silent lion, indicating the explosive potential he carried within himself. He first went up to Sarnath near Varanasi where the unearthly glow from his body attracted five disciples to him.

Amongst these five followers was one named Assaji. Once when Assaji was begging for alms, he encountered an inquisitive gentleman named Shariputra, who was then a follower of Sanjaya Belatthiputta, a renowned skeptic sage of the times. Shariputra, along with his fast friend Maudgalyayana were Sanjaya's fervent and most important disciples. Of late however, they had both started experiencing disillusionment and felt dissatisfied by their master's nihilistic philosophy. Now in this state of mind, Assaji's noble mien and air of self possession so impressed Shariputra that he asked him who his teacher was and what doctrine he taught. Assaji answered him only briefly but it was enough to convince Shariputra. He immediately bounded over to Maudgalyayana and related to him what had happened. Maudgalyayana was able to perceive the greatness of Buddha's teachings and he and Shariputra thereupon resolved to become followers of Shakyamuni. They also brought over Sanjaya's complete entourage of two-hundred-and-fifty disciples to Buddha's monastic order, thus leading to the formation of the Sangha.

The two disciples here, though small in size, are drawn with charm and verve. Each holds a monk's staff and alms bowl. Each of them in his turn, stands upon a lotus base, signifying their exalted status as the two most important disciples of the Buddha.

The peaceful offerings of five senses are depicted on an altar table in front of the Sakyamuni. These five offerings of sensory enjoyment represent the most beautiful objects which attract the five senses – sight, sound, smell, taste and touch. These offerings invariably take the form of – a mirror for sight, cymbals for sound, an incense-laden conch shell for smell, fruit for taste and a silk scarf for touch.

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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.