Six-Armed Winged Vajrakumara (Vajrakila) in Yab Yum

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Here deep blue complexioned Vajrakila is shown in terrific union with his consort (wisdom or Prajna). He is dancing ecstatically and closely embracing his consort. Together they represent the union of wisdom (female) and artful method (male), which is compassion's action. The expression of both the deities are extremely terrifying. They stand on prostrate figures, one male and one female, symbolizing their triumph over delusion. Vajrakila has three heads, six-arms and four legs. He is embracing his consort with his two principal hands, and also holding a triangular dagger (kila)or (phurpa), in the same manner as when single. His remaining two right hands are holding vajra, while his upper left hand is in threatening gesture and the lower left hand holds trident-tipped khatvanga staff. His all three heads wear crown of skulls with jewels. His hair is upswept in loose, however center portion of his hair is tied in loose knot with the decoration of half vajra and serpent. There is flying Garuda with a snake on the top of his hair. Moreover he is adorned with a long garland of severed human heads, elephant skin cloak, human skin, tiger-skin skirt and exquisitely designed gold ornaments – hoop earrings, armlets, bracelets and anklets.

His Consort (Prajna) is closely embracing him. Her right hand is around his neck and She lifts a skull bowl in her left hand, offering sips of its elixir to her lord. Her right leg is extended along his, while the left is wrapped around his waist. She is also adorned with a crown of skulls with jewels, a long garland of human skulls, a leopard-skin skirt and gold ornaments. There is protective fire aureole with clouds behind the back of Vajrakila. Adi-Buddha Samantabhadra Father-Mother is seated on the top in clouds with rainbow streams. Two flying eagles with snakes are depicted below the upper corners. The middle ground shows plain mountainous landscape, while the foreground depicts, stylized trees, peaceful and wrathful offerings, and a beautiful lake. The dark setting of the painting is particulalry effective in creating a serious mood; hence it is very much suitable for esoteric practices and rituals.

The special genre of the black thangkas, the potent, highly mystical paintings portraying shimmering, brilliant forms appearing out of translucent darkness, came to full fruition in the second half of the 17th century in the central regions of Tibet. Such thangkas form a special category of contemplative paintings. They are of a highly esoteric type, usually reserved for advanced practice. Black is the color of hate, transmuted by the alchemy of wisdom into compassion. The dark also connotes death, which enlightenment converts into the Body of Truth. It is used here for conquest not by annihilation, but by turning evil into good.

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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.