Buddhist Hand Painted Thangka of Amitayus, Real Gold, Long Life Thangka, Lamas Art, with Healers White Tara and Namgyalma

White Tara: White Tara is associated with long life, healing, and protection. By praying to White Tara, one can seek her blessings to overcome obstacles, improve health, and experience physical and mental well-being. Her compassionate nature and ability to alleviate suffering make her an ideal deity to invoke for long life and the removal of obstacles on the spiritual path.

Amitayus (Aparmita or Amitabha): Amitayus is revered as the deity of longevity and is associated with the practice of extending one's lifespan. By praying to Amitayus, individuals seek his blessings to increase their life force, enhance vitality, and counteract illnesses and afflictions. Amitayus is believed to bestow blessings that support a long and healthy life, enabling practitioners to continue their spiritual journey.

Ushnishavijaya (Namgyalma or Ushnisha Vijaya): Ushnishavijaya is associated with longevity, purification, and the removal of negative karma. Praying to Ushnishavijaya is believed to purify negative actions, speech, and thoughts, thus helping to eliminate obstacles and negative karma that can shorten one's life. By engaging in her practice, individuals seek protection from premature death and the ability to live a meaningful and virtuous life.

Videos of Applying Gold in the Thangka

These sacred paintings serve as objects of contemplation, inspiration, and instruction, guiding practitioners on their spiritual path. Thangkas provide a visual gateway to the world of Tibetan Buddhism, encapsulating its rich symbolism, iconography, and spiritual concepts. With their vibrant colors, intricate patterns, and skillful craftsmanship, thangkas offer a profound visual medium for deepening one's understanding and connection to the teachings of Buddhism.

Thangkas come in various sizes, ranging from small pieces resembling Western half-length portraits to grand-scale creations spanning several meters in each dimension. While the larger thangkas are intended for temporary display during religious festivals, the majority of these artworks are designed for personal meditation or as educational aids for monastic students. The compositions of thangkas are meticulously crafted, featuring intricate details and often incorporating numerous small figures. A central deity or focal point is typically surrounded by a symmetrical arrangement of other divine beings, symbols, or narrative elements that convey profound spiritual teachings.

How is Thangka made

First, the canvas on which the painting is to be executed is laid on a wooden frame to determine the required dimensions. This canvas is an extremely finely woven cotton material, referred to in the Holy Scriptures as "Çura Canvas".

Then the canvas is cut, hemmed and, with the use of sturdy strings, very tightly mounted in the wooden frame. Painting is carried out with the frame in an upright position, without any further rigid support or backing.

In this studio, our primary artist, who works virtually exclusively for us, applies the undercoat consisting of a mixture of chalk and glue to the canvas by hand. Other Thangka workshops have turned to mainly using industrially pre-primed canvas.

This photo shows how the canvas, after receiving its base coat followed by a second coating of bone glue, is polished and smoothed by hand with a stone to attain a perfectly smooth, featureless painting surface. Through this process the canvas becomes quite rigid, thereby providing perfect conditions to evoke very finest artistic detail and over-all superior painting quality.

Using a different Thangka, we see how, after mounting, the complete basic pattern of the respective theme is applied to the canvas.

The following picture shows the steps in creating a gold-based Thangka, such as our No PH 9, the "Holy Mount Kailash". To achieve more intensive colour, yet another prime coat, in ochre, is applied, followed by a coat of pure gold. The so-called Thangka painting gold is traditionally produced by members of the Newar people in Nepal. 24-karat gold is ground to finest powder and mixed with bone glue and water in proportions suitable for direct use in painting. Thus, the Thangka gold is not gold leaf at all! Silver can be processed and used in the same way: Mount Kailash and the surrounding peaks in our completed Thangka were not painted with white paint, rather with precious silver.

Here, the nearly completed piece has been removed from the wooden frame. Now only the very finest finishing touches remain to be added, such as compacting the gold and giving Mount Kailash its silver mantle.

K. Lama regarded his already half-finished thangka proudly

The Mount Kailash Thangka, including the black margin (which can also facilitate the fastening of a traditional brocade frame), is now complete. Only the background gold must be compacted in the places where it is later intended to exhibit a sheen.

Here we see an old ballpoint pen casing into which a specially cut agate has been fitted. The back of this semi-precious stone is slightly concave and can be used to compact gold over extensive areas of the Thangka, while the blunt point is used to lineally compact gold, thus creating a shiny effect.

In this way, through partial compaction of the gold or refraining from compaction, nearly three-dimensional effects can be achieved. The glorious sheen of gold artistically treated in this way richly rewards the beholder or meditator with a Thangka possessed of an extraordinarily aesthetic aura.

Thangka Making Video

Iconography
The khatvanga, a danda with three severed heads denoting the three kayas (the three bodies of a Buddha: the dharmakaya, sambhogakaya, and nirmanakaya), crowned by a trishula and dressed with a sash of the Himalayan Rainbow or Five Pure Lights of the Mahabhuta is a particular divine attribute of Padmasambhava and intrinsic to his iconographic representation.
His two eyes are wide open in a piercing gaze. On his body he wears a white vajra undergarment and, on top of this, in layers, a red robe, a dark blue mantrayana tunic, a red monastic shawl decorated with a golden flower pattern, and a maroon cloak of silk brocade. He has one face and two hands.
In his right hand, he holds a five-pronged vajra at his heart; and in his left, which rests in the gesture of equanimity, he holds a skull-cup in the centre of which is a vase of longevity filled with the nectar of deathless wisdom. Cradled in his left arm is a three-pointed khatvanga representing the consort Mandarava. On his head, he wears a five-petalled lotus hat. Wrathful and smiling, he blazes magnificently with the splendour of the major and minor marks. He is seated with his two feet in the royal posture.

Life Story
According to tradition, Padmasambhava was incarnated as an eight-year-old child appearing in a lotus blossom floating in Lake Dhanakosha, in the kingdom of Oḍḍiyāna, traditionally identified with the Swat Valley of South Asia in present-day Pakistan. His special nature was recognized by the childless local king of Oḍḍiyāna and was chosen to take over the kingdom but he left Oḍḍiyāna for Northern parts of India. In Rewalsar, known as Tso Pema in Tibetan, he secretly taught tantric teachings to Mandarava who was the local king's daughter. The king found out and tried to burn him but it is believed when the smoke cleared he was intact and in meditation. The king offered Padmasambhava his kingdom and Mandarava. He left with Mandarava and later in Maratika cave in Nepal, after practicing secret tantric consort rituals, Amitayus appeared and they both achieved immortal bodies in the form of the living rainbow body of the Great Transference which is completely different and much rarer than a dead body dissolving into light or the more usual rainbow body of a living yet mortal human as sometimes still achieved by Dzogchen practitioners of Padmasambhava's terma. So both Padmasambhava and Mandarava are still believed to be alive and active in Phowa Chenpo form by their followers. She and Padmasambhava's other main consort, Yeshe Tsogyal who was responsible for hiding his numerous terma later in Tibet became fully enlightened. Many thangkas and paintings show Padmasambhava in between them.

His fame became known to Trisong Detsen, the 38th king of the Yarlung dynasty, and the first Emperor of Tibet (742–797), whose kingdom was beset by evil mountain deities. The king invited Padmasambhava to Tibet where he used his tantric powers to subdue the evil deities he encountered along the way, eventually receiving the Emperor's wife, identified with the dakini Yeshe Tsogyal, as a consort. This was in accordance with the tantric principle of not eliminating negative forces but redirecting them to fuel the journey toward spiritual awakening. In Tibet he founded the first monastery in the country, Samye Gompa, initiated the first monks, and introduced the people to the practice of Tantric Buddhism.

Padmasambhava had five major female tantric companions, the so-called 'Five Wisdom Dakinis' (Wylie: Ye-shes mKha-'gro lnga) or 'Five Consorts.' In Padmasambhava's biography - they are described as the five women "who had access to the master's heart", and practiced tantric rites which are considered to have exorcised the previous demons of Tibet and converted them into protectors of the country.' They were: Mandarava of Zahor - the emanation of Vajravarahi's Body; Belwong Kalasiddhi of (North-West) India - the emanation of Vajravarahi's Quality, Belmo Sakya Devi of Nepal; the emanation of Vajravarahi's Mind, Yeshe Tsogyal of Tibet; the emanation of Vajravarahi's Speech and Mangala or Tashi Kyedren of "the Himalayas" - the emanation of Vajravarahi's Activity.

In Bhutan he is associated with the famous Paro Taktsang or "Tiger's Nest" monastery built on a sheer cliff wall about 500m above the floor of Paro valley. It was built around the Taktsang Senge Samdup (stag tshang seng ge bsam grub) cave where he is said to have meditated in the 8th Century. He flew there from Tibet on the back of Yeshe Tsogyal, whom he transformed into a flying tigress for the purpose of the trip. Later he travelled to Bumthang district to subdue a powerful deity offended by a local king. Padmasambhava's body imprint can be found in the wall of a cave at nearby Kurje Lhakhang temple.

Padmasambhava also hid a number of religious treasures (termas) in lakes, caves, fields and forests of the Himalayan region to be found and interpreted by future tertöns or spiritual treasure-finders. According to Tibetan tradition, the Bardo Thodol (commonly referred to as the Tibetan Book of the Dead) was among these hidden treasures, subsequently discovered by a Tibetan terton, Karma Lingpa.

Tantric cycles related to Padmasambhava are not just practiced by the Nyingma, they even gave rise to a new offshoot of Bön which emerged in the 14th century called the New Bön. Prominent figures of the Sarma (new translation) schools such as the Karmapas and Sakya lineage heads have practiced these cycles and taught them. Some of the greatest tertons revealing teachings related to Padmasambhava have been from the Kagyu or Sakya lineages. The hidden lake temple of the Dalai Lamas behind the Potala called Lukhang is dedicated to Dzogchen teachings and has murals depicting the eight manifestations of Padmasambhava. Padmasambhava established Vajrayana Buddhism and the highest forms of Dzogchen (Mengagde) in Tibet and transformed the entire nation.

On Padmasambhava's consort practice with Princess Sakya Devi from Nepal it is said: "In a state of intense bliss, Padmasambhava and Sakyadevi realized the infinite reality of the Primordial Buddha Mind, the All-Beneficent Lord (Samantabhadra), whose absolute love is the unimpeded dynamo of existence. Experiencing the succession of the four stages of ecstasy, their mutual state of consciousness increased from height to height. And thus, meditating on Supreme Vajrasattva Heruka as the translucent image of compassionate wrathful (energized) activity, they together acquired the mahamudra of Divinity and attained complete Great Enlightenmen

Mantra of Padmasambhava

Iconography
Avalokiteshvara, Chenrezig, is visualized in many forms, with various numbers of faces and arms, and various colors and ornaments. He sits on a lotus and the flat disc of the moon, with another moon disk behind him, reflecting his total purity. Two of his four arms are joined in the prayer position holding the wish fulfilling gem. In his other left hand he holds a lotus flower and in his other right hand, a crystal mala (rosary), which he is using to count the repetitions of his mantra, "Om Mani Padme Hum", Hail to the Jewel in the Lotus, which liberates all beings from suffering. He wears the silks and ornaments of a Bodhisattva, representing all his special qualities, and the soft skin of an antelope over his shoulder, symbolizing his complete freedom from violence. He smiles with deep understanding, love and compassion as his eyes look upon all beings.

The four arms and hands signify the four immeasurable:
Immeasurable loving kindness
Immeasurable compassion
Immeasurable joy
Immeasurable equanimity.

Chenrezig, the Bodhisattva of Boundless Compassion, is the very embodiment and realization of the four immeasurable. The four immeasurable are the vehicles through which Chenrezig benefits beings.
The first two, the inner arms, have palms joined at the heart, holding a sky-blue, and wish fulfilling jewel. This symbolizes that in whatever way Chenrezig manifests to benefit beings, the quality of Chenrezig's mind is never separate from the all-pervasive primal wisdom.

In the outer right hand, Chenrezig is holding crystal beads and moving them the way we use a mala to count mantras. This symbolizes that there is not one moment when Chenrezig does not benefit beings. Like the steady movement of counting the beads, Chenrezig is continuously benefiting sentient beings and turning the wheel of enlightened activity.

In the outer left hand, Chenrezig holds a lotus flower. This symbolizes that in benefiting sentient beings, Chenrezig manifests in whatever forms are necessary in accordance with the mental capacities, circumstances, and aptitudes of sentient beings. Chenrezig may appear in any of the different realms, such as the hell realm or the hungry ghost realm. However Chenrezig may appear, he remains free from any of the worldly stains of the various realms of life, the way a lotus flower growing in a swamp appears free of the stain of the mud. The left hand of Chenrezig, holding the flower, symbolizes that stainlessness.

All the various features of this image have meaningful connections to the wonderful qualities of Chenrezig, and by focusing on these details as we visualize the image in the meditation, we can gradually awaken our own awareness of those same qualities in ourselves.

Practicing of Avalokiteshavara
The image of Chenrezig that is visualized in the meditation practice is not a real person who happens to be perfect in every imaginable way. It is an image, an imaginary form with wonderful qualities. Chenrezig glows in the dark, Chenrezig even glows in the daylight.
Kalu Rinpoche said, "One does not think of the deity's body as solid or material, made of flesh and blood like one's ordinary body, or made of metal or stone like an idol. One thinks of it as appearance that is inseparable from emptiness, like a rainbow or like a reflection in a mirror."

The particular wonderful qualities that Chenrezig manifests for us are just the ones we need to get more in touch with, as aspects of our own nature, if we want to become an enlightened Buddha, or even if we just want to become a truly compassionate person. We and the image of Chenrezig are two extremes we have flesh and blood bodies, but not as much compassion as we would like to have, and Chenrezig has a body made of rainbows, and boundless impartial compassion. When we put those two extremes together, in the Chenrezig meditation, we move in the direction of manifesting as a being with a physical body, a body of rainbow light and unlimited compassion.

Various aspects of the form we visualize remind us of the most important qualities of this particular manifestation of awakened mind, the qualities we are trying to connect to.
In visualization practice we imagine ourselves to be a Buddha, in this case the Buddha of Compassion, Avalokiteshvara. By replacing the thought of yourself as you, with the thought of yourself as Avalokiteshvara, you gradually reduce and eventually remove the fixation on your personal self, which expands your loving kindness and compassion, toward yourself and toward others, and your intelligence and wisdom becomes enhanced, allowing you to see clearly what someone really needs and to communicate with them clearly and accurately.

Avalokiteshvara, Chenrezig is the embodiment of that unselfish urge to look upon each other as loving equals. If you are in need of guidance in healing, unity, unselfishness, or the mastering of fears, you may meditate on the qualities of Avalokiteshvara, Chenrezig {as above}, say the mantra" Om Mani Padme Hum".
In most religious traditions one prays to the deities of the tradition in the hopes of receiving their blessing, which will benefit one in some way. In the Vajrayana Buddhist tradition the blessing and the power and the superlative qualities of the enlightened beings are not considered as coming from an outside source, but are believed to be inborn, to be aspects of our own true nature. Avalokiteshvara, Chenrezig, and his love and compassion are within us.

His Holiness The Dalai Lama said, "Thus the six syllables, "Om Mani Padme Hum", mean that in dependence on the practice which is in indivisible union of method and wisdom, you can transform your impure body, speech and mind into the pure body, speech, and mind of a Buddha."

Mantra of Avalokitesvara

Iconography
Sita Tara, popularly known as White Tara. She has emanated from Avalokiteshvara & in the Nepali Transcendent Buddha tradition is the consort of Vairochana, the central Transcendent Buddha. Her inner virtue of loving compassion is magnified by the simplicity of her presentation. White Tara is an important Vajrayana Buddhist figure since she embodies the principle of loving kindness, which is the central quality in the altruistic Bodhisattva presented through Mahayana Buddhism. Her main emblem is the Pink Lotus [Skt. Kamala] representing this main quality.



Her left hand is gracefully lowered in an empty open palm boon granting gesture [Skt. Varada Mudra]. White Tara has a blooming pink lotus & an unopened bud on either side of her body. The lotus in the painting is stylised as a peony & a chrysanthemum to provide artistic contrast with her lotus throne. The open blossom represents the present and the bud represents the future situations & Buddhas yet to be born. The future also refers to beneficial changes circumstances that she will help bring about. Her right hand wisdom hand is in the gesture of giving refuge [Skt. Sharanagamana]. The word refuge refers to the teaching of compassionate understanding which she imparts. The third finger touches the thumb to create a circle representing the union of wisdom and compassion, and the three extended fingers symbolise the Three Jewels of Buddhism A. The Buddha State B. The Body of teachings [Skt. Sangha] C. The Principles of the Universal form [Skt. Dharma]. The same hand holds the stem of a blue lotus [Skt. Utpala] representing change. The lower part of the stem below the bend represents the root of the lotus in the mud. The allegory of the Lotus refers to the something that grows from the obscurity of the mud & which eventually bursts open in the light. The lotus journey is one of inner awakening & enlightenment analogous to the human spirit. Buddhism shows us how to grow towards the light with profound teachings which help us to navigate away from burdens and sufferings which we may have by being materially minded, bitter & confused.



There is a lotus on her diadem bearing the Wish Granting Gem [Skt. Chintamani] surrounded by an aureole of fire symbolising auspicious blessings. The extra eye on her forehead, on the palms of her hands & soles of her feet represent her ability to see and understand the sufferings of all beings & her omniscient compassion toward the suffering. Avalokiteshvara [Tib. Chengresi] her progenitor also has a white body & extra eyes. The eyes denote psychic & supernatural power. The rainbow coloured leggings represent a mastery of Boddhi Nature [Skt. Siddhi] & a manifestation of the Sambhogakaya. The dark blue layer of clothing signifies Mantrayana practice. She is upon a white moon disk & has an orange sun aureole to representing her emanation their melting point [Skt. Nada]. There is a branch of an Ashoka Tree in the foreground. The word Ashoka means 'without sorrow' in other words she has no regrets about her behaviour. The tree linked to the Vedic God of love & sexual union Kamadeva which blossoms when a virtuous lady touches it. The triangular diamond rock formation in the foreground represents the Source of Reality [Skt. Dharmadaya] out of which deities arise & which is generated from emptiness by the seed syllable E. In the Indian language is a Triangular shaped letter D & so expressed in the triangular rock formations.

Commentary
Tara's are difficult to place being neither Deity nor Dakini. Tara's are commonly described as female emanations and aides of Buddhas. Deities tend to have consorts with whom they are having sexual intercourse. She has a special association with the Pink lotus which represents the arising of wisdom from the obscure depths of the mud and the flowering of the awoken wisdom. The mud symbolised the primeval state. As with the other emanations of Tara, she has come into being from the teardrop of Avalokateshwara the great Bodhisattva of compassion.

Mantra of White Tara