HomeThangka - FigureVajrasattvaBuddhist Hand Painted Thangka of Vajrasattva with Consort, Shakti, Yab-yum, with Vajradhara At Four Corners, Real Gold, Lama`s Art

Buddhist Hand Painted Thangka of Vajrasattva with Consort, Shakti, Yab-yum, with Vajradhara At Four Corners, Real Gold, Lama`s Art

US$360.75

Code

HCS23909

Weight

100 gm / 0.22 lbs

Size

60x44 Cm / 23.62 Inches

Material

Cotton Canvas and Mineral colors

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Available

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Shakti : Introduction
Shakti Yab-yum is a common symbol in Nepalese and Tibetan art. It represents the primordial union of wisdom and compassion, depicted as a male deity in union with his female consort via the similar concept of interpenetration or "coalescence," as illustrated by the concept of Indra's net. The male figure represents compassion and dexterity, while the female figure represents insight. The female is seated on the male's lap in yab-yum. A rare rendition of a similar figure, but reversed, with the male sitting on the female's lap, is known as yum-yab. Read More . . .

Use of Real Gold
This thangka of Buddhist Hand Painted Thangka Of Vajrasattva With Consort, [shakti], Yab-yum, With [vajradhara] At Four Corners, [real Gold], Lama`s Art has real gold painted on its surface along with other paints. This is an ancient process of decorating the thangka in Tibetan Buddhism, Here gold is ground into gold dust, which is then mixed with other undisclosed material to make it paintable on the canvas. this mixture is then mixed with transparent glue and painted on the thangka. Read More . . .

Introduction to Thangka
A thangka, also known as tangka, thanka, or tanka, is a vibrant and intricate Tibetan Buddhist painting that serves as a visual representation of spiritual teachings. Crafted with meticulous detail on cotton or silk appliquÃ©, thangkas depict a wide range of subjects including Buddhist deities, sacred scenes, mandalas, and narrative stories. These sacred artworks are traditionally kept unframed and rolled up for storage, resembling ancient scrolls. To protect their delicate nature, thangkas are mounted on textile backings and often adorned with a silk cover on the front. Proper preservation in dry environments is crucial to maintain the integrity and longevity of the silk.

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 "Ãura 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

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Vajradhara : Description
Shakyamuni Buddha appeared in this world with the sole purpose of benefitting all sentient beings. Out of great compassion Lord Buddha revealed many different means/paths to enlightenment and set forth three Wheels of Law to suit varying degrees of intelligence and receptivities.
Shakyamuni Buddha himself was, it is said, in the form of Vajradhara while he was teaching tantric path to his gifted disciples.
Vajradhara is depicted holding a Vajra and a bell in his left hand and his arms are kept crossed in front of him expressing complete integration of Prajna and Upaya. He is usually depicted in blue colour in vajraparyanka posture. He has a crown, an Urna and an Ushnisha as a Sambhogakaya Buddha. Vajradhara is also depicted in father-mother (Anju-Aji in Newari) aspect. en he holds his usual symbols while his arms are crossed at the back of his consort. the consort is none other than Prajnaparamita in deified form.
The Kargyudpa lineage of Tibetan Buddhism begins with the Buddha Vajradhara. The individual in this tradition is allowed to visualize his root Guru as Buddha Vajradhara. Guru Tilopa is said to have received Mahamudra instruction directly from Buddha Vajradhara through visions and other extraordinary means.
In Nispannayogavali, Vajradhara is the main deity in Vajrasattvamandala. He is three faced, six-armed and reddish white in color. His right arm holds a vajra, a sword and a kapala and his left hand holds a bell, an ankush and a noose. He stands in the Ardhaparyanka posture and dances in Tandava style.

Brief Introduction
This image represents the understanding & application of internal & external tantric energy, by skilfully influencing & directing energies arising from everyday experiences [Skt. dharmas]. Vajradhara expresses not just the awoken mind but the direction of understanding which develops into a transcendent experience of the Dharmakaya. This is symbolised by the lightening [Skt. vajra] headed bell [Skt. ghanta] which represents the feminine creative wisdom and the double ended lightening sceptre representing 'energy', method & the masculine. Vajradhara personifies the ways [bell] & means [lightening sceptre] to objectively transform experience beyond everyday conception of space & time.

Dharmakaya is often taken to mean the 'truth body' & is one of the three Forms of or realms of understanding [Skt. Trikaya]. The Principle of Non-Duality i.e. the 'union of two' is represented in the Bell [Skt. Ghanta] & the Lightning sceptre [Skt. Vajra]. The bell embodies female wisdom & the Diamond Sceptre being compassion or method. The truth body of Vajradhara and Vajrayana tools will empower your journey in all places. This involves unlocking the mysteries or obscuration's of the material & inner world through methods of tantric practice & understanding. In fact Vajradhara represents latent power of transformation using tantric through wisdom to allow us to uncover Great Bliss. Vajradhara the realised way of method. Since Vajradhara personifies the essence of non dualitic union the figure represents a mastery of the symbols portrayed in other tantric deities & having understood their meaning does not need to bear them.

Iconography
The name Vajradhara means the bearer of the lightning sceptre. The inherent tradition of lightning representing transformation & energy originates 2,500 c. BCE. The term Vajra is a typical Sanskrit word being a composite of va- meaning to bear or carry, ja or ja whose syllable denotes the energy & ra meaning to rise, overcome or power. The vajra sceptre is a special object embodies the principle of change. Conjoined prongs at each end denote lightning bolts and their being conjoined denotes latent self reacting energy. In effect as important to Buddhism as the Cross to Christianity. The Vajra [Tib. Dorje] has four prongs enclosing a fifth central prong making five in total and at both end. The tridents is another representation of the lightening more associated with Hinduism. Varjadhara's arms are crossed in a gesture of Victory over the Three Worlds [Skt. Triolyavijaya mudra also called Skt. Vajrahumkara],with reference to the syllable 'Hum', & is seated in the lotus seat [Skt. Padmasana] The lotus seat & the crossed arms mudra are together called the Skt. Vajrasana or Position of transcendent change. The white sash draped across Vajradharas chest represents the purity and essence of the varjayana school of Buddhism. In fact Mahayana & Hinayana both arise from the ancient Vajrayana tradition of personal transformation.

Read More . . .

Brief Introduction :

Vajrasattva is also regarded as Adi-Buddha by Nepalese Bajracharya's who follow Vajrayana tradition according to the text Vajrasattva Kaya. His body is white with one face and two hands. His right-hand holds a five-pronged golden vajra at his heart. His left-hand holds a silver bell at his side. He sits in the Vajraparyanka posture wearing precious silks and ornaments with jewel diadem. His body is adorned with the major and minor marks of a Sambhogakaya and emits a clear limitless light. It appears to lack all notion of substantiality, like the reflection of the moon in the water.
Vajrasattva has a father-mother aspect too. Generally, this form is not exhibited in open. It is shown only to those who are initiated in the Highest Yoga Tantra. His form is the same as in the single one but his consort carries a Kartika in her right hand and a kapala in her left hand.

Iconography :

Vajrasattva is pure white in colour and is sometimes known as the Prince of Purity. His name means "Adamantine Being", or more poetically "Embodying Reality". He is a member of the Vajra family of Akṣobhya which also includes Vajrapāṇi.
He is depicted as a young man in the prime of life, with all the silks and jewels of a wealthy prince. In his right hand he delicately balances a vajra at his heart. In his left had he holds a bell at his waist. The vajra represents Reality, and Compassion; while the bell represents Wisdom.

Vajrasattva is said to have been originated from seed syllable Hum and is generally invoked for removal of obscuration of Kleshavarana and Jneya Avarana. His hundred syllable mantra is very efficacious in purifying our defilements through confession practice. It is said if confession is done with the four opponent powers, then non-virtuous actions or obscurations will be purified. The first opponent power is the force of reliance. This means looking upon the visualized image of Vajrasattva as the embodiment of oneâ' refuge. The second opponent power is the sincere regret for the non-virtuous action done by oneself. The third opponent power is desisting from evil deeds. The fourth opponent power is to apply power of good deeds; and specially regarding this case, practicing the meditation and recitation of Vajrasattva without parting from Bodhicitta while remaining in the state of emptiness. Vajrasattva is a very popular tutelary deity for Nepalese Vajracharya. He is worshipped very often by Nepalese Buddhists through Guru Mandala ritual.

In some mandalas Vajrasattva represents the Adi Buddha or the Primordial Principle of Buddhahood; in others he changes places with Akṣobhya in the East. In Shingon Buddhism it is Vajrasattva that passes on the initiation of the Dharmakāya Buddha Mahāvairocana to Nāgārjuna, thereby creating the Vajrayāna lineage.

Vajrasattav Purification :

Purification of Body
Your disturbing attitudes and negativities in general and particularly those of the body, take the form of black ink. Sickness takes the form of pus and blood and afflictions caused by spirits appear in the form of scorpions, snakes, frogs and crabs. Flushed out by the light and nectar, they all leave your body through the lower openings, like filthy liquid flowing down a drain pipe. Feel completely empty of these problems and negativities; they no longer exist anywhere.
Purification of Speech
Your disturbing attitudes and imprints of negativities of speech take the form of liquid tar. The light and nectar fill your body as water fills a dirty glass: the negativities, like the dirt, rise to the top and flow out through the upper openings of your body: your eyes, ears, mouth, nose, etc. Feel completely empty of these problems; they no longer exist.
Purification of the Mind
Your disturbing attitudes and the imprints of mental negativities appear as darkness at your heart. When struck by the forceful stream of light and nectar, the darkness completely vanishes. It is like turning a light on in a room: the darkness does not go anywhere, it simply ceases to exist. Feel that you are completely empty of all these problems; they are non-existent.
Simultaneous Purification
Do the three above visualizations simultaneously. This sweeps away the subtle obscurations that prevent you from seeing correctly all that exists. Feel completely free of these obscurations.
The Power of the Promise
After reciting the mantra and doing the visualizations, make the following promise to Vajrasattva, specifying a period of time for which you intend to keep it:
"I shall not create these negative actions from now until ."
Vajrasattva is extremely pleased and says, "My spiritual child of the essence, all your negativities, obscurations and degenerated vows have been completely purified."
With delight, Vajrasattva melts into light and dissolves into you. Your body, speech and mind become inseparably one with Vajrasattva holy body, speech and mind. Concentrate on this.

Dedication
Due to this merit may I soon Attain the enlightened state of Vajrasattva, That I may be able to liberate
All sentient beings from their suffering.
May the precious bodhi mind Not yet born arise and grow. May that born have no decline,But increase forever more.

Mantras in Various Language :

Mantra of Vajrasattva

ༀ་ཨ་ར་པ་ཙ་ན་དྷཱི༔,
om vajrasattva hum

You may also want to read the related articles :

Videos of Thangka Making Process | Making Process Of Tibetan Thangka | What is a Thangka | Thangka Brocading Option

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