Buddhist Hand Painting Thangka of Namgyalma Hand Painted, Amitabha Buddha On Top Lamas Art, Coffee Wash Color

Iconography
Amitabha Buddha is also one of the five Tathagatas representing the wisdom of discriminating awareness (skt. Pratyavekshanajnana). When discriminating wisdom dawns on us we realize Non-production or non-origination of all things. He also represents purified form of desire.

Amitabha Buddha is red in color. He is represented in the stupa facing to the west. He rides on peacock symbolizing that he can take away the suffering of others just as the peacock eats poisonous plants and yet his tail shines forth.


Amitabha in Sanskrit means immeasurable light or limitless light. He resides in the western land of unlimited bliss (skt. Sukhavati). He is assisted by two Bodhisattvas viz. Avalokiteshvara and Mahasthamaprapta. When he was a bodhisattva he was called Bhikshu Dharmakara. He made vows to establish an adorned land of unlimited bliss to ferry over those living beings who recite his name. On the basis of those vows, any living being who has faith, makes vows and practices diligently will be received by this Buddha and reborn in the pure land of unlimited bliss.

Amitabha Buddha presides over the Bhadrakalpa i.e. Fortunate Aeon. He always exhibits Dhyana mudra. He belongs to the Lotus family. He originates from the seed syllable Hrih. He can be recognized through the symbol of the lotus. With his extensive vows and great compassion this Buddha has ferried over innumerable sentient beings. The recitation of the name of Amitabha Buddha is a common practice in China and Japan. In Tibet too, devotees recite very often the prayer to be reborn in the land of Amitabha Buddha.urity

Commentary
The word 'Amitabha' is composed of 2 syllables. Amita-[Skt.] translates as infinite & -bha universal life or simply the universe. Related Sanskrit words include bha-va asin Bhavachakra & Bha-gavad as in Bhagavad Gita. Amitabha is often translated as Boundless Light which is taken to be the boundless Universe. Amitabha realised a Pure Land called Sukhavati which meanspossessinghappinessin Sanskrit. Sukhavati is situated in the uttermost west beyond the bounds of rational understanding. By the power of his vows he made it possible for all who call upon him to be reborn into this land, there to undergo instruction by him in the dharma and ultimately become bodhisattvas & Buddhas. Amitabha is one of the five Transcendent Buddhas emanated from the primeval 'Adi' Buddha Vajrdhara. Each of the transcendent Buddhas has arisen to help us overcome the five obstructions [Skt. Kleshas] to our spiritual growth and each is the Head of a Family. The Sanskrit word Klesha means poison in the sense of curruption. For this reason the transcendent Buddhas are called Wisdom Buddhas; they possess the wisdom to overcome viz. transcend the five obstructions are greed, hatred, delusion, jealousy & pride. Amitabha is formed to help us overcome greed [often expressed as desire]. Greed is conceived of as a thirst [Skt. Tanha] or appetite for the destructive things that harm us such as smoking, alcohol & selfishness. The transcendent Buddhas are sometimecalled the Meditation [Skt. Dhyana] Buddhas as people meditate on their wisdoms to overcome the five obstructions to spiritual growth to anable us to reach a higher level of understanding.

Mantra of Amitabha Buddha

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