HomeThangka - NewariNewariBuddhist Hand Painting Thangka of Newari Style Green Tara Hand Painted, Lamas Art

Buddhist Hand Painting Thangka of Newari Style Green Tara Hand Painted, Lamas Art

US$2720

Code

HCS26057

Weight

100 gm / 0.22 lbs

Size

70x56 Cm / 27.56 Inches

Material

Cotton Canvas and Mineral Color

Availability

Available

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Newari Paubha
This Buddhist Hand Painting Thangka Of [newari Style] Green Tara [hand Painted], Lamas Art is a newari thangka or Paubaha, Paubha, also known as "paubhas," is a traditional religious painting created by the Newar people of Nepal. These exquisite artworks depict various subjects, including deities, mandalas, and monuments, and serve as aids for meditation and spiritual practices. Paubhas are similar to Tibetan Thangka paintings and are highly regarded for their religious and cultural significance.
While most paubhas portray Buddhist subjects, there are also a few that incorporate Hindu themes. The creation of these paintings is seen as a means of earning religious merit for both the artist and the patron. Newar Buddhists often commission skilled artists, primarily from the Chitrakar caste (known as Pun in Nepal Bhasa), to paint paubhas that are displayed during festivals and special occasions. 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

Read More . . .

Brief Introduction :

Samaya Tara, popularly known as Green Tara. She is represented in a royal ease posture with her left leg bent her left leg overstepping the main lotus and resting on a blue lotus ready to get up and offer assistance to those in need. She is portrayed with maroon Buddhist robes and jewelry. The earrings represent patience, understanding, and renunciation. The diadem with five jewels represents the transmutation of the five delusions into the Five Buddha Wisdoms. She is shown with a benevolent countenance seated upon a white moon disk which is associated with special restorative nectar associated with the naval chakra center. In Buddhists, the moon symbolizes the wisdom aspect which when coupled with compassion leads to Sakyamuni Buddha's enlightenment. Her right hand is gracefully lowered in Varada mudra, the boon-granting gesture.

Iconography :

Green Tara's special lotus is the blue lotus or 'night lotus' which she bears in both hands. The word utpala means to 'burst open'. Her left-hand holds a stem with an open blooming flower and an unopened bud. The bent lower part of the stem represents the root. The open blossom represents the present and also the present Buddha; the bud represents the future and also Buddhas yet to be born. The future here also refers to a safe journey's end and future well-being. Her right-hand wisdom hand is in the gesture of giving refuge. The third finger touches the thumb to create a circle representing the union of wisdom and compassion, and the three extended fingers symbolize the Three Jewels of Buddhism a. The Buddha State b. The Body of Teachings. The Principles of the Universe The same hand holds the stem of a blue lotus representing her willingness to assist. The closed blossom in her right hand represents the past and also the Buddhas of the past. Green Tara is shown in a place of paradise called Khadiravani where she Tara dwells. Khadiravani is described as a great mountain kingdom with many trees, flowers, and animals (not shown). 3 rainbow tails emanate from her outer aureole. The crescent moon and sun symbolize the union of male and female ubiquitous in Tantric art.
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The seventy-two golden lines represent psychic energy channels emanating from her body and her central psychic channel running up her spinal column. Each one signifies a thousand as there are traditionally seventy-two thousand channels. The gold lines alternate between wiggly and straight to represent the two main psychic channels running up the central channel that entwine to create the interlocking 'snaking' caduceus to which the energy channels are connected. The trees in the foreground are the Ashoka Tree. The word Ashoka means 'without sorrow' and is the tree linked to the Vedic God of love and sexual union Kamadeva. Apparently, the tree blossoms when a virtuous lady touches it.

Commentary :

The word Tara means the one who saves. The word Tara is derived from the root tri meaning to cross and in context is taken to mean the one who helps people to cross the Ocean of Existence and Suffering. Green Tara is also called 'dark' Tara or more directly Shyama Tara. Green Tara is associated with the Amoghasiddhi who is also green and the north-facing Meditation who is head of the action family. Her willingness to help others is shown by her body posture with one foot ready so that she can rise to offer assistance. Like WhiteTara, she was born of the tears of compassion of the Bodhisattva Avalokiteshvara, resulting from the extreme state of sadness he experienced when observing the continuing ceaseless suffering which he sought to end.

Mantra for Green Tara

Om Tare Tuttare Ture Soha

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