HomeThangka - NewariNewariDruga In Water Color, Sold

Druga In Water Color, Sold

US$50

Code

HCS11154

Weight

50 gm / 0.11 lbs

Size

Height

38cm (15")

Width

37cm (15")

Material

Thick painting Papper

Availability

Sold

Date Added

2014-11-28 18:45:46

Note : We used to sell this product 11 years ago so it may no longer be in our stock.
It is possible that we still have it with our suppliers but the price could be different from before.
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This is another painting by Mrs. Sabaita Hingaju. As the thangka dealer we cannot really judge this art to the fullest. This painting good on it own way, This is handmade painted Durga with water color. We don't know the actual business of these type of painting so we have priced so we can seller faster and motivate her to painter better on the canvas we are comfortable with.

About sold
this item is sold

Newari Paubha
This Druga In Water Color, [sold] 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 :

Durga is known as the Aadi Shakti (the original power). An embodiment of creative feminine force (Shakti), Durga exists in a state of svātantrya (independence from the universe and anything/anybody else, i.e., self-sufficiency) and fierce compassion.Durga manifests fearlessness and patience.

Iconography :

In Hinduism, Durga meaning ("the inaccessible"or "the invincible") or Maa Durga one who can redeem in situations of utmost distress" is a form of Devi, the supremely radiant goddess, depicted as having eighteen arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practicing mudras, or symbolic hand gestures.[citation needed] The name is made of Sanskrit dur "with difficulty" and gā ("come", "go").

History :

Durga was created as a warrior goddess to fight an asura (an inhuman force/demon) named Mahishasura. He had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods went to Brahma, who had given Mahishasura the power not to be defeated by a man. Brahma could do nothing. They made Brahma their leader and went to Vaikuntha, the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. Hearing this Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their bodies. The blinding sea of light met at the Ashram of a priest named Katyayan and Durga emerged from this pool of light. The goddess Durga took the name Katyaayani from the priest and emerged from the sea of light. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme Brahman who had created all the gods. Now she had come to fight the demon to save the gods. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.

It is said that upon initially encountering Durga, Mahishasura underestimated her, thinking: "How can a woman kill me, Mahishasur-the one who has defeated the trinity of gods?". However, Durga roared with laughter, which caused an earthquake which made Mahishasur aware of her powers.

And the terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.

Then Mahishasur began attacking once more, starting to take the form of a buffalo again. The patient goddess became very angry, and proclaimed to Mahishasur in a colorful tone-"Roar with delight while you still can, illiterate demon, because when I will kill you, the gods themselves will roar with delight". When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.

Thus Durga sley Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini-the slayer of Mahishasur. According to one legend, the goddess Durga created an army to fight against the forces of the demonm king Mahishasur, who was terrorizing Heaven and Earth. After ten days of fighting, Durga and her army defeated Mahishasur and killed him. As a reward for their service, Durga bestowed upon her army the knowledge of jewelry-making. Ever since, the Sonara community has been involved in the jewelry profession.

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