HomeThangka - FigureJambhalaJambhala: Namtose Thangka, Buddhist Traditional Painting, Real Gold, Tibetan Style, Lhyape

Jambhala: Namtose Thangka, Buddhist Traditional Painting, Real Gold, Tibetan Style, Lhyape

US$100

Code

HCS29852

Weight

100 gm / 0.22 lbs

Size

30x22 Cm / 11.81 Inches

Material

Cotton Canvas & Natural Color

Availability

Available

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Thangka Lhyape : What is Lhyape Style
Jambhala: Namtose Thangka, Buddhist Traditional Painting, [real Gold], Tibetan Style, [lhyape], an enchanting Lhyape Thangka masterpiece, emanates an aura of celestial splendor. The golden-yellow background bathes the entire composition in a luminous glow, symbolizing purity and enlightenment. Intricately painted with 24-carat gold, Jambhala: Namtose Thangka, Buddhist Traditional Painting, [real Gold], Tibetan Style, [lhyape]'s divine form and surrounding elements glisten with a mesmerizing metallic shine. Read More . . .

Use of Real Gold
This thangka of Jambhala: Namtose Thangka, Buddhist Traditional Painting, [real Gold], Tibetan Style, [lhyape] 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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Brief Description :

Vaiśravaṇa (Sanskrit) or Vessavaṇa (Pali; Tibetan: རྣམ་ཐོས་སྲས་, Lhasa dialect: [NamtÃ¶sÃ©], simplified Chinese: 多闻天王; traditional Chinese: 多聞天王; pinyin: DuōwÃ©n TiānwÃ¡ng, Japanese: 毘沙門天, romanized: Bishamonten Korean: 비사문천, romanized: Bisamuncheon), is one of the Four Heavenly Kings and is considered an important figure in Buddhism.

Characteristics :

The character of Vaiśravaṇa is founded upon the Hindu deity Kubera, but although the Buddhist and Hindu deities share some characteristics and epithets, each of them has different functions and associated myths. Although brought into East Asia as a Buddhist deity, Vaiśravaṇa has become a character in folk religion and has acquired an identity that is partially independent of the Buddhist tradition (cf. the similar treatment of Guanyin and Yama).

Statue of Vaiśravaṇa as the guardian at the royal crematorium of King Bhumibol Adulyadej of Thailand, 2017.

Vaiśravaṇa as the Seal of Udon Thani Province, Thailand

Tamonten statue at Tōdai-ji, Nara

Partly gilded Tibetan bronze statue of Vaisravana (Jambhala) sitting on a snow lion and holding a mongoose in his left hand. 18th century

Vaiśravaṇa is the guardian of the northern direction, and his home is in the northern quadrant of the topmost tier of the lower half of Sumeru. He is the leader of all the yakṣas who dwell on the Sumeru's slopes.
He is often portrayed with a yellow face. He carries an umbrella or parasol (chakra) as a symbol of his sovereignty. He is also sometimes displayed with a mongoose, often shown ejecting jewels from its mouth. The mongoose is the enemy of the snake, a symbol of greed or hatred; the ejection of jewels represents generosity.

In Theravāda tradition :

In the Pāli Canon of Theravāda Buddhism, Vaiśravaṇa is called Vessavaṇa. Vessavaṇa is one of the Cāturmahārājika deva or "Four Great Heavenly Kings", each of whom rules over a specific direction. Vessavaṇa's realm is the northern quadrant of the world, including the land of Uttarakuru. According to some suttas, he takes his name from a region there called Visāṇa; he also has a city there called Ālakamandā which is a byword for wealth. Vessavaṇa governs the yakshas â beings with nature between 'fairy' and 'ogre'.

Vessavaṇa's wife is named BhuÃ±jatī, and he has five daughters, Latā, Sajjā, Pavarā, Acchimatī, and Sutā. He has a nephew called Puṇṇaka, a yakkha, husband of the nāga woman Irandatī. He has a chariot called Nārīvāhana. He is called gadāvudha (Sanskrit: gadāyudha) "armed with a club", but he only used it before he became a follower of the Buddha.

Vessavaṇa has the name "Kuvera" from a name he had from a past life as a rich Brahmin mill-owner from Sri Lanka, who gave all the produce of one of his seven mills to charity and provided alms to the needy for 20,000 years. He was reborn in the Cātummahārājikā heaven as a result of this good karma.

As with all the Buddhist deities, Vessavaṇa is properly the name of an office (filled for life) rather than a permanent individual. Each Vessavaṇa is mortal, and when he dies, he will be replaced by a new Vessavaṇa. Like other beings of the Cātummahārājika world, his lifespan is 90,000 years (other sources say nine million years). Vessavaṇa has the authority to grant the yakshas particular areas (e.g., a lake) to protect, and these are usually assigned at the beginning of a Vessavaṇa's reign.

When Gautama Buddha was born, Vessavaṇa became his follower, and eventually attained the stage of sotāpanna, one who has only seven more lives before enlightenment. He often brought the Buddha and his follower's messages from the gods and other humans and protected them. He presented to the Buddha the Āṭānāṭā verses, which Buddhists meditating in the forest could use to ward off the attacks of wild yak has or other supernatural beings who do not have faith in the Buddha. These verses are an early form of partita chanting.

Bimbisāra, King of Magadha, after his death was reborn as a yakkha called Janavasabha in the retinue of Vessavaṇa.

In the early years of Buddhism, Vessavaṇa was worshipped at trees dedicated to him as shrines. Some people appealed to him to grant them, children.

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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