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Jambhala: Namtose Thangka, Buddhist Traditional Painting, Tibetan Style, Real Gold, Oiled Thangka, Old Stock

USD224 USD280 | Enjoy a price drop of USD56 (20%)

Available SKU: HMS29722

Size: Height: 88cm (35") | Width: 58cm (23")
Weight: 300 gm / 0.66 lbs
Material: Cotton Canvas & Natural Color

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The shipping weight for 1 piece of the product is 0.50 kg, and shipping cost is USD31.00.

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Jambhala: Namtose :

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.

Old Stock Thangka : Old Stock Thangka
This Jambhala: namtose is our old stock collection, Experience the captivating allure of the "Timeless Splendor" thangka painting, a rare and extraordinary masterpiece that embodies the essence of ancient artistic traditions. Created approximately 15 to 20 years ago, this painting showcases the meticulous artistry and devotion of a single artist, who skillfully prepared the canvas and brought the artwork to life.
The age of this painting adds to its rarity and significance. With its creation dating back 15 to 20 years, it carries the legacy of traditional artistic techniques. Once this collection is sold, no more paintings of its kind will be produced, making it an extraordinary find for art enthusiasts and collectors.
What sets this thangka painting apart is the genuine and thick layers of gold meticulously applied by the artist. The result is a resplendent and opulent appearance that captivates the viewer's gaze. Unlike contemporary practices where different artists handle different aspects of the painting, this unique artwork is a testament to the singular vision and talent of one artist, ensuring a harmonious and unified composition. Read More . . .

Thanka Oiled : About Oil Antique Finishing
The Jambhala: namtose Thangka, featuring an oiled antique finish, is a remarkable and captivating work of art. This thangka has undergone a finishing process that involves the application of a special varnish, resulting in an antique appearance. The intention is to create the impression that the painting has been graced by the presence of butter lamps over an extensive period. 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 . . .

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 :

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