HomeThangka - FigureAparmita- Amitayus Karma Gardri Style, Buddhist Handmade Thangka of Aparimita, Amitayus, Real Gold, Hand Painted, Real Gold, Hand Painted

Karma Gardri Style, Buddhist Handmade Thangka of Aparimita, Amitayus, Real Gold, Hand Painted, Real Gold, Hand Painted

Also known as

Amitayus

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US$940

Code

HCS25441

Weight

100 gm / 0.22 lbs

Size

Height

56cm (22")

Width

82cm (32")

Material

Cotton Canvas And Mineral Colors

Availability

Available

Shipping Calculation

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

Note: Shipping Charge for this product will be calculated based on volumetric(dimensional) weight.

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Tk - Karma Gardri : Brief Introduction
There are very few examples of early Karma Gardri paintings and those that do exist belong the Karma Kagyu Sertreng Lineage sets.
The late Karma Gardri painting style begins in the 17th century with Situ Panchen Chokyi Jungne and extends up to the present time. There are original Karma Gardri painting sets depicting the Karma Kagyu lineage of teachers dating from the 16th through 17th centuries. The later Karma Gardri style paintings also continue to depict the same Karma Kagyu Lineage even copying the earlier format and composition of those paintings. During the time of Situ other lineage subject sets related to the Karma Kagyu are also created such as the Dagpo Kagyu and Kadam lineages. Sets of Bodhisattva figures also begin to appear at this time in a similar but not exactly the same style as the later Karma Gardri. Late Karma Gardri is both a copying of the earlier compositions as well as a movement of minimalism

Use of Real Gold
This thangka of [karma Gardri Style], Buddhist Handmade Thangka Of Aparimita, Amitayus, [real Gold, Hand Painted], [real Gold, Hand Painted] 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

Mantra of Amitayus

ཨོཾ༌ཨཱ༌མ༌ར༌ནི༌ཛི༌ཝན༌ཏེ༌ཡེ༌སྭཱ༌ཧཱ།
Om A Ma Ra Ni Dzi Wan Ti Ye Soha
ओं अमरणि जीवन्तये स्वाहा

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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