HomeThangka - NewariNewariNewari Pauba of Annapurna Thangka Painting

Newari Pauba of Annapurna Thangka Painting

US$180

Code

HCS14996

Weight

100 gm / 0.22 lbs

Size

Height

58cm (23")

Width

34cm (13")

Material

Cotton Canvas

Availability

Available

Date Added

2018-03-09 12:32:45

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Newari Paubha
This Newari Pauba Of Annapurna Thangka [painting] 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 . . .

Legend :

Parvati was told by her consort Shiva that the world is an illusion and that food is a part of this illusion called maya The Divine Mother who is worshiped as the manifestation of all material things, including food, became angry. To demonstrate the importance of her manifestation of all that is material, she disappeared from the world. Her disappearance brought time to a standstill and the earth became barren. There was no food to be found anywhere, and all the beings suffered from the pangs of hunger. Seeing all the suffering, Mother Parvati was filled with compassion and reappeared in Kashi and set up a kitchen. Hearing about her return, Shiva ran to her and presented his bowl in alms, saying, "Now I realize that the material world, like the spirit, cannot be dismissed as an illusion. "Parvati smiled and fed Shiva with her own hands. Since then Parvati is worshiped as Annapurna, the goddess of Nourishment.

Iconography :

The Agamas (religious texts) describe the iconography of Annapoorna as a youthful goddess having red complexion with a face round like full moon, three eyes, high breasts and four hands. The lower left hand is depicted holding a vessel full of delicious porridge and the right with golden ladle adorned with various kinds of jewels. The other two hands depic Abhaya and Vrata pose. She is depicted with wristlet and golden jewellery which rest on the chest. She is seated on a throne with a crest of moon adoring her head. In some depictions, Shiva is shown standing to her right with a begging bowl, begging her for alms. Shankara in Annapoorna Stotra described the deity always holding a scripture, akshamala and opener of doors of Moksha in her hands in place of vessel and ladle, indicating his prayer to Annapoorna being spiritual perfection rather than food.

Mantra :

Oṃ Annapūrṇe sadāpūrṇe Śaṇkara prāṇa vallabhe jÃ±āna vairāgya siddhyartham bhikṣām dehī ca pārvatī.
Māta me Pārvatī devī pitā devo Maheśvara bāndhavāḥ Śiva bhaktāsca svadeśo bhūvanatrayam.

Annapurna is the goddess of food and nourishment in Hinduism. Worship and offering of food is highly praised in Hinduism and therefore, the goddess Annapurna is regarded as a popular deity. She is an avatar (form) of Parvati, the wife of Shiva. and is eulogized in the Annada Mangal, a narrative poem in Bengali by Bharatchandra Ray. The Annapurna Sahasranam is dedicated to the goddess and praises her one thousand names while the Annapurna Shatanama Stotram is dedicated to her 108 names.

A few temples exist that are dedicated to her, the most prominent being the Annapurna Devi Mandir and the Kasi Viswanath Temple in Varanasi. Since Akshaya Tritiya is considered to be the birthdate of the goddess Annapurna, the day is believed to be very auspicious for buying gold jewellery

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