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Tibetan Mantra Mandala, Blue On Black with Ashtamangala

USD9.6 USD12 | Enjoy a price drop of USD2.4 (20%)

Available SKU: HMS18891

Size: Height: 30cm (12") | Width: 30cm (12")
Weight: 100 gm / 0.22 lbs
Material: Cotton Canvas

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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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Mantra Mandala :

OM MANI PADME HUM is the six syllable mantra of the Avalokitesvara, known as a savior and protector from the dangers. It is believed that one who chant this mantra, will be saved from all dangers and the misery in the life. This mantra is widely used in Mahayana Buddhism for different purposes from chanting to using them in arts. The mantras are often found inscribed on rocks, prayer wheels, Chaitya walls, paths, the approaches and exists of the villages.

Ashtamangala : Brief Introduction
The Ashtamangala is a sacred suite of Eight Auspicious Signs endemic to a number of religions such as Hinduism, Jainism, and Buddhism. The symbols or "symbolic attributes" are yidam and teaching tools. Not only do these attributes point to qualities of enlightened mindstream, but they are the investiture that ornaments these enlightened "qualities". Many cultural enumerations and variations of the Ashtamangala are extant.

Conch The right-turning white conch shell represents the beautiful, deep, melodious, interpenetrating and pervasive sound of the dharma, which awakens disciples from the deep slumber of ignorance and urges them to accomplish their own welfare for the welfare of others

Endless knot The endless knot denotes "the auspicious mark represented by a curled noose emblematic of love" . It is a symbol of the ultimate unity of everything. Moreover, it represents the intertwining of wisdom and compassion, the mutual dependence of religious doctrine and secular affairs, the union of wisdom and method, the inseparability of śūnyatā "emptiness" and pratītyasamutpāda "interdependent origination" , and the union of wisdom and compassion in enlightenment. This knot, net or web metaphor also conveys the Buddhist teaching of interpenetration. It is also an attribute of the god Vishnu, which is said to be engraved on his chest. A similar engraving of the Shrivatsa on the historical Gautama Buddha's chest is mentioned in some lists of the Physical characteristics of the Buddha.

Pair of Golden FishThe two golden fish symbolise the auspiciousness of all sentient beings in a state of fearlessness without danger of drowning in saṃsāra. The two golden fishes are linked with the Ganges and Yamuna nadi, prana and carp:

LotusThe lotus flower , represent the primordial purity of body, speech, and mind, floating above the muddy waters of attachment and desire. The lotus symbolizes purity and renunciation. Although the lotus has its roots in the mud at the bottom of a pond, its flower lies immaculate above the water.

ParasolThe jewelled parasol , which is similar in ritual function to the baldachin or canopy: represents the protection of beings from harmful forces and illness. It represents the canopy or firmament of the sky and therefore the expansiveness and unfolding of space and the element Ã¦ther. It represents the expansiveness, unfolding and protective quality of the sahasrara: all take refuge in the dharma under the auspiciousness of the parasol.

VaseThe treasure vase represents health, longevity, wealth, prosperity, wisdom and the phenomenon of space. The treasure vase, or pot, symbolizes the Buddha's infinite quality of teaching the dharma: no matter how many teachings he shared, the treasure never lessened.

DharmaChakraThe Dharmachakra or "Wheel of the Law" represents Gautama Buddha and the Dharma teaching. This symbol is commonly used by Tibetan Buddhists, where it sometimes also includes an inner wheel of the Gankyil. Nepalese Buddhists don't use the Wheel of Law in the eight auspicious symbols.

Vicoty BannerThe dhvaja "banner, flag" was a military standard of ancient Indian warfare. The symbol represents the Buddha's victory over the four māras, or hindrances in the path of enlightenment. These hindrances are pride, desire, disturbing emotions, and the fear of death. Within the Tibetan tradition, a list of eleven different forms of the victory banner is given to represent eleven specific methods for overcoming defilement. Many variations of the dhvaja's design can be seen on the roofs of Tibetan monasteries to symbolise the Buddha's victory over four māras. Banners are placed at the four corners of monastery and temple roofs. The cylindrical banners placed on monastery roofs are often made of beaten copper.

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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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