Old Tibet Tibetan Hand Painted Buddhist Thangka Mandala Painting Gold Leaf


Old Tibet Tibetan Hand Painted Buddhist Thangka Mandala Painting Gold Leaf

When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. Affiliate programs and affiliations include, but are not limited to, the eBay Partner Network.


Buy Now

Old Tibet Tibetan Hand Painted Buddhist Thangka Mandala Painting Gold Leaf:
$250.00


SPECTACULAR! Old Tibet Tibetan Hand Painted BuddhistThangka Mandala Painting

Real Gold Leaf

This is a truly spectacular Tibetan hand painted Buddhist Thangka Mandala I picked up in Lhasa a few years ago. Thangka Mandala paintings, such as this, are hand painted by Buddhist monks in almost all temples in Tibet and Nepal. This Thangka Mandala tells the story of the life of the Buddha in beautifulvibrantcolors and real gold leaf. Whether you are a devout Buddhist practitioner, and art lover or just find yourself attracted to the masterpiece, why not buy it now. (Note, I have included more info about Thangka and Mandala below).

Measurements: Approx 14 inches X 12 inches

AGE: Circa 1930

DON'T MISS THIS UNIQUE OPPORTUNITY, BUY IT NOW!

Please email first if you have zero response...

THANKS FOR YOUR TIME AND CONSIDERATION.... DOBUYDON

SHIPPING (PLEASE READ

I will ship your item via InternationalRegistered Air Mail as soon as payment is received. Registered Mail is the mostreliable and secure method of shipping and guarantees that your item willarrive. I have never lost any registered mail shipments. Normal shipping timeto most locations is 10-14 business days. Sometimes it can take longer… pleasebe patient. Onceyour shipment arrives, a signaturewill be required. If no one is available to sign for the shipment the postoffice should leave a notice and you may have to go pick up your item.

Expedited shipping viaInternational Express Mail Service (EMS) is available for an extra charge.Normal shipping time to most locations via EMS is 5 working days. Please emailme for a price quote if you desire express shipping.

Please remember to check customsregulations before importing items that may be restricted in your country.

PROBLEMS–If you haveany problems I ask that you please email me so that we can resolve any issuesbetween ourselves.

ONCE YOU RECEIVE YOURSHIPMENT-Iask that you please email and let me know that you have received the shipmentas soon as possible. If you are happy with the item and with the service that Ihave provided, I ask that you please leave POSITIVE response. I strive toprovide 5 STAR products and services...Thanks again for your support….Dobuydon.

A "Thangka," also known as "Tangka", "Thanka" or "Tanka" (Nepali Bhasa: पौभा) is aTibetansilkpainting withembroidery, usually depicting aBuddhistdeity, scene, ormandalaof some sort. The thankga is not a flat creation like anoil paintingoracrylic paintingbut consists of a picture panel which is painted or embroidered over which atextileis mounted and then over which is laid a cover, usuallysilk. Generally, thankgas last a very long time and retain much of their lustre, but because of their delicate nature, they have to be kept in dry places where moisture won't affect the quality of the silk. It is sometimes called a scroll-painting.

These thangka served as important teaching tools depicting the life of the Buddha, various influential lamas and other deities andbodhisattvas. One subject is TheWheel of Life, which is a visual representation of theAbhidharmateachings (Art of Enlightenment).

To Buddhists these Tibetan religious paintings offer a beautiful manifestation of the divine, being both visually and mentally stimulating.

Thangka, when created properly, perform several different functions. Images of deities can be used as teaching tools when depicting the life (or lives) of the Buddha, describing historical events concerning important Lamas, or retelling myths associated with other deities. Devotional images act as the centerpiece during a ritual or ceremony and are often used as mediums through which one can offer prayers or make requests. Overall, and perhaps most importantly, religious art is used as a meditation tool to help bring one further down the path to enlightenment. The BuddhistVajrayanapractitioner uses a thanga image of theiryidam, or meditation deity, as a guide, by visualizing “themselves as being that deity, thereby internalizing the Buddha qualities (Lipton, Ragnubs).”

Historians note thatChinese paintinghad a profound influence on Tibetan painting in general. Starting from the 14th and 15th century, Tibetan painting had incorporated many elements from the Chinese, and during the 18th century, Chinese painting had a deep and far-stretched impact on Tibetan visual art.[1]According toGiuseppe Tucci, by the time of theQing Dynasty, "a new Tibetan art was then developed, which in a certain sense was a provincial echo of the Chinese 18th century's smooth ornate preciosity."[1]

Contents[hide]
  • 1History
  • 2Types
  • 3Process
  • 4Gallery
  • 5See also
  • 6References
  • 7External links
[edit]History

Thangka is aNepalese artform exported to Tibet after PrincessBhrikutiof Nepal, daughter of King Lichchavi, marriedSron Tsan Gampo, the ruler of Tibet[2][3]imported the images of Aryawalokirteshwar and other Nepalese deities to Tibet.[4]

[edit]TypesLarge thangka hanging on special wall atGyantse. 1938.

Based on technique and material, thangkas can be grouped by types. Generally, they are divided into two broad categories: those that are painted (Tib.) bris-tan—and those made of silk, either by appliqué or embroidery.

Thangkas are further divided into these more specific categories:

  • Painted in colors (Tib.) tson-tang—the most common type
  • Appliqué (Tib.) go-tang
  • Black Background—meaning gold line on a black background (Tib.) nagtang
  • Blockprints—paper or cloth outlined renderings, bywoodcut/woodblock printing
  • Embroidery (Tib.) tsem-thang
  • Gold Background—an auspicious treatment, used judiciously for peaceful, long-life deities and fully enlightened buddhas
  • Red Background—literally gold line, but referring to gold line on a vermillion (Tib.) mar-tang

Whereas typical thangkas are fairly small, between about 18 and 30inches tall or wide, there are also giant festival thangkas, usually Appliqué, and designed to be unrolled against a wall in a monastery for particular religious occasions. These are likely to be wider than they are tall, and may be sixty or more feet across and perhaps twenty or more high.

[edit]ProcessPainting Thangka in Lhasa, Tibet.

Thangkas are painted oncottonor silk. The most common is a loosely woven cotton produced in widths from 40 to 58 centimeters (16 - 23inches). While some variations do exist, thangkas wider than 45 centimeters (17 or 18inches) frequently have seams in the support. The paint consists ofpigmentsin a water solublemedium. Both mineral and organic pigments are used, tempered with a herb and glue solution. In Western terminology, this is adistempertechnique.[5]

The composition of a thangka, as with the majority ofBuddhist art, is highly geometric. Arms, legs, eyes, nostrils, ears, and various ritual implements are all laid out on a systematic grid of angles and intersecting lines. A skilled thangka artist will generally select from a variety of predesigned items to include in the composition, ranging from alms bowls and animals, to the shape, size, and angle of a figure's eyes, nose, and lips. The process seems very methodical, but often requires deep understanding of the symbolism involved to capture the spirit of it.

Thangka often overflow with symbolism and allusion. Because the art is explicitly religious, all symbols and allusions must be in accordance with strict guidelines laid out in Buddhist scripture. The artist must be properly trained and have sufficient religious understanding, knowledge, and background to create an accurate and appropriate thangka. Lipton and Ragnubs clarify this inTreasures of Tibetan Art:

“Tibetan artexemplifies thenirmanakaya, the physical body of Buddha, and also the qualities of the Buddha, perhaps in the form of a deity. Art objects, therefore, must follow rules specified in the Buddhist scriptures regarding proportions, shape, color, stance, hand positions, and attributes in order to personify correctly the Buddha or Deities.”

Maṇḍala(मण्डल) is aSanskritword meaning "circle." In theBuddhistandHindureligious traditions theirsacred artoften takes a mandala form. The basic form of most Hindu and Buddhist mandalas is a square with four gates containing a circle with acenter point. Each gate is in the shape of a T.[1][2]Mandalas often exhibit radialbalance.[3]

These mandalas, concentric diagrams, havespiritualandritualsignificance in bothBuddhismandHinduism.[4][5]The term is ofHinduorigin and appears in theRig Vedaas the name of the sections of the work, but is also used in otherIndian religions, particularlyBuddhism. In theTibetanbranch ofVajrayanaBuddhism, mandalas have been developed intosandpainting. They are also a key part ofanuttarayoga tantrameditation practices.

In various spiritual traditions, mandalas may be employed for focusing attention of aspirants and adepts, as a spiritual teaching tool, for establishing asacred space, and as an aid tomeditationandtranceinduction. According to the psychologistDavid Fontana, its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises."[6]ThepsychoanalystCarl Jungsaw the mandala as "a representation of the unconscious self,"[citation needed]and believed his paintings of mandalas enabled him to identify emotional disorders and work towardswholenessin personality.[7]

In common use, mandala has become a generic term for any plan, chart or geometric pattern that represents thecosmosmetaphysically or symbolically, amicrocosmof theUniversefrom the human perspective.[citation needed]

Contents[hide]
  • 1Hinduism
  • 2Buddhism
    • 2.1Early and Theravada Buddhism
    • 2.2Tibetan Vajrayana
      • 2.2.1Offerings
    • 2.3Shingon Buddhism
    • 2.4Nichiren Buddhism
    • 2.5Pure Land Buddhism
  • 3Christianity
  • 4Bora ring
  • 5Gallery
  • 6Mandala in political history
  • 7See also
  • 8Notes
  • 9References
  • 10External links
[edit]HinduismA Hindu Maṇḍala

Kolam The termKolamnormally refers to Hindu contexts and practices, whilemaṇḍalanormally refers to Buddhist contexts and practices.[citation needed]Yet the terms are also used interchangeably, andmaṇḍalais sometimes used as a cross-over term in Hindu contexts.

Ayantrais a two- or three-dimensional geometric composition used insadhanas, or meditative rituals. It is thought to be the abode of the deity. Eachyantrais unique and calls the deity into the presence of the practitioner through the elaborate symbolic geometric designs. According to one scholar, “Yantras function as revelatory symbols of cosmic truths and as instructional charts of the spiritual aspect of human experience"[8]

Many situateyantrasas central focus points for Hindu tantric practice.Yantrasare not representations, but are lived, experiential, nondual realities. As Khanna describes:

Despite its cosmic meanings ayantrais a reality lived. Because of the relationship that exists in the Tantras between the outer world (the macrocosm) and man’s [sic] inner world (the microcosm), every symbol in ayantrais ambivalently resonant in inner-outer synthesis, and is associated with the subtle body and aspects of human consciousness.[9]

Note:maṇḍalais also the term used to describe any of the ten books ofRig Veda, a sacred Vedic and Hindu scripture (sruti).

[edit]BuddhismPainted 17th centuryTibetan'Five Deity Mandala', in the center isRakta Yamari(the Red Enemy of Death) embracing his consortVajra Vetali, in the corners are the Red, Green White and YellowYamaris,Rubin Museum of Art[edit]Early and Theravada Buddhism

The mandala can be found in the form of theStupa[10]and in theAtanatiya Sutta[11]in theDigha Nikaya, part of thePali Canon. This text is frequently chanted.

[edit]Tibetan VajrayanaChenrezig Sand Mandala created at theHouse of Commons of the United Kingdomon the occasion of theDalai Lama'svisit in May 2008

Akyil 'khor), Tibetan for mandala inVajrayanaBuddhism usually depicts a landscape of the "Buddha-land", or the enlightened vision of a Buddha, which inevitably represents the nature of experience and the intricacies of both the enlightened and confused mind, or"a microcosm representing various divine powers at work in the universe."[5]Such mandalas consist of an outer circular mandala and an inner square (or sometimes circular) mandala with an ornately decorated mandala "palace"[12]placed at the center. Any part of the inner mandala can be occupied by Buddhist glyphs and symbols,[13]as well as by images of its associated deities, which"symbolise different stages in the process of the realisation of the truth."[14]

Kværne(1975: p.164) in his extended discussion ofsahaja, discusses the relationship ofsadhanainteriority and exteriority in relation to mandala thus:

"...external ritual and internal sadhana form an indistinguishable whole, and this unity finds its most pregnant expression in the form of the mandala, the sacred enclosure consisting of concentric squares and circles drawn on the ground and representing that adamant plane of being on which the aspirant to Buddha hood wishes to establish himself. The unfolding of the tantric ritual depends on the mandala; and where a material mandala is not employed, the adept proceeds to construct one mentally in the course of his meditation."[15]

Mandalas are commonly used by tantric Buddhists as an aid to meditation. More specifically, a Buddhist mandala is envisaged as a"sacred space,"a "Pure Buddha Realm,"[16]and also as an abode of fully realised beings or deities.[14]While on the one hand, the mandala is regarded as a place separated and protected from the ever-changing and impure outer world ofsamsara,[17]and is thus seen as a "Buddhafield"[18]or a place of Nirvana and peace, the view of Vajrayana Buddhism sees the greatest protection fromsamsarabeing the power to see samsaric confusion as the "shadow" of purity (which then points towards it). By visualizing "pure lands," one learns to understand experienceitselfas pure, and as the abode of enlightenment. The protection that we need, in this view, is from our own minds, as much as from external sources of confusion. In many tantric mandalas, this aspect of separation and protection from the outer samsaric world is depicted by"the four outer circles: the purifying fire of wisdom, thevajracircle, the circle with the eight tombs, the lotus circle."[19]The ring ofvajrasforms a connected fence-like arrangement running around the perimeter of the outer mandala circle.[20]

The mandala is also"a support for the meditating person,"[19]something to be repeatedly contemplated to the point of saturation, such that the image of the mandala becomes fully internalised in even the minutest detail and can then be summoned and contemplated at will as a clear and vivid visualized image. With every mandala comes what Tucci calls"its associated liturgy...contained in texts known as tantras,"[21]instructing practitioners on how the mandala should be drawn, built and visualised, and indicating themantrasto be recited during its ritual use.

As a meditation on impermanence (a central teaching ofBuddhism), after days or weeks of creating the intricate pattern of a sand mandala, the sand is brushed together and placed in a body of running water to spread the blessings of the mandala.

A mandala can also represent the entire universe, which is traditionally depicted withMount Meruas theaxis mundiin the center, surrounded by the continents.[22]A "mandala offering"[23]inTibetan Buddhismis a symbolic offering of the entire universe. Every intricate detail of these mandalas is fixed in the tradition and has specific symbolic meanings, often on more than one level.

The mandala can be shown to represent in visual form the core essence of theVajrayanateachings. In the mandala, the outer circle of fire usually symbolises wisdom. The ring of 8charnel grounds[24]represents theBuddhistexhortation to always be mindful of death, and the impermanence with whichsamsarais suffused:"such locations were utilized in order to confront and to realize the transient nature of life."[25]Described elsewhere:"within a flaming rainbow nimbus and encircled by a black ring ofdorjes, the major outer ring depicts the eight great charnel grounds, to emphasize the dangerous nature of human life."[26]Inside these rings lie the walls of the mandala palace itself, specifically a place populated by deities andBuddhas.

One well-known type of mandala, in Japan is the mandala of the "Five Buddhas", archetypal Buddha forms embodying various aspects of enlightenment. Such Buddhas are depicted depending on the school ofBuddhism, and even the specific purpose of the mandala. A common mandala of this type is that of theFive Wisdom Buddhas(a.k.a. FiveJinas), the When paired with another mandala depicting theFive Wisdom Kings, this forms theMandala of the Two Realms.

[edit]Offerings

Whereas the above mandala represents the pure surroundings of a Buddha, this mandala represents the universe. This type of mandala is used for the mandala-offerings, during which one symbolically offers the universe to the Buddhas or to one's teacher. Within Vajrayana practice, 100,000 of these mandala offerings (to create merit) can be part of the preliminary practices before a student even begins actual tantric practices.[27]This mandala is generally structured according to the model of the universe as taught in a Buddhist classic text theAbhidharma-kośa, withMount Meruat the centre, surrounded by the continents, oceans and mountains, etc.

[edit]Shingon BuddhismJapanese
BuddhismSchools
  • Hosso
  • Kegon
  • Ritsu
  • Tendai
  • Shingon
  • Pure Land
  • Zen
  • Nichiren
Founders
  • Saichō
  • Kūkai
  • Hōnen
  • Shinran
  • Dōgen
  • Eisai
  • Ingen
  • Nichiren
Sacred texts
  • Avataṃsaka Sūtra
  • Lotus Sūtra
  • Prajñāpāramitā
  • Heart Sūtra
  • Infinite Life Sūtra
  • Mahāvairocana Sūtra
  • Vajraśekhara Sūtra
Glossary of
Japanese Buddhism
  • v
  • t
  • e

The Japanese branch of Vajrayana Buddhism --ShingonBuddhism—makes frequent use of mandalas in its rituals as well, though the actual mandalas differ. When Shingon's founder,Kukai, returned from his training in China, he brought back two mandalas that became central to Shingon ritual: theMandala of the Womb Realmand theMandala of the Diamond Realm.

These two mandalas are engaged in theabhisekainitiation rituals for new Shingon students, more commonly known as theKechien Kanjō(結縁灌頂). A common feature of this ritual is to blindfold the new initiate and to have them throw a flower upon either mandala. Where the flower lands assists in the determination of whichtutelary deitythe initiate should follow.

Sand Mandalas, as found in Tibetan Buddhism, are not practiced in Shingon Buddhism.

[edit]Nichiren Buddhism

The mandala inNichiren Buddhismis called amoji-mandala(文字曼陀羅) and is a paperhanging scrollor wooden tablet whose inscription consists ofChinese charactersandmedieval-Sanskrit scriptrepresenting elements of the Buddha'senlightenment, protective Buddhist deities, and certain Buddhist concepts. Called theGohonzon, it was originally inscribed byNichiren, the founder of this branch ofJapanese Buddhism, during the late 13th Century. TheGohonzonis the primary object of veneration in some Nichiren schools and the only one in others, which consider it to be the supreme object of worship as the embodiment of the supremeDharmaand Nichiren's inner enlightenment. The seven charactersNam Myoho Renge Kyo, considered to be the name of the supreme Dharma, as well as theinvocationthat believers chant, are written down the center of all Nichiren-sectGohonzons, whose appearance may otherwise vary depending on the particular school and other factors.

[edit]Pure Land Buddhism

Mandalas have sometimes been used inPure Land Buddhismto graphically representPure Lands, based on descriptions found in theLarger Sutraand theContemplation Sutra. The most famous mandala in Japan is theTaima Mandala, dated to approximately 763 CE. TheTaima Mandalais based upon theContemplation Sutra, but other similar mandalas have been made subsequently. Unlike mandalas used inVajrayanaBuddhism, it is not used as an object of meditation or for esoteric ritual. Instead, it provides a visual pictorial of the Pure Land texts, and is used as a teaching aid.[citation needed]

Also inJodo ShinshuBuddhism,Shinranand his descendant,Rennyo, sought a way to create easily accessible objects of reverence for the lower-classes of Japanese society. Shinran designed a mandala using a hanging scroll, and the words of thenembutsu(南無阿彌陀佛) written vertically. This style of mandala is still used by someJodo ShinshuBuddhists in home altars, windowat the site of theMarsh Chapel Experimentsupervised byTimothy Leary

Forms which are evocative of mandalas are prevalent in Christianity: theceltic cross; therosary; thehalo; theaureole;oculi; theCrown of Thorns;rose windows; theRosy Cross; and thedromenonon the floor ofChartres Cathedral. The dromenon represents a journey from the outer world to the inner sacred centre where the Divine is found.[28]

Similarly, many of the Illuminations ofHildegard von Bingencan be used as mandalas, as well as many of the images ofesoteric Christianity, as andRosicrucianism.

[edit]Bora ringThis sectionneeds additionalcitationsforverification. Please helpimprove this articleby adding citations toreliable sources. Unsourced material may bechallengedandremoved.(November 2009)

ABorais the name given both to aninitiationceremony ofIndigenous Australians, and to the siteBora Ringon which the initiation is performed. At such a site, young boys are transformed into men viarites of passage. The wordBorawas originally from South-East Australia, but is now often used throughout Australia to describe an initiation site or ceremony. The term "bora" is held to be etymologically derived from that of the belt or girdle that encircles initiated men. The appearance of a Bora Ring varies from one culture to another, but it is often associated withstone arrangements,rock engravings, or otherart works. Women are generally prohibited from entering a bora. In South East Australia, the Bora is often associated with the creator-spiritBaiame.

Bora rings, found in South-EastAustralia, are circles of foot-hardened earth surrounded by raised embankments. They were generally constructed in pairs (although some sites have three), with a bigger circle about 22 metres in diameter and a smaller one of about 14 metres. The rings are joined by a sacred walkway. Matthews (1897)[29]gives an eye-witness account of a Bora ceremony, and explains the use of the two circles.


Old Tibet Tibetan Hand Painted Buddhist Thangka Mandala Painting Gold Leaf:
$250.00

Buy Now