Shakyamuni Buddha

This Shakyamuni Buddha Thangka or Thanka convey much of the warmth and character of Siddhartha Gautama. Wounderfully painted on canvas with use of paint and pure 24 k gold by our master artisan.

Shakyamuni Buddha is believed to have had 550 incarnation. Shakyamuni Buddha was born on 563 B. C at Lumbini, western part of Nepal, son of king Suddhodana and queen Mayadevi. he had attained " Bodhi" or knowledge after 6 years in fasting and meditation and then he was called "Buddha" as he was " the enlightened one". He died at the age of 80 at Kusinagara.

Wheel Of Life

Size/Measurements	: Length: 30” Breadth: 24”
Origin	: Nepal
Materials:
Gold, Cotton and Paints.
Description:
Commonly referred to as the "Wheel of Life," this classical image from the Tibetan Buddhist tradition depicts the psychological states, or realms of existence, associated with the unenlightened state. A powerful mirror for spiritual aspirants, the wheel of deluded existence is often painted to the left of Tibetan monastery doors; it offers an opportunity for monks and pilgrims alike to look deeply into their essential being. At the center of the Mandala, the intertwined images of a pig, a rooster, and a snake symbolically depict the ignorance, greed, and aggression that characterize the worlds of suffering and dissatisfaction, which Buddhist call Samsara. Surrounding the central figures are five concentric rings of attendant deities or, in the case of these Thangkas, their symbolic equivalents. The first circle, the circle of Great Bliss, consists of four goddesses in the four cardinal directions. At the intermediate points of the compass are four skull cups supported by vases and containing seminal essences, blood, five ambrosial nectars, and the "five awakening." The second circle is the Circle of Mind (Chittachakra); the third is the Circle of Speech (Vakrachakra); the fourth, the Circle of the Body (Kayachakra); and the fifth, the Circle of Tantric Vows (Samayachakra). In the second two versions, these circles are represented by stylized lotus petals radiating from the central image. Each of the Mandalas is inscribed by a decorative frieze of mythical animals and floral motifs, an element introduced into Buddhist painting in the mid – twentieth century by Newar artists of the Kathmandu valley. As a support for inner transformation, Chakrasamvara's blissful radiance converts timid responses to reality into radical engagement. When desire no longer clings to its object, it awakens to its primordial nature, which no longer divides into self and other. This blissful awareness encompasses all life and emotions, combusting in the liberating vision of selfless ecstasy. On the outer ring of the first Mandala are the eight charnel grounds that confront Tantric practitioners with a realm beyond hopes, desires, preferences, and fears. The charnel grounds signify the transformative energies of Tantra itself, the seamless continuity of life and death. Ignorance of our true nature is transformed in the charnel grounds into fearless and radiant awareness, the corpse of our mundane self consumed by jackals and flames. Without an acceptance of death and transfiguration, our aspirations to wholeness, to Buddhahood, can never bear fruit. All Creation Begins with the sacred union of male and female energies. To experience the pure creative passion between man and woman, to know unconditional love, is to manifest the body, mind, and spirit of a Buddha.

Introduction:
Thanka is a Buddhist religious painting. Thanka literally mean painting on cloth. Thankas are excellent piece of Tibetan art works.Thanka is art of representing and visualizing the dieties. Thanka painting is an unusual art form to open passages form the ordinary world to the extraordinary realm of pur wisdom and compassion. The themes of thanka iconography fixed by tradition and are based on principles of expression, proportion and details. Thankas use intense colours and incredibly fine detail to depict deities and other elements of the Buddhist cosmology. The tradition of thanka painting is considered to be a major form of Tibetan art."Chandra Lal Quality Thanka Production" is Thanka paintings' production for best collection of varieties of Thankas like Tibetan Thanka, Nepalese Thanka, Japanese Thanka, Newari Thanka like Buddha Life History Thanka, buddha mandala Thanka, Avai Lokiteshwor Thanka, Kalachakra Mandala Thanka, Wheel of life Thanka, Green Tara Thanka. All our thankas are hand painted by our master Nepalese artisian.Thanka painting is very laborous and lenthy process and take exceptional amount of time, dedication. Beside painting thanka of dieties, We also accept special orders of any kinds of Thanka for which you can provide a photograph or a description. We will be happy to discuss which size Thanka might best fit you shrine or meditation room. We grantee our master artisan will convert you wish into reality.

Commonly referred to as the "Wheel of Life," this classical image from the Tibetan Buddhist tradition depicts the psychological states, or realms of existence, associated with the unenlightened state. A powerful mirror for spiritual aspirants, the wheel of deluded existence is often painted to the left of Tibetan monastery doors; it offers an opportunity for monks and pilgrims alike to look deeply into their essential being. At the center of the Mandala, the intertwined images of a pig, a rooster, and a snake symbolically depict the ignorance, greed, and aggression that characterize the worlds of suffering and dissatisfaction, which Buddhist call Samsara. Surrounding the central figures are five concentric rings of attendant deities or, in the case of these Thankas, their symbolic equivalents. The first circle, the circle of Great Bliss, consists of four goddesses in the four cardinal directions. At the intermediate points of the compass are four skull cups supported by vases and containing seminal essences, blood, five ambrosial nectars, and the "five awakening." The second circle is the Circle of Mind (Chittachakra);the third is the Circle of Speech (Vakrachakra); the fourth, the Circle of the Body (Kayachakra); and the fifth, the Circle of Tantric Vows (Samayachakra). In the second two versions, these circles are represented by stylized lotus petals radiating from the central image. Each of the Mandalas is inscribed by a decorative frieze of mythical animals and floral motifs, an element introduced into Buddhist painting in the mid – twentieth century by Newar artists of the Kathmandu valley. As a support for inner transformation, Chakrasamvara's blissful radiance converts timid responses to reality into radical engagement. When desire no longer clings to its object, it awakens to its primordial nature, which no longer divides into self and other. This blissful awareness encompasses all life and emotions, combusting in the liberating vision of selfless ecstasy. On the outer ring of the first Mandala are the eight charnel grounds that confront Tantric practitioners with a realm beyond hopes, desires, preferences, and fears. The charnel grounds signify the transformative energies of Tantra itself, the seamless continuity of life and death. Ignorance of our true nature is transformed in the charnel grounds into fearless and radiant awareness, the corpse of our mundane self consumed by jackals and flames. Without an acceptance of death and transfiguration, our aspirations to wholeness, to Buddhahood, can never bear fruit. All Creation Begins with the sacred union of male and female energies. To experience the pure creative passion between man and woman, to know unconditional love, is to manifest the body, mind, and spirit of a Buddha.Material Used: Cotton and Paints.Size of the Thanka Painting: length: 18”breadth: 13”weight: This beautiful Thanka Painting weighs 200 grams(approx).Painted: This wonderful high quality Wheel of Life Thanka Painting is painted by the experienced artists of Nepal who have been in this business for generations.Availability: Note: Please note that the actual colors of this Wheel of Life Thanka Painting may vary due to differences in monitor color depth and make. The color shown is as close as possible to the actual colors of the Thanka Painting. The shape of this Thanka Painting may not look perfect rectangle in the picture but in real; the inner dimension of every Thankga Painting is perfectly rectangle since they are precisely measured while painting.

Philosophy of Tibetan ThankasThe philosophy of Tibetan Thankas is connected with the traditional Buddhist religion. Every Deity has his own quality and this is symbolically represented in the colours or the pose and the attributes they hold. If these symbolically intended attributes are not put in the right way the Thanka can not be used for meditation. It is that strict it follows the traditional rules. The Thankapainting can help the person who is meditating to visualize the deity. Every Deity represents a different aspect or quality of the Buddha. Like compassion is represented by the Bodhisattva Avalokiteshvara and the figure of his trancedent wisdom is represented in Bodhisattva Manjushri.So if one want to meditate on compassion than he or she can meditate on or visualize Bodhisattva Avalokitesvara. In this kind of meditation one becomes the Deity itself and also the quality where it stands for is coming in the awareness of the one meditating. And also the more one meditate the more one accumulate compassion in him or herself. So it is essential to know more about the deities and where they stand for to fully understand the Philosophy behind the Tibetan Thankas and the place they have in their religion.Different sort of ThankasDifferent sort of Thankas are: Multicoloured Thanka, Black Thanka, Gold Thanka and Red Thanka.Multicoloured Thankas; have mostly bright colours and they are also symbolically used.Black Thankas; have a black background and the Deity is painted in mostly gold. These Thankas picturing the wrathful deities.Gold Thankas; are painted to earn merit because of the large amount of gold that is used.Red Thankas; are specially used to paint the peaceful deities. Such as the long live deity, Amitayus. The red background follows the colour of the body of Amityus, which this deity symbolically is recognised by.The making of Thankas1. Sketch2. Colour3. Detail4. Delineation5. Dry shade6. Gold burnish7. Gold delineation8. Opening of the eyesMaterial that is usedThe material that is used has to be a high quality cotton or canvas.This canvas has to undergo a certain process. The fabric is set very tight to a frame. Glue is boiled and some powder is added until a milky essence is achieved. This than have to stand for a night and if the substance is constant it is ready for use. It has to be reheated and applied to the fabric with a brush.It is dried flat in the sun and after it is put on a smooth wooden board. Then the surface again made a little wet with a fabric and is rubbed with a smooth stone to make the surface of the canvas waterproof and smooth. After this they check if the canvas is waterproof and they repeat it up to 6 times if necessary.This process is very important to get a well balanced panting. When the amount of glue in the material and the paint is right the Thanka looks smooth, flexible and natural. It is also very light. When there is too much glue the Thanka will look very stiff, glossy and shady. And have a hard surface.When the glue is not enough the Thanka will be soft but also unclear and furred, and roughness due to sketch and erase also have consequence on the material.If the painting is finished they are usually put in a silk or Chinese brocade frame. On the top they put a thin silk cover that protects the picture from dust and light, when not used.There are also two small strings sowed on top to hold up the thin silk cover. On top of the Thanka and down it has a wooden stick that makes the painting become even. Also they are rolling the picture in the frame around the stick so they are saved when not used.If the Thanka is framed than through a ceremonial ritual they blow as a matter of speaking live into the deity or Thanka painting in total. Also they put some holy water, not on the painting but on a mirror that reflex the painting.Then they put on the backside of the thanka the Mantra that goes with the specific Deity. These are mystic formulas that give them a kind of live power or some have just Om Ah Hum on the backside. As a sign that it is powerful on spiritual, verbal and physical level.

There is a vast amount of iconographic information provided in thangkas, some of it literally spelled out for you. If you look closely, many thangkas spell identification of figures and scenes in formal and delicately rendered scripts. In damaged sections of thangkas where paint layers are missing, letters which indicate the master painter's choice of colour are sometimes visible. These letters were not intended to be part of the final composition and should not be confused with the former. But given the breadth and variety of the iconography of Indian and Tibetan Buddhism, it is virtually impossible to extrapolate the information that would be required to fill in figures that are missing or to complete the sacred objects that the figures hold in their hands. Where inpainting is required, the definition and clarification of artistic intent is a complex issue.

There are, however, exceptions to this anonymity. Rarely, eminent teachers will create a thangka to express their own insight and experience. This type of thangka comes from a traditionally trained meditation master and artist who creates a new arrangement of forms to convey his insight so that his students may benefit from it. Other exceptions exist where master painters have signed their work somewhere in the composition.