TIBETAN BUDDHIST THANGKA PAINTINGS (MASTERPIECES)

A Thangka, diversely referred to as Thangka, Tangka, Thanka, or Tanka, is a Tibetan Buddhist painting on cotton, silk appliqué, usually depicting a Buddhist deity, scene, or mandala. Thangka is also known as scroll painting. Roughly translating to “recorded message” in Tibetan, it is an ancient form of Buddhist art that originated within Tibet around the 11th century. These are densely illustrative, and painstakingly detailed, and serve as a striking centrepiece that can be appreciated by all admirers of Asian art. Buddhist thangka paintings are visually captivating and impressive — but there is more to them than meets the eye. Thangkas often focus on a specific deity and scene, and their form and surrounding details are often rich with symbolism, turning them into a medium for religious storytelling. Because of this, extracting all the intricacies and meanings from the paintings requires training. Tibetan thangkas were originally created for the purpose of helping the viewer or Buddhist practitioner on his journey to enlightenment. A thangka\'s characteristics like organization and juxtaposition of figures, repetition of figures, and size contribute to the storytelling of the painting.

A Thangka is a painted or embroidered banner which was hung in a monastery or a family altar and carried by lamas in ceremonial processions. In Tibetan the word \'than\' means flat and the suffix \'ka\' stands for painting. The Thangka is thus a kind of painting done on flat surface but which can be rolled up when not required for display.

"In its characteristic unique way, Buddhist thought divides the eventful life of its founder into twelve glorious "events." These defining incidents of his life are given visual form in densely packed sequences narrated in a special genre of paintings... These artworks not only delineate Buddha\'s gradual progress towards spiritual enlightenment, but also present a visual depiction of a vast number of abstract philosophical notions underlying esoteric Buddhism..."

"...there exists in Buddhism the concept of a rainbow body... the rainbow body signifies the awakening of the inner self to the complete reservoir of terrestrial knowledge that it is possible to access before stepping over the threshold to the state of Nirvana..."

"One enters Nepal as a traveler, and leaves as a pilgrim... Nepal is the ideal place to rise above the theoretical... textbooks, and see the twin strands of Tantra and Shamanism... rooted in the eternal and faithful depths of Hinduism, and tempered by the sobering influence of Buddhism... the gods of Nepal do not represent a forgotten era of the past. The deities here are living, and participate in the ordinary existence of everyday life as much as we mere mortals do..."

"\'The Wheel of Life\'...serves as a powerful inspiration to spiritual aspirants...to look deeply into their own inner beings...it is an attempt to convey spiritual insights behind our \'physical existence\' in purely visual terms...(It) symbolically represents how...beings, who have not practiced the Dharma and liberated themselves, are bound in a cycle of existences whose very nature is suffering...One should intently and seriously contemplate the meaning of this wheel...Once this happens, the wish to be free of this mindless suffering is spontaneous and constant"

Perhaps the most admired and discussed symbol of Buddhist religion and art is the mandala, a word which, like guru and yoga, has become part of the English language. Its popularity is underscored by the use of the word mandala as a synonym for sacred space in scholarship world over, and by its presence in English-language dictionaries and encyclopedias. Both broadly define mandalas as geometric designs intended to symbolize the universe, and reference is made to their use in Buddhist and Hindu practices. The mandala idea originated long ago before the idea of history itself. In the earliest level of India or even Indo-European religion, in the Rig Veda and its associated literature, mandala is the term for a chapter, a collection of mantras or verse hymns chanted in Vedic ceremonies, perhaps coming from the sense of round, as in a round of songs. The universe was believed to originate from these hymns, whose sacred sounds contained the genetic patterns of beings and things, so there is already a clear sense of mandala as world-model.

"Coleridge is not known to have ever seen Ajanta but in his words reverberates the same mystique as one experiences when visiting Ajanta....imagery at times was closer to flesh rather than spirit....Even the figure of the monk Mahajanaka has been modeled much on sensuous lines.Ajanta sculptures reveal a conscious attempt at capturing the grace, sublimity and spirituality....Ajanta sculptures are mostly reliefs. The Mahayana variation of Buddhism promoted polytheism in Buddhism and with it the cult of worshipping Bodhisattvas emerged with an irresistible appeal. Endowed with humanistic qualities and spirit of self sacrifice, Bodhisattvas comprised more popular theme of Ajanta sculptures. As much significant is the presence of the child-eating evil spirited-goddess Hariti with a child in her lap. Most magnificent and glaring aspect of Ajanta is its mural art, which been the fountain-head of the entire painting tradition in India."

"The Buddhist art, which... revolutionized the art scenario of the entire ancient Indian sub-continent, was essentially a narrative art.... In that age with little literacy... oral and visual narration... was the traditional tool of... stimulating a mind to know; and, the Buddhist art seems to have best exploited it... Narration... was thus the prime or perhaps the only mode of communication in the entire ancient world, not India alone...Buddhist art was conceived thus more or less as a visual alternative of its scriptures, and narration was the essence of both...The legend of Buddha\'s life, in this birth as also in previous births, is the main subject-matter of Buddhist narratives...The events emerging...might belong to more than one story. This Buddhist model of narrative visual art...is the proto-model of India\'s visual narrative art."