Five Dhyani Buddhas (Tibetan Buddhist Deity)

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In this museum-quality thangka painting, the enlightened consciousness of the great Buddha Himself has been resolved into five symbolic entities, each replete with Its respective mudras and hues. Each of the tathagatas also stands for a distinct direction pertaining to the individual as the centre of the universe; influences a part of the meditating individual's anatomy; and has Its own consort as well as Vahan. Painted on the finest canvases fashioned in the Orient, this thangka features the characteristic roseate clouds of Chinese art, a major influence on Tibetan painting, and luxuriant florals in pastel shades and tints (for example, the wreathed aureole of each tathagata and Their respective offerings and lotus thrones).

Tathagata Akshobhya, or the Unshakable One, stands for the direction of sunrise, the East. Of a complexion as blue as the dawn itself, the mudra is bhoomisparsha (earth-touching mudra), which the Buddha is said to have adopted the moment He attained enlightenment, in a bid to gather the earth as witness to the experience. Akshobhya stands for the sense of sound; is a manifestation of the element of water at once soothing and tenacious; and regulates the circulatory system of the meditating individual. Akshobhya conquers over the deterrence of anger and hatred to embody clear, self-reflecting wisdom.

Tathagata Ratnasambhava, or the Jewel-born, lords over the South. The earthy yellow complexion complements the tranquil varada mudra (bestowing mudra), which the Buddha adopted to bless His seeking devotees. Ratnasambhava represents the sense of scent, is a manifestation of the earth and all its nourishing and life-endowing qualities, and regulates the flesh and the spleen of the individual who meditates upon Him. One who meditates upon Ratnasambhava will conquer one's pride and miserliness and emerge with a divine sense of equality.

The tathagata at the centre is Vairochana or the Illuminated One. The pristine complexion of this tathagata is a manifestation of the all-encompassing dharmadhatu wisdom that triumphs over ignorance and delusion. His is the quintessential Buddhist dharma chakra mudra (wheel of dharma or life) that espouses the Buddha's qualities as the supreme teacher of life. Vairochana stands for the fifth element expounded in ancient Oriental texts, ether; is a projection of the sense of sight; and influences the heart and energy channels of the meditative seeker.

Next to Vairochana is Tathagata Amitabha, or the Infinite Light. He is of the West and immersed in the deepest meditative trance, the dhyana mudra. His fiery red complexion owes to the overpowering emotions of lust and desire, which have been replaced with invincible discriminating wisdom. Amitabha resides in the temperature and the liver of the body of the meditating individual, and in the element of fire outside it.

The final tathagata is Amogasiddhi or the Conqueror. Of a tranquil green complexion, Tathagata Amogasiddhi represents the direction of the North and has the Abhaya (fearlessness) mudra. His element is air and He embodies the sense of touch. He is not only a master of the respiratory system of the meditating individual but also overcomes jealousy and fear in order to embody the wisdom of compassion.

Unveiling the Divine Art: Journey into the Making of Thangkas

A Thangka is a traditional Tibetan Buddhist painting that usually depicts a Buddhist Deity (Buddha or Bodhisattva), a scene, or a mandala. These paintings are considered important paraphernalia in Buddhist rituals. They are used to teach the life of the Buddha, various lamas, and Bodhisattvas to the monastic students, and are also useful in visualizing the deity while meditating. One of the most important subjects of thangkas is the Bhavacakra (the wheel of life) which depicts the Art of Enlightenment. It is believed that Thangka paintings were developed over the centuries from the murals, of which only a few can be seen in the Ajanta caves in India and the Mogao caves in Gansu Province, Tibet. Thangkas are painted on cotton or silk applique and are usually small in size. The artist of these paintings is highly trained and has a proper understanding of Buddhist philosophy, knowledge, and background to create a realistic and bona fide painting.

The process of making a thangka begins with stitching a loosely woven cotton fabric onto a wooden frame. Traditionally, the canvas was prepared by coating it with gesso, chalk, and base pigment.

After this, the outline of the form of the deity is sketched with a pencil or charcoal onto the canvas using iconographic grids. The drawing process is followed in accordance with strict guidelines laid out in Buddhist scriptures. The systematic grid helps the artist to make a geometrical and professional painting. When the drawing of the figures is finalized and adjusted, it is then outlined with black ink.

Earlier, a special paint of different colors was made by mixing powdered forms of organic (vegetable) and mineral pigments in a water-soluble adhesive. Nowadays, artists use acrylic paints instead. The colors are now applied to the sketch using the wet and dry brush techniques. One of the characteristic features of a thangka is the use of vibrant colors such as red, blue, black, green, yellow, etc.

In the final step, pure gold is coated over some parts of the thangka to increase its beauty. Due to this beautification, thangkas are much more expensive and also stand out from other ordinary paintings.

Thangka paintings are generally kept unrolled when not on display on the wall. They also come with a frame, a silken cover in front, and a textile backing to protect the painting from getting damaged. Because Thangkas are delicate in nature, they are recommended to be kept in places with no excess moisture and where there is not much exposure to sunlight. This makes them last a long time without their colors fading away. Painting a thangka is an elaborate and complex process and requires excellent skills. A skilled artist can take up to 6 months to complete a detailed thangka painting. In earlier times, thangka painters were lamas that spent many years on Buddhist studies before they painted.