Guhyasamaja in Yab-Yum

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Guhyasamaja, associated with the Buddha Akshobhya, is the most ancient and fundamental Tantra of Vajrayana tradition of Buddhism. Padmavajra in his work Guhyasiddhi cites it under the name of Shrisamaja as the most authoritative. In this all the components of the Five Tathagatas, mudra, kula, prajna, their colours and directions, form and meaning were clearly systematized.

Akshobhyavajra is dark blue in colour as distinct from the light blue complexion of his consort, with three faces, which are white, dark blue and red, and six arms. The original hands crossed against the breast hold a vajra and ghanta which express phenomenal polarities. They are in the vajra-humkara-mudra, and at the same time hold the consort (prajna) in tight embrace. The vajra-humkara-mudra symbolizes steadfast, unshakeable exertion. The upper right and left hands hold a chakra (wheel) and flaming jewel (mani), respectively. The two lower hands hold a lotus and sword of wisdom (prajna-khadga).The Gurla Mandhata in Western Tibet is considered to be his paradise.

The consort Adhiprajna is consubstantiated with Guhyasamaja, who she encircles, and possesses the same attributes. She has three faces: red, light blue, and white. Her original hands embrace the yab at the back, the upper hands hold the flaming jewel (mani) and wheel (chakra), while the lower ones carry the sword of wisdom (prajna-khadga and lotus. Both the deities are adorned with the costumes and ornaments of a Bodhisattva.

Guhyasamaja Akshobhyavajra Yab-Yum are depicted separately and in the mandala of 32 deities. According to the Guhyasamaja-Mahakalparaja, the central deity of the mandala of Akshobhyavajra is Vajradhara, the cosmic consciousness, spotless brightness, which owing to its inner law, must expand into manifold universe, gradually disintegrating in the process, but finally returning to initial unity. Vajradhara in the mandala is Akshobhyavajra who multiplies and irradiates in five ways, symbolically arranged in a mandala with a centre and four cardinal points.

In Tibet, Akshobhyavajra is particularly favoured by the Geluk Order, most likely for the antiquity of his texts. The Guhyasamaja Tantra, translated in the 8th century A.D., was one of the first Sanskrit works to be translated into Tibet. The present painting is very much significant for the secret tantric sadhana. The composition, colour-combination, and background of the painting are brilliant.

Select Bibliography

A. Getty, The Gods of Northern Buddhism, Tokyo, 1961.

A. K. Gordon, The Iconography of Tibetan Lamaism, New York, 1939

B. Bhattacharyya, The Indian Buddhist Iconography, Calcutta, 1958

B. Bhattacharyya (Ed.), Guhyasamaja-Tantra, Baroda, 1931

Marylin M. Rhie & Robert A. F. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, New York. 1996

P. Pal, The Art of Tibet, New York, 1969

This description by Dr. Shailendra K. Verma, his Ph.D. thesis being "Emergence and Evolution of the Buddha Image (From its inception to 8th century A.D.)."

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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.