Tibetan Buddhist Mandala of Vajrayogini

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In Tantric Buddhism, the generative source of Buddhahood is symbolized as a double triangle Dharmodaya, "Arising of (All) Dharmas." It is also the quintessential symbol of the Yogins, as Mother of all Buddhas. The six-sided Meditational diagram painted in the center of the mandala represents the mandala of Vajrayogini/Vajravarahi, which is visualized as the womblike space within which the yogin reborn as Vajrayogini.

The core of the Vajrayogini mandala, the Dharmodaya is painted in red color, bounded by two plain circles. In the center is the bija mantra of Vajrayogini. The plain circles are followed by a circle of lotus petals. The six-points of the double triangle contain secret syllable mantra. The background of the area outside the double triangle is black and is replete with the figure of flowers in gold. This area is encircled with a circle of lotus petals. Thereafter there are three more outer circles – two circles in red and yellow color, and then the circle of petals.

The area inside the square of the mandala is decorated with rectangles containing flower. There are four gated in the square. Over the gates are houses with decorations. A Dharma wheel is in the upper center. Banners and umbrella are on either side of each gate outside the wall. A lotus petal circle border and a circle of syllable mantra surround the whole. The circle of syllable mantra is surrounded by outer circles of red and yellow, respectively. There is an outer circle of fire fence, after the yellow circle. The upper and lower corners of the painting is filled with auspicious symbols (ashtamangala).

The extended border of the thangka is decorated with auspicious symbols – the endless knot, and Chinese 'shou'. The painting is brilliantly drawn and painted and very much suitable for esoteric practices and sadhana.

Select Bibliography

B. Bhattacharyya, The Indian Buddhist Iconography,Calcutta, 1968

Geshe Kelsang Gyatso, Guide to Dakini Land: A commentary to the Highest Yoga Tantric Practices of Vajrayogini,1991

Robert A.F. Thurman, Inside Tibetan Buddhism: Rituals and Symbols Revealed, San Francisco, 1995

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

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.