White Tara Thangka (Brocadeless Thangka)

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The mantra associated with White Tara is "Om Tare Tuttare Ture Mama Ayuh Punya Jnana Pustim Kuru Svaha." This mantra is a powerful invocation of White Tara's blessings, especially focusing on the aspects of longevity, wisdom, and well-being. Devotees chant or recite this mantra as part of their spiritual practice, seeking the compassionate energy and healing qualities that White Tara embodies.

Explanation of the Mantra

"Om": Represents the universal sound, acknowledging the essence of the ultimate reality.

"Tare": Invokes the energy of Tara, signifying liberation from suffering.

"Tuttare": Represents the deliverance from mundane dangers and fears.

"Ture": Calls upon Tara's protective and purifying qualities.

"Mama Ayuh": Seeks the extension of one's lifespan.

"Punya Jñana Pustim Kuru Svaha": Requests blessings for virtuous qualities, wisdom, and abundance, concluding with the traditional term "Svaha" to affirm the sincerity of the prayer.

Devotees believe that regular recitation of White Tara's mantra brings about healing, protection, and spiritual well-being, fostering a connection with the compassionate energy that she embodies.

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.