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Handmade Handicraft believes in simplicity which is why we designed a very user friendly website. Everything is just a click away.
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This is another painting by Mrs. Sabaita Hingaju. As the thangka dealer we cannot really judge this art to the fullest. This painting good on it own way, This is handmade painted Manjushri with water color. We don't know the actual business of these type of painting so we have priced so we can seller faster and motivate her to painter better on the canvas we are comfortable with.
Manjushri
Manjushree is a Sanskrit word meaning 'gentle glory'. In Sanskrit shree means 'glorious or honorable' His name means who embodies enlightened wisdom. He confers mastery of the Dharma, wisdom, and eloquence and teaches the path of a bodhisattva in the Mahayana tradition.
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Commentary Manjushree is the Bodhisattva who holds the flaming sword [Skt. Khadga] of enlightenment, by his left hand in a warning( Tarjani) hand gesture ( Mudra) in his left hand representing his realization of wisdom to cut through ignorance & wrong view. His right hand depicted in teaching (Jnana Mudra) holds the stem of a Blue Lotus (Utpala) flower upon which rests the Book (Pustaka) of Perfection of Transcendental Wisdom. The blue lotus is a symbol of the victory of the spirit over the senses and signifies the wisdom of knowledge. This represents the lotus that he obtained from the middle of the lake in the Kathmandu Valley out of which grew a lotus bearing a Blue Flame which represents wisdom. Manjushree sits upon a moon disc upon a lotus with an elongated stem arising from a lake. He wears a gold diadem fitted with precious jewels. He wears a silk scarf fastened at the waist and over this, a softly glowing green scarf decorated with golden motifs. His head is silhouetted against a nimbus. The lotus he is sitting on has an elongated stem and arises from a lake representing his recovery of the blue flame of transcendent wisdom and the teaching he originated. The white sash is the attire of the Vajrayana school of Buddhism.
According to legend, Manjushree founded the Nepalese civilization. In ancient times, way before Buddha Shakyamuni the Kathmandu Valley was a vast lake. The Buddha Vipashyin came to Nepal to meditate on the hill above the lake. Wishing to give the rough mountain people an object of worship, Vipashyin threw a lotus seed into the lake. When this lotus bloomed, a blue flame of wisdom light shone from the center of its thousand petals. This light was called the Swayambhunath Dharmadhatu, the Self-Sprung Infinite Field of Light, and the flame of the enlightened mind of the primal Buddha, Vajradhara burned at its center. The light of Vajradhara also emanated in the colors of the rainbow and in each of the five colors appeared one of the Five Buddhas - Vairochana, Akshobhya, Ratnasambhava, Amitabha, and Amoghasiddhi. Then Manjushri went to Nagarkot Peak on the edge of the lake, and after having pondered in Samadhi how best the lake may be drained, with his keen-edged sword of wisdom he cut three Gorges. After the lake had been drained and the Valley bottom made suitable for cultivation Manjushree founded the city of Patan which was originally called Manjupattan. He taught the people many things. Manjushree manifests himself in the form of Yamantaka, known also as Vajrabhairava in order to overcome the lord of Death, Yama.
The Book (Pustaka) represents Transcendent Wisdom which came to be embodied by the Dyani {Pancha} Buddha Families. The book symbolically contains Buddhist teaching that had been lost to mankind & which was revealed to Manjushree. The book is commonly mistaken for the Prajna Paramita which was written by many hands between 100 & 200 CE realizing the Boddhisattva Principle. The book of Manjushree alludes to Wisdom and the emanation of the Five Transcendent Buddha Families. These are Vairochana, Akshobhya, Ratnasambhava, Amitabha & Amoghasiddhi. Wisdom Energy is a power that can extinguish the Five Negative afflictions. Each family heads wisdom and energy to overcome these Five hindrances to enlightenment which are greed, hatred, delusion, jealousy & pride.
Newari Paubha
This Manjushri is a newari thangka or Paubaha, Paubha, also known as "paubhas," is a traditional religious painting created by the Newar people of Nepal. These exquisite artworks depict various subjects, including deities, mandalas, and monuments, and serve as aids for meditation and spiritual practices. Paubhas are similar to Tibetan Thangka paintings and are highly regarded for their religious and cultural significance.
While most paubhas portray Buddhist subjects, there are also a few that incorporate Hindu themes. The creation of these paintings is seen as a means of earning religious merit for both the artist and the patron. Newar Buddhists often commission skilled artists, primarily from the Chitrakar caste (known as Pun in Nepal Bhasa), to paint paubhas that are displayed during festivals and special occasions.
One remarkable paubha, depicting Amitabha Buddha, is housed in the Los Angeles County Museum. Believed to be from the 11th century (Nepal Sambat 485), it showcases the artistic prowess of Newar painters. Their skill made them highly sought-after throughout the Himalayan region and even as far as China. In fact, Newar artists and merchants played a significant role in spreading the art of paubha to Tibet, where it evolved into the Tibetan thangka style.
The Newar people's mastery of paubha painting highlights their rich artistic heritage and their devotion to Buddhism. These intricate and spiritually meaningful artworks continue to be cherished and admired both within Nepal and internationally. They stand as a testament to the profound artistic traditions of the Newar community and their cultural contributions to the wider Himalayan region.
The painting Paubhas are painted on a rectangular piece of canvas. It is prepared by applying a mixture of buffalo glue and white clay on it. The surface is then rubbed with a smooth stone to give it polish. The painting is done according to the rules and dimensions handed down by tradition, and artists cannot exercise their creativity.
The paint is made from minerals and plants. Gold and silver paint are also used on paubhas. The eyes of the deity are painted when the rest of the painting has been completed, and is known as "mikh? ch?yekegu" (opening the eyes). Brocade is sewn to the edge of the paubha to make a frame for display.
From a composition perspective, the surface of Paubha is usually occupied of a large figure in the center that is placed inside a shrine and surrounded by registers of smaller figures on the sides; the background is usually filled in with natural elements such as rocks rendered in abstract patterns. The color is often deep and subdued with subtle shadings of the figures and exquisite renderings of details that are the hallmarks of early Nepalese paubhas
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Introduction to Thangka
A thangka, also known as tangka, thanka, or tanka, is a vibrant and intricate Tibetan Buddhist painting that serves as a visual representation of spiritual teachings. Crafted with meticulous detail on cotton or silk appliqué, thangkas depict a wide range of subjects including Buddhist deities, sacred scenes, mandalas, and narrative stories. These sacred artworks are traditionally kept unframed and rolled up for storage, resembling ancient scrolls. To protect their delicate nature, thangkas are mounted on textile backings and often adorned with a silk cover on the front. Proper preservation in dry environments is crucial to maintain the integrity and longevity of the silk.
These sacred paintings serve as objects of contemplation, inspiration, and instruction, guiding practitioners on their spiritual path. Thangkas provide a visual gateway to the world of Tibetan Buddhism, encapsulating its rich symbolism, iconography, and spiritual concepts. With their vibrant colors, intricate patterns, and skillful craftsmanship, thangkas offer a profound visual medium for deepening one's understanding and connection to the teachings of Buddhism.
Thangkas come in various sizes, ranging from small pieces resembling Western half-length portraits to grand-scale creations spanning several meters in each dimension. While the larger thangkas are intended for temporary display during religious festivals, the majority of these artworks are designed for personal meditation or as educational aids for monastic students. The compositions of thangkas are meticulously crafted, featuring intricate details and often incorporating numerous small figures. A central deity or focal point is typically surrounded by a symmetrical arrangement of other divine beings, symbols, or narrative elements that convey profound spiritual teachings.
How is Thangka made
First, the canvas on which the painting is to be executed is laid on a wooden frame to determine the required dimensions. This canvas is an extremely finely woven cotton material, referred to in the Holy Scriptures as "Çura Canvas".
Then the canvas is cut, hemmed and, with the use of sturdy strings, very tightly mounted in the wooden frame. Painting is carried out with the frame in an upright position, without any further rigid support or backing.
In this studio, our primary artist, who works virtually exclusively for us, applies the undercoat consisting of a mixture of chalk and glue to the canvas by hand. Other Thangka workshops have turned to mainly using industrially pre-primed canvas.
This photo shows how the canvas, after receiving its base coat followed by a second coating of bone glue, is polished and smoothed by hand with a stone to attain a perfectly smooth, featureless painting surface. Through this process the canvas becomes quite rigid, thereby providing perfect conditions to evoke very finest artistic detail and over-all superior painting quality.
Using a different Thangka, we see how, after mounting, the complete basic pattern of the respective theme is applied to the canvas.
The following picture shows the steps in creating a gold-based Thangka, such as our No PH 9, the "Holy Mount Kailash". To achieve more intensive colour, yet another prime coat, in ochre, is applied, followed by a coat of pure gold. The so-called Thangka painting gold is traditionally produced by members of the Newar people in Nepal. 24-karat gold is ground to finest powder and mixed with bone glue and water in proportions suitable for direct use in painting. Thus, the Thangka gold is not gold leaf at all! Silver can be processed and used in the same way: Mount Kailash and the surrounding peaks in our completed Thangka were not painted with white paint, rather with precious silver.
Here, the nearly completed piece has been removed from the wooden frame. Now only the very finest finishing touches remain to be added, such as compacting the gold and giving Mount Kailash its silver mantle.
K. Lama regarded his already half-finished thangka proudly
The Mount Kailash Thangka, including the black margin (which can also facilitate the fastening of a traditional brocade frame), is now complete. Only the background gold must be compacted in the places where it is later intended to exhibit a sheen.
Here we see an old ballpoint pen casing into which a specially cut agate has been fitted. The back of this semi-precious stone is slightly concave and can be used to compact gold over extensive areas of the Thangka, while the blunt point is used to lineally compact gold, thus creating a shiny effect.
In this way, through partial compaction of the gold or refraining from compaction, nearly three-dimensional effects can be achieved. The glorious sheen of gold artistically treated in this way richly rewards the beholder or meditator with a Thangka possessed of an extraordinarily aesthetic aura.
