Name: Tibetan Thangka of White Jambal, Red – 60 × 42 cm | Cotton Canvas by Dzambhala Karpo, Bai Zhanbala , Hakuzambara – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME18638
Price: 100.0 USD
Availability: InStock

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Tibetan Thangka of White Jambal, Red , Wealth deity, granting prosperity and financial stability Dzambhala Karpo Bai Zhanbala Hakuzambara
Product Specification
Code	HME18638
Size	Height 60cm (24") Width 42cm (17")
Weight	100 100 gm - 0.22 lbs
Material	Cotton Canvas
Availability	Available

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Quantity	(Minimum Order Quantity: 1) PCS	US$ 75.00 $ 100.00 -25% off Shipping Cost
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White Jambhala

Jambhala (also known as Dzambhala, Dzambala, Zambala or Jambala) is the God of Wealth and appropriately a member of the Jewel Family (see Ratnasambhava). He is sometimes equated with the Hindu deity Kubera. Jambhala is also believed to be an emanation of Avalokitesvara or Chenrezig, the Bodhisattva of Compassion. There are five different wealth Jambhalas; each has his own practice and mantra to help eliminate poverty and create financial stability.
Gyalten Sogdzin Rinpoche said that Jambhala is the protector of all Lineages and of all sentient beings from all sickness and difficulties. Jambhala is a Bodhisattva of material and spiritual wealth as well as many other things, especially of granting financial stability.
”Because in this world, there are all kinds of wrathful and negative emotions or bad spirits, and sometimes they will harm you and other sentient beings, Dzambhala must take on such a wrathful and powerful form to protect us from these harmful spirits and negative karma. Especially, Dzambhala helps us minimize or decrease all misfortunes and obstacles and helps us increase all good fortune and happiness.” Read More

About White Jambala

White Jambhala (or Dzambhala Gapee in Tibetan) is the compassionate manifestation of the Bodhisattva Chenrezig (Guan Yin). He can remove the suffering of poverty and sickness, purify non-virtuous karma and karmic obstacles, avert disaster and sickness, and evolve bodhicitta mind.

The Tibetan legend said that a revered high lama, Atisha, was walking alone when he found a man starving and near death. After looking around and unable to find food for the old man, he cut flesh from his own body and offered it to the starving man. But the man refused to eat of his flesh. Being depressed and not knowing how else to help the man nearing death, Lama Atisha sat down next to him. At that point there was a blinding bright white light and before Atisha appeared Chenrezig of Compassion. He told Lama Atisha that he was going to manifest himself as the God of Wealth, Jambhala, and assure that those in poverty would suffer no longer.

As the manifestation of Avalokitesvara Bodhisattva, White Jambhala was born from his right eye. He sits on a snow lion, although some artists depict him sitting on a dragon, and a mongoose in his left hand spits out precious diamonds and ornaments. White Jambhala has white colored body. He also holding a Wealth Banner in his left arm and a gold sword in his right. The Mantra of White Jambhala is:

Om Padma Krodha Arya Jambhala Hridaya Hum Phat
When cultivating the "Dragon-ridding White Jambhala Practice", the practitioners can also pray that he will lead them to hidden treasures. In the olden days, Tibetan Tantric masters placed their precious teachings in caves. These teachings were sealed in the four elements of "earth, water, fire and wind". One needs to employ very special methods to retrieve these Dharma treasures. One must also know the location of the caves where these ancestry masters had practiced in seclusion. The practitioners may pray to the "Dragon-ridding White Jambhala" so that he will bring them to these caves where the treasures were hidden.

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.