Name: Buddhist Handmade Thangka Of Black Secret Accomplishment Hayagriva, 24k Real Gold, Hand Painted – 100 × 70 cm | Cotton Canvas and Mineral colors by – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME25347
Price: 1700.0 USD
Availability: InStock

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Buddhist Handmade Thangka of Black Secret Accomplishment Hayagriva, 24k Real Gold, Hand Painted
Product Specification
Code	HME25347
Size	Height 100cm (39") Width 70cm (28")
Weight	100 100 gm - 0.22 lbs
Material	Cotton Canvas and Mineral colors
Availability	Available

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Quantity	(Minimum Order Quantity: 1) PCS	US$ 1,280.00 $ 1,700.00 -25% off Shipping Cost
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Welcome to Handmade Handicraft

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Secret Accomplishment Hayagriva

A Hayagriva practice discovered as a treasure teaching (gter ma) by Nyemo Terton Sangye Wangchen (snye mo ba sangs rgyas dbang chen; aka rgya gong ri pa sangs rgyas dbang chen, 12th century) and Kyergangpa Chokyi Senge (1143-1216). Lama Kyergangpa was particularly devoted to the deity Hayagriva. Accordingly, in his dream practice, he visited the pure realm of Guru Padmasambhava repeatedly and received the full transmission of the "rta mgrin gsang sgrub" or "Secret Accomplishment Hayagriva." As advised by Guru Rinpoche, he also requested these transmissions from a treasure revealer in Tibet, known as Nyemo Terton. He greatly surprised the Terton with his requests for this practice because the Terton had kept his discovery of these teachings a complete secret. Two times the Terton withheld some secret oral instructions, only to be asked specifically for them later. Thus it became apparent that Kyergangpa could only have been advised to ask for them by Guru Rinpoche in person. Kyergangpa spread this teaching among his students and it eventually became popular with several lineages. Though a teaching cycle of the treasure or terma tradition, most commonly associated with the Nyingma tradition of Tibetan Buddhism, it became popular predominantly with the Sarma schools. This Hayagriva cycle of teachings continues to be practiced among Shangpa Kagyu practitioners to the present day, mainly in conjunction with the rituals of the Six-armed Mahakala, and is also very popular among various lineages of Gelugpa practitioners. The 3rd Tukwan, Lobzang Chokyi Nyima (thu'u bkwan blo bzang chos kyi nyi ma, 1737-1802), the great master of Gonlung Jampa Ling and 35th throne holder of the famous Kumbum monastery in Amdo in northeastern Tibet, wrote particularly many arrangements for this practice. [TSD] Read More

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Secret Accomplishment Hayagriva

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.