Name: Black Jambhala Thangka, Buddhist Traditional Painting, Tibetan Style Karma Gadri Art – 60 × 45 cm | Cotton Canvas &amp Natural Color by Jambhala Karpo, Hei Jiambala, Kuro Jambala – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME29516
Price: 200.0 USD
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Black Jambhala Thangka, Buddhist Traditional Painting, Tibetan Style Karma Gadri Art , Buddha of Wealth, Removing Obstacles to Prosperity and Spiritual Growth Jambhala Karpo Hei Jiambala Kuro Jambala
Product Specification
Code	HME29516
Size	Height 60cm (24") Width 45cm (18")
Weight	200 200 gm - 0.44 lbs
Material	Cotton Canvas & Natural Color
Availability	Available

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Black Jambhala

The Black Jambhala is also known as the Hindu God of Wealth, Kubera. Originated in ancient India, he manifested from the waters of the river and gave the transmission of generating wealth to a king whose kingdom was undergoing extreme financial difficulties during that time. He also benefits the poor and those in solitary retreat that have a virtuous mind. Read More

Iconography

Popularized by Shakyasribhadra, holding a skullcup and mongoose, naked and wrathful in a standing posture. He is the God of Wealth in Tibetan buddhism. With august guise he treads on the back of yellow rich man. Jambhala, Black (Tibetan: dzam bha la, nag po), a wealth deity popularized in Tibet by Bari Lotsawa (b.1040) and the Kashmiri teacher Shakyashri Bhadra.

" ... the Lord Jambhala, with a body black in colour, having the appearance of a dwarf, naked, sexually aroused, pot-bellied, with pierced ears, three bulging bloodshot eyes, brown hair flowing upwards and bared fangs, in a standing position, the right leg bent, and the left straight. He has one head and two arms. The right hand holds the top of a skull in front of his chest as a blood container, and the left hand holds a mongoose expelling wish fulfilling jewels. On his head is a crown of five skulls in the shape of the five-Buddha crown; around his neck is a string of 50 pray beads made of human skulls, with five-color snakes as bracelets on hands, feet and neck. He shows anger on his face, standing with his right leg bent, his left leg extended, the right leg is extended pressing upon the head of the yellow Lord of Wealth, adorned with various gold ornaments, lying face down beneath Black Jambhala's feet." (Ngorchen Konchog Lhundrup, 1497-1557).

He is the manifestation of Amoghasiddhi Buddha by the request of Buddha Shakyamuni to turn the wheel of Dharma to benefit sentient beings who are suffering from poverty. He will enable all endeavors to be perfectly accomplished and purify all bad luck and obstacles, prevent theft, bad debts and loss of wealth. Jambhala has a black colored body. He is depicted in a standing position over a human body, symbolizes to subdue human’s ego and eliminate human’s greed. His right hand holding Gems Pot and his left hand holding an animal named Nehulay (mongoose) which spue out jewels from its mouth. Black Jambhala also wears a snake necklace on his body.

The Mantra of Black Jambhala is:

Om Jambhala Jalendraye Bashu Dharini Svaha and
""Om Indzali Mu Kam Dzamali Soha""

Karma Gadri Art

: Karma Gadri Tradition: An introduction
Description inspired from Images of Englitment.
This Custom of Tibetan thangka painting started from the creative ordered trials of the eighth Karmapa, Mikyö Dorje (1507-1554). He was one of the most prestigious Karmapas, a great contemplation ace as well as a productive, and student. Energetic about human expression and an imaginative visionary. He generally urged his devotees to master painting and cheered for this action.
The name Karma Gadri (gar-bris) came from the Karmapa settlements
It was set up when Mikyo Dorje and his company needed to travel. He composed an incredible book on craftsmanship named "the Incomparable Sun Workmanship Manual". It was beneficial for future craftsmen.
This thangka painting custom was likewise kept up within a spot called Karshoma, in eastern Tibet. To this end, the custom is known as Karshöma.
Since the source is from the eighth Karmapa, it is an unadulterated Tibetan way of painting thangka.

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.