Name: Sahasrabhuja Avalokitesvara Thangka, Buddhist Traditional Painting, Tibetan Style, Real Gold, Oiled Thangka, Old Stock – 103 × 70 cm | Cotton Canvas &amp Natural Color by – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME29727
Price: 1900.0 USD
Availability: InStock

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Sahasrabhuja Avalokitesvara Thangka, Buddhist Traditional Painting, Tibetan Style, Real Gold, Oiled Thangka, Old Stock
Product Specification
Code	HME29727
Size	Height 103cm (41") Width 70cm (28")
Weight	500 500 gm - 1.1 lbs
Material	Cotton Canvas & Natural Color
Availability	Available

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Quantity	(Minimum Order Quantity: 1) PCS	US$ 1,430.00 $ 1,900.00 -25% off Shipping Cost
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Sahasrabhuja Avalokitesvara

Sahasrabhuja Avalokiteshvara the Thousand-Armed, Thousand-Eyed form of Avalokiteshvara, the Bodhisattva of Infinite Compassion. Each of the 1,000 hands represents his boundless ability to help all sentient beings, while the eye in each palm symbolizes wisdom and omnipresent awareness.
This form embodies the limitless compassion and active assistance Avalokiteshvara offers to beings suffering in samsara (the cycle of birth and death). He reaches out in all directions at once, offering protection, healing, and spiritual guidance. Read More

Short History & Symbolism

According to legend, Avalokiteshvara vowed never to rest until he had liberated all beings from suffering. Seeing the endless pain in the world, his body shattered into pieces. Amitabha Buddha, his spiritual father, reassembled him in this form with a thousand arms and eleven heads, enabling him to better serve all beings.

This form is especially revered in Tibetan Buddhism, where he is known as Chenrezig. He is considered the patron deity of Tibet, and his compassion is central to many daily practices.

Mantra

Om Mani Padme Hum

Spiritual Insight

1,000 Arms: Active compassion in every direction

Eyes in Palms: All-seeing wisdom, aware of every suffering being
Multiple Heads: Expanded awareness and higher consciousness
Central Hands: Often hold symbolic items like lotus, mala, or vase

Old Stock Thangka

This Sahasrabhuja Avalokitesvara is our old stock collection, Experience the captivating allure of the "Timeless Splendor" thangka painting, a rare and extraordinary masterpiece that embodies the essence of ancient artistic traditions. Created approximately 15 to 20 years ago, this painting showcases the meticulous artistry and devotion of a single artist, who skillfully prepared the canvas and brought the artwork to life.
The age of this painting adds to its rarity and significance. With its creation dating back 15 to 20 years, it carries the legacy of traditional artistic techniques. Once this collection is sold, no more paintings of its kind will be produced, making it an extraordinary find for art enthusiasts and collectors.
What sets this thangka painting apart is the genuine and thick layers of gold meticulously applied by the artist. The result is a resplendent and opulent appearance that captivates the viewer's gaze. Unlike contemporary practices where different artists handle different aspects of the painting, this unique artwork is a testament to the singular vision and talent of one artist, ensuring a harmonious and unified composition. Read More

About Oil Antique Finishing

The Sahasrabhuja Avalokitesvara Thangka, featuring an oiled antique finish, is a remarkable and captivating work of art. This thangka has undergone a finishing process that involves the application of a special varnish, resulting in an antique appearance. The intention is to create the impression that the painting has been graced by the presence of butter lamps over an extensive period. Read More

Use of Real Gold

This thangka of Sahasrabhuja Avalokitesvara has real gold painted on its surface along with other paints. This is an ancient process of decorating the thangka in Tibetan Buddhism, Here gold is ground into gold dust, which is then mixed with other undisclosed material to make it paintable on the canvas. this mixture is then mixed with transparent glue and painted on the thangka. Read More

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.