Name: Jambhala namtose, Buddhist Handmade Thangka Painting, Tibetan style, Real Gold – 138 × 197 cm | Cotton Canvas &amp Natural Color by Namtose, Duowen Tian, Tamonten – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME30008
Price: 11000.0 USD
Availability: InStock

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Jambhala: Namtose, Buddhist Handmade Thangka Painting, Tibetan Style, Real Gold , God of Wealth and Prosperity Namtose Duowen Tian Tamonten
Product Specification
Code	HME30008
Size	Height 138cm (54") Width 197cm (78")
Weight	1800 1.8 kg - 3.97 lbs
Material	Cotton Canvas & Natural Color
Availability	Available

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Quantity	(Minimum Order Quantity: 1) PCS	US$ 8,250.00 $ 11,000.00 -25% off Shipping Cost
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Jambhala: namtose

Vaisravana or Vessavana, also known as Namtose in Tibetan, is one of the Four Heavenly Kings and holds significant importance in Buddhism. He is often depicted as a warrior-king and is associated with warfare. Vaisravana is known by various names in different cultures and languages, such as Kubera and Jambhala in Sanskrit, Kuvera in Pali, and Namtose in Tibetan. Read More

Iconography:
Vaisravana is typically portrayed with a yellow face and can be seen carrying an umbrella or parasol as a symbol of his sovereignty. He is sometimes depicted with a mongoose, which is shown ejecting jewels from its mouth, representing generosity. His mount is a snow lion.

History:
Vaisravana's character is based on the Hindu deity Kubera, but he has his own distinct functions and associated myths. He is considered the guardian of the northern direction and resides in the northern quadrant of Sumeru. Vaisravana is the leader of all the yaksas who dwell on the slopes of Sumeru.

Temples and Monasteries:
In Tibet, Vaisravana is considered a lokapala or dharmapala in the retinue of Ratnasambhava. He is often depicted on temple murals outside the main door. In Thailand, there is a prominent statue of Vaisravana at Wat Chulamanee temple in Samut Songkhram Province.

Benefit of Practicing:
The practice of Vaisravana is believed to bring benefits such as wealth and prosperity. He is considered a god of wealth and abundance. Devotees seek his blessings to attain material well-being and cultivate a mindset of generosity and detachment from greed.

How to Practice:
The specific practices and rituals associated with Vaisravana may vary across different Buddhist traditions. Generally, devotees can engage in prayers, offerings, and meditation to establish a connection with Vaisravana and seek his blessings.

Mantras:
The mantras associated with Vaisravana vary depending on the specific tradition or lineage. Some common mantras include "Om Vasudhare Svaha" and "Om Jambhala Jalendraye Svaha." These mantras can be chanted as part of the practice to invoke Vaisravana's blessings and protection.

The character of Vai?rava?a is founded upon the Hindu deity Kubera, but although the Buddhist and Hindu deities share some characteristics and epithets, each of them has different functions and associated myths. Although brought into East Asia as a Buddhist deity, Vai?rava?a has become a character in folk religion and has acquired an identity that is partially independent of the Buddhist tradition (cf. the similar treatment of Guanyin and Yama).

Statue of Vai?rava?a as the guardian at the royal crematorium of King Bhumibol Adulyadej of Thailand, 2017.

Vai?rava?a as the Seal of Udon Thani Province, Thailand

Tamonten statue at T?dai-ji, Nara

Partly gilded Tibetan bronze statue of Vaisravana (Jambhala) sitting on a snow lion and holding a mongoose in his left hand. 18th century

Vai?rava?a is the guardian of the northern direction, and his home is in the northern quadrant of the topmost tier of the lower half of Sumeru. He is the leader of all the yak?as who dwell on the Sumeru's slopes.

He is often portrayed with a yellow face. He carries an umbrella or parasol (chakra) as a symbol of his sovereignty. He is also sometimes displayed with a mongoose, often shown ejecting jewels from its mouth. The mongoose is the enemy of the snake, a symbol of greed or hatred; the ejection of jewels represents generosity.

Use of Real Gold

This thangka of Jambhala: namtose 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.