Name: Dorje Drolo Wrathful Guru Rinpoche Form Tibetan Thangka Painting with Powerful Symbolism – 60 × 45 cm | Cotton Canvas by Dorje Drolo, Duozhi Zhuolu, Kongo Doraku – Handmade Handicraft
Brand: Handmade Handicraft
SKU: HME37306
Price: 90.0 USD
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Dorje Drolo Wrathful Guru Rinpoche Form Tibetan Thangka Painting with Powerful Symbolism , Wrathful Guru, Fierce Manifestation of Padmasambhava, Taming Negative Forces Dorje Drolo Duozhi Zhuolu Kongo Doraku
Product Specification
Code	HME37306
Size	Height 60cm (24") Width 45cm (18")
Weight	150 150 gm - 0.33 lbs
Material	Cotton Canvas
Availability	Available

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Quantity	(Minimum Order Quantity: 1) PCS	US$ 68.00 $ 90.00 -25% off Shipping Cost
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Dorje Drolo

Guru Dorje Drolo is one of the Eight Manifestations of Guru Rinpoche, Guru Rinpoche in wrathful form riding upon a pregnant tigress. He assumed this manifestation in Paro Taktsang in Bhutan in order to bring the local deities and guardians under his control. Read More

At thirteen different places called 'Tiger's slair', Taktsang, Guru Rinpoche manifested in "the terrifying wrathful form of crazy wisdom", binding worldly spirits under oath to protect the spiritual treasures, deep teachings and sacred objects of tantra from becoming mixed, diluted or lost in distant future and in order to maintain their blessing powers afresh by future followers and serve the Dharma. He was then known as Dorje Drolo 'Wild Wrathful Vajra'.
He then dwelled in the cemetery known as the Pile of the Worlds, turning the Wheel of the Dharma for the dakinis for five years. At the end of this time, he received the name Guru Dorje Drolo, a wisdom form, an expression of the rainbow body emanated in the final days before Padmasambhava's departure from Tibet. Dorje Drolo made many prophecies and multiplied sacred teachings through his meditative powers, securing the commitment of local spirits to extend their protection across generations. Dorje Drolo is the Buddha oriented towards the welfare of practitioners in the future - our present degenerate age.

As Dorje Drolo, Padmasambhava fearlessly treads underfoot the ever deceptive ego and severs karmic entanglements by wielding his three-edged phurba. By subduing the self-created demons and fascinations of individual predispositions, he reveals the apparitional nature of all selfish aims and exposes the mind as utterly pure and receptive to whatever arises. He challenges every manifestation of negativity with an attitude that each life situation, regardless of its outward appearance, can prove to be an instruction in truth. Thus he has the power to overcome self deception and illusions created by human perceptions, and comfort beings with the cool radiance of the Dharma.

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.