Superfine Tibetan Buddhist Deity Manjushri Seated on Lion Brocadeless Thangka in Newari Style
Manjushri is known to be a Bodhisattva of transcendent wisdom. It is believed that he hails from the group of Dhyani Bodhisattva. He is generally represented like a prince decked up in Bodhisattva ornaments. In this brocade less Thangka he is seated on lion so he can be also named as ‘Manjughosa’. When Lord Buddha evoked a golden ray from his forehead it struck a jambu-tree and as a result, lotus sprang from the tree and from that lotus prince of sages, Manjushri was born.The color of Manjushri’s body is yellow and he is majestically seated on a lion. A roseate halo surrounds the crown lying on the head of a lord which is slightly tilted towards left. He has a sword in his right hand to erase the ignorance that obstructs the way of his devotees in gaining enlightenment and on a left shoulder rests a blue color lotus on which lies a small book, a symbol of transcendent wisdom. It is a manuscript of ‘Prajnaparamita’. The upper torso is adorned with beautiful ornaments and the thread of life while the waist is covered with superfine garments. He is seated in the position called ‘lalitasana’ wherein his left leg rests on a flower and the other leg bends from the knee and rests on the back of the lion who is looking in the direction of the lord. He is seated on the pistil of full-bloomed lotus. One can see the plethora of lotuses in different colors and sizes in a view behind the lord._x000D_
The landscape around the lord is very picturesque. There is an idyllic lake surrounded with mountains and dark deep-colored clouds against the deep blue sky are astounding. The traditional Tibetan motifs on the border of the painting enhance its beauty. The vast palette of rich, bright, and colorful colors captures the essence of the theme. _x000D_
Tibetan Thangka Painting_x000D_Size - 20 inches X 25.5 inches_x000D_
At The Core Of Tibetan Culture
The sheer diversity to be discovered in the artistic milieu of Tibet betrays the fact that either the ateliers of different sixteenth-century cities had considerable means of communication or the artists were actually itinerant. Because very few thangkas from before the thirteenth century have survived the ravages of time, the rich divinations made are drawn from sculptures and manuscript illustrations. While the largest influence on Tibetan art has been art from further southwards - the subcontinent - the visualisation of even similar deities are fascinatingly distinct. Scholars explain this by citing that the information flow between the two regions had been textual and verbal, which left Tibetan painters free to forge their own style. The Pala kingdom (eighth-twelfth century) of Northeastern India has had the most conspicuous influence on thangkas, of all other Indian influences that could be deduced. While most of Pala art is lost to us, we could gauge from sculptures and manuscrips illustrations the adornments, the elongated eyes and lashes, and the aquiline noses. Upon the Islamicisation of North India, some of the Indian Pala Buddhists put together a small community in Central Tibet and continued to produce their art, with the original Pala influences gradually dwindling. Contemporary thangka artists are no longer dependant on Pala tutelage, and what this endemic art form has evolved to today is the subject of admiration of art devotees across the world.
Thangkas are one of Tibet's most sacred gifts to humankind. Through contemplation on the subjects of the thangkas, the devotee is meant to transcend one's coarse, earthy surroundings into a realm that is defined by compassion and wisdom. Compassion and wisdom lie at the core of modern-day Tibetan culture, having evolved from a warring people with a lust for material conquest. The truth revealed in these thangkas are ultimate and divine, the highest of the high as art flows into every aspect of life - wares, textiles, and home decor and even the home itself. Of superlative gorgeousness and meaning, thangkas are the crown jewel of Tibetan art and culture. It is said that these paintings are the door through which the wisdom and the compassion of the deities emerge shining into our realm of existence.