The art of Thanka Painting is very old and has been practived from the 3rd century BC in Tibet. The word "Thanka" is estimated to have derived from the Tibetan word "thang yig" meaning a written record. Thankas are fine paintings that are made with great care and concentration all by hands. The tradition was not only inside Tibet and the Tibetan community it soon spread to those who adopted Tibetan Buddhism learned this wonderful art so Thakali, Sherpas, Tamangs, Yolmos, Manangeys and Newars started creating the beauty. According to religious culture, Thanka can be stored at room sanctifies worship with holy water mumbling mantras to animate Thankas mystical power and puts kada or khata(two feet long silk cloth) on it. Since then, the devout use to divest its head before it at the time of worship especially in the morning. These paintings are generally colored part Buddhist and Hindu Gods, Goddess, meditating Buddha and its life cycle, Wheel of Life, Mandala, Bhairab, Tara, Exotic photos, etc.
As Thanka ritual paintings are most people have never considered the Thankas as decorative object. But nowadays Thankas are gaining popularity as a decorative element throughout the world. Usually painted on cotton cloth, more rarely on silk, colors are traditionally made from mineral and vegetable dyes, but now a day Tibetan artists also use modern synthetic dyes, silver and gold for better presentation.
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Guru Padmasambhav also Guru Rinpoche, the Precious Master — is revered throughout the Himalayan ranges as a Second Buddha. Invited from India in the eighth century to subjugate the forces inhibiting the spread of Shakyamuni's teachings, Guru Padmasambhav managed to transform hitherto hostile powers into guardians and protectors of the pure dharma and, in the process, left an indelible mark on the entire Himalayan region. In quite a literal sense, Guru Padmasambhav's mark is to be found throughout the Himalayan ranges in and around the many caves Guru Padmasambhav used for meditation. At these sites one can still see handprints and footprints of the Precious Master impressed into solid rock, mute testimony to the extraordinary power this fully accomplished yogi and tantric magician exercised over the external and internal elements. Now, in the pure depth of the heavens, Vajrasattva, allowing the Metamorphic Body to be seen, seared upon an elephant, holding a golden vajra to his heart with his right hand, and with his left hand holding a silver bell at his side, crowned with the ornaments of the Five Transcendent Buddhas, his body covered with all the perfect ornaments, decorated with bones at the shoulders, at the wrists, and at the ankles, brilliant with the white glitter of crystal. Perfectly learned in the Mahayoga, Vajrasattva reveals as a dwelling the celestial palace of the three Baskets, reveals as gods and goddesses the whole internal essence, reveals as Mantra the entire murmur of the words, reveals as enchantments everything which is of body, speech, and mind. And Guru Padmasambhav sets forth the Tantras of the Mahayoga, which are, according to the whole classification, five hundred thousand, and the whole of which forms the eighteen root Tantras.
Guru Padmasambhav embodies the ultimate attainment of the Vajrayana and the power, both temporal and spiritual, associated with this peerless attainment. These powerful attributes show Guru Padmasambhav wearing an expression of great force and concentration while holding various implements of power such as the Vajra scepter, skull – cup and trident staff called Kathvanga. His right hand brandishes a Vajra, while the left hand, resting on his lap, supports the Vase of immortality. Guru Padmasambhav is dressed not only in the robes of a monk but also in the garments of a king to indicate that Guru Padmasambhav is a member of both worldly and religious royalty.
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