Buddhist Mandala Thangka

£125.00

Out of stock

Buddhist Mandala Thangka

£125.00

 

Buddhist mandalas are sacred representations of the universe, and are used in meditation, rituals and architecture. They are primarily associated with Tibetan Vajrayana Buddhism, but other Buddhist branches also use them.

Mandalas make extensive use of sacred geometry and symbolism. Sacred geometry is present in the art and architecture of many religions, including in the floor, wall and window patterns of some Catholic cathedrals, Islamic mosques, and Jewish synagogues. Visual mandalas are also used in yogic branches of Hinduism as meditative aids. The philosophy behind sacred geometry is that the symmetry, balance, and relationships of basic geometric shapes mirror the cosmology of the universe.

In the case of Tibetan Buddhism, each mandala represents a sacred space, and a pure expression of a particular Buddha’s enlightenment, including the states of awareness most closely associated with that Buddha, such as compassion, bliss, or wisdom. Meditating on a mandala provides a way for a practitioner to ‘enter’ that sacred space, and experience those enlightened states of awareness, on the path to his or her own enlightenment. Within samsara, or delusional existence, mandalas serve as a doorway for practitioners into these realms of enlightenment.

Condition:

Hand painted on what appears to be silk in a modern frame.

The detail on this piece is truly stunning.

Measurements:

Width: 40cm
Height: 51cm

Shipping:

Can be sent worldwide
Please enquire for a shipping quote outside the UK.

Out of stock

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A thangka is a Tibetan Buddhist painting on cotton, or silk appliqué, usually depicting a Buddhist deity, scene, or mandala. Thangkas are traditionally kept unframed and rolled up when not on display, mounted on a textile backing somewhat in the style of Chinese scroll paintings, with a further silk cover on the front. So treated, thangkas can last a long time, but because of their delicate nature, they have to be kept in dry places where moisture will not affect the quality of the silk. Most thankas are relatively small, comparable in size to a Western half-length portrait, but some are extremely large, several metres in each dimension; these were designed to be displayed, typically for very brief periods on a monastery wall, as part of religious festivals. Most thankas were intended for personal meditation or instruction of monastic students. They often have elaborate compositions including many very small figures. A central deity is often surrounded by other identified figures in a symmetrical composition. Narrative scenes are less common, but do appear.

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