The Vajradhara Refuge Tree is a powerful symbol of the Vajrayana tradition's commitment to the path of enlightenment. The tree represents the vast lineage of teachers and teachings that lead to enlightenment, and it reminds practitioners of the importance of following the path and relying on the guidance of their teachers.

Here is a more detailed description of the figures depicted in the thangka:

Vajradhara: The central figure in the thangka is Vajradhara, the primordial Buddha. Vajradhara is depicted as a peaceful and wrathful deity seated in the vajrasana posture. Vajradhara is considered to be the source of all Buddhas and bodhisattvas, and he represents the ultimate goal of the Vajrayana path, which is to achieve enlightenment and liberate all beings from suffering.

The Lineage of Sutra Teachers: The figures on the left side of the thangka represent the lineage of teachers who transmitted the sutra teachings. The sutra teachings are the foundational teachings of Buddhism, and they provide guidance on how to live a moral and ethical life, develop concentration and wisdom, and ultimately achieve enlightenment. The lineage of sutra teachers begins with the Buddha Shakyamuni and continues through a long line of great Indian and Tibetan teachers.

The Lineage of Tantric Teachers: The figures on the right side of the thangka represent the lineage of teachers who transmitted the tantric teachings. The tantric teachings are a more advanced form of Buddhist practice that can lead to quicker and more profound results. The lineage of tantric teachers begins with the Buddha Shakyamuni and continues through a long line of great Indian and Tibetan teachers.

The Bodhisattvas: The bodhisattvas are enlightened beings who have vowed to help all sentient beings achieve enlightenment. They are depicted in the thangka as beautiful and compassionate figures.

The Meditation Deities: The meditation deities are powerful beings who can help practitioners to develop concentration and wisdom. They are depicted in the thangka as fierce and wrathful figures.

The Protectors: The protectors are benevolent beings who guard the Dharma and protect practitioners from harm. They are depicted in the thangka as fearsome and powerful figures.

The Vajradhara Refuge Tree is a beautiful and inspiring work of art that reminds practitioners of the importance of following the path of enlightenment and relying on the guidance of their teachers. It is a reminder that we are all connected to a vast lineage of teachers and teachings, and that we can all achieve enlightenment if we follow the path with diligence and devotion.

While there may be copies or imitations of this Vajradhara, they will never quite match the original because the artist or craftsman who possesses the capability to create such high-quality art would prefer to produce their distinct pieces rather than replicate someone else's work. This ensures that each Vajradhara maintains its individuality and stands apart from any attempts at duplication.

To further emphasize its exceptional nature, the production of this Vajradhara involves the involvement of a single artist or meticulous supervision by a master artist. The creation process demands a significant amount of time, typically spanning around 2 to 3 months, as great attention to detail is given to every aspect. This meticulous craftsmanship contributes to the superiority of the product compared to others available in the market.

Videos of Applying Gold in the Thangka

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.

Thangka Making Video