While there may be copies or imitations of this Amitabha Buddha, 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 Amitabha Buddha maintains its individuality and stands apart from any attempts at duplication.

To further emphasize its exceptional nature, the production of this Amitabha Buddha 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.

Iconography
Avalokiteshvara, Chenrezig, is visualized in many forms, with various numbers of faces and arms, and various colors and ornaments. He sits on a lotus and the flat disc of the moon, with another moon disk behind him, reflecting his total purity. Two of his four arms are joined in the prayer position holding the wish fulfilling gem. In his other left hand he holds a lotus flower and in his other right hand, a crystal mala (rosary), which he is using to count the repetitions of his mantra, "Om Mani Padme Hum", Hail to the Jewel in the Lotus, which liberates all beings from suffering. He wears the silks and ornaments of a Bodhisattva, representing all his special qualities, and the soft skin of an antelope over his shoulder, symbolizing his complete freedom from violence. He smiles with deep understanding, love and compassion as his eyes look upon all beings.

The four arms and hands signify the four immeasurable:
Immeasurable loving kindness
Immeasurable compassion
Immeasurable joy
Immeasurable equanimity.

Chenrezig, the Bodhisattva of Boundless Compassion, is the very embodiment and realization of the four immeasurable. The four immeasurable are the vehicles through which Chenrezig benefits beings.
The first two, the inner arms, have palms joined at the heart, holding a sky-blue, and wish fulfilling jewel. This symbolizes that in whatever way Chenrezig manifests to benefit beings, the quality of Chenrezig's mind is never separate from the all-pervasive primal wisdom.

In the outer right hand, Chenrezig is holding crystal beads and moving them the way we use a mala to count mantras. This symbolizes that there is not one moment when Chenrezig does not benefit beings. Like the steady movement of counting the beads, Chenrezig is continuously benefiting sentient beings and turning the wheel of enlightened activity.

In the outer left hand, Chenrezig holds a lotus flower. This symbolizes that in benefiting sentient beings, Chenrezig manifests in whatever forms are necessary in accordance with the mental capacities, circumstances, and aptitudes of sentient beings. Chenrezig may appear in any of the different realms, such as the hell realm or the hungry ghost realm. However Chenrezig may appear, he remains free from any of the worldly stains of the various realms of life, the way a lotus flower growing in a swamp appears free of the stain of the mud. The left hand of Chenrezig, holding the flower, symbolizes that stainlessness.

All the various features of this image have meaningful connections to the wonderful qualities of Chenrezig, and by focusing on these details as we visualize the image in the meditation, we can gradually awaken our own awareness of those same qualities in ourselves.

Practicing of Avalokiteshavara
The image of Chenrezig that is visualized in the meditation practice is not a real person who happens to be perfect in every imaginable way. It is an image, an imaginary form with wonderful qualities. Chenrezig glows in the dark, Chenrezig even glows in the daylight.
Kalu Rinpoche said, "One does not think of the deity's body as solid or material, made of flesh and blood like one's ordinary body, or made of metal or stone like an idol. One thinks of it as appearance that is inseparable from emptiness, like a rainbow or like a reflection in a mirror."

The particular wonderful qualities that Chenrezig manifests for us are just the ones we need to get more in touch with, as aspects of our own nature, if we want to become an enlightened Buddha, or even if we just want to become a truly compassionate person. We and the image of Chenrezig are two extremes we have flesh and blood bodies, but not as much compassion as we would like to have, and Chenrezig has a body made of rainbows, and boundless impartial compassion. When we put those two extremes together, in the Chenrezig meditation, we move in the direction of manifesting as a being with a physical body, a body of rainbow light and unlimited compassion.

Various aspects of the form we visualize remind us of the most important qualities of this particular manifestation of awakened mind, the qualities we are trying to connect to.
In visualization practice we imagine ourselves to be a Buddha, in this case the Buddha of Compassion, Avalokiteshvara. By replacing the thought of yourself as you, with the thought of yourself as Avalokiteshvara, you gradually reduce and eventually remove the fixation on your personal self, which expands your loving kindness and compassion, toward yourself and toward others, and your intelligence and wisdom becomes enhanced, allowing you to see clearly what someone really needs and to communicate with them clearly and accurately.

Avalokiteshvara, Chenrezig is the embodiment of that unselfish urge to look upon each other as loving equals. If you are in need of guidance in healing, unity, unselfishness, or the mastering of fears, you may meditate on the qualities of Avalokiteshvara, Chenrezig {as above}, say the mantra" Om Mani Padme Hum".
In most religious traditions one prays to the deities of the tradition in the hopes of receiving their blessing, which will benefit one in some way. In the Vajrayana Buddhist tradition the blessing and the power and the superlative qualities of the enlightened beings are not considered as coming from an outside source, but are believed to be inborn, to be aspects of our own true nature. Avalokiteshvara, Chenrezig, and his love and compassion are within us.

His Holiness The Dalai Lama said, "Thus the six syllables, "Om Mani Padme Hum", mean that in dependence on the practice which is in indivisible union of method and wisdom, you can transform your impure body, speech and mind into the pure body, speech, and mind of a Buddha."

Mantra of Avalokitesvara

Buddha Aparimita is invoked or worshipped for lengthening the life span or fast relief from dreadful diseases or from mortal danger. In Nepalese Mahayana tradition the dharani of Buddha Aparimita is often recited by the devotees in the presence of dying patients. the recitation of this dharani is said to be efficacious when carried out in utter sincerity. It is said that the famous Madhayamika Buddhist philosopher Arya Nagarjuna had escaped his early death after recitation of this dharani for one complete day and night.

Mantra of Amitayus

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