Array
(
[country] => United States
[mode] => Standard
[buying_id] => 17324971881814
[c1] => show
[c2] => show
[c3] => show
[c4] => show
[c5] => show
[c6] => show
[c7] => show
[c8] => show
[c9] => show
[c10] => show
[c11] => show
[c_trigger] => no
)
Welcome to Handmade Handicraft
At Handmade Handicraft, we prioritize simplicity, reflected in our user-friendly website design. We have streamlined the process so everything you need is just a click away.
While our website does not support online shopping, we've incorporated a convenient shopping cart system to assist you in sending us your inquiries. Please note, we do not process payments on our site. All transactions will be handled via email, respecting the inquiries you submit.
Should you encounter any issues while submitting your inquiries, please contact us via mobile app, email, or follow the procedure outlined below. We've provided documentation to guide you through the selection process.
Good selecting Procedure
In every product you will find Order Now and Quick Inquiry buttons, they are the two process of sending us your enquiry.
For Business ordering standard quantity
This website has been designed to incorporate retail and wholesale pricing in one place. You can increase or decrease the quantity based on which you will be provided with suitable prices instantly.
For Business ordering Bluk quantity [Above 100 pcs]
This is not a direct shopping website. So no payments are needed for placing an order. Please feel free to send us an order for the product you are interested in, mentioning the approximate quantity. Based on which we will send you a wholesale price quotation.
Akash Yogini
Vidyadhari, the 'Knowledge Holder', manifests as one of the four principal aspects of Vajrayogini in the Newar Buddhist tradition, where she is commonly known as Bijeshwori Devi, or Akash-yogini, the Sky (Skt. akasha) or Space-going aspect of the goddess Vajrayogini. The Bijeshwori temple in Kathmandu is situated above the western bank of the Bishnumati River on the road to Swayambhu, and its Newar name is derived from Vidhyeshvari, meaning the ‘Wisdom Goddess'. The presiding goddess of this temple is specifically associated with the Indian Mahasiddha Maitripa, who practiced and attained the realization of this flying aspect of Vajrayogini at this site, so she is also known as Maitri-dakini, or Maitri-khechari.
Read More
Full Description The temple of Bahal Bidjeshwori was once at the centre of a great cremation ground that was sacred to Vajravarahi, and its main image was Bhagavani Devi Vidyadhari Viramante, the ‘Divine Pleasure-giving Knowledge Holder Goddess’. She is the heart-dakini of Maitripa, who brought this symbol of his realization from India. On the right side of the goddess is Urdhvapada Varahi, with her left leg extended high in the sky to Brahmaloka, and her other foot pressing down upon a golden Maheshvara. On her left side is Vajravarahi (Tib. Dorje Palmo), and then the twelve-year-old virgin form of Vajrayogini as Naropa’s Dakini (Skt. Naro Khechari) or Chakreshvari, the consort of Chakrasamvara.
In the Newar Buddhist tradition the four aspects of Vajrayogini appear as the four ‘Heart Yoginis’ that form the inner circle of Great Bliss of the Chakrasamvara and Vajravarahi mandalas. These are:
(1) Vajrayogini as Naropa’s Dakini or Naro Khandroma, whose temple is located at Shanku.
(2) Vajravarahi as Indrabhuti’s Dakini, or Indra Yogini, whose temple is located at Guhyeshvari.
(3) The ‘Raised Foot’ form of Vajrayogini, whose temple is located at Pharphing.
(4) Vajrayogini as Akash Yogini or Vidyadhari, whose temple is located at Bijeshwori.
Vidyadhari Vajrayogini is beautiful, playful and lusty, and youthful like a sixteen-year-old. She is the colour of a red hibiscus flower, with three lotus-like eyes, and an expression that combines the sentiments of passion and slight wrath. She is shown leaping into space in the flying posture of a sky-going dakini, with her right leg bent back at the knee, and her right leg extended in ‘raised foot’ (Skt. urdhvapada) posture and held in the crook of her left arm, such that her thighs are fully splayed. Her nubile body is perfect in proportion, with a narrow waist, and firm round breast with aroused nipples.
Her long tresses of black hair flow freely behind her back, and her head is adorned with a golden crown of five jewel-topped and carved white skulls, with loops of bone beads hanging beneath below each little skull. She wears the golden ornaments of jeweled earrings, a heavy neck choker decorated with the serpent-devouring head of a garuda, wide Newar bracelets, armlets, anklets, and finger rings. A golden breast ornament loops around her chest, with small coins hanging from its upper thread, little round bells from its lower thread, with a small endless knot and reliquary box (Tib. gau) joining the threads together between her breasts. From her golden belt hang the sixty-four filigree beaded strands of her bone apron, the joined loops of which are embellished with pendant-emblems of auspicious symbols and swans, with the large pendant near her right knee displaying a small carved image of the goddess Vidyadhari herself. An embellished Newar medallion on a long silver chain swings out behind her neck, and around her shoulders she wears a long garland of dry white skulls that are described as being fifty in number.
Vidyadhari's face is inclined upward to her left as she drinks a stream of fresh blood from the tilted skull-cup she holds in her left hand. Her drinking of blood symbolizes that she is consumed with great bliss, and her inclined posture of flying towards the left represents the importance placed upon 'left-hand rituals' within the yogini or mother-tantra traditions. With her lowered right hand she circles a vajra-handled curved knife towards the ten directions, with her index finger raised in the threatening tarjani gesture, symbolizing that she terrorizes all obstructive demons. Across her left shoulder she carries the golden staff of her tantric-staff or khatvanga, which is equal in height to her own body and represents her male consort, Chakrasamvara. The top of her khatvanga is sealed with a golden crossed-vajra and a nectar vase, the impaled blue head of Bhairava, a freshly severed head, a dry white skull, and a crowning half-vajra. A billowing silk ribbon, and a damaru and bell hang from a chain near the top of the khatvanga's shaft.
Newari Paubha
This Akash Yogini is a newari thangka or Paubaha, Paubha, also known as "paubhas," is a traditional religious painting created by the Newar people of Nepal. These exquisite artworks depict various subjects, including deities, mandalas, and monuments, and serve as aids for meditation and spiritual practices. Paubhas are similar to Tibetan Thangka paintings and are highly regarded for their religious and cultural significance.
While most paubhas portray Buddhist subjects, there are also a few that incorporate Hindu themes. The creation of these paintings is seen as a means of earning religious merit for both the artist and the patron. Newar Buddhists often commission skilled artists, primarily from the Chitrakar caste (known as Pun in Nepal Bhasa), to paint paubhas that are displayed during festivals and special occasions.
One remarkable paubha, depicting Amitabha Buddha, is housed in the Los Angeles County Museum. Believed to be from the 11th century (Nepal Sambat 485), it showcases the artistic prowess of Newar painters. Their skill made them highly sought-after throughout the Himalayan region and even as far as China. In fact, Newar artists and merchants played a significant role in spreading the art of paubha to Tibet, where it evolved into the Tibetan thangka style.
The Newar people's mastery of paubha painting highlights their rich artistic heritage and their devotion to Buddhism. These intricate and spiritually meaningful artworks continue to be cherished and admired both within Nepal and internationally. They stand as a testament to the profound artistic traditions of the Newar community and their cultural contributions to the wider Himalayan region.
The painting Paubhas are painted on a rectangular piece of canvas. It is prepared by applying a mixture of buffalo glue and white clay on it. The surface is then rubbed with a smooth stone to give it polish. The painting is done according to the rules and dimensions handed down by tradition, and artists cannot exercise their creativity.
The paint is made from minerals and plants. Gold and silver paint are also used on paubhas. The eyes of the deity are painted when the rest of the painting has been completed, and is known as "mikh? ch?yekegu" (opening the eyes). Brocade is sewn to the edge of the paubha to make a frame for display.
From a composition perspective, the surface of Paubha is usually occupied of a large figure in the center that is placed inside a shrine and surrounded by registers of smaller figures on the sides; the background is usually filled in with natural elements such as rocks rendered in abstract patterns. The color is often deep and subdued with subtle shadings of the figures and exquisite renderings of details that are the hallmarks of early Nepalese paubhas
Read More
Use of Real Gold
This thangka of Akash Yogini has real gold painted on its surface along with other paints. This is an ancient process of decorating the thangka in Tibetan Buddhism, Here gold is ground into gold dust, which is then mixed with other undisclosed material to make it paintable on the canvas. this mixture is then mixed with transparent glue and painted on the thangka.
Videos of Applying Gold in the Thangka
Read More
Introduction to Thangka
A thangka, also known as tangka, thanka, or tanka, is a vibrant and intricate Tibetan Buddhist painting that serves as a visual representation of spiritual teachings. Crafted with meticulous detail on cotton or silk appliqué, thangkas depict a wide range of subjects including Buddhist deities, sacred scenes, mandalas, and narrative stories. These sacred artworks are traditionally kept unframed and rolled up for storage, resembling ancient scrolls. To protect their delicate nature, thangkas are mounted on textile backings and often adorned with a silk cover on the front. Proper preservation in dry environments is crucial to maintain the integrity and longevity of the silk.
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.
