Sikkimese Thangkas: Religious Art

Thangka of Buddha Shakyamuni with his two principal disciples.

A thangka is often a visual representation of a particular deity. The central figure in the composition, the deity is shown strictly according to the guidelines of religious texts.

The secondary figures or surrounding areas also have symbolic relevance.

The painting is mounted in brocade usually of red (the colour of the lamas), yellow (for the Buddha), and blue (symbolizing eternity).

Born Prince Siddhartha Gautama of Lumbini, Nepal, the Buddha Shakyamuni renounced his princely life.

After rigorous ascetic practice, he gained insight into the nature of existence. At this moment he invoked the earth as witness, as indicated by the gesture of his right hand.

Buddhist art celebrates this supreme moment.

Thangka of White Tara, known as Dolma in Tibetan.

Tara is one of the most popular female deities in Tibetan Buddhism and is worshipped in a majority of the Buddhist world.

This thangka was painted by Lharipa Nima Tshering Bhutia of Sikkim, for which he received the National Award in 1994.

Considered the embodiment of compassion, Tara bestows blessings of health, happiness and longevity.

Here she is shown with a third eye in the middle of her forehead, as also eyes in the soles of her feet and palms of her hand.

These are symbols of her wisdom and her ability to see all beings in the realms of existence.

A thangka of Green Tara.

Of the many different representations of Tara, White and Green Tara are the most worshipped.

A symbol of universal compassion, the Green Tara is worshipped for her ability to overcome difficult situations, giving protection against dangers and obstacles.

Like White Tara, her right hand is extended in a gesture of generosity. Her extended right leg signifies her readiness for swift action.

She is the dynamic manifestation of Tara, the embodiment of enlightened action.

The colours used in this thangka are mineral colours. The gold in the ornaments and detailing is made from real gold dust.

Thangka of Buddha’s first sermon.

Thangkas such as this one, are also made to convey important events from the life of the Buddha or the masters.

The prince Siddhartha had been travelling with five ascetic companions. Together they had sought the truth through extreme deprivation.

When Gautama realized that enlightenment would come from mental cultivation rather than depriving the body, his companions scorned him and left him.

Upon attaining enlightenment, the Buddha sought out his former companions to share his realization. They went on to become his first disciples.

A thangka is a product of painstaking work and detailing. A thangka like this one from the early 20th century would have taken the artist a few months in order to paint details as fine as the motifs on the fabrics worn, or individual strands of hair.

Thangka of Buddha Vajradhara and Wisdom Mandala

A mandala is a device for Tantric meditation. A visual aid for concentration, it is also a graphic representation of the process.

The blue Buddha and the Mandala are both symbolic of the nature of the mind.

This thangka was painted in 1919 by Rinzing Lharipa using gemstone powder and gold dust.

Thangka of The Wheel of Life

An example of a thangka illustrating a Buddhist concept, this thangka is often considered the essence of Buddhist teaching.

Holding or turning the wheel is Yama, the god of death with his crown of skulls.

At the centre of the Mandala are the connected images of a pig, a rooster, and a snake. Symbolizing ignorance, greed, and aggression, these are at the centre of the worlds of suffering and dissatisfaction.

The cycle of birth and death is split into six segments or realms. At the top right of the thangka, the Buddha points to show a way out of this unending cycle.

Sikkim Thangka

Depicting the creation of the kingdom of Sikkim, the original of this thangka is said to have been commissioned by the last Chogyal or priest-king of Sikkim.

The thangka uses Buddhist imagery common to religious thangkas, to tell of the founding of Sikkim, which was prophesied by Guru Padmasambhava or Guru Rimpoche, the patron saint of Sikkim.

The four central figures are the three venerated lamas, along with the first Chogyal (second from Right). In 1642, the founder of the Nyingmapa sect in Sikkim along with two other learned lamas, consecrated Phuntsog Namgyal as the first Chogyal. The monarchy continued till 1975.

The thangka is replete with Tibetan and Sikkimese symbolism. The fiery red-countenanced deity riding the mythical snow lion and holding aloft the banner of victory is Kanchendzonga, the protector deity of Sikkim.

Below him is Mahakala, the black deity atop the black horse, considered in Tibetan Buddhism as the protector of monasteries.

The white figure in the centre is the deity of the Nagas, held sacred in local belief systems of Sikkim.

The thangka captures the syncretic spirit of Buddhism as it is practiced in Sikkim.