Thanka ( Pauva )

In general, Thanka is a classical art based on god goddess. But in real sense, centuries before, Thankas were painted to worship as it contains god and goddess of one’s faith. Such Thankas were popular basically among the Bajrayana, Mahayana and Heenyana groups of Buddhism. Thankas were also painted in the name of dead relatives for the eternal peace of their souls. Many people get Thanka painted as the genealogy of their ancestors so that their coming generation could understand their past generation. Some  Thanka in their personal treasure to maintain secrecy, to concentrate their mind during meditation, and to make their thankas long lasting, as it becomes safe when kept in treasure. Thankas kept in treasure becomes safe as only limited people are allowed to enter there. In those days, when money was not in use, Thanka painters/artists used to get food-stuffs, clothing and other daily necessaries item in exchange of the thankas, as their remuneration/cost. Till seventeeth century, Thankas were painted with natural stone colour, vegetable colour, flower colour etc. and they used cotton for painting. After evolution of chemical colours and othe artificial colours, and also due to easy and cheap availability of such colours, people started to use such colours, which are not natural. In those days, artists used meditations, and also prayed before starting painting for their full concentration In the same tradition, some get constructed statues of gods and goddesses based on their culture and faith. Some people who believe on relegation and culture get constructed public shelters and sheds, bihar- a statue at the centre of public space surrounded by public shelters and sheds; leaving sufficient open space around the central statue and inside the surrounded shelter; such Bihars were used as class rooms for delivering religious lectures. In those days, Thanka paintings were practiced in Nepal and- India. But later, such paintings could not be prospered in India where as; Nepal, basically the Kathmandu based on pretty progess in Thankas painting.
Bhrikuti, the daughter of King Ansubarma,( rule from 605 to 621 A.D. in Nepal) who married with Shrang Chang Gampo, The king of Tibet, carried Thankas painting as wedding gift from Nepal and publicized it in Tibet. Thus the root of Tibetan Thanka also belongs to Nepal and Nepalese culture, mainly based on Buddhism, the resource person of this religion was Lord Buddha, who was born in 563 B.C in Lumbini, a southern district of Nepal.

1. CHANDRA MANDALA
The moon god Chandra is majestically seated on his chariot drawn by seven geese. Bedecked in jewels befitting his status and depicted with a slight smile, the deity holds a pair of lotus stems with both hands, which curl around both arms to open in blosoms at either side of the head. In front of Chandra is seated his charioteer Ambara, while his consort Kanti and Shova flank him. This scene is set within a multi-coloured circuler frame at the centre of an eight–pointed mandala. The white scrolled detail of this octahedron contrasts strongly with the deep blue and red backgrounds of the rest of the mandala.
Immediately surrounding the central scene are a stupa and fifteen similar forms of Chandra. The latter represent the kalas, or aspects of the waxing and waning of the moon. Those on the white ground represent the waxing moon, while the ones against the dark blue background represent the waning moon. The first register beyond this depicts the nakshatras (twenty-eight stars) and are supposed in this instance to represent the wives of moon. The next register is devided into eight sections separated by palm trees. Each section stands for a directional point with the Dikpala associated with that direction standing at centre flanked by various figures including naagrajas and other semi-devine beings. From the bottom of the cirle the Dikpalas are (from clockwise) Indra (on a elephant), Agni (on a goat), Yama (on a buffalo), Nirmitti ( on a corpse), Varuna (on a makara), Vayu (on deer), Kubera (on a horse) and Ishana (on a cow). The four corners outside the flaming rim of the mandala each have a vase from which issues scrolling vines that sprout orbs containing the eight Auspicious Symbols (parasol, pair of golden fish, conch, banner, endless knot, vase, lotus, chakra) and Buddhist figures incliding the Buddha Sakymuni, Shadaksharilokeshvara, possibly Prajnaparamita and Mahakarunalokeshvara flanked by bodhisattvas.
 The uppermost, horizontal register of the painting depicts the Seven Buddhas of the past flanked by a white manjushri holding a sword and, at the other end, by a possible repressntation of Padmapani. The horizontal register at the bottom has in its central panel the Pancharakchas with the Treasures of the Chakravartin interspersed between them. The vajracharya giving oblation to the fire is in the panel to the left and the donors are depicted in the panel to the right.
Paintings with representations of the moon god were very popular throughout the fifteen and sixteenth centuries. It is unknown why interest waned after this period. Chandra was expected to exercise profound influence on human destiny. Therefore these paintings were commissioned for important events in one’s life, and many examples have survived to the present. It is noteworthy that while Chandra was revered by both the Hindu and Buddhist community, most surviving icons are Buddhist in context.

2.Bishworupa

Bishworupa is on of a Universal form of God Shiva. Meanwhile, the Bhishworupa has many designations by different people as the different religion. Just like in Bouddhist religion, believe that Bishworupa is a Universal form of Shaharshavuj Avalekiteshwor. Even Hindu religion, there are two theory of designation. One side, devotees of god has believed that Bishworupa is a universal form of Bishnu. He has power to make continuation of the universe. He is the real energy of the universe.
            For example, 6 km far from the Bhaktapur in the North side, there is a temple of Changu Narayan which was made by King Mandev. At the corner side of west & south of the temple, there are statue of Bishworupa made by stone. It is indicates that Bishworupa is also next form of Bishnu.
            The other side, people believe that Bishworupa is universal form of Shiva. He has the power of destruction. He can do anything to the Universe. People believed that he is a power of real energy for Generation, Operation, and Destruction to the Universe. So it is called that he is a real energy of the Universe. We believe with based on wall painting of 55 windows Darbar Squire (55 Jhyal Darbar) which was made by King Bhupatindra Malla of Bhaktapur.
      King Bhupatindra Malla was a successful king of his reign since AD 1698 to 1722. He was King of Bhaktapur in middle age. In his period, there were made most of temple and many artistic materials were developed. King Bhupatindra Malla was interested about fine arts as himself. He used to paint wall painting. Still, we can see lots of wall painting in the area of Bhaktapur Darbar which was made by him. In side of 55 windows Darbar, there is large wall painting at fourth side of room. That wall painting was in restoration situation. Now, it is being renovation.     
The Bishworupa wall painting is situated in the 55 windows Darbar which was in full side on the wall made by King Bhupatindra Malla. The room was he used to his sacred room. In the wall painting, King Bhupatindra Malla defines himself in image of Bishworupa that he is one of the forms of Bishworupa. In this way, he just put moustache on the face of painting. It can see on the painting.
      Mr. Sudarshan Suwal thanka artist tried to copy as same as a possible even the original wall painting is large and indistinct. He made 7 X 10 feet in size. He also used pigments stone colour and real gold. He spent 20 months for completing the painting. The painting has become such as a good painting and it is explicit whoever can see easily and understand. According to painting, the Bishworupa is standing on thorn asana with his consort. He has 1000 arms and all arms hold head and deities. He just holds Sun with his chariot by his first couple of arms. He has 62 heads. There are also lots of deities on his body figure. Also there is a face on the stomach of Bishworupa which is showing the birth of the mundane existence. He had 8 legs. He just wearing garland of deities and scull head. There are 14 deities at bottom side. At the side of main figure, there are garland of several heads. Just side of the heads, there are lots of fires. It is indicates that the Bishworupa is more energy and most powerful god. Both side of figure, there are shown scene of mundane in 10 steps where the most of armies and battlefield, kings and their life style and people and devotees. In some steps, there are showing about traditional festival and their relative people.
In this way, the painting is depicted with different kind of feature. 


  3. SURYA MANDALA
Worship of planetary deities was important in Nepali buddhism in the fourteen centuries and appears to have declined thereafter. The central figure in this mandala is the sun god, Surya, who holds two lotuses and rides a chariot pulled by seven horses, accompanied by Four consorts. 
The eight planetary deities surround the chariot in a circle, again surrounded by a larger circle containing twenty-eight figures- representing the main constellations and astral mansions-around the ecliptic. The twelve signs of the zodiac are represented in the four corners. Beneath sit a yogin donor on the left (see detail ), the five Pancharaksha goddesses, and two woman donors on the right. The absence of a group of five buddhas at the top of the painting suggests that this particular work may have been intended for use in a Hindu, rather than Bhuddist, context. Little is known about Kitaharasa


                              4. SHREE YANTRA
Shree Yantra is a nucleause of the visible and knowable, a linked diaram of lines by means of which visualized energies are concentrated . there are defferent kinds of Yantras and Shree Yantra is the great yantra. Other lesser yantras (Om yantra, kali yantraa etc.) are obiously segments out of the all embracing Shree yantra. Yantras may be made in permanent form of many substance which can be shaped so as to focus light at its apex in a very good emblem for the all, inclusive subtances of fundamental reality just as colourless light includes all the possible colours of light. So crystal can serve as anology for the subtance which includes all substance.

 5. AKSHOBHYA BUDDHA
Akshobhya is next in importance among the Dhyani Buddhas. He regarded as the second Dhyani Buddha by the Nepalese Buddhists. Akshybhya originates from the blue syllable Hum. He is two-armed and one-faced and exhibits the Bhu-sparsa mudra (earth touching gesture) which means calling the earth for witness, and sits in the Vajraparyanka pose. He represents the primordial cosmic element of Nijnana (consciousness). When represented in the Stupa he always faces the east. His left jand rests on the lap while the right rests on the right knee with the tip of middle fingers touching the ground with palm drawn inwardly. His vehicle is a pair of elephant and his recognition symbol is the Vajra or the thunderbolt. His female is Locana.
6. VAJRA BARAHI
The Iconography of the Two Headed Vajra Varahi. The Name Vajra is the symbol of the diamond vehicle or Vajrayana Buddhist path. In Sanskrit it means the hard or the mighty one. It implies the indestructible hardness and brilliance of a diamond. The vajra symbolizes the impenetrable, immovable, immutable, indivisible and indestructible state of enlightenment. Varahi in Sanskrit means. The sow is a Buddhist symbol of delusion, and the name implies her overpowering of delusion. Incorporating the sow into her iconography, symbolizes that wisdom s conquest over delusion is ont made through suppressing it or eradicating it from oneself. But rather, wisdom tames the delusion of egotism and transmutes its energy into compassion and great bliss. The sow eats everything. It turns poisons and impurities into nourishment. In the iconography it indicates that all energies are food for growth.

7. PADMA SAMBHAV
padma Sambhav was a renown and highly learned tantric saint of Northern India. in the middle of the Tibetan king Thi-Sron Detsan sent to India inviting the learned guru to come to Tibet. Padma Sambhav was renowned for his knowledge of tantras and of their efficacious application. He remained 50 years in Tibet founding monasteries and teaching the tantras doctrine. He is said to have subdued all the malignant gods in the Tibet sparing only those that become converted to Buddhism and that promised to be defenders (Dharmapala) of the doctrine. Padma Sambhav in this turn, promised to enroll them in the Mahayana Pantheon. He claimed to have received from the dakini the books from which he acquired his miraculous power. At the end of fifty years Padma Sambhav disappeared miraculously.



8. RATNA SAMBHAV
Ratna Sambhav is regarded third Dhyani Buddha in order. His recognition symbol is the jewel and he exhibits tha varada mudra (gift bestowing). He represents the cosmic element of vedana (sensation) and is the embodiment of slander. He is yellow in colour and always faces the south. His left hand rests on the lap with open palm and right exhibits the varada mudra or the left bestwing attitude. His female counter part is Mamaki.



9.SAPTA LOCHAN TARA
White Tara represents the fertile aspect of compassion. Her body is white and she sits in the full lotus posture on moon and discus upon a lotus flower. In her left had she holds the stem of the blue lotus of compassion, while her right hand makes the gesture of generosity. White Tara may be easily recognized by her seven eyes: three in her face, two in the palms of her hands, and two in the soles of her feet. She was born from a tear of compassion that fell from the eyes of Avalokiteshwara.



10.MEGH SAMBARA
Megh Sambara is a god of Protection against enemies . He is Portrayed with Buffalo head. He is also regarded as Buddhist Gaurdian god. He will be in conjunction with female principle or sakti, symbolizing the union between wisdom and method. He is regarded as the wrathful form of Manjushree in full expression of his powers.

11. 21 Tara