The Art of Thangka Painting

Jun 15, 2015 | Views: 1,069
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(By Tsem Rinpoche)

As Tibetan Buddhism gains prominence in the world, so too is Tibetan art being appreciated more and more. Today, many sacred Tibetan thangkas can be found in art exhibitions and museums.

Just like any Buddha image, deity thangkas are considered to be holy objects and bestow great blessings to their surroundings and the sentient beings within. Deity thangkas are very important to practitioners, especially to many Buddhist nomads for whom statues would be just too bulky to travel with. For example, during the escape from Tibet to India in 1959, H.H. the 14th Dalai Lama travelled with a sacred Dorje Shugden thangka on his back, as the need for secrecy and stealth required everyone to travel light.

Some time ago, I came across this wonderful write-up about thangka painting, which is very well researched and written. It shares briefly about the history of thangka painting, the different types of thangkas, the process of creating a traditional thangka, and most importantly, how thangka painting was traditionally a form of Dharma practice.

In the olden Tibetan tradition, a thangka painter was typically a sincere practitioner of Buddhism who, through practice and study would be familiar with the various deities, their implements, symbolism and benefits. Having generated the correct motivation, the artist would imbue each thangka painting with the energy of that specific deity through the power of meditation and visualization, during the process of painting it. Some of the most famous thangka painters of recent times, such as Gen. Jamyang of Dharamsala, were known to be attained practitioners who could produce intricate thangkas of the most complicated deities (such as the sixty-two deity mandala of Heruka Chakrasamvara) from memory alone, through their intimate knowledge of the scriptures. Thangkas painted by such artists are said to be ‘alive’ and highly blessed through the power of the artist’s practice and attainments.

Another characteristic of artists for whom thangka painting is a form of practice, not business, is that requests for thangkas to be painted are never accompanied by discussions of money and payment. The artist creates the thangka as an expression of his spirituality and with the motivation to benefit the patron, while the patron makes a monetary offering to the artist in gratitude and thanksgiving, similar to how “kuyong” or monetary offerings are given to monks during pujas and prayers in the monastery.

Unfortunately, thangka painting today has become a popular way of doing business – every commission and sale involves haggling of the thangka price, and many thangka schools have been established where students paint thangkas en masse (which are later sold to unsuspecting tourists) while learning the fundamentals of thangka painting.

So I thought it would be very good for those interested in Tibetan arts and culture to learn more about the interesting history behind thangka making. When we have more knowledge, we can appreciate the effort that goes into creating a high quality Buddhist thangka and the deeper significance of having one in our presence.

Tsem Rinpoche

 


 

THANKA PAINTING

Mathew Kapsner & Tania Wynniatte-Husey

 

Legendary Origins

The painted image of the Buddha is said to have originated in central India, in the area now known as Bihar. It is said that during Buddha’s lifetime, two Kings, Utayana and Bimbisara, who lived in the region used to exchange gifts and that one day King Bimbisara, upon receiving a priceless gem from King Utayana decided, after much thought, to have an image of the Buddha painted on cloth to give in return. After receiving the consent of the Buddha, Bimbisara sent some of his court artists to paint the Buddha’s portrait. When the artists looked upon the Buddha, however, they were so filled with wonder that they were unable to draw and so the Buddha led one of the artists to a clear pool and told him to paint his likeness from the reflection in the water. This the artist did, surrounding the portrait with images of the twelve links of dependent arising and with some words of religious advice, as recommended by the Buddha. When Utayana saw the gift he was greatly moved and later that day, after prayers and meditation on the symbols of the twelve links, he attained the path of seeing. As a result, this style of painting came to be known as ‘The image of the Sage taken from the water’ (Chu-len-ma).

Another account relates the first paintings of the Buddha to an occasion when he was teaching in Kapilavastu. At that time there was a king called Mahanama, whose wife had a maidservant, named Rohita. Whilst the Buddha was teaching nearby the Queen sent Rohita to deliver a necklace of jewels to him. On the way she was attacked by a girl herding cows and was killed. Due to her faith in the Buddha she was reborn as the daughter of the King of Sri Lanka. When the princess was a young girl she heard of the teachings of the Buddha and experienced a re-awakening of faith from her former life. She sent a letter to the Buddha with a gift of pearls and in reply, the Buddha sent her a letter and an image of himself on which an artist had outlined the rays of light surrounding his body. This style became known as ‘The image of the Sage taken from the rays’.

 

Origins in Tibet

Tibetan thanka painting is based upon the Indian religious art of pata and mandala, complex paintings whose designs were used in certain religious rites. As the Tibetans closely adhered to the religious teachings of the Indian Pandits, so too did they follow the strict guidelines laid down by Indian and later, Nepalese and Chinese artists. Eventually it was the Nepalese and Chinese painters who had the most far-reaching influence on the development of the Tibetan thanka.

The principal artistic schools from which Tibetan painting is derived were in Western India and date back to the 7th and 8th centuries. The influence of these schools was felt throughout Central and Eastern India, eventually reaching Nepal from where it filtered into Tibet.

It was in the 7th century, during the reign of Songsten Gampo, that Buddhism and its associated art forms made considerable advances throughout Tibet. Songsten Gampo’s marriage to both a Nepalese and a Chinese princess brought Nepalese and Chinese artists into the region where they worked to further the spread of Buddhism through art.

Later, during the 11th century, thanka painting in Western Tibet began to draw from the Kashmiri school when the great monk translator Rinchen Zangpo, brought a number of artists from Kashmir to Tibet, in the first half of the century. The paintings of these artists hung in temples as pictorial representations of the Dharma, furthering the spread of Buddhism amongst the Tibetans of that region. Influenced by Kashmiri art as well as Central Indian art, Western Tibetan painting developed a style of its own, a style, however, which grew stale and which eventually disappeared, during the 17th century.

Over the centuries, the Nepalese influence upon Tibetan painting was pervasive and dominant, remaining uninterrupted for years, whilst the influence of the Indian artists faded with the Moslem invasions of India. Chinese influence, on the other hand, fluctuated according to the changing political relations between Tibet and China and it was not really until the 18th century that Chinese influence began to be felt, revitalizing Tibetan painting which had begun to flounder in its strict adherence to the archaic styles of Nepal and India. As Guiseppe Tucci states in Tibetan Painted Scrolls, ‘the development of Tibetan painting consists in a mutual approach and blending of the Chinese and Nepalese manners’.

As time went on, these external influences, which provided the initial direction and rules of Tibetan painting, began to give way to a more distinctly Tibetan style of painting. For later, even when absorbing Chinese influence, the Tibetans learnt to interpret it in their own ways, no longer simply imitating the style as they had formerly done.

 

Development of Tibetan Styles

The three major styles of Tibetan paintings practiced today are the ‘Menri’, the ‘Mensar’ and the ‘Karma Gadri’ styles. These are the styles of individual artists whose work played an influential role in the development of Tibetan painting.

The ‘Menri’ style, the oldest of the three forms, dates back to 1440 C.E. and was developed by Menla Dhondrup who studied under the artist, Dhopa Tashi Gyatso, an expert in Nepalese style painting. Through acquiring a thorough knowledge of the new style, Menla Dhondrup went on to revise the proportions and composition of religious figures as well as developing new pigments. In addition he defined the religious requirements of both the artist and patron, demonstrated the need for accurate painting, showing the consequences of inaccurate work and gave instruction in various methods of painting. It was these revisions that came to be known as the ‘Menri’ style.

In the year 1645 C.E., the incarnate master Chöying Gyatso developed a style of his own, known as the ‘Mensar’ or the ‘new Menri’ style. Based on the Menri school, he developed his own approach, making innovations and revisions in the tone, pigment and texture.

Namka Tashi, an incarnate Karmapa artist, born in 1500 C.E. developed the ‘Karma Gadri’ school, or the ‘camp style of the Karma (Kagyu school)’. He first studied painting under Könchok Penday, from whom he learnt the strict proportions developed by the Sharli, a metal casting school of India. He also studied under the 5th Sharmapa, Könchok Yenlak as well as the 4th Gyaltsap Rinpochey, Drakpa Dondrup, who taught him how to paint in a distinctive style which was based upon such examples as: the Chinese thanka given to the 5th Karmapa by the Ming emperor of China; the ‘dashelma’ masks, made by artists who had witnessed the revelation of Rangjung Dorjey’s face in the full moon and a Chinese thanka, the ‘Yerwa Rawama’, that depicts the sixteen Arhats of early Buddhist tradition. Thus, Namka Tashi’s style incorporated components from three foreign sources: Indian forms, Chinese colour and texture and traditional Tibetan composition. Of the three styles practiced today, the Karma Gadri is not as prevalent as the Menri or Mensar.

As thanka painting is strictly governed by iconographic rules the separate styles are hard to discern. They can be most easily characterized by their treatment of the background to the paintings. 

The Menri style is distinguished by its individual representation of nature. In a painting typical of the Menri school, the clouds flow and curl like rushing water, the mountains are low and rounded and are less packed with detail than the other major styles of painting. The Mensar school on the other hand, employs more detail and is characterized by round and thick or long and thin clouds. The mountains tend to be sharp with steep peaks, which give them an exaggerated appearance. In a Karma Gadri painting, more natural forms are given greater emphasis. They are depicted in a more realistic fashion and are not so exaggerated or dream-like. There is also more open space and the colour green tends to predominate.

Many other artists played an important role in the development of Tibetan thanka painting. With these, however, the styles tended to be absorbed by one of the schools rather than achieving a distinction of their own. One skilled artist of the Gadri style was Karma Sidral or Gamnyon, thought to be an emanation of the 8th Karmapa. He developed a style of his own based upon that of the Gadri school which became known as the ‘Second Gadri’. Another artist of inestimable value was the great master Dakpo Rabjum Tenpay Gyeltsen, who was highly skilled in drawing the proportion of the three religious symbols, which led to his proportional style also being adopted by the Gadri school.

A number of unique styles emerged that were also basically proponents of the Karma Gadri school. One of these belonged to the 10th Karmapa, Chöying Dorjey, who was born in the year 1604. During his early career as an artist he studied the elements of the Menri style under the master Lhodrak Tulku Tsering. Subsequently he developed his own style, incorporating techniques from the Chinese and Gadri styles. Another example is the style of Tsuklak Chökyi Nangwa, which was very similar to the original styles of the ‘Three Tashis’ of the Karma Gadri school. This tradition became widespread in eastern Tibet, in such regions as Nangchen and Dergey, as well as Karmay Gönchen and Chamdo, where many skilled painters existed who were called ‘Karsho’.

At the time that Menla Dhondrup’s innovations were first being felt Khyentse Chenmo was born in Gangkar Gangto. He developed an individual style, known as ‘Khyenri’, which in fact became a tradition distinct from Menri or any other school.

The artist Patshu Byiu of Yarto was an incarnate being and learned person who studied painting extensively. He studied all the techniques of the various schools selecting the best of each and combining them along with his own innovations to form also a style of his own. This became known as ‘Byiuris’, after his nickname Byiu, meaning bird and is distinguished by the manner of shading and the choice of colours.

 

The Purpose of a Thanka Painting

A thanka painting is not simply a decoration or a creation of beauty, but a religious object and a medium for expressing Buddhist ideals. These works of art function as models on which the practitioner can reflect and meditate.

There are many reasons for commissioning a thanka, the most common being to create an object of worship which will lead to the accumulation of merit. For even looking at a thanka is in itself a good deed. By meditating on such objects, one can train the mind and gain an understanding of certain types of awareness that that specific image portrays. Other reasons for commissioning a thanka painting may be to bring about good health, prosperity or long life. Sometimes they are commissioned to aid the recovery of a sick person, or to protect a person through vulnerable periods in his or her life, or to help in the rebirth of someone who has recently died. In all these cases, a lama is usually consulted to advice on which deity should be painted to give the greatest assistance to that person. So if somebody dies, the family of the deceased will consult a lama or an astrologer who will advise them which deity would be the most propitious in assisting a good rebirth.

Thus, there are many different forms a thanka may take depending on what the patron wishes to use the painting for. It may portray peaceful or wrathful deities, meditational deities, Buddhas, Bodhisattvas, Dharma Protectors or saints and their lives. Green Tara, for example, is a female deity who is seen as the embodiment of all the Buddhas’ enlightened activities and may be commissioned to ensure success either in a particular project or in a person’s long life generally. Thankas may also depict Buddhist doctrine such as the arrangement of the physical universe as taught in the Abhidharma, the layout of the animate universe in the form of the Wheel of Existence, illustrations of monastic garb, implements and practices, as taught in the Vinaya, as well as medical and astrological charts and diagrams. There is a wealth of subjects to be drawn from and many reasons for commissioning a thanka, so much so that a person may have quite a number painted over a period of time.

 

The Painter and His Preparations

Whatever form the thanka takes and for whatever reason it is commissioned, it is of the utmost importance that the works are prepared properly and with the greatest care. For if not, they will be of no benefit to the artist nor to the patron, whose devout intentions will be lost on an improper work of art.

Traditionally it is said that an artist should possess certain characteristics: modesty, devotion to religion, soundness of all senses, diligence and a kindly disposition. In addition, depending on the subject of the work, it is said that the artist may have to follow certain personal restrictions: abstinence from meat, alcohol, onion and garlic and strict personal cleanliness.

How strictly an artist adheres to such ‘rules’ of conduct varies from artist to artist and on the work that is being carried out. Cleanliness, both in mind and body is of the utmost importance when working on a piece and although it is unlikely that the artist will abstain from eating meat, onion or garlic, unless real purity is particularly desired, he will not over indulge and often not consume alcohol during that period.

Correct preparation, then, is very important in order to ensure a high standard of cleanliness. Normally, the artist will get up, clean his room and wash himself before laying out the canvas, paints and brushes. The brushes are contained in a special box with three holes, one for each of the deities: Avalokiteshvara (compassion), Vajrapani (power) and Manjushri (wisdom) who help the artist to achieve perfection in his work. Having prepared his tools and work area, the artist then makes a water offering, the purest of all offerings and if he is about to start a new thanka will do a short meditation on emptiness to purify his mind.

The meditation may take many forms. One way is for the painter to meditate on a particular deity, which is not necessarily the one that will be featured in the painting. The image of the deity, Manjushri, the deity of wisdom, for example, may be used and is placed in front of the artist, who imagines the image melting into his body before he generates himself as Manjushri.

The next step is to invoke the image of the deity about to be painted. If it is one of the Taras, for example, the artist will visualize the goddess who then dissolves into the canvas, brushes and paints, thus making them the essence of that deity.

The final step is the motivation for creating the thanka, when the artist thinks of all the suffering beings in all the different realms and remembers that he is painting the thanka for the benefit of them all.

 As well as playing a role in the purification process, religion also underlies the necessity of cleanliness in thanka painting. For if the artist’s mind and body are not clean, he will be unable to invoke the deities. It has been said that in order to paint certain images, the artist must be an initiate of the specific cycle of teachings they belong to. Thus, if the artist wants to paint an image of the Kalachakra, he must have received the initiation first. This need not always be the case. Unless it is a particular thanka, the artist will not have necessarily received the initiations in advance. One monk artist related how, for example, he had once been commissioned to paint a thanka of Vajrakila for His Holiness the Dalai Lama. He received a blessing from a lama who showed him how to generate the deity, but otherwise it was not his normal practice.

 

The Preparation of the Canvas

‘The painters of Tibet pursue their art in an orderly and systemic way. When creating thanka paintings they proceed through six clearly defined steps. The first is the preparation of the painting surface. Second comes the establishment of a design on that surface by means of a sketch or transfer. The third step involves the initial coats of paint, and that is followed by steps four and five: shading and outlining. The sixth and last step consists of several finishing touches.’

As a thanka painting is made to be rolled up in a scroll fashion, it is painted on cloth whose surface has two layers: the support and ground. The most common cloth, or support, used today is light-weight Indian cotton of fine but slightly open weave. An open weave allows the ‘gesso’ a kind of white paint to settle more evenly. This underlying material holds the subsequent layer of ground and paint. Once the artist has acquired the cloth, it is washed, dried and cut to fit the wooden frame upon which it is stretched. This must be done carefully to avoid any bulging which, if it occurs, will be permanent.

Once the fabric is secured onto the frame three steps are taken to prepare the cloth for painting. First is the sizing of the cloth, which involves the preparation of a warm solution of hide glue which is applied to both sides of the cloth with a large brush or a wadded rag. Once the cloth is saturated, any excess is removed and the cord that connects the cloth to the stretcher is tightened. Then the canvas is set aside to dry.

Secondly, the cotton support is coated with gesso. The gesso used is a solution of either chalk or white clay, whichever is the most available and is combined with size solution until it reaches the consistency of buttermilk. The mixture is then strained through a cloth to remove any lumps and is applied to both sides of the cloth in thin even coats with a wadding rag or gesso knife. When the first coat has dried the artist determines if another is necessary by holding the canvas up to the light. If light comes through, another application of gesso is applied.

Finally the surface is polished until it is perfectly smooth and ready for use.

 

The Painting of the Thanka

The drawing of a thanka is done in several stages – first are the lines of orientation. The most important line is the central vertical axis, which forms the exact centre of the painting around which the composition will be laid out. The vertical axis usually marks the centre of the main figure – in relation to which all the other figures of the composition are to be positioned. The figures portrayed have to be in perfect relationship to the central axis, any mistakes affect the religious value of the painting.

There are eight major lines of orientation to be drawn. The first of these are the two diagonals. These are drawn from one corner of the canvas to its diagonal opposite and enable the drawing of these two axes. Such lines are drawn with the use of a chalk line or a compass. The second lines to be drawn are the vertical axis and the horizontal line and finally the four outer lines that define the edges of the painting are added.

Once the eight major lines are established the artist can begin his sketching. The first step is to establish the area of the main figure on the vertical axis and its position in relation to the horizontal axis. In order to sketch the figure properly the artist must know the iconographic measurements of each deity as established by Buddhist tradition. The main iconographic classes, in order, are: buddhas, peaceful bodhisattvas, goddesses, tall wrathful figures, short wrathful figures, and humans. Other iconographical systems exist with more classes that are basically subdivisions of the above classes with the addition of some rare types.

Once the main figure is drawn, if other figures are to be included their position is established, according to their status. Next, the artist works on the surrounding area, sketching in the landscape, offerings and so forth. For the drawing of the preliminary sketch, the artist uses a graphite pencil or a charcoal crayon, which allows for corrections to be made. Once the sketching is complete the artist finalizes it by going over the pencil sketch with a brush and black ink. Inking in is done with great care, making every effort to correct and improve upon the pencil sketch, for, with the exception of minor details, it determines the final design of the painting.

The next step is to apply paint to the canvas. This is a two step process which includes filling in the areas of different base colours and shading and outlining these areas. Mineral pigments, mixed with a binder of either size or glue, are used for the initial coats of colour, while dye and lakes are used for the shading and outlining.

The progressive application of paint follows four principles. To begin with, the paint is applied to the more distant planes of the picture – sky and landscape – then progress to the primary figure. One colour is used at a time, being applied to all the appropriate places whilst the paint is still fresh. Due to the shading and tinting techniques used, the lighter colours are applied first and the darker colours for shading and tinting are applied later. Finally, the small features of the painting, those that are important and to be done in light colours, are done last so that they are not smudged during the remainder of the painting process.

A simple example of the paint application process would be a small one-deity thanka with a simple landscape. The main planes are (according to distance) – the sky, the landscape, the deity’s nimbus, and the figure of the deity. To paint the sky, the artist prepares by hand a suitable blue paint. He then applies this blue first to the sky and then to wherever it is needed around the figure, beginning with the nimbus and then the body. After blue the next colour used is green, which is applied in a similar manner working from the background forward to the figure. After blues and greens the artist applies the white and bluish and greenish-off whites to distant objects such as the clouds and snowy peaks. For the most part, the remaining colours are used in the forward plane, in this order: reds, oranges, yellow, ochre, brown, pink, white and gold.

The application of the initial coats of paint, depending on the size and complexity of the work, can take from a few hours or days, to a few weeks to complete. Once complete, the artist scrapes the painting surface smooth, in preparation for the finishing steps. After scraping and dusting the artist rubs the surface with a small ball of dry dough. The application of gold cannot be done until after the scraping and cleaning as gold needs a smooth undercoat on which to adhere properly. Nearly every thanka has at least a little gold on it as a religious offering.

After applying the initial coats of colour the next step is the shading. Shading, shadowing and gradation of tones are done to give a three dimensional quality to objects such as clouds. There are two main methods of shading: wet and dry. Wet shading is the blending of two wet colours, which is done during the application of the initial coats of colour. Dry shading is usually a secondary step and is the application of successive thin washes of colour over the dry preliminary coat. The main shading colours are organic dyes and lakes; mainly indigo (blue) and lac dye (red). Other dyes used are mainly yellow and orange. Typically, indigo is used to shade the initial blues and greens, lac dye is used for the areas of red, maroon, orange, yellow or flesh colour, while yellow is used to intensify and highlight the greens. Shading is done much as the initial coats of colours are applied – working from the farthest planes to the closest and working with as much of one colour at once as possible. Shading is an important feature of thanka painting, taking up a large portion of the artist’s time, and is done very carefully and precisely.

Outlining is one of the final steps in the process of thanka painting. It is done to intensify distinct objects, setting them off from their surroundings. It is used to indicate any small or fine details. The colours mainly used in outlining are indigo and lac dye, each used to outline shaded areas of the same colour. Other colours used are: white, for water and bone ornaments; gold, for nimbuses, seats, flowers, leaves, robes, multi-coloured lotuses and rocky crags. These are applied in stronger concentrations than in shading to contrast the base colour and the background more sharply.

The last major step in painting the thanka is drawing the faces of the main figures. This demands great attention. Of the facial features the eyes receive the greatest care, for the eyes bring the painting to life. Of course the shapes and dimensions of the facial features are determined by iconographic traditions. The application of the gold with a burnishing tool is the final step in thanka painting. There are two main types of burnishing, flat burnishing, in which large areas of gold are uniformly polished, and selective burnishing, polishing certain areas or drawing designs onto the gold with the point of the burnisher.

 

Mounting the Thanka

Most thanka paintings are mounted in a brocade frame. Although there is nothing to stipulate that it has to be brocade or even cloth, it is a tradition that has continued from the past.

Silk brocade is the most popular form of mounting since it is seen as having greater religious merit than other less expensive types of cloth. The quality of brocade used, varies from patron to patron, but again it is generally thought that the higher the quality, the greater the religious value the painting will assume. Likewise, the greater the number of brocades used, the greater the enhancement of the painting. Often, for example, a brocade square is sewn on to the mount below the picture to draw attention to the subject, whilst other paintings are framed with one or two thin strips of brocade, often red and yellow, before being placed on the main brocade, again for emphasis.

The proportions of the mounts tend to be the same, although sizes may vary according to the intended wall space on which the painting is to be hung. Normally, the amount of brocade used at the bottom equals half the size of the thanka, whilst the amount at the top is a quarter of the size of the thanka. Similarly, the mounting at the edge is equal to one eighth of the size of the thanka.

One final addition may be a curtain, which tends to be a piece of orange or yellow cotton material attached to the top of the brocade mount and which, when let down, covers the painting. Two thin red strips of material often hang down in front of this. The purpose of the curtain is mainly twofold, although not all thankas have them. First, it is used as a form of protection, preventing the accumulation of dust and is raised only on special occasions and secondly it is an extra adornment to enhance the value of the work further.

Since a thanka painting is a religious work, it is usual to place a white scarf at the brocade which is not only an offering but also acts as a protection. 

 

Consecration

Finally, if the painting is to function as a sacred object it is consecrated through a ritual of consecration, which is performed by a lama. During this ceremony, which is a combination of meditation, incantation and the recitation of prescribed mantras, the back of the painting is inscribed with the three syllables, which indicate the body, speech and mind of the main figure, along with names of certain deities and prayers of request or praise. Sometimes the hand-prints, or fingerprints, of respected teachers are placed on the back of the painting as well.

 

Characteristics of a Quality Thanka Painting

Most of all the painting must be appealing, beautiful and pleasing to the eye. The image must appear to be well proportioned. There are certain characteristics to look for in determining if the image has been done properly. In a well executed thanka painting the feet and hands are youthful with long tapering fingers and toes, marked with the sign of the wheel (dharmachakra) and the endless knot. The limbs are graceful, unblemished and the anklebones hidden. In the case of a thanka painting depicting a Buddha, his stomach is wide; the navel twisted clockwise, the waist well-defined and the upper body broad with rounded shoulders. The throat is tapered, the lips red and the nose long and pointed. The eye, the most important detail, should resemble lotus petals with the whites and pupils clearly defined. The eyebrows must be distinct and should feature a fine white hair (urna) between them, whilst the head should be large and rounded with a broad forehead, distinct hairline and the ears long and lobed. Gema Lama states in his book The Principals of Tibetan Art that, ‘Generally the form is meant to be large and erect, with dignified bearing and pleasing mien’. He goes on to point out that the masculine and feminine features ‘should be clearly defined and the clothing graceful’.

Unfortunately, today, thanka painting and with it, other aspects of Tibetan art are threatened by the influx of fake or badly finished paintings. In many tourist areas such as Delhi, Srinagaror, Kathmandu, these pieces are offered to the unsuspecting buyer as authentic thankas. Many have been prematurely ‘aged’ by holding them over butter lamps for long periods or by twisting them tightly thereby cracking the paint to give the effect of an old, much-used item. The symbols used in some of these paintings have been incorporated with little or no regard to the traditional guidelines laid down over the centuries. Often the grids have been badly or incorrectly drawn and the figures and features from many different mandalas combined into one picture. Furthermore, the silks and paints used are often of inferior quality, which often leads to cracking.

Though authentic thanka paintings belonging to Tibetans may have been sold in the years immediately following their flight from Tibet because of the initial hardship suffered by many families, it is very doubtful that authentic thanka paintings are for sale everywhere now. The sale of religious artifacts is contrary to Buddhist principles and only through the commissioning of an artist as outlined earlier can one acquire a thanka painting. The inferior paintings available at present are of little or no artistic value as most are of crude workmanship and resemble a mosaic of Buddhist symbols, deities, entourage and environments rather than a properly constructed painting. These paintings certainly have no religious value because of the lack of religious intent by the artist and as His Holiness the Dalai Lama has frequently pointed out it benefits neither Tibetans nor Tibetan art and culture for this trade to continue. Thanka paintings are religious works of art intended to aid the devotion and prayers of Buddhist practitioners and herein lies their true value.

 

Mural Painting

Many of the techniques used in mural painting are similar to those used in thanka painting and often in the past qualified thanka painters were commissioned to decorate the walls and even furniture of public buildings, monasteries and private houses in Tibet.

Whereas the function of a thanka painting is primarily religious and serves as a means of protection, the purpose of a mural painting is more decorative. Its subjects, therefore, tend to be diverse ranging from mythological figures and auspicious symbols to animals, birds, trees and flowers. They are often subjects that may feature in a thanka painting but never as the focal point. Thus in private houses, it would be quite common to have a series of ‘medallions’, about a metre in diameter, drawn on the walls of a room depicting scenes from various mythological tales, known stories such as ‘The Four Harmonious Brothers’ which in this case would feature the grouse, the hare, the monkey and the elephant. Ordinary people and events were also often drawn, particularly in important buildings, such as the Potala, where a mural would always be painted depicting the building’s construction, as well as the ground plans.

Mural paintings are always enhanced with a border painted immediately below the ceiling. Ornately decorated with a pattern of flowers, the border is made to look like a curtain, where even the folds of the material as well as the tassles are carefully drawn in. This is usually balanced by three stripes, again florally decorated, which line the walls at the base of the windows running parallel to the border at the top.

In addition to those of non-religious subjects, many religious murals also exist. The decorations in temples are always religious and feature many deities, all of whom have a certain position within the building according to their status and function. Pictures of the more exalted figures, such as the Lord Buddha are always painted behind the main altar and face the protective deities who line the back wall of the temple. In front of the main door are placed the Four Guardian Kings, whose bodies are painted white, blue, red and yellow as they protect the East, South, West and North respectively and who stand next to a painting of the wheel of cyclic existence.

When a religious mural is painted, the artist follows the same traditional guidelines carried out in thanka painting. Thus the same careful preparation and rituals are done before the work is begun and he uses the same system of grids and proportions as those used in a thanka painting. Likewise, the painting is consecrated upon completion.

The same bright colours that are used in thanka painting are used in mural work, although the type of paint is different as well as the method of application because of the contrasting surfaces. Unlike thanka painting, where the colours are added one on top of each other to achieve a fine degree of shading, when painting a mural, the colours are applied at the same time and mixed on the wall itself to achieve the desired shade, thus using the wall as a kind of palette. So, when painting a pink flower, both the white and red paint are applied together and mixed until the correct pink is obtained.

Mural painting has always featured heavily in Tibetan architecture, much of which was unfortunately destroyed by the Chinese during the Cultural Revolution. Brightly painted furniture, for example, which was found in most Tibetan households, had to be painted over, or in the case of poorer people who could not afford the paint, darkened with mud or charcoal and it was a long time before it could be removed. It is only recently that mural painting has begun to be revived properly both in Tibet and in exile, where, as the need to ensure that Tibetan culture does not die, every effort is being made to revive and continue the traditions carried out in the past.

 

Painting Guilds

Most thanka painters in Tibet belonged to a painting guild. For not only was it considered prestigious, since entry was difficult, but it automatically guaranteed a steady income of work at a high level.

As with other building guilds, the artistic guilds carried out a variety of work, both public and private, which ranged from the creation of thanka paintings, private mural work and the painting of furniture to the restoration and decoration of larger edifices, such as monasteries, temples and public buildings.

Hierarchy played a considerable role, not only amongst the artistic guilds but amongst the other building guilds as well. Since much of the painters’ work was of a religious nature, the artistic guilds assumed a superior status to those of the carpenters’ or masons’ guilds. It was for this reason that they were also exempt from having an organized administration, which gave them greater individual freedom in the type of work they undertook. Levels of superiority also featured amongst the artistic guilds themselves. The ones with the greatest prestige were the five or six who had official recognition and who consequently carried out all government work. This, however, did not prevent the other guilds from carrying out any type of work. Then, within the guilds themselves, five or six ranks of seniority existed.

The guilds mostly collapsed or became inactive following the Chinese occupation, especially during the Cultural Revolution when art and culture was repressed.

In the late 1970s, when restoration work began and artists were allowed to paint openly again, instead of reestablishing the guilds, government-run cooperatives were set up, to which all artists had to belong if they wanted to work. Even today, when much greater freedom reigns, the guilds are yet to reappear.

 

Bibliography

  • Dagyab, Loden Sherap, Tibetan Religious Art, Wiesbaden, Otto Harrassowitz, 1977.
  • Jackson, David P. & Janice A., Tibetan Thangka Painting, London, Serindia Publications, 1984.
  • Lama, Gega, Principles of Tibetan Art, Belgium, Karma Sonam Gyantso Ling.
  • Pal, Pratapaditya, Tibetan Paintings, Switzerland, Basilius Press, 1984.
  • Tucci, Guiseppe, Tibetan Painted Scrolls, Kyoto, Rinsen Book Co., 1980 (originally published by Liberia Dello Sato, 1949.)
  • With special thanks to Venerable Sangyay Yeshe and Temba Chöphel.

 

A Dorje Shugden thangka that belonged to H.H. Trijang Dorje Chang. H.H. the 14th Dalai Lama and his entourage traveled with this thangka as they escaped Tibet for India

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6 Responses to The Art of Thangka Painting

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  1. Freon on Mar 20, 2017 at 1:09 pm

    I always thought that Thangka original was from Tibet. From this article, i learned that Thangka have such a long history, begin from Buddha Shakyamuni time. And, the influent on the Thangka drawing is from India, Nepal and China.

    From this article, i learned that Thangka is not just an art, it is a subject that we can pray to, especially the Thangka drawing mostly related to Buddhism
    During the drawing of the Thangka, the artist have to clean himself, and also focus, it is like doing meditation while making the Thangka.

    The making of Thangka, from selection of the cloth to the material to paint the Thangka have are carefully considered and selected.

    Interesting article

  2. Fong on Aug 11, 2016 at 2:51 pm

    It is interesting to note that thangkas were done as part of practice with meditation and visualization. The whole process and motivation is very complex and pure. Along the way, the painter/practitioner imbues the thangka with the positive energies of the deities.

    The whole style had matured over the years after the initial influence of India and china, and thus the Tibetan style is born and is unique despite the 2 different schools of Menri and Mendar.

    Reading about the whole process, I am awed by the intricacies of the thangka and its history. This has helped me appreciate thangkas a whole lot more. But, as suggested in the article it is very difficult to have a good quality thangka with the correct iconography and detailing. So, we shall contend ourselves by appreciating the thangkas in monasteries.

    Thank you for sharing this article. It has taught me be grateful to the practitioners who paint thangkas as part of their meditation and visualization with sincere motivation to benefit the future owner. It has taught me to be more aware of the details in thangkas and the skills and concentration required to paint a thangka. It has also taught me that the thangka is not a piece of commodity to be traded but an object of reverence and respect as it is the holy image of the Buddhas, just like a statue with positive energies imbued.

  3. Sunapati Thangka School on Dec 17, 2015 at 5:51 pm

    Dear Rimpoche, thank you for this article.
    Its not well known the amount of work and effort that is required to create a thangka painting.
    The commitment of our small school is to keep this tradition alive and support the artists and students that, as many here in Nepal, are facing many difficulties at this time.
    Thank you for sharing and caring.

    Blessing
    traditionalartofnepal.com

    • Tsem Rinpoche on Dec 17, 2015 at 7:04 pm

      Dear Sunapati Thangka School,

      I wish you all the best and success. I hope you all will overcome your difficulties. It is noble to struggle to keep up the powerful tradition. You have my good wishes. I hope blogging here about this special tradition will bring more awareness. Tsem Rinpoche

  4. Alice Tay on Aug 26, 2015 at 3:00 pm

    It is not easy to produce a good quality of a thangka painting. A responsible artist would have compassion coupled with good motivation
    while creating the thangka. The artist would think of all the suffering of other beings in the different realms and therefore he is painting the thangka for the benefit of all sentient beings.

    Other than the good motivation, the artists may have strong devotion to religion, modesty and other good qualities and also follow certain personal restrictions eg abstain from eating meat, onion or garlic, alcohol, strict personal cleanliness in both body and mind and etc etc.

    Having considered thangka painting is also a holy objects which could bless to all the sentient beings, the hardwork by the artists who are follow strictly to the rules of thangka painting and devotion to religion is very much appreciated.

    Thank you Rinpoche for this wonderful sharing about thangka painting.

  5. Loh Ann Leong (Penang) on Jun 29, 2015 at 9:14 am

    Thank you Rinpoche for sharing the information of intricacies of A to Z preparations till finishing touch, values and history of thangka as representation of Buddhist object aside of art beauty or as decoration. It does create awareness for me after reading this blog, of much and vast merits of the thangka painter with having pure motivations when preparing the thangka.

    OM BENZA WIKI BITANA SOHA _/|\_

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  • Alice Tay
    Wednesday, Nov 22. 2017 03:25 AM
    Dorje Shugden is an emanation of Manjushri in dhama protector form. Dorje Shugden practice has been passed for over 400 years by the lineage gurus. Our lineage gurus have strong faith and practice Dorje Shugden including H.E. Tsem Tulku Rinpoche, H.H. Kyabje Zong Rinpoche, H.H. Kyabje Trijang Rinpoche and H.H. Kyabje Pabongka Rinpoche. All these gurus have achieve attainments and now they have returned in perfect human body to continue their previous life dharma works for the benefit of others. If Dorje Shugden is a spirit and can harm H.H. Dalai Lama and other great masters e.g. from other lineage like Sakya and our lineage gurus, the dharma will not grow and spread to the western countries.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/buddhas-dharma/why-cant-the-dalai-lama-bind-dorje-shugden.html



  • Alice Tay
    Tuesday, Nov 21. 2017 01:20 AM
    Dharma Protector practice especially Kawang prayer is very powerful to purify our negative karma that accumulated since our countless past lifetimes. If this karma is not purified, it can manifest as obstacles to our Dharma practice and can hinder our spiritual progress. When we practice diligently, Kawang prayer is very effective to clear and stabilise the mind when doubts and confusion arise. Eventually, we will achieve the ultimate happiness of full enlightenment and no longer need any dharma protector.

    Thank you Rinpoche for your kindness and compassion to give us this practice to liberate us from suffering and toward enlightenment.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/buddhas-dharma/kawang-a-dorje-shugden-confessional-practice.html?nomobile
  • Lin Mun
    Sunday, Nov 19. 2017 10:39 PM
    Amazing to have Dorje Shugden in so many styles. Rinpoche is really creative to create and commission so many types and styles to suit everyone so all of us have a chance to connect and practise Dorje Shugden. Thank you Rinpoche and team for getting all the various beautiful paintings within a short time.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/art-architecture/which-dorje-shugden-style-is-your-favourite.html
  • Lin Mun
    Sunday, Nov 19. 2017 10:19 PM
    Puan Sabariah really has a big heart. She cooks and serves everyone regardless of race as she only wants to bring joy, happiness and warm food to the homeless. It is already not easy to cook for 20 or 30 person but she managed to cook for 300 a day from her apartment and even up to 1,000 during Ramadhan. Her work it a great inspiration to many and great reminder to always love and help people no matter what their background is. And now at 70 years old still continue working to help the refugees. So we also should not give up helping others and don’t use age as an excuse.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/current-affairs/the-malaysian-mother-teresa-of-montreal.html
  • Stella Cheang
    Sunday, Nov 19. 2017 02:37 AM
    I used to hear a few people around me say that they are OCD towards certain triggers. From their description, I was under the impression that OCD means they have low tolerance towards the trigger. With this article clearly stating the symptoms of people with OCD suffering from the obsession that triggers compulsion in doing something, OCD actually is a serious illness. It results in physical or emotional distress. It appears to me that OCD sufferer’s mind are programed to hold onto to a certain perception very strongly. I hope there will be medical help to reduce their fixation so that their quality of life will improve. Thank you for this sharing, Rinpoche.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/current-affairs/understanding-obsessive-compulsive-disorder.html
  • Lin Mun
    Saturday, Nov 18. 2017 09:22 PM
    I feel very sad for the animals and embarrassing at the same time that our national zoo were in such a poor state. Charging RM 30 (with MyKad) and RM50 (without MyKad) per entry is not cheap and this clearly shows that the zoo is not well managed. Animals are already being captured with no freedom and the situation is made worse with poor condition, unsanitary, lack of food and medical assistance. I hope the authority will look into this urgently and take action to rectify the situation.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/animals-vegetarianism/a-living-hell.html
  • Lin Mun
    Saturday, Nov 18. 2017 09:13 PM
    This is indeed a great move from the California authority and passing it as a law. This move will surely reduce the number of puppy mills and reduce the suffering of animals tremendously. Many cats and dogs suffered as most breeders do not maintain and treat the animals poorly. Hopefully more states in United States and other countries will follow suit on this noble act.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/animals-vegetarianism/california-says-pet-stores-can-only-sell-rescued-animals.html
  • Stella Cheang
    Friday, Nov 17. 2017 09:27 AM
    There are three purification practices and Kawang is one of them, most suitable to purify heavy bodily karma as well as clearing and stabilising the mind when doubts or confusion arise in times of conflict or when one is on the verge of giving up on something virtuous. From the sharing by Pastor David, the key to this practice is consistency. Doing the kawang prayer as part of our daily sadhana is akin to building up a strong bond with Dorje Shugden, hence, able to invoke his blessing more effectively.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/buddhas-dharma/kawang-a-dorje-shugden-confessional-practice.html
  • Jason
    Thursday, Nov 16. 2017 11:02 PM
    这是一个很好的佛法教育的视频。仁波切选择了转世到恶劣的环境下成长,但是在这不影响仁波切放弃学习佛法的精神,反而造就了一个菩萨心肠的圣人。仁波切承受很多的痛苦,仁波切不愿意看到他人痛苦,所以发愿要帮助更多流宿街头者给他们援助。
    仁波切的坎坷成长过程给我们一个很正面的教育。环境的影响大不过于我们内心的想法。所以要先修心然后才修行。

    感恩仁波切的教悔使我知道快乐不仅是拥有而是我们付出多少让别人快乐。

    Jason

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/personal-attendant/凡人和圣人的差别.html#comments
  • Jason
    Thursday, Nov 16. 2017 10:18 PM
    This 5 ft Gyenze Statue very stunning and it look so real like a man ride a horse. Gyenze is the increase form of Dorje Shugden and he will bestow us increase in any material or spiritual forms in order to help us in our spiritual path.

    This chapel open 24 hrs and open to public so anyone can visit this chapel anytime. Remember to lit a lotus candle and offer to Gyenze. By doing so, it will lesssen our ignorance and very benefit in our spiritual path.

    Thanks sponsor for contribution in making this 5 ft Gyenze Statue come into real.
    Thanks Rinpoche for conceptualize of this chapel to benefit more people.

    Jason

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/kechara-13-depts/5foot-gyenze-statue-arrives-in-kechara-forest-retreat.html
  • Pastor Adeline Woon
    Thursday, Nov 16. 2017 12:02 AM
    This is an unbiased piece that gives a clear and easy to understand overview of the Dorje Shugden controversy. It is a “as a matter fact” piece that should be accepted easily by the general public.

    It has been a 20 year struggle for the Dorje Shugden practitioners since His Holiness the Dalai Lama imposed a ban on the practice. Families, friends, relatives, couples, etc. were separated due to it. There were many innocent people who were hurt, abandoned and killed because of it. This intended result is totally against the concept of compassion, kindness and equality His Holiness represents.

    Many assumed that all Dorje Shugden practitioners do not like His Holiness and they all demonstrated in his teachings for the last 20 years or so with the New Kadampa Tradition (NKT) founded by Geshe Kelsang Gyatso. It has been pointed out distinctively in this article that it is not the case.

    His Eminence the 25th Tsem Rinpoche has always fought the unlawful ban by peaceful and powerful means – writing and education. His Eminence preaches patience and kindness that reflect on his approach in the face of hate speech, threats, etc. He also taught his students to do the same.

    His Eminence’s approach seems to be more effective as people are being educated on the controversy and many turned their minds because of that.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/current-affairs/huffpost-on-dorje-shugden.html
  • Tsem Rinpoche
    Wednesday, Nov 15. 2017 09:35 PM
    Being creative and making things around us interesting makes life so much more bearable.~Tsem Rinpoche


    Spontaneity is the state of realizing boredom does have enemies.~Tsem Rinpoche

    Boredom is the mind that thinks this is it, when it’s not.~Tsem Rinpoche

    Being creative is not a choice, direction or lifestyle but my natural state of mind~Tsem Rinpoche

    Depression is a state of mind only when you are a piece of wood~Tsem Rinpoche

    Losing is just letting yourself know that winning is not the goal but only part of the journey~Tsem Rinpoche


    When you hate or love something extremely, both leads to sufferings.~Tsem Rinpoche

    Being with someone we love or don’t love should not make a difference to a genuine practioner expunged of the I.~Tsem Rinpoche

    Dorje Shugden is not a cause, a movement or religion but who I am, for that person is compassion, love and acceptance.~Tsem Rinpoche
  • Alice Tay
    Wednesday, Nov 15. 2017 03:44 PM
    Thank you Rinpoche sharing this article from Huffington Post. Dorje Shugden ban is getting more people’s attention in the world now. This is a good time for everyone to think, find out more and understand the truth about this issue. This is no longer about the issue of religious but it is more to the fundamental human rights on their freedom and religious that bring much impact in their life.

    Basically, everyone may wish to have their life is improving and getting better. But, it seems that this is not applied to the Tibetan people. The Tibetan people especially Dorje Shugden practitioners have suffered and facing a lot of difficulties, segregation and discrimination for the past 20 years. This situation is getting worse when Sera Jey Monastery introduced an identity badge system to for its monks to indicate that they were not Dorje Shugden practitioner. From that, we can understand those who are practiced Dorje Shugden were not welcome at the monastic university. This is another kind of discrimination happening now in Tibet.

    I humbly wish that those who are given Dorje Shugden practice by your guru, please continue to have strong faith in your guru and Dorje Shugden. For those who have misunderstand or do not know about Dorje Shugden, please think and understand that our concern now is not only about the religious but the importance of fundamental human rights for people.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/current-affairs/huffpost-on-dorje-shugden.html
  • Stella Cheang
    Wednesday, Nov 15. 2017 03:15 PM
    It is uncommon to read unbiased articles about Dorje Shugden issue, more so on international mainstream media. Many international mainstream media shy away from the issue because it is controversial, it involves a 400 years old deity practice that “outsider” finds hard to verify and it deeply intertwines in the entangled Tibetan-China political relationship. Therefore, I rejoice for the job well done by the Huffington Post for carrying this unbiased, well researched and factual article; it is very refreshing and encouraging for all Shugdenpas, for a change.

    Shugden practice is being accused of threatening the unity of all the Buddhism sects in Tibet. The Huffington Post rightly points out that for the past four centuries, Dorje Shugden was propitiated alongside all these main Buddhism schools without any signs of aggressive purge, as claimed by the HHDL people post 1976.

    The only difference between the Shugden practice and the rest of the Tibetan Buddhism practice is almost close to zero. It is really a matter of emphasis. Yet, the ban initiated by HHDL, in all his wisdom, have been fervently actualised by the CTA over the years. Resulting in the ostracisation of the entire Shugden community, and followed by many abuse, beating and threats that ensued on a day-to-day basis. Is it not the exact aggressive purge that threatens the unity of the Buddhism community?

    The deity is being demonised further with no basis. And the community is accused of being Chinese spy. Interestingly, the Chinese angle became an opportune played well by the Beijing after they learnt of this fall out and exploit the discord against their arch rival, HHDL. Will HHDL and his think-tank finally admit that it is better to lift the ban so that the Chinese can stop using it to widen the divide?

    There is another key issue not being pressed on in this article, which I believe it is out of respect to HHDL. This article did not question why HHDL, a 1989 Nobel Peace Prize Laurette, is not hesitant to show no mercy to his own people practicing Dorje Shugden; which is to go against what he championed for the rest of the world.

    Thank you, Rinpoche and the team for this wonderful and uplifting sharing!

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/current-affairs/huffpost-on-dorje-shugden.html
  • Pastor Adeline Woon
    Wednesday, Nov 15. 2017 06:29 AM
    These videos are very necessary to counter the repeated false claims by the Central Tibetan Administration (CTA) on the unlawful ban of Dorje Shugden. These videos were highly circulated by the Tibetans on social media platform. Now that the Tibetan version is available, more Tibetans can understand the contradictory statements made by their leader Lobsang Sangyay and the kashag (cabinet). It is very important that the Tibetans understand so that they can unite and join force to vote for a different and more capable leaders who will really do something that benefit them.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/dorje-shugden/tibetan-leaderships-new-anti-shugden-video.html

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Dear friends, The Dorje Shugden oracle of Gaden Shartse Monastery was authorized and blessed by both Kyabje Trijang Rinpoche and Kyabje Zong Rinpoche. He was a favorite among high lamas for his smooth trances and clear prophecies. This video is a one-of-a-kind where you see the Choyang Dulzin Kuten oracle take trance of the peaceful form of Dorje Shugden wearing the robes of a high lama giving teachings, blessings and transmissions. Very sacred and rare video. https://www.youtube.com/watch?v=pawS1TMOe8k
7 days ago
Dear friends, The Dorje Shugden oracle of Gaden Shartse Monastery was authorized and blessed by both Kyabje Trijang Rinpoche and Kyabje Zong Rinpoche. He was a favorite among high lamas for his smooth trances and clear prophecies. This video is a one-of-a-kind where you see the Choyang Dulzin Kuten oracle take trance of the peaceful form of Dorje Shugden wearing the robes of a high lama giving teachings, blessings and transmissions. Very sacred and rare video. https://www.youtube.com/watch?v=pawS1TMOe8k
Beautiful contemporary art piece of Dorje Shugden for free high res download here:  http://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html
1 week ago
Beautiful contemporary art piece of Dorje Shugden for free high res download here: http://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html
The Huffington Post extensively covers the Dorje Shugden issue. I had no idea that this article was being written. I was not contacted, not asked for an interview or asked for any comments, and then it was published and my students alerted me to it. So it was a very, very pleasant and encouraging surprise to read such balanced coverage from such a reputable news website. You can read it here: http://www.tsemrinpoche.com/?p=149806
1 week ago
The Huffington Post extensively covers the Dorje Shugden issue. I had no idea that this article was being written. I was not contacted, not asked for an interview or asked for any comments, and then it was published and my students alerted me to it. So it was a very, very pleasant and encouraging surprise to read such balanced coverage from such a reputable news website. You can read it here: http://www.tsemrinpoche.com/?p=149806
དེ་རིང་ང་ཁྱེད་རང་ཚོ་མཉམ་དུ་བོད་མིའི་ཆབ་སྲིད་ནང་གི་བློ་མགུ་ནུས་པའི་མངོན་འགྱུར་ཞིག་ཞུའི་ཡིན། གང་དག་བོད་པའི་སྤྱི་ཚོགས་ནང་ཆོས་ལུགས་ཁྱད་པར། དབྱེ་འབྱེད། ཕྱོགས་རིས་ཐོག་ལ་གང་འདྲ་སྟངས་འཛིན་བྱེད་དགོས་ཀྱི་སྐོར་ངེས་གཏན་སྣུན་ཤུགས་བྱེད་ཐུབ། http://www.tsemrinpoche.com/tsem-tulku-rinpoche/dorje-shugden/tibetan-mp-tenpa-yarphel-speaks-up-against-nechung-tibetan.html
1 week ago
དེ་རིང་ང་ཁྱེད་རང་ཚོ་མཉམ་དུ་བོད་མིའི་ཆབ་སྲིད་ནང་གི་བློ་མགུ་ནུས་པའི་མངོན་འགྱུར་ཞིག་ཞུའི་ཡིན། གང་དག་བོད་པའི་སྤྱི་ཚོགས་ནང་ཆོས་ལུགས་ཁྱད་པར། དབྱེ་འབྱེད། ཕྱོགས་རིས་ཐོག་ལ་གང་འདྲ་སྟངས་འཛིན་བྱེད་དགོས་ཀྱི་སྐོར་ངེས་གཏན་སྣུན་ཤུགས་བྱེད་ཐུབ། http://www.tsemrinpoche.com/tsem-tulku-rinpoche/dorje-shugden/tibetan-mp-tenpa-yarphel-speaks-up-against-nechung-tibetan.html
བོད་པའི་དབུ་ཁྲིད་ཚོའི་རྡོ་རྗེ་ཤུགས་ལྡན་བསྟེན་མཁན་ཚོར་མ་ཉེས་ཁ་ཡོག་གི་བརྙན་ཕྲིན་གསར་པ། http://www.tsemrinpoche.com/tsem-tulku-rinpoche/dorje-shugden/tibetan-leaderships-new-anti-shugden-video-tibetan.html
1 week ago
བོད་པའི་དབུ་ཁྲིད་ཚོའི་རྡོ་རྗེ་ཤུགས་ལྡན་བསྟེན་མཁན་ཚོར་མ་ཉེས་ཁ་ཡོག་གི་བརྙན་ཕྲིན་གསར་པ། http://www.tsemrinpoche.com/tsem-tulku-rinpoche/dorje-shugden/tibetan-leaderships-new-anti-shugden-video-tibetan.html
(Drepung) Dear friends, In the effort to be creative about something as holy and beneficial as Dorje Shugden, we\'ve come out with these new and realistic depictions. One is Dorje Shugden visiting the Potala Palace and the other is Dorje Shugden arising from Drepung Monastery where he lived in Zimkhang Gangma Ladrang as a high lama. Please enjoy and be blessed. Sincerely, Tsem Rinpoche (High resolution downloads: http://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html )
2 weeks ago
(Drepung) Dear friends, In the effort to be creative about something as holy and beneficial as Dorje Shugden, we've come out with these new and realistic depictions. One is Dorje Shugden visiting the Potala Palace and the other is Dorje Shugden arising from Drepung Monastery where he lived in Zimkhang Gangma Ladrang as a high lama. Please enjoy and be blessed. Sincerely, Tsem Rinpoche (High resolution downloads: http://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html )
Dear friends, In the effort to be creative about something as holy and beneficial as Dorje Shugden, we\'ve come out with these new and realistic depictions. One is Dorje Shugden visiting the Potala Palace and the other is Dorje Shugden arising from Drepung Monastery where he lived in Zimkhang Gangma Ladrang as a high lama. Please enjoy and be blessed. Sincerely, Tsem Rinpoche (High resolution downloads: http://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html )
2 weeks ago
Dear friends, In the effort to be creative about something as holy and beneficial as Dorje Shugden, we've come out with these new and realistic depictions. One is Dorje Shugden visiting the Potala Palace and the other is Dorje Shugden arising from Drepung Monastery where he lived in Zimkhang Gangma Ladrang as a high lama. Please enjoy and be blessed. Sincerely, Tsem Rinpoche (High resolution downloads: http://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html )
I had this painting commissioned. Please read more here on this great master-
 http://www.tsemrinpoche.com/?p=146195
3 weeks ago
I had this painting commissioned. Please read more here on this great master- http://www.tsemrinpoche.com/?p=146195
How can all the high lamas of Tibet and all the protectors not be able to defeat Dorje Shugden? This is food for thought: https://www.youtube.com/watch?v=4Bj0254UG-Y
3 weeks ago
How can all the high lamas of Tibet and all the protectors not be able to defeat Dorje Shugden? This is food for thought: https://www.youtube.com/watch?v=4Bj0254UG-Y
致全世界的华人:这是我一份小小的心意:一幅富有古中国传统艺术的作品。希望你们会喜欢! http://bit.ly/2zLOjnK
4 weeks ago
致全世界的华人:这是我一份小小的心意:一幅富有古中国传统艺术的作品。希望你们会喜欢! http://bit.ly/2zLOjnK
“One has not only a legal but a moral responsibility to obey just laws. Conversely, one has a moral responsibility to disobey unjust laws.”

~ Martin Luther King, Jr.
1 month ago
“One has not only a legal but a moral responsibility to obey just laws. Conversely, one has a moral responsibility to disobey unjust laws.” ~ Martin Luther King, Jr.
Download for free this high res photo of Lord Shugden: http://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html
1 month ago
Download for free this high res photo of Lord Shugden: http://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html
Whatever we can do to spread the teachings of our Guru, we should do so.
1 month ago
Whatever we can do to spread the teachings of our Guru, we should do so.
 These three (Dharma, Oser and Mumu) are super adorable.
1 month ago
These three (Dharma, Oser and Mumu) are super adorable.
Beautiful Vajra Yogini print.
1 month ago
Beautiful Vajra Yogini print.
Beautiful and holy new statues arrived to Kechara Forest Retreat. Please enjoy the pictures: http://www.tsemrinpoche.com/?p=146950
1 month ago
Beautiful and holy new statues arrived to Kechara Forest Retreat. Please enjoy the pictures: http://www.tsemrinpoche.com/?p=146950
Beautiful old thangka of Buddha Nageshvaraja
1 month ago
Beautiful old thangka of Buddha Nageshvaraja
Dear friends, This meme is powerful. Who you hang around with and the types of attitude they have is who you will be influenced by many times and who you will become in the future. Look at your friends and the people that always surround you to know who you will become. Tsem Rinpoche
1 month ago
Dear friends, This meme is powerful. Who you hang around with and the types of attitude they have is who you will be influenced by many times and who you will become in the future. Look at your friends and the people that always surround you to know who you will become. Tsem Rinpoche
October 2017, His Holiness Gaden Trisur Rinpoche Jetsun Lungrik Namgyal graciously reading our Kechara album and updates as presented by Beng Kooi and Martin. He was very pleased with our progress and offers his blessings. Tsem Rinpoche
1 month ago
October 2017, His Holiness Gaden Trisur Rinpoche Jetsun Lungrik Namgyal graciously reading our Kechara album and updates as presented by Beng Kooi and Martin. He was very pleased with our progress and offers his blessings. Tsem Rinpoche
His Holiness Gaden Trisur Rinpoche grants audience to Beng Kooi and Martin in France.  Read more on His Holiness Gaden Trisur Rinpoche: http://bit.ly/1PlaNNS
1 month ago
His Holiness Gaden Trisur Rinpoche grants audience to Beng Kooi and Martin in France. Read more on His Holiness Gaden Trisur Rinpoche: http://bit.ly/1PlaNNS
Recently Beng Kooi and Martin on behalf of myself and Kechara was lucky to have audience with His Holiness Gaden Trisur Rinpoche Jetsun Lungrik Namgyal of Gaden Shartse Monastery. He lives in around Paris, France. His Holiness is 91 years old and very healthy and alert. He was the 101st throne holder for Tsongkapa and was the head of the Gelugpa school of Buddhism and was very successful during his tenure. He is a strong practitioner of both Sutra and Tantra of Je Tsongkapa\'s tradition and a master of all Buddhist knowledge. He holds steadfast to his protector Dorje Shugden very strongly. So we can see even the highest throneholders who are masters of Sutra and Tantra also practices Dorje Shugden knowing the benefits.

Beng Kooi and Martin brought photo albums of Kechara Forest Retreat/Kechara and updates on Kechara and our works. His Holiness was very pleased to listen and offered some gifts back. 

This is a beautiful picture and the great blessings bestowed on us from His Holiness Gaden Trisur Rinpoche Jetsun Lungrik Namgyal.

Humbly, Tsem Rinpoche 
Read more on His Holiness Gaden Trisur Rinpoche: http://bit.ly/1PlaNNS
1 month ago
Recently Beng Kooi and Martin on behalf of myself and Kechara was lucky to have audience with His Holiness Gaden Trisur Rinpoche Jetsun Lungrik Namgyal of Gaden Shartse Monastery. He lives in around Paris, France. His Holiness is 91 years old and very healthy and alert. He was the 101st throne holder for Tsongkapa and was the head of the Gelugpa school of Buddhism and was very successful during his tenure. He is a strong practitioner of both Sutra and Tantra of Je Tsongkapa's tradition and a master of all Buddhist knowledge. He holds steadfast to his protector Dorje Shugden very strongly. So we can see even the highest throneholders who are masters of Sutra and Tantra also practices Dorje Shugden knowing the benefits. Beng Kooi and Martin brought photo albums of Kechara Forest Retreat/Kechara and updates on Kechara and our works. His Holiness was very pleased to listen and offered some gifts back. This is a beautiful picture and the great blessings bestowed on us from His Holiness Gaden Trisur Rinpoche Jetsun Lungrik Namgyal. Humbly, Tsem Rinpoche Read more on His Holiness Gaden Trisur Rinpoche: http://bit.ly/1PlaNNS
The meaning and origins of Halloween: http://bit.ly/2egnVrp
*****and****
My Halloween in Salem: http://bit.ly/2zwq6li

Fantastic Reads!!
1 month ago
The meaning and origins of Halloween: http://bit.ly/2egnVrp *****and**** My Halloween in Salem: http://bit.ly/2zwq6li Fantastic Reads!!
The meaning and origins of Halloween: http://bit.ly/2egnVrp
*****and****
My Halloween in Salem: http://bit.ly/2zwq6li
1 month ago
The meaning and origins of Halloween: http://bit.ly/2egnVrp *****and**** My Halloween in Salem: http://bit.ly/2zwq6li
This is so powerful. It is a must read and must share.
1 month ago
This is so powerful. It is a must read and must share.
Beng Kooi meeting with the scholar and teacher Geshe Konchok Gyeltsen lak. Geshe Konchok Gyeltsen has been very active and you can see his youtubes in Tibetan speaking about the benefits of Dorje Shugden practice. He is a direct student of Trijang Rinpoche and Zong Rinpoche.
1 month ago
Beng Kooi meeting with the scholar and teacher Geshe Konchok Gyeltsen lak. Geshe Konchok Gyeltsen has been very active and you can see his youtubes in Tibetan speaking about the benefits of Dorje Shugden practice. He is a direct student of Trijang Rinpoche and Zong Rinpoche.
Martin meeting with Gen Tashi. Gen Tashi is a very devoted and committed activist of Dorje Shugden\'s cause. He is tireless in speaking for the truth. They enjoyed sharing some time together.
1 month ago
Martin meeting with Gen Tashi. Gen Tashi is a very devoted and committed activist of Dorje Shugden's cause. He is tireless in speaking for the truth. They enjoyed sharing some time together.
Martin meeting with the well known strong and devoted Dorje Shugden activist and scholar Geshe Konchok Gyeltsen lak. Geshe lak was very happy to meet Martin and shared so much wonderful information. Beautiful meeting.
1 month ago
Martin meeting with the well known strong and devoted Dorje Shugden activist and scholar Geshe Konchok Gyeltsen lak. Geshe lak was very happy to meet Martin and shared so much wonderful information. Beautiful meeting.
Beng Kooi meeting with friend and strong and devoted Dorje Shugden activist Gen Tashi
1 month ago
Beng Kooi meeting with friend and strong and devoted Dorje Shugden activist Gen Tashi
Another stunning digital print art of Dorje Shugden from an artist in Peru. Tsem Rinpoche
1 month ago
Another stunning digital print art of Dorje Shugden from an artist in Peru. Tsem Rinpoche
This beautiful Dorje Shugden is from an artist in the Ukraine. Tsem Rinpoche
1 month ago
This beautiful Dorje Shugden is from an artist in the Ukraine. Tsem Rinpoche
Please never get tired of speaking for those who do not have a voice. If we can alleviate their pain or try our best, why not? Thank you all so much. Tsem Rinpoche
1 month ago
Please never get tired of speaking for those who do not have a voice. If we can alleviate their pain or try our best, why not? Thank you all so much. Tsem Rinpoche
Pastor Antoinette of Kechara arranged a Malaysian artist to paint this special Dorje Shugden painting conceptualized by myself. She oversaw the process and completed it. Wonderful beautiful Dorje Shugden Malaysian style by Malaysian artist. Tsem Rinpoche
1 month ago
Pastor Antoinette of Kechara arranged a Malaysian artist to paint this special Dorje Shugden painting conceptualized by myself. She oversaw the process and completed it. Wonderful beautiful Dorje Shugden Malaysian style by Malaysian artist. Tsem Rinpoche
Sometimes after my prayers, reading on sasquatch is relaxing. Tsem Rinpoche
2 months ago
Sometimes after my prayers, reading on sasquatch is relaxing. Tsem Rinpoche
This gorgeous outdoor bronze Buddha is in Korea. Would be lovely to pay homage to Him there.
2 months ago
This gorgeous outdoor bronze Buddha is in Korea. Would be lovely to pay homage to Him there.
Beautiful old vintage photo of Kamakura Buddha in Japan. I had the good fortune to visit this holy Buddha a few years back. I do hope I can go again with some students. Tsem Rinpoche
2 months ago
Beautiful old vintage photo of Kamakura Buddha in Japan. I had the good fortune to visit this holy Buddha a few years back. I do hope I can go again with some students. Tsem Rinpoche
Tsem Rinpoche with Kyabje Gangchen Rinpoche in Kuala Lumpur, Malaysia during the Medicine Buddha festival.
2 months ago
Tsem Rinpoche with Kyabje Gangchen Rinpoche in Kuala Lumpur, Malaysia during the Medicine Buddha festival.
This is a unique thangka of Pelden Hlamo with Dorje Shugden and Setrap and Nechung. Of course they all get along unlike what Tibetan leadership likes to say they don\'t get along. All enlightened beings get along with other enlightened beings and unenlightened beings. Enlightened beings have no karma to not get along with others. Tsem Rinpoche
2 months ago
This is a unique thangka of Pelden Hlamo with Dorje Shugden and Setrap and Nechung. Of course they all get along unlike what Tibetan leadership likes to say they don't get along. All enlightened beings get along with other enlightened beings and unenlightened beings. Enlightened beings have no karma to not get along with others. Tsem Rinpoche
I love this picture. I wish it will all settle down soon.
2 months ago
I love this picture. I wish it will all settle down soon.
 I love this picture of Mumu peeking through the screen and window to see what is going on. He is always been very busy body and active. He has to know what is going on. I love you Mumu.
2 months ago
I love this picture of Mumu peeking through the screen and window to see what is going on. He is always been very busy body and active. He has to know what is going on. I love you Mumu.
How would you like to get one piece of this beautiful piece of art?
2 months ago
How would you like to get one piece of this beautiful piece of art?
First time PM Tenpa Yarphel speaks up against Nechung. It has created a huge stir. Must read: http://www.tsemrinpoche.com/?p=144220
2 months ago
First time PM Tenpa Yarphel speaks up against Nechung. It has created a huge stir. Must read: http://www.tsemrinpoche.com/?p=144220
I always like my rooms to smell clean, fresh, woodsy and a bit like the forest. my favorite types of essential oils to burn daily or as an offering to the Buddhas are Juniper, Cypress, Black Spruce, Peppermint and sometimes Rosemary. I like the smell of the forest, woods and wooded areas very much. I\'ve been using essential oils in my rooms for years. I don\'t necessarily purchase the brand you see in the picture as I buy any brand as long as it\'s made naturally. Tsem Rinpoche
2 months ago
I always like my rooms to smell clean, fresh, woodsy and a bit like the forest. my favorite types of essential oils to burn daily or as an offering to the Buddhas are Juniper, Cypress, Black Spruce, Peppermint and sometimes Rosemary. I like the smell of the forest, woods and wooded areas very much. I've been using essential oils in my rooms for years. I don't necessarily purchase the brand you see in the picture as I buy any brand as long as it's made naturally. Tsem Rinpoche
In the bitter coldness of Yachen Gar, Tibet, several nuns are practicing meditation. You can see many small single \'huts\' in the background. They do this yearly and throughout the year. It is very inspiring to see people practice even under extreme conditions because they realize how samsara is so full of deceptions. Praise to the Dharma that liberates us with truth and practice. Tsem Rinpoche
2 months ago
In the bitter coldness of Yachen Gar, Tibet, several nuns are practicing meditation. You can see many small single 'huts' in the background. They do this yearly and throughout the year. It is very inspiring to see people practice even under extreme conditions because they realize how samsara is so full of deceptions. Praise to the Dharma that liberates us with truth and practice. Tsem Rinpoche
More than you have....
2 months ago
More than you have....
The holiest place for the spiritual seeker is where our guru abides. Tsem Rinpoche
2 months ago
The holiest place for the spiritual seeker is where our guru abides. Tsem Rinpoche
Beautiful flowers offered on my shrine to Sacred Vajra Yogini. Tsem Rinpoche
2 months ago
Beautiful flowers offered on my shrine to Sacred Vajra Yogini. Tsem Rinpoche
This is my favorite image of Lord Manjusri. I had this exact same image as a kid in the 1980\'s and treasured it very much. Tsem Rinpoche
2 months ago
This is my favorite image of Lord Manjusri. I had this exact same image as a kid in the 1980's and treasured it very much. Tsem Rinpoche
I love this idyllic painting of a beautiful Buddhist temple in a small town with foliage, natural, blue skies and country living. I can definitely live in this type of environment any time. I love living near nature. I wish I can go inside this picture to start living there now. Tsem Rinpoche
2 months ago
I love this idyllic painting of a beautiful Buddhist temple in a small town with foliage, natural, blue skies and country living. I can definitely live in this type of environment any time. I love living near nature. I wish I can go inside this picture to start living there now. Tsem Rinpoche
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    2 months ago
    Important video to watch and learn.
  • Bigfoot’s voice captured on tape.
    2 months ago
    Bigfoot’s voice captured on tape.
  • Amazing video that you will not regret watching.
    2 months ago
    Amazing video that you will not regret watching.
  • Norma Jean
    3 months ago
    Norma Jean
    These are the heartbreaking scenes we see over and over again, that we share in the hopes of telling the stories of those who otherwise would have suffered and vanished from this earth without a trace. This is Norma Jean. Free for a little over five months, she knew more happiness than millions of her sisters ever will. But she couldn’t escape the fate genetically programmed into her as an egg producing machine. She seemed more lethargic than usual this morning, so we brought her inside to administer fluids and antibiotics in the hopes of pulling her through until we could get her in to see our vet. She couldn’t hang on. She died this evening shortly after this video was taken, severely infected from the rotting egg yolk adhered to various organs throughout her abdominal cavity. Like virtually every single one of her sisters, caged or free range, rescued or not, she paid the ultimate price for eggs (from FB)
  • If you want to change the world, start of by making your bed
    3 months ago
    If you want to change the world, start of by making your bed
    If you want to change the world, measure a person by the size of their heart
  • Canadian PM Justin Trudeau visits a Hindu mandir (temple)
    3 months ago
    Canadian PM Justin Trudeau visits a Hindu mandir (temple)
    While on a visit to a Hindu mandir (temple), Canadian Prime Minister Justin Trudeau speaks on diversity as Canada's strength.

ASK A PASTOR


Ask the Pastors

A section for you to clarify your Dharma questions with Kechara’s esteemed pastors.

Just post your name and your question below and one of our pastors will provide you with an answer.

Scroll down and click on "View All Questions" to view archived questions.

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CHAT PICTURES

Your wedding venue @ Kechara Oasis Viva Home #vegetarian #restaurant ~ Guat Hee
yesterday
Your wedding venue @ Kechara Oasis Viva Home #vegetarian #restaurant ~ Guat Hee
Before the wedding lunch, the #children are Q up for Ang Pow #happy #幸福 ~ Guat Hee
yesterday
Before the wedding lunch, the #children are Q up for Ang Pow #happy #幸福 ~ Guat Hee
Reception and photo booth #register #table ~ Guat Hee
yesterday
Reception and photo booth #register #table ~ Guat Hee
Tea ceremony @ kechara oasis #vegetarian #lunch #lovely #couple ~ Guat Hee
yesterday
Tea ceremony @ kechara oasis #vegetarian #lunch #lovely #couple ~ Guat Hee
Door gift #wedding #banquet #喜糖 ~ Guat Hee
yesterday
Door gift #wedding #banquet #喜糖 ~ Guat Hee
While waiting for the next section #study #homework #school #bless #partime ~ Guat Hee
yesterday
While waiting for the next section #study #homework #school #bless #partime ~ Guat Hee
Weekend at Kechara Oasis #partime #homework #student #vegetarian ~ Guat Hee
yesterday
Weekend at Kechara Oasis #partime #homework #student #vegetarian ~ Guat Hee
KSDS parents & students worked together for the discussion during the Talk on Acceptance, Kindness and Helping Each Other. Alice Tay, KSDS
3 days ago
KSDS parents & students worked together for the discussion during the Talk on Acceptance, Kindness and Helping Each Other. Alice Tay, KSDS
Ms. Mok Pui Leng has offered lights and incense to Lama Tsongkhapa and all the Buddhas on behalf of KISG today. So Kin Hoe (KISG)
3 days ago
Ms. Mok Pui Leng has offered lights and incense to Lama Tsongkhapa and all the Buddhas on behalf of KISG today. So Kin Hoe (KISG)
Kechara Ipoh Study Group has carried out a session of Mother Tara's prayer recitations in Ipoh today. So Kin Hoe (KISG)
3 days ago
Kechara Ipoh Study Group has carried out a session of Mother Tara's prayer recitations in Ipoh today. So Kin Hoe (KISG)
KSDS Students are very cooperative & creative in making the artwork for coming event, Graduation / Halloween / Art Event. Alice Tay, KSDS
3 days ago
KSDS Students are very cooperative & creative in making the artwork for coming event, Graduation / Halloween / Art Event. Alice Tay, KSDS
KSDS students age 7 and the above learned to do&paint their own mask. Alice Tay, KSDS
3 days ago
KSDS students age 7 and the above learned to do&paint their own mask. Alice Tay, KSDS
The youngest group of KSDS learned to recite Migtsema mantra. Alice Tay, KSDS
3 days ago
The youngest group of KSDS learned to recite Migtsema mantra. Alice Tay, KSDS
KSDS teachers in the progress for the Graduation/Halloween 2017 backdrop. Alice Tay, KSDS
3 days ago
KSDS teachers in the progress for the Graduation/Halloween 2017 backdrop. Alice Tay, KSDS
Teacher Peggy gave a talk on Bully to parents and students. Lin Mun KSDS
4 days ago
Teacher Peggy gave a talk on Bully to parents and students. Lin Mun KSDS
Great to hv parents and students goodnight group work and share ideas from different perspectives. Lin Mun KSDS
4 days ago
Great to hv parents and students goodnight group work and share ideas from different perspectives. Lin Mun KSDS
Photographer team for Mid Autumn Charity Dinner 2017. Lin Mun KSDS
4 days ago
Photographer team for Mid Autumn Charity Dinner 2017. Lin Mun KSDS
KSDS team had meeting in Kechara Oasis in preparation for the Graduation/ Halloween event. Lin Mun KSDS
4 days ago
KSDS team had meeting in Kechara Oasis in preparation for the Graduation/ Halloween event. Lin Mun KSDS
Artwork done by children of 2-6 yrs old for the upcoming Graduation/ Halloween/ Art event. Lin Mun Ksds
4 days ago
Artwork done by children of 2-6 yrs old for the upcoming Graduation/ Halloween/ Art event. Lin Mun Ksds
At Dukkar Apartment, Kechara Forest Retreat, this morning, we completed a three day Amitayus Retreat and promised to come together for this spiritually powerful retreat again in the near future. We had looked forward to this retreat and, owing to the blessings of our Guru, Tsem Rinpoche, and Dorje Shugden, it went smoothly and as planned. by Pastor Han Nee
6 days ago
At Dukkar Apartment, Kechara Forest Retreat, this morning, we completed a three day Amitayus Retreat and promised to come together for this spiritually powerful retreat again in the near future. We had looked forward to this retreat and, owing to the blessings of our Guru, Tsem Rinpoche, and Dorje Shugden, it went smoothly and as planned. by Pastor Han Nee
དེ་རིང་ང་ཁྱེད་རང་ཚོ་མཉམ་དུ་བོད་མིའི་ཆབ་སྲིད་ནང་གི་བློ་མགུ་ནུས་པའི་མངོན་འགྱུར་ཞིག་ཞུའི་ཡིན། གང་དག་བོད་པའི་སྤྱི་ཚོགས་ནང་ཆོས་ལུགས་ཁྱད་པར། དབྱེ་འབྱེད། ཕྱོགས་རིས་ཐོག་ལ་གང་འདྲ་སྟངས་འཛིན་བྱེད་དགོས་ཀྱི་སྐོར་ངེས་གཏན་སྣུན་ཤུགས་བྱེད་ཐུབ། http://www.tsemrinpoche.com/tsem-tulku-rinpoche/dorje-shugden/tibetan-mp-tenpa-yarphel-speaks-up-against-nechung-tibetan.html
1 week ago
དེ་རིང་ང་ཁྱེད་རང་ཚོ་མཉམ་དུ་བོད་མིའི་ཆབ་སྲིད་ནང་གི་བློ་མགུ་ནུས་པའི་མངོན་འགྱུར་ཞིག་ཞུའི་ཡིན། གང་དག་བོད་པའི་སྤྱི་ཚོགས་ནང་ཆོས་ལུགས་ཁྱད་པར། དབྱེ་འབྱེད། ཕྱོགས་རིས་ཐོག་ལ་གང་འདྲ་སྟངས་འཛིན་བྱེད་དགོས་ཀྱི་སྐོར་ངེས་གཏན་སྣུན་ཤུགས་བྱེད་ཐུབ། http://www.tsemrinpoche.com/tsem-tulku-rinpoche/dorje-shugden/tibetan-mp-tenpa-yarphel-speaks-up-against-nechung-tibetan.html
ལོ་སྔོན་མར་བོད་གཞུང་གིས་ཆོས་སྐྱོང་རྡོ་རྗེ་ཤུགས་ལྡན་དང་འདིའི་བསྟེན་གསོལ་བ་རྣམས་ལ་སྐྱོན་བརྗོད་བྱེད་ཏེ་དེའི་ཁ་གཏད་དུ་ཡིག་ཆ་འགྲེམས་ཡོད་པས། དེའི་ལན་ལ་ཀེ་ཆ་ར་ཆོས་ཚོགས་ནས་བརྙེན་འཕྲིན་ཁྱོན་བསྡོམས་ལྔ་འགྲེམས་ཡོད། བརྙེན་འཕྲིན་དེ་དག་ནང་རིག་པ་དང་མཐུན་པའི་རྩོད་གླེང་ནང་ཡོད་པ་དང་དོན་དངོས་གང་ཡིན་སྐོར་གསལ་བཤད་གནང་ཏེ་བདེན་པ་རྭ་སྤྲོད་བྱེད་ཡོད། དེར་རྣམ་པ་ཚོ་ཚང་མའི་གཟིགས་རོ་ཞུ་རྒྱུ་དང་། གལ་ཏེ་ཡ་ལེན་ཡོད་ན་གནང་རོ་གནང་ཞུ་རྒྱུ་ཡིན། ཐུགས་རྗེ་ཆེ།། http://www.tsemrinpoche.com/tsem-tulku-rinpoche/dorje-shugden/tibetan-leaderships-new-anti-shugden-video-tibetan.html
1 week ago
ལོ་སྔོན་མར་བོད་གཞུང་གིས་ཆོས་སྐྱོང་རྡོ་རྗེ་ཤུགས་ལྡན་དང་འདིའི་བསྟེན་གསོལ་བ་རྣམས་ལ་སྐྱོན་བརྗོད་བྱེད་ཏེ་དེའི་ཁ་གཏད་དུ་ཡིག་ཆ་འགྲེམས་ཡོད་པས། དེའི་ལན་ལ་ཀེ་ཆ་ར་ཆོས་ཚོགས་ནས་བརྙེན་འཕྲིན་ཁྱོན་བསྡོམས་ལྔ་འགྲེམས་ཡོད། བརྙེན་འཕྲིན་དེ་དག་ནང་རིག་པ་དང་མཐུན་པའི་རྩོད་གླེང་ནང་ཡོད་པ་དང་དོན་དངོས་གང་ཡིན་སྐོར་གསལ་བཤད་གནང་ཏེ་བདེན་པ་རྭ་སྤྲོད་བྱེད་ཡོད། དེར་རྣམ་པ་ཚོ་ཚང་མའི་གཟིགས་རོ་ཞུ་རྒྱུ་དང་། གལ་ཏེ་ཡ་ལེན་ཡོད་ན་གནང་རོ་གནང་ཞུ་རྒྱུ་ཡིན། ཐུགས་རྗེ་ཆེ།། http://www.tsemrinpoche.com/tsem-tulku-rinpoche/dorje-shugden/tibetan-leaderships-new-anti-shugden-video-tibetan.html
Kechara Sunday Dharma School art activities. StellaC
1 week ago
Kechara Sunday Dharma School art activities. StellaC
Kechara Sunday Dharma School art activities. StellaC
1 week ago
Kechara Sunday Dharma School art activities. StellaC
Kechara Sunday Dharma school class 4 to 6 years old. StellaC
1 week ago
Kechara Sunday Dharma school class 4 to 6 years old. StellaC
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Dorje Shugden
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