The Art of Thangka Painting

Jun 15, 2015 | Views: 894
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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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  • Lin Mun
    Saturday, Apr 29. 2017 03:09 PM
    Interesting info and article about werewolves. I never knew about its origins and the various wolves existence until I read this. I have thus far know about werewolves only from the movies and the famous twilight show. But one thing I noticed from the articles is the gruesome manner in killing the person (or suspected werewolves). Some were cursed to be a werewolves. There just so much anger, violence and killing in the whole process, which probably the reason why werewolves are known to kill and hurt human and other animals.

    Anyway, whether we believe the existence of werewolf is true or not, I believe that there are other forms of beings in world. And we should not handle or deal with other beings with violence and anger.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/paranormal/werewolves-the-shapeshifters.html#comment-744320
  • Lin Mun
    Friday, Apr 28. 2017 04:00 PM
    Everything we offer to Buddha is a form of mind transformation and practise our mind to be focus even when doing water offering. When pouring the water into the bowl we have to recite Om Ah Hum (3 times), think positively and pouring it slowly so it does not spill and leaving the space of a grain of rice before reaching the top. After offering we also have to clean the bowls properly without leaving stain. All this is to train our mind.

    Thank you Rinpoche for sharing the many benefits and water offering in a simple to understand article.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/buddhas-dharma/making-water-offerings-to-the-buddhas.html
  • Samfoonheei
    Friday, Apr 28. 2017 03:38 PM
    Trolls are assiociates as beings of Scandinavian folklore.A large number of different mythological creatures continue to live on in Scandinavian folklore.They have different shapes,habitat and filthy features . There are also numerous tales of trolls told and retold.Trolls are also believed to have the magigal powers, which were folktales ,posses capabilities that are beyond human .What ever it was a remnant of a long-lost reality for sure. I do believe that there’s a very high chance trolls had existed in the past.
    Thank you Rinpoche for sharing ,i do enjoyed all the stories in these article even though it just folk tales.
    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/science-mysteries/the-hidden-nature-of-trolls.html
  • Jason
    Thursday, Apr 27. 2017 11:54 PM
    People always expect return on some contribution being done especially in charity events. When the return was under their expectations then they will feel sad or unhappy.
    As Rinpoche said, Dharma is a teachings to transform our mind to become bodicitta or selfless to benefit others without condition. Once we practiced selfless mind, our mind will not be affected by others people reaction.
    What will be my legacy? I think this is not really important to me anymore once I know Dharma teachings from Rinpoche.
    Thanks Datuk May for sharing to benefit more people.

    Jason

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  • Samfoonheei
    Thursday, Apr 27. 2017 08:56 PM
    Amazing miracles true story …of how Rinpoche helped. With Rinpoche blessing during the children baptismal ceremony,this little boy who had not spoken since 9 years old was able to speake again.Incredible….
    Chef Au truly believes been a vegetarian has help him to collects merits for his son.Rinpoche’s care and compassion has benefited many more people.Through these stories hope more people will be inspired to achieve the state of compassion and attainments.
    Thank you Rinpoche and Pastor Loh Seng Piow for this sharing.
    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/personal-attendant/the-miracles-of-tsem-rinpoche-true-story-4.html
  • Samfoonheei
    Thursday, Apr 27. 2017 07:51 PM
    Having fully trust and faith in Rinpoche ,Fat monk’s mother was well again, after been diagnosed with cancerious tumour at the liver.
    Following instructions given by Rinpoche, his mother recited mantras and Fat monk did a series of pujas as told,his mother recovered then.
    Amazing……Miracles do happen.
    Thank you Rinpoche and Pastor Loh Seng Piow for sharing.
    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/personal-attendant/the-miracles-of-tsem-rinpoche-true-story-3.html
  • Stella Cheang
    Thursday, Apr 27. 2017 05:27 PM
    We are no strangers to the creatures called Werewolves. They are often depicted as the Jekyll-and-Hyde-like monsters in movies who are unable to control their animal instincts when they shift from human form to a wolf-like creature, usually during the full moon. Together with the Vampires who can transform into bats, are my childhood imagery villains, who triggered my curiosity on mythical creatures during younger days. They still do, lol.

    It is gruesome to learn that real life werewolves are actually brutal even when they are in human forms. It is a far depict from the movies and fictions, where they are civil and level headed when in human form. I hope one day science or technology can provide more proves the existence of werewolves, and debunk the reason of this mystical shapeshifter.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/paranormal/werewolves-the-shapeshifters.html
  • Stella Cheang
    Thursday, Apr 27. 2017 05:07 PM
    The miraculous power of Protectors’ practice can heal and shield us from negative karma from ripening. Through the blessings of our Guru, coupled with strong faith and trust, the practices will take effect swiftly and effectively. Rejoice to Steven Lee. May he be guided by the Three Jewels always. Thank you, Pastor Seng Piow for sharing the true story with us.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/personal-attendant/the-miracles-of-tsem-rinpoche-true-story-10.html
  • Lin Mun
    Thursday, Apr 27. 2017 03:57 PM
    This is a very touching article. I totally agree that dog is a man’s best friend. They are always so loyal to the owner. However it is sad that not all pet owners are such. Some will only treat them literally as an animal and therefore do not take good care of them. Dogs or any other animals are beings that have feeling. There should not be neglected and be abused by us. This article reminds us to always care for all beings and respect them.

    Thank you Rinpoche for sharing this heartwarming article.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/animals-vegetarianism/faithful-dog-chases-deceased-owner.html
  • Samfoonheei
    Thursday, Apr 27. 2017 02:21 PM
    Its a heartfelt touching article of this faithful dog.Cannot imagine this ,such a wonderful relationship between that dog and the deceased owner.The greatest fear dogs know is the fear that we will not come back for them That i noticed from observing from my pet poodle.In this case this faithful dog knew his owner won’t be back.
    Dogs are loyal, patient, fearless, forgiving, capable of pure love and have feelings too.He must have missed the owner badly that he wanted to accompany the owner all the way to the resting place.
    Thank you Rinpoche for sharing. May that faithful dog ,continue to serve and well taken, love by the other family members.
    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/animals-vegetarianism/faithful-dog-chases-deceased-owner.html
  • Samfoonheei
    Thursday, Apr 27. 2017 01:46 PM
    Werewolves are known to be mythical creatures found in fiction instead of lurking in the dark woods,In various parts of the world there were few cases who have gone down in history as real life werewolves Interesting to read it from these post..How far it was true or just legends.,no one really know . Many myths and legends surrounding werewolves .To become a werewolf, it is necessary to be bitten by a werewolf in their form at the time of the full moon. Thats what all of us knew from the movies and from fiction told. Reports of werewolf sightings continued even till this century but mostly in between 1428 and 1447 .The most recent sighting of werewolf sightings in 1972. was in Ohio .but eventually subsided .
    Thank you Rinpoche for sharing these interesting article which i do enjoyed reading it,
    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/paranormal/werewolves-the-shapeshifters.html
  • Valentina
    Thursday, Apr 27. 2017 01:11 PM
    Join our blog chat session this Saturday 11AM – 12PM (GMT +8) on the topic of:

    Twenty-Four Holy Places & Eight Great Charnel Grounds part 2 – (focus topic: Eight Great Charnel Grounds)

    At one time there was a god by the name of Rudra who was originally part of Mahadeva’s retinue. He was a very fierce being who also had many of his own consorts. Together with his consorts he began to oppress sentient beings, and promoted violence and unethical behaviour. At that time, Heruka once again arose, and in a dance of great compassionate wrath, liberated Rudra and his consorts from their physical bodies, sending their minds to pure lands. The places where Rudra’s body parts fell became charnel grounds. …read more by clicking the following link:

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/buddhas-dharma/twenty-four-holy-places-eight-great-charnel-grounds.html
  • Jason
    Thursday, Apr 27. 2017 03:07 AM
    This year Wesak Day fall on 10 of May. This day is very special and meaningful to me because I will visit Kechara Forest Retreat(KFR) to join some meritorious event there.
    For me, Wesak is a day to commemorate Buddha Sakyamuni in three aspect( Birth , Enlightened, Nirwana).
    While we celebrate Wesak, we must remind ourselves to learn from Buddha teachings and practice it in order to gain attainment.
    Thanks Rinpoche and Pastor Seng Piow for sharing in order to create more understanding on Wesak Day.

    Jason

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/buddhas-dharma/wesak-day-special-on-rtm-2.html
  • Stella Cheang
    Wednesday, Apr 26. 2017 06:10 PM
    OMG! This is very touching. To see a doggie who never left go of his owner in spite of death. Way more powerful than many who proclaimed “till death do us part.” Just like the human, not all doggies are as loyal as this tear-jerking pet, but I truly believe almost all doggies offer unconditional love to the person who feeds and cares for them. Even when they are stray animals. There was a stray dog who will run two streets from the entrance of the “Taman” until the car stops in front of the house, just to greet me. You can imagine the warm and conviction in my heart that these beings are more than capable of loving than many of us, human! Thank you for this lovely sharing. I miss my doggie, Sherab.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/animals-vegetarianism/faithful-dog-chases-deceased-owner.html
  • Stella Cheang
    Wednesday, Apr 26. 2017 06:00 PM
    Thank you, Pastor Seng Piow, for this amazing sharing. There is no doubt about the ability of our Guru, His Eminence the 25th Tsem Tulku Rinpoche. His incarnations have been compassionate and taken rebirth to return and spread the dharma so that sentient beings can benefit and learn some dharma in our short life.

    We shall never doubt our Guru; but must see that He is one with our Yidam and Protector, an attained being. Even if our Guru does not demonstrate clairvoyance abilities, we must never contest our Guru, for he holds the key (dharma) that can liberate us from eternal suffering in samsara.

    http://www.tsemrinpoche.com/tsem-tulku-rinpoche/personal-attendant/the-miracles-of-tsem-rinpoche-true-story-1-2.html

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Holy Lady Buddha Vajra Yogini\'s blessing can be found when we decide to focus out to others instead of in to only ourselves.
~ Tsem Tulku Rinpoche
2 weeks ago
Holy Lady Buddha Vajra Yogini's blessing can be found when we decide to focus out to others instead of in to only ourselves. ~ Tsem Tulku Rinpoche
His Holiness Vajradhara Kyabje Zong Rinpoche of Gaden Monastery who is the refuge of countless, gives a clear explanation of Dorje Shugden. One is able to hear his holy voice and translation by Geshe Tsultrim Gyeltsen! Please see here and share: http://www.tsemrinpoche.com/?p=122352
2 weeks ago
His Holiness Vajradhara Kyabje Zong Rinpoche of Gaden Monastery who is the refuge of countless, gives a clear explanation of Dorje Shugden. One is able to hear his holy voice and translation by Geshe Tsultrim Gyeltsen! Please see here and share: http://www.tsemrinpoche.com/?p=122352
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This is a simple chart showing the three main psychic channels used in tantric meditations to control the winds, raise tummo (fire energy), gain higher consciousness and insight and also for gaining siddhis. These channels are used in meditations for controlling the mind, when the mind ejects from the body (phowa) and one\'s death. These three channels are very important. Tsem Rinpoche
3 weeks ago
This is a simple chart showing the three main psychic channels used in tantric meditations to control the winds, raise tummo (fire energy), gain higher consciousness and insight and also for gaining siddhis. These channels are used in meditations for controlling the mind, when the mind ejects from the body (phowa) and one's death. These three channels are very important. Tsem Rinpoche
I think my cute doggie Oser is actually Tintin\'s dog Snowy!
3 weeks ago
I think my cute doggie Oser is actually Tintin's dog Snowy!
Great Masters of Gaden Shartse Monastery. From left to right: His Eminence Kensur Jampa Yeshe Rinpoche, His Holiness Sharpa Choeje Jetsun Lobsang Nyima, H.E. Kyabje Zemey Rinpoche, H.E. Kyabje Lati Rinpoche, His Holiness 101st Gaden Tripa throne holder Jetsun Lungrik Namgyal.
3 weeks ago
Great Masters of Gaden Shartse Monastery. From left to right: His Eminence Kensur Jampa Yeshe Rinpoche, His Holiness Sharpa Choeje Jetsun Lobsang Nyima, H.E. Kyabje Zemey Rinpoche, H.E. Kyabje Lati Rinpoche, His Holiness 101st Gaden Tripa throne holder Jetsun Lungrik Namgyal.
 Left to right: Dharma boy, Mumu boy and Oser girl. The three of them are my beautiful and loved Schnauzer dogs. They loved looking through the window to see traffic, people and movement. They loved the smells that drifted through their little noses. I love seeing the three of them together like this. I love them. Tsem Rinpoche
3 weeks ago
Left to right: Dharma boy, Mumu boy and Oser girl. The three of them are my beautiful and loved Schnauzer dogs. They loved looking through the window to see traffic, people and movement. They loved the smells that drifted through their little noses. I love seeing the three of them together like this. I love them. Tsem Rinpoche
Little Mumu boy...he loved balloons. When he saw them, he wanted to get close and perhaps bite them. Cute. I love this picture of Mumu reaching for the balloons. He was young and healthy! This picture captures his energy, enthusiasm, curiosity and high energy. I love this picture of him chasing the balloons. His pictures are always so nice....He was not a pet but family to me. I love him tremendously and always will. Tsem Rinpoche
3 weeks ago
Little Mumu boy...he loved balloons. When he saw them, he wanted to get close and perhaps bite them. Cute. I love this picture of Mumu reaching for the balloons. He was young and healthy! This picture captures his energy, enthusiasm, curiosity and high energy. I love this picture of him chasing the balloons. His pictures are always so nice....He was not a pet but family to me. I love him tremendously and always will. Tsem Rinpoche
Little Mumu boy and myself.. He was not a pet but family to me. I love him tremendously and always will. Tsem Rinpoche
3 weeks ago
Little Mumu boy and myself.. He was not a pet but family to me. I love him tremendously and always will. Tsem Rinpoche
2017-His Holiness the 101st Gaden Tripa, Jetsun Lungrik Namgyal is doing well and 90 years old. His Holiness Lungrik Namgyal is a powerful master of sutra and tantra and practitioner of Dorje Shugden. Currently residing in France.
3 weeks ago
2017-His Holiness the 101st Gaden Tripa, Jetsun Lungrik Namgyal is doing well and 90 years old. His Holiness Lungrik Namgyal is a powerful master of sutra and tantra and practitioner of Dorje Shugden. Currently residing in France.
One of the most sacred statues of Avalokitesvara made of sandalwood housed in Lhasa, Tibet. He has shown miracles also. Every pilgrim wishes to make offerings to this Lord of Compassion.
3 weeks ago
One of the most sacred statues of Avalokitesvara made of sandalwood housed in Lhasa, Tibet. He has shown miracles also. Every pilgrim wishes to make offerings to this Lord of Compassion.
 Sacred Avalokitesvara statue in Nepal. Thousands come to worship this special Buddha as it has conferred wishes in the past.
3 weeks ago
Sacred Avalokitesvara statue in Nepal. Thousands come to worship this special Buddha as it has conferred wishes in the past.
Tsem Rinpoche\'s Vajra Yogini statue and offerings
3 weeks ago
Tsem Rinpoche's Vajra Yogini statue and offerings
Two of my teachers from Gaden Shartse Monastery in South India. Left side is Most Venerable Geshe Tsultrim Gyeltsen whom I lived with for 8 years in Los Angeles where his centre Thubten Dhargye Ling is located. On the right is the abbot emeritus H.E. Kyabje Lati Rinpoche the scholar and yogi. I was very fortunate to have them in my life and learn so much dharma from them. Tsem Rinpoche
3 weeks ago
Two of my teachers from Gaden Shartse Monastery in South India. Left side is Most Venerable Geshe Tsultrim Gyeltsen whom I lived with for 8 years in Los Angeles where his centre Thubten Dhargye Ling is located. On the right is the abbot emeritus H.E. Kyabje Lati Rinpoche the scholar and yogi. I was very fortunate to have them in my life and learn so much dharma from them. Tsem Rinpoche
 It is so wonderful to be kind to people, be caring, feed them, make sure they are healthy and share dharma if they are interested with them for their future. But simply to be nice to others is worth getting up and being alive...otherwise why be alive to hurt/use/distrust and hate others? No point living that way..must change that..... It is nice to live our lives to benefit others and be patient even if we have been hurt before because by caring we can heal the hurt and \'defeat\' the ones that hurt us because we don\'t become bitter..... Tsem Rinpoche
4 weeks ago
It is so wonderful to be kind to people, be caring, feed them, make sure they are healthy and share dharma if they are interested with them for their future. But simply to be nice to others is worth getting up and being alive...otherwise why be alive to hurt/use/distrust and hate others? No point living that way..must change that..... It is nice to live our lives to benefit others and be patient even if we have been hurt before because by caring we can heal the hurt and 'defeat' the ones that hurt us because we don't become bitter..... Tsem Rinpoche
Tsem Rinpoche\'s heritage in China. Must read: http://www.tsemrinpoche.com/?p=120499
4 weeks ago
Tsem Rinpoche's heritage in China. Must read: http://www.tsemrinpoche.com/?p=120499
Thank you Buddhist Pastor Chia for sharing your story on how you met His Eminence Tsem Rinpoche over 20 years ago. We can learn much from your story.~Admin  Please read: http://www.tsemrinpoche.com/?p=116928
4 weeks ago
Thank you Buddhist Pastor Chia for sharing your story on how you met His Eminence Tsem Rinpoche over 20 years ago. We can learn much from your story.~Admin Please read: http://www.tsemrinpoche.com/?p=116928
Mumu boy is incredibly photogenic. He is beyond cute. Tsem Rinpoche
4 weeks ago
Mumu boy is incredibly photogenic. He is beyond cute. Tsem Rinpoche
 (left to right) Rabten Tulku, Gonsar Rinpoche, Gyume Kensur Rinpoche, Trijang Rinpoche, H.H. Gaden Trisur Rinpoche (France)
4 weeks ago
(left to right) Rabten Tulku, Gonsar Rinpoche, Gyume Kensur Rinpoche, Trijang Rinpoche, H.H. Gaden Trisur Rinpoche (France)
Beautiful 200 roses arrived today for me as a gift from Su Ming. Very kind and thoughtful of her as usual. Tsem Rinpoche
4 weeks ago
Beautiful 200 roses arrived today for me as a gift from Su Ming. Very kind and thoughtful of her as usual. Tsem Rinpoche
It\'s good to be with kind and sincere people.
4 weeks ago
It's good to be with kind and sincere people.
If we are kind, we lose less of ourselves-Tsem Rinpoche
1 month ago
If we are kind, we lose less of ourselves-Tsem Rinpoche
My Mumu boy didn\'t want to eat. Eating is not one of his favorite activities throughout his life. So I talked to him to let him know why he needs to eat and keep his strength up when this photo was taken. He was listening intently and after my talk with him, he ate. Tsem Rinpoche
1 month ago
My Mumu boy didn't want to eat. Eating is not one of his favorite activities throughout his life. So I talked to him to let him know why he needs to eat and keep his strength up when this photo was taken. He was listening intently and after my talk with him, he ate. Tsem Rinpoche
This is so true. Click to enlarge and understand more about unpleasant people.
1 month ago
This is so true. Click to enlarge and understand more about unpleasant people.
This mahasiddha Kukkuripa is easy to identify as he is accompanied by a small dog whom he loved very much.
1 month ago
This mahasiddha Kukkuripa is easy to identify as he is accompanied by a small dog whom he loved very much.
Mumu taking a rest in the turquoise room. Over the years, I always feel very satisfied when I see him covered with a blanket, safe and sleeping. I always wanted to make sure he was safe from harm, illness and distress. I wanted him to have a happy and loved life. Tsem Rinpoche
1 month ago
Mumu taking a rest in the turquoise room. Over the years, I always feel very satisfied when I see him covered with a blanket, safe and sleeping. I always wanted to make sure he was safe from harm, illness and distress. I wanted him to have a happy and loved life. Tsem Rinpoche
I wrapped my little Mumu boy up in my blanket and propped him up on my bed. He didn\'t move or wiggle and just looked at me. He is one funny entertaining little guy. Tsem Rinpoche
1 month ago
I wrapped my little Mumu boy up in my blanket and propped him up on my bed. He didn't move or wiggle and just looked at me. He is one funny entertaining little guy. Tsem Rinpoche
March 2017-Coaxing my little Mumu boy to eat his meal. He was not well and therefore not hungry. Tsem Rinpoche
1 month ago
March 2017-Coaxing my little Mumu boy to eat his meal. He was not well and therefore not hungry. Tsem Rinpoche
Click on picture to enlarge and see what Milarepa says. Profound.
1 month ago
Click on picture to enlarge and see what Milarepa says. Profound.
We are always trying to get somewhere, try something new, find some friends, get some entertainment and in the end we end up in the same place. Time to really practice Dharma seriously and stop wasting time we don\'t have. ~Tsem Rinpoche
1 month ago
We are always trying to get somewhere, try something new, find some friends, get some entertainment and in the end we end up in the same place. Time to really practice Dharma seriously and stop wasting time we don't have. ~Tsem Rinpoche
March 20, 2017-Mumu is just so adorable with his bright eyes.
1 month ago
March 20, 2017-Mumu is just so adorable with his bright eyes.
More and more people inviting Lord Dorje Shugden home to connect with on their shrines. I am so happy to see this as it will benefit them and their families so much. That is the purpose to be alive which is to benefit others as much as possible. Tsem Rinpoche
1 month ago
More and more people inviting Lord Dorje Shugden home to connect with on their shrines. I am so happy to see this as it will benefit them and their families so much. That is the purpose to be alive which is to benefit others as much as possible. Tsem Rinpoche
His Eminence Tsem Rinpoche is a good sport watching his students do Halloween drag costumes for a charity show. Funny!
1 month ago
His Eminence Tsem Rinpoche is a good sport watching his students do Halloween drag costumes for a charity show. Funny!
His Eminence Tsem Rinpoche is a good sport watching his students do Halloween drag costumes for a charity show. Funny!
1 month ago
His Eminence Tsem Rinpoche is a good sport watching his students do Halloween drag costumes for a charity show. Funny!
The Japanese are very innovative. Tsem Rinpoche
1 month ago
The Japanese are very innovative. Tsem Rinpoche
Read this as it will be interesting
1 month ago
Read this as it will be interesting
Recite this before any meal or drinks for blessings of abundance. Tsem Rinpoche
1 month ago
Recite this before any meal or drinks for blessings of abundance. Tsem Rinpoche
This sacred statue of Buddha is in Nepal brought originally from Tibet and has spoken on many occasions. Very blessed to see this holy image and keep a picture...bless you always. Tsem Rinpoche
1 month ago
This sacred statue of Buddha is in Nepal brought originally from Tibet and has spoken on many occasions. Very blessed to see this holy image and keep a picture...bless you always. Tsem Rinpoche
I love Mumu boy tremendously. We went through so much together for so many years. You are a great being to be with. Tsem Rinpoche
1 month ago
I love Mumu boy tremendously. We went through so much together for so many years. You are a great being to be with. Tsem Rinpoche
Dear everyone, I am sharing this beautiful and modern altar to Dorje Shugden in Malaysia. I am glad to see more and more people creating sacred spaces. Tsem Rinpoche
1 month ago
Dear everyone, I am sharing this beautiful and modern altar to Dorje Shugden in Malaysia. I am glad to see more and more people creating sacred spaces. Tsem Rinpoche
Lhamo Karmo, a female buddha form visualized above the crown of one\'s head at the time of death, to encourage consciousness to leave the body via the crown aperture. From my book \"The Female Buddhas.\"- Glenn Mullin
2 months ago
Lhamo Karmo, a female buddha form visualized above the crown of one's head at the time of death, to encourage consciousness to leave the body via the crown aperture. From my book "The Female Buddhas."- Glenn Mullin
The Tibetan female tulku Dorje Pakmo, from a fresco on the wall of the Dorje Pakmo monastery (Samding) in Tibet, near the Turquoise Lake. In Tibet the Dorje Pakmo was ranked with the Dalai Lama, Panchen Lama and Sakya Trizin as the four highest lamas in the country.-from Glenn Mullin
2 months ago
The Tibetan female tulku Dorje Pakmo, from a fresco on the wall of the Dorje Pakmo monastery (Samding) in Tibet, near the Turquoise Lake. In Tibet the Dorje Pakmo was ranked with the Dalai Lama, Panchen Lama and Sakya Trizin as the four highest lamas in the country.-from Glenn Mullin
Dharma boy, Mumu boy and Oser girl checking out the scene..cute
2 months ago
Dharma boy, Mumu boy and Oser girl checking out the scene..cute
My Dharma boy has such a cute expression here. He is a good boy!
2 months ago
My Dharma boy has such a cute expression here. He is a good boy!
February 9,2017-My Mumu boy and Oser girl are just relaxing together..super cute
3 months ago
February 9,2017-My Mumu boy and Oser girl are just relaxing together..super cute
Click on the picture to enlarge and see what Suzy from Hawaii commented on the Dorje Shugden issue after much research. She is very candid and honest. Refreshing. Original is posted here: https://www.youtube.com/watch?v=Vl-4lIwxph4
3 months ago
Click on the picture to enlarge and see what Suzy from Hawaii commented on the Dorje Shugden issue after much research. She is very candid and honest. Refreshing. Original is posted here: https://www.youtube.com/watch?v=Vl-4lIwxph4
This is a good one to read
3 months ago
This is a good one to read
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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.

  • April 20, 2017 10:45
    Ronnie asked: Dear Rinpoche and Pastors, I'm studying abroad and very far away from home, seeking guidance and advice as I have no one else I can talk to about this. Please read with an open mind, I don't know where else to go for help. I'm pregnant and it's an unplanned pregnancy. I'm stuck between keeping it or letting it go. I'm young and having a child at my age in the society we live in now would be considered taboo. The father of the child thinks I should let it go because it may cause a setback to both our careers and cause major family issues. He thinks we aren't ready to raise a child especially since we're both still in university and his parents think badly of me even though they've never met me or tried to get to know me. I'm sure no one would ever have the heart to take away a heartbeat but it seems like it isn't the right time to have a child now and if we did go through with it, the child probably won't be able to have the best things life can offer looking at where we are now in terms of finance and maturity. I'm lost, confused and unsure what the right thing to do is now. Any advice at all would be helpful right now. Thank you so very much for taking time to read my story.
    pastor answered: Dear Ronnie, I’m sorry to read that you are going through this situation. I can understand that this situation is tough to go through. You are always more than welcome to come here to ask questions. May I suggest that you talk to either someone in your family or your friends to help you come to an appropriate solution? This is because, what you feel, what you are going through, will change from time to time and you would need someone to talk to, someone that you can lean on through this situation you are facing. Depending on where you are in the world, professional help can also be sought to help you make a decision, which will be the best option for you seeking help. From a Buddhist perspective, the taking of a life is not considered a positive act, therefore those on the Buddhist path, would normally abstain taking a life if possible. However, that being said, one must always weigh the decision oneself. Everything we do in life, necessarily involves karma both positive and negative. That is why Buddhists try to overcome samsara in general. Your situation is complicated because you are abroad, but if possible you should really open up to someone you are close to in order to help you through making this decision on a personal basis. When you talk to someone, whom you are able to express yourself more, you may able to come to better decision that is right for you. There may be other options open to you if you seek help. I personally know women who have been in similar situations. One of these women, let the child go and the other went through the pregnancy and then gave the child up for adoption. You may or may not have thought of this option, but it is one that could be open to you, depending on where in the world you are. Any decision we make in life, however big or small it may seem, has far reaching consequences whether in this life, or in future lives. This is just a part and parcel of life within samsara. However, we should weigh the decisions we make clearly given the situation we are in. We cannot always do this weighing ourselves, but need to talk about our options with others we can rely on such a friends, family or professionals. You should consider doing this, which will help you greatly emotionally, and may give you the grounding you need to make the correct decision for you. I hope this helps.
  • April 19, 2017 04:57
    Dongho asked: What is a nyung ne practice? According to Lama Zopa Rinpoche, it's a purification sadhana. However, what are the instructions for this? I'm guessing it's to Chenrezig, but how does it work? Also, from what I have read, Vajrasattva practice is only for broken vows while Akshobhya is for regular misdeeds. Does that mean one has to take the Akshobhya practice to purify bad karma from this life and previous instead of Vajrasattva? As for the purification practices, are some like Vajrasattva and Chenrezig only to purify the bad karma and let it come quickly or is it to prevent it from coming? I am confused in it. As for signs, I recited a mantra of White Yangchenma that a Sakya lama, Lama Kunga Thartse Rinpoche, gave me with the Sakya visualizations I read on, and after one mala, I heard some lady call my Korean name even though no one in my neighborhood knows of my name and my family members weren't in the area. What does this mean?
    pastor answered: Dear Dongho, Thank you for your questions, it’s nice to see you back here again. Nyung Ne practice is a purification practice that centres around Chenrezig. It is a very beneficial practice that stems from a holy nun named Gelong-ma Palmo. It is a two and a half day practice that can be repeated many times over and over again to intensify the purification and build a closer relationship with Chenrezig. As well as its purification aspect, the practice is known to generate vast amount of merit, and also compassion, as the practice centres around Chenrezig, the Buddha of compassion. The practice involves taking the eight Mahayana precepts for the duration, fasting, meditating, prostrating and praying. The practice usually entails empowerment into the practice of Chenrezig, therefore the exact meditations, prayers can only be explained to those who have the empowerment. Vajrasattva practice is not necessarily only for repairing broken vows, etc. That’s why it is advised that you engage in the practice at the end of the day, to repair any vows that you may have broken during that day, as well as stopping any negative karma you created that day from multiplying. This would entail reciting the mantra 21 times, together with the four opponent powers. However, if you engage in this practice more intensely, it definitely has the capability to purify all sorts of karma. That is the reason why in Ngondro, or preliminary practices one engages in before tantra, the practice of 100,000 Vajrasattva mantra recitation is an integral part. You can read more about Vajrasattva and his practice here: http://www.tsemrinpoche.com/tsem-tulku-rinpoche/prayers-and-sadhanas/an-important-purification-practice.html. Within purification practices, some of the karma will be purified completely, so you do not feel its effects at all, but when purifying other karma you will need to feel its effects somehow. For example if you have the karma to be in a car accident and get seriously injured, and you are engaging in any practice, but especially the purification practice, since you have purified most of the karma, you will only experience being in a very minor car accident, with only very superficial injuries. Therefore, in this case, the karma has been purified to the extent that it does not affect you as much, but you still need to feel part of its effect. In regards to any signs that you receive which engaging in the practices given to you by one of your specific gurus, you should report the happenings to that particular guru. He will be able to give you more of an accurate answer, as it may be related to the particular practice that he gave to you. I hope this helps. Thank you.
  • April 17, 2017 07:06
    Thomas asked: Dear Pastors, When a serkyem set has been used so much and one is ready to get rid of it and replace it with a new one. What is a respecful mode of disposal?
    pastor answered: Dear Thomas, Thank you for your question. Your question shows that you have a lot of respect for offering items, which is very good. If possible, you should try to repair the item if within your means, and doing so make embellishments to make it a better offering item, which can still be used. If this is not possible, then you should dispose of the item with a good motivation. You should think that this item has been used to make offerings to the enlightened beings, but now that it is broken or unusable, you are going to dispose of it, and replace it with a new one. Since it itself is not a receptacle of energies of the enlightened beings, such as a statue, tsa tsa or thangka, it does not require a special dissolution before being disposed of. However since it was used to make offerings, it still requires some form of respect when disposing, and this comes from one’s motivation and the way in which you dispose of it. Usually, when disposing of items in this way, make the motivation that you have used it and that it is now time to dispose of it, and replace it with a new one. When you do this you can dispose of it in a respectful manner. For example, if you are going to throw it away, you do not simply open the trash can and throw it in. You wrap it up in something, like a bag or newspaper and dispose of it respectfully. Another method you can dispose of it is to recycle the object, if the material it is made from can be recycled. That way you are more conscious of the environment as well. I hope this explanation helps. Thank you.
  • April 16, 2017 22:38
    Curious asked: Dear pastors In a recent youtube video something like paying respect to deceased ones, pastor Nirel Patel explained that merits are like the interest and good karma is like the principal sum. So merits always regenerate themselves and hence do not get used up but good karma is like the principal sum so it gets used up. So my question is what are practices that generate merit? And can we turn a mundane daily activity into a meritorious one? Maybe can you provide an example?
    pastor answered: Dear Curious, Thank you for your question. First, to clarify a point, in regards to good karma, you are right, it is like a principal sum in a bank account, but you take away from it when you experience something good in your life, and you add to it when you do good deeds. Merit on the other hand, once accrued never diminishes, therefore when something is based on merit, it is based on the energies of this never diminishing sum, which you could say is like interest. In short, the principal sum when talking about karma is always added to and subtracted from. However, when talking about merit, once you have it, there is no way to destroy it, you will always benefit from it. There are various ways to explain how to generate merit. I will explain a way that I find easiest to understand. In normal life, when we go about performing any sort of activity, be it ‘good’ or ‘bad’ we do so out of ignorance of the true nature of existence, and it is usually self-motivated. For example, we work our entire lives to generate monetary income, so that we have enough money, resources, and materials goods to be comfortable. This is self-motivated, but it is the accepted way the world works these days, and is part and parcel of being bound to samsaric life. On the other hand, the act of merit making can be categorised into three parts: i) motivation, ii) the act itself, and iii) dedication. Let’s start with motivation, when engaging in various virtuous acts, we should have the motivation that by engaging in the act, we have the motivation to alleviate the suffering of someone else, and that may we gain enlightenment so that we can benefit them in the future. The second is the act itself. The third is to dedicate the energy of the virtuous act to gaining enlightenment. These three are what make merit. This may be a little confusing, so let me give an example: giving help to a homeless person. Whereas in ordinary life, this is something praised as a very good deed, it does not create merit without motivation and dedication. In order for this to become merit, one must set the motivation that one is giving help to the homeless free of the eight worldly concerns, to alleviate their suffering and also making the motivation that you will achieve enlightenment for the sake of the person or people you are helping. Then after you have helped them, you dedicate the energy created to the spiritual journey towards full enlightenment to help all sentient beings, while at the same time benefiting as many sentient beings as possible on the way there. This transforms the act into not only a virtuous action but also one that generates merit. On the other hand, if you were to help the homeless without these, you are creating good karma, which although beneficial, keeps you bound to existence within samsara. As it is the goal of Buddhist practice to overcome the cycle of samsara, a Buddhist would want to generate merit instead of good karma. I hope this explanation helps. Thank you.
  • April 13, 2017 11:38
    D.A. asked: If Begtse Chan is not from Mongolia, what are his real origins or story exactly? And which lamas offer his empowerment? As for Manjushri Nagarakshasa, which lamas specifically offer his empowerment and practice?
    pastor answered: Dear D.A. Thank you for your question. Begtse, is also known as Chamsing, or Jamsaran in Mongolian. As mentioned in an earlier sharing with someone who also asked a question about Begtse, the practiced was introduced to Tibet from India by the translator Nyen Lotsawa, and is considered one of the main protectors of the Hayagriva cycle of tantras. According to the scriptures that derive from the Sakya tradition, who incorporated the practice from the translators, and in which tradition Begtse became a very important protector, Begtse in a previous life was born many eons ago. In that particular life, he was born as the younger prince in a royal family. His name was Drag Gye, and his older brother’s name was Drag Den. Over time both princes developed differing religious beliefs, to the point where they could not get along with each as they both held their own religious views strongly. As was the custom during that time, they decided to settle their differences through logical debate, with the loser having to convert to the winner’s religion. This custom was also prevalent in ancient India, and there are many stories of such debates occurring between the great masters of the past and those of other faiths. Drag Gye lost the various debates, but ran away instead of converting to his older brother’s religion. Drag Den caught him, and tried to punish him for breaking the rules of debate and going back on his promise. Drag Gye told his brother that even if he was killed he would not give up his religion, however if Drag Den let him go, that in the future when Drag Den became enlightened, he would protect his teachings. With that Drag Den let him go, and gave him a set of copper armour, a stick, and a bow and arrow. Drag Den also gave Drag Gye a new name: Sog Dag Yam Shi Mar Po. After this incident the two brothers never saw each other again in that lifetime. Many lives after that Drag Den was reborn as Prince Siddharta, who eventually became enlightened and is now known as Buddha Shakyamuni. Drag Gye, or Sog Dag Yam Shi Mar Po, was reborn in a cemetery in the North West direction. His parents gave birth to two eggs, one was a coral-like colour and the other was an agate-like colour. These two eggs flew high into the sky and reached the heavenly realms, there they subdued the gods. Then flying back down to earth, they subdued many nagas. Eventually they even came to threaten their own parents. The parents petitioned the Dharma protector Ekajati for her help, who threw her own staff (khatvanga) at the eggs, and broke them apart. From the coral-like coloured egg came a ferocious man with yellow hair, he proclaimed that his name was ‘Sog Dag Yam Shi Mar Po’. When he emerged he was wearing a set of copper armour, wielding a stick, copper sword, and a bow and arrow. From the agate-like coloured egg came a female who was blue in colour, her teeth were like shells, she had turquoise eyebrows, and her hair was made of fire. She emerged wielding a copper knife, ritual dagger (phurba), rode a terrifying bear and wore an intricate necklace made of agate and lapis lazuli. It was then that Ekajati once again took action, and subdued them, after which they became Dharma protectors. The male figure became known as Begtse, and the female as his sister. When you propitiate Begtse, his sister is automatically included and aids practitioners as well. As for which lama offer his practice and empowerment, most lamas do not advertise which teachings or practice they hold. Therefore you should respectfully approach lamas and ask them if they have the practice and can bestow it, or if they know of any lamas that have the practice, depending on how much you want to practice Begtse. Similarly, this applies to those lamas who have the practice of Manjushri Nagarakshasa. However, this practice is included in the Rinjung Gyatsa series of empowerments. This unique cycle of teachings, includes all 4 classes of tantric practices, and includes the practice of Manjushri Nagarakshasa. Therefore those lamas who have received the complete transmission, and have kept their commitments for this practice, are qualified to pass this on to others. I hope this explanation helps. Thank you.
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CHAT PICTURES

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Group activities during dharma class. The older students lead the younger ones. Good exercise to train their public speaking skills . Lin Mun KSDS
Looking Vegetarian Food?? Visit us at Kechara Oasis #travel #holiday #marriage #family ~ Guat Hee
20 hours ago
Looking Vegetarian Food?? Visit us at Kechara Oasis #travel #holiday #marriage #family ~ Guat Hee
We are at the 15th KL-PJ WEDDING FAIR from 28-30 April 2017, Mid Valley Exhibition Center. Come visit our booth for exciting promotions on vegetarian wedding banquets and registration of marriage services! ~ kecharaoasis.com ~ Guat Hee
20 hours ago
We are at the 15th KL-PJ WEDDING FAIR from 28-30 April 2017, Mid Valley Exhibition Center. Come visit our booth for exciting promotions on vegetarian wedding banquets and registration of marriage services! ~ kecharaoasis.com ~ Guat Hee
Pastor Gim Lee assisted by Kechara Puja Team, conducted a Dorje Shugden puja and blessings at a premise. Lucy Yap
2 days ago
Pastor Gim Lee assisted by Kechara Puja Team, conducted a Dorje Shugden puja and blessings at a premise. Lucy Yap
Art expression using chalks and papers is an avenue for young children to cultivate positive perspective of life and connect with their artistic or creative side. Stella, KSDS
4 days ago
Art expression using chalks and papers is an avenue for young children to cultivate positive perspective of life and connect with their artistic or creative side. Stella, KSDS
Children as long as 2 years old are ready to learn up skills and attitude that will help them shape their life. When else will be best to instil them with good Dharma values if not since young? Stella, KSDS
4 days ago
Children as long as 2 years old are ready to learn up skills and attitude that will help them shape their life. When else will be best to instil them with good Dharma values if not since young? Stella, KSDS
Senior students of the children class of Kechara Sunday Dharma School had their class in the ghompa every Sunday. Stella, KSDS
4 days ago
Senior students of the children class of Kechara Sunday Dharma School had their class in the ghompa every Sunday. Stella, KSDS
Besides young Karlson and Ern Ern, there are new faces in Kechara Sunday Dharma School 2-4 years old. Stella, KSDS
4 days ago
Besides young Karlson and Ern Ern, there are new faces in Kechara Sunday Dharma School 2-4 years old. Stella, KSDS
Kechara Sunday Dharma School students 5-6 years old making prostration to Lama Tsongkhapa at the beginning of the class every Sunday. Stella,KSDS
4 days ago
Kechara Sunday Dharma School students 5-6 years old making prostration to Lama Tsongkhapa at the beginning of the class every Sunday. Stella,KSDS
@KecharaHouse tonite, 48 puja attendees filled the air with a loud chorus of prayer n mantra 2 Dorje Shugden n Setrap!  PHNee
5 days ago
@KecharaHouse tonite, 48 puja attendees filled the air with a loud chorus of prayer n mantra 2 Dorje Shugden n Setrap! PHNee
A big Thank You to the kind volunteers and to Jace Chong!
5 days ago
A big Thank You to the kind volunteers and to Jace Chong!
Make your weekend meaningful! Contact Jace Chong to volunteer in Kechara Forest Retreat for the aviaries.
5 days ago
Make your weekend meaningful! Contact Jace Chong to volunteer in Kechara Forest Retreat for the aviaries.
Thank you to our young volunteer to improve the life of the birds in our aviary!
5 days ago
Thank you to our young volunteer to improve the life of the birds in our aviary!
English Level 2 Dharma Class, Pastor Han Nee started the Day 5 Lamrim, which is the Seven-Limbed Prayer with Homage and Prostration( 35 Confessional Buddha )  was extensively covered. -  Yew Seng
5 days ago
English Level 2 Dharma Class, Pastor Han Nee started the Day 5 Lamrim, which is the Seven-Limbed Prayer with Homage and Prostration( 35 Confessional Buddha ) was extensively covered. - Yew Seng
Sunday Dharma class kids learning to take refuge with teacher Alice. Lucy Yap
5 days ago
Sunday Dharma class kids learning to take refuge with teacher Alice. Lucy Yap
One of the outdoor activities for KSDS students is to exercise the drawing that near to the nature. Alice Tay, KSDS
7 days ago
One of the outdoor activities for KSDS students is to exercise the drawing that near to the nature. Alice Tay, KSDS
Teacher Jesvin explained the camp rules and regulations to the camper. Alice Tay, KSDS
7 days ago
Teacher Jesvin explained the camp rules and regulations to the camper. Alice Tay, KSDS
KSDS teachers and the young participants of WOAH  Camp played & have fun together for this game, Self defense and attack. Alice Tay, KSDS
7 days ago
KSDS teachers and the young participants of WOAH Camp played & have fun together for this game, Self defense and attack. Alice Tay, KSDS
The younger group of KSDS were happy because they're given chance to feel,touch and play the slime. Alice Tay, KSDS
7 days ago
The younger group of KSDS were happy because they're given chance to feel,touch and play the slime. Alice Tay, KSDS
Teacher Laura guided the students do meditation. Alice Tay, KSDS
7 days ago
Teacher Laura guided the students do meditation. Alice Tay, KSDS
Day break at Kechara Forest Retreat! Sunrise meditation during Inner Reflection Retreat, April 2017
1 week ago
Day break at Kechara Forest Retreat! Sunrise meditation during Inner Reflection Retreat, April 2017
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Dorje Shugden
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