This is a lovely hand painted White Tara Thangka painting from Nepal. I brought it back with me from my last trip there. It is a large size. Painted with nice detail and real 24 k gold accent paint.
White tara is know as the mother of all Buddhas. No one escapes her blessings and compasion.
Some history of the White Tara:
A late development in Mahayana Buddhism is that the Adi Buddha, dhyani buddhas, and bodhisattvas received female partners. Female Bodhisattvas, who appear starting in the sixth century, are called taras. Tara means “Star,” “Savior,” or “leader.” the various taras can be recognized by the color of their skin, among other things.
In the seventh century, Tibet made its entrance onto the international political stage. King Songtsen Gampo unified Tibet and conquered parts of China and Nepal. He made two important political marriages with princesses from neighboring countries. Both ladies practiced Buddhism, and therefore Buddhism temporarily gained a solid footing in Tibet. They brought a form of civilization to the then still barbaric Tibet.
Both princesses brought Buddha figures with them to Songtsen Gampo’s court. Songtsen Gampo was said to be an incarnation of Avalokiteshvara. The Chinese princess Wen-che’ng, a niece of the T’ang emperor, had a gilt figure of Shakyamuni Buddha with her. This jobo was installed in the Jok-hang Temple, Lhasa’s most important shrine.
The princesses practiced Buddhism by doing good deeds. Their ensuing popularity and the fact that both remained childless - therefore pure - contributed to their later being identified with the White and Green Taras.
According to one legend, Avalokiteshvara once spilled two tears to earth out of pure despair over muddleheaded humanity. Each tear formed a lake in which a lotus grew. When the lotuses opened there was as Tara in the center of each. The tear from his left eye produced the dark-colored Green Tara; the one from his right eye, the White Tara.
Sitatara, or the White Tara, is considered to be a manifestation of Avalokiteshvara. White is the color of purity and therefore she symbolizes immaculacy, and, because of her association with Avalokiteshvara, compassion as well. She is popularly worshipped in Nepal and Tibet. She is sitting with both legs folded under her in lotus position.
Her right hand is always in varamudra, the gesture of offering material and spiritual gifts. In her other hand she officially holds a white lotus, but here she is holding a blue one. She has seven eyes: the normal ones, one vertical eye on her forehead, and one in the balm of each hand and sole of each foot. Just as with Avalokiteshvara’s thousand eyes, these symbolize the capacity to see all those in need in all four corners of the earth. The little red Buddha figure in her headdress represeents Amitabha.
At the bottom, in the center, is a table with offerings. These represent the senses of hearing, seeing, feeling, smelling, and tasting.
Size: 23.25" tall and 18.8" wide ( 59.05 cm tall and 47.8 cm wide ) including border. 20.3" tall and 15.6" wide ( 51.6 cm tall and 39.6 cm wide ) excluding border
Condition: Artwork and details are very good. Some color slightly overlaps in a few areas. The canvas is very clean but slight crumpling only along the outer edges. This will not be a problem framed and is minor. Has small archealogical wax stamp on back stamp affirming that I legaly brought the painting out of the country.
White tara is know as the mother of all Buddhas. No one escapes her blessings and compasion.
Some history of the White Tara:
A late development in Mahayana Buddhism is that the Adi Buddha, dhyani buddhas, and bodhisattvas received female partners. Female Bodhisattvas, who appear starting in the sixth century, are called taras. Tara means “Star,” “Savior,” or “leader.” the various taras can be recognized by the color of their skin, among other things.
In the seventh century, Tibet made its entrance onto the international political stage. King Songtsen Gampo unified Tibet and conquered parts of China and Nepal. He made two important political marriages with princesses from neighboring countries. Both ladies practiced Buddhism, and therefore Buddhism temporarily gained a solid footing in Tibet. They brought a form of civilization to the then still barbaric Tibet.
Both princesses brought Buddha figures with them to Songtsen Gampo’s court. Songtsen Gampo was said to be an incarnation of Avalokiteshvara. The Chinese princess Wen-che’ng, a niece of the T’ang emperor, had a gilt figure of Shakyamuni Buddha with her. This jobo was installed in the Jok-hang Temple, Lhasa’s most important shrine.
The princesses practiced Buddhism by doing good deeds. Their ensuing popularity and the fact that both remained childless - therefore pure - contributed to their later being identified with the White and Green Taras.
According to one legend, Avalokiteshvara once spilled two tears to earth out of pure despair over muddleheaded humanity. Each tear formed a lake in which a lotus grew. When the lotuses opened there was as Tara in the center of each. The tear from his left eye produced the dark-colored Green Tara; the one from his right eye, the White Tara.
Sitatara, or the White Tara, is considered to be a manifestation of Avalokiteshvara. White is the color of purity and therefore she symbolizes immaculacy, and, because of her association with Avalokiteshvara, compassion as well. She is popularly worshipped in Nepal and Tibet. She is sitting with both legs folded under her in lotus position.
Her right hand is always in varamudra, the gesture of offering material and spiritual gifts. In her other hand she officially holds a white lotus, but here she is holding a blue one. She has seven eyes: the normal ones, one vertical eye on her forehead, and one in the balm of each hand and sole of each foot. Just as with Avalokiteshvara’s thousand eyes, these symbolize the capacity to see all those in need in all four corners of the earth. The little red Buddha figure in her headdress represeents Amitabha.
At the bottom, in the center, is a table with offerings. These represent the senses of hearing, seeing, feeling, smelling, and tasting.
Size: 23.25" tall and 18.8" wide ( 59.05 cm tall and 47.8 cm wide ) including border. 20.3" tall and 15.6" wide ( 51.6 cm tall and 39.6 cm wide ) excluding border
Condition: Artwork and details are very good. Some color slightly overlaps in a few areas. The canvas is very clean but slight crumpling only along the outer edges. This will not be a problem framed and is minor. Has small archealogical wax stamp on back stamp affirming that I legaly brought the painting out of the country.
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