Siddhārtha Gautama Buddha

Born c. 563 BCE or 623 BCE

Lumbini, today in Nepal
Died c. 483 BCE or 543 BCE (aged 80)
Kushinagar, today in India
Ethnicity Shakya
Known for Founder of Buddhism
Predecessor Kassapa Buddha
Successor Maitreya Buddha


 
 
 
 







 
A statue of the Buddha from Sarnath, 4th century CE.

Birth Place Of Buddha(Lumbini, Nepal)

Lumbinī (Sanskrit: लुम्बिनी, "the lovely") is a Buddhist pilgrimage site in the Rupandehi district of Nepal, near the Indian border. It is the place where Queen Mayadevi is said to have given birth to Siddhartha Gautama, who as the Buddha Gautama founded the Buddhist tradition. The Buddha lived between roughly 563 and 483 BCE. Lumbini is one of four magnets for pilgrimage that sprang up in places pivotal to the life of the Buddha, the others being at Kushinagar, Bodh Gaya, and Sarnath

Lumbini is in the foothills of the Himalaya,[1] 25 km east of the municipality of Kapilavastu, where the Buddha is said to have lived till the age of 29. Kapilvastu is the name of the place in question as well as of the neighbouring district. Lumbini has a number of temples, including the Mayadevi temple, and others under construction. Also here is the Puskarini or Holy Pond - where the Buddha's mother took the ritual dip prior to his birth and where he, too, had his first bath - as well as the remains of Kapilvastu palace. At other sites near Lumbini, earlier Buddhas were, according to tradition, born, achieved ultimate awakening and finally relinquished earthly form.

In Buddha's time

In the Buddha's time, Lumbini was a park situated between Kapilavastu and Devadaha in India. It was there that the Buddha was born[2]. A pillar now marks the spot of Asoka's visit to Lumbiní. According to an inscription on the pillar, it was placed there by the people then in charge of the park to commemorate Asoka's visit and gifts[3]. The park was previously known as Rummindei, two miles north of Bhagavanpura.

In the Sutta Nipáta (vs. 683) it is stated that the Buddha was born in a village of the Sákyans, in the Lumbineyya Janapada. The Buddha stayed in Lumbinívana during his visit to Devadaha and there preached the Devadaha Sutta[4].

Re-discovery
In 1896, Nepalese archaeologists (effort by Khadga Samsher Rana) discovered a great stone pillar at the site, attributed to Emperor Ashoka. Records made by the Chinese pilgrim Fa Xian were also used in the process of identifying this religiously acclaimed site.

Present-day

Lumbini, as of 1997, is an UNESCO World Heritage Site specifically nominated for the international World Heritage program.

The holy site of Lumbini is bordered by a large monastic zone, in which only monasteries can be built, no shops or hotels or restaurants. It is separated into an eastern and western monastic zone, the eastern having the Theravadin monasteries, the western having Mahayana and Vajrayana monasteries.

The holy site of Lumbini has ruins of ancient monasteries, a sacred Bodhi tree, an ancient bathing pond, the Asokan pillar and the Mayadevi temple, where the precise place of birth of Buddha is located. From early morning to early evening, pilgrims from various countries perform chanting and meditation at the site.

Buddhist monasticism

Buddhist monasteries, known as vihara, emerged sometime around the fourth century BC, from the practice of vassa, the retreat undertaken by Buddhist monks and nuns during the South Asian rainy season. In order to prevent wandering monks from disturbing new plant growth or becoming stranded in inclement weather, Buddhist monks and nuns were instructed to remain in a fixed location for the roughly three month period typically beginning in mid-July. Outside of the vassa period, monks and nuns both lived a migratory existence, wandering from town to town begging for food. These early fixed vassa retreats were held in pavilions and parks that had been donated to the sangha by wealthy supporters. Over the years, the custom of staying on property held in common by the sangha as a whole during the vassa retreat evolved into a more cenobitic lifestyle, in which monks and nuns resided year round in monasteries.

In India, Buddhist monasteries gradually developed into centres of learning where philosophical principles were developed and debated; this tradition is currently preserved by monastic universities of Vajrayana Buddhists, as well as religious schools and universities founded by religious orders across the Buddhist world. In modern times, living a settled life in a monastery setting has become the most common lifestyle for Buddhist monks and nuns across the globe.

Tengboche Buddhist monastery, Nepal.Whereas early monasteries are considered to have been held in common by the entire sangha, in later years this tradition diverged in a number of countries. Despite vinaya prohibitions on possessing wealth, many monasteries became large land owners, much like monasteries in medieval Christian Europe. In China, peasant families worked monastic-owned land in exchange for paying a portion of their yearly crop to the resident monks in the monastery, just as they would to a feudal landlord. In Sri Lanka and Tibet, the ownership of a monastery often became vested in a single monk, who would often keep the property within the family by passing it on to a nephew who ordained as a monk. In Japan, where civil authorities permitted Buddhist monks to marry, being the head of a temple or monastery sometimes became a hereditary position, passed from father to son over many generations.

The Ivolga monastery in Buryatia, Russia.Forest monasteries – most commonly found in the Theravada traditions of Southeast Asia and Sri Lanka – are monasteries dedicated primarily to the study of Buddhist meditation, rather than scholarship or ceremonial duties. Forest monasteries often function like early Christian monasteries, with small groups of monks living an essentially hermit-like life gathered loosely around a respected elder teacher. While the wandering lifestyle practised by the Buddha and his disciples continues to be the ideal model for forest tradition monks in Thailand and elsewhere, practical concerns- including shrinking wilderness areas, lack of access to lay supporters, dangerous wildlife, and dangerous border conflicts- dictate that more and more 'meditation' monks live in monasteries, rather than wandering.

Tibetan Buddhist monasteries are sometimes known as lamaseries and the monks are sometimes (mistakenly) known as lamas.

Some famous Buddhist monasteries include:
Jetavana, Sravasti
Nalanda, India
Shaolin, China
Donglin Temple, China
Tengboche, Nepal

The First Giant Thangka for Tsurphu

Tsurphu monastery is situated in a valley two hours north-west of Lhasa (fig 2, right).. The landscape here, at over 4000m, is mainly sloping mountainsides brightly speckled with wild flowers in the warm season --white peaks ahead and rushing river below. On the south bank of the river, in front of the new monastery, are the old steeply inclined steps upon which the gigantic applique image is displayed for a few hours each year.

 

The creation of such huge images is traditional throughout Tibet. (fig 3, left, at Drepung) They are referred to as "gos.sKu." (pronounced Ki-gu) in Tibetan, literally means "Satin-image". These hangings are, in fact, constructed using a range of heavy brocades, silks and satins sewn them together in the applique technique. The intricate linework is translated using a technique similar to that found in Tibetan tent design, typical of this culturally nomadic people. The Karmapas, in particular, were renowned for their elaborate tent settlements. In addition, styles in art and iconography differ according to the various religious schools. The Karma Kagyu style, known as Karma Gadri, was established in 1500 and reflects influence from India (in its form), China (in its colouring) and Tibet (in its composition). Interestingly, His Holiness has named this giant thangka The Karma Gadri Thangka.

These aspects were very much considered when constructing the new gos.sKu for Tsurphu monastery. This thangka, completed in the spring of 1994, was made to replace the previous 17th century applique made during the time of the 10th Karmapa.
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This thangka, completed in the spring

of 1994, was made to replace the previous
17th century applique made during
the time of the 10th Karmapa.
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As there was no photographic record of this image, the artists were requested to re-design the work based on the oral instructions and guidance given by the present abbot of Tsurphu, the Venerable Drupon Dechen Rimpoche. Hence the new design is closely based on the previous banner, though two Lamas now represented, but not found in the original design, reflect its contemporary nature. Such updating is a traditional feature of making devotional lineage images in Tibet.

The work, 23x35 metre in size, features nine figures: Sakyamuni Buddha in the centre (9m high) (fig 4, right); Manjusri and Maitreya Bodhisattvas flanking him (7m high); the Primordial Buddha at the top centre (fig 5, below left) and a fierce wrathful protector at the bottom centre. At each corner of the image sits a great Lama of the lineage - The First and Second Karmapas are in the upper corners; the Sixteenth Karmapa, who passed away in 1981, and the Third Jamgon Kontrul, one of the Karmapa's foremost disciples who passed away in 1992, are featured in the lower corners. It is of significance that both these great Lamas focused much energy in propagating Dharma to the West; in consequence funding for this work was found among Eastern and Western disciples alike.
Other than these main figures, each individual in gesture, ornaments and flowing robes, this image is adorned with additional elements giving it a particularly intricate quality for such a huge design. Symbolic beings and animals support the Buddha's throne; clouds and rainbows illuminate the sky above; peacocks and gazelles graze peacefully before the lamas below, particularly, the endangered species of Tibet's wildlife are featured: yaks, asses, white-lipped deer, antelopes and the bluehorned sheep all have a place in the image for special protection. Tibetan cranes and various other birds (10 cm) are also present, even if sometimes hidden in the foliage.

Over 1500 metres of silks and brocades were used to make the Tsurphu gos.sKu (fig 6, right, the sewing team at work). Seventy shades of colour were chosen and a large part of this palette was specifically dyed in Hong Kong to meet the requirement of a Karma Gadri design which is noted for its use of pastel shades. Additional materials for finishing the thangka include: backing cloth (200m), a protective cover (1100m), a brocade border (90m) and a 24 metre leather bag for storage. For ceremonial purposes, a 24 metre canopy to be positioned above the gos.sKu was made, banners, umbrella and 140 metres of multi-coloured traditional streamers were all required and made for the unveiling event

BUDDHA LIFE

This hand painted Buddha life story thangka depicts the entire life of Lord Gautuma Buddha and his quest for enlightenment. The day he was born in the garden of Lumbini, his childhood locked inside the palace compounds, how he was prevented from seeing and experiencing any kind of pain or suffering of outside world, the day he ventured beyond the castle walls and came across sorrow, pain, death and those suffering - he saw beggar, a cripple, a corpse and a holy man - which affected the prince deeply, the night he escaped the walls of the palace, when all were asleep and began the life of wandering ascetic. His years of fasting, meditation and time spent in painful search to find a way to end suffering, the full moon night when he had a direct realization of Nirvana, which transformed the prince into Buddha. The time he spent guiding people towards nirvana, love and friendship, the day he left this world at the age of eighty, having exhausted his human body for the sake of all sentiment beings. All these are shown in the Buddha Life Thangka Painting.

Blessing

Creating Buddhas: The Making and Meaning of Fabric Thangkas

Thanka with Brocade

The use of the Silk Brocade has its own Consequence and importance,silk brocades are considered as religious objects not as of simply decorative, such religious works of arts functions as models on which mediators Can reflect identifying and developing with in themselves the qualities such as wisdom and compassion that are embodied in the painting. Thangk as often used in Monasteries are all brocade and the inner frame of brocade (often red) is also thought to be a rainbow gateway beyond which lies the pure land inhabited by the deity the Thangka represents. The Brocade it self also acts as the Per-servant of the Painting from the Dust and light to retain its authentic median

Manjushree

Manjushree-“God of Divine Wisdom”,whose worship confers mastery of the Dharma, retentive memory,mental perfection and eloquence. Manjushree is also one of the form of Bodhisatwas and he symbolizes wisdom. In Nepal he is considered as the founder of Nepalese civilization and the creator of Katmandu Valley. According to the tradition he was a Chinese Saint. His intuition told him of the blue flame (symbolizing Adibuddha or Swayambhu) on a lotus in the big lake of Nepal. He went there to offer worship, but could not reach because of the water. He cut with his sword the southern wall of the hills. The water became the Katmandu Valley. He carries the sword of wisdom and light in his right hand and Prajnaparmita manuscript “the book of Divine Wisdom” on his left on the lotus blossom.

8 Basic Methods Of Painting a Thangka

                                                                   PAINTING METHOD

Painting Canavas

First of all thanka is painted on cotton canavas. Canavas are generally made in the dry months of March, April, October and November. This cloth is tightly sewn on bamboo and a glue is spread to make it dry. The artist coats this canavas until every part is dried. This process is repeated 8-10 times. After the canavas has been dried the artist then moistens it with a small cloth on a certain area. Then he slowly rubs the canavas with a small marble for an hour and takes it outside where sun can directly be in contact. The same procedure is done on the other side of the canavas and dried. After the canavas is ready it should be tightly stretched and tied with strings. Lastly the canavas is polished with conch shell on one side where the painting is done.
 

Foundation Line Drawing

The artist needs full concentration while drawing foundation line. So, they generally take meditation, bath or perform rituals before starting to draw the lines. When they start to draw the lines they have visualization of the deities which they are about to paint. These line are drawn by pencils of Tibetan style. It takes them about 10 to 30 days to sketch the base line.

                 

 Preparing paint

The next step is to prepare the colors for painting. According to the tradition of Tibet the material should include the variety of vegetable and mineral substances like flowers, silver, gold, copper, bark, precious stones, leaves, etc. These all materials should be collected and properly powdered, ground, cooked or crushed. Though today’s artist uses colors available in markets but to conserve the genuine custom of Tibet we utilize the natural materials. The paint reveals its true color only after it is dried.

 

Painting

After preparing the colors the artist paints the thanka in a specific sequence i.e. from top to bottom. The artist first paints the whole sky which takes them from 4 to 5 days. Then they use different types of brushes to generate a stipple effects of lines and the sky is ready. The next is to pain the lands and dark green areas.

 

 

 

 

Redraw and shading

When they uses the paint in sky and landscapes some of the lines of clouds and flowers have been covered by the colors so they have to redraw the covered areas with black ink and shade them with a fine brush. It takes them about 1 week to paint flowers since they needs the effect of inherit radiance.

 

Details

The details of the thanka plays very important role which determines its quality. The artist has to paint every small size very carefully and with full concentration. If the detail of the thanka is best then the value of thanka will automatically increase

  

Giving shape and final shading

The artist then gives shapes to the body and figures of the deities. All the background details like deer, fish, birds, etc are given final shade in this process.
 
 
 
 
 

  

Gold application

Gold is powdered for painting in thanka. The artist buys about 50 grams of gold and makes it into sheets by heating. Then the sheets are cut in tiny pieces and are grinded until it becomes dust particles. Glue is added in the mixture and the same process is done for seven days. So with this the artist paints the details with gold and at last all the gold areas are polished to make it more shiny and beautiful.