Deeds of Manjushri, Tibetan Thangka Natural Pigments on Cotton Painting

View Similar Items

Antique Tibetan Thangka

17th Century Tibetan Thangka Painting

Tibetan Thangka of Vaishravana, c. 1850

18th Century Tibetan Thangka Painting

18th Century Tibetan Thangka Of Amitayus Buddha

Tibetan Thangka of Chenresi, Late 19th Century

Late 19th Century Tibetan Thangka Depicting Sitatapattra

Late 19th Century Thangka with the Portrait of a Tibetan Monk

Tibetan Thangka of Celebration Hand Painted Gilded

Vintage Tibetan Thangka Goddess Dakinis

Tibetan Thangka of Amitabha Buddha Hand Painted Gilded

Want more images or videos?

Request additional images or videos from the seller

1 of 10

Deeds of Manjushri, Tibetan Thangka Natural Pigments on Cotton Painting

About the Item

Rare! Unusually large for this type of Buddhist religious thangka art paintings, this 19th century work of art, depicting deeds of the most important Tibetan Buddhism deity, in all likelihood, served as a textbook in one of the Tibetan monasteries. Unframed. Dimensions: Height 34.75, width 23.75” Mañjusri. Mañjusri is a botthisatva associated with prajña (insight) in Mahayana Buddhism. In Tibetan Buddhism, he is also a yidam. His name means "Gentle Glory" (Chinese: ???, ??) in Sanskrit. Mañjusri is also known by the fuller name of Mañjusrikumarabhuta, literally "Mañjusri, Still a Youth" or, less literally, "Prince Mañjusri". Other deity name of Mañjusri is Manjughosha Scholars have identified Mañjusri as the oldest and most significant bodhisattva in Mahayana literature. Mañjusri is first referred to in early Mahayana sutras, such as the Prajnaparamita sutras and through this association; very early in the tradition he came to symbolize the embodiment of prajña (transcendent wisdom). The Lotus Sutra assigns him a pure land called Vimala, which according to the Avatamsaka Sutra is located in the East. Natural pigments in Tibetan thangka art paintings. The application of color to the thangka canvas involved two main steps - first, filling in the areas of different base colors; and second, the subsequent shading and outlining of those areas. To these steps, there corresponded the two essentially different types of paint in the Tibetan palette: • Mineral pigments (rdo tshon and sa tshon) and • The organic dyes or lakes (tshos) The mineral pigments had to be mixed with a Binder before being applied as paints. The chief Binder for these pigments was size or hide glue, the same gelatinous solution that was used in preparing the “:gesso” for the ground. Paints prepared in this way were used for the initial coat of colors. For the subsequent shading and outlining. However, the artists, for the most part, used dyes and lakes. These needed little or no Binder to unite them with the underlying layers of paint, and they could modify the hues and sharpen the borders of the painted areas without adding appreciably to the thickness of the paint layer.

Dimensions:
Height: 34.75 in (88.27 cm)Width: 23.75 in (60.33 cm)Depth: 1.25 in (3.18 cm)
Style:
Tibetan (Of the Period)
Materials and Techniques:
Cotton,Painted
Place of Origin:
China
Period:
1850-1859
Date of Manufacture:
1850s
Condition:
Wear consistent with age and use. We make our best effort to provide a fair and descriptive condition report. Please examine the photos attentively, as they are an integral part of description. Send us a message to request more details or discuss price.
Seller Location:
New York, NY
Reference Number:
1stDibs: LU2819313843431