#tibetan religious painting

[theancientwayoflife]

~ Tibetan religious painting (tsakli) depicting deity of the Bon religion (from the Bon tsakli set).

Date: 15th century

Place of origin: Tibet

Medium: Opaque watercolour on paper.

#history #museum #archeology #archaeology #tibet #tibetan religious painting #Tibetan #tsakli #watercolor #deity #bon #15th century

[sanrielle]

Amazing fanart by Joanacchi! Posted here on tumblr with their blessing. Each one is based on a style that reflects a particular ancient culture's art history. (See below for descriptions provided by the artist!)

Store (buy these prints!) Twitter Instagram

Aang: Tibetan Thangka

"Thangkas are traditional Tibetan tapestries that have been used for religious and educational purposes since ancient times! The techniques applied can vary greatly, but they usually use silk or cotton fabrics to paint or embroider on. What you can depict in a Thangka is really versatile, and I wanted to represent things that make up Aang as a character."

Zuko and Azula: Japanese Ukiyo-e

"Ukiyo-e is a style that has been around Japan between the 17th and 19th century, and focused mainly in representing daily life, theater(kabuki), natural landscapes, and sometimes historical characters or legends!

Ukiyo-e was developed to be more of a fast and commercial type of art, so many drawings we see are actually woodblock prints, so the artist could do many copies of the same art!

I based my Zuko and Azula pieces on the work of Utagawa Kuniyoshi (1798-1861) one of the last ukiyo-e masters in Japan! He has a specific piece which featured a fire demon fighting a lord that fought back with lighting, and that really matched Zuko and Azula's main techniques!”

Toph: Chinese Portraiture from Ming and Qing Dynasties

"Ming Dynasty (1368-1644) was one of the longest in China! It was also a period where lots of artistic evolutions were happening, especially when it comes to use of colour! There was not a predilection for portraits during this time, but there are a lot of pieces depicting idealized women and goddesses from the standards of the time. For this portrait of Toph, I imagined something that maybe their parents commissioned, depicting a soft and delicate Toph which we know is not what she is about ♥️

Qing Dynasty (1644-1912) was the last Chinese Dynasty to reign before the Revolution. One of the most famous emperors of this period was Qianlong, and he really liked Western art! He commissioned a lot of portraits of his subordinates, and I chose a portrait of one of his bodyguards as a reference for the second Toph portrait, which I believe is much more like how she would want to be represented! The poem on top talks about the bodyguards' achievements during a specific war. I had no time to come up with a poem for Toph, so I just used the same one for the composition!”

Sokka and Katara: Inuit Lithograph

"For a long time, Inuit art expressed itself in utilitarian ways. The Nomadic lifestyle of early Inuit tribes played a huge part in that: most art pieces are carved in useful tools, clothing, or children's toys, small and easy to be transported, and depicted scenes and patterns representing their daily lives!

That changed a lot during the colonization. Since the settling of the Inuit tribes, many art pieces began to be created in order to be exported to foreigns, so they started to sculpt bigger and more decorative pieces.

Lithography, which is a type of printmaking, was introduced to Inuit people by James Houston, that learned the technique from the japanese. The art form was quickly embraced by the inuit, as part of the process is very similar to carving. Prints that are produced by inuit artists are still being sold today!

As lithography is not an old art style and it's still commercially relevant to the Inuit communities, since creating these in 2021 I have been donating regularly to the Inuit Art Foundation, not only all the money I get from selling some prints of these but a bit more, at least once a year. Hopefully, I can increase donations this year!”

#avatar the last airbender #atla #atla fanart #fanart #asian history #inuit history

[sophieinwonderland]

Where the actual fuck is your source for claiming anti-endos are pro-genocide? That's a HUGE fucking claim to make a biiiiiig stretch. Like you are actively dismissing people who are Tibetan who have said there's an issue with the usage of the term already- and now you're claiming a HUGE demographic is pro-genocide?

Who? I'm genuinely curious. I don't see many anti-tulpas who actually identify as Tibetan Buddhists. A lot are really vague about the type of Buddhism they practice or don't even seem to know where the tulpa even comes from.

Before going any further, it's important to understand the relationship between China and Tibet. I covered this in another post:

The above post was in response to an anti-endo who repeatedly echoed CCP talking points that "Tibet is a part of China," which while true from a certain point of view, is a little disturbing in a conversation about the cultural identity of the Tibetan people. This culminated in them describing the Dalai Lama as an "80-year-old Chinese Man," which is incredibly invalidating to the Tibetan people who have been struggling to maintain their freedom for reasons so obvious that I shouldn't have to spell out.

And the anti-endo community... doesn't care.

I wouldn't say they're pro-genocide. They're just... genocide-neutral when it comes to Tibet. By erasing the unique cultural identity of the Tibetan people, they can pretend that all Asians are a monoculture and anyone of any Asian descent have just as much right to declare Tibetan Buddhism as a closed practice and anything borrowed from it appropriation.

Even if that ancestry may be from the same people who invaded and are oppressing Tibet, it doesn't matter to them, because anti-endos don't care about Tibetan culture, history or autonomy any further than using them as talking point to silence one of the largest communities of created systems

They're okay with repeating CCP propaganda that erases Tibetan identity as long as that propaganda suits their own interests.

Anti-endos, at every opportunity, erase the history of Tibet and Tibetan religious leaders.

They claim that Tibetan Buddhism is a closed religion, something that practically every Tibetan Buddhist will tell you is wrong in a heartbeat, and erases the countless monasteries across the globe that are welcome to everyone.

When that doesn't work, they will claim that Tibetan Buddhist practices cannot be used by people who aren't Tibetan Buddhists, contradicting the Dalai Lama himself encouraging other religions to use Tibetan Buddhist meditations.

They will try to paint the story of how the tulpa arrived in the West as one of white people stealing Tibetan culture, erasing the involvement of translator Lama Kazi Dawa Samdup in bringing Tibetan culture to the West, tulpa included, helping to spread knowledge of their religion around the world in a way that would appeal to Western audiences.

And as we see above, many anti-endos will go so far as to actively support CCP propaganda that brands Tibet as nothing more than just another part of China or the Dalai Lama a "Chinese man," literally supporting the CCP in its aim of erasing Tibet's identity.

Make no mistake, the anti-endos who pretend to be so angry over people identifying as tulpas don't actually care about Tibetan culture. They don't care about the secular CCP trying to take control of the religion. They don't care about teachers being imprisoned for teaching the Tibetan language.

When the current Dalai Lama passes, the CCP will try to choose their own illegitimate reincarnation as they did the Panchen Lama. Anti-endos and you won't hear a peep out of anti-tulpas who will continue to act as if the greatest atrocity to befall Tibetan culture is created systems borrowing a word with a Tibetan etymology.

The whole thing is just performative.

Anti-endos try to speak for Tibetan Buddhists, rewrite Tibetan history, and erase the autonomy of Tibetan Buddhist spiritual leaders to determine who can and cannot use their spiritual practices. Then they turn a blind eye when their own echo CCP rhetoric that has been used to justify the cultural genocide of Tibet.

#ask box #syscourse #endogenic #pro endogenic #plural #tibetan buddhism #china #ccp #genocide #cultural genocide #tibet #plurality #multiplicity #system #systems #china communist party #politics #pro tulpa #anti tulpa #tulpa

[circlique]

Finally, I get to talk about the character I actually play! I have two profiles left after this and then I can finally rest.

Avatar DND Masterpost

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Name: Kelsang (སྐལ་བཟང Tibetan, "good fortune, auspicious")

Age: 25

Alignment: Formerly Lawful Good, currently Lawful Neutral

Highest stat: Wisdom

Bending: Air

Theme: Hanezeve Caradhina

Played by: me

Background: Representing the Air Nomads we have Kelsang, a very intelligent but often insufferable young man with a religiously high conviction in traditional airbending values...but only how he interprets them. He is reserved and logical but tends to be unempathetic, judgmental, and at times, hypocritical. He is a part of an airbender separatist movement called the Order of the Painted Dragon, which believes evil thrives when good people do nothing and that one cannot regard all life as sacred and yet refuse to intervene to save it, so they reject the teaching that Air Nomads should detach themselves from Earthly all matters. Early on in the party's journey, he nearly fell to his death but was revived by Klo's bloodbending. However, the bloodbending summoned the spider-bat blood spirit, Panggu, who would only let Kelsang return to the world of the living if he made a contract with him. Kelsang negotiated the contract down to 0.5% of his time rather than the usual 1%. Kelsang initially found comfort in the power boost the spirit provided, especially after the Avatar destroyed the island the Order lived on in a terrifying display of her own power. However, the revelation of the spirit's involvement in Dai Lee's plan, plus the accidental deaths Kelsang caused while the spirit was in control, have him looking for a way to get rid of it. In an effort to convince himself that he truly does not need the spirit's power anymore, Kelsang began dabbling in forbidden airbending arts, although he insists he will only use them when the power imbalance is so severe he is left with no other choice. However, the temptation is there...

Motivations: Kelsang originally went along with the plan to apprehend Juno because he was promised recognition and a seat at the table for his airbender separatists, and he was tired of the other Air Nomads taking up a seat at the table just to sit there and say they wouldn't do anything. He did have mixed feelings about turning over Juno, especially because she was being harbored on the island where the air separatists were making their home, and the two of them were acquainted. He also did not totally disagree with her methods, and was happy that at least someone was doing something. His motivation for taking down Dai Lee is simply because it is the right thing to do and he wants to see bad people brought to justice. However, he has recently found new purpose in trying to sway the Avatar from her extreme methods. He isn't entirely sure why this is; perhaps it is some strange way of seeking closure after she killed many of his friends and neighbors in pursuit of Juno. Or, perhaps it is a reminder that their core beliefs are not so different, and that if he isn't careful, he could easily end up on the same path as her.

#avatar #atla #air nomads #airbender #avatar dnd #avatar ttrpg #avatar oc #avatar legends #circe draws

[the-iron-orchid]

The Temple Painter no longer goes by xir birth name, as when xe became apprenticed to a painter from the Land of Snows xe was given a new name: Yeshe Dorje, meaning 'Invincible Wisdom'. Xe has been known by this name for the better part of xir life.

The Land of Snows is generally considered to be part of the northern Prakran Empire, residing on a high-elevation plateau that makes the climate much, much colder than its surroundings. Political upheavals and clashes with Prakran rule have sent some of their religious leaders out into the world, where their words and ideas have found traction with spiritual seekers of other cultures. Vesuvia is home to a number of their temples, often admired for the vibrant and complex beauty of their religious artworks.

After spending years as a struggling aspiring artist, making ends meet through various odd jobs, a chance meeting with one of the Temple District artists changed everything for the Temple Painter. The older painter took xem on as an apprentice, passing on what he knew, saying it was xir karma that had brought xem here. Through the merit accrued by creating such art, xe might walk the path to eventual enlightenment.

Merit or no, xe found this structured art form to be most agreeable, and spent over a decade doing nothing but this - painting the deities, decorating statues and lintels and temple walls in vivid colors, even gilding the bodies of temple dancers for performances. It was an austere life, living primarily on temple donations and the odd commission for the long life of a lama or a noble, but was a reliable one.

And then xe came to the attention of Count Lucio.

He had already been reigning in Vesuvia for well over a decade, but it had had little effect on Yeshe's little world in the Temple District. Sometimes, xe had even benefited from his showy donations to the temples (it never hurts to hedge your bets when it comes to the gods, after all).

On this day, xe happened to be working on the image of a deity in embrace with consort, representing the union of Wisdom and Compassion, of the transcendence of dualism. All of the ornaments and painted brocades must be carefully gilded and burnished, and so xe was outdoors, taking advantage of the sunlight to work. The bright colors, quantity of shining gold, and subject matter instantly drew the eye of the Count.

It was well-known that to refuse the honor of the Count's patronage was to invite his particular wrath, and there is no proscription against temple painters taking other commissions for pay - everyone has to eat, after all. And so began the long hours of painting the Count's ridiculous imaginings... and the resulting increase in income. Yeshe gritted xir teeth and ground the pigments and resins and boiled the bone glue, preparing the fine gold paint according to the secret recipe handed down from teacher to student, stretching the canvas with the same care xe used for the images of deities. By dint of the Count's patronage, xe was soon able to purchase an abode for xir parents, and then for xemself, making it all worthwhile.

Xe ultimately contracted the Red Plague near the very end of its rampage through Vesuvia, surviving only because xe was fortunate enough to live slightly longer than Lucio himself did. There are numerous lingering effects on xir body, including chronic joint and muscle pain, crushing fatigue, and the characteristic reddened eyes of a Plague survivor.

Xir paintings now collect dust in the Count's wing of the palace, forgotten, which suits xir just fine. There was, however, one final beneficial side-effect to the Count's patronage: coming to the attention of another member of the nobility, one Evander Murena.

~ MORE SELF-INDULGENT AUTHOR'S NOTES :D

Yeshe ཡེ་ཤེས is the Tibetan equivalent of the Sanskrit word jñāna ज्ञान :) I'm sure you see what I did there lmao

Dorje རྡོ་རྗེ is the equivalent of the Sanskrit vajra, the weapon of Indra. It symbolizes something indestructible like a diamond, a force as irresistible as a thunderbolt, so is generally translated as 'invincible'.

Both of these words are very common given names in Tibet and Bhutan. Yeshe is unisex, Dorje is generally masculine, but as the Temple Painter is nonbinary, both are appropriate (something something transcending duality something)

It's very common upon taking refuge to receive a highly auspicious Dharma name that also contains the name of the lama bestowing it (in this case, Yeshe). It's seen as something to live up to, as well as something that potentially bestows the quality itself.

I haven't received a Dharma name yet, but maybe one day I will!

I did come into thangka painting through a total chance meeting - while attending a meditation class, I saw a flyer for a thangka painting course. It really drew me at a very directionless point in my life (I had just had to stop working due to disability), and my teacher seems to have a lot of faith in my ability... so ten years later, here I am lol

My teacher has passed on a lot of knowledge, including the really traditional stuff like canvas-making, bone-glue paint binder, and the use of natural pigments (something I really want to try my own hand at, but it is both expensive and difficult). For the most part, I just use gouache - though I do make my own gold paint in the old-fashioned way, because there is no real substitute for it.

The main parallel here, of course, is that I myself became disabled after a viral illness years ago - I got very sick one winter, and then I never really got better. Ironically, I'm also prone to periodically having one or both eyes become reddened, painful, and light-sensitive (iritis). Woooo creepy plague-eyes woooo~

#Count Crispies #Evander Murena #it is hilarious to me that my dumb-self-insert has the most interactions with Lucio tbh #Yeshe the temple painter

[lamathanka]

Painting a thangka is a medium through which the highest ideas of Buddhism were evoked and brought alive. The main reason for painting thangka was for sickness or trouble, death in the family and the need for an image in connection with a particular religious practice.

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#Himilayan #tibetan #Art #culture #tradition #Painters #Thangka #thankapainting #buddhism #motivation #lamathankapaintingschool #artist #Nepal #bhaktapurdurbarsquare #compassion #bodhisattva #buddhahood #livingheritage #heritage #mandala #himalayanart #sacred #nepaleseart #nepaleseartist #bhaktapurdurbarsquare

[hinducosmos]

Ganesh Mandala

Hasta Thangka Art Center wrote : Silk brocading is a process of framing a Thangka in traditional Tibetan style. The frame is made of beautiful silk fabric having rich colors and patterns. The silk fabric protects the edges of the Thangka, and also makes it easier to hang. A thin silk cover protects the painting when rolled, and may be gathered up to display the painting when hung on the wall.

It is generally thought that silk brocade renders a Thangka more attractive and more religious. Ganesha, also spelled Ganesh, also called Ganapati, elephant-headed Hindu god. Although he is known by many other attributes, Ganesha's elephant head makes him particularly easy to identify.

Ganesha is widely revered as the Remover of Obstacles and more generally as Lord of Beginnings and Lord of Obstacles, patron of arts and sciences, and the deva of intellect and wisdom. Mandala is a geometric pattern of squares & concentric circles as a projection of the cosmos. The basic form of mandalas is square with four gates containing a circle with a center point. Mandala is regarded as a place separated and protected from the ever changing and impure outer world of samsara.

Size =94cmx81cm, Price = 190$(Free shipping) Material used = Cotton canvas, natural pigment

FB: Hasta Gola Mandala Thangka Art Center (via Instagram: Hasta Thangka Art Center)

#Ganesh #Ganesha #Ganapati #mandala #buddhism #hinduism

[cryopathiic-a]

headcanon. on Eternal Paradise faith.

In canon, the cult of Eternal Paradise takes inspiration from the real life religion of Karma Kagyu wherein a spiritual leader, known as Karmapa, acts as the figurehead & teacher. In composing my personal headcanon about how the cult operates in terms of religious worship, I have combined certain elements of different Tibetan Buddhism schools and sprinkled a dash of fantasy & personal interpretation of things. As such, this is a completely fictional religion that only takes inspiration from real life practices.

Disclaimer: I will be enhancing this post in the future as I see fit.

THE BASE COMPONENTS OF ETERNAL PARADISE FAITH

belief (ideas and values)

The core belief is that there exists a state of utmost peace & tranquility, that can be achieved only by severing all ties with the mundane world. Emotions are seen as a burden that weighs one down from achieving such a state and are thereupon 'entrusted' to the Lord Founder, who is considered capable of receiving them as he has already achieved such as a state and is able to mediate between this world & the next one. For that reason, the Lord Founder is the only one capable of guiding his principles to their ascension.

mythology (supernatural and sacred stories)

Much like real life Buddhism, Eternal Faith has no creator of the world and instead teaches that past events are the reason for present events that become the reason for future events. There are however, symbolic objects & deities, that would be called upon but not worshipped.

The lotus: The lotus is a symbol of purity & enlightement, thus its predominant appearance in works of art produced by the faithful. The Lord Founder himself would be depicted seated on an open lotus that symbolizes both his eternal nature & status as a being who appears in the mundane realm but simultaneously dwells in the spiritual one.

Muzan in Eternal Faith depictions plays a part similar to the Mahakala/Black Cloak; a personal protector of the Karmapa. Muzan would be depicted in paintings as a deity with multiple limbs & twelve blazing red eyes, usually wearing an expression of tranquility, a smile & having his predominant eye pair closed. He is often painted with long dark hair & wearing fabrics typical to the edo period, seated on a blue flower with long, slender petals. He has two forms; his male one being represented by the moon, symbolizing compassion & his female one being represented by the sun and symbolizing wisdom. As a protective deity, Muzan's female form can be wrathful towards those who are purposefully deviant as she is all-knowing of their intentions.

practices (rituals and rites of passage)

Guidance Council: private audiences with the Lord Founder, in which one would be guided to relief from concerns & burdens. Because of his innate innocence & compassion, the Lord Founder receives all troubles without judgement, and thus all should be entrusted to him, should one wish to be purified.

'Mindfulness' Practice: refers to a type of meditation/yoga that centers around abstinence from the five physical senses. It is considered a purification practice that ought to be repeated daily until one reaches a state where they are eligible for ascension.

Ascension Ceremony: The highest honor possible to achieve within the cult is to be recognized as worthy of entering "Eternal Paradise" — which is not only a state of great perfection but also a different realm of existence.

Room of Rememberance: Those who have come to pass within the temple without achieving their ascension would still be commemorated, in alignment with the principle of Compassion for others. Their physical remains are to be guarded eternally by the Lord Founder, who, alongside his principles, tends to their remains & protects them.

social organization (community).

At the top of the social hierarchy stands the Lord Founder, the enlightened one, who is believed to consciously be in a constant state of serenity & inner peace, thus acts as a beacon & paradigm of the ultimate state of being one can hope to achieve.

Status within the cult is granted by means of 1 ) longetivity & 2 ) the Lord Founder's favor. As such, the Lord Founder can judge which faithful are closer to achieving enlightement and thus grant them a higher social status. This process is usually unofficial and happens through daily interactions.

The newest recruits are considered to be most impure, as they have not dwelled within the temple long enough to shed the burdens & troubles of mundane life that corrupt one's spirit & make them vulnerable to temptation. Thus, those members receive special attention from others, seen as weak & in need of protection.

REFERENCES // SAMPLES:

Depictions of deities: ( ​🇽​ ) - ( ​🇽​ )

Chants: ( ​🇽​ ) - ( ​🇽​ ) - ( ​🇽​ )

#♛ ¦ ʜᴜᴍᴀɴꜱ ᴀʀᴇ ꜱᴏ ɪᴍᴀɢɪɴᴀᴛɪᴠᴇ ༺ headcanon. #religion tw

[ohsophkfun]

In reference to the learnings from Reading Photographs : An Introduction to the Theory and Meaning of Images, what is denoted in this image is the Dalia Lama smiling and holding hands with a young woman (me) while pointing at another young woman. He is wearing red traditional attire and the women are wearing blue scarves with flowers as accessories. There are men wearing suits and holding white scarves that appear to be in the background and foreground. When considering the connotations of this image, it appears that the women have come seeking an audience with the Dalia Lama and are joyful to be receiving his advice. It could be interpreted that he is pointing at the young women's earrings and is asking about them or making a comment. 

As explained in the Photographic Processes Series, “photography is a craft, it’s about the object itself and who made that object;” this image appears to have been chosen with very specific characters. The image of the Dalai Lama with two girls conveys a sense of peace, compassion, and unity. It suggests that regardless of religious or cultural differences, we can all come together in harmony and share a sense of community; as the woman he is pointing at is wearing indigenous face paint that seems to imply she has come from another culture/community and has traveled to seek his audience. When considering Berger’s ‘Ways of Seeing,” it is also interesting that without seeing the men in the background and foreground, the photo could have been interpreted as an intimate, private moment rather than a gesture for an entire audience; the women are younger and more colorful than the other characters in the photo. 

When considering the symbolic signifiers in the image, the historical context becomes helpful, as the Dalai Lama is the spiritual leader of Tibetan Buddhism and is revered by Tibetan Buddhists and followers of other Buddhist traditions around the world. As an arbitrary signifier, the scarves in the background seem to be intended to be given to the Dalia Lama. However the symbolic significance is that offering a white scarf - called a kata - is an ancient Tibetan tradition. The color symbolizes purity of intention and aspiration. The people have come bearing gifts for him as a way to honor him and his teachings, as well as show respect.

[acollectionofpotentialdrawings]

Research Notes

Artists to research:

Marina Abramovic

Joseph Beuys

Chris Burden

David Critchley  

Nan Goldin

Hilma af Klint

Bruce Nauman  

Barnett Newman

Nam June Paik  

Mark Rothko

Martha Rosler

Richard Serra

David Wojnarowicz

Research Interests:

Psychology of, neuroscience of, philosophy of, psychedelics and, the religious experience

Religious Studies, specifically arguments for the existence of God

The Sublime/The Divine/The Vast etc.  

Psychology of Trauma/Generational Trauma

Ritual and Performance Art

Sadomasochism and Endurance

Sensory Deprivation

Hallucinations and Schizophrenia/Bipolar Disorder

Catatonia, excited and stupor  

Ecstasy

Political Philosophy

Protest Art

Western Philosophy vs. Eastern Philosophy

Kundalini Yoga and Tantric Sexuality/Energy orgasms  

The Gnostic Gospels

Religions of the Book vs. Eastern Religions, esp. Hinduism and Taosim

Taichi Ch’uan and Taosim

Bible History

Existentialism & English and Russian literature

Horror and horror film theory

Meditation and Mindfulness

Art Education

Books:

Alberti, Leon Battista, On Painting.  London: Penguin Books, 1972.  

Allegra, John M., The Sacred Mushroom and the Cross: A study of the nature and origins of Christianity within the fertility cults of the ancient Near East

Bachelard, Gaston, The Poetics of Space.  New York: Peguin Books, 1964.  

Barthes, Roland, Mythologies.  New York: Hill and Wang, 1972.

Bryant, Edwin F., The Yoga Sutras of Patanjali. New York: North Point Press, 2009.

Camus, Albert, The Myth of Sisyphus.  New York: Vintage Books, 1955.    

Cavendish, Richard, The Black Arts.  New York: Tarcher Perigee, 2017.  

Deleuze, Gilles, and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia

Eliade, Mircea, The Sacred and the Profane: The Nature of Religion.  Orlando, Austin, New York, San Diego, Toronto, London: Harcourt, Inc., 1957.

Elkins, James, Why Art Cannot Be Taught  

Foucault, Michel, The Birth of the Clinic: An Archeology of Medical Perception.  New York: Vintage Books, 1975.  

Foucoult, Michel, The History of Sexuality Vol. 1-3

Furlons, Monica, Visions and Longings: Medieval Women Mystics. Shambala: Boston, 1996.

Girardot, N.J., Myth and Meaning in Early Taoism. Berkley: University of California Press, 1983.  

Hedges, Chris, War is a Force that Gives Us Meaning.  New York: Anchor Books, 2003.  

Jaynes, Julian, The Origin of Consciousness in the Breakdown of the Bicameral Mind

Kentridge, William, Six Drawing Lessons

Kierkegarrd, Soren, The Concept of Anxiety: A Simple Psychologically Oriented Deliberation in View of the Dogmatic Problem of Hereditary Sin.

Kierkegarrd, Soren, Fear and Trembling  

Kierkegarrd, Soren, The Sickness Unto Death.  New York: Penguin Group, 2004.  

Kushner, Lawrence, Honey from the Rock. Vermont: Jewish Lights Publishing, 1990.  

Laski, Marghanita, Ecstasy in Secular and Religious Experience.  Los Angeles: Jeremy P. Tartcher, Inc., 1961.  

Leary, Timothy, Ralph Metzner, and Richard Alpert, The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead

Leloup, Jean-Yves, The Gospel of Mary Magdalene.  Vermont: Inner Traditions, 2002.

Man-ch'ing, Cheng, Master Cheng’s New Method of Taichi Ch’uan Self-Cultivation, Blue Snake Books: Berkley, 1999.  

Martin, David. F., Art and the Religious Experience: the “Language of the Sacred.”

McKirahan Jr., Richard D., Philosophy Before Socrates.  Indianapolis/Cambridge: Hackett Publishing Company, Inc., 1994.  

McNamara, Patrick, The Neuroscience of Religious Experience

McNamara, Patrick, Nightmares: The Science and Solution of Those Frightening Visions during Sleep

Narby, Jeremy, The Cosmic Serpent: DNA and the Origins of Knowledge.  New York: Jeremy P. Tarcher/Putnma, 1998.  

Pagels, Elaine, Adam, Eve, and the Serpent: Sex and Politics in Early Christianity.  New York: Vintage Books, 1988.  

Pagels, Elaine, The Origin of Satan.  New York: First Vintage Books, 1996.  

Pagels, Elaine, Revelations: Visions, Prophecy, & Politics in the Book of Revelation.  New York, Penguin Group.  

Perl, Eric D., Theophany: The Neoplatonic Philosophy of Dionysius the Aeropagite.  New York: State University of New York Press, 2007.  

Pinchbeck, Daniel, Breaking Open the Head: A Psychedelic Journey into the Heart of Contemporary Shamanism

Radhakrishnan, S., Indian Philosophy, Vol. 1. India: Oxford University Press, 1940.  

Raicovich, Laura, Culture Strike: Art and Museums in an Age of Protest

Richards, William A., Sacred Knowledge: Psychedelics and Religious Experiences

Rosler, Martha, Decoys and Disruptions.  Cambridge: The MIT Press, 2006.  

Sacks, Oliver, Hallucinations.  New York: First Vintage Books, 2012.  

Saunders, Jason L., Greek and Roman Philosophy After Aristotle. New York, London, Tononto, Sydney: The Free Press, 1966.  

Schlain, Leonard, Art & Physics, Parallel Visions in Space, Time, and Light. New York: Perennial, 2001.  

Solomon, Andrew, Far from the Tree: Parents, Children, and the Search for Identity.

Steiner, Rudolph, Colour, East Sussex: Rudolph Steiner Press, 1992.  

Van Der Kolk, M.D., The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma.  New York: Penguin Books, 2014.  

Vysheslavtsev, B. P., The Eternal in Russian Philosophy.  Cambridge: William B. Eerdmans Publishing Company, 2002.  

Winnicott, D. W., The Child, the Family, and the Outside World.  Cambridge: Perseus Publishing, 1964.  

Winnicott, D.W., Playing and Reality.  London and New York: Tavistock Publications, 1982.  

Wolynn, Mark, It Didn't Start with You: How Inherited Family Trauma Shapes Who We Are and How to End the Cycle.  

Zee, A., Fearful Symmetry: The Search for Beauty in Modern Physics

[wordsyettocome]

Tibetan Dark Academia

Disclaimer: I am not Tibetan or Buddhist, all of this was from research.

Rising early to pray in the monastery’s prayer hall in a group. Having meals together.

Memorizing long Buddhist texts and training to conduct religious ceremonies. Doing math and science problems. Loud debates, infectious energy in the air.

Carving miniatures, doing paintings, making sand mandalas. Making medicine for common ailments.

Meditating for relaxation and clarity. Writing prayer flags and letting the wind take hold of them to bless the populace.

Stabbing or burning ghosts to release them from the mortal plane. Going into a trance, and seeing the future.

#tibet #dark academia

[contemporaryartblogg]

Independent Research: Performance and Conceptual Art 1980-1990s

In class we were split into research groups and we given the topic of conceptual art post 1990 to research and discuss, and I found it particularly interesting so I have decided to expand on this, extending to reflect on performance art as this is a topic I would like to further my knowledge in. I have chosen four artists who's work I have a personal interest in and have futher discussed with my group, and will be analysing their practise, place within and significance to conceptual and contemporary art. First beginning by discussing the work of Cuban artist Ana Mendieta and her practise and approach to performance art in the 80s following her Silueta Series. Then looking at the work of Marina Abramovic and her many years of conceptual performance pieces, also exploring body art. And finally I will be discussing Moscow conceptualists Alexander Melamid and Vitaly Komar, who have collaborated on multiple projects surrounding themes of their experience living in the oppressive Soviet Union.

Ana Mendieta's practise revolves around 'earth-body works' as she is concerned with themes of the female body, death, transformation and cultural displacement with a connection to Cuba. She often used the ritualistic tones that are seen in Cuban religious practises, through the symbols of blood, air, water and fire. This can be seen most prominently in her famous Silueta series (1973-1980). Mendieta was greatly interested in feminist art practises in the early 80s, as she continued to explore the emotional connection between her body and the natural world. For example with her Amategram series - Vivification of flesh in 1981. Totem-like forms painted with black acrylic onto Amate, paper made from bark by Otomi Craftspeople in Mexico. Further emphasising Mendieta's engagement with the body and earth. Again linking with rituals and offerings in her symbolic mark making process. Another artwork that follows this is Nile Born (1984) a sculpture created out of sand, laid on a wooden base and shaped to scale Mendieta's body. This artwork is about re-establishing bonds between the artists home country after being exiled and living in America, the artwork serves as a symbol for women.

Marina Abramovic is a pioneer in utilising performance as a visual art form, she explores the physical and mental limits of her being with her practise, the body is both her subject and medium. Abramovic has endured, pain, danger and exhaustion for emotional transformation. One example of this is her piece Rest Energy (1980) a collaborative artwork with the artist's long term partner, Ulay. One arrow is held on the weight of their body, the arrow pointing at Abramovic's heart with microphones recording their heartbeats which became more intense as the performance progressed. The performance was completely dependant on trust. Another artwork I found very interesting due to the use of digital media and the idea of repetition of an act was Cleaning the mirror (1995) of which 5 monitors were stacked on top of each other and played videos of a performance where Abramovic scrubs a human skeleton covered in dirt in her lap, the ritual of becoming one with your own mortality - a Tibetan death rite, the action lasted three hours.

Artists Alexander Melimid and Vitaly Komar were two leading conceptualists in Moscow. Their work ranges from painting and sculpture to performance pieces and they have worked with a variety of mediums. The artists first met in 1963 as students at the Stroganov Institute of Art and Design in Moscow and began collaborating in 1965. They were expelled from the Moscow union of artists after participating in many avant-garde exhibitions and emigrated to Israel in 1977 before moving to New York a year later. Their work continued to critique the totalitarian regime they were brought up in. They created a series of artworks between 1980-83 named The Nostalgic Socialist Realism series, Melimid and Komar made ironic commentaries on the propaganda of communism, that mimicked the subjects and style of official art, they satirize art history. Blindman's Buff in particular is interesting stands out in this series as although the subject is seemingly light hearted, the tone of the painting is clear, with the drab colours, as well as the picture of Stalin bathed in red displayed on the wall.

Bibliography

Demaria, C., 2004. The performative body of Marina Abramović: rerelating (in) time and space. European Journal of Women's Studies, 11(3), pp.295-307. The Performative Body of Marina Abramović: Rerelating (in) Time and Space - Cristina Demaria, 2004 (sagepub.com)

Hillings, V.L., 1999. Komar and Melamid's Dialogue with (Art) History. Art Journal, 58(4), pp.48-61. Komar and Melamid's Dialogue with (Art) History: Art Journal: Vol 58, No 4 (tandfonline.com)

Roulet, L., 2012. Ana Mendieta as Cultural Connector with Cuba. American Art, 26(2), pp.21-27. https://www.journals.uchicago.edu/doi/full/10.1086/667947

Wollen, P., 1991. Scenes from the future: Komar & Melamid. New Left Review, 185, pp.68-80. Peter Wollen, Scenes from the Future: Komar & Melamid, NLR I/185, January–February 1991 (newleftreview.org)

[nepalhandicraftproduct]

Must-Know Facts About Art And Craft Of Nepal

Have you ever wondered about the beautiful and colourful art and craft of Nepal? The handicrafts of Nepal have unique designs and artistry that reflect the country's rich cultural heritage. Passed down through generations, Nepali handicrafts showcase incredible skill and intricate craftsmanship. What makes the handicrafts of Nepal so special and admired worldwide? Here are fascinating facts about the arts and crafts of Nepal.

Interesting Facts About Handicrafts of Nepal

Here are the most interesting facts about the art and craft of Nepal:

Ancient History

The history of arts and crafts in Nepal goes back over 2000 years. Archaeologists have discovered handicraft artefacts from ancient times like metal statues, stone carvings, wood columns, jewellery, fabrics, paintings and more.

Diverse Art Forms

Many diverse art forms come under Nepali handicrafts. The major types include metal crafts like statues, jewellery, and decor items of copper, brass, silver, gold etc. Each region of Nepal has unique handicraft traditions.

Intricate Process

A remarkable aspect of Nepali handicrafts is the intricate and labour-intensive process involved in making them. Metal casting using the lost-wax technique requires meticulous sculpting skills. For wood carvings, complex designs are hand-carved on hardwood, which takes hours of effort.

Design Motifs

When you talk about art and craft of Nepal, it is impossible to miss out on Design Motifs! Nepali handicraft designs draw inspiration from Hinduism and Buddhism. Intricate mandala symbols, floral patterns, dancing figures, geometric shapes, religious symbols, gods and goddesses are common motifs in handicrafts.

Ethnic Craft Traditions

Nepal has over 100 ethnic groups and tribes, and each community has its unique handicraft traditions. For instance, the Newar community of Kathmandu valley is renowned for metal sculptures, wood carvings, masks, pottery and paintings. Tibetan refugees produce exquisite Thankga paintings, rugs and jewellery.

Conclusion

Consequently, Nepali handicrafts have an ancient legacy built upon incredible skill, artistry and diversity. The wide range of meticulously crafted handicraft items reflects Nepal's cultural soul. As a flourishing cottage industry providing income opportunities locally, the arts and crafts sector boosts community development in Nepal. With evolving new trends, Nepal's handicraft traditions continue to maintain their uniqueness and global popularity today.

Want to get the best quality authentic, art and craft of Nepal? If yes, Nepal Handicraft Product Exporter P. Ltd is the leading manufacturer, wholesaler, and exporter of the best handicraft products from Nepal. Contact at [phone] or send email via [email protected] or [email protected].

Resource: https://nepalhandicraftproductkathmandu.blogspot.com/2024/01/must-know-facts-about-art-and-craft-of.html

#Art and Craft of Nepal

[mahayanapilgrim]

The Symbolism and Practice of Lamp Offerings in Tibetan Buddhism

In Tibetan Buddhism, the tradition of lamp offerings holds profound significance, rooted in the teachings and symbolism of Buddha Shakyamuni's enlightenment over 2,500 years ago. The act of offering lamps is imbued with symbolism and intention, serving as a means to honor the Buddha's awakening, cultivate virtue, and pave the way for spiritual progress. This article explores the rich symbolism and practices surrounding lamp offerings in Tibetan Buddhism.

1. Symbolism of Lamp Offerings:

Lamp offerings symbolize the dispelling of ignorance and the illumination of wisdom. Just as light pierces through darkness, the enlightenment of Buddha Shakyamuni is seen as the illumination that dispels the ignorance obscuring the true nature of the mind.

2. Connection to Buddha's Enlightenment:

Each lamp offering is a homage to Buddha Shakyamuni's enlightenment, commemorating the pivotal moment when he attained awakening under the Bodhi tree. By making lamp offerings, practitioners honor this event and express gratitude for the teachings that have been passed down through generations.

3. Cultivation of Virtue and Good Fortune:

Lamp offerings are believed to generate great merit and virtue. By engaging in this practice, practitioners accumulate positive karma, which is believed to bring about favorable circumstances and experiences. It is seen as an auspicious act that can lead to greater well-being and spiritual progress.

4. Aspiration for Enlightenment and Liberation:

In Tibetan Buddhism, lamp offerings are not only a gesture of reverence but also an expression of aspiration. Practitioners offer lamps with the wish to attain buddhahood, following the path of enlightenment exemplified by the Buddha. Additionally, lamp offerings are associated with the aspiration to recognize the clear light at the time of death, paving the way for liberation from the cycle of birth and death (samsara).

5. Significance in Life Transitions:

Lamp offerings are often made at significant junctures in one's life, such as birth, marriage, or death. These transitions are seen as opportunities to invoke blessings and positive energies through the act of offering lamps. By doing so, practitioners seek guidance and support as they navigate life's milestones and challenges.

6. Bestowing Offerings to Representations of Wisdom:

It is considered most auspicious to make lamp offerings before consecrated representations of fully awakened wisdom, loving-kindness, and compassion. These representations may include statues, thangkas (religious paintings), or sacred texts. By offering lamps before these symbols, practitioners invoke the qualities they represent and establish a connection to the enlightened beings they embody.

Conclusion:

In Tibetan Buddhism, lamp offerings are more than just symbolic gestures; they are powerful practices that embody the aspirations, virtues, and devotion of practitioners. By offering light, practitioners seek to illuminate their own path towards enlightenment, cultivate virtue, and invoke blessings for themselves and others. Through this sacred ritual, the flame of wisdom continues to shine brightly, dispelling the darkness of ignorance and illuminating the way towards liberation.

#buddha #buddhist #buddhism #dharma #sangha #mahayana #zen #milarepa #tibetan buddhism #thich nhat hanh #atisha

[acalavidyaraja]

In Tibetan Buddhism, the tradition of lamp offerings holds profound significance, rooted in the teachings and symbolism of Buddha Shakyamuni's enlightenment over 2,500 years ago. The act of offering lamps is imbued with symbolism and intention, serving as a means to honor the Buddha's awakening, cultivate virtue, and pave the way for spiritual progress. This article explores the rich symbolism and practices surrounding lamp offerings in Tibetan Buddhism.

1. Symbolism of Lamp Offerings:

Lamp offerings symbolize the dispelling of ignorance and the illumination of wisdom. Just as light pierces through darkness, the enlightenment of Buddha Shakyamuni is seen as the illumination that dispels the ignorance obscuring the true nature of the mind.

2. Connection to Buddha's Enlightenment:

Each lamp offering is a homage to Buddha Shakyamuni's enlightenment, commemorating the pivotal moment when he attained awakening under the Bodhi tree. By making lamp offerings, practitioners honor this event and express gratitude for the teachings that have been passed down through generations.

3. Cultivation of Virtue and Good Fortune:

Lamp offerings are believed to generate great merit and virtue. By engaging in this practice, practitioners accumulate positive karma, which is believed to bring about favorable circumstances and experiences. It is seen as an auspicious act that can lead to greater well-being and spiritual progress.

4. Aspiration for Enlightenment and Liberation:

In Tibetan Buddhism, lamp offerings are not only a gesture of reverence but also an expression of aspiration. Practitioners offer lamps with the wish to attain buddhahood, following the path of enlightenment exemplified by the Buddha. Additionally, lamp offerings are associated with the aspiration to recognize the clear light at the time of death, paving the way for liberation from the cycle of birth and death (samsara).

5. Significance in Life Transitions:

Lamp offerings are often made at significant junctures in one's life, such as birth, marriage, or death. These transitions are seen as opportunities to invoke blessings and positive energies through the act of offering lamps. By doing so, practitioners seek guidance and support as they navigate life's milestones and challenges.

6. Bestowing Offerings to Representations of Wisdom:

It is considered most auspicious to make lamp offerings before consecrated representations of fully awakened wisdom, loving-kindness, and compassion. These representations may include statues, thangkas (religious paintings), or sacred texts. By offering lamps before these symbols, practitioners invoke the qualities they represent and establish a connection to the enlightened beings they embody.

Conclusion:

In Tibetan Buddhism, lamp offerings are more than just symbolic gestures; they are powerful practices that embody the aspirations, virtues, and devotion of practitioners. By offering light, practitioners seek to illuminate their own path towards enlightenment, cultivate virtue, and invoke blessings for themselves and others. Through this sacred ritual, the flame of wisdom continues to shine brightly, dispelling the darkness of ignorance and illuminating the way towards liberation.

[ladakhtourwithtouristhubindia]

CAN I VISIT LADAKH ALONE?

Ladakh, often referred to as the "Land of High Passes," is a region in the northern part of India that is renowned for its stunning landscapes, Buddhist monasteries, and unique culture. Nestled amidst the mighty Himalayas, Ladakh offers a surreal experience for travelers seeking adventure and tranquility. While traveling alone always comes with its set of considerations, Ladakh is a destination that can be explored solo with proper planning and a spirit for adventure.

The Enchanting Landscape of Ladakh

Ladakh's breathtaking landscape is undoubtedly one of its main attractions. The region boasts vast barren mountains, crystal-clear lakes, and meandering rivers, creating a canvas that seems straight out of a painting. Traveling alone allows you the freedom to immerse yourself fully in the serene beauty of Ladakh, contemplating its high-altitude deserts and snow-capped peaks without the distractions of companions.

Adventure Awaits: Solo Traveler's Paradise

For adventure enthusiasts, Ladakh is a paradise waiting to be explored. The rugged terrain offers a plethora of activities, including trekking, river rafting, and mountain biking. Traveling alone provides the flexibility to choose your own adventure and push your limits. Whether it's conquering the challenging trails of Stok Kangri or navigating the rapids of the Zanskar River, Ladakh caters to the solo traveler's thirst for excitement.

Cultural Odyssey: Monasteries and Local Life

Ladakh is not just about its landscapes; it is also a repository of rich cultural heritage. The region is dotted with ancient monasteries that echo with the chants of Buddhist monks. Thiksey Monastery, Hemis Monastery, and Diskit Monastery are just a few of the cultural gems waiting to be explored. Traveling alone allows you the freedom to soak in the spiritual ambiance of these monastic retreats without distractions.

Interacting with the locals is an integral part of any travel experience, and Ladakh package tour from Mumbai offers a warm and welcoming atmosphere. The predominantly Buddhist population is known for its hospitality and friendliness. Solo travelers often find it easier to engage with locals, share stories, and partake in traditional Ladakhi customs, providing a more immersive cultural experience.

Challenges of Solo Travel in Ladakh

While Ladakh is a remarkable destination for solo travelers, it does come with its challenges. The high altitude and remote location mean that the region is not without risks. Acute Mountain Sickness (AMS) is a concern, and solo travelers must be vigilant about acclimatization. Additionally, the harsh weather conditions, especially during the winter months, can pose challenges. It is crucial for solo travelers to be well-prepared, both mentally and physically, for the demands of the environment.

Road travel in Ladakh, often on narrow and winding mountain roads, can be daunting for some solo travelers. However, the stunning views and the sense of accomplishment after conquering these roads make it a memorable part of the Ladakh experience.

Essential Tips for Solo Travelers

1. Acclimatization is Key:

Ladakh's high altitude requires proper acclimatization to avoid AMS. Spend the initial days in Leh, allowing your body to adjust before venturing into higher altitudes.

2. Pack Wisely:

Due to the extreme weather conditions, packing the right clothing and gear is essential. Layers, a good quality sleeping bag, and sturdy trekking shoes are a must.

3. Stay Hydrated:

The dry mountain air can lead to dehydration. Carry a reusable water bottle and drink plenty of fluids throughout your journey.

4. Respect the Local Culture:

Ladakh has a unique cultural identity, largely influenced by Tibetan Buddhism. Respect local customs, be mindful of religious practices, and seek permission before taking photographs in sensitive areas.

5. Emergency Preparedness:

Solo travelers should have a basic understanding of first aid and carry essential medications. It's also advisable to have a local SIM card for communication in remote areas.

6. Plan Your Itinerary:

While spontaneity is part of the adventure, having a rough itinerary can help in managing time and resources effectively. Ensure that you are aware of the weather conditions and road closures.

7. Connect with Other Travelers:

Ladakh is a popular destination, and you are likely to encounter other solo travelers. Connecting with them can provide valuable insights, tips, and even companionship for certain activities which is available in your Ladakh tour package from Mumbai.

Solo travel in Ladakh is not just a journey; it's an odyssey into the heart of the Himalayas. The region's stark beauty, coupled with its cultural richness, offers a transformative experience for those who venture alone. While challenges exist, the rewards far outweigh them, making Ladakh a must-visit destination for solo travelers with a spirit of adventure and a love for the extraordinary. So, if you're contemplating a solo escapade into the high-altitude wonders of Ladakh, pack your bags, embrace the unknown, and get ready for an unforgettable adventure.

#tourism #travel #trip #CAN I VISIT LADAKH ALONE #ladakh tour from mumbai #ladakh package from mumbai