Thangka Paintings

Adi – Buddha ( Half Buddha )

Suresh Gupta — Sun, 26 Jul 2009 07:23:32 +0000

Samantrabhadra OR Adibuddha

Samantabhadra is a Bodhisattva in Mahayana Buddhism associated with Buddhist practice and meditation.

Unlike his more popular counterpart Manjusri, Samantabhadra is only rarely depicted alone and is usually found in a trinity on the right side of Shakyamuni, mounted on a white elephant. In those traditions that accept the Avatamsaka Sutra as its root instruction, Samantabhadra and Manjusri flank Vairocana Buddha, the central Buddha of this particular sutra.

Samntabhadra is also known as Vajradhara and Viśvabhadra, the different names foreground different attributes and essence-qualities. Samantabhadra appears in the Vajrayana tantric text the Kunjed Gyalpo Tantra, as the Primordial Buddha, the ‘embodiment’ (Sanskrit: kaya) or ‘field’ (Sanskrit: kṣetra) of ‘timeless awareness, gnosis‘ (Sanskrit: jñāna) awakened since before the very beginning. Therefore in Tibetan Buddhism the Nyingma, or ‘Old Translation’ school, the Sakya and the Bön schools view Samantabhadra as the Primordial Buddha. However, the Kagyu and Gelug schools use Vajradhara to represent the Primordial Buddha.

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SIZE :- 30 x 40 cm Price :- 55 $

Technique:- Handmade painting Time consumed:- 224 hours

Please Contact :- Nupur Art Gallery

We also have different variety of thangka painting of samantabhadra.

E-Mail:- info@thamelhandicrafts.com
website:- www.thamelhandicrafts.com

Vairocana Thangka Painting

Suresh Gupta — Sat, 25 Jul 2009 12:38:52 +0000

Vairochana Thangka Painting

Vairocana Buddha is sometimes called the primordial Buddha or supreme Buddha. He represents the wisdom of shunyata, “emptiness.” He is considered a personification of the dharmakaya — everything, unmanifested, free of characteristics and distinctions. When the Dhyani Buddhas are pictured together in a mandala, Vairocana is at the center.

Vairocana is white, representing all colors, and his his symbol is the Dharma wheel. His hand mudra represents the turning of the wheel. He is associated with the first skandha, form. Meditation on Vairocana vanquishes ignorance.

BUY :- 310 $ Free Shipping

Size :- 67 x 51 cm
GOLD – 24 carat Technique:- Handmade

we do have more variety of vairocana thangka painting

Please Contact:- Nupur Art Gallery
Email:- nupur@wlink.com.np
Website:- www.nepalsilvercraft.com

Kalachakra Thangka Explanation

Suresh Gupta — Wed, 17 Jun 2009 09:38:26 +0000

kalachakra mandala explanation

kalachakra mandala is considerd as a device that shows a path way from

life to the nirvana. Based on the ancient tibetian ideology it tells you the

method to reach to the nirvana.It is considered as a meditational device.

It is used for the positive energy and happiness in the house.

Kalachakra can be explained from the above picture of the kalachakra mandala.

The number 1) The line shows the fire line,the present life.where we suffering

pain,sorrow and grief.

after this we cross the line and reach to number 2 shows the moment when we die.

then we reach to a time where there is complete darkness(3).

after this we come across a door of Om Mane Padme Hum.(4)

after this we come across an ocean where we need to immerse ourself and clear our sins and clear our minds and thoughts.(5)

after this we reach to a castle where there are four doors with four different colours.each colors represent specific quality of person.

if you have a peaceful and cleared mind then you enter from the white gate.

if you have a meditative mind then you enter from the yellow gate.

if you have graceful mind then you enter through red gate.

and if you still have dark mind then you enter from the black door.

and after this there are 14 different rooms in the castle representing 14 different steps to reach t nirvana.

and when you complete all the different steps then you reach to the

center to nirvana.

KAL BHAIRAB

Suresh Gupta — Thu, 26 Feb 2009 14:06:24 +0000

Kal Bhairab is one of the most important deities of Nepal, sacred to Hindus and Buddhists alike.

He is depicted ornamented with a range of twisted serpents, which serve as earrings, bracelets, anklets, and sacred thread (yajnopavita). He wears a tiger skin and a ritual apron composed of human bones.^[3] Bhairava has a dog as his divine vahana (vehicle).

Bhairava himself has eight manifestations, Kala Bhairava, Asitanga Bhairava, Samhara Bhairava, Ruru Bhairava, Krodha Bhairava, Kapala Bhairava, Rudra Bhirava and Unmatta Bhairava.

Legends

The origin of Bhairava can be traced to the conversation between Lord Brahma and Lord Vishnu recounted in “Shiv Maha-Purana” where Lord Vishnu asks Lord Brahma who is the supreme creator of the Universe. Arrogantly, Brahma tells Vishnu to worship him because he (Brahma) is the supreme creator. This angered Shiva who in reality is the creator of all. Shiva then incarnated in the form of Bhairava to punish Brahma. Bhairava beheaded one of Brahma’s five heads and since then Brahma has only four heads. When depicted as Kala Bhairava, Bhairava is shown carrying the amputated head of Brahma. Cutting off Brahma’s fifth head made him guilty of having slain brahma, and as a result, he was forced to carry around the head for years until he had been absolved of the sin.

Another story of the origin of Bhairava is the tale of Sati, wife of Shiva. Sati, the daughter of the king of gods, Daksha, had chosen to marry Shiva. Her father disapproved the alliance because he perceived Shiva as an ascetic associated with animals and ghosts and a frugal lifestyle. Eventually, Daksha held a yagna (a ritualistic sacrifice) and invited all the gods, but not Sati and Shiva. Sati came to the yagna alone, where Daksha publicly spoke in a belittling manner about Shiva. Sati could not bear to hear her husband insulted and offered herself to the sacrificial pyre.

When Shiva learned of this, he destroyed the yagna and killed Daksha by beheading him. Shiva carried Sati’s corpse on his shoulders and ran uncontrollably all around the world for days. Since this would eventually destroy all creation, Vishnu used his Sudarshan Chakra (divine discus) to cut Sati’s body into pieces, which then fell all around. These spots where Sati’s body parts fell are now known as Shakti Peethas. In the form of the frightful Bhairava, Shiva is said to be guarding each of these Shaktipeeths. Each Shaktipeeth temple is accompanied by a temple dedicated to Bhairava.

About Manjushree Thangka Painting

Suresh Gupta — Sat, 26 Jul 2008 11:27:55 +0000

Manjusri,Wénshū or Wénshūshili Púsà, Monju,Jampelyang

Manjusri is first referred to in early Mahāyāna texts such as the Prajñā-pāramitā Sūtras and through this association very early in the tradition he came to symbolize the embodiment of prajñā (wisdom). Manjusri later figures extensively in many texts associated with Tantric Buddhism such as the Mañjuśrī-mūla-kalpa.

Together with the Buddha and fellow disciple Samantabhadra he forms the Shakyamuni trinity (Jp: Sanzon Shaka). In Tibetan Buddhism he sometimes is depicted in a trinity with Avalokiteshvara and Vajrapani. Manjusri is mentioned in a number of Mahayana Buddhist sutras, particularly the Prajnaparamita Sutras. The Lotus Sutra assigns him a paradise called Vimala, which according to the Avatamsaka Sutra is located in the east. His consort in some Vajrayana traditions is Saraswati. He is also sometimes called Manjughosha.

Within Tibetan Buddhism, Manjusri is a tantric meditational deity or Yidam, and considered a fully enlightened Buddha. In the Shingon school of esoteric Buddhism, he is one of the thirteen deities whom disciples devote themselves too.

Manjusri leads the dragon king’s daughter to enlightenment in the Lotus Sutra and he gives the second to last summation on emptiness in the Vimalakirti sutra. Tsongkhapa who founded the Gelug sect of tibetan buddhism received his teachings from visions of Manjusri. He is one of the four great bodhisattvas of chinese buddhism, the four being: Kshitigarbha, Manjusri, Avalokiteshvara, and Samantabhadra. When he attains buddhahood his name will be Universal Sight. His pure land will be one of the two best pure lands in all of existence in all the past, present and future. Manjusri says in the “Manjusri Speaks on the Inconceivable State of Buddhahood” sutra that if Shakyamuni has attained buddhahood then he [Manjusri] has attained buddhahood. He is a dharmakaya bodhisattva, which means that unlike an ordinary 10th stage bodhisattva who still has a bit further to go before full enlightenment is attained, Manjusri has no further to go and can attain buddhahood at any time but has yet to achieve buddhahood because his vows are not yet fulfilled.

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SIZE :- 39 x 53 -

PRICE:- 110$Colour:-Mineral and natural colours used.

PURITY OF THE GOLD USED: 24 carate

Note: Please note that the actual colors of this Sakyamuni Buddha Painting may vary due to differences in monitor color depth and make. The color shown is as close as possible to the actual colors of the Thangka Painting. The shape of this Thangka Painting may not look perfect rectangle in the picture but in real; the inner dimension of every Thankga Painting is perfectly rectangle since they are precisely measured while painting.

PURCHASE:- PLEASE CONTACT NUPUR ART GALLERY
email- nupur@wlink.com.np
Website- www.nepalsilvercraft.com

OTHER THANGKAS:-

Manjusri,Wénshū or Wénshūshili Púsà, Monju,Jampelyang

SIZE:- 38 x 36 cm

PRICE:- 80$

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email- nupur@wlink.com.np
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Manjusri,Wénshū or Wénshūshili Púsà, Monju,Jampelyang

SIZE:- 47 x 60 cm
PRICE:- - 90$
PURCHASE:- PLEASE CONTACT NUPUR ART GALLERY

: Manjusri,Wénshū or Wénshūshili Púsà, Monju,Jampelyang

SIZE:- 30 x 40 cmPRICE:- 25$

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: Manjusri,Wénshū or Wénshūshili Púsà, Monju,Jampelyang

PRICE:- 60$
SIZE:- 30 x 40 CM

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HISTORY OF THE NEPALESE THANGKA PAINTING:-

Suresh Gupta — Fri, 25 Jul 2008 15:01:56 +0000

History of thangka Paintings in Nepal began in 11th century A.D. when Buddhists and Hindus began to make illustration of the deities and natural scenes. Historically, Tibetan and Chinese influence in Nepalese paintings is quite evident in Paubhas (Thangkas). Paubhas are of two types, the Palas which are illustrative paintings of the deities and the Mandala, which are mystic diagrams paintings of complex test prescribed patterns of circles an square each having specific significance.

It was through Nepal that Mahayana Buddhism was introduced into Tibet during reign of Angshuvarma in the seventh century A.D. There was therefore a great demand for religious icons and Buddhist manuscripts for newly built monasteries throughout Tibet. A number of Buddhist manuscripts, including Prajnaparamita, were copied in Kathmandu Valley for these monasteries. Astasahas rika Prajnaparamita for example, was copied in Patan in the year 999 A.D., during the reign of Narendra Dev and Udaya Deva, for the Sa-Shakya monastery in Tibet. For the Nor monastery in Tibet, two copies were made in Nepal-one of Astasahasrika Prajnaparamita in 1069 A.D. and the other of Kavyadarsha in 1111 A.D. The influence of Nepalese art extended till Tibet and even beyond in China in regular order during the thirteenth century. Nepalese artisans were dispatched to the courts of Chinese emperors at their request to perform their workmanship and impart expert knowledge. The exemplary contribution made by the artisans of Nepal, specially by the Nepalese innovator and architect Balbahu, known by his popular name “Arniko” bear testimony to this fact even today. After the introduction of paper, palm leaf became less popular, however, it continued to be used until the eighteenth century. Paper manuscripts imitated the oblong shape but were wider than the palm leaves.

: Authentic Thangka Painting

From the fifteenth century onwards, brighter colours gradually began to appear in Nepalese.Thanka / Thangka. Because of the growing importance of the Tantric cult, various aspects of Shiva and Shakti were painted in conventional poses. Mahakala, Manjushri, Lokeshwara and other deities were equally popular and so were also frequently represented in Thanka / Thangka paintings of later dates. As Tantrism embodies the ideas of esoteric power, magic forces, and a great variety of symbols, strong emphasis is laid on the female element and sexuality in the paintings of that period.

Religious paintings worshipped as icons are known as Paubha in Newari and Thanka / Thangka in Tibetan. The origin of Paubha or Thanka / Thangka paintings may be attributed to the Nepalese artists responsible for creating a number of special metal works and wall- paintings as well as illuminated manuscripts in Tibet. Realizing the great demand for religious icons in Tibet, these artists, along with monks and traders, took with them from Nepal not only metal sculptures but also a number of Buddhist manuscripts. To better fulfil the ever – increasing demand Nepalese artists initiated a new type of religious painting on cloth that could be easily rolled up and carried along with them. This type of painting became very popular both in Nepal and Tibet and so a new school of Thanka / Thangka painting evolved as early as the ninth or tenth century and has remained popular to this day. One of the earliest specimens of Nepalese Thanka / Thangka painting dates from the thirteenth /fourteenth century and shows Amitabha surrounded by Bodhisattva. Another Nepalese Thanka / Thangka with three dates in the inscription (the last one corresponding to 1369 A.D.), is one of the earliest known Thanka / Thangka with inscriptions. The “Mandalaof Vishnu ” dated 1420 A.D., is another fine example of the painting of this period. Early Nepalese Thangkas are simple in design and composition. The main deity, a large figure, occupies the central position while surrounded by smaller figures of lesser divinities.

Thanka / Thangka painting is one of the major science out the five major and five minor fields of knowledge. It’s origin can be traced all the way back to the time of Lord Buddha. The main themes of Thanka / Thangka paintings are religious. During the reign of Dharma King Trisong, Duetsen the Tibetan masters refined there already well developed arts through research and studies of different country’s tradition. Thanka painting’s lining and measurement, costumes, implementations and ornaments are all based on Indian style. The drawing of figures are based on Nepalese style and the background sceneries are based on Chinese style. Thus, the Thanka / Thangka paintings became a unique and distinctive art.

Thanka / Thangka have developed in the northern Himalayan regions among the Lamas. Besides Lamas, Gurung and Tamang communities are also producing Tankas, which provide substantial employment opportunities for many people in the hills. Newari Thankas (Also known as Paubha) has been the hidden art work in Kathmandu valley from 13th century. We have preserved this art and are exclusively creating this with some particular painter family who have inherited their art from their forefathers.Some of the artistic religious and historical paintings are also done by the Newars of Kathmandu Valley.

Authentic thangka

ABOUT WHITE TARA THANGKA PAINTING

Suresh Gupta — Tue, 22 Jul 2008 14:57:41 +0000

green tara thangka

DESCRIPTION:-
Tara is a female Buddha and one of the most prominent female deities in Nepalese and Tibetan Buddhism. The name Tara means the “one who saves” and as the goddess of compassion, her job is to alleviate people from suffering. Like many Buddhist deities, she can have many emanations or forms. The most common are the White Tara and the Green Tara.

Story of Tara
There are different stories about Tara’s origins as Buddhist deity, depending on which Tara one is referring too. A common story tells of a princess named Yeshey Dawa who lived a long time ago in another world,. She made offerings to the Buddha and as a result was offered to be reborn in the male form to help people. Believing instead gender to be no barrier, she prayed to be able to help people as a female. She received her wish and was reborn as a female goddess.

She took a vow before the Lord Buddha to help and protect beings from suffering and harm and not to eat until her work as done. For her devotion she was blessed and empowered by many Buddhas and later became known as “The Great Mother,” from whom all Buddhas emerge.
White Tara
The White Tara is associated with Avalokitesvara, the god of compassion, and considered his female counterpart. In some stories, they receive blessings and powers from the Buddhas together. Other stories of Tara’s origins also tell that she came from his tears.

The White Tara is also known as the Tara of compassion and is associated with health, long life and healing. Tara is believed to protect human beings from suffering. The White Tara is often represented with many eyes and known as the Seven Eyes Tara – with extra eyes on her forehead, hands and feet. These extra eyes help her sense and understand the suffering of beings.

In figures, the White Tara is often seated with legs crossed and one arm bent and raised, crowned and surrounded with decorations. She also has pure white skin that is compared to the moon and the light it offers.

PRICE :- $272

PURITY OF THE GOLD:- 24 Carate

Colour:-Mineral and natural colours used.

Purchase:-Please contact nupur@wlink.com.np

or visit website:- http://www.nepalsivercraft.com

Note: Please note that the actual colors of this WHITE TARA vary due to differences in monitor color depth and make. The color shown is as close as possible to the actual colors of the Thangka Painting. The shape of this Thangka Painting may not look perfect rectangle in the picture but in real; the inner dimension of every Thankga Painting is perfectly rectangle since they are precisely measured while painting.

white tara thangka

PRICE:-$322

OTHER PAINITNGS:-

WHITE TARA THANGKA

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PRICE:- $66
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WHITE TARA THANGKA PAINTINGCLICK TO ENLARGE PRICE:- $294 PURCHASE:- PLEASE CONTACT NUPUR ART GALLERY WHITE TARA THANGKA

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                  PRICE:- $294
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WHITE TARA THANGKA PAINTING

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                                  PRICE:- $79
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WHITE TARA THANGKA PAINTING

                                                              PRICE :- $55
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WHITE TARA THANGKA PAINTING

PRICE: $125
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WHITE TARA THANGKA

PRICE:- $83

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email- nupur@wlink.com.np

Website- http://www.nepalsilvercraft.com/Products/Thangka/index.htm

Avalokiteshvara THANGKA PAINTING

Suresh Gupta — Wed, 16 Jul 2008 14:25:16 +0000

SIZE:-56×43 cm

PRICE:- $ 72

Avalokiteshvara
The Buddha of Compassion

Avalokiteshvara, or Chenrezig in Tibetan, is an enlightened being who is a manifestation of all Buddhas’ compassion. He is known as the ‘Buddha of Compassion’. He usually appears as white in color with four arms. His first two hands are pressed together at his heart, symbolizing his respect for his Spiritual Guide, Buddha Amitabha, who is on his crown. Even though Avalokiteshvara is an enlightened being he still shows respect to his Spiritual Guide. His first two hands hold a jewel, which symbolizes his own enlightenment. This mudra is indicating ‘I attained jewel-like great enlightenment through receiving blessings from my Spiritual Guide Amitabha’.

His second left hand holds a white lotus flower. A lotus grows in the mud at the bottom of a lake, but its flowers bloom on the surface of the water, completely free from the stains of mud. By holding a lotus flower Avalokiteshvara is showing that because he attained enlightenment he is free from all obstacles, and has a completely pure body, speech and mind. His second right hand holds a crystal mala, symbolizing that he can free all living beings from samsara and lead them to liberation.

If we rely sincerely upon Avalokiteshvara and recite his mantra with strong faith, temporarily we shall improve our realizations of the stages of the path, especially our realization of great compassion, and ultimately we shall attain supreme Buddhahood in Avalokiteshvara’s Pure Land, the Pure Land of Bliss.

The Mantra of Avalokiteshvara:

OM MANI PAME HUM

Prayers to Avalokiteshvara: Avalokiteshvara Sadhana

OTHER PAINTINGS:-

Avalokeswara Avalokiteshwor,Maitreya, The Buddha of the Future , Miroku; Miluo Fo; Byams-pa;, Di-lac, Mi-rug.

SIZE:- 53X43 cm

PRICE:- 69$

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Website- www.nepalsilvercraft.com

DELIEVERED from DHL or fedex within 12 hours of money confirmation.Recieved in 4-5 days of delievery.

Payment:- Payment recieved from bank transfer,Western union or paypal

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GREEN TARA THANGKA PAINTING

Suresh Gupta — Fri, 11 Jul 2008 13:24:53 +0000

GREEN TARA THANGKA PAINTING

DESCRIPTION:-

Tara in Tantric Buddhism was born from the tears of Avalokitesvara, the boddhisattva of compassion, and personifies His compassion. She has many forms, including White Tara, and can be gentle or menacing depending on Her color–as Green or White Tara, She is compassonate and helpful; as Red, Yellow, or Blue Tara She is fierce and protective.

In Buddhism Her name is usually translated “Saviouress”, or “She Who Leads Across”, which refers to Her role in helping liberate humanity from Samsara, the Ocean of Illusion. But Tara as Star still resonates, as the constellations are used to help ships navigate the Seas, and She is indeed sometimes described as a boatswoman.

She is called “Mother of All Buddhas”, and is appealed to for help in protecting against the Eight Great Dangers. Green is the color of Her main form and indicates Her nature of active compassion; She is known for helping those in need with lightning quickness.

Tara, like other Bodhisattvas, began Her life as a human like the rest of us. When She became enlightened, She decided not to pass on to Nirvana, but to stay on the doorstep, so to speak, and help humanity through Her rebirths. Now this is the usual vow of the Bodhisattvas, but to this Tara added one thing: She would be reborn only as female.

This card signifies an active type of compassion that calls you to get out and help people. You have the energy and passion to make a difference in others’ lives now.

COLOR:-
NATURAL AND MINERAL COLOR

GOLD:-

True Gold has been used in the painting. STANDARD:- 24 CARATE

MATERIAL USED:-
COTTON CLOTH

SIZE:- 60 x 43 cm

PRICE :- 72.46 $

PURCHASE:- PLEASE CONTACT : NUPUR ART GALLERY

EMAIL:- nupur@wlink.com.np

WEBSITE:- http://www.nepalsilvercraft.com/Products/Thangka/index.htm

DELIEVERY:-This GREEN TARA Thangka Painting is shipped within 12 hours of order received through DHL and reached to the customer within 5 to 6 business days after it is shipped.

Note:

Please note that the actual colors of this green tara Painting may vary due to differences in monitor color depth and make. The color shown is as close as possible to the actual colors of the Thangka Painting. The shape of this Thangka Painting may not look perfect rectangle in the picture but in real; the inner dimension of every Thankga Painting is perfectly rectangle since they are precisely measured while painting.

NEW ARRIVAL:

Green Tara Thangka

Size:- 70 X 47 cm

PRICE:- $128 (shipping included)

OTHER THANGKA:-

GREEN TARA THANGKA

SIZE:- 56 x 43 cm

PRICE:- 130.43 $

PURCHASE :- PLEASE CONTACT NUPUR ART GALLERY

EMAIL:- nupur@wlink.com.np

WEBSITE:- http://www.nepalsilvercraft.com/Products/Thangka/index.htm

GREEN TARA THANGKA

SIZE :- 53 x 40 cm

PRICE:- 58 $

PURCHASE :- nupur@wlink.com.np

GREEN TARA THANGKA

SIZE:-60 x 43 cm

PRICE:- 87$

PURCHASE: contact NUPUR ART GALLERY

GREEN TARA THANGKA

SIZE: 73 x 56 cm

PRICE:- 145 $

PURCHASE :- NUPUR ART GALLERY

GREEN TARA THANGKA

SIZE: 56 x 43 cm

PRICE:- 72$

PURCHASE :CONTACT NUPUR ART GALLERY

Hindu God Ganesha Thangka Painting

Suresh Gupta — Sat, 05 Jul 2008 10:10:07 +0000

: Ganesha Oil Painting

DESCRIPTION:-

Ganesha is one of the most popular deities in the Hindu pantheon. He is closely associated with the daily lives of millions of Hindus even today. As he is reputed to be a remover of obstacles he is propitiated before the beginning of any new venture whether it is the building of a new house, the writing of a book, the beginning of a journey or the starting of a new business. His images adorn the walls of innumerable business establishments across India. It is customary for businessmen to seek his blessings each morning before they get down to business. Ganesha is also the god of wisdom and prudence. These qualities are signified through his two wives: Buddhi (wisdom) and Siddhi (prudence). Ganesha has a thorough knowledge of the scriptures and is a superb scribe. This latter quality is manifest through the fact that he is the scribe to whom Vyas Dev (the narrator of the Hindu epic Mahabharata) narrated his enormous epic. Ganesha did this work so thoroughly that the Mahabharata is one of the most harmonious works in the Hindu scriptures. Scholars, both mythical and historical, explain that this is so because, before undertaking to do the work, Ganesha stipulated that the dictation should never falter and that he should, at all times, be able to understand what was being said. Thus, it is not strange that such a conscientious god is propitiated by all and sundry.Ganesha is represented as a short, pot-bellied man with yellow skin, four arms and an elephant’s head with only one tusk. In his four hands he customarily holds a shell, a chakra (discus), a mace and a water-lily. His unusual steed is a rat. Ganesha is the second son of Shiva and Parvati. There are many versions of how he was conceived. The most popular version is narrated hereunder.

Shiva and Parvati were leading a quiet life on Mount Kailash, Shiva’s habitual abode. In fact, life was too quiet and sedate for Parvati, who had nothing much to do all day as her chosen lord was mostly either immersed in deep meditation or obfuscated by the fumes of ganja (marijuana). For company there was Nandi, Shiva’s bull, and his host of ghosts, who are said to inhabit Kailash and give Shiva company, especially when he smokes ganja and wants some song and dance to liven things up a bit. Of course, Parvati was feeling bored and wanted someone she could be more involved with. So she began to call upon Vishnu in prayer to grant her a son. Vishnu soon granted her wish and Parvati gave birth to a beautiful boychild she named Ganesha.

At birth, Ganesha was a perfectly normal boy, with perfect features and body parts, as befits one conceived by a goddess. How he got an elephant’s head is another story. Parvati was so pleased at his birth and so proud of his beauty that she invited all the gods and goddesses to come to Kailash and admire him. All the celestial beings came and admired and blessed the boy except Sani (Saturn), Parvati’s own brother. This was because Sani had been cursed by his wife and the impact of the curse was that as soon as he looked at someone that person was instantly reduced to ashes.

Naturally, Sani was somewhat reluctant to cause the incineration his own sister’s newborn baby but Parvati was feeling so elated that she threw caution to the winds and pleaded with Sani to at least cast his eyes once upon the boy. Sani, perforce, to please his sister, came and, holding his newborn nephew in his arms, hesitatingly gave him one look. That was enough to do the damage. Ganesha’s head flew off as soon as his uncle looked at him. Parvati started crying bitterly but Brahma, who was present at this time, comforted her and said that if the head of the first creature that was found would be cut off and transplanted on Ganesha’s neck he would live. So Vishnu, who was also present, set off on Garuda in search of any animal he may find. He had to travel all the way down Mount Kailash before, at the foothills, he found an elephant dozing on a riverbank. He immediately cut off the elephant’s head and came back.Thus, this is how Ganesha got his pachyderm head. That he is pot-bellied is not a sign of any particular ugliness. The Hindu idea of beauty portrays both men and women with pot-bellies as these are signs of well-fed prosperity.

The elephant’s head that Vishnu brought for Ganesha was perfect in all respects, with two tusks, but the pot-bellied god is habitually shown with only one tusk. The story behind how he lost one tusk makes interesting telling.

Shiva was in the habit of intruding upon Parvati while she was bathing. This was rather infrequently, only when that god was not under the influence of ganja. Anyway, Parvati found this habit of her forgetful lord rather annoying. One day, when the beautiful goddess was about to get a bath in the water of a pool inside a cave, she took the precaution of positioning Ganesha, her favorite son, at the entrance of the cave. She strictly instructed him not to let anybody in while she was inside. So it was that Ganesha stood guard while his mother bathed inside till he spied his father ambling towards the cave. Coming up to the cave entrance, Shiva demanded admittance but Ganesha stood his ground bravely and refused to allow his father in.

Shiva was astounded at this. He protested that no-one had the right to keep him away from his rightful wife but Ganesha did not budge from his post saying that he would not disobey his mother’s instructions. Shiva, hot-tempered as he was, flew into a terrific rage and attacked his own son. Ganesha parried his father’s attack and both fought for quite some time. All this while Parvati unwittingly went on bathing inside, unaware that her ablutionary precaution was causing unforeseen dissension within her family. Son and father fought till, at last, Shiva hurled his trident, his supreme weapon, at his son. Ganesha would not parry this as, to do so, would be to show great disrespect for his father. So he took the blow from the trident on one tusk, which broke off. At this point in time, Parvati emerged from her bath and, perceiving what has been going on, hastened to bring amity back to her family. Since then Ganesha, benevolent initiator, has had one tusk.

There is another interesting story pertaining to Ganesha and his brother Karttikeya. Both wanted to marry Buddhi and Siddhi. So, at last, they decided between themselves that the first of them to circumnavigate the earth entirely would get their hands in marriage. Karttikeya set out on foot to circle the earth but Ganesha sat at home studying the scriptures. After long years of travel Karttikeya returned, only to find that his brother was already married to the two ladies. Ganesha had stayed at home and studied the scriptures and, through his studies, had gone round the earth in much lesser time than his more physical and less astute brother, Karttikeya, had on foot.

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OTHER GANESHA THANGKA PAINTING:-

GANESHA THANGKA PAINTING

SIZE:-33×43 cm

PRICE:- $ 79.40

GANESHA THANGKA PAINTING

Size :-33×43 cm

PRICE:- $ 87

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