INTRODUCTION TO NEWARI PAUBHA [ पौभा ]
Paubhā (Devanagari: पौभा) is a traditional religious painting made by the Newar people of Nepal. Paubhas depict deities, mandalas or monuments, and are used to help the practitioner meditate. The Tibetan equivalent is known as Thangka. Most paubhas show Buddhist subjects, but a few have Hindu themes. The paintings are made to earn religious merit both for the artist and the patron. Newar Buddhists commission artists to paint paubhas which are displayed during festivals and other special occasions. The traditional painters of paubhas are the Chitrakar caste who are known as Pun (पुं) in Nepal Bhasa Read Full Article
Paubhā (Devanagari: पौभा) is a traditional religious painting made by the Newar people of Nepal. Paubhas depict deities, mandalas or monuments, and are used to help the practitioner meditate. The Tibetan equivalent is known as Thangka. Most paubhas show Buddhist subjects, but a few have Hindu themes. The paintings are made to earn religious merit both for the artist and the patron. Newar Buddhists commission artists to paint paubhas which are displayed during festivals and other special occasions. The traditional painters of paubhas are the Chitrakar caste who are known as Pun (पुं) in Nepal Bhasa Read Full Article
INTRODUCTION TO THANKA
A thangka, variously spelt as thangka, tangka, thanka, or tanka (Nepali pronunciation: [ˈथान्का]; Tibetan: ཐང་ཀ་; Nepal Bhasa: पौभा), is a Tibetan Buddhist painting on cotton, silk appliqué, usually depicting a Buddhist deity, scene, or mandala. Thangkas are traditionally kept unframed and rolled up when not on display, mounted on a textile backing somewhat in the style of Chinese scroll paintings, with a further silk cover on the front. So treated, thangkas can last a long time, but because of their delicate nature, they have to be kept in dry places where moisture will not affect the quality of the silk.
Most thangkas are relatively small, comparable in size to a Western half-length portrait, but some are extremely large, several metres in each dimension; these were designed to be displayed, typically for very brief periods on a monastery wall, as part of religious festivals. Most thangkas were intended for personal meditation or instruction of monastic students. They often have elaborate compositions including many very small figures. A central deity is often surrounded by other identified figures in a symmetrical composition. Narrative scenes are less common, but do appear.
GANESH : BRIEF INTRODUCTION
Ganesha is one of the deities best-known and most widely worshiped in the Hindu pantheon.His image is found throughout India and Nepal.Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.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. He is honored at the beginning of rituals and ceremonies and invoked as Patron of Letters during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
ICONOGRAPHY
Representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a noose in the other upper arm.
Representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a noose in the other upper arm.
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