As skillfully crafted meditation and visualization aids, Buddhist thangkas are central to many Vajrayana practices. Serving multiple purposes, sacred images such as these ensure in the practitioner precision and clarity of visualization. Consecrated by an authentic lineage holder, these images are then imbued with the wisdom, love, and power of the awakened beings they depict, enhancing one’s confidence in and reverence for complete liberation.
Statues, thangkas, texts, and stupas are understood to be the physical representations of the Buddha's body, speech, and mind. They offer support for us to gather the beneficial conditions to enhance the stability and insight of one's meditation practice.
Kunkhyen Tenpe Nyima states in his instructions on meditation practice:
Start out by placing a painting or statue before you, using one made by a skilled artisan and with all the appropriate characteristics. Next, arrange offerings before it and begin with the preliminaries.
Offered in a variety of brocade styles, we have selected the highest quality silk brocade under the guidance of our senior Lamas at Ka-Nying Shedrub Ling. Each detail of our thangkas is in accordance with traditional description and painted by skill artists in connection to our lineage.
All of our thangkas are either specific to the Chokling Tersar tradition or have been hand selected by the monks and nuns of Ka-Nying Shedrub Ling Monastery.
This is a printed thangka of the Thukdrub Barchey Künsel Refuge tree, an essential support for the preliminary practices and detailed depiction of the manifold objects of refuge. The original work is that of Gyantse Lhatripa Phuntsok Zangpo, an exceptionally talented artist from the Tsang province of Tibet. During the construction of Ka-Nying Shedrub Ling Monastery, it came time to paint the interior of the lhakhang. As there were few skilled painters to be found in Boudhanath, Nepal, Sangyum Dechen Paldrön, the consort of Chokling Rinpoche, invited Gyantse Lhatripa from Tibet, as they were acquittances from the same area of Tibet. To this day, senior Lamas of Ka-Nying Shedrub Ling recall how Phuntsok Zangpo painted the walls of the lhakhang, and how truly amazed everyone was by his work. Never needing to make measurements, he painted completely freehand. When drawing the deities high up on the walls near the ceiling, he didn't bother using a ladder, but instead tied a pencil to a long wooden stick and drew while relaxing in a chair. Once he had penciled the contours of the deities, he would direct his helpers as to which colors to went where. An extremely knowledgeable and famous artist, Phuntsok Zangpo was a disciple of the late Dudjom Rinpoche. During his stay in Kathmandu, he would paint the lhakhang in the morning and head to the Dudjom monastery to paint their walls in the afternoon. It took him only one year to finish painting the large interiors of both lhakangs. During this time, at the request of Tulku Urgyen Rinpoche, Phuntsok Zangpo painted this refuge tree thangka for Thukdrub Barché Künsel cycle.