RELATED TIBETAN SCRIPTS

Wednesday, 13 August 2014

Learn the art of Tibetan calligraphy in Italy


Illustrated construction of hum in both Uchen and Umed script styles.


This is the first time Tashi Mannox instructs Tibetan calligraphy in Italy. Two intensive weekend courses in two beautiful locations of Venice and Merigar West in Tuscany.
The first workshop in Venice covers how to write the classical Uchen script to the correct traditional proportions that will lay a firm foundation in confidently writing elegant calligraphy.
The second workshop a week later in Tuscany teaches how to write the Tsugtung style of the Umed script category. This course is more suited to those with some knowledge of the Tibetan written language.  


The calligraphy course venue in Venice is the large building on the right. 

Uchen calligraphy course in Venice.


The course will be in English and if necessary it will be translated into Italian. 

Date:    Friday 20th November 8-9.30 PM (presentation) Free entrance (free offer appreciated)

Saturday 21st November 10AM - 6 PM (lunch included)

Sunday 22nd November10AM - 5 PM (lunch included)

Rates:  €150 including coffee / tea breaks with biscuits snacks drinks and fruit inside You can book the excellent vegetarian lunch it costs €15.

€250 if attending both workshops, in Venice (Uchen) and Merigar (Umed).

Location: 143 S.Croce, Fondamenta Minotto, Rio del Gaffaro (very near to Fondamenta dei Tolentini) within walking distance from Piazzale Roma (bus terminus) and from S.Lucia Venice train station.     

Info and registration: call Giovanna phone 0039 3460291778  or Yesan phone 0039 3200758117  or send an email at:  courses@shangshunginstitute.org   giovannacarraro@gmail.com

For more details and direct bookings, please visit the main website here.

Equipment to bring: An A4 pad of good quality water colour paper, a rule, pencil and sharpener, eraser and calligraphy ink pens of different sizes. Italic felt-tip calligraphy pens are recommended or the more advanced Pilot Parallel Pens. 


Accomodation Facilities: besides recommended Hotels and B&B in Venice, there will be the possibility of sleeping, booking in the meditation room at the meditation centre Kagiusamyedzong in Venice located in Fondamenta dei Tolentini, the room can take maximum 6 people sleeping bags are requested and a minimum offer of €15 / night is recommended. http://www.kagyu.it/




Examples of the Drutsa, Uchen and Tsugring script styles.


Umed calligraphy in Tuscany.

The course will be in English and if necessary it will be translated into Italian. 

Date:    Friday 28th November 20:00 - 21:30 PM (presentation) Free entrance !

Saturday 29th November 10AM - 6 PM (lunch included)

Sunday 30th November 10AM - 5 PM (lunch included)

Rates:  €150 including coffee / tea breaks with biscuits snacks drinks and fruit inside You can book the excellent vegetarian lunch it costs €15.

€250 if attending both workshops, in Venice (Uchen) and Merigar (Umed).

Location: Merigar, 58031 Arcidosso, Grosseto, Tuscany.   

Info and registration: call Yesan phone 0039 3200758117  or send an email at:  courses@shangshunginstitute.org 

For more details and direct bookings, please visit the main website here.

Equipment to bring: An A4 pad of good quality water colour paper, a rule, pencil and sharpener, eraser and calligraphy ink pens of different sizes. Italic felt-tip calligraphy pens are recommended or the more advanced Pilot Parallel Pens. 

Accomodation Facilities: Merigar offers plenty of accommodation types to its visitors. you can choose from a list of budget to upper class solutions by visiting the website here.





Monday, 11 August 2014

Calligraphy in Wood





All across Asia, calligraphy carved into wood is traditionally used to prominently display building names, placed above doorways of temples, palaces and shops. 
The natural grain and figure of wood makes a beautiful natural ground for fine calligraphy, a match made in heaven, or painted in the classical combination of lapis blue with gilt gold letters carved in relief, such as the above sign that sits pride of place over the main entrance of the Lama temple in Beijing. 
Also common on temples in Tibet, this sign gives the name "The blessed place of tushita heavenly joy" typically in three languages: Mongolian, Tibetan and Chinese. 

In contrast is the below sign is from a Japanese sweet store that reads "Forever Happiness"




A contemporary combination of natural wood and calligraphy has been artfully explored by Vermont based Tim Brookes, who runs the worthy 'Endangered Alphabets Project'
Tim recently contacted Tashi to carve his Tibetan calligraphy in wood, an on-going project that in time will boast a number of hand carved master pieces, which are intended to raise funds toward Rokpa International that has many projects in the Tibetan homeland, such as the preservation and education of the Tibetan language.




Above, "Moon over Water" is a piece created by Tim Brookes using calligraphy by Tashi Mannox, the top left ideograph is the word moon the Tibetan Drutsa script. Below right is a Wartu Sanskrit monogram of two words Eh and Vam. for a greater explanation of Eh-Vam, please follow the link here.

The below image shows the Tibetan syllable hum, that was hand carved by another artist Mel Du Pontet, in a piece of English Yew wood some 20 years ago. The piece has aged a beautiful rich colour. A piece of Boltic amber fills a knot hole that incorporates part of the syllable, this is the ma sound that represents the sun, below which is a crescent moon,  both symbols are part of the whole character that has been gilded in real gold leaf.







Friday, 13 June 2014

Kunzig Shamar Rinpoche 1952-2014


Photography by Peter Mannox for  'Karma Kagyu Publishing House'*
Rumtek, Sikkim, early 70's.


Official Announcement Regarding the Passing of Kunzig Shamar Rinpoche from the Gyalwang Karmapa





Statement by His Holiness the 17th Gyalwang Karmapa Ogyen Trinley Dorje on the Passing of Kunzig Shamar Rinpoche, Mipham Chokyi Lodro.
Until the 10th Shamarpa, the omniscient Shamarpas have been great masters respected throughout Tibet, especially within the Karma Kamtsang Lineage where he was known as the Victorious Lord of Dance and the lineage’s strength and embodiment of wisdom, compassion and power. Despite a ban on the Shamarpas’ enthronement since 1792 for almost a century and seventy years, His Holiness the 16th Gyalwang Karmapa, in view of historical significance and for the benefit of Buddhadharma and all beings, sought consent from His Holiness the 14th Dalai Lama and enthroned his nephew as the Shamarpa, taking him under his wing for the guidance of his body, speech and mind.
However, as the folk saying goes, one may be fortunate to have a cow but not enough to get its milk. Similarly, after the Parinirvana of the16th Gyalwang Karmapa, due to wavering of commitment amongst his followers, a great schism occurred within the lineage. It was an unprecedented disharmony that is unimaginable even in a dream. Shamar Rinpoche’s activities have also been in various forms, both favourable and unfavourable and likewise, there are many past circumstances similar to endless ripples across water. These unfortunate situations are, I think, simply due to us not being aware of the omnipresence of our root guru and not being able to generate farsightedness for the benefit of Buddhadharma and all sentient beings.
I have had an unmistakable faith and respect towards Rinpoche from the time I was young. Therefore, with the hope of benefiting the Buddhadharma in general and the lineage in particular, and with the expectation that I may be able to offer some service towards his Dharma activities, I had the good fortune of meeting Rinpoche once. Yet, as my aspirations have not been fulfilled, his sudden passing away is a matter of great sadness.
As soon as I came to know of this hard to believe news, I instructed Rumtek Monastery, the main seat of our lineage and other monasteries to make offerings and perform pujas as grand as possible for 49 days, as Rinpoche has taken rest from the degenerate age of strife into the expanse of peace for a while.
With great hope and strong aspirations that Shamar Rinpoche’s reincarnation will embody the life stories of his predecessors, and the good fortune of harmony within the lineage will arise soon.
Karmapa Ogyen Trinley Dorje

12 June 2014


Shamarpa as a young regent looking like Buddha.
 Photograph belonging to Tashi Mannox.


* The 'Karma Kagyu Publishing House' is no longer in operation, this at the time was comprised of the three main seats of the Karma Kagyu in the West during the 70's and 80's :
D.K.L. Montignac, Dordogn, France.
K.T.D. Woodstock, New York State, U.S.A.
K.D.D.L. (Samye Ling) Dumfriesshire, Scotland, UK.


Wednesday, 12 March 2014

The Painted Mantra



As part of the "Bodies in Balance" Tibetan Medicine exhibition at the Rubin Museum of Art in NYC, Tashi Mannox gives a lecture and calligraphy interactive "The Painted Mantra". Participants are invited to join Tashi in creating the sacred proportion and significance of the, seed syllable of Medicine Buddha that is essential to the visualisation practice around which the mantra of healing is arranged. 

The lecture begins with an explanation of Dharma art and its practical role historically and for a person on the spiritual path. The lecture concludes with creating a contemporary rendition of the Tibetan medical tree of diagnosis, whereby participants will be invited to ink their thumbs or fingers to print as leaves on the calligraphy tree. 

Edie Irwin of Rokpa International finishes the talk with a few words about Rokpa's charitable work regarding current Tibetan medicine practices in Tibet. 

"The Painted Mantra" from 7 - 9pm, Wednesday 2nd April 2014, for bookings please follow the link here.

Following Tashi's talk at the Rubin, on the 4th-5th and 6th April, he will lead an intensive workshop in Tibetan calligraphy held at the Shang Shung Institute Library in Conway, Massachusetts.




Healing Mantra Garland

Creating the Medicine Buddha mantra in ancient Lantsa Sanskrit



According the the visualisation of the Medicine Buddha sādhanā, the dhāraṇī mantra of Medicine Buddha turns clockwise around the seed syllable hum, as illustrated above in blue. 
The line of small text at the base of the above art piece translates as "The hum in the heart of the self and the front visualisations is surrounded by the mantra garland"  

It is impossible of course, to illustrate the turning of the mantra in such a way as a calligraphy on a flat piece of paper, so to illustrate this, the mantra is depicted starting at the bottom of a circle of text that reads to follow anticlockwise. If the circle would be movable, fixing the gaze to read the mantra at one fixed point, the circle of text would turn clockwise.

In creating this art-piece, Tashi needed to take particular care to organise the length of the mantra to fit the full circle, much calculation and measurements in preparation was needed. Each character of the mantra and the seed syllable at the centre was traced and positioned before inking in. 


Using a window makes a very effective 'light-box' when tracing the reverse of the image before applying to the artwork.  


In filling with black ink.




This art piece was especially created for the Rubin Museum of Art as part of their "Bodies in Balance" exhibition of Tibetan medical art. Tashi gives a lecture/calligraphy interactive at the Rubin on the 2nd April 2014, for more details please follow the link here.





Calligraphies in Conversation



Calligraphies in Conversation is an international exhibition at the Islamic Cultural Center of Northern California (ICCNC) highlighting traditional Middle Eastern and Islamic calligraphic art in dialogue with other calligraphy traditions specially Far East calligraphy.




“Calligraphies in Conversation” runs from March to May 2014 and focuses on the connections between Islamic and Eastern calligraphic traditions. ICCNC is incredibly excited to pilot this new project in conjunction with Ziya Art Center and partners from nearby Oakland Chinatown such as Oakland Asian Cultural Center.

An exhibition of curated and newly-made calligraphy from both traditions will be on display. The Curatorial and Jury Panel consists of ICCNC and Ziya Art Center experts as well as local artists have received over 115 submissions from invited calligraphers and through an open call for artists. Most of submissions were from the US, mainly Bay Area, California; but there were several international submissions from different countries including Tashi Mannox of the United Kingdom, Shu Yi Liu of China, Mohammad Navid Bazargan of Iran, Uehira Baikei of Japan, and Josh Berer of Turkey. After a competitive jury process close to 50 artworks have been accepted from 20 artists for the exhibit illustrating a diverse array of Chinese, Japanese, Tibetan, Arabic, Persian, and Turkish calligraphy artworks.

As an additional goal, the exhibitions, by encompassing traditional artworks of different cultures, aim to foster dialogue between diverse cultures and faiths through a traditional art form. Such viewing combinations are rare in California, and will provide the public with the unique opportunity to recognize shared features: The traditions all highlight the power of written word via inscribing it artistically with pen and ink, and emphasize a direct relationship between spirituality and calligraphy. Being a good calligrapher, in the traditional sense, goes hand in hand with developing strong spirit and character.



Monday, 3 February 2014

Tibetan calligraphy course in America




The Dzogchen community in North East America are very pleased to announce that Tashi Mannox, the esteemed master of Tibetan calligraphy, will be in residence at Tsegyalgar East on 4-6th April 2014 at the invitation of Shang Shung Institute USA and Khandroling Paper Cooperative to teach an introduction to Tibetan Calligraphy.

WHEN: April 4.5.6, 2014 (Daily schedule TBA)
WHERE : Shang Shung LIbrary, 18 Schoolhouse Rd. Conway, Massachusetts, USA.  
COST: $225  (includes most materials)  

To register and pay online, visit the link here: 


According to Tashi, his calligraphy course will be intensive, to teach the correct proportions and how to form the Uchen letters of the Tibetan alphabet, which alone can take two days. 

He writes:
I am very interactive with the students and depending on how many people attending (20 persons to a class is manageable) I like to go around the class to give each individual some personal attention in holding the pen and forming the letters, often writing on their paper to demonstrate each letter. So this will be a course for beginners as well as those who are already practiced in Tibetan.

The course starts with a short historic explanation of the Tibetan written language and its spiritual and sacred significance, which I tend to refer to throughout the course. I normally finish the course with teaching the correct way to write the Mani mantra and other key syllables essential for visualisation practices. People love this and go home with their own created art. 

So the course is teaching a solid foundation in correct proportion and beautifully formed letters, as starting with a firm foundation is essential to creating beautiful calligraphy with the integrity of the tradition it belongs.

To view a film about Tashi, click here or visit his exquisite website.

Tashi will also be giving a presentation at the Rubin Museum in NYC on April 2, 2014 at 7:30 PM as part of the upcoming exhibition on Tibetan Medicine.

Tashi has given many successful workshops in Europe. We are very honored to have him visit us here in the USA. Please pass the word around. 

ACCOMMODATIONS
Participants from out of town may register to stay in the Tsegyagar East Dormitory onsite. Contact the geko@tsegyalgar.org to make a reservation. 

If you require a more upscale accommodation Lauri and Bret are offering rooms in their B & B located in Shelburne Falls about 20 minutes away from Conway.You can call 413-824-0502 for further information.Or you can visit the Tsegyalgar East accommodation page