Capital of calligraphy

Merit of right action. 61x64 cm, Chinese ink ans Japanese mineral paint on a wash of pure saffron. Tashi Mannox 2009

The main body of text in the Dru-tsa script reads:

I fully abandon bad deeds,

but engage fully in all meritorious actions.

In the pure merit of all beings,

in all their virtuous deeds, i rejoice.

The smaller Petsug script is in reference to the composer of this wishing prayer, named Phag pa Lundrub. This calligraphy piece was especially commissioned by The Moscow Contemporary museum of calligraphy, july 2009.

In July 2009 the Contemporary museum of calligraphy in Moscow invited Tashi to join their body of participants of world class calligraphers. The 80 project participants have all contributed calligraphy master-pieces to the museums permanent and touring exhibitions. Tashi is the only contributing artist in Tibetan calligraphy and the only participant representing Great Britain.

The above calligraphy on saffron yellow, was especially commissioned by the Contemporary museum of calligraphy, for their permanent collection, This piece will be added to the sacred calligraphy section that also consists of Orthodox, Islamic and Judaism works. These pieces and more will feature in the sacred calligraphy collection of their 2nd International exhibition:

The II International exhibition of calligraphy

October 15 — November 14 2009

In 2009 Moscow became the capital of calligraphy, boasting the largest exhibition of calligraphy in the world.

It is where the Orient meets the West, professional artists speak to amateurs, classical calligraphy joins ultramodern art pieces. The exposition will feature art works from 33 countries: refined Slavonic and European calligraphy, traditionally reserved Japanese and Chinese creations, elegant scripts of the Hebrew and Arabic calligraphy schools.

The metropolitan audience has a rare chance to see valuable handwritten books, calligraphy masterpieces included in the Guinness World Records. Visitors may participate in mink-festivals of the Japanese, Tibetan and Slavonic cultures and visit calligraphy master-classes.

The exhibition is organized under the aegis of the Commission of the Russian Federation for UNESCO and supported by the Ministry for cultural affairs of the Russian Federation. Also the exhibition was officially recognized by the Russian Orthodox Church, the Russian rabbinate, Russian Council of Muftis and Buddhist organizations. This all emphasizes the special significance of the coming event for the cultural heritage.

From October 14^th 2009 walls of the unique 4,000 sq.m. “Victory” pavilion will host art pieces of 100 calligraphers from 33 countries. Near 200 calligraphy master-pieces will be demonstrated for the first time.

click here for details on the 2009 exhibition.

Also, on lone to the calligraphy museum, is a selection of Tashi's other calligraphic works, these include a piece each from his Contemporary Tibetan, Black on Black and Illuminated iconographic series. These will be shown until 2014, on a touring exhibition that will be held in the words leading cities, starting with Paris.

More details of Tashi's contribution of pieces to the museum can be seen here.

One of the pieces on lone to the Moscow contemporary museum of calligraphy.

Causality

57x76 cm, Chinese ink on heavy water-colour paper, Tashi Mannox 2009

Another blog worthy of a visit, which could be said to be the most bang-on and informative Buddhist blog ever created. Please take some time to visit the "Digital Tibetan Buddhist Alter" who recently sang the praises of Tashi.

The heading character and Script construction.

Above Illustrating six Heading character variations within the Uchen script style, from top to bottom, 1, single. 2, double. 3, treble. 4, resembling water birds. 5, owl eyes 6, an elaboration using two 'Ha' syllables.

On every beginning of a Tibetan page of text or title is found the characteristic swirl symbol, this is known as the ‘heading’ character, its job is to announce the start of the text it prefixes. It is not a word as such but a symbol, which is as much decorative as functional. As with the letters of the Uchen alphabet, the heading character is constructed using a particular system of proportion.

The heading character is commonly scribed as two swirls. This is described as resembling the nose of a snake, whereas a single heading character is described as the horn of a rhinoceros. Less commonly, is a treble heading character, which used at the very start of major text.

There are many stylistic variations of the heading character, historically and from the location the script derives. Besides the Uchen script, each of the different Tibetan scripts has its own styled heading character to suit.

The heading character in the Uchen script style is finished with a single vertical down stroke, called ‘Shay’ in Tibetan. This is also used as a sentence divider and a stop. At the very end of a large piece of text or important title, there is often a double stop stroke. A different smaller triangular dot is used to separate the words.

The correct proportion for writing the Uchen script is to calculate the size of the letters in accordance to the size of the pen nib used.

First, horizontal lines are scored on the paper. The distance between the lines is determined by doubling the italic pen nib size to make one part. There is a 3x3 part grid as a guideline for the top portion of the letters and another equal in size for the bottom tails of the longer letters. This is demonstrated in the image above, showing the first four and last three of the Tibetan alphabet letters in relation to the proportion lines.

The application of the letters to the score guidelines always starts with the first stroke of the letter across the top, from left to right. This is called the head of the letter. According certain letters, the head may differ from Long to medium to short in length.

The construction of a letter then follows with separate down strokes. Each different letter has its own particular order and direction of application. Names are given describing the different strokes, such as shoulder, chest and leg.

The object in creating a good Uchen script is to be as straight and neat as possible, all the letters should be hanging from the same straight line, with curved strokes well formed and rounded. Vertical ‘leg’ strokes should be thicker at the top and to a fine point at the bottom end; this is achieved by twisting the italic pen on the down stroke. There should be good contrast between the thick and thin lines throughout the letter. All down strokes should end in the same manner. The scored lines help to achieve this discipline and uniformed appearance.

The above image shows the heading and Uchen script at an acute angle to highlight the uniformed alignment of the letter strokes.

Here shows an elaborate 'high' version of the Dru-tsa script according to the precise grid guide-line, as with the Uchen script, the size of the grid score lines are determined by the size of the italic pen nib used. The proportions of the score lines are such to allow the flow and grace, typical of the Dru-tsa calligraphy style. The smaller red Uchen script translates the Dru-tsa script as "the command of the beautiful letter form".

An example of a text page in the Uchen script style. The front side of this well thumbed page is identified buy the heading character, the back side of the text page has no heading character, this has a practical use, considering the pages of a Tibetan text are all loose.

For a basic history of the different Tibetan scripts listed and their usage, please visit the Scripts and conservation page.

All the above images are created by Tashi Mannox in accordance with the traditional methods of proportion of the Tibetan writing systems. copyright 2009.

The Eightfold Path

The Four Noble Truths

The Four Noble Truths in an Honorific Uchen script deriving from the 15th-16th century, central Tibet. Tashi Mannox 09-09-2009.

The Wheel of Dharma, The original Buddhist symbol, representing the turning/teaching of the truth/Dharma. Here depicted seated on an open lotus flower of purity.

The Eight Fold Noble Path

The Eightfold path listed here in the Tsugtung script style. Tashi mannox 2009.

One of the most fundamental teachings of Buddha describing the way to end suffering is the principle of The Eightfold Path:

1. Right view

2. Right intention

3. Right Speech

4. Right Action

5. Right Livelihood

6. Right Effort

7. Right Mindfulness

8. Right (one pointed) Concentration

This list of Eight Right's, is a guideline to the cessation of confusion and suffering: Samara,

To reach self awakening: Nirvana. This is the fourth part of the Four Noble Truths, the first of the Eight Fold Path is the understanding of the Four Noble truths:

1. The nature of Suffering

2. The origin of Suffering

3. The cessation of suffering

4. The way (the Eight Fold Noble Path)

Mangalam !

Tara

Homage to Green Tara.

A delightful line drawing of Green Tara by the master of Tibetan arts Sherab Palden Beru.

This prayer flag shows Green Tara surrounded by the 21 praises of Tara. It is one of the first calligraphy pieces created by Tashi when he was a novice monk during the 80's. He was inspired by the beautiful line drawing of Tara by his teacher, to create the prayer flag, incorporating Tara as the centre piece. 

The seed syllable Tam of Green Tara, here seated on an open lotus flower. Tashi Mannox 2009

A short supplication prayer to Tara that can be repeated much like a mantra, normally recited many times over at the end of the 21 praises and before the actual mantra of Tara, shown below.

Tashi Mannox 2009

The prayer translates as: 

Jetsun Pagma Drolma take heed, Protect me from fear and suffering.

Jetsun Pagma Drolma is the name of green Tara.

The Mantra of Green Tara in the Uchen script: Om Tari Tuttari Turi Swa Ha.

copyright Tashi Mannox 2009

Mangalam.... May everything be Auspicious !!

The Five Wisdom Buddhas

A shrine at the London Samye Dzong Buddhist centre. decoration design by Tashi Mannox 2007-09, applied gold and silver leaf.

The Five Buddha families also known in Sanskrit as the Five Dhyani Buddhas, traditionally take pride of place in their many representations, in Mandala paintings to decorative embellishments on shrines, (such as the image above and below) They make take form simply as their respective seed syllable representation or as a full set 3D Buddha statue images, depicted in their own colours, symbolic emblems, hand gestures Mudra and animal throne, all representative of each of their individual wisdom quality.

Detail of central shrine canopy decoration.

The Seed syllables in Lanza Sanskrit, arranged in relation to their cardinal direction, these are indicated and numbered in the photo and listed below:

1. Om, center, Virochana Buddha.

2. Hum, East, Akshobya Buddha.

3. Tram, south, Ratnasambhava Buddha.

4. Hri, West, Amitabha Buddha.

5. Ah, North, Amoghasiddhi Buddha.

For more explanation on the symbolism and meaning of the Five Buddha families visit here.

Calligraphy of the five Buddha lotus mandala, Tashi Mannox 2009. 

The Five Buddhas form a base of a Mandala, the above lotus mandala shows each of the Buddhas seed syllables in the Lanza Sanskrit, Om at the central point, Hum below in the Eastern quarter, arranged around clockwise, following the suns path, are Tram, Hri and Ah. 

There is variation in representation of place and colour relating to the directions, for example the Om and hum can be switched, the examples shown here are according to the Tibetan Buddhist Tradition. 

When writing the syllables normally from left to right, they follow in their respected order: Om, hum, Tram, Hri, Ah, as shown below. However when relating each of these letters to their assigned central and cardinal directions, the order is changed, This is apparent in the Five Buddha crown shown below and on the shrine canopy above.

The five Buddha crown, known as rig nga in Tibetan, here represented in the Uchen script style. Hand made by Tashi Mannox 2008.

Each of the Five Buddhas are associated with their own family and the conversion of the Five Mind Poisons into the Five Wisdoms:

1. Om, Virochana, Buddha family. Ignorance converts to all accommodating wisdom.

2. Hum, Akshobya, Vajra Buddha family. Hate/anger converts to mirror like wisdom.

3. Tram, Ratnasambhava  Jewel Buddha family. Greed/pride converts to equanimity equality wisdom.

4. Hri, Amitabha, Lotus Buddha family. Desire converts to discriminating wisdom.

5. Ah, Amoghasiddhi, Karma Buddha family. Envy converts to all accomplishing wisdom.

Click here for a more detailed explanation by Ven Thrangu Rinpoche.

The Mani Mantra

The Hollywood sign adapted by Tashi Mannox July 2009.

It is said that on seeing the form of the Mani mantra, to hear the sound of the Mani mantra: Om Ma Ni PehMe Hum, is to purify and liberate from a state ignorance. 

In old Tibet, whole hillsides were seen as a great opportunity to map out huge images of the famous mantra, often with white stones. Such construction is believed to emanating it's blessing across the land, if not as a constant reminder of the mantras sacred and positive meaning. 

The mantra was also carved on flat stones and piled up in great heaps that sometimes stretch for a mile or more, around which a passer-by would circle clock-wise in respect. 

With good intention the power of the mantra is activated by hand spun prayer wheels, water wheels and prayer flags.

In our modern times this sacred mantra could not be more applicable in meaning and benefit. For the meaning of the Mani mantra is steeped in Loving-kindness and understanding, each of the six syllables purifying and converting negative emotions, which is a fundamental basis to our confused state of being, into wisdoms that can only lead to a happy mind.

Modern methods also means we can make electric powered prayer wheels containing billions of Mantras on micro film.

 

Copyright Tashi mannox 2009.

The Mani mantra can be calligraphed in several of the different Tibetan script styles, above shows the mantra in three of these scripts. Whereas below shows the Mani mantra in a classical Honorific Uchen script style.

Copyright Tashi mannox 2009.

Perhaps more extreme is the Mani mantra written in the elegant Tsugring script style as below.

Copyright Tashi mannox 2009.

Then there is Sanskrit, the original script of the Mani mantra from which the Tibetan was phonetically translated. Here shows the Lanza for of Sanskrit.

Copyright Tashi mannox 2009.

Then the Wartu Sanskrit form, here showing the smaller Uchen script in relation with each of the Sanskrit characters.

Copyright Tashi mannox 2009.

Then Lastly the Mani mantra arranged on a lotus Mandala, each of the letters placed on each petal, the seed syllable Hri in the center.

Copyright Tashi mannox 2009.

For more about the Mani mantra please click here.

Vajrapani

A modern take on the Vajrapani mantra arranged in 

a 5 pointed star. Tashi Mannox 2008.

The Vajra, symbolic power of a thunderbolt. Copyright Tashi mannox 2009.

Vajrapani  in Sanskrit, Channa Dorje in Tibetan, is one of the main celestial Bodhisattvas, often grouped with the Bodhisattvas Avalokiteshvara and Manjushri.  His name means 'Thunderbolt in Hand' . 

He represents the concentrated power of all Buddhas. He is most frequently depicted in his fierce emanation, in which he is a powerful protector and remover of inner and outer obstacles.

A detail of the Wrathful form of Vajrapani.

A detail of the peaceful form of Vajrapani.

Copyright Tashi mannox 2009.

The mantra of Vajrapani reads: Oṃ Vajra Pāṇi Hūṃ. nicknamed the Pani mantra, is shown above in the Tibetan Uchen script style. In this calligraphy the vowel signs have been highlighted in blue colour associated with the great Bodhisattva.

The Tibetan pronunciation of this mantra is Om Benza pani Hum. The pronunciation differs from the Sanskrit because there is no V sound in the Tibetan alphabet.