RELATED TIBETAN SCRIPTS

Monday, 29 June 2009

Vajrapani



A modern take on the Vajrapani mantra arranged in
a 5 pointed star. Tashi Mannox 2008.

Available as a high resolution download here.



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


Vajrapani in Sanskrit, Chagna Dorje ཕྱག་ན་རྡོ་རྗེ། 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.


The above mantras and similar are available as high-resolution down-loads that can be printed and taken to your tattooist as a quality tattoo template. Please follow this link to browse hundreds of classic tattoo designs of mantras, Key words, meaningful phrases and iconic symbols, in a choice of the various beautiful Tibetan script styles, that offer inspiring and empowering options for your personal tattoo.





Friday, 12 June 2009

Tashimannox.com


It is with pleasure to announce the launch of a new website of Tibetan calligraphy & iconography:







'Laughing in the face of jealousy' Acrylic paint, gold and silver leaf on heavy water-colour paper,  57x76, 2006. Copyright Tashi mannox 2009.


This website features calligraphy art pieces spanning the past ten years to Tashi's current full colour Illuminated Iconographic master pieces, as above.

Tashi’s creative process involves a fundamentally meditative approach, based firmly in a life long dedication in traditional Tibetan calligraphy.

He attributes the element of spontaneity in his work to "the Ultimate Mind", which, he believes, is as instrumental in shaping the final image as his brush.

In the execution of the contemporary Tibetan calligraphy pieces, Tashi’s trained brush strokes move freely across the paper, harnessing the power of both negative and positive space. The philosophy at the heart of his creations is born from his years as a Buddhist monk. Moreover, the influence of his western heritage and personal charm and vitality make these fascinating contemporary works.

Using pure, almost sculptural forms in many of his works, combined with wit and insight, Tashi produces works that vary from a more abstract, confident and bold expressions, to a lighter and precise calligraphy that seems to dance around the page. This variation from playful to serene connects with the viewer, evoking a sense of intrigue, space and ease.
The introduction of colour and iconographic images in Tashi’s later works; illuminates his calligraphy rich in symbolism and meaning.




Saturday, 6 June 2009

The Heart Sutra.


Thus i have heard......


Click here to hear an upbeat version of the Heart Sutra in Tibetan by Jigme Khyentse Rinpoche, produced by Gary Dyson.

"Emanate from Emptiness" Tashi Mannox 2010.

The above calligraphy is in the Dru-tsa script style, the tails of the letters swirl to the center as if Emanating from Emptiness.

The mantra of The Prajnä Päramitä Sutra:

tayata om gaté gaté para gaté para sam gaté bodhi swa ha.

The below page from the Heart Sutra survives the destruction of Tsurphu monastery in 1959, the original seat of the Karmapa's in Tibet. 

An old monk friend pulled this old text page from the rubble of Tsurphu during its restoration in the 1980's.

This page is clearly from the latter part of the Heart Sutra, painted in a gold Uchen script on a black polished paper.
This is a technique used for the more important illuminated manuscripts, such as Sutras, evidently robust enough to survive the 30-40 years buried, though it did not seem to escape a splattering of Yak dung!


Front page detail.



Back page detail.






oṃ supratiṣṭha-vajraye svāhā