Vajrasattva and Ghantapani in Yab Yum

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Literally, the Sanskrit word Vajrasattva means "the essence of the thunderbolt (vajra)." Vajrasattva thus embodies within himself the entire essence of Vajrayana Buddhism, of which the vajra is the quintessential symbol. Another of his epithets is 'Dharmadhatu,' meaning the essence of religion. As an important archetypal deity, he is visualized both as a Buddha and a Bodhisattva. He is often thought as the primordial teacher and the priest of the five transcendental Buddhas. He is known in Tibetan as Dorje Sempa.

Here he is shown in sexual embrace with his white female partner, Ghantapani. Vajrasattva himself also is white, signifying his immaculate purity. She holds the kapala (skull-cup) and vajra, while he sits serenely in the dhyana asana, holding the vajra at the level of his heart. His left hand clasps the bell. The bell is said to symbolize wisdom and the vajra signifies the means of utilizing this wisdom. Together the vajra and the bell symbolize the fusion of all polarities, including masculine and feminine qualities, in one Enlightened experience.

According to Alice Getty in her book 'The Gods of Northern Buddhism,' this form is only worshipped in secret.

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Unveiling the Divine Art: Journey into the Making of Thangkas

A Thangka is a traditional Tibetan Buddhist painting that usually depicts a Buddhist Deity (Buddha or Bodhisattva), a scene, or a mandala. These paintings are considered important paraphernalia in Buddhist rituals. They are used to teach the life of the Buddha, various lamas, and Bodhisattvas to the monastic students, and are also useful in visualizing the deity while meditating. One of the most important subjects of thangkas is the Bhavacakra (the wheel of life) which depicts the Art of Enlightenment. It is believed that Thangka paintings were developed over the centuries from the murals, of which only a few can be seen in the Ajanta caves in India and the Mogao caves in Gansu Province, Tibet. Thangkas are painted on cotton or silk applique and are usually small in size. The artist of these paintings is highly trained and has a proper understanding of Buddhist philosophy, knowledge, and background to create a realistic and bona fide painting.

The process of making a thangka begins with stitching a loosely woven cotton fabric onto a wooden frame. Traditionally, the canvas was prepared by coating it with gesso, chalk, and base pigment.

After this, the outline of the form of the deity is sketched with a pencil or charcoal onto the canvas using iconographic grids. The drawing process is followed in accordance with strict guidelines laid out in Buddhist scriptures. The systematic grid helps the artist to make a geometrical and professional painting. When the drawing of the figures is finalized and adjusted, it is then outlined with black ink.

Earlier, a special paint of different colors was made by mixing powdered forms of organic (vegetable) and mineral pigments in a water-soluble adhesive. Nowadays, artists use acrylic paints instead. The colors are now applied to the sketch using the wet and dry brush techniques. One of the characteristic features of a thangka is the use of vibrant colors such as red, blue, black, green, yellow, etc.

In the final step, pure gold is coated over some parts of the thangka to increase its beauty. Due to this beautification, thangkas are much more expensive and also stand out from other ordinary paintings.

Thangka paintings are generally kept unrolled when not on display on the wall. They also come with a frame, a silken cover in front, and a textile backing to protect the painting from getting damaged. Because Thangkas are delicate in nature, they are recommended to be kept in places with no excess moisture and where there is not much exposure to sunlight. This makes them last a long time without their colors fading away. Painting a thangka is an elaborate and complex process and requires excellent skills. A skilled artist can take up to 6 months to complete a detailed thangka painting. In earlier times, thangka painters were lamas that spent many years on Buddhist studies before they painted.