Cittapati Mahakala Thangka (Brocadeless Thangka)

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On this page, you can see the Cittapati presented in the style of the Gelugpa school of Tibetan Buddhism. These deities are believed to be the protectors of Tantrikas indulged in the reverence of Vajrayogini as well as guardians of wealth from looters. They are supposed to perform a skeleton ritual dance in the cemetery, which has become a running theme for all the images of the Cittapati in Tantric Buddhism. The twin skeletal divinities stand on a lotus platform. The male deity, always on the viewer’s left wears a tiger’s skin, stands on a conch shell, and holds a weapon fashioned out of the human skeleton and a bowl of blood in his hands. The female deity stands atop a cowrie shell, draped in fine clothes, holding a grain stalk and a long-life vase with a lid showing the image of Buddha Amitayus, associated with life-enriching ceremonies.  Both of them have crowns decorated with skulls on their head, three bulging eyes, agape mouths, multi-colored, fan-like ear ornaments, and brocaded capes adorning their upper body. In the top left corner of the painting is Vajrapani, and complementing his wrath with her serenity is White Tara on the right. In the lower-left portion is Jambhala and on the right is Vasudhara- both related to the bestowal of wealth and fortune. Under the lotus platform, are three separate heaps of offerings for the Cittpati. The one on the left contains heads of buffalo, horse, elephant, dog, and human- five kinds of meats representing the five wisdoms. The middle heap includes conch, flower, mirror, cymbal- instruments for the gratification of the senses. The skull cap on the right holds the eyes, tongue, nose, heart, and ears- five kinds of sense organs. Each of these bowls is supported by three heads- one red (recently cut), one blue (decaying), and the third a skull- hinting at the transitory nature of human existence.

In the backdrop of this eerily moving and vibrantly painted Thangka, one can see a hissing serpent on the left and a moon-white swan swimming in pure blue waves on the right. Hidden behind the gigantic and wild images of the Cittapati, these animals hold the actual message of this esoteric painting. Vileness and darkness that enwraps the snake, as well as the blissful purity, marked by the presence of the swan- both these aspects exist in the human mind. The Cittapati- the twin skeletons smiling ghoulishly and dancing ferociously, represents the highest state that a human being can achieve-  that of a disconnect from one’s own skin, an element that signifies all worldly attachments. Through meditating upon their striking imagery, a devotee finds courage and determination, for moving away from the poisons of the material world towards the nectar of enlightened wisdom.  

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.