Tibetan Astrological Diagram with Magic Square

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In the inner circle of the square are Tibetan numerals one to nine arranged into a 'magic square' known as the nine mewas, with the number five at the centre and the other eight numbers arranged around it so that their digits add up to fifteen-horizontally, vertically, and diagonally. In the second rectangle are twelve animals, representing twelve year-cycle, derived originally from the Chinese system of the twelve terrestrial branches – The Tibetan twelve-year cycle commences with the hare in east (left). This is because the Tibetan began their cycle in 1027 A.D., with the establishment of the Kalachakra cycle; this was already three years into the containing Chinese cycle – which recommenced its sixty – year cycle in the year 1024. Moreover, while the Chinese favored a north-south axial alignment, the Tibetans followed the traditional Indian model with an east-west axis of orientation.

The cycle of twelve animals is as follows – mouse, ox (cow), hare, dragon, snake, horse, sheep (goat), monkey, bird (cock), dog and pig (boar) these are depicted with four elements, in cardinal directions. According to Tibetan astrological system, south at the top represents fire, west to the right represents metal, north at the bottom represents water, and east on the left represent wood. Next outer rectangle depicts vajras, sword, mountains and geometrical symbols. Remaining two rectangles depicts trigrams, swastika, endless knot, vajras, swords and other astrological symbols.

The trigrams formed from the yin (broken) and yang (firm or continuous) lines which create the eight trigrams used in Chinese divination. These eight trigrams follow the 'king wen' system or sequence as used in the Chinese divinatory Iching(Book of changes) with south at the top, west on the right, north at the bottom, and east on the left. Rotating from the top (south) clockwise these eight trigrams are - south (fire), south-west – earth, west – lake, north-west – heaven, north – water, north-east – mountain, east – thunder, and south-east – wind or wood. This square gives the Chinese names and elements of the 'king weng' arrangement.

The head, tail, two hands and two legs of tortoise emerge from the shell. His wrathful head is crowned with three half vajras and another half vajra seals his tail. The central half vajra at the top of his head and tail symbolize the central channel ascending through his body on the 'Brahma-line', which forms the central axis of all symmetrical deity thangkas and mandalas. Two half vajras to the left and right on his head symbolize the lunar and solar channels. His two hands hold a wooden stake on a frog is impaled, representing the earth element. These frogs are soil sprits of the earth. Above the head of the tortoise emerges a flame, representing the element fire in the south. Below his tail is a triangular lake, representing the element water in the north. To the left and right of his feet are drawn a tree and a flaming sword, representing the element of wood in the east, and element of metal in the west, respectively.

The symbols of seven great planets and Rahu are represented in a vertical column below the triangular lake at the tortoise tail. From the top downwards they are – the disk of the sun; the crescent of the moon; the eyes of Mars; the hand of mercury; the dagger of Jupiter; the arrow head of Venus; the fibre-bundle of Saturn; and the raven's head of the eclipse planet Rahu.

At the top three Bodhisattvas, Manjushri (centre), Vajrapani (right), and Shadakshari Lokeshvara (left) are depicted. In the upper left corner is the monogram of the ten staked syllables of the Kalachakra mantra. It symbolizes the great wheel of time. In the upper right corner the nine mewas are arranged in the same square sequence of numbers as appears in the centre of the tortoise diagram. Short prayers are inscribed on each of the nine sequences to protect against the possible occurrence of negative aspects of the mewas. At the bottom left and right are the two protective wheels of elemental astrology. On either side of the main tortoise diagram are two vertical stacks of protective talismans, depicting symbols of the nagas, earth, spirits, mountain spirits, gods and goddesses who influence all divisions of time. These are composed of protective seals and tetragrams formed by the addition of one horizontal line to each of the eight trigrams of the king wen dynasty. These create pictographs of each of the eight pictographs of each of the eight trigrams depicting the eight elements of fire, earth, lake, heaven, water, mountain, thunder and wood.

The main function of the tortoise diagram is to act as a very powerful amulet for protection against all astrological and spirit afflictions. It is frequently hung on doorways to protect a building or homestead from evil spirits. To create auspicious circumstances it is prominently displayed at major events or transitions, such as birth, marriage, moving or building a house, illness and death.

This description is by Dr. Shailendra K. Verma, whose Doctorate thesis is on "Emergence and Evolution of the Buddha Image (From its inception to 8th century A.D.)".

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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.