RELATED TIBETAN SCRIPTS

Art exhibition launch

noreply@blogger.com (inkessential) — Wed, 08 May 2013 16:51:00 +0000

A detail of a new embossed 'ink-less' calligraphy
Especially created for the new exhibition.

A beautiful sunshine spring day marked the opening of Tashi Mannox's "Illuminated Optimism" exhibition at the Monnow Valley Arts Centre on the border of Wales and the Brecon Beacon National Park.

Chief Trustee Rupert Otten (pictured center) introduces Richard Kindersly and Tashi Mannox at their joint show opening.

Short welcome speeches were delivered by Richard and Tashi to a select audience including Tashi's mother Sally Somersby and his Art photographer and giclée printer Malcolm Payne of 'Colourfast Editions'

Malcolm, Tashi and Sally.

Tashi explains his works that are exhibited in the light and fresh studio space

The exhibition runs along side Richard Kindersly's word sculpture show until the 30th June 2013, a well worth trip out into the stunning Herefordshire countryside near to the Black Mountains of the Brecon Beacon National Park.

The Monnow Valley Art centre is open to the public:
Wednesday - Friday 11am - 5pm
Weekends 2 - 5pm

Entrance to gallery exhibitions is free, but a donation is requested if not visiting the gardens.
Entrance to gardens, sculpture and National Collection of Contemporary Memorial Arts is by donation of £5 per adult (concessions £3) children under 14 for free.

The Monnow Valley Arts Centre see map
Walterstone
Herefordshire
HR2 0DY

01873 860 529

Calligraphy of paper and stone

noreply@blogger.com (inkessential) — Fri, 12 Apr 2013 16:08:00 +0000

For those who enjoy the art of beautiful letterform, be it inked on paper or incised in stone, of both East and Western traditions. You may enjoy to adventure out to contemplate art in a clear fresh gallery space or dwell in nature to enjoy the freedom of wondering between sculptures of wise words.....

From the 4th May to the 30th June 2013

Internationally celebrated Richard Kindersly and Tashi Mannox hold a joint exhibition at The Monnow Valley Arts Centre, majestically located beside the Black Mountains of the Brecon Beacon National Park.

From its purpose built art studio, galleries and beautifully arranged gardens, dotted with scriptural carved standing stones and other sculptural wonders, is a view that inspires greatness and lifts the heart.

Throughout the gardens Richard Kindersly exhibits his calligraphy sculptures called 'Material World'. In this exhibition Richard explores the difference between gestural and geomatrically constructed letter forms. These are skillfully demonstrated as carved letters in sandblasted glass, moulded concrete, wood, steel and paper (sometimes with the same text) to show us how lettering can be used in unusual ways and unusual materials.

While in the studio gallery Tashi Mannox exhibits a collection of works called 'Illuminated Optimism' from his Contemporary and traditional calligraphy series, depicting positive and thought provoking Tibetan Buddhist themes in a medium of ink on paper. Such as his first public showing of 'Hog eats Cock eats Snake' which represents the basic foundation of Samsara and the three aspects of ego: delusion, attachment and aversion, that feed on each other in a perpetual cycle. To remedy this on the path to liberation, Tashi illustrates the classical 'Four Foundations', four topics that are traditionally meditated upon, that lay a firm foundation of right motivation and diligence on the path to enlightenment.

The original Art pieces in the exhibition have been the basis for a series of high quality, limited edition Giclee prints that are also available for sale, making these works accessible to all.

A new embossed mantra art piece also premiers at the exhibition. This piece is the first of a new series of 'ink-less' calligraphy pieces which again demonstrates the diversity of Tashi's talent in bringing the integral tradition of Tibetan calligraphy into the 21st century.

The Immaculate Ushnisha mantra

om padmo ushnisha bi ma le hum phat

གཙུག་ཏོར་དྲི་མེད།

This is a purification mantra that is traditionally displayed on a beam or above a doorway.

It is said that the mantra has the power to bless and cleanse every-time one passes below, and is sometimes named as the ‘mind your head’ mantra.

Previous incarnations and new Art

noreply@blogger.com (inkessential) — Fri, 12 Apr 2013 10:29:00 +0000

A rare and remarkable old photo of the 16th Karmapa flanked on his right by the 11th Situpa and to his left the 6th Ponlop Rinpoche.

The photo is believed to be taken in the Late 1940's early 50's near to the seat Tsurpu Monastery of the Karmapa's who is the head of the Kagyu linage.

These three great Kagyu Lamas have since incarnated to continue their linage as realized teachers to benefit all sentient beings.

11th Tai Situpa Pema Wangchuk 1886 - 1952 > the present 12th Kenting Tai Situ Rinpoche.

16th Karmapa Rangjung Rigpe Dorje 1924 - 1981 > the present 17th Karmapa Ogyen Trinley Dorje.

6th Dzogchen Ponlop Rinpoche 1925 - 1962 > the present Ponlop Rinpoche.

It is notable that all three present incarnations are great calligraphy artists. The previous Ponlop Rinpoche was also an accomplished Thanka painter, who has continued his talents in a new medium till the present day.

'Ego' in English and Tibetan,
by Ponlop Rinpoche.

In old Tibet, at the time of the above photo, calligraphy was practiced as a discipline to a high degree, however was not created as a free expressive art-form as it is in the Japanese Zen tradition. It is only through these new incarnate Lamas, who are engaged with communicating Dharma in the world away from Tibet, that Tibetan calligraphy has developed and established a new expression.

'Kagyu' Tibetan calligraphy by
Tai Situ Rinpoche.

Another great Lama and Kagyu linage holder Chogyam Trungpa Rinpoche and was the first to make this new artistic leap, while establishing Buddha Dharma during the 70's and 80's in America.

Trungpa Rinpoche created expressive calligraphy art that was a bold and free break-away from the precis Tibetan handwriting styles, followed closely by 12th Tai Situ Rinpoche. Though it is not clear if it was Trungpa who set the new trend or if there was a general awakening of creative expression.

'Dharma' Tibetan calligraphy
by Chogyam Trungpa Rinpoche.

If it was not for the brilliance and initiative of the early Tibetan Lamas communicating Dharma, there would not be such a strong and lively practice of Tibetan calligraphy that has established its own place within the contemporary art world.

The late Chogyam Trungpa Rinpoche

11th Chogyam Trungpa Rinpoche 1940 - 1987 > the present 12th Chokyi Senge Trungpa Rinpoche.

Chögyam Trungpa's Profound Treasury of Dharma.

noreply@blogger.com (inkessential) — Thu, 14 Mar 2013 13:56:00 +0000

'Ananda' Chögyam Trungpa Rinpoche

Last year Shambhala invited Tashi Mannox to contribute some of his calligraphic illustrations to a new three volume publication based on a collective of Chögyam Trungpa Rinpoche's thirteen years of Vajradhatu seminars and lectures, called the Profound Treasury of the Ocean of Dharma.

The compilation and editing of this material for general publication has taken more then thirty years, resulting in one volume for each Yana, or major stage of the Buddhist path.

"The Profound Treasury of the Ocean of Dharma represents Chögyam Trungpa's greatest contribution to Western Buddhism. This three-volume collection presents in lively, relevant language the comprehensive teachings of the Tibetan Buddhist path of the hinayana, mahayana, and vajrayana."

- Available in hardback from Shambahla Media.

That Spurs the Monk

noreply@blogger.com (inkessential) — Mon, 11 Mar 2013 18:11:00 +0000

Tashi Mannox speaks of his Childhood inspiration and magic that is insightful to the core of his artistry in Tibetan Calligraphy.

Tashi as a monk, Samye Ling 1993.

A short film of 7 minutes

Directed, produced and filmed by Brian O'Neill

Edited by Fernando de Juan

ཆུ་མོ་སྦྲུལ་ལོ། Tibetan New Year Greetings.

noreply@blogger.com (inkessential) — Wed, 06 Feb 2013 13:06:00 +0000

Auspicious Good Wishes for the New Year of the Female Water Serpent

2013

༼ཆུ་མོ་སྦྲུལ་གནམ་ལོ་གསར་བཀྲ་ཤིས་བདེ་ལེགས་ཞུ༽

meeting old friends

noreply@blogger.com (inkessential) — Tue, 22 Jan 2013 10:33:00 +0000

A pleasant and successful launch of Tashi Mannox's exhibition of prints at Cave in London's vibrant Bermondsey Street. A steady stream of visitors entered out of the cold winters night to be welcomed into the warm and colourful show, the air filled with the scent of freshly cut flowers. A glass of wine in hand, this was as much anything, a happy opportunity to catch up with old pals and make new friends.

This exhibition officially runs until the 6th February 2013. Tashi's limited edition prints will be available at Cave there after.

- photos by Matthew Lindén.

London print exhibition

noreply@blogger.com (inkessential) — Tue, 08 Jan 2013 18:02:00 +0000

‘Illuminated Optimism’

A colourful collection of limited edition prints

By Tibetan calligraphy artist

Tashi Mannox

Founded in 2010 Cave is a London Based specialist gallery shop of wine, flowers, chocolate and art. Sourced from only the best producers, their aim is to tastefully bring together the most enjoyed things in life by introducing new and exciting products in an informed and intelligent way.

From 17^th January to 1st March Tashi Mannox exhibits a fitting selection of his limited edition prints, some of which have not been publicly displayed before, meaning that there are few first editions available to snap up.

Iconographic themes were carefully chosen to complement the flower filled gallery where artisan chocolates can also be purchased along with a fine wines from a distinctive range to delight the humble novice to a great connoisseur.

From 6 – 10 pm on the opening Thursday night of the 17^thJanuary all are welcome to join for a glass of wine and a rare opportunity to meet Tashi in person.

What could be more uplifting during the first dark winters months than to be among freshly cut flowers and beautiful art that communicates optimism?

Cave Opening Times and website

Mon-Wed 10am-7:30pm

Thurs-Sat 10am-8pm

Sunday 11am-6pm

210 Bermondsey Street, London SE1 3TQ

Learn to write Tibetan well....

noreply@blogger.com (inkessential) — Thu, 03 Jan 2013 16:47:00 +0000

Tibetan Calligraphy Workshop with Tashi Mannox.

Hosted by the Shang Shung Institute of Tibetan Studies in London:

From Saturday 09 February 2013 - 10:00
To Sunday 10 February 2013 - 18:00

Suitable for complete beginners in Tibetan writing and also for those with existing skills wishing to polish their technique. During the course, Tashi Mannox will explain the proportionate construction of the Tibetan Uchen script which is essential as a foundation to create competent letter form for beautiful calligraphy. Calligraphy pens and sketch pads will be supplied.

The workshop will culminate with the creation of the Mani mantra with a stage by stage explanation of the mantra's sacred significance

For more information and to book a place on the course, please follow the link here.

Four truths to consider.....

noreply@blogger.com (inkessential) — Wed, 19 Dec 2012 23:13:00 +0000

སྡོམ་བཞི།

The Four Seals/hallmarks:

ལྟ་བ་བཀའ་རྟགས་ཀྱི་ཕྱག་རྒྱ་བཞི།

All that is conditioned is impermanent,

All that is tainted is suffering,

All phenomena are empty and devoid of self,

Nirvana is peace.

Reflective qualities.

noreply@blogger.com (inkessential) — Wed, 12 Dec 2012 14:05:00 +0000

A new rendition of "The Heart of Emptiness"
Tashi Mannox November 2012.

The Heart Sutra and its mantra, nick named the Gaté mantra, is a continued inspiration for a number of Tashi's art pieces over the years. Recently Tashi was commissioned to create two new calligraphy pieces based on earlier artworks he had created. This following post tells something of the techniques used to create these masterpieces and the challenge in capturing their subtle qualities photographically in order to replicate as giclée prints.

In reference to the above image "The Heart of Emptiness". The central 'empty space of natural paper' is created by the Gaté mantra: "om gaté gaté para gaté para sam gaté bodhi swaha" encircling anti-clockwise, though to read the mantra from a stationary point (starting at the bottom) the mantra/paper would turn clockwise. The tails of the letters extend out into the darkness of space, whereas the vowel signs that sit above the letters are unavoidably left within the empty white space.

Across the whole of the black background is painted in another layer of black ink an extract from the Heart Sutra.

"The Heart of Emptiness" is available as a limited edition print, please follow this link.

To arrange a length of calligraphy in a complete circle has a number of stages and difficulties. First is to choose the size of the letters which is determined by the width of the brush (the proportionate relation between the size of the brush or pen nib is explained in an earlier post here)

To begin with there is a fair amount of estimated guess work to fathom the right size length of text to fit in complete circle harmoniously within the limited size of the paper.

In the case of creating a circular Gaté mantra, three attempts were made that are shown as a collection of studies below.

These four studies on about A2 size water-colour paper can be viewed as individual art pieces here.

Only once the right size lettering is found to complete the right size circle of text; can this be applied with held breath to the actual artwork, such as "The Heart of Emptiness".

Another art piece inspired by the Heart Sutra shown below is called "None Attainment"that highlights one of the aspects taught through the Heart Sutra that expresses 'no concept' of anything that has 'gone beyond'.

The artwork depicts the words 'no attainment' in white lettering that appears to shine out over the black background where hidden is the title of the Heart Sutra as well as its mantra.

A new rendition of "None Attainment"
Tashi Mannox November 2012

Both pieces; "The Heart of Emptiness" and "None Attainment" belong to Tashi's 'Black on Black' series that explores the coined technique of painting black calligraphy on black background, the effect of which gives a mysterious half hidden calligraphy that can be picked out because of the reflective quality of the ink.

Such reflective qualities are problematic to photograph because only one of the reflective moods can be captured at any one time dependent on how the image is lit.

The below examples shows two very different ways in which the black on black calligraphy and background is exposed. In other light condition the background lettering can seen to disappear altogether.

On the left side image the photograph has picked up the lettering as black with the background more reflective and a lighter tone.

On the right side the lettering is reflecting lighter the black background completely inverted to the image on the left.

When reproduced as prints, that is totally reliant on the quality of the photograph, the subtle reflective quality that reveals its self when viewing the original art work, is somewhat limited in the print productions, never-the-less they still stand as strong printed artworks in their own right.

E.K. interviews Tashi Mannox

noreply@blogger.com (inkessential) — Sat, 24 Nov 2012 12:10:00 +0000

EMPTY KINGDOM MEDIA

interviews Tashi Mannox

❝This summer, a friend visiting my home and studio brought with her a young Tibetan man who is currently studying architechture in London. He was obviously moved by my Tibetan calligraphy art pieces that are about my home. I was astonished to learn from him that my work is much appreciated by the younger Tibetan communities in India and the West, who enjoy to up-load artworks onto their iPhones as screen savers etc. When I asked why my work is so popular, he answered that for young Tibetans it gives them hope and appreciate the fact that their rich cultural heritage, such as calligraphy, has been brought into the modern world tastefully and not forgotten to the dust of time.❞

For the full interview please read on....

4th International Exhibition of Calligraphy - Moscow

noreply@blogger.com (inkessential) — Mon, 22 Oct 2012 17:34:00 +0000

Once again the Russian Federation hosts the worlds foremost exhibition of contemporary calligraphy in Moscow. This 2012 biannual event runs between 1st November until the 15th December. A diverse and colourful exhibition that represents over 40 world class calligraphy artists of different language traditions, who have contributed calligraphic masterpieces to celebrate the beauty of handwriting, excelling their artistic abilities in the name of keeping such calligraphy traditions alive.

The exhibition officially opened on the 1st November with a grand event that attracted much media attention as captured here.

A beautifully styled catalog of the exhibition artworks and their creators has been skillfully made available 'electronically' :

Please click on the link here to view the full exhibition catalog.

There is also a 'virtual excursion' that allows remote live viewing of the exhibition via CCTV cameras placed strategically around the gallery halls.

Please follow the link here to view the exhibition live.

Since the Contemporary Calligraphy Museum of Moscow first held their international calligraphy exhibition in 2008, Tashi Mannox has been invited to exhibit with three of their biennials. This year Tashi especially created two art pieces and donated a third for the 2012 show.

One such piece especially created, as shown in the above snap-shot of the catalog, called "Homage to the Three Jewels" can also be seen with a more detailed explanation in a previous blog post here.

The other calligraphy art piece exclusively created for Moscow is called "The Four Immeasurable States" (as below) another calligraphy based on a classical Buddhist theme and popular for a strongly growing Buddhist community in Russia.

༄། ཚད་མེད་བཞི། །

"The Four Immeasurable States"

Chinese ink and Japanese mineral paint on Bhutanese tsasho paper,

57x84cm ⓒ Tashi Mannox 2012.

Seated on the four open lotus flowers are the four immeasurable states:

བྱམས་པ་ སྙིང་རྗེ་ དགའ་བ་ བཏང་སྙོམས་

Love, Compassion, Joy, Equanimity.

These four key words are highlighted in blue calligraphy of the Drutsa script style. Below which is a round tailed Drutsa script from the 14^th century Tibet. This particular rare round tailed Drutsa was gathered together after months of research pouring over ancient Tibetan manuscripts, in Uchen this reads as:

༄།ཐེག་ཆེན་པས་སེམས་ཅན་ཚད་མེད་པར་དམིགས་ནས་བསྒོམས་ཏེ་བསོད་ནམས་ཚད་མེད་པ་འཕེན་པར་བྱེད་པའི་སེམས་བཞི་སྟེ།བསོད་ནམས་ཚད་མེད་པ་འཕེན་པར་བྱེད་པའི་སེམས་བཞི་སྟེ། བྱམས་པ་ཚད་མེད་དང། སྙིང་རྗེ་ཚད་མེད། དགའ་བ་ཚད་མེད། བཏང་སྙོམས་ཚད་མེད་བཅས་སོ།

“According to the Mahayana by meditation that focuses on measureless beings there are four states of mind that set in motion measureless punya (auspicious or positive effects or states), namely:

Measureless love, measureless compassion, measureless joy and measureless equanimity”

Translation by Lama Shepen Hookham at the request of Tashi Mannox June 2011.

The below photos taken at the 4th International Exhibition of calligraphy showing four of Tashi's artworks displayed among other calligraphy traditions, such as Islamic and classical Chinese.

"The Four Immeasurable States"

The exhibits

contemplation

"Seven line prayer to Guru Rinpoche"

"Seven line prayer to Guru Rinpoche" detail

"Homage to the Three Jewels"

"Sacred Mantra" and "Homage to the Three Jewels"

"Sacred Mantra" close up observation

"Sacred Mantra" detail

"Sacred Mantra"

Up close.... Visitors during the official opening of the IV International Exhibition of Calligraphy 2012, take in detail of one of Tashi's earlier art pieces called "Sacred Mantra" donated to the Moscow Contemporary Calligraphy Museum in 2010.

Tallinn Calligraphy exhibition

noreply@blogger.com (inkessential) — Tue, 09 Oct 2012 08:51:00 +0000

From 9th to near the end of October, the Society of Himalayan Culture in Tallinn presented the "Himalayan Film and Cultural Days 2012". This featured a joint exhibition in the Kullo Gallery at the heart of the beautiful medieval capital of Estonia. Tashi Mannox exhibited a number of his major calligraphy artworks along with other Himalayan and Tibetan artists Puntsok Tsering, and Tashi Norbu.

The Kullo Gallery, Tallinn, Estonia.

The Society of Himalayan Culture also especially commissioned calligraphy works from artists of the smaller least known Himalayan ethnic groups, these included the rare Limbu*, Magar** and the more known Ranjana*** scripts. *scroll down below.

A Sanskrit prayer for well being and protection, arranged by the artist as a traditional illuminated title page of Indian and Tibetan Buddhist Manuscripts. The Script style is called Ranjana of the indigenous Newar*** people of the Kathmandu Valley.

The Mani mantra in the Ranjana script that has a close relationship with its grandfather Lansta Sanskrit.

Tashi lead a two day Tibetan writing workshop in the Kullo exhibition space, that was very well attended, a list of activities are shown in the link here.

Tashi explaining the construction of the 'hum' syllable and its deeper symbolic meaning.

Attentive students.

A helping hand.

Happy participants from the first days work.

Participants on the second day.

The conclusion of the workshops ended with Tashi demonstrating how to execute a 'free' expressive style calligraphy.

*LIMBU SRIJONGA

Limbu is a Tibeto-Burman language spoken in the Himalayan regions of Nepal, Bhutan, Sikkim, Kashmir, and Darjeeling in India. According to traditional histories, the script was first invented in the late 9th century by King Sirijonga Haang. This fell out of use, to be reintroduced in the 18th century developing during the expansion of Buddhism when Limbuwan (small independent states of Limbu) was administered by Sikkim. The Limbu hero Sirijonga (Te-ongsi Sirijunga Xin Thebe), a great educationalist, scholar, historian and philosopher of that time, began an active campaign against this Tibetan Buddhist cultural encroachment by promoting Limbu script, language and culture from village to village. For this he was killed by the Sikkim Buddhist authorities, tied and shot by arrows. Limbu learning centers were destroyed and Sirjonga’s disciples murdered or suppressed. For his work, Sirjonga was considered a martyr for Limbus and the Limbu script has been subsequently named after him as Sirjonga script.

Today Limbu is recognized in Sikkim as one of its official languages since 1970 and school course books in Limbu are available. In Nepal, the story of prosecuting Limbu language promotion continued, particularly with teachers like Bir Nembang arrested in the 1980s for secretly teaching Limbu. Many of these teachers fled to India. Only after a democratic revolution in 1990 Limbu language activists were able to freely operate and openly work for the development of Sirjonga script.

**MAGAR AKKHA RIKA

Magar languages are spoken in the Himayalas from Nepal to Sikkim in India. During the 17^th and early 18^th centuries, the Magar kingdom was one of the strongest of west Nepal. Later they served as a large bulk of the footsoldiers for Hindu Khas Shah kings who went on to unify Nepal . Since the 19^th century they occupied the largest number of Gurkha soldiers under the British Army and adopted many Hindu practices as well as Devanagri script since they did not have script at that time. They speak 3 vastly different languages called Kham, Kaike and Dhut and together represent the largest indigenous group of Nepal today.

After the democratic revolution of Nepal in 1990, Magar indigenous rights activism grew and started shifting customs away from what they saw was former oppressive Hindu rule. In 1992, a key Magar scholar, MS Thapa lay claim that Buddha, having been born in West Nepal, must have also been Magar as the ancient kingdoms of that time in that area must have been Magar. Since the script used largely at that time since 4^th century BC Ancient India was Brahmi, Magars must have used Brahmi script which has been named as Akkha Rika according to Buddhist texts. Furthermore “Rikaa” means script or alphabet in classical Magar language.

From these ideas of MS Thapa, Magar activists began developing Akkha Rika, essentially a modernized form of Brahmi, adding more symbols to fit sounds in the Magar language. This script became adopted as the official script of Magars and is used in publications to teach Dhut Magar language. This is a new process as most young people are only beginning to get introduced both to the language and the script. This 20 year old script is still in development to suit the other Magar languages, and has inspired some ethnic groups such as the Gurung who are now using the Brahmi model to develop a new script today.

***NEWAR SCRIPTS

The Newar are the indigenous people of the Kathmandu Valley as well as its traditional artists, builders and artisans. Their Tibeto-Burman language, more correctly known as Nepal Bhasa, has been written in a number of scripts, primarily Ranjana and Prachalit script derived from Brahmi script.

Ranjana developed in Kathmandu Valley during the 10th century AD and spread into other areas of Asia from Mongolia to Japan for sacred Tibetan Buddhism texts, and was also used to write Maithili language for some period. The valley developed 9 types of scripts including Prachalit, Ranjana, Golmol, and Bhujinmol but only Ranjana and Prachalit continue in use today.

Nepal Bhasa began suffer after the Shah Dynasty from West Nepal took over Kathmandu Valley in the late 18th century. The repressive policies of the Rana Dynasty (1846–1951 AD) attempted to wipe it out.In 1906, legal documents written in Nepal Bhasa were declared unenforceable, rulers forbade literature in Nepal Bhasa, and writers were sent to jail.In 1944, Buddhist monks who wrote in the language were expelled from the country. After the overthrow of the Rana Dynasty in 1951,restrictions on publication in Nepal Bhasa were removed. Books, magazines and newspapers appeared.

Today it is experiencing a revival due to recent cultural awareness.

- courtesy of Premila van Ommen

Great lengths.....

noreply@blogger.com (inkessential) — Mon, 06 Aug 2012 17:28:00 +0000

The great Mahasiddha Śāntideva.

In June this year 2012, Tashi was contacted by a Tibetan man called Yeshi who lives in the Eastern Tibetan/Chinese Provence of Yunnan. So eager was Yeshi to commission Tashi to create a calligraphy, he made a long distance phone-call from the capital Kunming to discuss the phrases Yeshi wanted in the Khyug (quick style) Tibetan calligraphy.

The chosen phrases was a four line stanza to generate a mind of Enlightenment (as below), originally composed by the great Indian scholar Shantideva, who was the author of some of the greatest Buddhist works, such as the Bodhicharyavatara.

"For as long as space exists and living beings endure.
May i too remain to dispel the misery of the world"

The phone-call and request was somewhat of a surprise to Tashi, who asked Yeshi why he needed to ask an Englishman half way around the world to create a Tibetan calligraphy to send back to Tibet and surely their must be somebody more local to him, such as a Lama who could elegantly scribe the stanza. Yeshi replied that it was very difficult to find a person who is able because the Tibetan written language was little practiced and much forgotten.

Above is Yeshi, proudly wearing his new tattoo, that is important to him representing the Tibetan heritage he belongs, as well as the wisdom in it's meaning of Bodhicitta; poetically expressed in the calligraphy that is topped with a crescent moon and Bindu like sun, inspired by another of Tashi's iconic artworks called "Precious Human Existence".

The conservation of the Tibetan written language and its many script styles is at the heart of Tashi's work as a contemporary Tibetan calligraphy artist.

"Ancient traditions take many generations to develop and mature. However with neglect, such traditions can easily be lost in just one generation.

Documentation and reproduction is essential for their survival in keeping the ancient traditions alive"

- Tashi Mannox 2009

Foul Mud, Pure Lotus.

noreply@blogger.com (inkessential) — Sun, 27 May 2012 22:33:00 +0000

This triptych depicts a lotus flower in stages of bud to bloom to seedpod, representing the passing of time ‘past, present and future’.

In Eastern iconography, the lotus flower is symbolic of purity and is considered an analogy of transformation as one tames ones own negative emotions that fuels a positive change. As the more rich and foul the composting matter at the bottom of a pond, the more it nourishes the most glorious of flowers, that stand proud and pristine above the water surface, un-splashed by the (Samsaric) bustle of pond life.

Chinese ink, gesso and silver leaf on mounted board, Tashi Mannox 2002.

Illuminated Insights

noreply@blogger.com (inkessential) — Sun, 27 May 2012 19:58:00 +0000

During the world famous Hay Festival of literature and the arts situated below the majestic Black mountain's of the Brecon Beacon National Park. In celebration of the opening of the Richard Booth’s cinema, premieres an exhibition of contemporary Tibetan Calligraphy by Tashi Mannox.

The exhibition called ‘illuminated insights’ spans the last decade of Tashi’s calligraphy masterpieces, that shows a selection of his works including the large and rarely exhibited iconographic ‘Soulhouette’ pieces. Others shown are the more traditional calligraphy artworks that illuminate the wisdoms of Tibetan Buddhist themes, such as ‘The Four Contemplation’ series, as well as small insightful gems that Tashi has brushed in the various Tibetan script styles to delight the eye and stimulate the mind.

'Male Soulhouette' Chinese ink on a scroll of heavy water-colour paper, 114 cm x 206 cm Tashi Mannox 2002.

Calligraphy in the Arab Emirates

noreply@blogger.com (inkessential) — Sat, 07 Apr 2012 17:11:00 +0000

A short account of Tashi's visit to the Art & Cultural Emirates Sharjah.

A red carpet warm welcome
to the Sharjah Calligraphy Biennial 2012

Every two years the government of Sharjah holds a prestigious event called the Sharjah Calligraphy Biennial. For the second term running Tashi Mannox has been invited to exhibit his contemporary Tibetan calligraphy along-side not only Islamic calligraphy works from across Arab world but from other international destinations.

This year Tashi attended the opening celebrations where he met with eminent Sheikhs and other participants from Japan, Morocco, Norway and the USA.

More than a 100 works by 160 artists is showcased during the month of April 2012 at the Sharjah Calligraphy Biennial that is located at the Calligraphy Square Museum and the Sharjah Art Gallery.

Calligraphy Square

The opening ceremony was held in the named 'Calligraphy Square' (as above) in the old quarter of Sharjah away from the metropolis of Dubai in both distance and in contrast.

The Sheikh of Sharjah and his entourage arriving to meet the artists.

H.H. Sheikh Dr.Sultan Bin Mohammed Al Qasimi presided over the opening, taking time to see each exhibit and meet with many of the participants.

Known in short as the Sheikh of Sharjah, the Sultan who is the crowned prince and deputy ruler of Sharjah; is a great believer and promoter of the arts and cultural values of his own traditions as well as encouraging a multi cultural dialogue. Indeed if it was not for his openness and generous attention to such values, there would not be such an opportunity of such a dynamic and vibrant show of works at the Biennial as well as other events across Sharjah.

It is little wonder of the enormous love and respect entrusted by his people, that for the past decade or so the Sheikh of Sharjah has established Sharjah as the Emirates of culture as well as the building of the vast University City that boasts excellent facilities equaled if not bettered than universities of the Western World.

Tashi meets the Sultan of Sharjah to introduce his artworks.

Exhibited alongside other Islamic masterpieces in the exhibition hall of traditional calligraphy are Tibetan calligraphy works by Tashi Mannox.

To the right of a contemporary Islamic calligraphy is Tashi's piece called
"the Great Perfection of Aa"

Another of Tashi's works called "The Ultimate and Relative Truths"

With over a thousand exhibits it would be impossible to show all the artworks on this short blog post, but there were many breath-taking and outstanding Islamic calligraphy pieces, below are just a few examples.

"Prayer" Islamic Calligraphy by Mustafa Falouth, Morocco.

"If words could kill" by Ayad Alkadhi, Iraq.

"love"

Meeting with other international artist participants, from left to right: Japanese Sugi Yayoi and Takenzawa Gyokurei, Julia Vance from Norway, Tashi Mannox from the UK and Imada Tokudou from Japan.

The Japanese calligraphers went on to lead a workshop in painting giant calligraphy with huge brushes, an account of this activity can be seen here.

Sugi Yayoi stands next to one of her masterpieces, a poem that resembles a garden with the sun above.

Imada Tokudou with Tashi, flanking his Japanese calligraphy that reads "inner strength".

The young and talented American Ebon Heath explains his 'mobile' calligraphy to a Noble Sheikh at the opening of his solo exhibition. More of Ebon's poetic works can be seen here.

Another solo exhibition is from Lalla Essaydi of Morocco, who combines Islamic calligraphy with the female form producing evocative photographic pieces. More of her works can be viewed here.

Award winning Farah Behbehani from Kuwait explains her calligraphy "Tree of Life" to the Sheikh of Sharjah.

"The whole experience visiting Sharjah was a real eye opener to just how multi cultural and willing the Emirates are. In our present times of world politics and extremists, it is refreshing and heart warming to know that there is an organization such as the Sharjah Art and cultural department who contributes to bridging gaps between cultures and faiths, bringing together artists from around the world under the same desert sky.

While i was there, i had a distinct feeling of the equanimity of all people, regardless of their belief, in a way that made the world seem very small, but positively as brothers and sisters in one united family.

I was made to feel very welcome, the warmth and openness of the people of Sharjah in general was comforting. The organizers and helpers of the Sharjah Calligraphy Biennial where most friendly and helpful.

I wish to especially thank H.H. The Sheikh of Sharjah, and my coordinator Moza Ali Al Shamsi for all her work in helping make my participation possible, plus a big thank you to the team of helpers such as below with a "beard of perfection" i ever did see! and to Radhwan who chauffeured me around to all the different events with a big smile"

-Tashi Mannox

May peace prevail on Earth!

Giant Calligraphy Exchange

noreply@blogger.com (inkessential) — Sat, 07 Apr 2012 12:09:00 +0000

Uniting different cultures and art at the invitation of the government of Sharjah, UAE.

Under 'The Eye of the Emirates' at Al Oasha, as part of the many Sharjah Calligraphy Biennial events, a workshop took place on the 3rd April 2012 called "Big Calligraphy Brush" that was lead by renowned Japanese calligraphy artists including master Sugi Yayoi as she is pictured in a red blouse below.

Among other artist, Tashi Mannox was invited to create a giant calligraphy piece; here choosing a suitable brush and bucket of Japanese Sumi ink with the help of Sugi Yayoi.

Only after taking a moment to blow a wondering insect from the enormous paper, Tashi deliberated the first mark with a certain gusto.

The first letter of the calligraphy is the Tibetan letter cha ཆ་ formed in one continuous brisk stroke. Sugi Yayoi applauds !

Below which a 'ü' vowel sign is added to complete the word chü ཆུ་ meaning 'water'.

The end of the vowel sign is artfully lengthened as if the flow of water or waves, ending with a fine wisp.

And the final gesture is his signature, and with the absence of his personal seals the calligraphy was finished with three fingered print in red cinnabar seal ink. symbolizing three jewels.

Another guest to create a giant Islamic calligraphy was a noble Sheikh and participant of the Sharjah Calligraphy Biennial 2012, who managed with great care not to get a single drop of black ink on his pristine robes.

A trend of marking the finished calligraphy with a red finger-print seems to have been set by Tashi, as this noble Arab takes great delight in his finished work.

Homage manuscript

noreply@blogger.com (inkessential) — Thu, 15 Mar 2012 20:49:00 +0000

This delightful manuscript is a multi scriptural and colourful display which pays homage to His Holiness the 14th Dalai Lama bsten 'dzin rgya mtsho བསྟེན་འཛིན་རྒྱ་མཚོ། Perhaps dating from the midd 20th century, the scroll was written and presented by the monastic community at Dongrub Ling below the Himalayan town of Kalimpong, which was the last Indian trading post before Tibet on the historic silk route through to China.

The coloured canopy ornamentation called sgo Khyim སྒོ་ཁྱིམ་ incorporates the eight auspicious symbols with drapes and tassels, is traditionally placed above important titles and verses, which in this case are composed of four lined poem in praise of the Dalai Lama. These are repeated in five different script styles, which from top to bottom are

1. Lantsa Sanskrit,

2. Wartu Sanskrit,

3. Tibetan Uchen phonetics and

4. Tibetan translation in a high form of Drutsa script, flanking each side is

5. the vertical Horyig script that is translated from the Tibetan translation.

The above image shows the full length of the scroll that the majority script is an Umeh form called Tsugtung or Tsugmakhyug, a quicker hand writing style that is attractively uniformed with long flourished vowel signs.

An enlarged detail of the end of the manuscript shows that certain key words have been inked in red, which is often used to highlight a name of even to string together a hidden sentence of significant meaning relating to the content of the document.

Taking Refuge

noreply@blogger.com (inkessential) — Sun, 04 Mar 2012 20:16:00 +0000

For Buddhists and especially Tibetan Buddhists, the three fold refuge ‘Buddha, Dharma and Sangha’ is known as ‘The Three Precious Jewels” དཀོན་མཆོག་གསུམ།
This is typically illustrated as above and at the top of the below calligraphy art piece; as three round precious jewels seated on a moon disk and multi-coloured lotus flower, the three jewels are decorated with a radiating golden leaf like pattern.

To take refuge is to simply put ones trust or confidence in those who have fully liberated them selves from 'samsara' such as a Buddha, by following the Dharma teachings with the guidance of the Sangha on the path to enlightenment. Until i am free from confusion and suffering, i take refuge in the Buddha, Dharma and Sangha.

The Threefold Refuge:

The above calligraphy art piece illustrates from top to bottom four classic calligraphy traditions of India, Tibet and Ireland:

~ Sanskrit Lantsa that reads namo buddha ya, namo dharma ya, namo sangha ya.
The Buddhas teachings were originally transcribed in Sanskrit belonging to India, that has evolved over the centuries into many different forms of script styles. Lantsa was a very early such style that many of the Buddhist manuscripts were created in. It was these Lantsa manuscripts that migrated into Tibet and formed the bases from which the Buddhist teachings where first translated into Tibetan.

~ Tibetan Uchen script this is a phonetic translation of the above Sanskrit that also reads as namo buddha ya, namo dharma ya, namo sangha ya.
It is said that the Uchen script style was evolved to accommodate the translation of Sanskrit manuscripts from India, indeed there are some similarities in construction and letter forms, though Tibetan is a totally different language to Sanskrit, many original Sanskrit terms and mantras where maintained phonetically in Tibetan, as to preserve the original sound and to up-hold what was considered a sacred language, such as Latin is to Christians.

~ Petsug script that is a translation of the above in Tibetan that reads sange la chag-sal lo, chö la chag-sal lo, gendun la chag-sal lo, meaning to bow down with folded hands to the Buddha, Dharma and Sangha.
Petsug is one of many handwriting styles of Tibetan calligraphy, quicker to form than the Uchen script, it was commonly used to scribe manuscripts.

~ Celtic English script that is a translation and phonetics of the original Sanskrit.
Perhaps a sacred English script; historically the great Christian manuscripts were scribed in Celtic scripts, which did not belong only to Ireland as we know it today, but the Celtic Christian influence spanned over Scotland, Wales, England and into Europe.

Created for an exhibition in December 2012 at the Contemporary Calligraphy museum in Moscow. Chinese ink and Japanese mineral paint, 23.6ct gold leaf on Bhutanese tsasho paper, ⓒ Tashi Mannox 2012.

Another new piece by Tashi Mannox is to illustrate the 'mudra' of folded hands at prayer, painted in the way of traditional Thanka draftsmanship, there is a modern twist of folded back Western shirt sleeves and wrist watch on the traditional depicted arms and hands.
Mudra means 'gesture' above the gesture of prayer is the word 'namo' meaning homage, this is in the Sanskrit Wartu script painted in a Japanese mineral earth red, below which in Tibetan Tsugmakhyug script translates as "hands held together at the heart in the gesture of prayer".

The Fourfold Refuge:

The main body of calligraphy of the above Four Refuges piece is painted in a historic 'high' form of Uchen, inspired by a 16th century manuscript from the seat monastery 'Tsurphu' of the Karmapa Lama's in central Tibet.

The Four Refuges: 'Lama, Buddha, Dharma and Sangha' are highlighted in rust red mineral paint.

The first dark maroon characters 'na mo' in the Lantsa Sanskrit script translates as 'homage' at the end of the prayer is a 'full stop' character in the same Lantsa Sanskrit script.

The smaller lettering in red also at the end of the refuge prayer, translates as "the four fold refuge"

In the Tibetan Buddhist system the Lama or Guru has become an equaled source of refuge, who a realized personal known as a 'root' teacher who has the ability to guide and point out the nature of ones mind, is called a Lama.

"namo guru benza dhara Ye"

Pronouncing the Tibetan alphabet

noreply@blogger.com (inkessential) — Wed, 29 Feb 2012 08:53:00 +0000

Watch and listen to the pronunciation the Tibetan alphabet, illustrated in the Tsugring script style.

Punctuation treasures

noreply@blogger.com (inkessential) — Sun, 26 Feb 2012 13:41:00 +0000

“Terma Motif “

'The indivisible unity of means and wisdom'

Chinese ink and mineral paint on Bhutanese tsasho bark fiber paper, soaked in vermilion orange Japanese ink.
35x52cm. ⓒ Tashi Mannox 2012.

The above art piece features a sign; made up of two small circles and a crescent moon shape ༔ is known in Tibetan as a Ter-tseg གཏེར་ཚེག་ When used as a punctuation mark at the end of a line of text or mantra, this tells us that the origin of the mantra or manuscript is a spiritual treasure called a Terma གཏེར་མ་ hidden by Guru Rinpoche or Yeshe Tsogyal for the benefit of future generations.

A Terton is a title given to a spiritually realized person of the Guru Rinpoche linage who has the ability to discover or reveal Terma.

According to the vision of Terton Taksham Nuden Dorje, it is said the two circles symbolize means ཐབས་ and Knowledge/wisdom ཤེས་རབ་ and the crescent moon between them represents their indivisible unity ཟུང་དུ་འཇུག་པ། Although the Ter-tseg as a punctuation mark can also be written as only two ཿ circles without the crescent moon, such as Terma manuscripts from Mindrol Ling.

In the case of a Tibetan manuscript that is not a Terma, the ending of each line of text or mantra is a single vertical stroke called a shad ཤད་ = །

The Ter-tseg sign can also be called namche རྣམ་བཅད་ However, identical in appearance, it plays a different role in Tibetan scriptures. The namche has its origins in Sanskrit as two dots and can usually be found suffixed to singular syllables, such as the Sanskrit syllable hrīḥ ह्रीः Which in the Tibetan phonetics is written ཧྲཱིཿ

In Sanskrit the two small circles called a visarga, has the effect on the root syllable of changing the pronunciation with a light out breath, that has been somewhat lost in the Tibetan pronunciation.

An example of the uses of both Ter-tseg and namche within the Tibetan written language is with the mantra of Guru Rinpoche, as shown below. Two circles are present with the second syllable of the mantra ཨཿ which originates from Sanskrit. The Mantra is then finished with a ter-tseg ༔ announcing that the mantra is of Terma in origin.

ཨོཾ་ཨཿཧཱུྂ་བཛྲ་གུ་རུ་པདྨ་སིདྡྷི་ཧཱུྂ༔

With thanks to the knowledgeable Jayarava for contributing to this short post.

Iconographies of Dharma

noreply@blogger.com (inkessential) — Sat, 25 Feb 2012 18:06:00 +0000

Photograph by Rebecca Von Ommen.

America based 'Integral Life.com' Launches a new gallery called 'integral calligraphy', featuring a select 25 pieces of Tashi Mannox's works spanning the past decade.

Michael Schwartz writes:

Calligraphy is the art of beautiful writing, the art of exquisite hand-written linguistic marks. Such is the aesthetic impact of the script that the verbal meaning need not be understood for the calligraphy to shine forth in profound significance.

Many world-historical cultures have evolved ramified calligraphic traditions, perhaps most well-known being those of Asia and Islam. Less popularly acknowledged amongst the Asian traditions, Tibet has its own remarkable lineages of calligraphy.

Tashi Mannox, an Englishman, and for many years an ordained Buddhist monk, has trained for decades in the arts of Tibetan calligraphy. Today he preserves this tradition as a vehicle to communicate and transmit dharma, all the while adapting and updating his approach within and for contemporary contexts. He identifies three streams in his work: (1) contemporary and traditional; (2) contemporary black on black, and (3) illuminated iconography.

In honoring contemporary contexts and concerns, some of his designs are presented as sacred tattoos. With certain commissioned work he offers the option of including bespoke seals that are specific to the calligraphic project and its patron. In all cases Tashi's art is an expression of his long and devoted meditative practice and spiritual realization, such that his art energetically transmits the Tibetan Buddhist View.

Several of the circular designs in the present exhibition approach the status of calligrams—the arrangement of script to form a picture—a device most often associated with strains of Islamic artistic practice and with experiments in Western modernism aligned with the poet Guillaume Apollinaire. A work like Emanate from Emptiness and Samsara—Cyclic Existence visually articulates the verbal meaning in a picture-like manner, amplifying rather than compromising the calligraphic beauty and integrity of the script itself. Indeed, the variety of Tashi's approaches is astonishing. With a work like Primordial Purity, Golden World, the pictorial is no longer built up from the script, but is an image in its own right, aspects of the script incorporated then meaningfully and expressively into the image. With Hum, Jyo-Protection, the mark-making itself is of a refined exquisite delicacy, the script streams and seals composed on the page to generate extraordinarily aesthetic coherence and expressive nuance.

Grounded thoroughly in the pre-modern Tibetan tradition, incorporating modernist visual schemes, and being multi-cultural and postmodern in drawing on other calligraphic lineages such as the spatial awareness proper to Zen calligraphic practice (while preserving the Tibetan core of style), Tashi Mannox's art is an authentic and exemplary instance of an integral calligraphy for our age.

February 2012

Drawing Dragons

noreply@blogger.com (inkessential) — Thu, 23 Feb 2012 09:28:00 +0000

Good Wishes for the year of the Male Water Dragon 2012......

"According to the astrological qualities of the Males Water Dragon, this year is set to be a strong dynamic year of activity, though special attention is needed to not to let projects run out of control. Indeed the posting of my Losar Tibetan new year good wises to everybody is a day or two late because i simply did not have the time away from an already very busy schedule of exhibition dead-lines and commissions to be completed.

The above drawing, is a study in preparation for a larger art piece of a 'water Dragon' that i plan to complete this year, but would have been nice if i had the chance to complete the piece in celebration of the Tibetan new tear.
The Eastern Dragon has been beautifully depicted over the centuries and differ stylistically from one country to another nation. This mythical beast representing wisdom and power of the elements; is full of symbolism and complex in iconography, that personally has always intrigued and challenged me to draw well."

-Tashi Mannox 23rd February 2012