RELATED TIBETAN SCRIPTS

Buddha Nature and Creativity

noreply@blogger.com (inkessential) — Thu, 28 Jun 2018 17:41:00 +0000

Dharma Art with Tashi Mannox. - A report from Lama Shenpen Hookham.

Lama Tashi Mannox’s Dharma Art workshop with the Awakened Heart Sangha was a great success in all sorts of ways. I enjoyed talking to Lama Tashi in depth about what creativity means in terms of Buddha Nature and how to translate the English idea of creativity in Tibetan. There doesn't seem to have one word for all that creativity means for us in English. I came up with various words that touched on the areas such as lhundrub - ལྷུན་གྲུབ། (usually translated as spontaneous because it is not caused, being complete in itself, all of a piece with the Totality of everything), tsal - རྩལ། (often translated as creative power or essence, the characteristic or intrinsic skill, ability or virtue of a thing), rolpa - རོལ་པ། which is usually translated as play (in all its senses), and gyen - རྒྱན། ( adornment, beautifying feature of a thing). I explained to him what Rigdzin Shikpo teaches about the arising of insight being a movement between the three, tsal, rolpa and gyen. See below.

Lama Tashi’s workshop introduced us to the painting of a circle, called an Ensō in Japanese. The way he teaches it is very similar to how Trungpa Rinpoche taught about the Ashe, the single stroke in his Shambala teachings. Lama Tashi is very inspired by Trungpa Rinpoche’s teachings in general and Dharma Art in particular. He himself trained for eighteen years with Sherab Palden Beru, a very famous Thangka painted who used to live in Samye Ling. He passed away a few years ago aged 101 and was a week in Tukdam (the after death meditation state of great yogins).

Lama Tashi is a world renowned master of the art of Tibetan calligraphy and gets invited to give exhibitions and demonstrations all over the world. We are very lucky to have had this chance to work with him at the Hermitage and look forward to his coming again.

He talked about integration of body, heart/mind, and the environment giving us various exercises to help us link into the vast spaciousness of our being and of Reality itself. The whole exercise of painting an enso expressed this integration and for this we needed confidence. It became very clear as he talked that he was talking about learning to really trust the heart wish, openness, clarity and sensitivity in a direct, precise and spontaneous way without the interference of thought and effort to control the outcome. In this way it was a practical demonstration of all the DHB principles. Meditation in Action.

One feature of this was confidence of the right kind. Not copying something or trying to impress but being very simple, honest and genuine and it involved cutting through fear, letting go of attachment to outcome, integration of inner sphere outer sphere and creative intermediate sphere, integration of clear intention, skill in knowing and using your materials, trusting the spontaneous completeness of the integrated whole.

He gave the example of how the Bhutanese shoot the arrow in archery. They shoot without looking at the target yet can hit it every time. Many years ago Trungpa Rinpoche gave the example of a potter throwing clay. When you throw your clay at the centre of the wheel, you create a perfect pot every time. It is about perfection and beauty that is the wholeness and truthfulness in the execution of the work. It is simply what it is and not pretending to be something else.

This means your intention and vision for the work is clear and complete before you put brush to paper, but how it actually turns out is still a surprise as if it had a life of its own..

The opposite is trying to control the outcome by means of the judging mind that kills the creativity, sensitivity and responsiveness and produces something dead and not beautiful.

What is this creativity in Dharma terms?

Rigdzin Shikpo talks about how insight arises from the play (rolpa) of the mind that has the creative ability or skill (tsal) that can be trained and developed to find (recognise, home in on, spark) beauty (gyen). Insight arises this way be it in mathematics, art or Dharma itself. Play in all senses is needed – relaxation, playfulness, the right touch, willingness to let go of control, restraints, inhibitions and so on. It is play that allows us to find beauty and there is an immediate feed-back as we recognise beauty be it in a mathematical solution, in a work of art or in the truth of the Dharma. We know intuitively that it’s true, right and beautiful before we start to think about why and how. We know in a complete and spontaneous way that just happens. It is nothing to do with us in a way. It arises itself without conceptualising it. This completeness that cannot be analysed but which we know intuitively by its beauty is what lhundrub - ལྷུན་གྲུབ། means. It is all-of-a-piece and cannot be broken up into components. Looking at it after it has been created as if from a single seed of inspiration, one can use many words to describe or explain it. In itself however it is beyond the words that point to it. There is nothing separating the creative inspiration, the artist who expresses it and the creation that expresses that inspiration. It communicates itself to the receptivity (tsal) of another person who shares that sense of non-separation and wholeness. They will feel the beauty and this helps them develop their skill (tsal) for recognising truth and beauty.

In Dharma terms we are talking about the lhundrub qualities of the true nature of the chitta (sems, heart/mind). This is known as the Buddha Nature. These are not qualities that can be analysed and separated from the thing qualified. They are inseparable from the nature of chitta in the sense that if we access the true nature of chitta we will access the source of all the qualities. When we say inspiration in English we are talking about a kind of insight into something beyond words which we then express in some way, maybe in words, art, mathematical formula or self-transformation/liberation.

You could say that ultimately all creativity – truthful or distorted - originates in the true nature of chitta, the openness, clarity and sensitivity of our being.

Over the week-end we noticed that as we held our paint brush over the unblemished sheet of expensive white paper, we felt a sense of excitement and even fear as we made the decision to put brush to paper and complete a circle (Japanese ensō).

I was amazed and delighted by the way Lama Tashi could look at each of our first faltering efforts to create an enso and use them to reflect back to us in positive terms its unique quality – every enso captures a unique moment and in that sense is a whole story in itself. He would then somehow magically transform our work by the placement of the red seal and signature – to bring out that special quality. Watching him do that was a lesson in itself. As was watching him produce his own pieces, together with seal and signature – it produced a visceral learning experience – quite wonderful! All this is not something that just applies to art. It applies to how we live and how we do anything in life - This is what Dharma art is all about.

Thank you Lama Tashi and I look forward to working with you more.

- Lama Shenpen - 27th June 2018.

ལྷུན་གྲུབ། - lhun-drup, gyen, tsal and rolpa - free brush calligraphy - Tashi Mannox -
Created at the AHS Hermitage, June 2018

The original artwork of the above is available here.

Follow here for more images and recordings of this Dharma Art workshop

Dharma Festival - 11th to 15th July 2018

noreply@blogger.com (inkessential) — Tue, 01 May 2018 19:10:00 +0000

Especially created for Dharma Festival 2018 - All Seeing Buddhas Eyes -
Heavy watercolour paper, 152cm x 122cm, pure gold leaf and Japanese ink.

The second Dharma Festival at Gaunts House, offers a range of fascinating performances, workshops and exhibitions with an opportunity to relax in the peaceful environment of the garden and park in the middle of the Dorset countryside.

Arrive on Wednesday 11th July and set up your tent in the glorious grounds of Gaunts House.

The MONKS FROM TASHI LHUNPO MONASTERY will be starting the construction of a Sand Mandala in the Tantric tradition of Tibetan Buddhism, and there will be an opportunity to watch the opening ceremony.

For more details and to book to take part, please follow the link here.

As well as the Tashi Lhunpo Monk's sacred (cham) Lama Dance performance, there are Teachings and Talks:

'Rebirth, Reincarnation and the Path to Purifying the Mental Continuum',

Tenzin Dechen Rochard;

Sika Deer: Spiritual Journeys; Michael Ormiston and

Candida Valentino Mongolian Khoomi singing,

Olu Taiwo: Animal Spirit Dancing;

Tashi Mannox: workshops and Tibetan calligraphy exhibition;

Nigel Shaw and Carolyn Hillyer: Performances and workshops; Tibetan Art, Sand Mandala, Drumming, Yoga, Tai Chi and Much More!

Tashi's exhibition of the original calligraphy artworks, which feature in Sacred Scripts, will be on show in the Sand-Mandala scared space, along with the above large All Seeing Eyes of Buddha art piece.

Special limited boxed editions of Sacred Scripts will be available with a book signing opportunity after Tashi's workshop on the weekend. Limited edition giclée art prints of the Sacred Scripts works will also be on sale at a discount price.

The Meditative Scribe

noreply@blogger.com (inkessential) — Mon, 22 Jan 2018 12:55:00 +0000

Tashi Mannox returns to New York with The Meditative Scribe - a retrospective exhibition of contemporary Tibetan calligraphic art.

The exhibition includes both original artworks and limited edition giclee art print spanning over the past two decades. A variety of art pieces demonstrate not only the rich diversity and beauty the Tibetan calligraphy traditions has to offer, but also spiritually meaningful iconography of Tibetan Art.

Tashi Mannox, once a Buddhist monk himself for 17 years of his young adult life, is now celebrated as the world foremost Tibetan calligraphist and Dharma artist, with an ability to communicate the integrity of ancient Buddhist wisdoms, while presented palatable for the 21st century, as relative today as it was historically beneficial.

Learn the art of writing beautiful Tibetan Calligraphy with Tashi Mannox.

Introducing the traditional geomantic guidelines of the classical Uchen script - Tashi leads a comprehensive two days course in how to correctly construct the letters of the Tibetan alphabet, vowels signs and subjoined letters.

Workshops are suitable for beginners who wish to master wielding a pen for a firm foundation in writing elegant Tibetan, as well as for those more advanced who wish to further their skills in Tibetan calligraphy.

Please bring with you a pad of good quality paper and square nib calligraphy pens, pencil and rule.

To book a place on the workshop, please follow the link here.

- The Trace Foundation - 132 Perry St, #2B, New York 10014.

EXHIBITION
Friday, February 9
Exhibition Opening Reception 6:30 - 8:30 pm

February 13 - March 3
Exhibition Open
Tuesday -Saturday 11:00 am - 5:00 pm

WORKSHOP
Saturday, February 10
Workshop 11:00 am - 5:00 pm
Sunday, February 11
Workshop 11:00 am - 4:00 pm

American program 2017

noreply@blogger.com (inkessential) — Thu, 20 Apr 2017 05:17:00 +0000

East Coast America program of events April - May 2017

22nd April - As part of their Om-Lab series, a lecture at the Rubin Museum: Sacred Syllables and their Sounds followed by a book signing: http://rubinmuseum.org/events/event/sacred-syllables-and-their-sounds-04-22-2017

26th April - A Shang Shung fund raising event: Tashi demonstrates the art of Tibetan Calligraphy with auctioned pieces created: https://tibethouse.us/event/live-auction-fundraiser-shangshung-dzogchen/

27th April - Calligraphy demonstration and talk; Scripts of Heart and Mind at the Trace Foundation, explaining the historical development and the richly diverse variants of the Tibetan Written language systems : http://www.trace.org/events/scripts-heart-and-mind

3rd May - A lecture at the Rubin, The Painted Mantra: http://rubinmuseum.org/events/event/the-painted-mantra-05-03-2017

Sacred Scripts launch program of events

noreply@blogger.com (inkessential) — Wed, 28 Sep 2016 21:05:00 +0000

This new publication Sacred Scripts - A Meditative Journey Through Tibetan Calligraphy, is the collaborative output of Tashi Mannox and Robin Kyte-Coles.

Mannox, one of the world’s foremost contemporary calligraphy and iconography artists, spent two decades as a Tibetan Buddhist monk.

Kyte-Coles, a distinguished photographer specialising in images of the Buddha, has travelled the globe in pursuit his sacred subject matter.

In this beautifully presented 156 paged book, they have consorted to bring their art under one roof. It endeavours to give insight into the wealth of Buddhist wisdom and to explore the ancient and diverse writing system of Tibet, whilst making its own modest contribution towards this tradition’s continued preservation.

Endorsed by H.H. Dalai Lama (see letter below) - Mandala Earth Editions. Available to order on-line. ISBN: 978-1608878796

Sacred Scripts is launched this October 13^thin America, NY State, during the Woodstock film festival, where Tashi will be present for book signing at The Golden Notebook on Sunday 16^th October

You may also catch up with Tashi on 23^rd October book signing, talk and calligraphy demonstration at the Jacques Marchais Museum of Tibetan Art, Staten Island, NY.

In the U.K. A premiere exhibition of the original calligraphy works that feature in the book will be shown at The Table Hay-on-Wye. 23rd Nov - 3rd December 2016.

On Sunday 27th November, Tashi will also bring to The Table a workshop:
'A Meditative Approach to Creativity' where participants are invited to bring their hand and heart of awareness in creating an ensō*

He will explain the historical and contemporary sacred integrity of Tibetan Calligraphy and mark-making, and how to unite heaven and earth through the creative process of spiritual practice in art - as a means of liberating the mind.

To book a place on this limited numbered workshop, please visit the Hay Festival website here.

Tashi will also be present during the exhibition at the Table for special edition book signings.

*an ensō is a disciplined-creative practice of traditional Japanese Zen ink painting, a circle that is hand-drawn in one uninhibited brushstroke to express a moment when the mind is free to let the body create.

A prime selection of the calligraphy artworks that feature in the book are available as limited edition gicleé art prints. Please visit the website here to order a print.

'The Absence of Hatred Leads to Peace'

“For hatred can never put an end to hatred; love alone can.

This is an unalterable law”

As spoken to Kali in the Jetavana Grove, The Darmmapada.

Short tailed Tsutung script with a large bodhi leaf decorated heading character.

Thönmi Sambhota Thangka

noreply@blogger.com (inkessential) — Mon, 25 Apr 2016 16:27:00 +0000

Thönmi Sambhota Thangka description

This is a traditional thangka* painting, which was especially commissioned by Tashi Mannox on the rarely depicted great calligrapher and scholar Thönmi Sambhota.

Sambhota is reputed to be a historical figure responsible for developing the foundation of the Tibetan writing systems in the seventh century A.D, which form the basis of the Tibetan language today. See below for the History of the Tibetan Writing System.

In this thangka, Thönmi Sambhota is shown as the main figure wearing traditional attire of a Tibetan layperson, though wears a white turban in reference to his many years spent in Northern India studying chiefly Sanskrit with Brahmins and Pandits.

He holds in his lap a tablet inscribed with a rendition of a Mani mantra, oṃ maṇipadme hūṃ, which was presented to Dharmaraja King Songtsen Gampo as the first sample he created of the Tibetan Uchen script. The original writing of this mantra was carved on a rock in Rigsum Gompo temple in central Tibet, which was unfortunately destroyed during the Cultural Revolution.

On a table before Sambhota are laid out calligraphy implements such as ink and bamboo pens, cut from the bamboo grove behind him. Tibetan manuscripts also sit before and behind referring to Sambhota’s scholarly achievements and the Tibetan grammar and punctuation he composed.

Emanating from Sambhota on rainbow beams are two golden disks marked with the letter Aa ཨ the last letter of the Tibetan alphabet, which is also considered the essence and expression of the entire alphabet in one. On the left is Aa ཨ in the classical Uchen script and on the right is the same letter Aa ཨ in the Umed class of scripts. These represent the two main groups of script styles he created and still in use to the present day.

The thangka painter Sahil Bhopal entrusted Tashi to personally add the two principle letters Aa ཨ to the golden disks, as well as the Mani mantra within the thangka.

To Sambhota’s below right is a student in practice of calligraphy. While above is a scene of nature, more typical of the Karma Gadri style of thangka painting, with trees and a cascading waterfall bringing prosperity.
In the far distance are five mountains of Manjushri, the deity of learning, or can also represent the five Wisdom Buddha families.

In the sky above is Sakymuni Buddha, who crowns Thönmi Sambhota representing his Buddhist belonging, and motivation to benefit all.

- Painted by Sahil Bhopal of Flying Whale Art studio, India

*Tibetan thangka painting is one of the great arts of Asia. A particular stylistic development of painting in natural mineral media, normally on cloth which is mounted in a brocade frame, designed to role up as a portable scroll.

Thangkas are typically rich in iconography of their religious content that communicate the highest Buddhist ideals, often as a visual aid to be meditated upon or to depict historical figures and spiritual events. For a Tibetan Buddhist, thangkas are considered inspirational sacred paintings in their physical support to a practitioner as an embodiment of enlightenment.

- Tashi Mannox

History of the Tibetan Writing System

It was during the seventh century reign of Tibetan King Songtsen Gampo, and under his direction, that the first iteration of what would become the modern day Tibetan written language came into existence. Prior to this Tibetans had used Mayig, a comparatively rudimentary system. But Songtsen Gampo was faced with the task of translating the wealth of existing Buddhist Sanskrit texts into Tibetan, and needed a coherent writing system with sufficiently rich symbolism. He turned to minister and great scholar, Thönmi Sambhota, who along with sixteen other wise ministers travelled to India to study Sanskrit. Only Sambhota would return suitably qualified. His journey had proved fruitful, however, and a new Tibetan writing system, based loosely on Indic Sanskrit was established. It is worth noting that the Tibetan spoken language remained the same; only written language was renovated. Sambhota had conceived an alphabet and standardised writing conventions, including grammar and punctuation, and would later also produce the first iteration of both the Uchen and Umed forms.

Different script styles developed over the next several hundred years. In the early ninth century the Tibetan script underwent another transformation and ‘Old Tibetan’ was standardised to ‘Classical Tibetan’. One thousand years passed, yet Tibetan calligraphy persevered, steadily evolving towards its contemporary form. By the nineteenth century the models of Uchen and Umed, the two main Tibetan script styles, had ossified and bore the exact proportions still in use today.

Tibetan Calligraphy & Tibetan Buddhism

From the offset, then, a notable bond existed between the Tibetan writing system and Buddhism – its creation being motivated primarily by a need to conserve and decipher Sanskrit Buddhist manuscripts. To limit calligraphy and Tibetan Buddhism (and by association Tibetan culture’s) connection to simply a functional conception, however, does not do justice to their relationship. The two are largely inseparable and have remained so to the present day. Tibetan Buddhism is considered a ‘live’ tradition, comprised of many lineages in which a master will impress the totality of a line’s knowledge on a disciple. The lineage is also considered fluid, as the disciple then realises the wisdom of these teachings through meditation. Clearly, the academic and meditative aspects of Tibetan Buddhism are closely linked. Calligraphy’s role in this relationship as a key by which existing Buddhist teachings are unlocked compounds its status. Developing a written language certainly also had administrational benefits for the empire, with its use in legal and historical documents.

-Luke Purdye

Sharjah 7th Calligraphy Biennial 2016

noreply@blogger.com (inkessential) — Tue, 12 Apr 2016 10:08:00 +0000

Tibetan Calligraphy in the UAE

'Sphere of Dharmata' Tashi Mannox 2016

Sharjah Calligraphy Biennial has always been known to be of one of the most remarkable events taking place in the region. It aims at revealing the power of the letter in bringing cultures together. Through predominantly Arabic Calligraphy from contemporary artists across the Islamic world, there are over 206 calligraphy artists taking part, including other calligraphy masters of different cultures and traditions, totalling of 683 works.

Sharjah is the neighbouring state of Dubai in the United Arab Emirates. It is celebrated for its vast internationally attended universities and museums of the arts and Islamic culture.

So if you find yourself in Dubai Between 6^th April – 6^thJune 2016 why not take the short drive to the Sharjah Calligraphy Museum to feast your eyes on the marvels of Islamic and other calligraphy disciplines of the world.

For the Sharjah Biennial in general, exhibition sites are a range of venues including the Sharjah Art Foundation Art Spaces, the Sharjah Art Museum, and the nearby traditional buildings and courtyards of the Arts and Heritage areas.

This is the third Sharjah Calligraphy Biennial that Tashi Mannox has been invited to partake, this time exhibiting two of his Tibetan calligrahy pieces especially created for this event, as seen above and below.

'Born of Bindu' Tashi Mannox 2016

Tibetan Calligraphy Retreat 2016

noreply@blogger.com (inkessential) — Sun, 03 Apr 2016 13:55:00 +0000

The view of Hay Bluff from the retreat centre

Tibetan Calligraphy Retreat with Tashi Mannox

16^th – 22^nd July 2016

-- Limited Spaces available --

After last years very successful and joyous Tibetan Uchen Calligraphy Retreat, Tashi presents a unique opportunity to thoroughly learn the art of Tibetan Umed handwriting. Again held in the conducive and beautiful border countryside of Wales.

During the six-day (seven nights) calligraphy meditation retreat, Tashi will instruct how to properly construct the Tsugtung Umed script, from the foundation of the alphabet through to the many subjoined letters, onto forming words and sentences in a coherent and beautiful formation. The remaining days of the course will focus on forming traditional mantras as well as seed syllables as a useful aid to Buddhist visualisation practices.

There will also be meditation instruction and daily sitting practice that will help calm and prime the mind for the optimum approach and application, which is considered at the core of learning and creativity.

For the more dedicated practitioner, this course provides a discipline that lays a firm foundation in the art of Tibetan calligraphy. Suitable for beginners as well as those who wish to improve their already acquired handwriting skills.

It would be helpful for first-timers to at least become familiar with the Tibetan alphabet in the Uchen script before attending the course.

Tibetan Uchen Calligraphy Retreat 2015

Location: The blessed abode of Karma Dechen Choling at New Inn Brilley is situated on the Welsh, Herefordshire border. Described as being ‘unique, authentic and a little bit quirky’ it boasts magnificent views across the Wye valley toward the majestic Black Mountains of the Brecon Beacon National Park, that evokes an ideally peaceful retreat atmosphere of clarity and focus.

Alastair Sawday B&B award winning New Inn at Brilley offers a variety of charming accommodation options to suite most needs, from camping, shared dormitories to the 'Self-catering suite' (though you will be catered for during the retreat) as well as the luxury of the Rose Pink and Mustard Yellow double bedrooms in the old Inn.

Please see price tariff below. To choose the type of accommodation you would be most comfortable with, please look into the website of New Inn Brilley.

Please note that the Rising Sun, Wagon over the Valley, Angles and Mother Earth accommodations are not available in the calligraphy retreat package, all other accommodation types have been kindly offered at a 20% concession, making the course more affordable for all.

It may also be possible to book accommodation before and after the official course schedule, however costs will be at the regular prices as stated on the New Inn Brilley website.

There are also local B&B’s within a few minutes drive as well as many more in the near-by picturesque town of Hay-on-Wye, see below for course fees for ‘Attending course from outside of New Inn’.

All-inclusive prices for six-day course per person:

One person in double room - £595. booking deposit: £238 GBP
Two people sharing same double - £485 each. booking deposit: £194 GBP each.
Single in dormitory - £495. booking deposit: £198 GBP
Camping - £372. booking deposit: £148 GBP
Attending course from outside of New Inn - £330. booking deposit: £132 GBP

Meals and refreshments are included in the course fee. Please let known any special dietary requirements prior to your visit. Food will be vegetarian.

To book: Please contact Tashi by email contact@tashimannox.com to check availability and secure your place. Course capacity and accommodation is limited. A booking deposit of 40% or in full is required as indicated above. Remaining paid within one months prior to arrival: (June 16th)

Cancelations: booking deposit will not be refunded after June 16th.

How to get there: By public transport, the nearest Local train station is Hereford with direct links from London Paddington. Across from Hereford station concourse is a local 39 bus, Brecon service*1 alight at Hay-on-Wye, taxi*2 ride of 8 minutes from Hay-on-Wye to New Inn at Brilley.Please follow the link for map and directions by car.

What to bring: As the British weather is unpredictable, you may need clothing to suit cooler wet days to pleasant hot dry days, so flip flops and Wellington boots.

Please bring personal art materials, such as calligraphy pens*3, a straight rule, pencil, pencil-sharpener and eraser. Three to four A3 size pads preferably water-colour paper is advised, as working on a larger scale is better for learning and for best results.

3* Suggested pens can be a range of different size italic felt tip calligraphy pens, or more professional Pilot Parallel Pens in a range of different nib sizes, available on the Internet with ink cartridges.

1* 39 buss timetable: https://www.hayfestival.com/wales/downloads/39_010409.pdf

2* Local Taxi: Mike 07881 726547

Course Program:

Arrive by Saturday 16th

7 pm supper.

Sunday 17th

8 am sitting meditation followed by breakfast between 8.30 and 9.30 am.

10 am Welcome and Introduction talk.

11.30 tea-break

11.50 calligraphy session.

1 – 2 pm lunch

2.30 calligraphy session

4 pm tea-break

4.20 pm Meditation explanation and practice.

7 pm supper and free time until bed.

Daily Schedule:

8 am sitting meditation followed by breakfast between 8.30 and 9.30 am.

10 am calligraphy session.

11.30 tea-break

11.50 calligraphy session.

1 – 2 pm lunch

2.30 calligraphy session

4 pm tea-break

4.20 pm meditation and calligraphy practice/talk.

7 pm supper and free time until bed.

Saturday 23rd

8 am sitting meditation followed by breakfast between 8.30 and 10 am.

Depart New Inn Brilley before 12 noon.

Dharma King

noreply@blogger.com (inkessential) — Mon, 22 Feb 2016 09:29:00 +0000

H.H. 16th Gyalwang Karmapa, photograph Peter Mannox.

From the forward:

"For a very long time, I have wanted to do something to commemorate the 16th Gyalwang Karmapa, Rangjung Rigpe Dorje. Although it has taken me so long to do something that honors his memory, it is a great privilege for me to be able to produce this book now.

The aim of this publication is not merely to collect historical images, but to produce certain feelings and emotions. This book should serve as something impervious to the processes of birth and death, allowing us to know and to feel that we have never been parted from the 16th Gyalwang Karmapa – that he is in fact with us still.

For those who did not have the great fortune to meet him themselves, I hope this book offers a glimpse of what it meant to encounter him personally. The 16th Gyalwang Karmapa seldom gave Dharma teachings through words, but taught intensively through physical gestures, and tamed beings through his mere presence. As a tribute to this special quality of the 16th Gyalwang Karmapa, this book offers these images as a basis for experiencing his physical presence.

One of his major activities was to liberate all those who saw him, as he did when donning the Black Crown, so there is undoubtedly great value in any visual connection made with him. I make aspiration prayers that all those who see these photos or hold this book in their hands may receive the full benefit of his actual presence.

Great beings are not born great, but in the course of their lifetime from birth to parinirvana, their activities naturally come to reflect their greatness. These photos reveal the gradual unfolding of an astonishing range of activities, all accomplished in one far-too-short life. Among his many life achievements, the 16th Karmapa presided over the Karma Kamtsang lineage during the tumultuous transition from its traditional bases in Tibet into diaspora, where it was no longer supported by the traditional culture and geography of Tibet.

He ensured that his heart sons and the other lamas upholding the Karma Kamtsang all had a sound base in Sikkim after their escape from Tibet, and provided them with leadership, hope and a vision for the future in a land that was new and alien to them. Except through sheer spiritual power and fierce commitment, it is hard to imagine how anyone could bring the lineage through such radical changes intact, much less lead it to flourish. Yet looking at these photos, we can feel clearly the spontaneous joy of his perseverance, which makes his accomplishments seem so effortless.

I am deeply inspired by the 16th Karmapa’s resilience in the face of these obstacles. I take courage in how much he could achieve despite the great adversities he faced.

When we look at these photos, we are gazing back at a golden age that prevailed under the leadership of the 16th Gyalwang Karmapa. We may yearn to return to those golden times, when the lineage was whole and united. I myself look on that period with great longing, and am constantly praying that we can enjoy again that time of harmony and wholeness. Just as the images of all the places he visited and the people he met are united here in these pages, my heartfelt aspiration is that we can all join together to work side-by-side to benefit the beings of this new century. I pray that this happen soon; the magnitude of the suffering of beings is too great, and the social and environmental challenges facing the world today are too heavy for us to bear separately, and can only be fully addressed if we are united.

The idea of publishing such a commemorative volume was originally conceived as part of the Karmapa 900 celebrations, but due to the enormity of the task of researching and collecting all the images, it required until now to complete. I would like to express my thanks to all those who helped in creating this book, especially to Damchö for undertaking this project on my behalf, and to Louise Light for all her work in designing the book, as well as to the generous sponsors and to all those who contributed photographs."

- Ogyen Trinley Dorje, The 17th Gyalwang Karmapa

This book is Available here.

A Garland of Syllables

noreply@blogger.com (inkessential) — Mon, 11 Jan 2016 09:30:00 +0000

Kagyu Samye Dzong in Brussels presents a weekend workshop in how to properly calligrapher mantras and seed syllables with Tashi Mannox.

10 am 20th - 21st February 2016

Learning how to write mantras and syllables to their ordered sacred proportion; participants may find this course particularly illuminating and useful as a visualisation aid, especially for sadhana practitioners within the Tibetan Buddhist tradition.

Tashi will also explain the meaning and symbolic significance of mantras and seed syllables within the relationship between their Tibetan and Sanskrit origins, exploring the quality of sound and visual integrity; which are considered transformative in body speech and mind.

This workshop is perhaps for the more advanced, though if you are artistically able; it can be a fascinating journey into the beautiful forms of sacred calligraphy. The Mantras and seed syllable will be constructed in the classical Uchen style of Tibetan writing.

To book, please contact Leila, the course coordinator on leila.zitouni55@gmail.com for Info and registration.

Calligraphies in Conversation 2015

noreply@blogger.com (inkessential) — Mon, 30 Nov 2015 19:21:00 +0000

Ziya Art Centre hosts its second Calligraphies in Conversation International Exhibition in multiple locations across Northern California between November 7th - December 12th 2015.

This year, over 70 artworks is curated out of over 250 submissions from local, national and international artists and calligraphers including Canada, Czech Republic, Egypt, France, Italy, India, Indonesia, Iran, Pakistan, Russia, Turkey, UK, and USA. A range of diverse traditions and scripts will be exhibited, with an array of Western, Chinese, Japanese, Tibetan, Arabic, Persian, Turkish, Hebrew, and Indian traditional calligraphy artworks as well as manifestations of calligraphy in some contemporary and abstract art pieces. The exhibition will host a wide assortment of medium including calligraphy with traditional tools, painting, pottery and ceramics, digital arts and 3D printing, mixed media, metal art and jewellery, collage, and installation.

This is the second occasion Tashi Mannox has been invited to exhibit at the Calligraphy in Conversation event - this time showing one of his more major art-pieces called the Five Coloured Hum.

The Five Coloured Hum -

The main character hum is colored relating to the five Buddha families and their respective colours. This particular system is in accordance to the teaching of Chogyam Trungpa. (on Hum: “an approach to Mantra” from the collected works Vol 5)

1. bindu head ‘m’, red in colour, Buddha of all accomplishing wisdom.

2. crescent moon, green in colour, Buddha of all encompassing wisdom.
3. ‘ha’ body, white in colour, Buddha of mirror-like wisdom.
4. small ‘a’, yellow in colour, wisdom Buddha of equality.
5. ‘u’ vowel, blue in colour, Buddha of discriminating wisdom.

The Petsug text in Dutch gold leaf is from another text on the Hum character called:

‘The prayer for the realisation of Hum’.

‘Although the enlightened awareness of all the Buddhas of the three times without exception is innately pure, spontaneously established, and beyond description, imagination or expression, the unimpeded union of luminosity and utter lucidity within the Hum, within the self-radiance of the five poisons, uninterrupted pristine cognizance.

Translation by Eric Tsiknopoulos

Here is the list of the venues:

- November 7th, 5 – 8 p.m. at ICCNC at 1433 Madison Street, Oakland CA 94612

Free opening reception ceremony with remarks, refreshments, and panel discussion and calligraphy demonstration by award winning international calligraphers including:

- Ronald Y. Nakasone: Master in East Asian literati tradition and a member of the Core Doctoral Faculty at the Graduate Theological Union (GTU)

- Arash Shirinbab: Award winning artist and Arabic-Persian calligrapher

- Amol Saraf: Award winning artist and tribal Indian calligrapher from India

- Leon Sun: Printmaker, photographer, painter, graphic designer, three-dimensional artist, writer, poet

- November 14th, 2 – 5 p.m. at Oakland Main Public Library at 125 14th St., Oakland, CA 94612

Free calligraphy demonstrations by award winning and renowned master calligraphers including:

- Rick Paulus: Former White House chief calligrapher

- Alan A. Blackman: Well-known calligrapher & lettering artist (Western scripts)

- Elizabeth Nisperos: Multidisciplinary calligrapher reviving the lost Baybayin script of Philippines

- Arash Shirinbab: Award winning artist and Arabic-Persian calligrapher

- November 21st, 2 – 5 p.m. at OACC at 388 Ninth St., #290, Oakland, CA 94607

Free special calligraphy silent auction with refreshments, curator’s talk, and calligraphy and art demos by local calligraphers and artists

- December 12th, 2 – 4 p.m. at ICCNC at 1433 Madison Street, Oakland CA 94612

Free closing reception and hands-on workshop: The art of Persian painting and Islamic geometric design in relation to calligraphy. By Maryam Vesal, local artist and maestro of Persian Miniature and Tazheeb.

هنرمند گرامی، با عرض سلام، در صورتی که نام شما در میان اسامی پذیرفته شدگان در نمایشگاه ما بود، مجددا به شما تبریک گفته و خواهشمندیم که حتما هماهنگ فرمایید و آثار را از طریق پست تا قبل از تاریخ 30 اکتبر به دبیرخانه ما برسانید. اطلاعات دبیرخانه:

Organization: ICCNC/ for Calligraphy Exhibition

Address: Street: 1433 Madison St.; City: Oakland; State: California; Postal Code: 94612

Contact Information: 510-283-4518 or ziya.art.studio@gmail.com

Akong Rinpoche Foundation logo

noreply@blogger.com (inkessential) — Mon, 08 Jun 2015 19:14:00 +0000

In March 2015, the eldest son of the former Akong Tulku Rinpoché, Jigme Tarap requested Tashi Mannox to come up with a logo design for the newly formed Akong Rinpoché Foundation, set up to continue the noble work of the 2nd Akong Tulku, and aid support in Northern India, Nepal and the Tibetan homeland, especially Akong Rinpoché's seat monastery in Eastern Tibet, Kham called Dolma Lhakang.

"Since my fathers sudden departure from this world, we his family, more than ever appreciate the work he has been doing to help others throughout his lifetime.

It is through his selfless dedication to help others that we have set up the Akong Rinpoché Foundation" - Jigme Tarap.

Several different designs were created from which one was chosen and approved with the blessing of H.E. Kenting Situ Rinpoché.

As a close disciple of Akong Tulku, Tashi explains the logo designs below:

These designs are all quite simply based on Akong's name: ཨ་དཀོན་ which has a very deep meaning. His name will always be given through all of his incarnations, so it is very significant and long lasting, therefore applicable to his new incarnation too.

ཨ་is the root letter of the Tibetan alphabet, that also signifies primordial awareness that is essential to the Nyingma tradtion that he is a lineage holder.

དཀོན་ means sacred, dear, precious, which he is to us of course. within the spelling of this word is the latter ཀ་ which is the first letter of the Tibetan alphabet and the letter/symbol of the Kagyu tradition, that he is also a lineage holder, and even said to be an emanation of Karmapa which also uses the same letter ཀ་ in the essential spelling of Kagyu.

The dominant quality of Rinpoche was his strength, he was a pillar of strength and stability for all of his students, this is why I stacked the word Akong one unit below the other, it stands like a strong tower and nicely balanced that gives stability. I have also stylised these letters to look both strong yet elegant, which was also the qualities of Akong Rinpoche.

The different coloured letters also refer to his activity of body speech and mind of white red and blue, as shown in the final design at the top of this post.

Framed in a circle gives a classical perhaps contemporary feel.

Then we could add a canopy at the top, that denotes the importance and sacredness of the word Akong, this is perhaps more typical traditionally Tibetan, but then Rinpoché was very traditionally Tibetan.

The Akong Rinpoché Foundation can also be followed on Facebook.

Teaching in London Samye Dzong April 2015

noreply@blogger.com (inkessential) — Tue, 19 May 2015 21:14:00 +0000

Photographs by Nicolas Laborie

brush and ink

noreply@blogger.com (inkessential) — Tue, 10 Feb 2015 18:36:00 +0000

www.tashimannox.com

Appreciated in Lhasa.

noreply@blogger.com (inkessential) — Fri, 06 Feb 2015 18:21:00 +0000

Two good friends of Tashi recently got in touch with a surprising discovery, Joona Ripo and Matthew Linden during their winter study at Lhasa University, stumbled upon a typical Tibetan tea house on the Barkhor that surrounds the holy Jokhang temple in old Lhasa.

What caught their eye was a recognisable image above the entrance doorway, unexpected and out of context, yet at the same time comfortably at home, was a print of one of Tashi Mannox's art pieces "Kagyu Tiger".

Being familiar with Tashi's work, they entered to find many more of his works covering the walls of the establishment. Astonished to find this 'voluntary exhibition', the owner was unaware of the artist and did not admit to how he acquired the prints, which where obviously lifted and printed from Tashi's website.

When this news reached Tashi along with these photos from Matthew Linden, he remarked that it was an honour to have such an 'exhibition' not only in such a sacred place of great connection and blessing so near to the Jokhang, but more so, that the Tibetans themselves value his art and hang it as their own, what a huge compliment!

This last photo below in the tea room shows a group of young Tibetan lads all engaged with their cell phones. The iPhone is apparently the popular choice among Tibetans, mostly because it has an app for writing in the Tibetan language.

Joona and Matt also commented that they often see Tibetans with a Tashi artwork used as their screen wall paper, as shown below.

See more astonishing photographs from Matthew Linden on his website here.

Learn Tibetan Calligraphy in Brussels

noreply@blogger.com (inkessential) — Wed, 04 Feb 2015 16:49:00 +0000

So popular was last years course of Tibetan calligraphy in Brussels, Tashi has been invited back for another intense weekend workshop starting with a public talk on Friday 20th February 2015.

Please follow the link to be sure to book your place here.

photo from last years course 2014

Tibetan Calligraphy Retreat 2015

noreply@blogger.com (inkessential) — Tue, 28 Oct 2014 12:14:00 +0000

The majestic view of Hay Bluff from New Inn Brilley.

Tibetan Calligraphy Retreat with Tashi Mannox

14^th – 22^nd August 2015

-- Limited Spaces still available --

Tashi presents a unique opportunity to thoroughly learn the art of Tibetan handwriting in the conducive and beautiful border countryside of Wales.

During the eight-day calligraphy meditation retreat, Tashi will instruct how to properly construct the classical Uchen script, from the foundation of the alphabet through to the many subjoined letters, onto forming words and sentences in a coherent and beautiful formation. The remaining days of the course will focus on forming traditional mantras as well as seed syllables as a useful aid to Buddhist visualisation practices.

It would be helpful for first-timers to at least become familiar with the Tibetan alphabet before attending the course.

If this calligraphy retreat proves successful, it may become an annual event that focuses on one of the several different Tibetan script styles with each year.

Location: The blessed abode of Karma Dechen Choling at New Inn Brilley is situated on the Welsh, Herefordshire border. Described as being ‘unique, authentic and a little bit quirky’ it has magnificent views across the Wye valley toward the majestic Black Mountains of the Brecon Beacon National Park, that evokes an ideally peaceful retreat atmosphere of clarity and focus.

Alastair Sawday B&B award winning New Inn at Brilley offers a variety of charming accommodation options to suite most needs, from camping, shared dormitories of 'Angels', 'Heaven and Earth' and the 'Self-catering suite' (though you will be catered for during the retreat) to the luxury of double bedrooms in the old Inn. Please see price tariff below. To choose the type of accommodation you would be most comfortable with, please look into the website of New Inn Brilley.

Please note that the Rising Sun and Wagon accommodation is not available in the calligraphy retreat package, all other accommodation types have been kindly offered at a 20% concession, making the course more affordable for all.

It may also be possible to book accommodation before and after the official course schedule, however costs will be at the regular prices as stated on the New Inn Brilley website.

All-inclusive prices for whole 8-day course per person:

One person in double room - £590. booking deposit: £236 GBP
Two people sharing same double - £480 each. booking deposit: £192 GBP each.
Single in dormitory - £492. booking deposit: £197 GBP
Camping - £346. booking deposit: £138 GBP
Attending course from outside of New Inn - £299. booking deposit: £120 GBP

Meals and refreshments are included in the course fee. Please let known any special dietary requirements prior to your visit. Food will be vegetarian.

To book: Please contact Tashi by email contact@tashimannox.com to check availability and secure your place. Course capacity and accommodation is limited. A booking deposit of 40% is required as indicated above. Remaining paid within one months prior to arrival.

How to get there: By public transport, the nearest Local train station is Hereford with direct links from London Paddington. Across from Hereford station concourse is a local 39 bus, Brecon service*1 alight at Hay-on-Wye, taxi*2 ride of 8 minutes from Hay-on-Wye to New Inn at Brilley. Please follow the link for map and directions by car.

What to bring: As the British weather is unpredictable, you may need clothing to suit cooler wet days to pleasant hot dry days, so flip flops and Wellington boots.

1* 39 buss timetable: https://www.hayfestival.com/wales/downloads/39_010409.pdf

2* Local Taxi: Mike 07881 726547

Course Program:

Arrive by Friday evening or early Saturday morning before 10 am.

Saturday 15^th

8 am sitting meditation followed by breakfast between 8.30 and 9.30 am.

10 am Welcome and Introduction talk.

11.30 tea-break

11.50 calligraphy session.

1 – 2 pm lunch

2.30 calligraphy session

4 pm tea-break

4.20 pm Meditation explanation and practice.

7 pm supper and free time until bed.

Daily Schedule:

8 am sitting meditation followed by breakfast between 8.30 and 9.30 am.

10 am calligraphy session.

11.30 tea-break

11.50 calligraphy session.

1 – 2 pm lunch

2.30 calligraphy session

4 pm tea-break

4.20 pm meditation and calligraphy practice/talk.

7 pm supper and free time until bed.

Saturday 22nd

8 am sitting meditation followed by breakfast between 8.30 and 9.30 am.

10 am calligraphy practice.

11.30 tea-break

11.50 calligraphy practice.

1 – 2 pm lunch

2.30 conclusion talk

4 pm tea-break

4.20 pm meditation and free style calligraphy demonstration.

7 pm supper and free time until bed.

Sunday 23rd

8 am sitting meditation followed by breakfast between 8.30 and 10 am.

Depart New Inn Brilley before 12 noon.

Tibetan calligraphy course in London.

noreply@blogger.com (inkessential) — Tue, 21 Oct 2014 15:54:00 +0000

Learn the art of Tibetan handwriting in the Classic Uchen script style with Tashi Mannox. This is a weekend course suitable for first-timers as well as those already practiced in Tibetan writing.

Situated at the delightful premises of Samye Dzong London, Spa Road, Bermondsey. on the weekend of the 25th - 26th July 2015. Please follow the link here to reserve a place on the course.

As an introduction, Tashi will also give a public talk on the role of calligraphy and art within Dharma 7:00 - 8:30 pm on Friday 24th July 2015.

If you wish to further your skills in Tibetan calligraphy there is also an opportunity to fully learn during this summer August Calligraphy/meditation retreat in the beautiful and peaceful setting of the Welsh borders. Please follow the link here for more information.

Tibetan Calligraphy in Moscow

noreply@blogger.com (inkessential) — Tue, 14 Oct 2014 17:44:00 +0000

From the 24th October to 3rd November 2014, Tashi Mannox will be in Moscow to open his first solo exhibition in Russia as well as to lead a Tibetan calligraphy course and well as other public talks.

For more information about the program of events and to book a place on the calligraphy course, please visit the website of the 'Foundation of Contemplative Studies'. who are hosting Tashi during his short stay in Moscow.

The exhibition shows several original art pieces and limited edition prints that span his 15 years of creativity within the art world can be seen at the "Two Empires" gallery on Voznesensky, a side-street just minutes from Red Square at the very heart of Moscow.

On Sunday 2pm, November 2nd Tashi will give a lecture on 'The Art of Tibetan calligraphy' at the prestigious Contemporary Museum of Calligraphy.

Tashi has been a long term participant with the Contemporary Calligraphy Museum whom during this time will show a number of other of Tashi's art pieces that have been both donated and on loan with the Museum since 2008.

Click here to see these other works with the Contemporary Museum of Calligrahy.

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Learn the art of Tibetan calligraphy in Italy

noreply@blogger.com (inkessential) — Wed, 13 Aug 2014 09:26:00 +0000

Illustrated construction of hum in both Uchen and Umed script styles.

This is the first time Tashi Mannox instructs Tibetan calligraphy in Italy. Two intensive weekend courses in two beautiful locations of Venice and Merigar West in Tuscany.

The first workshop in Venice covers how to write the classical Uchen script to the correct traditional proportions that will lay a firm foundation in confidently writing elegant calligraphy.

The second workshop a week later in Tuscany teaches how to write the Tsugtung style of the Umed script category. This course is more suited to those with some knowledge of the Tibetan written language.

The calligraphy course venue in Venice is the large building on the right.

Uchen calligraphy course in Venice.

The course will be in English and if necessary it will be translated into Italian.

Date: Friday 20th November 8-9.30 PM (presentation) Free entrance (free offer appreciated)

Saturday 21st November 10AM - 6 PM (lunch included)

Sunday 22nd November10AM - 5 PM (lunch included)

Rates: €150 including coffee / tea breaks with biscuits snacks drinks and fruit inside You can book the excellent vegetarian lunch it costs €15.

€250 if attending both workshops, in Venice (Uchen) and Merigar (Umed).

Location: 143 S.Croce, Fondamenta Minotto, Rio del Gaffaro (very near to Fondamenta dei Tolentini) within walking distance from Piazzale Roma (bus terminus) and from S.Lucia Venice train station.

Info and registration: call Giovanna phone 0039 3460291778 or Yesan phone 0039 3200758117 or send an email at: courses@shangshunginstitute.org giovannacarraro@gmail.com

For more details and direct bookings, please visit the main website here.

Equipment to bring: An A4 pad of good quality water colour paper, a rule, pencil and sharpener, eraser and calligraphy ink pens of different sizes. Italic felt-tip calligraphy pens are recommended or the more advanced Pilot Parallel Pens.

Accomodation Facilities: besides recommended Hotels and B&B in Venice, there will be the possibility of sleeping, booking in the meditation room at the meditation centre Kagiusamyedzong in Venice located in Fondamenta dei Tolentini, the room can take maximum 6 people sleeping bags are requested and a minimum offer of €15 / night is recommended. http://www.kagyu.it/

Examples of the Drutsa, Uchen and Tsugring script styles.

Umed calligraphy in Tuscany.

The course will be in English and if necessary it will be translated into Italian.

Date: Friday 28th November 20:00 - 21:30 PM (presentation) Free entrance !

Saturday 29th November 10AM - 6 PM (lunch included)

Sunday 30th November 10AM - 5 PM (lunch included)

Rates: €150 including coffee / tea breaks with biscuits snacks drinks and fruit inside You can book the excellent vegetarian lunch it costs €15.

€250 if attending both workshops, in Venice (Uchen) and Merigar (Umed).

Location: Merigar, 58031 Arcidosso, Grosseto, Tuscany.

Info and registration: call Yesan phone 0039 3200758117 or send an email at: courses@shangshunginstitute.org

For more details and direct bookings, please visit the main website here.

Accomodation Facilities: Merigar offers plenty of accommodation types to its visitors. you can choose from a list of budget to upper class solutions by visiting the website here.

Calligraphy in Wood

noreply@blogger.com (inkessential) — Mon, 11 Aug 2014 21:07:00 +0000

All across Asia, calligraphy carved into wood is traditionally used to prominently display building names, placed above doorways of temples, palaces and shops.

The natural grain and figure of wood makes a beautiful natural ground for fine calligraphy, a match made in heaven, or painted in the classical combination of lapis blue with gilt gold letters carved in relief, such as the above sign that sits pride of place over the main entrance of the Lama temple in Beijing.

Also common on temples in Tibet, this sign gives the name "The blessed place of tushita heavenly joy" typically in three languages: Mongolian, Tibetan and Chinese.

In contrast is the below sign is from a Japanese sweet store that reads "Forever Happiness"

A contemporary combination of natural wood and calligraphy has been artfully explored by Vermont based Tim Brookes, who runs the worthy 'Endangered Alphabets Project'.

Tim recently contacted Tashi to carve his Tibetan calligraphy in wood, an on-going project that in time will boast a number of hand carved master pieces, which are intended to raise funds toward Rokpa International that has many projects in the Tibetan homeland, such as the preservation and education of the Tibetan language.

Above, "Moon over Water" is a piece created by Tim Brookes using calligraphy by Tashi Mannox, the top left ideograph is the word moon the Tibetan Drutsa script. Below right is a Wartu Sanskrit monogram of two words Eh and Vam. for a greater explanation of Eh-Vam, please follow the link here.

Here below is another wood carving shown though the process of creation by the skilful hand of Tim Brookers, once again using a Tashi calligraphy as the subject. The words "Graceful Kindness"arranged as a circular design is also a popular tattoo design and available as a high resolution down-load.

The below image shows the Tibetan syllable hum, that was hand carved by another artist Mel Du Pontet, in a piece of English Yew wood some 20 years ago. The piece has aged a beautiful rich colour. A piece of Boltic amber fills a knot hole that incorporates part of the syllable, this is the ma sound that represents the sun, below which is a crescent moon, both symbols are part of the whole character that has been gilded in real gold leaf. Here

Kunzig Shamar Rinpoche 1952-2014

noreply@blogger.com (inkessential) — Fri, 13 Jun 2014 14:13:00 +0000

Photography by Peter Mannox for 'Karma Kagyu Publishing House'*
Rumtek, Sikkim, early 70's.

Official Announcement Regarding the Passing of Kunzig Shamar Rinpoche from the Gyalwang Karmapa

Statement by His Holiness the 17th Gyalwang Karmapa Ogyen Trinley Dorje on the Passing of Kunzig Shamar Rinpoche, Mipham Chokyi Lodro.

Until the 10th Shamarpa, the omniscient Shamarpas have been great masters respected throughout Tibet, especially within the Karma Kamtsang Lineage where he was known as the Victorious Lord of Dance and the lineage’s strength and embodiment of wisdom, compassion and power. Despite a ban on the Shamarpas’ enthronement since 1792 for almost a century and seventy years, His Holiness the 16th Gyalwang Karmapa, in view of historical significance and for the benefit of Buddhadharma and all beings, sought consent from His Holiness the 14th Dalai Lama and enthroned his nephew as the Shamarpa, taking him under his wing for the guidance of his body, speech and mind.

However, as the folk saying goes, one may be fortunate to have a cow but not enough to get its milk. Similarly, after the Parinirvana of the16th Gyalwang Karmapa, due to wavering of commitment amongst his followers, a great schism occurred within the lineage. It was an unprecedented disharmony that is unimaginable even in a dream. Shamar Rinpoche’s activities have also been in various forms, both favourable and unfavourable and likewise, there are many past circumstances similar to endless ripples across water. These unfortunate situations are, I think, simply due to us not being aware of the omnipresence of our root guru and not being able to generate farsightedness for the benefit of Buddhadharma and all sentient beings.

I have had an unmistakable faith and respect towards Rinpoche from the time I was young. Therefore, with the hope of benefiting the Buddhadharma in general and the lineage in particular, and with the expectation that I may be able to offer some service towards his Dharma activities, I had the good fortune of meeting Rinpoche once. Yet, as my aspirations have not been fulfilled, his sudden passing away is a matter of great sadness.

As soon as I came to know of this hard to believe news, I instructed Rumtek Monastery, the main seat of our lineage and other monasteries to make offerings and perform pujas as grand as possible for 49 days, as Rinpoche has taken rest from the degenerate age of strife into the expanse of peace for a while.

With great hope and strong aspirations that Shamar Rinpoche’s reincarnation will embody the life stories of his predecessors, and the good fortune of harmony within the lineage will arise soon.

Karmapa Ogyen Trinley Dorje

12 June 2014

Shamarpa as a young regent looking like Buddha.
Photograph belonging to Tashi Mannox.

* The 'Karma Kagyu Publishing House' is no longer in operation, this at the time was comprised of the three main seats of the Karma Kagyu in the West during the 70's and 80's :
D.K.L. Montignac, Dordogn, France.
K.T.D. Woodstock, New York State, U.S.A.
K.D.D.L. (Samye Ling) Dumfriesshire, Scotland, UK.

The Painted Mantra

noreply@blogger.com (inkessential) — Wed, 12 Mar 2014 16:20:00 +0000

As part of the "Bodies in Balance" Tibetan Medicine exhibition at the Rubin Museum of Art in NYC, Tashi Mannox gives a lecture and calligraphy interactive "The Painted Mantra". Participants are invited to join Tashi in creating the sacred proportion and significance of the, seed syllable of Medicine Buddha that is essential to the visualisation practice around which the mantra of healing is arranged.

The lecture begins with an explanation of Dharma art and its practical role historically and for a person on the spiritual path. The lecture concludes with creating a contemporary rendition of the Tibetan medical tree of diagnosis, whereby participants will be invited to ink their thumbs or fingers to print as leaves on the calligraphy tree.

Edie Irwin of Rokpa International finishes the talk with a few words about Rokpa's charitable work regarding current Tibetan medicine practices in Tibet.

"The Painted Mantra" from 7 - 9pm, Wednesday 2nd April 2014, for bookings please follow the link here.

Following Tashi's talk at the Rubin, on the 4th-5th and 6th April, he will lead an intensive workshop in Tibetan calligraphy held at the Shang Shung Institute Library in Conway, Massachusetts.

Healing Mantra Garland

noreply@blogger.com (inkessential) — Wed, 12 Mar 2014 15:30:00 +0000

Creating the Medicine Buddha mantra in ancient Lantsa Sanskrit

According the the visualisation of the Medicine Buddha sādhanā, the dhāraṇī mantra of Medicine Buddha turns clockwise around the seed syllable hum, as illustrated above in blue.

The line of small text at the base of the above art piece translates as "The hum in the heart of the self and the front visualisations is surrounded by the mantra garland"

It is impossible of course, to illustrate the turning of the mantra in such a way as a calligraphy on a flat piece of paper, so to illustrate this, the mantra is depicted starting at the bottom of a circle of text that reads to follow anticlockwise. If the circle would be movable, fixing the gaze to read the mantra at one fixed point, the circle of text would turn clockwise.

In creating this art-piece, Tashi needed to take particular care to organise the length of the mantra to fit the full circle, much calculation and measurements in preparation was needed. Each character of the mantra and the seed syllable at the centre was traced and positioned before inking in.

Using a window makes a very effective 'light-box' when tracing the reverse of the image before applying to the artwork.

In filling with black ink.

This art piece was especially created for the Rubin Museum of Art as part of their "Bodies in Balance" exhibition of Tibetan medical art. Tashi gives a lecture/calligraphy interactive at the Rubin on the 2nd April 2014, for more details please follow the link here.

Calligraphies in Conversation

noreply@blogger.com (inkessential) — Wed, 12 Mar 2014 00:19:00 +0000

Calligraphies in Conversation is an international exhibition at the Islamic Cultural Center of Northern California (ICCNC) highlighting traditional Middle Eastern and Islamic calligraphic art in dialogue with other calligraphy traditions specially Far East calligraphy.

“Calligraphies in Conversation” runs from March to May 2014 and focuses on the connections between Islamic and Eastern calligraphic traditions. ICCNC is incredibly excited to pilot this new project in conjunction with Ziya Art Center and partners from nearby Oakland Chinatown such as Oakland Asian Cultural Center.

An exhibition of curated and newly-made calligraphy from both traditions will be on display. The Curatorial and Jury Panel consists of ICCNC and Ziya Art Center experts as well as local artists have received over 115 submissions from invited calligraphers and through an open call for artists. Most of submissions were from the US, mainly Bay Area, California; but there were several international submissions from different countries including Tashi Mannox of the United Kingdom, Shu Yi Liu of China, Mohammad Navid Bazargan of Iran, Uehira Baikei of Japan, and Josh Berer of Turkey. After a competitive jury process close to 50 artworks have been accepted from 20 artists for the exhibit illustrating a diverse array of Chinese, Japanese, Tibetan, Arabic, Persian, and Turkish calligraphy artworks.

As an additional goal, the exhibitions, by encompassing traditional artworks of different cultures, aim to foster dialogue between diverse cultures and faiths through a traditional art form. Such viewing combinations are rare in California, and will provide the public with the unique opportunity to recognize shared features: The traditions all highlight the power of written word via inscribing it artistically with pen and ink, and emphasize a direct relationship between spirituality and calligraphy. Being a good calligrapher, in the traditional sense, goes hand in hand with developing strong spirit and character.

Above, one of the exhibits from Tashi Mannox entitled "The Great Perfection of Ah" available in the link here to order as a limited edition print.

RELATED TIBETAN SCRIPTS

Buddha Nature and Creativity

Dharma Art with Tashi Mannox. - A report from Lama Shenpen Hookham.

Dharma Festival - 11th to 15th July 2018

The Meditative Scribe

EXHIBITIONFriday, February 9Exhibition Opening Reception 6:30 - 8:30 pm

February 13 - March 3Exhibition OpenTuesday -Saturday 11:00 am - 5:00 pmWORKSHOPSaturday, February 10Workshop 11:00 am - 5:00 pmSunday, February 11Workshop 11:00 am - 4:00 pm

American program 2017

Sacred Scripts launch program of events

Thönmi Sambhota Thangka

Sharjah 7th Calligraphy Biennial 2016

Tibetan Calligraphy Retreat 2016

Dharma King

A Garland of Syllables

Calligraphies in Conversation 2015

Ziya Art Centre hosts its second Calligraphies in Conversation International Exhibition in multiple locations across Northern California between November 7th - December 12th 2015.

Akong Rinpoche Foundation logo

Teaching in London Samye Dzong April 2015

brush and ink

www.tashimannox.com

Appreciated in Lhasa.

Learn Tibetan Calligraphy in Brussels

Tibetan Calligraphy Retreat 2015

Tibetan calligraphy course in London.

Tibetan Calligraphy in Moscow

✮

Learn the art of Tibetan calligraphy in Italy

Calligraphy in Wood

Kunzig Shamar Rinpoche 1952-2014

Official Announcement Regarding the Passing of Kunzig Shamar Rinpoche from the Gyalwang Karmapa

The Painted Mantra

Healing Mantra Garland

Creating the Medicine Buddha mantra in ancient Lantsa Sanskrit

Calligraphies in Conversation

EXHIBITION
Friday, February 9
Exhibition Opening Reception 6:30 - 8:30 pm

February 13 - March 3
Exhibition Open
Tuesday -Saturday 11:00 am - 5:00 pm

WORKSHOP
Saturday, February 10
Workshop 11:00 am - 5:00 pm
Sunday, February 11
Workshop 11:00 am - 4:00 pm