RELATED TIBETAN SCRIPTS

The practice of the Bodhi

noreply@blogger.com (inkessential) — Sun, 22 Jan 2012 18:30:00 +0000

སྡུག་བསྔལ་མ་ལུས་བདག་བདེ་འདོད་ལས་བྱུང་༎

All suffering, without exception, comes from the desire for happiness for oneself

རྫོགས་པའི་སངས་རྒྱས་གཞན་ཕན་སེམས་ལས་འཁྲུངས༎

དེ་ཕྱིར་བདག་བདེ་གཞན་གི་སྡུག་བསྔལ་དག།

ཡང་དག་བརྗེ་བ་རྒྱལ་སྲས་ལག་ལེན་ཡིན༎

While perfect Buddha-hood is born from the desire to make others happy. This is why completely exchanging one's happiness for that of others is a practice of the bodhisattva.

This calligraphy is based on the above prayer to develop bodhicitta, written in full of the smaller བྲུ་ཚ་ཞབས་སྒོང་མ 'round tailed Drutsa' script, a style popular in Tibet from the 1200s. The Circle of larger Uchen script is a repeat of the first line of the decree, while in the very center is the Sanskrit word 'bodhi' in uchen phonetics.

The Great Perfection རྫོགས་པ་ཆེན་པོ

noreply@blogger.com (inkessential) — Wed, 11 Jan 2012 17:14:00 +0000

The Great Perfection of 'Aa'. 57x76 cm, Black Chinese ink
on heavy water-colour paper. ⓒ Tashi Mannox 2012.

The central character illuminates white and resplendently pure among aura like swirls spinning from the blackness of limitless space.

As this is the root syllable ‘a’in the classical Uchen script, the last letter of the Tibetan alphabet, from which all other sounds are produced, it is considered essentially pure and stainless. It represents the ultimate true nature of mind, which is equaled in all beings, who are countless as all the stars of the universe.

The lower line of calligraphy in the Tibetan Petsug script translates as “The ultimate true nature of the uncontrived great perfection dzogchen that is embodied and expressed in the sound of the essential syllable ‘a’.”

གཤིས་རྫོགས་པ་ཆེན་པོར་མ་བཅོས་ཨ།

The above art piece "The Great Perfection Aa" was especially created for the Sharjah Calligraphy Biennial April 2012, the exhibition called “Universe” hosts celebrated Islamic calligraphy artist along with a few international artist of other denominations.

This image is now available as limited edition prints of three sizes:
Large size 57 x 60 cm or 22½" x 30" inches
Medium size 50 x37.5 cm or 19¾" x 14¾" inches
Small size 35 x 26 cm or 13¾" x 10¼" inches

The reproductions are premium-quality giclée printed, on a heavy weight museum conservation rag paper, ensuring stability and a colorfast longevity.

Each image is carefully colour matched and in sharpness to the original artwork. The prints are edition numbered and hand signed and stamped with the artists’ personal seals.

For enquires and to place an order, please contact Tashi here.

Constructing the art-piece, January 2012.

The art of writing Tibetan

noreply@blogger.com (inkessential) — Wed, 11 Jan 2012 13:00:00 +0000

Learn the art of Tibetan calligraphy with Tashi Mannox

For Beginners

From Saturday, 4th February to Sunday 5th February 2012

Following the unprecedented success of our introductory course in Tibetan Calligraphy in June last year, The Shang Shung Institute of Tibetan Studies are very happy to be able to offer this beginners course for those who are new to the art or who wish to refine their technique by going back to basics. Tashi will explain and demonstrate the art of writing the classical Uchen script style, he will also guide participants through their own hand at forming the letters of the Tibetan Alphabet and more. This course will be followed in June by an intermediate / advanced course, as indicated below.

Schedule:

Saturday 4th - 10.00am - 5.00pm

Sunday 5th - 10.00am - 5.00pm

Location: Haverstock School, Room B213, 24 Haverstock Hill, Chalk Farm, London NW3 2BQ

See Map

Price: £125 (Discounts for Students / Low Income and Dzogchen Community members)

For bookings follow the link here.

For any event enquires please email via the link here.

Learn the art of Tibetan calligraphy with Tashi Mannox

For intermediate/advanced

From Saturday, 23rd June to Sunday 24th June 2012

This intermediate / advanced course follows on from the beginners course held earlier in the year also with The London Sang Shung Institute of Tibetan Studies.

For bookings as above.

The above two diagrams show the proportionate grid that the classical Uchen script style is based on.

The size of the grid is determined by the width of the brush or pen nib. One width equals one part, two parts 3 x 3 makes a grid of nine squares that the main body of each letter of the alphabet is applied to. There are 9 of the 30 letters of the Tibetan alphabet that have long tails, an addition of 6 parts is measured below the grid to allow the uniformed length of the tails and the subjoined letters. Likewise, 6 parts are marked above the grid/head of the letters to allow uniformed placement of the 3 of the 4 vowel signs.

For calligraphy that is pleasing to the eye, especially of the classical Uchen script, much like the proportionate beauty of the classical Roman script, that both traditions depend on the discipline of the proportionate construction, it is important to form the letters within the bounds of the grid, yet not shy to fill the grid space generously.

- Tashi Mannox 11-1-2012

ཨ་

Creating the Mani mantra

noreply@blogger.com (inkessential) — Wed, 07 Dec 2011 10:38:00 +0000

The Mani mantra is featured in this five minute video, that demonstrates the calligraphic order in a brushed Uchen script, Tashi also gives a short explanation of the purifying nature of each of the six syllables:

oṃ ma ṇi pad me hūṃ

Created on 5th December 2011
Chinese ink on block water-colour paper 46x61 cm.
© Tashi Mannox

♬

Bodhicitta

noreply@blogger.com (inkessential) — Fri, 02 Dec 2011 10:44:00 +0000

A detail of the "Beautiful Bodhicitta"

A person who has Bodhicitta (awakened mind) aspires to become enlightened for the benefit all beings, for their ultimate happiness and liberation. When a person reaches that level of unconditional love, compassion and understanding, he or she can then be called a Bodhisattva.

"Beautiful Bodhicitta" 2009.
© Tashi Mannox

Calligraphy in Chinese ink, Japanese mineral paint, on a wash of pure saffron depicting a landscape of the sun and clouds over mountains and foot-hills, river and the sea.
The Tibetan Drutsa script translates.....

“As a river to the sea,

as the sea to the clouds,

as clouds to the land,

So does Bodhicitta beautify this world.”

A praise of Bodhicitta from “This Jewel Lamp” composed by Lama Tenzin Gyaltsen in Varanasi, India.

"Bodhicitta" in the ancient Wartu Sanskrit.
© Tashi Mannox 2011

✜

rest unshakably.....

noreply@blogger.com (inkessential) — Sun, 27 Nov 2011 16:23:00 +0000

"Rest Unshakably" Chinese ink and silver leaf on mount board.
50x51 cm Tashi Mannox 2008.

The translation for swastika in Tibetan is "unchanging well-being" or "rest unshakably" a popular emblem in Tibetan iconography used to mark stability as well as a symbol of good luck.

An art piece previously not published as part of Tashi's Black on Black series, This particular piece is created using the words yungdrung གཡུང་དྲུང་ repeated four times to arrange as a mandala of unchanging well-being. These Tibetan letters gilded in silver leaf to give an etched effect standing proud on the blackened textured board, as the below image details demonstrate.

Detail showing the artists seals and date.

In the bottom right corner accompanying two of the artists personal seals are the words "the mandala of unchanging well-being" ༄། གཡུང་དྲུང་འཁྱིལ་བ། that is only caught in certain light or angle that painting is viewed.
The artists signature appears untypical and lavish across the bottom width of the canvas size, painted in a free brushed expression that is actually a remanent from an earlier discarded art piece, re-used to an attractive effect and multi layering and texture to the over-all piece. Other words that translate as "the great gesture" "Mahamudra" are hidden and pushed to the background by the illuminated silver lettering.

During the 17 years of being a monk, Tashi Mannox spent four in a cloistered retreat, The photo below was taken in 1988 at the begining of the retreat, that shows Tashi seated in his 'meditation box'. This limited space of about a meter square doubled as his bed, as it is required to sleep up-right to maximize time spent in meditation during the retreat. Chalked below the box was a swastika as protection and a symbol of stability and well-being. As Tashi commented "though it took some months of getting used to, the meditation box became a place to 'rest unshakably' with only one's mind as a distraction".

࿗

To read more about the symbology and relevance of the swastika, there is an earlier post on the subject here.

Tibetan Graphic Design

noreply@blogger.com (inkessential) — Wed, 23 Nov 2011 10:11:00 +0000

A design on the word 'phur in the Tibetan Uchen script,
That translates as 'rub' or 'to fly'.

Native Chinese and London educated 顾翔 Xiang Gu is a photographer and Graphic designer, that has the rare ability to join technology and design of east and west. His talent is clearly demonstrated in his fresh and innovative creations.

The above Graphic design by Xiang Gu is based on the word འཕུར་ 'phur in the Tibetan Uchen script. This is a word that has a number of meanings, such as 'rub' and 'scratch', but by the Art Deco appearance of the lettering, it seems that Xiang Gu has focused on the translation of phur as 'to fly'.

Below is another of his creations that shows the Tibetan alphabet in a neon like 'Tron' style font, though the letter design does not always follow the logical rules of the Uchen script, it is never-the-less a curious and modern take on the Tibetan alphabet.

More of Xiang Gu's work can be seen on his slick website and blog.

Tron has become a font style for the classic electronic game; based on the 1982 Tron Disney film about a programmer who gets stuck into his computer and it's electronic world.

Bamboo pen

noreply@blogger.com (inkessential) — Tue, 01 Nov 2011 11:45:00 +0000

Tibetan artist strives to sustain traditional calligraphy

LHASA, TIBET, Nov 1st 2011 Xinhua Chinese news paper reports --

Kalnor is among the few people who still practise traditional Tibetan calligraphy with a bamboo stick on a wooden board.

The 50-cm long, 25-cm wide birch board, known as "jangshing" in Tibetan, was an essential stationery item for Kalnor and his peers when they first learned to write.

"We had to practise on the jangshing for at least two years before we could write on paper," said Kalnor, 31.

The jangshings for beginners were often marked with four lines, and the number of lines was reduced as the students' writing improved, until only one line was left to mark the location of the text.

According to Kalnor, the ancient writing material was economical and green, as old jangshings could be used anew after being washed in the river and dried again.

Image showing the traditional birch wood board called a jangshing.

As a child, Kalnor used bamboo sticks for a pen. The makeshift ink almost always came from the kitchen -- charred barley or soya sauce.

"When we wrote on the jangshing, we sat on the floor with legs crossed and wrote every stroke with patience," Kalnor said. "It was not just a practice of calligraphy -- it was also a process of extreme concentration and meditation."

The jangshing is dusted with chalk through which the letters are practiced
with a bamboo pen dipped in water.

A master of fine arts, Kalnor is now an art teacher at a secondary school in Duilong Deqing County on the outskirts of Lhasa. "Children who learned to write with the jangshing concentrate easily on everything they do."

The past two decades of modernization, however, have led to the traditional writing boards being replaced by well-printed exercise books and computers. Few children still use the jangshing even in the remote herding areas.

Beginning in 2008, Kalnor traveled across Tibet searching for jangshings and expanding his private collection of the traditional writing pad that will soon fade from the public memory.

"It would be a pity if we lose this part of Tibetan culture," said Kalnor at his gallery on Barkor, a famous commercial street in the heart of Lhasa.

Kalnor has proudly put his favorite jangshing collections on display at the gallery, including one inherited from his father. The jangshings were shown alongside his modern Tibetan paintings on handmade papers and works of butterfly and Tara -- a female Buddha in Tibetan Buddhism.

Phubu Tsering, a visitor to the gallery, said he still remembered how he learned to write the Tibetan alphabet on a jangshing when he was 6.

"My mother made me some ink by adding water to barley flour that was fried dark. Sometimes she added sugar to make the liquid thicker, and I used to suck my 'pen' to taste its sweetness," said Phubu Tsering, 46.

For many Tibetans, jangshing and traditional Tibetan calligraphy are an important part of their collective memory.

"Many things of the good old days will be replaced by new things, and it might not be practical to keep jangshing, but this writing tool certainly played a major role in Tibetan education, so we should at least carry forward the essence of the traditional culture it represents," Kalnor said.

Threads of Awakening

noreply@blogger.com (inkessential) — Mon, 24 Oct 2011 23:05:00 +0000

Manjushri appliquéd in fine silks by Leslie Rinchen Wongmo.

In regard to the beautiful creation above, Leslie Rinchen Wongmo, master of Traditional Thangka appliqué quotes:

"Manjushri is the embodiment of all the buddhas’ wisdom. His flaming double-edged sword cuts through layers of misconception to discriminate clearly between the independent way things deceptively appear to exist and the interdependent way in with they actually arise. Resting on a lotus in his left hand is the text of the Perfection of Wisdom sutra, considered to be the Buddha’s most profound teaching on the ultimate nature of reality."

The Manjushri mantra om a ra pa tsa na dhi
in the High Uchen script with heading character.
Tashi Mannox 2011

Leslie recently posted a blog about her personal seal design she originally commissioned Tashi to create and tells the story of how she chanced on meeting Tashi, how he created her seal design that ten years on become the logo for her new website 'threads of awakening' showing her beautiful appliqué masterpieces.

Leslie's personal seal meaning
Rinchen precious in the
Horyig seal script.

If you are interested in commissioning your own bespoke seal that can also be used as a logo, all that you need to know about seal design and how to order is clearly explained on the page link here:

www.tashimannox.com.

རྒྱ་

holy trends

noreply@blogger.com (inkessential) — Mon, 10 Oct 2011 15:39:00 +0000

Tashi Mannox October 2011

An expressive calligraphy of the word 'moustache' in Tibetan Drutsa script.

The 13th Dalai Lama, Thubten Gyatso 土登嘉措
1876 - 1933.

His Holiness the 13th Dalai Lama sporting a rather dapper mustache; the fashionable look of a gentleman in the 19th century.

The 13th Dalai Lama predicted the 1959 Chinese invasion of Tibetan and announced that he would die early, in order that his incarnation successor, the 14th Dalai Lama Tenzin Gyatso, would be old enough to act as a leader of the Tibetan people at the time of the invasion. He died a few months later in Lhasa, December 1933.

A long life prayer for the 14th Dalai Lama, born 6th July 1935.

Tibetan Petsug Calligraphy - Tashi Mannox 2011.

〰

Website Rebirth

noreply@blogger.com (inkessential) — Fri, 07 Oct 2011 16:59:00 +0000

The original inkessential.com was launched in 2006, the worlds first website especially dedicated to providing tattoo designs in Tibetan scripts, that has lead the way in tattoo design concerning the Tibetan language and iconography ever since.

After much deliberation and careful planning a new inkessential website is now on-line.

The new incarnation is a result of the past decade of experience of Tashi's expertise and involvement in the world of tattoo, skillfully designed and built by Tashi's brother James Mannox, also responsible for the creation of the classical art website tashimannox.com

You may find the new inkessential website much more informative regarding the mystery of the different Tibetan script styles and their meaning, with beautiful calligraphy examples and advise of how these best interpret as tattoo designs. Never before has the rich diversity of the Tibetan written language been exemplified in such detail.

Tashi has also taken great care to explain the sacred significance and the right use of mantras, which have become a popular tattoo choice and can all to easily be misused.

Ordering a bespoke tattoo design is made easier in four simple steps, as the complexity of the many combinations of the different script styles of words that can be translated is endless.

An overview of the new website:

The Landing Page of inkessential welcomes the viewer with a slide show of actual tattoos previously designed by Tashi, that may inspire and highlight the variation and possibilities of Tibetan calligraphy for tattoos.

For the historical background and advise concerning sacred mantras of Tibetan Calligraphy, the Sacred Integrity page may be found most informative.

Examples of the several different Tibetan script styles are illustrated with explanation on the Tibetan Scripts page, as well as guidelines for tattoo design in the different script styles and common FAQ's.

To order a personal tattoo design, four easy stages can be followed on the Bespoke Design page, completing an order form that communicates to Tashi the main elements of a tattoo design. This page also offers a slide show of different Tibetan script combinations and possibilities concerning tattoo design.

To learn more of the background of Tashi Mannox, a short biography is offered on the About the Artist page. There is also a list of of useful links to affiliated tattooist around the world who come suitably recommended for their outstanding skill and appreciation of Tibetan Calligraphy.

Over the past years Tashi has built up an archival wealth of classical designs that are popular to many, such designs will be available from the on-line Design Store that can be instantly purchased and sent as a high resolution digital image. The Design Store will also make available Tashi's limited edition art prints as well as original calligraphy master pieces, as shown on www.tashimannox.com.

The Tashi Mannox store will be soon on-line, in the meantime please contact Tashi for any other requests.

The above photo shows Tashi at work creating Tibetan calligraphy tattoo designs. These are typically presented on high quality A4 size water colour paper, each hand signed and sealed with the artists personal seal. Such pieces provide not only a precise image as a tattoo template, but also make an attractive art piece for the wall.

★

Laughing in the face of.......

noreply@blogger.com (inkessential) — Sun, 02 Oct 2011 13:37:00 +0000

Tashi as a monk on the roof of the Potala Palace, Lhasa, Tibet, 1996.

An explanation of the five skull paintings series called

Laughing in the Face of Death,

To live and die without regret.

During 2006 into 2007 Tashi Mannox focused on creating a set of five iconographic masterpieces that are steeped in Tibetan Buddhist wisdoms. Each piece took two to three months of meticulous application, using modern and traditional techniques of Thanka painting.

In Tibetan iconography the skull is symbolic of impermanence, as Tibetans in general have a more positive attitude to death because of their Buddhist faith, the skull is often depicted as if laughing. Tashi's five skull paintings show happy almost manic grinning skulls, each of these expresses a different emotion, from a wrathful to a more peaceful expression.

The series of paintings migrate from one to the next through different mood stages, symbolizing the transition from death to re-birth, known as the bardo in Tibetan that translated as ‘between stage’.

Each of the different moods can also be depicted as the transformation of the five ‘mind poisons’ into the ‘five wisdoms’, associated with the Five ‘Buddha families’.

This is a popular Tibetan Buddhist theme, that Tashi has illuminated to his own interpretation, draws from his training in Tibetan Buddhist philosophy and iconography.

Tashi explains:

“A Buddhist practitioner, a Yogi or Yogini, strives to live without harming others and themselves, up to the point of death without any regrets, knowing that they have led a full and meaningful life, and thus able to look into the face of death confidently, laughing without fear.

For such a practitioner the time of death is a great opportunity.

But because generally as a non-practitioner we do not know ourselves, we are ignorant, and fear death, the ultimate unknown”.

Tashi’s intention is that for the viewer of the five paintings, there can be much to contemplate. From standing back and comparing each of the skulls with each other, perhaps noting their subtle change in facial expression, different use of colour and pattern, to moving up close to peer into their void like eternally dark eyes.

“Looking into the faces of the skulls in the series is somewhat like looking at oneself, a suggestion of ones inner self and emotions, rather like looking into a mirror of the soul: it may not be an entirely comfortable experience, but there is a familiarity, which is honest and beautiful at the same time”.

This brings up the point of the general Western attitude to death and emotions, which is somewhat morbid, hidden and generally swept under the carpet. Facing images of death maybe somewhat challenging, but with courage of heart, one can laugh in the face of death and the emotional trappings, overcoming ones fears and transforming a negative into a positive.

The five painting are displayed in a specific order as numbered and explained below:

1. ‘Laughing in the face of Anger’

The first of the five skull series is black in colour, angry and more wrathful.

The mood of this piece is one of loss, which hovers ghostly in space. The remedy is to tame hatred, converting to loving-kindness is the first of the five wisdoms.

2. ‘Laughing in the face of Attachment’

Next is red in colour, of passion and attachment, avarice is all consuming like a fire that burns up with devastating destruction. The antidote of grasping is generosity, a great wisdom to practice.

3. ‘Laughing in the face of Pride’

Golden yellow is the colour of riches of the earth and the adornment of the self. The mood of this piece is pride, elaborate and princely. Pride converts to humility and respect as a wisdom.

4. ‘Laughing in the face of Jealousy’

Green is the colour of energy and envy. This deluded and sneaky jealous emotion can be transformed into seeing all as the same, the wisdom of equanimity.

5. ‘Laughing in the face of Stupidity’

Lastly, blue is emptiness. Through taming one’s mind, one has the clear insight to find liberation from these emotions of ignorance. This is the freedom of wisdom, as vast and limitless as the blue sky. This symbolizes the bud of potential, to bloom with fruition, full and glorious.

The middle three skulls are crowned with the Sun and Moon motif, symbolising Wisdom and Compassion, the emblem of balance and harmony.

- Tibetan Calligraphy artist Tashi Mannox.

www.tashimannox.com

Prints:

The "laughing in the face of Death" series is now available as excellent quality limited edition prints.

The reproductions are premium-quality giclée printed, on mould-made papers (the finest and oldest paper-making technique) of 310-315 g/m². The papers; Velin and Aquarelle 100% rag, are of museum conservation standard, ensures stability and UV colorfast ink longevity of more than 120 years.

Each image is carefully colour matched and in sharpness to the original artwork. The prints are hand signed with the edition number and stamped with the artists’ personal ‘water tiger’ seal.

Where gold and silver leaf have been used on originally artworks, the prints are carefully hand gilded to produce an authentic real gold and silver finish, otherwise not achieved to such a bright luster by printed reproduction alone.

Please note that not all of the smaller sized prints are possible to gild due to their petit finesse.

Prints can be ordered in a choice of three sizes, individually or as the set of five:

1. Large size prints of approximately 67x50 cm, this is near to the actual size of the original artworks.

2. Half size at 50x37 cm

3. Smaller size of approximately 30x40 cm.

For prices and orders please contact Tashi.

Skull paintings premières in London.

noreply@blogger.com (inkessential) — Sat, 01 Oct 2011 21:37:00 +0000

An early study for the 'Laughing in the Face of Death"

series, 2006.

For the first time in the Capital, the complimentary surroundings of the Jivamukti Yoga Centre in West London showcases a collection of Tashi Mannox's limited edition art prints. Featuring the iconic five skull paintings called the "Laughing in the face of Death"series, as below.

The exhibition opens on Sunday 16th October 2011 when at 6.45pm Tashi gives a short talk and meditation. For more details click here. and here.

This event also coincides and runs as part of the Himalayan Film & Cultural Festival in London. The festival runs from 13-31st October that celebrates rich and varied cultures of the world's mightiest mountain range with film, music, art and photography. Follow the link here for more information.

Tashi leading a meditation retreat on Holy Island 1993.

World Calligraphy

noreply@blogger.com (inkessential) — Tue, 30 Aug 2011 18:25:00 +0000

A detail from "The Heart of Emptiness" Tashi Mannox 2008.

The calligraphy traditions of the world are many, each with their own unique style and beauty. Historically calligraphy has documented the greatest knowledge and wisdoms of the world, preserved and treasured as illuminated manuscripts.

In more resent times the calligraphy styles have developed into fonts, easily published; they have become powerful tools of communication in propaganda and prayers distributed as:

"May peace prevail on Earth"

Learn Calligraphy of the world by Margaret Shepherd.

Margaret Shepherd a well-known calligraphy artist and prolific author of dozens of books on calligraphy and how to write masterfully.

She has recently published another called "Learn World Calligraphy": an amply illustrated book that presents African, Arabic, Chinese, Ethiopic, Greek, Hebrew, Indian, Japanese, Korean, Mongolian, Russian, Thai and Tibetan calligraphy.

The above art piece called "The Heart of Emptiness" is among others of Tashi's works that are illustrated within the Tibetan Calligraphy section of the book.

The ‘written’ script represents a language, and a language represents thought. Therefore, one must be able to write a script that is understandable to all, that the meaning of the word is best honored as a beautiful art form called calligraphy. This is the integrity of the written language and the preservation of the knowledge that it upholds. Tashi Mannox 2011.

Print Exhibition

noreply@blogger.com (inkessential) — Sat, 20 Aug 2011 10:24:00 +0000

"Laughing in the face of stupidity"
ⓒ Tashi Mannox 2011

Herefordshire Art Week: 10-18 September 2011

h.Art is Herefordshire's Open Studios tenth event, giving you exclusive access to artists' studios, workshops and special exhibitions. This year there are 103 fantastic venues spread across the whole county and borders. It is the perfect opportunity to meet the makers in relaxed surroundings, learn about their techniques and inspiration and perhaps buy a print or an original artwork.

For the first time Tashi Mannox exhibits in his home county Herefordshire. This will also be a première showing of his striking set of five "Laughing in the face of death" paintings as well as other first editions from his illuminated iconographic series, of which have been beautifully replicated as more affordable limited addition giclée prints.

There is an opportunity to meet Tashi personally during the exhibition opening on Saturday 10th September, 7pm-9.30pm.

To see details of this exhibition and other Herefordshire art events, please follow the link here.

If you are unable to visit the exhibition and would like to order limited addition prints, there is a wider range of prints in different sizes available via the Tashi Mannox website.

Hand gilding a print with genuine gold and silver leaf.

A tribute to Sherab Palden

noreply@blogger.com (inkessential) — Mon, 15 Aug 2011 08:43:00 +0000

A Tribute to the Life and Work of

Sherab Palden Beru

A new book, put together as a tribute for the Tibetan Thangka painting master, Sherab Palden Beru, on the special occasion of his 100th birthday celebrations that was held at the Annual Tea Party, 14th August 2011, of the Kagyu Samye Ling Tibetan Buddhist Monastery in Scotland.

This beautifully illustrated book was recently complied at the request of Dr. Akong Tulku Rinpoche. Within there is a brief biography, tributes from friends and students, and many illustrations of some of his works, a number of which have never been published before.

A Thanka painting by Sherab Palden of Chenrézing.

Tibetan Art Master Sherab Palden Beru.

Tashi First met Sherab Palden when he was a boy of 12 years old, who in ore of Sherab's mastery in the Tibetan art tradition, later at the age of 21 became a monk and spent the next 17 years working closely with Sherab Palden learning the art of fine temple decoration and the art of Cham Lama dance.

"Sherab's influence on me spiritually and creatively is essential to my own path as an artist and Dharma practitioner. Without his knowledge and great warmth of heart, I would not be the person I am today. I feel deeply grateful to Sherab and with the tireless direction of Akong Rinpoche, it is a credit to both of them for my well-being and success"

An extract from the book of Tashi Mannox's tribute to Sherab Palden

Sherab Palden, Tashi Mannox and Akong Tulku Rinpoche.

To Order a copy of this book, please follow the link here.

སརྦ་མངྒ་ལཾ།

Bodhicitta prayer.

noreply@blogger.com (inkessential) — Thu, 11 Aug 2011 15:04:00 +0000

Bodhicitta prayer in drutsa script. Tashi Mannox 2011.

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

A book of mantras

noreply@blogger.com (inkessential) — Fri, 08 Jul 2011 10:42:00 +0000

A resource for visualising and calligraphy of
Buddhist mantras and seed syllables.

The long awaited print version of the popular Buddhist mantra website:

visiblemantra.org.

This is a celebration of the visual forms of mantra and other varieties of sacred speech, drawing on Buddhist traditions from India, China, Japan, and Tibet.

The book includes all the mantras from the website, plus a few more. Each is presented in four scripts: Siddhaṃ (Bonji 梵字), Lantsa (aka Rañjana), Devanāgarī देवनागरी, and Tibetan དབུ་ཅན།. Plus seed-syllables, dhāraṇī and Pāli chants. All accompanied by Jayarava's meticulously researched notes and comments, and background reading drawn from Jayarava's blog.

An invaluable resource for Buddhist artists, calligraphers and practitioners.

To buy a copy, please follow the link here.

❖

Calligraphy workshop report.

noreply@blogger.com (inkessential) — Wed, 29 Jun 2011 15:04:00 +0000

The last and root letter of the Tibetan Alphabet 'a'.
drawn indicating the suggested order and direction
of it's construction. Photograph by Jayarava.

The Tibetan Calligraphy weekend workshop held in London, 25th-26th June 2011, was an all round success. Two long days of intense instruction from Tashi was just enough time to focus on the Tibetan alphabet, vowel signs and a short demonstration and explanation of the Mani mantra, all in the Uchen script style.

Photograph by Jayarava.

Each letter of the alphabet was individually explained in proportion and construction, using the traditional grid method as a guide to achieve well formed lettering.

Tashi marking out construction lines.
Photograph by Jayarava.

Among the workshop participants was Siddham calligraphy expert Jayarava, who runs the Visible Mantra : Buddhist Calligraphy website and blog.

Jayarava who commented on the workshop said:

"What a pleasure it was to spend time with Tashi learning Tibetan script.

His years of discipline and training show in his sure hand when writing! It also shows in his gentle manner.
Though he's a master of his art there is no arrogance or impatience in his approach to writing or teaching.
As a self-taught calligrapher I realised what an advantage having a teacher is - I learnt more about calligraphy in 10 hours than in the previous 10 years of learning from books."
I only wish I had been a better student and my own hands were not so clumsy these days!"

Another participant was Paul Antonio who describes himself as a scribe, but more specialized as an expert in the various script forms of European calligraphy. He is a successful calligrapher with many notable clients such as appointed to the British Royal family.

Paul who also runs courses in calligraphy, was a fine example of how to sit with the correct posture to maximize the ease and flow when writing.

During the workshop, Tashi gave personal attention to each participant, instructing and guiding every individual to better their hand in the art of Tibetan Calligraphy.

Personal instruction. Photograph by Jayarava.

Further explanation on this blog about writing Tibetan, especially the Uchen Script style can be found here, as well as an explanation of the several other Tibetan script styles are shown here.

Any Future Courses and workshops with Tashi Mannox on Tibetan calligraphy will be announced in due course on this blog. If you would like to follow this blog, you can do so by clicking on the 'google' follow button on the right column from here.

Tibetan Calligraphy workshop 25th June 2011

noreply@blogger.com (inkessential) — Mon, 23 May 2011 17:56:00 +0000

A weekend workshop in Tibetan Calligraphy in London. Suitable for complete beginners in Tibetan writing and also for those wishing to polish their skills. 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.

To book a place to attend, please follow the link here.

The Foundation of Spiritual Practice

noreply@blogger.com (inkessential) — Sun, 03 Apr 2011 18:41:00 +0000

༄། ཐུན་མོངས་ཀྱི་སྔོན་འགྲོ་བཞི།

Four contemplations.

Detail of "Impermanence" a calligraphy by Tashi Mannox
shows small dancing skeletons in mockery of permanency.

Fundamental to Tibetan Buddhist practitioners are the Four Foundations, four topics that are meditated upon during the preliminary practice in order to overcome attachment and develop a strong spiritual foundation and motivation.

1. Precious human existence.

2. Impermanence.

3. Causality.

4. Samsara.

The first contemplation is on ‘precious human birth/existence’ is how rare and difficult it is to obtain and how easily it can be lost, such condition of fragility leads onto the next contemplation of ‘impermanence’ that how everything is in constant change and deterioration. The third is to reflect upon the law of ‘Karma’ cause and effect, being primarily the driving force of Samsara; is the fourth contemplation on the suffering of ‘cyclic existence’ the entrapment of the attachment to material possessions and the expectation and disappointment of loved ones, which continuously grips ones habitual attention.

Tashi Mannox illustrates the ‘four foundations’ as a set of four calligraphic masterpieces, intended to be thought provoking as a subject of meditation and reflection, that can be an aid to ones practice if not a pleasing iconographic art piece for the wall.

Precious human existence.

མི་ལུས་རིན་ཆེན།

Appreciate precious life, as it is difficult to obtain and easily lost.

As a seed, the essence of life, uncoils in growth, delicate, precious and whole.
This curling Bindu shape, Sanskrit, Tigli in Tibetan, holds the words ‘precious human birth’ in a Tibetan Drutsa script.

Chinese ink on heavy water colour paper, 57x76 cm,

Impermanence.

མི་རྟག་པ།

Nothing ever stays the same!

The words ‘mi rtag pa’ impermanence in the toppling Tibetan Tsugring script, are made up small dancing skeletons, which fade into decay at the base of the letters.
The personal seal of the artist is also broken into two.

Chinese ink on heavy water colour paper, 57x76 cm,

Cause and Effect.

ལས་རྒྱུ་འབྲས།

The heavy dept of past negative actions are always collected by the law of Karma.
Equally any positive actions accumulated will result in the fruition of good Karma.
There is no rule in time to say when good and bad Karma will ripen, other than all the relevant causes and conditions come together for that particular ‘karma’ to manifest.

Samsara, Cyclic Existence.

ཁོར་བ།

Freedom is in non-attachment.
The circle of Tibetan ‘Tsugthung’ script reads “cyclic existence” this repeats relentless with no beginning and no end. Such is the nature of Samsara.

The four Preliminaries are a classical topic for practitioners, which have provided a strong backbone for the more historically famous lineage holders and Saints of Tibet, notably in they're teaching and songs, such as Milarepa and his spiritual son Gampopa.

༄། རྒྱུ་ནི་བདེ་གཤེགས་སྙིང་པོ་སྟེ། རྟེན་ནི་མི་ལུས་རིན་ཆེན་མཆོག། རྐྱེན་ནི་དགེ་བའི་བཤེས་གཉེན་ཡིན། ཐབས་ནི་དེ་ཡི་གདམས་ངག་སྟེ། འབྲས་བུ་རྫོགས་སངས་རྒྱས་ཀྱི་སྐུ། འཕྲིན་ལས་རྟོག་མེད་འགྲོ་དོན་མཛད། །

“The cause is the Buddha nature. The support is the most precious human body. The circumstance is the spiritual friend. The method consists of his instructions. The result consists of the kayas of perfect Buddhahood. The activity is the spontaneous accomplishment of beings’ benefit.” From the ‘Jewel Ornament of Liberation’ Jé Gampopa.

The above images of the four Contemplations are available as a set or individually as limited edition prints, these are personally hand signed and sealed by the artist.
Prints can be ordered in two sizes. The larger size being near to the actual size of the original artworks of approximately 67x50 cm. The smaller size prints are approximately half the shown size.
For more information such as prices and how to order, please visit the link here.

Obstacle Clearance

noreply@blogger.com (inkessential) — Fri, 04 Mar 2011 12:57:00 +0000

'Homage to Mahakala' the face of the Great Black one, Tashi Mannox 2007

On the last day of the Tibetan year prayers are offered to the wrathful Dharma protector called Mahakala 'the Great Black One'. This is traditionally an all day sadhana སྒྲུབ་ཐབས practice to clear away obstacles of the old year to clear the way for a peace and progress in the Dharma. It is a cathartic and effective way to let go of negativity and purify body speech and mind of the new year ahead.

The yearly Mahakala practice culminates with a ceremonial 'cham' dance to symbolically chase out and repel the demons of the old year, called the black hat dance. The main character of the dance is usually performed by a high Lama who is particularly attained in the visualization of the sadhana, who's role is given the title dorje lopon.

The Mahakala dance has its origins from a time in historical Tibet when an anti-Dharma King was shot with an arrow from a bow concealed in the long pointed sleeves of the gown worn by the dancers of his court. This has since become symbolic of the victory over the inner and outer obstacles one may encounter on a spiritual path. A similar costume is worn today together with an apron depicting the face of Mahakala, the protector of the Dharma.

A young Gyaltsab Rinpoche wearing the black hat dance costume at Rumtek
monastery in Sikkim. Photography by Peter Mannox.

With the dust of the old year symbolically clean away, it is traditional for a more practical spring clean of the household in Tibet, which with the celebrations of the new year 'losar' and on this day only, the servants of the house would be allowed to swop cloths and roles with the masters, in a party atmosphere of joy and a refreshing shake-up of conformity.

The Tibetan New Year of 2011 bounds in with the Female Iron Hare or Rabbit, which is said to be a particularly joyful and prosperous year ahead.

May goodness increase.

Tibetan calligraphy work-shop

noreply@blogger.com (inkessential) — Wed, 02 Mar 2011 13:59:00 +0000

The Shang Shung Institute logo.

The 'Shang Shung' London Institute of Tibetan Studies presents a weekend workshop of Tibetan calligraphy, lead by Tashi Mannox on 25-26th June 2011.

For more details, to book and to partake in the workshop please follow the link here.

Karmapa

noreply@blogger.com (inkessential) — Sun, 13 Feb 2011 18:10:00 +0000

ཀ་

The badge of Tsurphu monastery,
the original seat of the Karmapas
in Tibet, founded in 1189 by the
Fist Karmapa Dusum Chenpa.

ཀརྨ་བཀའ་བརྒྱུད།

Ka ཀ་ is the first letter of the Tibetan alphabet and the first letter of the name Karmapa ཀརྨ་པ།

But more notably; the latter ka also refers to speech, that is of the aural transmission of the Dharma though the Kagyu lineage known as the 'Golden Rosary' as one bead in a string leads to another, so are the teachings and practices passed on down through an unbroken lineage to the present day.

The Karmapa, Ogyen Trinley Dorje is the head of the Karma Kagyu lineage and the 17th in the line of Karmapa's

The 16th and 17th Karmapas.

The above photo shows an astonishing resemblance between the 16th and 17th Karmapa of a similar age, not only in photo composition but also in location on grass next to a tent in the grounds of his seat monastery called Tsurphu in central Tibet.

It was quite by accident that these two photographs found there way together after a life-time had passed between one incarnation to another.

The 16th Karmapa Rangjung Rigpe Dorje '1924 - 1981'

A a seldom seen and delightful photography of the 16th Karmapa, was taken by Tashi's father Peter Mannox, who documented many other of the Kagyu lineage holders during the 1970's at Rumtek monastery in Sikkim, India.

The 17th Karmapa Ogyen Trinley Dorje, born '1985 -

The present Karmapa now resides in Northern India at his temporary camp at the Gyuto monastery in Dharamsala.

Karmapa-chenno mantra, Dru-tsa script, Tashi Mannox 2011

As the central figure to the Kagyu linage, the mantra to ask for blessing of the Karmapa is pronounced karmapa chénno which translates as 'Karmapa here me/take heed'.

Karmapa-chenno mantra,
Horyig script
Tashi mannox 1988

Here is the same mantra in the Horyig seal script, shown to Tashi as one of his first encounters with the seal script. It was this that captured his inquisitive nature and stated his journey in learning the specialized seal script.

To the left is an impression of one of the Karmapa's seals, signed by the 16th Karmapa,

the hand-writing above the seal translates as

'Karma Kagyu Dharma institution'

༄། ཀརྨ་བཀའ་མརྒྱུདཆོས་སྡེ།

At the center of the seal design is the letters 'karmapa'.

A similar seal design to the above, perhaps a copy, clearly shows the letters 'karmapa' carved into the stone seal.

The script style is the father to the Horyig seal script called Phags-pa.

In both seal designs, the Phags-pa letters sit on an open lotus, radiating aura lines, above the letters are three 'jewels' representing the Buddha, Dharma and Sangha, either side of which are the sun and moon.

At The top of this post is a badge of Tolung Tsuphu Monastery, there is an interesting little story to the creation of this badge of an international collaboration.

Once upon a time... In June 1996 Tashi visited Tsurphu monastery along with Akong Rinpoche and his brother Lama Yeshe Losal, to meet the young 17th Karmapa. This was a particularly special occasion, as for Lama Yeshe and Tashi, it was the first time they had seen the Karmapa since his previous incarnation.

Akong Rinpoche, Karmapa and Tsering Tashi.

One particular day Akong Rinpoche together with Tashi organized an audience with the Karmapa. The main purpose of this meeting was to take measurements so that Tashi could make robes for the Karmapa at a later date.

Much of the day was spent in the Karmapa's private quarters where games where played with much enjoyment and laughter.

It was decided to offer Karmapa an embroidered badge, which He liked as something to give to every one of the monks in the monastery representing Tsurphu.

Drawing by Karmapa and Tashi.

As in the Photo, all three huddled around Karmapa's seat table to plot out how the badge should look. Above is a rough sketch that was made by Tashi at the time under the instructions from both Karmapa and Akong, additional marks were added by Karmapa, such as the curls at the top as he explained the decorated surround of the Dharma wheel and swirls to the scroll. Below He added the moon and the sun and even wrote moon and sun next to them. The design session ended with how to draw a star.

Fresh in mind and sketch in hand, Tashi returned to Scotland where he requested Sherab Palden Beru a master of Tibetan art, to create a design based on Karmapa's instruction. The design at the top of this post was created by one of Sherabs students under his direction.

Tashi then contacted some Buddhist friends, Tony and Rose, he had met earlier in that year, who happened to run a badge making business in Australia called 'Badger Makes Badges'. The artwork was sent to them around the globe and being devoted to Karmapa, hundreds of beautifully embroider badges where returned to Scotland and offered to Karmapa by Akong Rinpoche on his next returning visit to Tibet.

THE END

❖

Another Karmapa related post on the Karmapa's dream flag can be followed here.

Unchanging well being,

noreply@blogger.com (inkessential) — Sun, 06 Feb 2011 18:07:00 +0000

གཡུང་དྲུང་པ་ཏྲ།

The interlocking swastika pattern is called Sayagata in
Japanese, meaning "gossamer figured-cloth pattern".

The Swastika is estimated to be a 3,000 year old symbol that is important to most of the worlds cultures for its sacred symbolism. A powerful image that in recent history; has been corrupted by a more unfortunate Nazis association.

The word 'swastika' is Sanskrit pronounced 'svastika'. Some of the earliest examples of the 卍 symbol can be found in India.
Below shows the convoluted swastika pattern as part of the elaborate stone carving on the Dharmekh Stupa in Sarnath near Varanasi.
Such patterns are probably the origin of the Sayagata design, as shown above, which as a pattern on cloth, furniture, and architectural decoration, is widely reproduced across Tibet, Mongolia, China and Japan, in fact just about everywhere across the far East.

A detail of stone carving on the Sarnath stupa.

The stupa at Sarnath is built on the spot where the Buddha gave his first teaching after attaining enlightenment, known as the dear park, located North-East of Varanasi.

The first construction of the stupa was during the reign of Emperor Ashoka (2nd century B.C.). It was later rebuilt to its present form in the early 6th century.
In more recent times a stone tablet was discovered in the center of the stupa with the word Dhamekha, this can be translated as Dharma Chakra, meaning "turning the wheel of the Dharma." which coincides with the records of Buddha's first sermon, when he "set the wheel of Dharma into motion."

A phoenix design by Sherab Palden Beru, adapted for Tibetan Table panels
by Tashi Mannox, note a different variation of
the convoluted swastika pattern in blue: གཡུང་དྲུང་པ་ཏྲ།

For Tibetans the swastika is used by both Buddhists and the pre-Buddhist religion called Bön, the symbol is generally differentiated by the direction that the swastika turns. The Buddhist version turns with the arms pointing clockwise ࿗ where as the Bön swastika spins anti-clockwise ࿘

Here is an example of a 'heading' character of a Bön script called Zhang Zhung or smar-chen སྨར་ཆེན་ in Tibetan, the swastika used as part of the character is turning anti-clockwise.

More of the Zhang Zhung script spells out 'yung drung' གཡུང་དྲུང་ in Tibetan, Which is the word used for swastika and translates as "rest unshakably" or "unchanging well-being"

Above is a calligraphy art piece by Tashi using the words g.young drung གཡུང་དྲུང་ to form the shape of a swastika. In India, Tibet, China and Japan, the swastika is considered a symbol of good luck.

Sarnath stupa carving from the 6th century.

A detail from stone carvings found on the site of the Acropolis

The famous Parthenon Παρθενων has stood proud at the Acropolis in Athens for the past 2,500 years. Like many ancient Greek architectural embellishments, the swastika σβάστικα is popular as a decorative theme. The Above carved detail is perhaps from the Roman occupation of the Parthenon, which demonstrates the favored use of the swastika as design feature.

Contemporary swastika design by Myoshka

The personal water tiger seal of Tashi Mannox
is repeated and turned to form a swastika like design.

࿗

RELATED TIBETAN SCRIPTS

The practice of the Bodhi

The Great Perfection རྫོགས་པ་ཆེན་པོ

The art of writing Tibetan

Creating the Mani mantra

Bodhicitta

rest unshakably.....

Tibetan Graphic Design

Bamboo pen

Threads of Awakening

holy trends

Website Rebirth

Laughing in the face of.......

Skull paintings premières in London.

World Calligraphy

Print Exhibition

Herefordshire Art Week: 10-18 September 2011

A tribute to Sherab Palden

Bodhicitta prayer.

A book of mantras

A resource for visualising and calligraphy of
Buddhist mantras and seed syllables.

Calligraphy workshop report.

Tibetan Calligraphy workshop 25th June 2011

The Foundation of Spiritual Practice

Chinese ink on heavy water colour paper, 57x76 cm,

© Tashi Mannox, created 2007

Chinese ink on heavy water colour paper, 57x76 cm,

© Tashi Mannox, created 2007

Obstacle Clearance

Tibetan calligraphy work-shop

Karmapa

Unchanging well being,

RELATED TIBETAN SCRIPTS

The practice of the Bodhi

The Great Perfection རྫོགས་པ་ཆེན་པོ

The art of writing Tibetan

Creating the Mani mantra

Bodhicitta

rest unshakably.....

Tibetan Graphic Design

Bamboo pen

Threads of Awakening

holy trends

Website Rebirth

Laughing in the face of.......

Skull paintings premières in London.

World Calligraphy

Print Exhibition

Herefordshire Art Week: 10-18 September 2011

A tribute to Sherab Palden

Bodhicitta prayer.

A book of mantras

A resource for visualising and calligraphy ofBuddhist mantras and seed syllables.

Calligraphy workshop report.

Tibetan Calligraphy workshop 25th June 2011

The Foundation of Spiritual Practice

Chinese ink on heavy water colour paper, 57x76 cm,

© Tashi Mannox, created 2007

Chinese ink on heavy water colour paper, 57x76 cm,

© Tashi Mannox, created 2007

Obstacle Clearance

Tibetan calligraphy work-shop

Karmapa

Unchanging well being,

A resource for visualising and calligraphy of
Buddhist mantras and seed syllables.