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Heruka in Yab-Yum form. On display at Gangaramaya Temple museum Tibetan book cover depicting Prajñāpāramitā Devi and Mañjuśrī in yab yum, late 13th century. Yab-yum (Tibetan: ཡབ་ཡུམ། literally, "father-mother") is a common symbol in the Tibetan Buddhist art of India, Bhutan, Nepal, and Tibet.
Melong (Tibetan: མེ་ལོང, Wylie: me long; Sanskrit: ādarśa, darpaṇa) is a Tibetan term that means "mirror", "looking glass". The melong is a polyvalent symbol, divine attribute, and quality of the enlightened mindstream or bodhicitta.
According to the Handbook of Tibetan Buddhist Symbols: The trinity of body, speech, and mind are known as the three gates, three receptacles or three vajras, and correspond to the western religious concept of righteous thought (mind), word (speech), and deed (body).
Large shrine statue of Maitreya, Thiksey Monastery, Ladakh, 1970. The vast majority of surviving Tibetan art created before the mid-20th century is religious, with the main forms being thangka, paintings on cloth, mostly in a technique described as gouache or distemper, [1] Tibetan Buddhist wall paintings, and small statues in bronze, or large ones in clay, stucco or wood.
A variety of different styles of calligraphy exist in Tibet: The Uchen (དབུ་ཅན།, "headed"; also transliterated as uchan or dbu-can) style of the Tibetan script is marked by heavy horizontal lines and tapering vertical lines, and is the most common script for writing in the Tibetan language, and also appears in printed form because of its exceptional clarity.
Heruka (Sanskrit; Tibetan: Wylie: khrag 'thung) is the name of a category of wrathful deities, enlightened beings in Vajrayana Buddhism that adopt a fierce countenance to benefit sentient beings. In East Asia, these are called Wisdom Kings .
The endless knot or eternal knot is a symbolic knot and one of the Eight Auspicious Symbols. It is an important symbol in Hinduism, Jainism and Buddhism. It is an important cultural marker in places significantly influenced by Tibetan Buddhism such as Tibet, Mongolia, Tuva, Kalmykia, and Buryatia. It is also found in Celtic, Kazakh and Chinese ...
An image of the Primordial Buddha Samantabhadra with his consort Samantabhadri. These images are said to symbolize the union of space (emptiness, the female aspect) and clarity - awareness (male). [1] In Dzogchen, the ground or base (Tibetan: གཞི, Wylie: gzhi) is the primordial state of any sentient