This Phanek Mapal Naibi paradigm demonstrates with simple logic to a more genuine and intense quest for truth and knowledge and encouraged people to rededicate themselves to a more valuable intelligence, resources and work toward the Flower of Life with symbols and decorative motifs from cultures throughout history. This conceptual paper in the area of the study of Arts and Culture will examine the basic criteria of the modern exploration, testing and proving the truth of the geometrical figure composed of multiple evenly-spaced, overlapping circles, the figure which is used as a decorative motif since ancient times forming a flower-like pattern with the symmetrical structure of a hexagon in which the center of each circle is on the circumference of up to six surrounding circles of the same diameter, The Flower of Life by the Drunvalo Melchizedek symbols of sacred geometry, asserting that they represent ancient spiritual beliefs and that they depict fundamental aspects of space and time, claiming that Metatron’s Cube may be derived from the Flower of Life pattern and that the Platonic solids within it were "thought to act as a template from which all life springs." This ethnographic study of South Asia’s a sarong or sarung type often wrapped around the waist and worn by men and women throughout much of south Asia, southeast Asia, the Arabian Peninsula, the Horn of Africa and on many Pacific Islands, is define a nucleus point in Indian society when it comes to fashion in its latest and most current forms, we could easily boil down to the North East region and its spectacular sense in dressing and styling known for its colorful and exuberant dressing sense of the Meetei Phanek Mapal Naibi worn only by women, handed down from generation to generation, hand embroidery the vibrant costume and unique culture of Manipur with the trademark stripes and embroidered border. **A version of this paper appeared in Orientations 48/3 (May/June 2017) This paper is one facet of a larger, longer term research project undertaken in collaboration with the National Library and Archives of Bhutan that seeks to identify, examine and analyze those individual artists whose creations provide key touchstones to Bhutanese art history. These works constitute the core of this paper, which hopes to offer evidence of the ways Bhutanese art evolved to fit a new nation in 17th century Bhutan, and how resulting works employed Vajrayana Buddhist imagery to reflect a distinctly ‘Bhutanese’ identity and artistic style. Due to the comparative political and social stability of Bhutan over the centuries, works attributable to Tsang Khenchen and other important artists survive intact to the present.
Tsang Khenchen-and the Bhutanese students he trained-constitute a major foundation of what can be termed ‘Bhutanese art’ on a national scale, and this paper analyses the impacts of Tsang Khenchen and his atelier in highlighting important Vajrayana Buddhist rituals, practices, and lineage masters through their artistic output. The study takes as its point of departure one of the foremost artists in Bhutanese history: Tsang Khenchen Palden Gyatso (gtsang mkhan chen dpal ldan rgya mtsho 1610-1684), who arrived in Bhutan in the second half of the 17th century. Drawing on new research, this paper focuses on particular artists who created works for display and use in Bhutanese ritual environments, with special attention paid to objects created in the early post-Zhabdrung era. Yet often these objects carry additional, deeper meanings that can only be understood when we take into account the artists and patrons who contributed to their creation.
For initiated viewers, the murals, thangkas and sculptures visible in Vajrayana Buddhist temples and shrines illustrate key rituals, deities, and lineage masters that provide important supports to practice.
0 kommentar(er)
