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The Painted Mantra

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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.





Kunzig Shamar Rinpoche 1952-2014

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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.


Calligraphy in Wood

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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.

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.







Learn the art of Tibetan calligraphy in Italy

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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.

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: 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.





Tibetan Calligraphy in Moscow

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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. 






Tibetan calligraphy courses in London.

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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 April 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 April 2015.



There is another opportunity to join the same course at Samye Dzong London later in the year on the weekend of the 25th July.




Tibetan Calligraphy Retreat 2015

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Tibetan Calligraphy Retreat with Tashi Mannox

14th– 22nd August 2015

Perhaps the first of its kind… 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.

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 essential and 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 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.

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 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: £197GBP
  • Camping - £346. booking deposit: £138GBP
  • 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 two 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.

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.



2*  Local Taxi: Mike 07881 726547 



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

Saturday 15th
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.



Learn Tibetan Calligraphy in Brussels


Appreciated in Lhasa.

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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.












brush and ink

Teaching in London Samye Dzong April 2015

Akong Rinpoche Foundation logo

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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.





A Leap of Faith - Magazine interview.

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During April 2015 an up-and-coming Norway based Graphic Designer Umer Ahmed interviewed Tashi Mannox for his Lifestyle Magazine project called Leap of Faith.




Below are Umer's magazine project images and copy of the interview -




0. Where are you right now and what have you been up to lately?

Right now I am on a flight from Athens to London, this provides me with some quality undistracted time to answer the questions for “Lifestyle Magazine”. I am scheduled to be in London to teach a weekend course in Tibetan Calligraphy as well as give a public talk on the role of art in Dharma.




1. Let’s start off by talking about your life as a Monk. What inspired you to choose this path?

I was initially inspired to become a Buddhist monk at the tender age of 11, I met Tibetan Lamas through my parents who brought with them my sister, brother and me to one of the first Buddhist centres in the west called Dagpo Kagyu Ling, in Dordogne, France. These old Lamas impressed me as being genuinely happy and wise, so as a child I wanted to be like them, becoming a monk as they were was the way to achieve this.

2. What was your life like before coming a Monk? What did you study? Did you always wanted to become a Monk?

In the few years before I become a monk I was studying fine art, I qualified as Bachelor of Art. Within a year of qualifying, not long after turning 22 years old, I took the monks precepts. This was at the advise of our family Lama, Akong Tulku Rinpoché. I guess it was a good moment in my life to plucked and put me down in a monastery, as I has not yet established my career and at a major junction, this was a very welcome decision for me.




3. What were your thoughts upon leaving the Western way of living to start a spiritual journey in the East?

The odd thing was that I had secretly wanted to become a monk ever since I met these two wizened Tibetan Lamas in Dordogne, surprising because I had not told anybody about my inner wish. It was as if Akong Tulku Rinpoché had seen my inner intentions or perhaps my potential. But because my further was wide open and with a young inquisitive mind, I was enthusiastic and embraced the transition from my Western life to that of the life of a monk.
Though I do remember shortly after I took the monks precepts feeling somewhat ungrounded and a little estranged to this new way of life. So I told Akong Rinpoché how I felt, saying “I cannot quite get my feet on the ground” He replied with a stern look “you will” and with that I pulled myself together and found myself.

4. After becoming a Monk you were given the name “Tsering Tashi”. What does it mean?

I was given the name Tsering Tashi when I became a monk. A new name is given as part of the ceremony when one becomes a monk, it marks a new way of life. As the name means ‘auspicious long-life’ it is also considered something to live up to, as with the good conduct and healthy lifestyle of a monk, one would expect to live a long and fortunate life.

5. What kind of challenges did you face during this transition?

As a monastic, I often felt like a pioneer, because of being one of the first Tibetan Buddhist monks in the west, I encountered new challenges that would be experience by few. Besides having my own precepts to protect, there was the issue
of how a Buddhist monk fits within Western society, as the monastic infrastructure was not properly established to give the ease and necessary support to exist as a monk. At first there was only one other Tibetan monk with me and an old English nun at the Buddhist centre I was invited to in Scotland. This was hardly enough to warrant a ‘monastery’ and I re- member Akong Rinpoché mocking me with a roar of laughter that I was like a wild dog running around with no bounds as a monastery would have. It was after all the early days of Buddhist centres establishing them selves in the West, and I feel for better or worse, that I played a role in that with its freedoms and challenges.





6. You remained a Monk from the age of 22 until you were 38, do you mind if I ask why you decided to leave?

Sometimes I think that this unique position I found myself in as a ‘free style’ Buddhist monk caused me to get carried away, it gave me an inner confidence that was mostly positive and useful. On one had I was very comfortable as a monk and good at doing all the monk things, but I began to question being ‘institutionalised’ and perhaps a little too comfortable and proud. I had been a monk for most of my adult life and I felt that I needed to step out of my comfort zone,
perhaps to put into practice all that I had formally practised on my fluffy meditation cushion. I was also curious how I would get on in the ‘real’ world, to have the opportunity to express myself as an artist and share something of my little understanding acclimated as a monk in Dharma.

7. Was it hard for you to disrobe?

However it was not at all an easy decision to leave the monastery, perhaps a harder transition than becoming a monk, yet I had a certain fearless confidence that carried me through this difficult time. and even now, after 15 years since I laid down my robes, I still dream at night that I am a monk. It is a commitment that runs very deep within oneself and as a friend once said to me “you can take Tashi out of the temple, but you cannot take the temple out of Tashi”.




8. Can you talk a little about your relationship with you guru, Akong Rinpoche?

Akong Rinpoché has always been a pillar of rock for me though-out my life, I surely would not be the person I am today without him. It feels like he has always watched over me and as I mentioned earlier in this interview, he has plaid a key role in major turing points of my life. He taught me many things that I still value and imply in my life today. Such as doing ones very best for others and what ever one does should be done at the highest of standards. This is not just in the standard of my own work as an artist, that he encouraged and guided me, but in the ordinary everydayness. He was the most patient man I ever knew and had this uncanny ability of foresight in telling you something that at the time did not make full sense if any, but would make complete sense many years later when a particular occasion arise.
I was very fortunate to work closely with Akong Rinpoché during my monk years, many of these was as his personal attendant, often traveling with him on teaching tours around Europe and Russia. He was a spiritual father to me, a mentor and Guru.

9. Were you aware of the challenges awaiting you in the western world after you disrobed?

when I left the monastery, Akong Rinpoché was very concerned of how I was, He would call me once a week and occasionally invite me back to the monastery to help with some project or another. I met new challenges out as a lay person, practical things like earning money to pay my rent and bills, all new to me, so it was a steep learning curve for a 38 year old.

10. Did you always had an interest of working with calligraphy, or is it something that you grew fond of as being a scribe?

The main concern was what I was going to do to earn money! my C.V was practically empty of the usual work experience, though the skills learned in the monastery, not just practical artistry, but also dealing with people with patience and understanding, was indeed good qualities to help get on in the real world, though to be recognised during a job interview was another question. So I decided to be a Tibetan calligraphy artist and with an interesting story to tell, people noticed me in the thick of London with its many other artists. It seemed a natural choice, as I had already worked as a script cop- ing ancient manuscripts, though it took a few years to forge my own niche in the art world.

11. What inspired you to start teaching?

I did a lot of teaching while I was a monk, meditation and other Dharma practices with all the ritual elements that go with the very rich and colourful Tibetan Buddhist tradition.
Though the first few years I was out of robes, I did shy away from teaching. It was not so much that I was inspired to teach, but others kept on asking me, obviously because I had something to share. I did not think at first that there would be so many peoples interested in learning Tibetan Calligraphy for example, but I soon learned that there are many, which is now taking me all over the world teaching workshops and giving lectures.




12. How would you describe your current lifestyle?

So my time now is spent between home at my studio in Wales creating artworks to teaching and holding exhibitions in the four corners of the planet. It is very busy. So I would like to take this opportunity to put it out there that I have my ear to the ground for a P.A. somebody who already has some understanding of the Tibetan language but also has social media skills, and perhaps at a junction in their life where they have time to work as much as an apprentice with me.

13. How do you balance the aesthetics of the Monk culture with the modern and fast moving society today?

Now this is a tricky thing to balance well. I am not sure how well I managed it, but I see other younger monks and nuns struggling with this. Tibetan monks with mobile phones and nike trainers, this is a very different world to the original old Tibet that was conducive for a monk, so this balance is still finding its self and may for a while yet swing in one direction to another, from overly relaxed and ‘cool’ to puritanical.

14. Do you have any thoughts about the contrast between analog and digital tools, like a calligraphy pen and Ado- be programs? Are you fond of both?

I have learnt and use the traditional tools in the art of Tibetan calligraphy, but personally I also use modern western tools, anything really that will provide a good effect and perhaps a more ease of use. I also spend a lot of time, perhaps too much, sat before my mac digitally enhancing and creating new images, though mostly from scans of calligraphy that I have already created by hand. I was invited a couple of years ago to create Tibetan fonts for Apple Mac, but when I looked into it, the amount of time I would need to spend on each font would have meant that I would have done nothing else but sit on front of a computer for several years, I would be brain dead with square eyes, not my style, so if there is any geek out there who would build Tibetan fonts for me based on what I create by the good old ink on paper, you are most welcome to work with me.

15. Do you like to challenge yourself, to find out what you as a person are capable of? In terms of taking risks, trying out new things or changing your way of thinking?

I love taking risks, I should do more, as there is less achieved without taking risks, one has rot push forward, but in another way, life throughs challenges anyway, there is enough change and surprise without having to contrive one. But taking risks in my own work and pushing the boundaries excites me.

16. You once mentioned that we human beings never stop learning? Why do you think that is. What ignites our curiosity?

Us humans are naturally inquisitive, we have the awareness and intelligence to be so, our existence is very precious and our life is something wonderful, every moment should be honoured and engaged in something positive. Appreciating this keeps our curiosity alive and active, keeps us young in the mind. It is interesting that although our physical body gets old, our mind does not, ok we may get set in our ways if we do not challenge and stimulate our-selves, but in many ways our mind gets sharper as we get older, we need less sleep and we are just as capable of learning and improving. Perhaps this has something todo with our life force, our mind stream, that as well as Karma, is the cause to continue into the next life. Of course as a Buddhist I believe in reincarnation and that what we do in life is somewhat in preparation for the inevitable death and rebirth.

17. Do you know of any other personalities who have followed the same path as you? Becoming a Monk and from there on continued to pursue a creative profession?

I cannot say that I know another person who has followed quite the same path as me, there may be others that I am unaware of, but somebody else who was a Western monk for a considerable period of their life who then made a career as an artist, and more especially a Tibetan calligraphy artist, I don’t think there is. There are others who learnt some Tibetan calligraphy by attending a few calligraphy courses, that now fancy themselves as an ‘expert’ and make a business out of it, but none of them, as far as I know,  have the long background as I did. Perhaps it is because I just happened to be in the right place at the right time, that setting out as a monk at the time all the old wizened Lamas where first coming to the West, I had their attention all to my self. Being just about one of the few Western monks I was able to learn first hand from them and experience the genuine old Lamas of Tibet, who are now almost all gone. The new generation of Tibetan Lamas are different. So I feel very fortunate to have been around at this unique period of when Tibetan Buddhism was first establishing its self in the West.



18. How do you integrate the Monk culture and all those years of learning and training with your passion for art and calligraphy?


As a monk one learns many things, because one represents Buddhism, ones conduct needs to be cordial and mindful. Maybe I was not always so good at this being a little eccentric, but I did learn to communicate well with people, develop patience and understanding, which after-all are qualities that help us greatly in everyday life. Of course too, keeping calm and clear through the practice of meditation is also something required as a monk, which I still practice today, this is essential to my own creativity and at the core of my work as a calligraphy artist. In short, being a monk gave me a firm foundation.

19. Before you decided to become a Monk, or had ever thought of becoming a Monk, did you want to pursue a different profession or a different lifestyle?

I had wanted to become a monk ever since I met the first Tibetan Lamas at the age of 11, but by the time I completed my art training in the conventual collage system in the U.K, I had had an offer to go the NYC to start a fashion label, as part of my fine art degree show involved textiles that I dyed and printed to look like brocades that were seen in old Tibetan temples. I think that if Akong Tulku Rinpoché had not plucked me, my life would have been very different and perhaps not as meaningful.

20. What does the future hold for Tashi Mannox?

Who knows the future ? I can assume a direction my life and career is going, but one never really knows what is install for us, due to the unforeseeable winds of change.
But my wishes are that I have more time to practice and for my art, as long as my mind is clear, my eyes see and my hand does what I want then to do, I will be happy, and even if one of these fails, I will still need to be happy. I wish for good health and long life for all of us. 


Fin







Umer Ahmed's personal website, Facebook, Twitter and Instagram: @paftdrunk




Please follow the direct link here for a full over-view of the Leap of Faith magazine.








Calligraphies in Conversation 2015

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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 حتماهماهنگ 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

A Garland of Syllables

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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.




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.




Dharma King

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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.



Tibetan Calligraphy Retreat 2016

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The view of Hay Bluff from the retreat centre


Tibetan Calligraphy Retreat with Tashi Mannox

16th – 22nd 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.



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.








Sharjah 7th Calligraphy Biennial 2016

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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 6thApril – 6th June 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




Thönmi Sambhota Thangka

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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 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 Bhopalentrusted Tashi to personally add the two principle letters Aa  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.




 This thangka is available at near life-size as a superb quality Geclée print. There is a choice of of base of two mediums of sustainably sourced natural white bamboo paper at 290 grm, or on matt printed on fine canvas, that is convincing to the effect of a real painted thangka. Canvas is also advantageous in that it can be sewn into a traditional brocade mount. To place an order for a Thönmi Sambhota thangka,please follow the link here.


*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




Emerging from the Black Mountains

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Trungpa's dragon painting.




Ink and mineral paints, pure gold paint on a fine canvas,  
approx. 600 x 685 mm, (27” x 23 ¾” inches).


Chögyam Trungpa Rinpoché is principally renowned for establishing the Buddha Dharma in the West. In the United States of America he founded a community called ‘Vajradhatu’ which was later incorporated into the community known as ‘Shambhala International’. He was an accomplished scholar and artist, celebrated widely for his masterpieces. He developed a new expressive style of Tibetan calligraphy known for its ‘nowness’, the meditative approach and the application of the classical Japanese Zen tradition of ‘black ink on white paper’.



Akong and Trungpa Rinpoche on their maiden journey on a P&O 
Liner from Bombay, India, Via Suez to Great Britain, 
suggesting this photo was taken off Gibralter. 

After a dramatic escape from the 1959 Chinese invasion of Tibet, in 1963, at the age of 23, Trungpa Rinpoché first arrived in the UK from India to study at Oxford. By 1967, together with his childhood companion Akong Tulku Rinpoché, they had established the first Tibetan Buddhist centre, Kagyu Samye Ling, in the Scottish border country.

Whilst in residence at Samye Ling and before a short visit to Bhutan in the spring of 1968, Trungpa Rinpoché created a unique work of art that is known as Trungpa’s dragon painting. It stands alone in subject and style, unlike any of the Zen-like calligraphy masterpieces that he later produced to communicate Dharma while establishing Vajradhatu in the United States and Canada.

On Trungpa’s departure to America in 1970, the dragon painting was left to the late Josie Wechsler (later known as Ani Pema) one of Trungpa Rinpoche’s early students, who passed it on to another early student, Karma Dechen Rabjor, in whose possession and safe-keeping it remains. In America, Chögyam Trungpa Rinpoché continued a close friendship with the late Sherab Palden Beru, one of the great Tibetan masters of the Karma Gadri art tradition, where Trungpa commissioned Sherab Palden to paint the well-known thangkaof Vajradhara, which was for many years housed at the Boulder Shambhala Center, Colorado.

This rare dragon painting is composed of several symbolic aspects that Trungpa Rinpoché explained to Josie Wechsler directly and she passed the explanation onto Karma Dechen Rabjor. The significances of the dragon painting outlined below is based on this explanation by Chögyam Trungpa himself obtained from Karma Dechen Rabjor and double checked for accuracy with the late Maggie Russell who had been present at the time of its expalanation.

There is no known title for this masterpiece and no calligraphy on it. It is a purely pictorial depiction of a dragon within a volcanic landscape of movement and colour. The first impression made by Trungpa Rinpoche’s dragon painting is of its colourful and loose painterly quality, expressed through a watercolour application that gives the work a contemporary Western appearance, reminiscent of the later works of the English painter William Turner. Also uncharacteristic of the more rigid Tibetan painting style is the energy and movement around the canvas, in contrast to which the dragon that weaves between the inky washes, is carefully created by a more disciplined and traditional form of Karma Gadri Thanka painting.

Trungpa Rinpoché freely portrays the relationship between the dragon and the elements of earth, wind and fire. The work tells a story of deep Dharmic significance that later became fundamental to the Shambhala teachings, expressed in such works as ‘Cutting Through Spiritual Materialism’ and to ‘The Sādhanā of Mahamudra’. The latter was composed by Chögyam Trungpa as a meditation practice.

       Chögyam Trungpa Rinpoché was a lineage holder of two great traditions of Tibetan Buddhism, Nyingma and Kagyu. For both, the symbolism of the dragon is explained as the Wisdom and Power of the Buddha Dharma proclaiming the truth, the dragon representing fearlessness of truth and reality.  In terms of the Shambhala teaching, the dragon represents the rising of the Great Eastern Sun. Anything else is the setting sun of Samsara, which is explained as making one’s own selfish nest.

The dragon is painted green, embellished with specks of pure gold, representing the activity of the Dharma. At the centre of the composition is a Tolkien-like volcano, an image of the earth forces of the five elements which represent the disharmony and wrath of the upset Mamos’, celestial beings that are akin to the elements of the earth and especially sensitive to imbalance within the environment. From the volcano erupt electric-flashes of luminous orange that not only flow down as lava, but also dart through the sky as lightening. The word for Dragon in Tibetan is druk, the same name given for thunder.


Belching from the volcano are black plumes of smoke which form the Three Lords of Materialism, namely of Form, Speech and Mind. This metaphor is explained in detail in the introduction of ‘Cutting Through Spiritual Materialism’. Trungpa Rinpoche refers to the Three Lords as one’s own neurosis and actions of the ego. In simple terms:

The Lord of Form refers to the neurotic pursuit of physical comfort, security and pleasure.
The Lord of Speech refers to the use of intellect in relating to our world and the delusion one reinforces though speech.
The Lord of Mind refers to the effort of consciousness to maintain awareness of itself and that holds onto and perpetuates the sense of  ‘I’ and its egocentricities.

The glorious dragon is seen breaking through the clouds of delusion, flying high above the lower realms of the swirling turmoil of the dark ages. The lower portion of the painting appears as dull-coloured, arid, scorched earth, wind-swept and impoverished, representing the desperate suffering of Samsāra.

There is no doubt that the 11th Chögyam Trungpa Rinpoché was a pioneer in delivering Buddha Dharma to the West and was greatly skilled in communicating the complexities and integrity of the Tibetan Buddhist traditions and practices for a Western palate. That he was a master at drawing together both Eastern and Western disciplines is clearly evident in the dragon art-piece, both in application and symbolism, which like a terma has stayed hidden from public view, emerging to be as relevant now as the day it was created.

“We need to find the link between our tradition and our present experience of life. Nowness, or the magic of the present moment, is what joins the wisdom of the past with the present. When you appreciate a painting or a piece of music or work of literature, no matter when it was created, you appreciate it now. You experience the same now in which it was created. It is always now.” [Chögyam Trungpa, from the introduction of ‘The Art of Calligraphy – Joining Heaven & Earth’, Shambhala Publications.]

- Tashi Mannox, January 2013, in the year of the water dragon, amended May 2016.
                                                                               www.tashimannox.com

The original of this unique and rare masterpiece has recently become available, if you are seriously interested to purchase, please contact Kurt Schaffhauser directly at 0044 (0) 1497 847121 or email kurt_schaffhauser@hotmail.com for further details.









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