Buddhist protection amulets are deeply rooted in spiritual traditions across Asia, especially in countries like Thailand, Tibet and Nepal. These sacred objects are believed to offer protection, attract good fortune and connect the wearer with enlightened energies.A two-sided amulet with a red cord for wearing. The front features a portrait of the 16th Karmapa, the spiritual leader of the Karma Kagyu lineage in Tibetan Buddhism, in ceremonial robes and a distinctive hat. The reverse side features the image of a wrathful deity Mahakala. The rim of the amulet is shaded in gold.worship device

In Tibetan Buddhism a "dorje" (also known as "vajra" in Sanskrit) symbolizes the indestructible nature of reality, spiritual power, and enlightenment, often depicted as a thunderbolt or diamond scepter, representing the ability to cut through illusion and achieve ultimate wisdom; it is a key ritual object in the Vajrayana school of Tibetan Buddhism, signifying the union of compassion and wisdom through its male principle association when used with a bell (female principle). The Double Dorje (Vishvavajra), is a powerful Buddhist symbol. It consists of two crossed vajras (dorjes) and represents the foundation of the physical world. The Double Dorje is often associated with stability and protection, symbolizing the indestructible nature of the universe. This double dorje is a cross of two dorjes, which look like a small scepter with multiple prongs at each end.tibetan buddhism, holy objects, worship devices

The Shakyamuni Buddha statue holds profound significance in Buddhism, representing the historical Buddha, Siddhartha Gautama, who lived around 2,500 years ago. The statue portrays Shakyamuni Buddha, the founder of Buddhism, who attained enlightenment and shared his teachings to help others achieve the same. For practitioners, the Shakyamuni Buddha statue serves as a focal point during meditation, promoting mindfulness, peace, and a deeper connection to the Buddha's teachings. The Buddha is depicted seating in meditation on a lotus throne. His legs are crossed in the lotus position. His right hand is holding an alms bowl, signifying care and compassion for all beings. His left hand touches the ground in a gesture (bhumisparsha mudra) calling the earth to witness his determination to achieve enlightenment.buddhist art, tibetan buddhism, holy objects, statues

Representing the original Indian pandits (Hindu scholars) who brought Buddhism to Tibet; used in the Cham Dances performed by monks during the Monlam Prayer Festival. A solid wood mask carved in a Tibetan styletibetan buddhism, worship devices, rituals

As Buddhism spread to Tibet in the 7th century, prayer wheels became an essential attribute of Tibetan Buddhist practice. This practice is linked to teachings attributed to Nagarjuna, who emphasized the power of mantra recitation and visualisation.Tibetans believe that spinning the prayer wheel which as thousands or millions of mantras inside is equal to saying that many mantras, while being done in a fraction of the time. This helps accumulate merits, purify negative karma and obstacles on the path to enlightenment. This wheel has a hollow metal cylinder attached to a rod handle, made of ivory (with carved elephants), inlaid with coral and turquoise. Inside the cylinder is a tightly wound scroll printed with numerous mantras and wrapped around a spindle. The cylinder is embossed and decorated with inlaid coral and turquoise. A chain with a small weight at the end (made out of copper alloy) is affixed to the cylinder, allowing it to be spun by a slight rotation of the wrist. tibetan buddhism, holy objects, worship devices

Amitayus, also called Amitabha, is the Buddha of Infinite Light, associated with longevity. He is holding in his hands a vessel containing the nectar of immortality. Amitayus is considered one of the Five Dhyani Buddhas in Mahayana Buddhism. Amitayus Buddha statue, wearing jewelled ornaments of a peaceful heavenly god according to the classical Indian system of divine aesthetics. tibetan buddhism, holy objects, buddhist art, statues

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. The design of a thangka allows it to be rolled up for easy transport, a feature that was essential for traveling monks and practitioners in nomadic regions. The Shakyamuni Buddha thangkas serve as potent aids for cultivating compassion and awareness, offering inspiration and spiritual guidance to practitioners. The Buddha's path to enlightenment and subsequent teachings form the foundation of Buddhist philosophy. This thangka features an image of the Buddha in a meditative pose, holding an alms bowl in his lap. Framed by rich red textiles and surrounded by vibrant floral and cloud motifs, it is mounted on wooden dowels and topped with a yellow cover cloth.buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. The design of a thangka allows it to be rolled up for easy transport, a feature that was essential for traveling monks and practitioners in nomadic regions. Padmasambhava thangkas are used to invoke protection, dispel obstacles, and deepen tantric practice. His image serves as a powerful reminder of transformation, spiritual resilience, and the integration of wisdom and compassion.This thangka portrays Padmasambhava seated on a lotus with a red cap, the legs crossed, the right hand holding a dorje (vajra) and the left resting in his lap. Smaller deities or lineage masters appear above and below him, each enclosed in circular frames, signifying the transmission of teachings. The thangka is framed with layers of silk brocade in yellow, red, orange and blue, with floral and cloud motifs that evoke the celestial realm. A decorative fringe at the bottom adds ceremonial richness, while the yellow fabric-covered rod at the top allows the thangka to be hung for ritual or meditative use.buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. The design of a thangka allows it to be rolled up for easy transport, a feature that was essential for traveling monks and practitioners in nomadic regions. In Tibetan Buddhism, White Tara represents maternal compassion, healing, longevity, and purity. She is a female Buddha who offers swift help to those in need, providing protection, removing obstacles, and granting long life to practitioners for the purpose of spiritual practice and enlightenment. White Tara is worshipped for her ability to heal physical and mental illnesses.This thangka depicts White Tara seated in a meditative posture, radiating serenity and benevolence. Her white body symbolises purity and transcendent wisdom, and she is adorned with rich ornaments and flowing silks, reflecting her enlightened status.buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. The design of a thangka allows it to be rolled up for easy transport, a feature that was essential for traveling monks and practitioners in nomadic regions. The Shakyamuni Buddha thangkas serve as potent aids for cultivating compassion and awareness, offering inspiration and spiritual guidance to practitioners. The Buddha's path to enlightenment and subsequent teachings form the foundation of Buddhist philosophy.Embroided thangka with outer cover, fringing and embroided Shakyamuni Buddha deity. Surrounded by three borders with floral motifs in gold.buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or common religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. A thangka is a composite three-dimensional object consisting of a picture panel which is painted or embroidered; a brocade mounting; and one or more of the following: a silk cover, leather corners, wooden dowels at the top and bottom and metal or wooden decorative knobs on the bottom dowel. Guru Padmasambhava (meaning 'Lotus-born', signifying his mythical origin as a being emerging from a lotus flower), also known as Guru Rinpoche, is seen as a manifestation of Buddha Shakyamuni. His teachings and legacy are deeply ingrained in Tibetan culture as he was responsible for bringing advanced Buddhist Tantric teachings to Tibet in the 8th century.A Tibetan thangka depicting Guru Padmasambhava. Framed in a traditional silk brocade border; a wooden dowel is inserted in a sleeve along the bottom edge of the fabric frame. buddhist art, tibetan buddhism, holy objects

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or common religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. A thangka is a composite art form consisting of a picture panel which is painted or embroidered; a brocade mounting; and one or more of the following: a silk cover, leather corners, wooden dowels at the top and bottom and metal or wooden decorative knobs on the bottom dowel. This allows a thangka to be rolled up for portability, reflecting its origins in the nomadic lifestyle of Tibetan monks.The Medicine Buddha (also known as Bhaisajyaguru or Sangyé Menla) is revered as the embodiment of healing and associated with practices helping with mental and physical ailments, as well as purifying negative karma. His iconic imagery, including the medicine bowl and healing plant, represents the union of wisdom and compassion as forces of healing. His teachings, rooted in the "Four Medicine Tantras," emphasize that the root of all diseases lies in negative emotions of greed, hatred, and ignorance.The central figure in this old thangka is Medicine Buddha, seated on a lotus throne and surrounded by other deities and figures. He has a bowl in his left hand, and a flower in his right hand. An interesting feature is that his body is not painted blue, as is customary for the image Medicine Buddha. The paint colours were derived from natural ingredients – grinded coral, turquoise and other gemstones. The 'Om Ah Hum' mantra is printed in Tibetan in red ink on the verso of the thangka.buddhist art, tibetan buddhism, holy objects

MEDIUM: Digital print. DESCRIPTION: A fractal exploration on 192 gsm archival matt. Image ranges from yellow, orange, and red to darker tones. Gold outer frame with a glass front. The Mandalas geometric designs are symbolic of the universe and used in Hinduism and Buddhism as an aid to meditation. The creative possibilities that exist in these sacred circles, are often based on a step-and-repeat principle, centre, and symmetry. Here we see this put into practise. The mandala has an iris quality about it with 16 pillars pulling centrally to what looks like a pupil, the centre of the mandala. This then has more points around it and then more once again. This fractal approach gives the work a textural depth. The use of blurring and merging in a kaleidoscopic fashion creates movement, the circular flow repetitive and calming. The use of reds throughout mandata art represent the glowing sun and of fire, red generally taken to be the color of life, love, joy and rage, the polar values of the color. Orange the colour of cheerfulness and gaiety, a colour mixed from red and yellow, it stands for kind-heartedness and warm-heartedness. Signed, titled, dated and editioned on image across bottom.de, print, digital, dear, amber, bead, mandala, fractal, expolration

Roy Phillips was born in 1907 in Yackandandah and moved with his family to Beechworth when he was five years old. His father was involved in dredging operations at Lake Sambell but his parents also had other family living in Beechworth, with whom they lived. Dr Phillips tells vivid stories about life in Beechworth in the first half of the Twentieth Century, from the daily lives of young children of the time to the town's relationship to the local Chinese community. He discusses features of the landscape such as 'The Rock' at which community concerts were held and 'The Echo' (an echo-sounding point over a nearby gully) which he states are no longer used in the same way. He also discusses changing community attitudes to various issues, for example, 'not being coddled' as a child but living in a town with very strict rules about people of different religions mingling. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Dr Roy Phillips' account of his life in Beechworth in the early part of the 20th Century is historically and socially significant to the cultural heritage of the region. He describes town life from a child's point of view during a time of transition to life after the Gold Rush era, including social tensions existing between cultural groups such as the Chinese community and European-heritage townspeople and between people of different religious groups in Beechworth. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Dr Roy Phillips /beechworth, yackandandah, wangaratta, mining, dredging, 1910s, 1920s, 1930s, chinese community, typhoid, lake kerferd, reminiscences, memories, childhood, lake sambell, alcoholism, new year celebrations, transport, horses, foresters lodge, oddfellows lodge, funeral practices, child-rearing practices, star hotel, the rock, racism, chinese dragon, benevolent society, star lane coach building factory, outdoor concerts, gold, jimmy ingram, kelly gang, kelly family, churches, catholic, methodist, protestant, anglican, confuscionist, buddhism, women's christian temperance association, hotels, twentieth century, coronation of king george iv, echo point, the echo, tippany cat, marbles, children's games, cornish, cornwall, listen to what they say, oral history

The Buddhist monk Guangqia visited Karl Duldig’s studio on two consecutive days, in the company of the noted Chinese writer, Professor Yu Dafu, a friend of Karl’s. Karl made two portraits of the monk, the first depicting him sitting, and the second in a standing pose. The portraits were drawn using a Chinese brush and Indian ink. Surviving sketches in the Studio’s collection indicate that Karl thought about creating a life-size sculpture later on, but this was not realised. Guangqia added inscriptions in his own hand to both drawings and stamped them with a red seal. The seated drawing has an inscription in which he quoted from a Buddhist poem, ‘A Contented Mind’ by the scholar Lingfeng of Mt Tiantai. In the summer I went to visit the Austrian sculptor Duldig with Professor Yu Da Fu. My virtue is slight – I cannot accept your offerings and gifts; I am amply rewarded by the clouds and springs. Rather than a table laden with pearl-like rice, I prefer the wind and leaves falling on my bed. Sitting quietly on my meditation cushion Is sweeter than the wheat offered by a thousand families. The pity is that I am gradually growing old; My bitter journey is not worthy of your offerings. The second drawing has a quote from a Buddhist poem on the study of Chán (Zen) Buddhism, by the famed Chán master, Dàjiàn Huìnéng (638–713): The portrait, with its figure positioned on a scroll-like ground and inscription is reminiscent of traditional Zen Buddhist portraiture. In this school of portraiture, which stretched back to at least the thirteenth century, monks were depicted sitting or standing facing the viewer, and typically the monk added an autographic inscription to the portrait. The portraits were often passed from master to disciple, continuing the disciples’ journey of spiritual enlightenment and were revered for their association with remarkable or holy priests. The Buddhist monk, Guangqai who added his inscription and stamp to the drawings would most certainly have been aware of this tradition. It is likely that Karl was aware of this tradition, one of the points where the studio’s collections of art works from Singapore intersect with the earlier Viennese collections can be found in the Library where a catalogue of an exhibition, 'Ausstellung Ostasiatischer Malerie und Graphik' is held. The Viennese Friends of Asian Art and Culture and the Albertina Museum staged this exhibition of East Asian painting and graphic works in 1932. Such was the internationalism of Duldig’s education in Vienna, that adaption to a new environment and culture in the Straits Settlement was swift, and he was able to interpret the artistic traditions of the place, and make them his own. It is part of the strength of the collection, that in many cases contemporary supporting documentation for the works of art is available. In this case there is a photograph of the Monk with Yu Ta-fu, and Karl and Eva Duldig, outside the studio at the time the drawings were made. Ann Carew 2016The portraits of Guangqai have national and international aesthetic significance. The works of art demonstrate the artist’s skill in capturing the physical appearance and demeanour of his subject, and his ability to adapt his working methods to incorporate traditional Asian materials and cultural practices. The portrait is one of few examples in Melbourne of a central European modernist artists working in, and engaging with Asia, during this period and it is culturally and aesthetically significant for this reason. The portraits are also historically interesting in documenting the life and experiences of Karl Duldig in the Straits Settlement (Singapore). Ann Carew 2016Brush drawing in chinese ink on paper. Seated Buddhist Monk. Chinese calligraphy hand written in black ink. Two red stamps under calligraphy.Signed Karl Duldig in l.r. corner. Dated Singapore 1940 in l.l. corner.

In the early 1970s, Arthur Boyd bought and restored a large, two-storey traditional farmhouse called Il Paretaio. Situated on the crest of a hill and surrounded by fields and olive groves, it is five kilometres from the village of Palaia in the province of Pisa, Tuscany. Boyd established this farmhouse as a residency programme, (which was later managed by the Australia Council). The residency program ended in 1990. Anthony Pryor undertook an Australia Council residency at Paretaio in 1984. This work is one in a series made during his time there. This work was entered into the Shire of Eltham Art Award in 1985.Pryor is an artist of national significance. This work is an example of his series of 'boxes' made principally for his own pleasure and often swapped with artists and other friends as soon as they were finished. The 'box' series was part inspired by Japanese techniques of wooden construction. Pryor first visited Japan in 1975 and was immediately drawn to Japanese methods of working with stone and wood. Many of these boxes are based upon the principles of the Japanese Zen Buddhist monk Sengai Gibon (1750-1838). This work relates to Sengai's famous hanging scroll Circle, Triangle and Square in which the circle can be read to stand for the cosmos, the square for the individual, and the triangle for aspiration. A heavy, box-like (cube) structure created from huon pine, with bronze, brass and stone elements. Within the cube is an eastern inspired, rear lattice wall in combination with bronze domestic fittings, and symbols (cube, pyramid and circle). Metal lightning, clouds and wooden rainbow hover over an asymmetrical bronze bed floating within the cube. A chair leans and a tilting ladder reaches towards the sky. Stamped into wood: lower right 'ANTHONY PRYOR PARETAIO'huon pine, pryor, brass, bronze, stone, cube, paretaio, italy, eastern, japan, sengai gibon, symbols, zen buddhism, sculpture, personal

p.305fictionIn Mrs Gunns opinion, the best book of its kind in existence on the Lord Buddha.buddhism - fiction, romantic fiction

p.155.non-fictionThe Scripture of the Saviour of the World Lord Buddha- Prince Siddartha styled on earthreligion - buddhism, edwin arnold 1832-1904

p.238.non-fictionThe Light of Asia, subtitled The Great Renunciation, weaves through its poetic verses the life and philosophy of Prince Siddhartha Gautama who attained enlightenment under the bodhi tree and became the Buddha. Receiving high acclaim since its publication in 1879, Edwin Arnold's work was adapted from the Lalitavistara Sutra (The Unfolding of the Play.) In the time before this work came out, little was known about Buddhism or the Buddha outside of Asia.religion - buddhism, philosophy

A reproduction of a rare portrait of the Dalai Lama in a pith helmet, worn when travelling during his visit to China in 1954 when he was 19 years old.There are very few photographs of the 14th Dalai Lama from his trip to China, which was his first foreign visit outside Tibet. The Dalai Lama toured various parts of China and held discussions with the Chinese leadership about the future of Tibet, aiming to foster better relations between Tibet and China. His efforts were unsuccessful. Framed colour reproduction of a photograph on a polyester cloth canvasbuddhist art, tibetan buddhism, dalai lama xiv

Woodblock printing in Tibet began to flourish from the 10th century onwards, driven by the high demand for Buddhist scriptures and images. Monasteries saw woodblock printing as a means to preserve and propagate authentic Buddhist teachings. The durability of woodblocks made them ideal for creating lasting impressions of sacred texts, enabling mass production and wide dissemination.This woodblock print on hand-made paper depicts Gesar, a legendary Tibetan warrior king who is invoked as a protector of the Buddha's teachings and emanation of Padmasambhava. Gesar's image is surrounded by four magical animals - garuda (top left), makara (top right), tiger (bottom left) and snow lion (bottom right). The print is framed using acrylic sheets. padmasambhava, tibetan buddhism, woodblock printing

Tsatsas are small votive tablets shaped like deities, stupas, or sacred symbols. Buddhists may vow to create 100,000 tsatsas for purification and merit. These can be placed as an offering in holy sites, home altars, or gau boxes. Traditionally made of clay using moulds, tsatsas are dried, decorated, and blessed with mantras.Portable nature of tsatsas allows them to accompany practitioners on journeys, providing spiritual protection and serving as a focus for prayer and meditation. Due to their inexpensive production and portability, tsatsas made a great contribution to the spread of Buddhism in Tibet. This tsatsa is of the Buddha in a sitting position, accompanied by two standing figures. The Buddha is richly adorned with delicate carvings around it. The tsatsa features inscriptions in an ancient script.buddhist art, tibetan buddhism, holy objects

This page is from a Tibetan prayer book. Such books are long, narrow, and printed horizontally. The pages are unbound and stored with wooden covers with silk brocade wrapped around them. The ancient Tibetan art of printing was developed to reproduce Buddhist scriptures and images of the Buddha. Monasteries or wealthy laypersons often commissioned books to gain spiritual merit. Books were printed using woodblock technique, still utilised today, on handmade paper. Scripture books are venerated by both monks and general population. A double-sided sheet of Buddhist scripture written in Tibetan script on hand-made paper. The sheet is torn in half and frying at the edges due to old age.Includes a Bodhicitta prayer and some dedication prayers.tibetan buddhism

A Mahakala dancing apron is a sacred garment used in Tibetan Buddhist ceremonial masked dances (Cham) to represent Mahakala, the fierce protector deity and emanation of compassion. The apron makes up part of a costume of a monastic dancer. It was worn either with a mask or as part of the ‘Black Hat Dance’. Mahakala is a primary Wisdom Dharmapala (protector) in Tibetan Buddhism, representing a wrathful manifestation of Chenrezig, that removes obstacles to enlightenment. Often appearing in black with multiple arms, he symbolizes the transformation of negative emotions into wisdom, protecting practitioners and the Buddha's teachings. Made of silk brocade this sacred apron features a wrathful face, bulging eyes, fangs, and skull motifs to ward off evil and destroy obstacles. The apron is mounted on a metal hanging rod.buddhist art, tibetan buddhism, holy objects