The Artist and the Studio
Owner / Artisan / Designer/ Consultant


Yulokod Studios is located in Cambridge, Ontario, Canada. It is a single artist studio dedicated to the craft of hand-painted stained glass, Thangkas and Buddhist iconography. as well as preservation and Restoration of sacred imagery in painted glass.

The resident artist and founder is Ani Thubten Jamyang Donma, known simply as ani J.

Before taking ordination as a Buddhist nun, she was known as Catherine A. Brock. Her relationship with glass painting began with her training in ecclesiastical traditional glass painting in Toronto, Canada at the renowned glass studio Robert McCausland Ltd. Founded in 1856, this studio is Canada’s pre-eminent Ecclesiastical glass studio. Catherine apprenticed there for some 7 years restoring and creating windows for sacred spaces which included churches, synagogues, government buildings, mausoleums, universities and private shrines.

She was very fortunate to have the opportunity to train with some of the greatest masters of glass painting. Catherine studied and painted alongside master glass painters who had been painting for over 50 years. This is a dying art form and the rare opportunity of even meeting some of these masters, let alone apprenticing with them was a very auspicious and a rare and precious opportunity. It was several years later that Catherine established her own studio and a successful retail shop on Toronto’s Yonge Street “Ondine Art Glass.” After several years of intense creativity and service to the community through her glasswork she awoke to her spiritual potential.

Ani Thubten Jamyang Donma
 
 


Ven. Khenpo Sonam Tobgyal Rinpoche welcoming H.H. Penor Rinpoche & Garchen Rinpoche
to Riwoche Temple, Toronto

Ven. Khenpo Sonam Tobgyal Rinpoche welcoming H.H. Penor Rinpoche
npo Sonam Tobgyal Rinpoche welcoming Garchen Rinpoche
 

In 1989 Catherine met her root teacher Venerable Khenpo Sonam Tobgyal Rinpoche of the famed Riwoche of Kham, Tibet, and assisted Venerable Khenpo Sonam Tobgyal Rinpoche to establish Riwoche Temple in Toronto, Canada.

She took ordination as a Buddhist nun first in 1994 with Khandro Rinpoche, and again with His Holiness Penor Rinpoche, Khenpo Tsewang Gyatso and 13 Khenpos of the Palyul Lineage in 1997. She was bestowed the name Ani Thubten Jamyang Donma, she has come to be known simply as Ani J.

Ani Thubten Jamyang Donma

Ani J. had the great fortune to take many teachings , empowerments, retreats and precepts with: His Holiness the Dalai Lama, Kyabje Nyoshul Khen Rinpoche, His Holiness Penor Rinpoche, Dungstse Thinley Norbu Rinpoche, His Holiness Sakya Trizin, His Holiness Chetsang Rinpoche, His Holiness, Tai Situ Pa Rinpoche, His Eminence Chokling Rinpoche, Kyabje Phakchok Rinpoche, Garchen Rinpoche,Khenpo Sonam Tobgyal Rinpoche, Khenchen Palden Sherab , Khenpo Tsewang Dongyal , Khenchen Tsewang Gyatso, Jetsun Kushok, Khandro Rinpoche, Ven Dhyani Ywahoo and Venerable Jetsunmma Tenzin Palmo.

Ani J recalls “It was Kyabje Nyoshul Khen Rinpoche that pointed me on my path when he stated” Even working with glass and creating works of beauty is a Bodhisattva Path if done with Pure View’.

 
Ven. Khenpo Sonam Rinpoche with Kyabje Nyoshul Khen Rinpoche
Ven. Khenpo Sonam Rinpoche with Kyabje Nyoshul Khen Rinpoche
Ani J states “From the very first time I ever saw a Tibetan Buddhist Thangkas I had the aspiration to work with this art form and to work with the illumination of stained glass. All through my training and studies I persevered in the study of the Tibetan Thangkas.
 
Riwoche Temple, Toronto, Ontario, Canada
Riwoche,Tibet Shrine in Toronto, Ontario
 
The original Riwoche Temple in Kham, Tibet was renowned for its art. Ven, Khenpo Sonam Tobgyal Rinpoche was very inspired and committed to create in Toronto, Canada as authentic a temple as he could based on the correct traditional methods and their application and to re-create the Riwoche,Tibet Shrine in Toronto, Ontario, Canada. (link here: http://www.riwoche.com/ )

Ani J. States” So it was my great fortune to have him as my root teacher not only for his pristine instruction in Dharma but also being present as he brought many great artists to come and stay for extended periods of time in Toronto, Canada to re-create the shrine as it had been in Tibet before the Communist invasion.

Through this experience I met many great Thangka Painters: Lopon Konchog Lhadrepa and Urgyen Gyalpo from Tsering Art School in Nepal (founded by His Holiness Dilgo Khyentse Rinpoche and Rabjam Rinpoche Link: http://tseringschool.org/
and http://ugyalpo.wordpress.com/ )

 
Urgyen Gyalpo with his teacher Lopon Konchog Lhadrepa of Tsering Art School, Nepal

Urgyen Gyalpo with his teacher Lopon Konchog Lhadrepa of Tsering Art School, Nepal

 
I also met and learned much from the great Bhutanese Sculptor Tsewang Dorje, as well as the gifted Canadian artist Chris Banigan who introduced me to the use of computer graphics as a useful tool and method for perfecting the images. These great artists along with Venerable Khenpo Sonam Tobgyal Rinpoche instilled in me the understanding of sacred measurement and its necessity for correct Buddhist iconography as well as some understanding of the different schools and styles of Thangka painting. They also gifted me with many great reference materials to guide my work. I often call upon them for clarification and validation as to correct representation of the images when they are first drawn up, to make sure that they are absolutely correct, as well as referring to the traditional manuals that they bestowed upon me
 

Drawing-Saraha the Great Mahadiddha


" Drawing for a Stained Glass Thangka portraying Saraha the Great Mahadiddha
for my Guru Kyabje Phakchok Rinpoche

Kyabje Phakchok Rinpoche

Kyabje Phakchok Rinpoche

 
Once the drawings are rendered and translated to the stained glass medium they are often approved and corrected by the traditional Thangka painters and then finally the patron. From the completion and approval of the drawing each piece of glass is cut, ground to perfect shape and hand painted with glass enamels, glazes and shaded for a true three dimensional effect. Some of the pieces are painted and fired as many as five times. The glass is then wrapped in copper and zinc and soldered to form a solid, strong flat panel to be hung in the light, to last for many generations...
 
“Working with the light and the actual minerals that not only produce pure color but also have the healing qualities and vibration is very profound and important. I believe it takes the Buddhist iconography to yet another level and allows the viewer to have a more direct experience thru the light. This is how the iconography was originally intended with a non-corporeal body of light and the result is nothing short of wonderment...
 
 
FYI: These works of art in stained glass do take quite some time to complete average wait from start to finish is 2 to 2.5 years, but are well worth the wait. This includes the drawings and concept as well as creation of the window and takes into consideration the great care I take in making the windows as well as the patrons who are already in the queue.
This is a single artist studio.
 
 
Ani Thubten Jamyang Donma
 
Thank You for taking the time to visit my website,
May you Be Well and Happy................
 


Buddhist Index

Buddhist

Morning Glory Window

Art Glass  














HOME
HOME