From: Venerable Jetsunma Tenzin Palmo
the outstanding features when visiting medieval Christian churches is
their glorious stained glass windows. I had often thought that if only
Tibetan artists had been able to reproduce such art - how magnificent
that would be! So on meeting Anila Jamyang Dronma and learning of her
wonderful skills, the aspiration was born to have stained glass windows
in the Temple of our DGL Nunnery. These will be unique and help make
our temple something special. We selected the images of Green Tara and
Prajñaparamita as representing the Divine Feminine - highly appropriate
for a nuns' temple. So may the light refracted through their sacred
forms bless all who behold them!"
The materials and workmanship are outstanding -- a pleasure to hang, bringing fresh enjoyment each day. This only exceeded by the rendering of the subject, both sensitive and sublime.
Tashi delek Ani la,
1997 I flew Air France to India where I spent the summer in Dharamsala,
the home of His Holiness the Dalai Lama and many Tibetan refugees.
While I was there I became friendly with many of the artists at the
Norbulingka Institute which focus>es on traditional Tibetan art and
culture. During that summer I commissioned two thangkas and a statue
from the Norbulingka Institute, attended Buddhists teachings, listened
to the horror stories of those Tibetans who had escaped Chinese persecution
and, finally, as the summer came to an end, returned to Delhi, boarded
the returning Air France jet and returned to the "west."
Upon my return that summer I also managed to spend a week in Paris,
searching small galleries for a Foujita print. I found my print and
also spent a lot of time at Notre Dame cathedral looking at the rose
window and other masterpieces of stained glass art.
I have not just one, but, two glass window Tibetan style thangkas-- they are magnificent. I wish to share that the windows themselves are not only beautifully crafted-- the absolute finest. They are, as well, iconographically accurate and correct-- important for practioners. I would say the windows, also, seem to carry the presence of the deities themselves-- reflecting the enlightened qualities that is characteristic of this kind of art and representation, but, moreover, assisting us to realize the true status/nature of being.
My experience in procuring these windows was very pleasant with discussions, emails, and mailing of drawings to ensure that the windows would be just right and exquisite in every way. Including discussion of mudras, symbols, implements, colors, gestures, facial expressions, and particular characteristics-- associated with lineage, and particular practice, as well as artistic styles and/or schools.
As part of
the process of producing these windows there was also attention paid
to the room or dwelling where they would eventually be placed as well
as discussion of whatever factors that would contribute to allowing
My sense is
the artist, a devoted practitioner, herself, views this work as a means
of helping to share dharma/art as a true window into enlightened expression.
Therefore there is a sense of presence that comes through each piece
as the light radiates through the windows-- throughout the space where
each of these are hung.
Each piece is made and handcrafted by a single individual-- thus requiring time to produce. Along with the necessary consultations and approvals of preliminary drawings etc.
The wait for the final product, without doubt, is well worth it-- as they bring inspiration, beauty, outstanding craftsmanship and detail to ones space.
These thangkas in glass are not like any others I have seen. They clearly call one to repeated experiences of appreciation, connection with enlightened abodes, and repeated rapture.
In my estimation these stained glass thangkas are also meant to be studied, meditated upon, and enjoyed by the generations to come.
I appreciate as well, these stained glass thangkas-- works being produced through Yulokod Studios, by Ani J., are a rather unusual aspect of Dharma aesthetics taking root in an art form originating in the west. In this sense-- unique to this particular time and place.
Oh, yes, the price ?
I believe, these works of art are intended to be in places where authentic practice takes place. The artist, as I understand, has a deep commitment to keeping these accessible and affordable. Given the quality of workmanship, care and attention, time/labor, and compared to the market of newly made Buddhist art on the market. These works custom- made are-- relatively speaking-- inexpensive, for sure.
Available to anyone who is truly called to having one in their sacred space.