Red Mahakala (1880)
Art Chain Airdropped RWArtwork
The artwork from Tibetan Thangka has been fractionalized into 11448 unique NFTs. Each NFT represents exactly 0.323 × 0.323 in. (0.82 × 0.82 cm) squares of the artwork. Each square has a unique Token ID and color synopsis details. The Red Mahakala Thangka has a total size of 30 × 40 in. (76.2 × 101.6 cm).
Explore the Red Mahakala artwork in depth at mahakala.bensibox.art
Launch Details
Chain: Avalanche C Chain
Claim Site: claim.bensibox.art
Claim Open Date: April 29th, 2025
Claim Close Date: September 1st, 2025
Contract Address: 0x85885913A40f5991c3Cab2d46CEc69f7904a3fD7
Red Mahakala NFT Metadata Ranks
Tiers
Mystic - 5% of NFTs
Legendary - 10% of NFTs
Rare - 15% of NFTs
Exceptional - 30% of NFTs
Great - 40% of NFTs
Groups
Box - 5% of tokens
Circle - 5% of tokens
Avalanche - 10% of tokens
Square - 10% of tokens
Triangle - 15% of tokens
Hexagon - 25% of tokens
Star - 30% of tokens
About Red Mahakala
Mahakala, known across various cultures by multiple names, including the God of Time or the Great Black One, functions as a protector of dharma within Buddhist traditions, appearing in diverse forms within Tibetan, Chinese, and Japanese contexts. In Hindu texts, Mahakala is recognized as one of eight protective deities associated with Shiva. Despite a fierce appearance, Mahakala embodies the bodhisattva of compassion, acting to remove obstacles on the path to enlightenment.
The deity’s aggressive demeanor serves to repel negative energies and spirits, directing force towards harmful entities. This manifestation of anger is considered essential for overcoming hindrances and guiding spiritual seekers away from delusion. Depictions often include a crown of five skulls, symbolizing the transmutation of negative afflictions into virtues, and a fiery aura that represents the consumption of neurotic states of mind. The three eyes signify awareness of past, present, and future.
Mahakala manifests in various colors, each with symbolic meaning: dark blue for the enduring nature of dharma, black for ultimate reality, red for passion, and white for prosperity. The six-armed forms of Mahakala illustrate protective functions, with each hand holding implements symbolizing the subjugation of evil, the control of spiritual forces, and the purification of negative emotions. Typically, Mahakala is depicted trampling an elephant-headed deity, signifying the destruction of obstacles and the transformation of worldly desires. The deity stands on a sun disc and lotus, representing the illumination of ignorance and undefiled purity.
Mahakala is considered a manifestation of Avalokiteshvara, who adopted a wrathful form to enact compassionate intentions. Historically, Tibetan nomads utilized Mahakala’s imagery for protection, leading to the deity’s association with tents, although its presence now extends to temples and private homes. The fiery blaze emanating from Mahakala represents the consumption of negative mental states. The crown of skulls further elaborates the transformation of negative human traits into positive ones.
This depiction of Mahakala includes Shakyamuni Buddha and Akshobhya Buddha, both shown in the bhoomisparsha mudra, a gesture symbolizing enlightenment.
This Thangka of Red Mahakala serves as a powerful reminder of the deity's protective and transformative power. It is a visual representation of the Buddhist teachings on compassion, wisdom, and the overcoming of obstacles. The intricate details and vibrant colors invite the viewer to engage with the image on a deeper level and to contemplate the meaning of the symbols and iconography. The Thangka is not merely an object to be admired but a tool for spiritual practice, guiding practitioners on the path to enlightenment.
Foundation
The foundation upon which a Thangka is painted is a cotton canvas. This canvas is carefully prepared with a layer of gesso, a mixture of animal glue and chalk. This gesso layer provides a smooth and even surface for the artist to work on, ensuring that the paint adheres properly and that the colors remain vibrant. The preparation of the ground is a crucial step in the Thangka creation process, as it affects the overall quality and longevity of the artwork.
The RWArtwork is framed with museum glass in a bronze and copper antique-style frame. The Thangka is bordered entirely with a 2-inch matte blue canvas offering a buffer between the ancient fabric and the metal wooden frame.
Color Palette
The use of a rich and symbolic color palette is a defining characteristic of Tibetan Thangka painting. Each color holds specific symbolic meaning, contributing to the overall message and impact of the artwork.
Red: As mentioned earlier, red signifies activity, power, and the transmutation of negative emotions. It represents the energy and force required to overcome obstacles and transform negative forces into positive ones.
Gold: Gold is a color of great importance in Tibetan Buddhism, symbolizing enlightenment, purity, and the preciousness of the teachings. It is often used to highlight important figures and details, emphasizing their sacredness and significance.
Green: Green is associated with balance, harmony, and growth. It can also represent activity and life force. In the context of the landscape, it signifies the natural world and the interconnectedness of all things.
Blue: Blue is a color associated with wisdom, compassion, and the sky or space. It represents the vastness of the mind and the boundless nature of enlightenment.
The vibrant and enduring colors seen in Thangkas are typically derived from natural sources. These sources include minerals, such as lapis lazuli for blue and malachite for green, and plants. These raw materials were carefully ground and mixed with animal glue, which acted as a binder, allowing the pigments to adhere to the canvas. The use of natural pigments contributed to the longevity and richness of the colors in traditional Thangkas.
History
The 1880s in Tibet were a period of relative internal stability under the Ganden Phodrang government, which was the political administration led by the Dalai Lama. While external pressures from the British Empire and other powers were increasing, Tibet maintained a degree of autonomy and continued to function according to its traditional social, political, and religious structures. This stability fostered a rich environment for the arts, particularly those connected to religious practices. Monasteries, which were centers of learning, spiritual practice, and artistic production, played a crucial role in Tibetan society. They served as patrons of the arts, commissioning Thangkas and other religious artifacts to support their rituals and practices. Wealthy individuals and families also contributed to the flourishing of Thangka painting by commissioning works for personal devotion, merit-making, or as offerings to monasteries. This patronage system ensured that skilled artists had the resources and support necessary to create these intricate and sacred artworks.
Particularly significant during this era was the U-Tsang region, which encompassed central Tibet and was the heartland of Tibetan Buddhism. This region was home to the most important monasteries, including the Potala Palace (the winter residence of the Dalai Lama), Jokhang Temple (the most sacred temple in Tibet), and major monastic universities like Sera, Drepung, and Ganden. These institutions were not only centers of religious and political power but also crucial hubs for artistic activity. U-Tsang monasteries housed skilled artists and workshops dedicated to the production of Thangkas, often employing specific styles and iconography associated with their respective lineages. The demand for Thangkas in U-Tsang was high, driven by the needs of the monasteries, the large monastic population, and the devout laypeople who flocked to the region. Consequently, the finest Thangkas, often characterized by their exquisite detail, refined technique, and adherence to traditional canons, were frequently produced in U-Tsang. The artistic styles and traditions developed and practiced in U-Tsang often influenced other Tibetan regions, making it a pivotal center for Thangka art in the 1880s.
Thangka painting in the 1880s was not merely a craft; it was a highly respected and deeply spiritual practice. The creation of a Thangka was considered a sacred act, and artists often underwent rigorous training in both artistic techniques and Buddhist philosophy. The process of creating a Thangka was often accompanied by rituals and prayers, reflecting the belief that the artwork was imbued with spiritual power. Traditional artistic practices were carefully maintained and passed down through generations of skilled artisans. These techniques, which had evolved over centuries, involved the use of natural pigments, the meticulous preparation of the canvas, and the precise application of line work and color. The emphasis was on preserving the authenticity and integrity of the artistic tradition, ensuring that each Thangka accurately and effectively represented the Buddhist teachings and iconography.
Thangkas created during the 1880s serve as invaluable windows into the cultural and religious values of the time. They reflect the central role of Tibetan Buddhism in shaping Tibetan identity and society. These artworks were not simply decorative objects; they were considered living embodiments of the deities and enlightened beings they depicted. As such, they served as important tools for spiritual practice. Monks and lay practitioners used Thangkas for meditation, visualization, and devotion. The intricate details and symbolic imagery of the Thangka provided a focal point for contemplation, helping practitioners to connect with the divine and deepen their understanding of Buddhist principles. Furthermore, Thangkas played a vital role in cultural preservation. They served as visual records of Buddhist teachings, stories, and lineage histories, transmitting knowledge and preserving cultural heritage for future generations. In a society where literacy was not universal, Thangkas provided a powerful means of communicating and preserving religious and cultural traditions.
The total supply of the Red Mahakala RWArtwork will be determined by the number of snapshot participants in the Bensi Box and Avalanche Art community snapshots. We look forward to bringing the first artwork from the Bensi Box Historical Eurasian Collection on chain with our tokenization and fractionalization process.
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