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Discover International Dzogchen Community artists and their art


Acquire their artwork to support Dzamling Gar and the individual artist at the same time. Half of the income will be a donation to Dzamling Gar, while the other half will go directly to the artist to support their creativity.

“Quarantine Prayers” by Giorgio Dallorto

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These works were created during a very particular and exceptional time: a quarantine lasting more than three months in the spring of 2020 spent at Dzamling Gar in Tenerife, Canary Islands. Forced to spend most of the time at home during this period the author of these calligraphic works thought to pay homage to his root Master, Chögyal Namkhai Norbu, and the hosting Gar with the execution of several artworks that reflect the spiritual legacy of a Great Master and his teaching.
Giorgio Dallorto

Born in Piedmont, Italy in 1953, due to an interest in yoga Giorgio Dallorto became drawn to Tibetan Buddhism and Himalayan culture in general. This brought him to meet his future and main teacher, Chögyal Namkhai Norbu, in the summer of 1978. Over the last twenty years he has dedicated himself in a free and independent way to an in-depth study of Tibetan history and culture and in particular the arts.

He has studied Tibetan language under the direction of Prof. Fabian Sanders giving particular attention to the different styles of Tibetan calligraphy, as well as following many courses of Tibetan calligraphy, both Uchen and Umed, led by the well-known artist and calligrapher Tashi Mannox.

Giorgio has also collaborated with Migmar Tsering, the Tibetan artist based at Merigar West in the realization of the Mandalas inside the cinerary at the Gar, situated in Tuscany, Italy. In recent years he has completely dedicated himself to artistic works reflecting both our Western artistic heritage and at the same time the traditional art of Tibet.


 


 

Painting 1. Invocation to Ekajati

 

This work represents the Invocation to the Guardian Ekajati, protector of the Dzogchen Teaching. The invocation comes from the mind of Chögyal Namkhai Norbu. At the center of the Mandala is the seed syllable "Bhyo" in a deep color red. The letter is surrounded by its main mantra in red Uchen characters extending clockwise around a square figure completing the entire text of the invocation in golden letters.The Mandala is sealed with the four powerful syllables Ja Hum Bam Ho and enriched with the typical Tibetan design representing the wrathful offering to the Guardian.
The dots on the letters indicate the beats to follow when using the drum for accompanying the chant. On the upper part of the painting there is the symbol of solar and lunar energy represented by the sun and moon.

 

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Painting 2. Green Tara Dharani with 21 Invocations and golden Longsal

 

From the seed syllable Tam in a violet square at the center of the painting, the twenty-one classic invocations of Tara are written in elegant golden Uchen characters, every quatrain indicated by the corresponding Tibetan number.
Continuing in Uchen, in the external perimeter the realisations obtained through the practice are described in silver letters. The calligraphy work is beautified by brilliant colours representing the elements in a "friend" sequence. In the upper part of the work, a golden Longsal appears, a symbol of Chögyal Namkhai Norbu's teaching.

 

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Painting 3. The 21 Invocations to Tara with Thigles

 

From the green coloured seed Syllable Tam the classic 21 Invocations to Tara emerge in elegant clear blue Uchen characters. The Invocations are surrounded by 21 thigles or circles each with its own letter Tam and action mantra connected to that particular manifestation of Tara. The work is completed by an invocation to the goddess in large golden Uchen script.
At the top, the sun and moon appear with the letter A, symbol of the primordial state and the Longsal symbol linked to the Teaching of Chögyal Namkhai Norbu.

 

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Painting 4. Arya Tara Practice with 21 Action Mantras, Longsal and rainbow

 

From the large golden seed syllable Tam in a violet square at the center of the painting, the Arya Tara Practice as transmitted by Chögyal Namkhai Norbu is written in elegant golden Uchen characters. The practice text is followed by the 21 action mantras in clear silver Uchen letters. The practice is written on a square made of five colours in progression with the "friend " sequence. In the upper part a golden Longsal appears inside a rainbow, symbol of the teaching received by Chögyal Namkhai Norbu.

 

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Painting 5. Protection Mandala with A, Mantra, and Song of the Vajra

 

Calligraphy made at the beginning of the COVID 19 pandemic, a true and proper protection mandala that contains garlands of letters of many powerful mantras in its spirals.
From the silver A at the center of the Mandala, there is the Dorje Kotrab mantra (Vajra Armor), the black Manjushri mantra, the Tara mantra which protects from infectious diseases, the mantra of Tara Ritod Loma Jonma, and at the end the Simhamukha mantra with Guru Dragphur. The mantras are enclosed within the Dakini syllables Dza Hum Bam Ho and the Longsal symbols on both sides.
At the top the invocation "Chögyal Namkhai Norbu la namo", I pay homage to Chögyal Namkhai Norbu, appears in golden Umed letters.

The Song of the Vajra of the Dzogchen Community as transmitted by the Master is written on both sides of the work in different coloured Uchen characters.

 

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Painting 6. The Song of the Vajra

 

On a deep blue purple sky, symbolizing space, appears the white letter A on a golden mirror with the letters Om A Hum representing the Body, Voice and Mind of Enlightened Beings and the six letters of the liberated six reigns Ah A Ha Sha Sa Ma.
Starting on the left, the Song of the Vajra is written in elegant Uchen characters in vertical lines. On the right from the bottom to the top of the work a vertical line of coloured As complete the work.
The golden symbol of Longsal that shows the source of the Teaching transmitted by Chögyal Namkhai Norbu appears below in the center of the work.

 

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