Girl in a Mirror by Karma Phuntsok, Goddess in a Contemporary setting, Morphing Tara, Contemporary Tibetan art, Thangka Art, Karma Art

The Bodhisattva White Tara, who represents loving-kindness and compassion, is shown within the borders of a mirror. White Tara is the female Buddha and the mother of all the Buddhas. She is joined with the leggings and boots of a fashionable young woman. She sits on a chair with a Tibetan rug on the floor of a city apartment.

Is this painting suggesting that Tara can be anywhere and in any form? The painting makes White Tara accessible to young people. Her Western style of dress and the city setting are familiar. That the young woman seems to morph into White Tara is a message for teaching. We can aspire to the qualities of Tara; we can be kind and compassionate. We can understand that we too have Buddha nature. We can attain the enlightened state of Tara.

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TITLE: Girl in a Mirror
ARTIST: Karma Phuntsok

Available as:

• Fine Art Card: Made to order using a linen embossed card stock paper.

OR

• Canvas Giclée Print: These are ready-to-hang, made on artist-grade canvas that is hand-stretched on a .75" inch deep, sustainable, non-warping wood frame.


All prints are made using the archival pigment inks, UV and fade-resistant.

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SHIPPING:

Canvas Giclée Prints take 5-10 business days to create prior to shipping.

Fine Art Cards take 1-3 days prior to shipping.

Free shipping in the U.S. (48 contiguous states only).

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SIZES:
(in inches)

• 6x9" Fine Art Card
• 10x14" Canvas Giclée

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ABOUT THE ARTIST:

Karma Phuntsok is a pioneer of Tibetan contemporary art and one of the few Tibetan artists who directly experienced the Chinese invasion of Tibet in 1959. After escaping to India, Karma studied traditional Tibetan thangka painting for several years. In the 1970's, he began to explore new techniques and materials, interweaving modern with traditional symbols. Karma's paintings are now held in public and private collections around the world. As one of today's most influential artists, Karma has also paved the way for others, both Tibetan and non-Tibetan, seeking new ways to combine traditional Tibetan iconography with contemporary work.