Parnashavari Thangka


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Parnashavari High Quality Canvas Cotton Tibetan Thangka Painting From Nepal

 Size of the Thangka is 80/58 cm

Hand Painted Fine Quality Tibetan Thangka Not a Print

"Parnashavari" implies something in Buddhism, Pali, Hinduism, Sanskrit. On the off chance that you need to know the specific importance, history, derivation or English interpretation of this term at that point look at the portrayals on this page. Add your remark or reference to a book on the off chance that you need to add to this rundown article.

The Sanskrit expression Parnashavari can be spelled out into English as Parnashavari or Parnashavari, utilizing the IAST literal interpretation conspire


Tibetan Buddhism (Vajrayana or tantric Buddhism)


[«previous (P) next»] — Parnashavari in Tibetan Buddhism glossary


Source: archive.org: The Indian Buddhist Iconography


1) Parṇaśabarī (पर्णशबरी) alludes to one of the female radiations of Akṣobhya, as referenced in the fifth century Sādhanamālā (an assortment of sādhana messages that contain nitty gritty guidelines for customs).— Her Color is yellow; her Vāhana is vighnas; her Āsana is the pratyālīḍha; she has three appearances and six arms.— The love of Parṇaśabarī, it is accepted, is compelling in forestalling out-breaks of pandemics and in guaranteeing wellbeing to the fear striken. The appellation 'Piśācī' given in the mantra shows that she was viewed as one of the demi-divine beings, half human, half heavenly.

 Parṇaśabarī when green, radiates from Amoghasiddhi and when yellow from Akṣobhya, and all things considered, both of her structures have effectively been portrayed. She is for the most part three-confronted and six-outfitted however may in uncommon cases, have four arms moreover. The idiosyncrasy of the green assortment is that every one of the three appearances portray disturbed grin (sakrodhahasitānanāṃ). [...] When yellow Parṇaśabarī is a spread of Akṣobhya, has three appearances and six arms, and a wonderful grin rather than a bothered demeanor on her countenances. This type of Parṇaśabarī has likewise been depicted under the female radiations of Akṣobhya.

The Dhyāna (reflection guidelines) of Parṇaśabarī portrayed in the Sādhanamālā as follows:—

 "The admirer ought to consider himself as (Parnasabari) of yellow composition, with three faces, three eyes and six arms. Her first face is blue, the correct white and the left red, and she grins in a satisfying way. She is decked in a wide range of trimmings, bears a piece of clothing of leaves, is haughty in her young blossom, is bold apparently and conveys in her correct hands the vajra, the paraśu and the bolt, and in her left the tarjanī with the noose, the bunch of leaves and the bow. Her jaṭāmukutā is beautified with blossoms and the picture of Akṣobhya; she has the blaze of the sun as her aureole, remains in the pratyālīḍha mentality on the moon over the white lotus, stomping on under her feet the Vighnas. She undermines the host of (other) Vighnas with the held clench hand of the left hand displaying the tarjanī against the chest, and shakes her correct clench hand at (the host of the Vighnas)".

 [The previously mentioned sādhana, further expresses that Parṇaśabarī may have an elective structure with four arms and the picture of Akṣobhya on the crown, wherein case she will convey the vajra and the paraśu in the two right hands, and the tarjanī with the noose, and the bunch of leaves in the two remaining, discarding the bow and the arrow.]


2) Parṇaśabarī (पर्णशबरी) alludes to one of the different transmissions of Amoghasiddhi, as referenced in the fifth century Sādhanamālā (an assortment of sādhana messages that contain itemized directions for ceremonies).— Her Color is green; her Vāhana is sicknesses in human structure; her Āsana is the pratyālīḍha; she has three faces.— The Mantra calls her 'Piśācī' and furthermore 'Sarvamāripraśamanī' or "the destroyer, all things considered, and pandemics". She is practically indistinguishable with the structure that has been portrayed beforehand, then again, actually here her tone is green and she bears the picture of Amoghasiddhi on her crown, rather than that of Akṣobhya.

The Dhyāna (meditation instructions) of Parṇaśabarī described in the Sādhanamālā as follows:— 

“The worshipper should conceive himself as Parṇaśabarī, who has a green complexion, three-faces, three eyes, and six arms. Her right and left faces are of blue and white colour respectively. She carries in her three right hands the vajra, the paraśu and the arrow, and in her three left, the bow, the cluster of leaves and the tarjanīpāśa. Her faces show an angry laugh. She is in the prime of youth, is decked in tiger-skin and a garment of leaves, has a slightly protruding belly, and hair tied up above. She tramples under her feet various diseases and pestilences, and bears the image of Amoghasiddhi on the crown Thus meditating...”

[The two images of Parṇaśabarī have been discovered by Mr. N. K. Bhattasali. These two images follow the sādhana most accurately in all details; the angry laugh has been correctly depicted in the three faces, and the belly slightly protrudes. To the right and left are two divinities, Hayagrīva, the Hindu god of Fever, and Sītalā, the Hindu goddess of small-pox, and they are represented in the images as flying in opposite directions to escape the wrath of Parṇaśabarī. The prostrate figures under the feet are the Diseases and Pestilences, in human shape. The figure under the right leg, apparently, is a man attacked with small-pox, as we can judge from the circular marks all over his body; the other figure under the left foot, is probably attacked with some fatal disease. Both the images of Parṇaśabarī are decidedly very fine specimens of the Bengal school of art.]

3) Parṇaśabarī (पर्णशबरी) refers to one of the twelve Dhāriṇīs according to the 11th-century Niṣpannayogāvalī of Mahāpaṇḍita Abhayākara.—Dhāriṇī is a peculiar kind of Buddhist literature which is supposed to generate great mystic power if repeated continually for a long time. They are short works mostly composed of meaningless syllables, sometimes revealing traces of a language now defunct. [...] The deification of books is not unknown in Buddhism. [...] The Niṣpannayogavālī acknowledges altogether twelve Dhāriṇī (viz., Parṇaśabarī) deities and gives their descriptions. These Dhāriṇīs look alike when represented and they are usually two-armed, holding the Viśvavajra in the right hand and their special symbols in the left.

Parṇaśabarī is described in the Niṣpannayogāvalī (dharmadhātuvāgīśvara-maṇḍala) as follows:—

“Parṇaśabarī is green in colour and holds in her left hand the peacock’s feathers”.

[Her Colour is green; her Symbol is the peacock’s feathers; she has two arms.—When conceived in the form of deities, the Dhāriṇīs (viz., Parṇaśabarī) are endowed with one face and two arms. They all hold in their right hand the double thunderbolt or the viśvavajra, while in the left they carry their own special symbols.]

Source: academia.edu: The Structure and Meanings of the Heruka Maṇḍala

Parṇaśabarī (पर्णशबरी) or Parṇasaurika is the name of a Ḍākinī who, together with the Vīra (hero) named Parṇaśabara (or Parṇasaurika) forms one of the 36 pairs situated in the Hṛdayacakra, according to the 10th century Ḍākārṇava chapter 15. Accordingly, the hṛdayacakra refers to one of the four divisions of the sahaja-puṭa (‘innate layer’), situated within the padma (lotus) in the middle of the Herukamaṇḍala. The 36 pairs of Ḍākinīs [viz., Parṇaśabarī] and Vīras are reddish yellow in color; they each have one face and four arms; they hold a skull bowl, a skull staff, a small drum, and a knife.

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It has taken 20 days from inception. 7/8 days to paint the Thangkha.I was kept informed at each stage by the Art of Tibet . Having sent it by courier it then became apparent where in the world it was travelling.I tracked it on it’s final stages and today am able to see the beautiful presentation of the deity as painted by a fine fine artist.I am very happy indeed with the work, service and kind attention that has been given in order to acquire this. I certainly feel it is worth recommending. Packaging of the « cargo » is excellent .

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Parnashavari Thangka

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