The collection of art works by Karma Phuntsok list here will be on exhibition and for sale at the Project Contemporary Art Space, 255 Keira Street, Wollongong between 15 - 26 February 2006 as part of Wollongong Tibetfest 2006.
This, the earliest painting by Karma Phuntsok in the Wollongong Festival of Tibet 2006 exhibition, reflects some of the surrealistic and psychedelic elements so evident in the artist's work on paper from the late eighties and early nineties. Five Dyani Buddhas - also called the Five Tathagatthas, The Quintessence or Fivefold Heart (Nyingpo Nga) of the Diamond Path. This is a commemoration painting of the visit of His Holiness the 14th Dalai Lama to Melbourne in 2002. This painting depicts His Holiness the 14th Dalai Lama with His Holiness the 17th Karmapa Ogyen Trinley Dorje.
This painting began it's life as a view of the former residence of His Holiness the Dalai Lama in the Norbulingka palace grounds. Bush scene near Cape Tribulation, in Far North Queensland, with a Cassowary bird in the foreground. This is a depiction is of the present state of the first motor vehicles (Baby Austins) to arrive in Tibet, during the time of the 13th Dalai Lama (1920?). Buddhism recognises that all beings have an innate nature of clear mind, here represented by the Melbourne phone book entries.
In the compilation of this site I would like especially like to thank Karma Phuntsok and Carol Phuntsok. During the uprising against the Chinese in 1959, my family fled Tibet, escaping into India as Refugees.
Though formally trained as a traditional Thanka painter, Karma applies different techniques and materials in his work, often creating futuristic expressions of the time-honoured craft.
It is also a break from that style, moving towards one that is now typified by larger works utilising acrylic paint on canvas and linen.


Also known as Avalokiteshvara, his vast vows to save all beings are said to be inconceivable.
This is the spiritual base of all microcosmic and macrocosmic phenomena, and is, therefore, the fivefold kernel and origin of all iconographic depictions.
The three celestial Bodhisattvas are thought of as archangelic protectors, representing the power (Vajrapani), compassion (Chenrezig) and wisdom (Manjushri) of all the Buddhas of the three times. He touches the earth with the tip of his right hand to call upon the mother earth herself to bear witness to his long evolutionary struggle, over billions of lifetimes, to come to this moment. This is an optimistic work, featuring the simple child stick figure and flower, a butterfly, and Mother Tara, on a bed of colour. Her green colour signifies her association with the Buddha clan of Amoghasiddhi, the transcendental Buddha of the north.
With his special Mantra "Om Mani Padme Hum" he travels to all the realms of the universe in his tireless quest to deliver beings from suffering. His skin color is red, reflecting his point on the compass - west - and his element is fire. It is viewed that all human activities performed between birth and death are like a game of sport. The scenes show the 1949-1959 final occupation of Lhasa and the 1982 protest against the Chinese occupation. Their treatment is a reflection of the lack of respect for aspects of Tibetan cultural heritage shown by the Chinese occupation forces.
The black colour represents the ultimate reality, voidness and the truth body of an enlightened being.
The Dalai Lamas are said to be the incarnations of Chenrezig and expressions of his divine concepts.


He is depicted wit his hands in the gesture of meditation, holding a begging bowl overflowing with fruit, a symbol of spiritual fertility. In her left hand she holds the stem of a blue lotus flower in the gesture of holding a triple lotus.The flower is pointing above the left shoulder as a symbol of purity and power.
Her right hand is held in the gesture of protection and in her left hand she holds a triple lotus flower. The youthful and beautiful Tara generates enthusiasm in those who adore her and gives them courage to take action. Historically he is the oldest and most important of the five celestial Buddhas of the Mahayana.
She has a third eye on her forehead and eyes on the palms of her hands and the soles of her feet.
In 1981 I migrated to Australia, with my wife and son, and now live in the "Bush" near a small town.
My paintings are collected by Buddhists world-wide, the Lowe Art Museum in Miami, USA , and several State and Regional Galleries in Australia. She is the most revered deity of protection.Both Green and White Tara sprang from a single tear of Avalokiteshvara and are considered his partners.



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