Original Tibetan Calligraphy written in ink on paper by P. N. Dhumkhang. Pairing selected styles of traditional Tibetan script with significant terms and phonemes, Dhumkhang La presents the profound concepts of Buddhist philosophy in highly expressive visual solutions.

This work is a beautifully elegant lettering  of "sun" over "moon" in black ink on soft brown paper.  Professionally framed in matt black simple frame.  Paper sealing back of frame has some minor damage.

Calligraphy art 15" x 20" floating
Frame is 20" x 20.5" x 2" deep.

Tibetan script: khyuyig and tsugring:
nyi zla (nyida) = "the sun and moon"

About the Tibetan Art of Calligraphy:

Tibetans normally credit the birth of their script to Thönmi Sambhota, a Minister of Songtsan gampo (617-650), sent to India to draw inspiration for a Tibetan alphabet. Thönmi Sambhota brought back to Tibet the proto-Sharada script of Kashmir taught to him by the Brahmin Lichin Kara. Songtsan gampo himself mastered the script, after many years. This introduction was embraced and quickly diffused throughout the land. In little over a century, Tibetan calligraphers had proliferated seven different scripts, some with innumerable further variations.

    Uchan: a script of fine clarity especially appreciated for printing books;
    Ume': cursive script equally used for personal and textual purposes;
    Drugtsa: a version halfway between Uchan and Ume';
    Ume' petsug: cursive script in squarish shape;
    Tsugring: a more elongated petsug;
    Kyuyig: cursive handwriting for daily use;
    Horyig: a squarish version invented by Lama Phagpa, the Tibetan master of Khubilai Khan, to adapt Tibetan to the Mongol script, so that Mongols could read it;
    Loden yigtsa: a highly ornamental squarish script.

In accordance with the traditional requirements, Dhumkhang La cuts his own pens from bamboo, and paints with black ink because red ink is reserved to the Dalai Lamas and other major religious leaders. In antiquity, Tibetans were known to have used inks made of mother-of-pearl, turquoise, gold, silver and other precious materials, but they fell outside the calligraphic tradition.

Dhumkhang la's works can be appreciated purely for their aesthetic beauty and, at the same time, for the profoundity of Tibetan philosophy expressed by simple strokes of a bamboo pen.