Live Sessions and Classes

If Lama Yeshe whispered in your ear back in 1976, “I want you to teach everywhere,” and you are introduced to the art of Tibetan tangkha painting, would you believe it possible? Andy Weber first took on the request by teaching at Lama Yeshe’s monastery in Kopan 1978 . Today, with his work widely known worldwide through his cards, prints and posters, Andy Weber is fulfilling Lama Yeshe’s wishes in ways he could never have imagined Andy Weber spent seven years living and studying the iconographical art of Tibetan Buddhism under the guidance of accomplished masters in India and Nepal. His teachers were Ludhup, who had escaped from Tibet with some 250-year-old scrolls, and the master artist Thargey from Tsang in Tibet. “Ludhup initiated me into the world of Vajrayana art, and Thargye provided me with a detailed map of that world,” Andy said.

Today Weber’s unique style of authentic images for visualization is respected not only by a growing number of Western Buddhists but also by Tibetan lamas of all traditions, many of whom have commissioned his work. His tangkha paintings can be seen in Buddhist centers and temples throughout the world, one, a painting of Atisha (see Mandala Magazine June 1996 ) even sneaked into the Potala Palace in Lhasa. He and his students now offer their artwork and their services to the wider Dharma community.

When Dolma Beresford, born in Dharamsala and raised by Buddhist parents, moved to London, and attained a degree in graphic design, she jumped at the chance to learn from Andy, who as a friend of her parents was part of her childhood.

“When Andy said, ‘Come to my course at Jamyang Buddhist Centre!’ I knew I wanted to see him again,” she said. “The idea of escaping the world of deadlines and paying the rent to draw the Buddha appealed to me. It was a weekend that would change my outlook and take my interest in Buddhism in a direction I never thought possible. “At the end of the first day of the course, Andy asked us all to pin our drawings of the Buddha’s face on the wall so we could look at each other’s work. We had been working from the same grid and template but it was amazing how different each face was. How beautiful and interesting they all looked, staring down at us from the walls of the Gompa. Andy said this never changed, that every face was different. That we were all drawing our own internal buddhas, and because we were not yet enlightened, none of the faces we drew were perfect. Each face reflected something deep within every one of us. Suddenly I was connected. I now wanted to draw the perfect Buddha. Not through ego, but because I could see that it was possible. This was my path. I was hooked. “This art form has become my spiritual practice. I still can’t remember the order of the Four Noble Truths but I can visualise Green Tara, Vajrayogini, Samantabadra and I am just beginning to see Mahakala. When each thangka is finished I look at it and think. ‘Wow, it’s amazing’. Not because I painted it, because I don’t feel like I did. I don’t feel connected to it in that way, but there they are, manifested and then I give them away. “This practice has taught me more about patience, non-attachment and emptiness than a hundred books have. I am so glad the universe conspired to put Andy in my way. A great teacher in the guise of a grumpy old man. I’m so glad I recognised you, Andy!”

Artist Ella Brewer was an apprentice to Andy Weber for five years. A student of Lama Zopa Rinpoche, who has encouraged her painting and teaching work, Brewer is one of only two people in New Zealand teaching thangka painting (NZ’s north island to become Mahamudra Centre’s artist in residence. She is also using her skills to bring Tibetan art to the wider community. the other teacher is a Tibetan in Auckland who needs to use an English translator.) She recently moved to Colville on “You are creating positive energy by creating the image of Buddha, “ she said. “That’s why I’m keen to share this with people. Art is healing and spiritual art even more so.” People involved in this traditional Tibetan art form need lots of patience. “One of my paintings took me two years to complete,” Brewer said. She has already started on thirty-two paintings for the Mahamudra Centre, which is seeking sponsors for the art works. The paintings are expected to take up to twelve years to complete.

Andy Weber believes passionately in the importance of keeping a culture’s art authentically alive. “Signs of degeneration are all around us,” he said. “In Boudhanath itself, for example, factories of uninspired laborers supply the tourist trade with imitations of sacred art having no authenticity whatsoever. But there are also indications that the spiritual quest, however disguised, is still very much alive in the human breast.”