Thangka in the context of "Tibetan art"

Saṃsāra (in Sanskrit (संसार) and Pali) in Buddhism is the beginningless cycle of repeated birth, mundane existence and dying again. Samsara is considered to be suffering (Skt. duḥkha; P. dukkha), or generally unsatisfactory and painful. It is perpetuated by desire and ignorance (Skt. avidyā; P. avijjā), and the resulting karma and sensuousness.

Rebirths occur in six realms of existence, namely three good realms (heavenly, demi-god, human) and three evil realms (animal, ghosts, hell). Saṃsāra ends when a being attains nirvāṇa, which is the extinction of desire and acquisition of true insight into the nature of reality as impermanent and non-self.

A mandala (Sanskrit: मण्डल, romanized: maṇḍala, lit. 'circle', [ˈmɐɳɖɐlɐ]) is a geometric configuration of symbols. In various spiritual traditions, mandalas may be employed for focusing attention of practitioners and adepts, as a spiritual guidance tool, for establishing a sacred space and as an aid to meditation and trance induction. In the Eastern religions of Hinduism, Buddhism, Jainism and Shinto it is used as a map representing deities, or especially in the case of Shinto, paradises, kami or actual shrines.

The Mahayana sutras are Buddhist texts that are accepted as canonical and authentic buddhavacana in Mahayana Buddhist sanghas. These include three types of sutras: Those spoken by the Buddha; those spoken through the Buddha's blessings; and those spoken through mandate. They are largely preserved in Sanskrit manuscripts, and in translations such as the Tibetan Buddhist canon, and Chinese Buddhist canon. Several hundred Mahāyāna sutras survive in Sanskrit, Tibetan and Chinese translations. The Buddhist scholar Asanga classified the Mahāyāna sūtras as part of the Bodhisattva Tripiṭaka, a collection of texts meant for bodhisattvas.

Buddhists consider the most important Mahayana sutras to be the spoken teachings of Shakyamuni Buddha. These were quickly recorded one year following his Mahaparinirvana, when the Buddha's main attendant Ananda recited these Sutras in their entirety at the First Buddhist Council, where they were recorded. At that Council, two other attendants recited two other classifications of the Buddha's teachings. Other Mahāyāna sūtras are presented as being taught by masters such as bodhisattvas like Mañjuśrī and Avalokiteśvara. There are various reasons that Indian Mahāyāna Buddhists give to explain why some Sutras appeared at later times. One such reason is that they had been hidden away in the land of the Nāgas (snake deities, dragons) until the proper time for their dissemination arrived. They are also sometimes called Vaipulya ("extensive") sūtras by earlier sources.

Mount Meru (Sanskrit/Pali: मेरु)—also known as Sumeru, Sineru or Mahāmeru—is a sacred, five-peaked mountain present within Hindu, Jain and Buddhist cosmologies, revered as the centre of all physical, metaphysical and spiritual universes. It is professed to be located at the junction of the four great cosmic continents—Pubbavideha Dīpa, Uttarakuru Dīpa, Amaragoyāna Dīpa and Jambu Dīpa. Despite not having a clearly identified or known geophysical location, Mount Meru is, nevertheless, always thought of as being either in the Himalayan Mountains or the Aravalli Range (in western India). Mount Meru is also mentioned in scriptures of other, external religions to India, such as Taoism—which was influenced, itself, by the arrival of Buddhism in China.

Many Hindu, Jain and Buddhist temples have been built as symbolic representations of Mount Meru. The Sumeru Throne (Chinese: 须弥座, xūmízuò) style is a common feature of Chinese pagodas. The highest point (the finial bud) on the pyatthat, a Burmese-style multi-tiered roof, represents Mount Meru.

Tathāgata (Sanskrit: [tɐˈtʰaːɡɐtɐ]), translated into Chinese as 如來 and English as Thus Come One, is a Pali and Sanskrit word used in ancient India for a person who has attained the highest religious goal. Gautama Buddha, the founder of Buddhism, used it when referring to himself or other past Buddhas in the Pāli Canon. Likewise, in the Mahayana corpus, it is an epithet of Shakyamuni Buddha and the other celestial buddhas. The term is often thought to mean either "one who has thus gone" (tathā-gata), "one who has thus come" (tathā-āgata), or sometimes "one who has thus not gone" (tathā-agata). This is interpreted as signifying that the Tathāgata is beyond all coming and going – beyond all transitory phenomena. There are, however, other interpretations and the precise original meaning of the word is not certain.

The Buddha is quoted on numerous occasions in the Pali Canon as referring to himself as the Tathāgata instead of using the pronouns me, I or myself. This may be meant to emphasize by implication that the teaching is uttered by one who has transcended the human condition, one beyond the otherwise endless cycle of rebirth and death, i.e. beyond dukkha.

A paubhā (Devanagari: पौभा) is a traditional religious painting made by the Newar people of Nepal. Paubhās depict deities, mandalas or monuments, and are used to help the practitioners in meditation. The Tibetan equivalent is known as thangka. The main difference between thangka and paubhā is that thangka is exclusive to Buddhist art, while paubhā is used in both Hindu and Buddhist art traditions by the Newar community.

The traditional painters of paubhās are the Chitrakar caste who are known as Pun (पुं) in Nepal Bhasa.