Tibetan wooden door hand painted usually hang on the wall in the praying hall of a monk's house .

A tibetan wooden door native tibetan hand painted ,usually hang on the wall in the praying hall of a monk's house .

place of origin	Tibet
material	wooden
model number	LF-M D 10
size	L 160cm          W 6m           H110cm
packing	Usually we use two layers to pack them, the inner layer is by the plastic foam, second layer(outside of the first layer) is the four-layers paper carton,big items finially packed with the strong plastic strip.usually 80-90 pieces of middle size chest can be fit into a  20- foot container .
weight

The wood panel is one of the tibetan painting art of "Thangka"The Tibetan word "Thangka" refers to the flat cloth on which paintings are produced and by extension to the images and paintings themselves.The Tibetan art of Thangka painting is at once a folk, traditional, and sacred art: folk because it is an expression of what is essential to the Tibetan people's culture, aspirations, and principles of living; traditional because it is taught, studied, practiced, and produced according to an established, precisely transmitted body of craft and contemplative knowledge which is, in turn, a vehicle for the essence of Tibetan Buddhism; and sacred because its form and content make of this phenomenal world a manifest "bridge" to, or expression of, the inconceivable, primordial, ultimate Reality, from which (as the Tibetan Buddhist tradition teaches) "all dharmas" arise and return.The visual dimension of Tibetan Buddhism, as presented in Thangka painting, is integral to the tradition as a whole both as a support to, and complementary expression of, the oral, text, and experiential dimensions. Like other forms of sacred and traditional art, it allows truths and realities that are formless, or otherwise too subtle and profound for conceptual thought, to be 'seen' and visualized in such a way that they may be realized contemplatively.It is the practice and transmission of this traditional art of Thangka painting that I(Kumar Lama) have made my lifelong devotion, vocation, and profession. Along with painting Thangka and teaching, I am working to develop a more personal expression of the tradition, a style entirely grounded in and informed by the craft, art, and vision of Thangka, but which I use to present non-Thangka themes and content. I call these works "Scenes From The Pure Land". "The Pure Land" is wherever all phenomena, all dharmas, all appearances, are seen in a non-dual vision of reality. This is a vision in which all is innately sacred, without duality, and therefore without distinction or opposition between so-called "sacred" and "secular" as they are customarily conceived.

Symbolism in Tibetan Furniture 

Tibetan wooden door hand painted