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Ghau box catalogue notes Ghau1006-Ghau4162 · General notes, applying to every reference number in this catalogue

1. What a ghau box is

A ghau box (also written gau box) is the traditional portable shrine of Tibet, its name taken from the Sanskrit word for "box". Practitioners place a small image, a mantra, a relic or a small thangka inside and wear it at the chest or on the belt — at once a shrine on the move and an amulet. WoTangKa ghau boxes are made specifically for tsakli (tsakli) designed to be offered, worn and stored — both an ornament and a safeguard.

2. General specifications

3. What the motifs mean

• Twelve Zodiac Animals All twelve are available — Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog and Pig. These are guardian pieces for one’s zodiac year, best chosen by birth sign.
• Crossed vajra (also called karma-vajra) The most emblematic of tantric ritual motifs for subduing negative forces. The crossed form stands for absolute stability and indestructibility, and it is widely used for protection.
• Kirtimukha Beast/Kirtimukha Head In Tibetan, kirtimukha (literally "face of glory") is a fierce mythical beast. Both the kirtimukha head and the kirtimukha beast motifs are used to ward off evil and to draw in wealth and good fortune. (The official site uses both "支扎巴" and "支巴扎" — a source-site typo for the same motif: both are given as kirtimukha here.)
• Right-turning white conch One of the Eight Auspicious Symbols, standing for the spreading of the dharma and far-reaching renown — a mark of auspicious completeness.
• Eight Auspicious Symbols/Treasure-gathering Elephant The Eight Auspicious Symbols — parasol, golden fish, treasure vase, lotus, right-turning white conch, endless knot, victory banner and dharma wheel. The treasure-gathering elephant is used to draw in wealth.
• Garuda (Khyung) A protector in Tibetan Buddhism who subdues the naga and removes the obstacles of illness — fierce and warding off evil.
• Snow Lion (Gangkar Sengge) The snow lion — dignity, strength and fearlessness, and an auspicious emblem of Tibet.
• Lion Playing with a Ball/Azure Dragon of the East A Han Chinese auspicious motif absorbed into Tibetan metalwork, carrying celebration and the guarding of the east.
• Six-Syllable Mantra/Avalokiteshvara's Lotus-holding Hand An Avalokiteshvara theme, with the Six-Syllable Mantra chased into the face of the box as a mark of compassionate protection.
• Double Mirror Both faces of the box are mirror-windowed, making better use of the interior; square-window form.
• Note The "motif" filter is single-select and assigns each piece to its dominant theme. Some official titles carry two themes at once — for example "kirtimukha head with four red beads and crossed vajra" is both a kirtimukha-head piece and a crossed-vajra piece. In such cases the theme named first in the title prevails; the other theme is still shown in full in the card title.

Mounting mat catalogue notes MAT0101-MAT0155 · General notes, applying to every reference number in this catalogue

1. Definition

A mounting mat — also called a frame backing mat — is a high-density, heavyweight specialty board placed between the artwork and the glazing inside the frame. It is an indispensable part of mounting paintings, photographs, thangkas and calligraphy.

2. What it does

• Separation, anti-stick It separates the glazing from the artwork, so condensation in humid weather never touches the paper or pigment — preventing cockling, flaking and photographs sticking to the glass.
• Moisture and dust barrier The substantial board blocks dust and damp in the air, reducing what settles on the surface and slowing the yellowing and ageing of paper.
• Cushioned air gap Cutting the mat leaves an air gap between artwork and glazing. Any knock is buffered, and the glass cannot press against and scratch the surface.
• Compositional margin Varying the width of the mat creates breathing space and focuses the eye — a small work gains presence, a large one gains clear layers.
• Colour framing Coloured mats can be matched to the tone of the image — a light painting with a dark mat, a rich one with a pale mat — lifting the overall look and the perceived quality of the piece.
• Conceals flaws It conceals uneven edges or minor trimming damage and gives the artwork a clean boundary.
• Holds the work flat The cut window holds all four edges of the artwork, preventing it from shifting, creasing or tilting inside the frame and keeping it flat over years of hanging.

3. Where it applies

Chinese painting, drawing, watercolour, oil sketches, photographs, thangkas, prints and decorative art — any work that can be framed.

Picture frame catalogue notes PictureFrame0101 — PictureFrame0230 · General notes, applying to every reference number in this catalogue

1. What framing is for

• Long-term protection that extends the life of the work Thangkas are usually made with mineral pigments on natural fabric. Left exposed, they shed pigment, the canvas takes up moisture and mould, and dust grinds at the surface. A frame with a protective panel and a moisture-barrier backing forms a complete protective layer that blocks dust, damp and ultraviolet light and absorbs knocks, which makes it especially suitable for homes and businesses where a piece is hung for the long term.
• Sets the atmosphere and suits both offering and display Traditional profiles suit the formality of a shrine room; simple, contemplative profiles suit modern interiors. Either way the thangka stops being an isolated painting and becomes the centre of a space that carries its cultural character.
• Visual framing that brings out the detail The frame serves the painting. Tone, width and profile are matched precisely so the frame never competes for attention, but sets off the fine lines, saturated colour and intricate patterns of the thangka.
• A standard form that is easy to handle and collect Proper mounting gives a thangka a standard form for hanging and storage and lowers the risk of damage in transit. For a collection-grade piece, professional mounting preserves its condition and adds to both completeness and collectible value.

2. Core craft of thangka framing

• Stabilised substrate: solid-wood mouldings go through a kiln-drying and degreasing process that holds the wood's moisture content in a stable range; aluminium mouldings are formed in one piece with a high-low groove stepped profile, moisture-proof and warp-resistant. Both tolerate regional differences in temperature and humidity, reducing warping and cracking after long-term hanging.
• Precision cutting and jointing Standard frames are mitre-cut at a precise 45°, giving tight joints and continuous lines. Square and rounded profiles can also be made to order, with dedicated fasteners reinforcing every joint so that even large formats stay rigid.
• Low-emission surface finishing Water-based lacquer, heat-transfer wood grain and hand-gilding are used, with no sharp odour. Matt and semi-matt finishes dominate, cutting reflections that would interfere with the image and improving both abrasion resistance and resistance to yellowing.
• Layered groove fitting The moulding leaves room for several internal grooves, accommodating different combinations of mat, yellow brocade border, protective panel and moisture-barrier backing — supporting both traditional multi-layer mounting and slim, minimal mounting.

3. Mounting methods and where they suit

4. Choosing a protective panel

• Standard acrylic Light and shatter-resistant — the first choice for large formats.
• Museum-grade high-clarity acrylic The clearest glazing and UV-filtering — standard on high-end collector mounting.
• High-clarity glass Clear and hard, but heavy — best for smaller wall-hung pieces.
• Tip: thangkas dislike damp. In humid conditions choose an acrylic panel together with a sealed moisture-barrier backing.

5. Comparing frame grades

6. Matching advice

• Suggested theme Buddha images / mandalas / landscape scenes.
• Suggested style New Chinese / modern Chinese / Japanese contemplative.
• Space advice Living room, study, reception room, tea room, meditation room, yoga room.
• Colour tip Natural-wood and gold tones give strong contrast and set the thangka off well. If you choose traditional Tibetan yellow-brocade mounting, switch to a dark walnut or antique bronze-gold frame.

7. Custom sizes and delivery

• Made to size: cut to any image area, measured from the actual artwork.
• Lead time: standard sizes 5-7 days; made-to-order 7-15 days; special pieces 10-25 days. Catalogue pages quote a single 7-25 day range; the exact figure is confirmed with your order.
• Shipping: lead times exclude transport. Urgent orders can be discussed.

8. Care instructions

• Keep out of direct sunlight and away from damp.
• Check the mat and backing for damp once a year.
• Dust with a soft dry cloth. Do not wipe wood-grain or panel surfaces with a damp cloth.