From: Venerable Jetsunma Tenzin Palmo

"One of the outstanding features when visiting medieval Christian churches is their glorious stained glass windows. I had often thought that if only Tibetan artists had been able to reproduce such art - how magnificent that would be! So on meeting Anila Jamyang Dronma and learning of her wonderful skills, the aspiration was born to have stained glass windows in the Temple of our DGL Nunnery. These will be unique and help make our temple something special. We selected the images of Green Tara and Prajñaparamita as representing the Divine Feminine - highly appropriate for a nuns' temple. So may the light refracted through their sacred forms bless all who behold them!"

My dear Ani Jamyang- la,

After various panics and delays, Chrysanne arrived safely with her precious cargo on Saturday evening and today our carpenters spent much time slowly and carefully unscrewing the box.

The result revealed were two fabulous stained glass windows - immaculate and pristine! They are wonderful and everyone was amazed at their beauty. We carried Arya Tara to the temple to see how to position Her and see that She is well supported. Chrysanne and the head carpenter both have ideas and will present them later today. Anyway She already looks as though She belongs there and these windows will greatly enhance the splendour of our temple - and also be unique.

So THANK YOU SO MUCH for all your skill and all your efforts in rendering these stained glass windows so exquisitely. We hope that you will come soon and see them for yourself in their rightful place.

With love and sincerest gratitude,          Tenzin Palmo


The materials and workmanship are outstanding -- a pleasure to hang, bringing fresh enjoyment each day. This only exceeded by the rendering of the subject, both sensitive and sublime.

Paul Davies.

Tashi delek Ani la,
I have never written a testimonial before but here goes:.

In 1997 I flew Air France to India where I spent the summer in Dharamsala, the home of His Holiness the Dalai Lama and many Tibetan refugees. While I was there I became friendly with many of the artists at the Norbulingka Institute which focus>es on traditional Tibetan art and culture. During that summer I commissioned two thangkas and a statue from the Norbulingka Institute, attended Buddhists teachings, listened to the horror stories of those Tibetans who had escaped Chinese persecution and, finally, as the summer came to an end, returned to Delhi, boarded the returning Air France jet and returned to the "west." Upon my return that summer I also managed to spend a week in Paris, searching small galleries for a Foujita print. I found my print and also spent a lot of time at Notre Dame cathedral looking at the rose window and other masterpieces of stained glass art.

I kept thinking how wonderful it would be if the art of the "east" (particularly the art of Tibet) were able to create thangkas in stained glass. If only the beautiful paintings of the various Buddhas of the thangkas or the statues covered in gold could have the radiance of the sun shining through them. This fantasy became more pronounced as I would hold pieces of colored crystal in front of my Buddhist altar and watch the play of light make offerings to the enlightened ones.

One day, on what seemed a whim at the time, as I sat in front of my computer, I typed the words "Buddhist stained glass" into my search engine. To my amazement, there were two search results. One was at a Buddhist Monastery which did nice, but not extremely artistic glass windows of the Tibetan eight auspicious symbols. The other result was the Yulokod Studio of Ani Thubten Jamyang Donma in Toronto. As I looked at Ani-la's website I couldn't believe my eyes. I felt that I had been taken to some Buddhist Pure Land where, at last, the "east" met the
"west" and thangkas were being created in stained glass! The Buddhas were now glowing the way the western saints had done for centuries in churches.

I immediately fell in love with the Medicine Buddha on the Yulokod website. I had to have one! If I could track down a rare Foujita in Paris, then I could certainly obtain a stained glass Medicine Buddha that was on my computer screen in front of my eyes. I measured a window in which I wanted to place the Medicine Buddha and began my first correspondence with Ani Thubten Jamyang Donma. She replied, asking a few questions about color, etc., and within a year I had the Menla Bhaisajya Guru, the Medicine Buddha, radiating his deep healing blue essence into my room. I was so taken with the beauty, the true healing beauty, of this glass thangka, that I commissioned my second stained glass thangka...my personal yidam (patron saint)
Guru Rinpoche Padmasambhava.

A year later this thangka arrived and again I am blessed by its glowing presence. I plan to commission some more of Ani-la's work. I hope in time that I can have a small version of a Tibetan Notre Dame right here in my New York apartment.

Dennis Cordell
Artist and Tibetan Translator.

Richard Allen wrote:
I have not just one, but, two glass window Tibetan style thangkas-- they are magnificent. I wish to share that the windows themselves are not only beautifully crafted-- the absolute finest. They are, as well, iconographically accurate and correct-- important for practioners. I would say the windows, also, seem to carry the presence of the deities themselves-- reflecting the enlightened qualities that is characteristic of this kind of art and representation, but, moreover, assisting us to realize the true status/nature of being.

My experience in procuring these windows was very pleasant with discussions, emails, and mailing of drawings to ensure that the windows would be just right and exquisite in every way. Including discussion of mudras, symbols, implements, colors, gestures, facial expressions, and particular characteristics-- associated with lineage, and particular practice, as well as artistic styles and/or schools.

As part of the process of producing these windows there was also attention paid to the room or dwelling where they would eventually be placed as well as discussion of whatever factors that would contribute to allowing
a vision to eventually become a window. There was more than ample opportunity to approve preliminary drawings, and work with further suggestions or changes where this was important.

My sense is the artist, a devoted practitioner, herself, views this work as a means of helping to share dharma/art as a true window into enlightened expression. Therefore there is a sense of presence that comes through each piece as the light radiates through the windows-- throughout the space where each of these are hung.
As, I myself grew up in a household full of rare Tibetan Art and antiquities, and have had an opportunity to travel widely, I have therefore had wide exposure to Buddhist art, generally, and the art of Tibet and the Himalayan region in particular. As well as being orientated to the teachings themselves and associated practices, I would like to assure people-- a window of stained glass made with the individual care that Ani Thupten Jamyang Donma uses to produce these would be wonderful for Temples, places designed for large assemblies, or equally, as well, private homes or retreat places. Most anywhere, really, where this style of art, spirituality and sense of blessing is appreciated.

Each piece is made and handcrafted by a single individual-- thus requiring time to produce. Along with the necessary consultations and approvals of preliminary drawings etc.

The wait for the final product, without doubt, is well worth it-- as they bring inspiration, beauty, outstanding craftsmanship and detail to ones space.

These thangkas in glass are not like any others I have seen. They clearly call one to repeated experiences of appreciation, connection with enlightened abodes, and repeated rapture.

In my estimation these stained glass thangkas are also meant to be studied, meditated upon, and enjoyed by the generations to come.

I appreciate as well, these stained glass thangkas-- works being produced through Yulokod Studios, by Ani J., are a rather unusual aspect of Dharma aesthetics taking root in an art form originating in the west. In this sense-- unique to this particular time and place.

Oh, yes, the price ?

I believe, these works of art are intended to be in places where authentic practice takes place. The artist, as I understand, has a deep commitment to keeping these accessible and affordable. Given the quality of workmanship, care and attention, time/labor, and compared to the market of newly made Buddhist art on the market. These works custom- made are-- relatively speaking-- inexpensive, for sure.

Available to anyone who is truly called to having one in their sacred space.

Rev. Chonyi Richard Allen
Client / Patron / USA Representative

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