Release of fear and guilt
Yamantaka (Vajrabhairava) ·Yamantaka — Conquering Fear, Death & Inner Darkness
Collector’s Noto This is not a piece that can be quickly reproduced. Each BURIHONMI artwork is created outdoors, within real natural landscapes — beneath snow-covered mountains, beside highland lakes, among forests, or in the quiet presence of ancient architecture. The process involves hands, time, earth, breath, and environment working together. The clay used in every piece is sourced from pristine land at elevations above 4,000 meters on the Tibetan Plateau. It is untouched by industrial processing, preserving the original texture, weight, and warmth of the earth itself. All pigments are made from natural minerals — chalk, shell powder, white mica, malachite, azurite, cinnabar, realgar, orpiment, and lapis lazuli. They are traditionally ground and prepared by hand. The colors are never loud, but they slowly deepen and settle with time. Because of this, no two works are ever exactly the same. Variations naturally appear in color, texture, line, and presence. Even when depicting the same form, a perfect duplicate does not exist. This is not “limited production.” It is nature and time themselves that define the number of works that can be made. On Rarity and Time Every BURIHONMI piece carries a specific moment in time. The materials, climate, light, wind, and surroundings of its creation cannot be repeated. Once a piece leaves its original environment, that exact moment is gone forever. The reflection on a lake, the wind of a particular day, the temperature of a single season — each happens only once. What you collect is not only an object, but a moment of nature that will never occur again
Hayagriva ·Hayagriva — Wrathful Compassion & Destruction of Obstaclese
Collector’s Noto This is not a piece that can be quickly reproduced. Each BURIHONMI artwork is created outdoors, within real natural landscapes — beneath snow-covered mountains, beside highland lakes, among forests, or in the quiet presence of ancient architecture. The process involves hands, time, earth, breath, and environment working together. The clay used in every piece is sourced from pristine land at elevations above 4,000 meters on the Tibetan Plateau. It is untouched by industrial processing, preserving the original texture, weight, and warmth of the earth itself. All pigments are made from natural minerals — chalk, shell powder, white mica, malachite, azurite, cinnabar, realgar, orpiment, and lapis lazuli. They are traditionally ground and prepared by hand. The colors are never loud, but they slowly deepen and settle with time. Because of this, no two works are ever exactly the same. Variations naturally appear in color, texture, line, and presence. Even when depicting the same form, a perfect duplicate does not exist. This is not “limited production.” It is nature and time themselves that define the number of works that can be made. On Rarity and Time Every BURIHONMI piece carries a specific moment in time. The materials, climate, light, wind, and surroundings of its creation cannot be repeated. Once a piece leaves its original environment, that exact moment is gone forever. The reflection on a lake, the wind of a particular day, the temperature of a single season — each happens only once. What you collect is not only an object, but a moment of nature that will never occur again
Six-Armed Mahakala·Six-Armed Mahakala — Fierce Protection & Karmic Cleansing
Collector’s Noto This is not a piece that can be quickly reproduced. Each BURIHONMI artwork is created outdoors, within real natural landscapes — beneath snow-covered mountains, beside highland lakes, among forests, or in the quiet presence of ancient architecture. The process involves hands, time, earth, breath, and environment working together. The clay used in every piece is sourced from pristine land at elevations above 4,000 meters on the Tibetan Plateau. It is untouched by industrial processing, preserving the original texture, weight, and warmth of the earth itself. All pigments are made from natural minerals — chalk, shell powder, white mica, malachite, azurite, cinnabar, realgar, orpiment, and lapis lazuli. They are traditionally ground and prepared by hand. The colors are never loud, but they slowly deepen and settle with time. Because of this, no two works are ever exactly the same. Variations naturally appear in color, texture, line, and presence. Even when depicting the same form, a perfect duplicate does not exist. This is not “limited production.” It is nature and time themselves that define the number of works that can be made. On Rarity and Time Every BURIHONMI piece carries a specific moment in time. The materials, climate, light, wind, and surroundings of its creation cannot be repeated. Once a piece leaves its original environment, that exact moment is gone forever. The reflection on a lake, the wind of a particular day, the temperature of a single season — each happens only once. What you collect is not only an object, but a moment of nature that will never occur again
Simhamukha Dakini Express your true self, shout out your shame, and release your emotional shackles.
Collector’s Noto This is not a piece that can be quickly reproduced. Each BURIHONMI artwork is created outdoors, within real natural landscapes — beneath snow-covered mountains, beside highland lakes, among forests, or in the quiet presence of ancient architecture. The process involves hands, time, earth, breath, and environment working together. The clay used in every piece is sourced from pristine land at elevations above 4,000 meters on the Tibetan Plateau. It is untouched by industrial processing, preserving the original texture, weight, and warmth of the earth itself. All pigments are made from natural minerals — chalk, shell powder, white mica, malachite, azurite, cinnabar, realgar, orpiment, and lapis lazuli. They are traditionally ground and prepared by hand. The colors are never loud, but they slowly deepen and settle with time. Because of this, no two works are ever exactly the same. Variations naturally appear in color, texture, line, and presence. Even when depicting the same form, a perfect duplicate does not exist. This is not “limited production.” It is nature and time themselves that define the number of works that can be made. On Rarity and Time Every BURIHONMI piece carries a specific moment in time. The materials, climate, light, wind, and surroundings of its creation cannot be repeated. Once a piece leaves its original environment, that exact moment is gone forever. The reflection on a lake, the wind of a particular day, the temperature of a single season — each happens only once. What you collect is not only an object, but a moment of nature that will never occur again
Chöd (Charnel Ground Deity) ·Chöd — Ego Dissolution & Fear Liberation
Collector’s Noto This is not a piece that can be quickly reproduced. Each BURIHONMI artwork is created outdoors, within real natural landscapes — beneath snow-covered mountains, beside highland lakes, among forests, or in the quiet presence of ancient architecture. The process involves hands, time, earth, breath, and environment working together. The clay used in every piece is sourced from pristine land at elevations above 4,000 meters on the Tibetan Plateau. It is untouched by industrial processing, preserving the original texture, weight, and warmth of the earth itself. All pigments are made from natural minerals — chalk, shell powder, white mica, malachite, azurite, cinnabar, realgar, orpiment, and lapis lazuli. They are traditionally ground and prepared by hand. The colors are never loud, but they slowly deepen and settle with time. Because of this, no two works are ever exactly the same. Variations naturally appear in color, texture, line, and presence. Even when depicting the same form, a perfect duplicate does not exist. This is not “limited production.” It is nature and time themselves that define the number of works that can be made. On Rarity and Time Every BURIHONMI piece carries a specific moment in time. The materials, climate, light, wind, and surroundings of its creation cannot be repeated. Once a piece leaves its original environment, that exact moment is gone forever. The reflection on a lake, the wind of a particular day, the temperature of a single season — each happens only once. What you collect is not only an object, but a moment of nature that will never occur again