Wisdom and Energy Awakening
White Parasol (Sitatapatra) · White Parasol — Supreme Protection & Healing Shield
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
Shakyamuni Buddha · Shakyamuni Buddha — Enlightenment, Awareness & Spiritual Awakening
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
Manjushri·Manjushri — Transcendent Wisdom & Clear Insight
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
Tsongkhapa·Tsongkhapa — Tsongkhapa — Scholarly Wisdom & Spiritual Discipline
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
vajrapani·Vajrapani — Enlightened Power & Inner Strength
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
Padmasambhava (Guru Rinpoche) · Padmasambhava — Sacred Guidance & Spiritual Mastery
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