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2020, Rose+Croix Journal
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9 pages
1 file
This essay endeavors to present an introduction to the Hindu/Buddhist word "mandala" as a special geometric pattern or "sacred cosmogram." 1 An important mandala is "The Wheel of Time," "a multi-colored diagram of the initiation of the Kalachakra" of Tibetan Buddhism. It opens "the road to knowledge and the path that leads to harmony." Harmony results from "a subtle resonance between the human body and mind and the outer universe which encapsulates them within its astrological and cosmic dimensions." 2 Mandalas are studied through a review
Routledge, 2019
Most of the studies on the Buddhist tantra have identified tantric mandalas, either as representations of Indian feudal polity, or the sacred transcendental illustrations. The aim of this chapter is to exemplify the manner in which the Buddhist tantra appropriate the non-intrinsic nature of space of mandalas and use them as a tangible and schematic plan for constructing a localised imaginary space and shape their spatial configurations. This notion of non-intrinsic nature of space of mandala is derived from the doctrine of Emptiness, the central doctrine of Mahayana Buddhism, which allows for conceiving this localised space as a microcosmic reality that interplays with the macrocosmic world. Within the framework of the Buddhist highest yoga-tantra, a mandala is conceptualised as a tool that governs the duel-layered cosmic interplay of the subjective and objective worlds, and provides a cogent means for analogical correspondence between the planes of epistemological and ontological reality. This chapter delineates the course of actualisation of such correspondence wherein the tantric deities are placed or visualised as spatial signifiers. On epistemological level, the schematic representations of tantric mandalas are meant for contemplative internalised practice aiming for soteriological goals. On an ontological level, such schema of mandalas has been used as the architectural basis for construction of the temples, stupas, monastic establishments and rock-cut caves across the Indian subcontinent, Central Asia, Tibet, China, Mongolia, Japan, and South-East Asia, around the 7th through 13th centuries, when the tantric Buddhism was in its ascendancy.
The Nastika Schools Toward the end of the Vedic Period, c. 600 BCE, there was a spiritual and cultural shift in India which encouraged various thinkers to question the Hindu vision. The Vedas were written, and recited, in Sanskrit by the priestsa language the people could not understandand so were also interpreted by the clergy for the people. Objections to this practice encouraged questions concerning the validity of the entire belief system and so a number of philosophical schools arose which either supported the orthodox Hindu view or rejected it. Those schools who supported it were known as astika ("there exists"), and those who rejected Hindu thought were known as nastika ("there does not exist"). The best known nastika schools were Charvaka, Jainism, and Buddhism, all three of which came to use the mandala in their own systems. Charvaka: The Charvaka mandala represents the central belief of the school that only perceivable reality of the four elements of air, earth, fire, and water exists. Charvaka was founded by the reformer Brhaspati (l. c. 600 BCE) who completely rejected any supernatural concepts and insisted on direct, personal experience as the only means of establishing truth. The Charvakan mandala reflects this as an image of the four elements each enclosed in a circle within a broader circle. The mandala, in this case, would have encouraged one's belief in materialism and the materialistic truth of the human condition and prevented the mind from wandering to speculative thought on higher powers or any other meaning in life other than pursuing one's own pleasure and recognizing the observable world as the only reality. Four Elements-by Mana Lesman-Vardhamana Mahavira by Jules Jain (CC BY-NC-SA) Jainism: Jainism was expounded by the sage Vardhamana (better known as Mahavira, l. c. 599-527 BCE). Although often referenced as Jainism's founder, he is known by adherents as the 24th tirthankara ("ford builder"), one in a long line of enlightened souls who recognized the illusory nature of existence and freed themselves (and then others) through adherence to a strict spiritual discipline which broke the cycle of samsara and led to liberation. Jains observe this same discipline in the hope of reaching the same goal. Jain mandalas illustrate this path and discipline through images of Mahavira (or an earlier tirthankara) in the center of a circle enclosed by ever-widening squares in which representations of various divine spirits (devas) or Common symbols in mandalas Apart from these interpretations, some common symbols can be found in most mandalas, such as a bell representing openness, a triangle representing action and energy when faced upwards or creativity and the pursuit of knowledge when faced downwards. Additionally, a Wheel with eight spokes represents the Eightfold Path of Buddhism or the perfect universe. The sun is connected with the universe as well, a symbol for life and energy. Mandalas are found across all cultures, each of which has a certain representation and interpretation, so there is no one understanding of this phenomenon which could be generalized across all of them. Modern use and benefits from Mandalas Nowadays, people have increased their use of mandalas as a tool for relaxation and improving focus. These geometric designs are no longer associated only with Buddhists. It seems like individuals also connect them with fun activities for personal enjoyment. In such cases, no rules apply. It is entirely up to the person who creates the design whether it will consist of symmetrical shapes and patterns. He/she may also choose to fill the circles with colors of his/her choice. Besides, coloring mandalas can be beneficial for people of different ages. Children could take advantage of the flexibility of this technique. Simultaneously this will expand their creativity. Adults could use coloring as a way of calming down. Focusing on the mandala could certainly take your mind off of things and generally improve your concentration. When it comes to elders, they may use coloring the symmetrical patterns as a way of keeping their minds sharp. Based on research that involved creating 100 mandalas in 100 days, the results showed that this using this technique is quite beneficial for the creators. More specifically, the participants have eased stress, fear, overwhelming feelings, worry and depression. Furthermore, they considered it a fun activity that relaxed their bodies and minds, improved their focus and enhanced their creativity. Apart from cultivating feelings of happiness and inner peace, the creation of mandalas has enhanced the participants' self-esteem and self-acceptance, simultaneously fostering a sense of connection with themselves and others around them. Last but not least, the experiment has shown that this process had improved the sleep schedule of the participants. Conclusion
Studies in the Indo-Tibetan Mandala II, 2023
This is the English Chapter Summary of my Studies in the Indo-Tibetan Mandala II
The Nastika Schools Toward the end of the Vedic Period, c. 600 BCE, there was a spiritual and cultural shift in India which encouraged various thinkers to question the Hindu vision. The Vedas were written, and recited, in Sanskrit by the priestsa language the people could not understandand so were also interpreted by the clergy for the people. Objections to this practice encouraged questions concerning the validity of the entire belief system and so a number of philosophical schools arose which either supported the orthodox Hindu view or rejected it. Those schools who supported it were known as astika ("there exists"), and those who rejected Hindu thought were known as nastika ("there does not exist"). The best known nastika schools were Charvaka, Jainism, and Buddhism, all three of which came to use the mandala in their own systems. Charvaka: The Charvaka mandala represents the central belief of the school that only perceivable reality of the four elements of air, earth, fire, and water exists. Charvaka was founded by the reformer Brhaspati (l. c. 600 BCE) who completely rejected any supernatural concepts and insisted on direct, personal experience as the only means of establishing truth. The Charvakan mandala reflects this as an image of the four elements each enclosed in a circle within a broader circle. The mandala, in this case, would have encouraged one's belief in materialism and the materialistic truth of the human condition and prevented the mind from wandering to speculative thought on higher powers or any other meaning in life other than pursuing one's own pleasure and recognizing the observable world as the only reality. Four Elements-by Mana Lesman-Vardhamana Mahavira by Jules Jain (CC BY-NC-SA) Jainism: Jainism was expounded by the sage Vardhamana (better known as Mahavira, l. c. 599-527 BCE). Although often referenced as Jainism's founder, he is known by adherents as the 24th tirthankara ("ford builder"), one in a long line of enlightened souls who recognized the illusory nature of existence and freed themselves (and then others) through adherence to a strict spiritual discipline which broke the cycle of samsara and led to liberation. Jains observe this same discipline in the hope of reaching the same goal. Jain mandalas illustrate this path and discipline through images of Mahavira (or an earlier tirthankara) in the center of a circle enclosed by ever-widening squares in which representations of various divine spirits (devas) or Common symbols in mandalas Apart from these interpretations, some common symbols can be found in most mandalas, such as a bell representing openness, a triangle representing action and energy when faced upwards or creativity and the pursuit of knowledge when faced downwards. Additionally, a Wheel with eight spokes represents the Eightfold Path of Buddhism or the perfect universe. The sun is connected with the universe as well, a symbol for life and energy. Mandalas are found across all cultures, each of which has a certain representation and interpretation, so there is no one understanding of this phenomenon which could be generalized across all of them. Modern use and benefits from Mandalas Nowadays, people have increased their use of mandalas as a tool for relaxation and improving focus. These geometric designs are no longer associated only with Buddhists. It seems like individuals also connect them with fun activities for personal enjoyment. In such cases, no rules apply. It is entirely up to the person who creates the design whether it will consist of symmetrical shapes and patterns. He/she may also choose to fill the circles with colors of his/her choice. Besides, coloring mandalas can be beneficial for people of different ages. Children could take advantage of the flexibility of this technique. Simultaneously this will expand their creativity. Adults could use coloring as a way of calming down. Focusing on the mandala could certainly take your mind off of things and generally improve your concentration. When it comes to elders, they may use coloring the symmetrical patterns as a way of keeping their minds sharp. Based on research that involved creating 100 mandalas in 100 days, the results showed that this using this technique is quite beneficial for the creators. More specifically, the participants have eased stress, fear, overwhelming feelings, worry and depression. Furthermore, they considered it a fun activity that relaxed their bodies and minds, improved their focus and enhanced their creativity. Apart from cultivating feelings of happiness and inner peace, the creation of mandalas has enhanced the participants' self-esteem and self-acceptance, simultaneously fostering a sense of connection with themselves and others around them. Last but not least, the experiment has shown that this process had improved the sleep schedule of the participants. Conclusion
South Asian History and Culture, 2011
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NeuroQuantology, 2016
A comparative analysis of Jungian depth psychology and Tibetan Buddhist Tantra reveals a fascinating array of similarities, which are united in their most essential form through the manner in which mythic imagery is employed in both disciplines as a powerful agent of inner transformation. Various forms of creative engagement with sacred symbols-including mandalas-are enacted in each tradition as a vehicle through which latent spiritual potentialities can be brought forth into consciousness, a process that is greatly enhanced through a number of dynamic artistic techniques and contemplative practices. It should be emphasized from the outset that both disciplines represent complex systems that include sometimes widely varying notions of a higher spiritual order or ultimate reality. However, despite any differences in ontological postulations or metaphysical precepts, they share a number of surprising and sometimes striking characteristics. For example, both emphasize the mind, or psyche, as the foundational basis of existence and the primary means through which liberation (in the tantric tradition) and psychic wholeness (as in Jungian psychology) are pursued. Each also emphasizes the realm of dreams (e.g., dream analysis in depth psychology and dream yoga in Tibetan Tantra), contemplative and creative visualizations (such as the focus on wisdom figures and sacred symbols), and an assortment of other practices that are designed to effect a reconciliation of opposites and the attendant union of masculine and feminine principles. Their respective methodologies thus represent essential avenues through which to deepen an understanding of human nature's far-reaching spiritual capacities while demonstrating the vital role that mythic imagery-and in particular the mandala-plays in the process of healing and inner transformation.