Mandala

Mandalas, as complex symbols, originated in the cultural tradition of tantric Buddhism, but the fundamental idea of the mandala is not solely limited to the Far East. It is present in the architecture, art, and philosophy of all cultures throughout human history, making the concept of connecting the divine and human worlds into a harmonious unity older than the Buddhist tradition.

This longing for communication with the divine was expressed through the concept of sacred space, where divine laws are manifested as a touch of the divine, and they are embraced by the “hand” of human consciousness, their raised human awareness. Common symbols of this “encounter with the sacred” in different parts of the world have been mountains, caves, islands, or temples – places that can only be reached through effort, overcoming obstacles, or undergoing a transformation process.

Mandala is also synonymous with sacred space. In Sanskrit, this word means “circle,” and considering the meaning of sacred space, it is also translated as a magical or ritual circle. In the Buddhist tradition, mandalas are mostly painted or drawn structures that have a ritual purpose, serving as an aid to meditation and concentration, while in architecture they are used as plans for the construction of temples.
They depict the reality that unfolds within a circle, a sacred space, a unity of different elements. In this unity, a natural ceremonial takes place: the universal order is manifested through the manifestation of divine, or natural, laws. The mandala is thus a cosmogram and a psychogram – schematically depicting the dimensions and relationships between parts of the universe, as well as the dimensions and relationships within the human being, the order in the universe and in man. This order is sacred because it signifies “divine architecture”: a dynamic sequence of transformations that are necessary for the parts of the universe (and man is one of them) to reach ultimate harmony, or perfection.

The geometry of the mandala

It is precisely because of the content they depict that mandalas have a specific recognizable appearance that sets them apart. And that is a geometric arrangement of symbols. The basic structure is a circle, followed by a square and elements that emerge from the circle and square, and are arranged around a common center. In addition, depending on the aspect of the content that is intended to be emphasized, various Buddhist symbols are found within the basic geometric structure, while colors further highlight the arrangement and orientation of the mandala elements. Everything in the mandala is a symbol – its shape, colors, individual elements, the mandala itself as a whole.

Although the concept and arrangement of basic geometric symbols depend on the content and purpose of the mandala, their fundamental meaning remains the same.

The circle as a symbol is associated with time and space – concepts that carry both physical and metaphysical meanings.

Associated with time, the circle is a symbol of movement and cyclicality, and in the Far East, it is often associated with the symbol of a wheel. Associated with space, the circle is a symbol focused on the center or axis, the place from which the world is created and expands. The center, or axis, is simultaneously a place of communication with the highest In the dimensions of reality that manifest here vertically, while its influence expands horizontally towards the manifested world. The horizontal influence of the divine world is symbolized by the four main sides of the world, towards which other mandala symbols are usually arranged.
The symbolism of the square connects to the symbolism of the circle because it denotes the “solidification” of the circle, fixing a specific event in a specific space through the passage of time. In mandalas, this is usually depicted by lotus petals that arise within the circle or triangles within the square.
The characteristic geometric regularity of the mandala also signifies a certain dynamism, movement, and transformation that occurs in space and time through the expansion of divine influence from the center. Thus, the dynamism of the mandala has two directions: from the center to the periphery of the mandala, which symbolizes creation, development, and multiplication of life, and the reverse direction, from the periphery to the center, which symbolizes ascent and return to the initial unity with the divine. geometric symbols express the multidimensionality of the mandala. These levels symbolize concentric circles that are more or less distant from the center, or in certain cases squares within squares. The mandala, as a representation of the world in which the vertical and horizontal movement of divine laws takes place, a kind of cross in space and time, depicts the hierarchical structure of the universe into different worlds or dimensions.

Regardless of whether the mandala depicts a picture of the universe or a picture of a human being, the sacred space it represents always contains the same characteristics – multiple dimensions within which life and the process of perfection unfold, culminating in the center.

Mandala as a psychogram
According to Buddhist tradition, the individual at their center possesses Buddha nature, complete and enlightened consciousness, the hidden principle of life, the luminous point of consciousness from which all human qualities and abilities radiate. However, since a person only has a vague intuition about this light, The aura radiates in him, his path of evolution consists of enlightenment. This entails going through certain experiences and realizations which transform a person, expands their awareness, and allows them to reach higher levels of consciousness in search of complete, universal consciousness. This process is directly related to the literal meaning of the Tibetan term for a Buddhist: nang-pa – a traveler within oneself.

The mandala is a symbolic representation of the illumination of consciousness, as well as the journey and obstacles that one must overcome in their own life in order to reintegrate their inner self into the original, universal unity with the divine principles.

The stages of this “journey” through personal transformation are symbolically represented by the three zones of the mandala: the center, the periphery of the mandala, and the space between the center and the periphery.

The Tibetan term khil-khor, which is the translation of the Sanskrit word mandala, means “center-periphery,” and refers to the dynamics of the symbolic psychogram.

According to Buddhist teachings, the periphery of the mandala represents the the advice of duality and multitude, the moral condition in which an individual is completely immersed in their own mistakes and illusions. However, since they understand nothing, a person does not realize the fact that they are in illusion and thinks that their perception of things is completely correct.

At the periphery of the mandala, a person perceives themselves as a being essentially separated from the universe, and the universe as a multitude of essentially separated beings. Buddhist teachings speak of this as the fundamental mistake that is the source of suffering for a person who thus further distances themselves from the true reality: the universe as a whole within which all beings are different individual manifestations. Thus, the state depicted by the periphery of the mandala shows fragments that human consciousness abstracts from the universal whole.

Ignorance, false image of reality, limited consciousness, and undeveloped attention cause something else: fear of everything that is not the periphery and the desire to maintain the existing state.

Entering the intermediate zone, the space between the periphery and the center of the mandala, It represents the “threshold crossing”, which is often symbolized by depictions of dharmapalas – guardians of the law in terrifying forms in Tibetan mandalas. These frightening depictions found on the path towards the center represent the fears of those whose consciousness is on the periphery, who perceive the path towards the center as a fall into the abyss. This way of depicting guardians or dharmapalas in Tibetan art is based on the traditional Far Eastern personification of forces in nature and elements of the human psyche.

Human consciousness enters the symbolic zone of the intermediate space when it begins to realize the illusion presented by the periphery and no longer feels comfortable in it. Mistakes and ignorance become visible, and a person becomes aware of their own flaws, and the intermediate space of the mandala symbolizes the stage of trial and learning, the transformation of the “bitter poisons” of human consciousness: flaws into virtues, ignorance into knowledge.

The center of the mandala is marked by the symbol or image of a deity representing Adi Buddha or the primal state. the primal consciousness and non-duality of the Buddha’s lineage. It represents complete realization and the absence of any mistake. Often at the center is a dual deity, a union of god and goddess, known as the yab-yum depiction. This symbol emphasizes the merging of duality into universal unity. However, the center of the mandala – the psychogram, also symbolizes a stage or series of stages of perfection. When a person’s consciousness “enters” the center, the intimidating figures of guardians take on the function of a state of wakefulness that prevents the person from returning to the idle state of the periphery where they would feel comfortable in their mistakes. The activity of consciousness symbolized by the guardians acts as a reminder for the individual to apply the knowledge they have acquired. Once the tendency to leave the center is eliminated, the individual’s consciousness identifies with the divine figure in the center. Consciousness enters a state of omniscience and is ready to help other beings on their ascending path from the periphery to the center, on their journey inward. of decoration and altars in all Tibetan monasteries, and the oldest monastery in Tibet, Samye from the 8th century, was built as a three-dimensional mandala and fully follows the layout of the Indian Buddhist monastery of Uddandapura.

What characterizes Tibetan mandalas is their great iconographic complexity and beauty of depiction. Their great diversity does not allow for strict classification, although they are commonly differentiated based on the type of material used and their content. Thus, we distinguish mandalas made as frescoes (kyanglha), rectangular miniatures for altars (tskali), and paintings on hanging silk scrolls (thangka).

In terms of content, mandalas illustrate the Buddhist teachings of Dharma, teachings of spiritual and philosophical nature that seek to bring about personal transformation and enlightenment. They embody the principles of balance, harmony, and unity, presenting a visual representation of the cosmic order and the interconnectedness of all beings. Through their intricate and symmetrical designs, mandalas invite viewers to engage in contemplation and meditation, facilitating a deeper understanding of oneself and the world. Oh Buddhama, deities of meditation, esoteric maps of the world based on teachings, “sacred history” or the spread of teachings, events from the lives of Buddhist teachers, etc.

Mandalas were created through rituals. Texts known as tantras contain iconographic details and ceremonies associated with them. Many tantras have been translated into the Tibetan language from Sanskrit, and they can be found in the section of the Tibetan Buddhist canon called the Kangyur.