| Mandala Segments | |
|---|---|
| 1. Center | 2. Makara |
| 3. Gate | 4. Lotus Segment |
| 5. Vajra Segment | 6. Fire Segment |
| 7. Eight Tibet. Lucky Symbols |
The lucky symbols are not included in every mandala
A mandala is a two-dimensional representation of the three-dimensional space inhabited by the deity. From a bird's eye view, the main deity is centralised within concentric squares, circles and borders of his associated lineage and related figures, arranged in order of importance. Mandalas can be created for a variety of reasons, such as sanctification or as a visual aid to achieving enlightenment. Meticulously constructed, these spiritual maps represent the cosmological realm of a deity. A mandala is a two-dimensional visualisation of a celestial palace. The four gates are protected by mythological sea dragons called »Makara«.
A mandala is easy to recognise at first glance because it is the representation of a circle which fills almost the entire image of the mandala. A thangka depicting a »mandala« [Sanskrit for »circle«, Tibetan: »dKyil 'khor«] is for meditation only. That is, the image serves as a template for a particular visualisation to be realised in meditation. The basic form of a mandala consists of a square divided into four isosceles triangles and several concentric circles surrounding it.
During meditation, the meditator tries to approach the centre of the mandala in order to unite in mind with the deity represented in the centre. The closer he gets to the centre of the mandala, the more difficult it becomes for him to progress.
The structure of a mandala is subject to strict geometrical rules, consisting mainly of an interplay of different segments of circles and squares. A mandala is at the same time the two-dimensional representation of the Buddhist view of the world, which finds its three-dimensional counterpart in the stupas [Sanskrit] or chörten [Tibetan] and/or dagobas [Sri Lanka] in the Himalayas and Sri Lanka. Also well known is the huge complex of Borubodur in Central Java near Yogjakarta/Indonesia, which from a bird's-eye view bears a strong resemblance to the meditation mandalas.
Meditation on a mandala begins with the meditator realising the emptiness [sunyata] of all appearances.Using such a mandala, the meditator then creates the mandala in his or her mind's eye, visualising the various deities in turn.He then asks the invoked deities to take their place in and around the mandala.Then, working from the outside in, he can begin to approach the centre of the mandala, which is surrounded by three to four circles.The meditative approach to the centre of the mandala is similar to the peaceful conquest of a fortress or palace, where many obstacles are placed in the person's way.
The outer ring of a mandala usually consists of a wall of flames [fire segment], which is already the first obstacle on the way to the centre. The circle of fire is a symbol of the meditator's spiritual purification.The circle of light and fire can also be seen as a huge mountain glowing in the cosmic colours.Its radiant light dispels all darkness and points the way to the wisdom beyond.Whatever ignorance the meditator may have is burned away as he passes through this first barrier.
This is followed by a circle in which you can clearly see small thunderbolts [vajra segment], also called the diamond sceptre [Sanskrit: »vajra«, Tibetan: »dorjee«], the symbol of the male principle in Tibetan Buddhism]. One must imagine this segment as a dark wall crowned with golden vajras, or a fence with a chain of vajras, representing the final boundary with the outer world. The vajra symbolises the indestructible diamond nature of pure cosmic consciousness, which is the goal to be attained. The diamond scepters here represent the attainment of knowledge and spiritual clarity. Behind this fence the meditator is also protected from danger.
Only in mandalas with wrathful deities in the centre [not in the diagram above] is there a so-called cadaver segment. It consists of eight continuous fields with representations of corpse places, wild animals, stupas and yogis, trees, water sources, clouds, fire and corpses, as well as the eight equestrian deities protecting the earth circle. This detailed depiction of the places of the dead as the haunts of ghosts of various kinds and dangerous carnivorous animals is intended not only to realistically bring these remote places of horror before the eyes of the meditator in order to lead him to overcome fear and achieve inner equanimity, but also to make him see in these places of the dead a reflection of earthly existence par excellence, just as the tantric yogis who meditate there in order to attain liberation do.
Man is bound to the illusory world by eight different forms of consciousness which need to be overcome. These eight forms of consciousness are symbolised by the eight charnel grounds described above. This is all a reference to the eight great mortuary fields where every yogi in India went to meditate on the impermanence of the earthly. The deeper symbolism of these eight fields, however, refers to complete liberation from the sensory world that binds man to the sorrowful cycle of rebirth, and ultimately to the transformation of the eight modes of natural consciousness into higher consciousness.
Next, the meditator must cross a moat of lotus flowers [lotus segment, an innermost circle of lotus petals], symbolising the higher level of knowledge attained after overcoming the previous obstacles, and the moral purity and new consciousness that slowly unfolds as a result - a prerequisite for spiritual progress.
On crossing the lotus flower moat, the meditator has passed a test that brings about transformation. He is now in the park-like forecourt of the palace. The forecourt of the palace has four gates [= four directions]. The gates are depicted as the ends of two of the intersecting diamond scepters that form the foundation of the Mandala Palace.
Two so-called »Makara« form with their heads the two spokes of the Mandalator. They arch over the ornate, multi-layered gate roofs, making each of the four look like giant vajras. A »Makara« is an obscure hybrid creature or sea monster composed of fish [dolphin], elephant seal and crocodile. It has scaly skin, a red underbelly and a delicate tail.
The gatekeepers may often be followed by other protective circles of flames, diamond scepters and lotus petals. The first deities may also appear, being either other manifestations of the central deity or their attendants. On the roof of the palace, similar to the roofs of monasteries in Tibet, there are victory banners, symbols of good fortune, and jewel trees in golden vases, a sign that the meditator is now entering the inner temple realm.
On the apron of the palace, the meditator meets Siddhas and Yogis, Dakinis and Arhats, who have been granted a glimpse of the Holy of Holies because they have walked the path of enlightenment. By joining them, he is asked to attain moral perfection and tantric enlightenment. When he has attained both, the gate of the palace assigned to him by his teacher through the attained initiation opens to him and he enters the inner mandala space, the cella of the temple, where the central deity is enthroned. Having reached the centre of the mandala, he has freed himself from all external impressions and his consciousness is focused exclusively on the central deity, with whom he unites in meditation.
Contrary to Western tradition, the four directions in the mandala are in a different order:
| Position | Direction | Color |
|---|---|---|
| Top | West | Red |
| Right | North | Green |
| Bottom | East | White |
| Left | South | Yellow |