The Mandala in Tibetan Buddhism - Research Paper Example

? The Mandala in Tibetan Buddhism Sterling Evison of the Department of the Polytechnic/ The Award for which the project is submitted The name of the Supervisor The Month and Year of Submission Introduction “The Sanskrit term ‘mandala’ (dkhyl khor in Tibetan language) literally means circle, both in the sense of a circular diagram and a surrounding retinue” (Powers, 2007, p. 262). In Buddhist vocabulary, the term encompasses both contexts because it refers to circular diagrams that often incorporate illustrations of deities and their environs. Mandalas are a type of tantrik symbol, conveying a domain of sacredness, frequently portraying the celestial palace of a Buddha. They represent underlying philosophies with profound significance in Tibetan Buddhism. The symbols and images in a mandala describe features of the awakened psychophysical personality of the Buddha, and Buddhist themes and concepts (Powers, 2007, p.262). Generally, there are four types of mandalas: two outer mandalas made from powdered colors and created on a flat surface or painted on textiles, those formed in meditation, and the inner mandala depicting the body of the guru/ teacher or that of the self (Brauen, 1992). Mandala is a Sanskrit word in which ‘manda’ means essence and ‘la’ means container; thus the term translates into a container of essence (Fleming, 2006). The Tibetan term for mandala is ‘dkhyl ‘khor’, with ‘khor’ defined as ‘that which encircles’ and ‘dkhyl’ meaning ‘around a center’; they can be two or three dimensional and constructed of various materials. The sand mandala is believed to have been transmitted to Tibet from India in the eleventh century (Fleming, 2006). Some who have studied the historical nature of the mandala have conjectured that the mandala diagram arose in Tibet or China in ‘pre-lamist’ times (Brauen, 1992). According to the Dalai Lama, the image of the mandala is considered to be extremely profound because meditation on it functions as a solution, rapidly eliminating the obstructions to liberation and the obstructions to omniscience, as well as their dormant predispositions. The two predominant mental afflictions that inhibit attainment of Buddhahood are the obstructions to liberation and to omniscience. Thus, “the mandala serves as a representation of an awakened mind that is free of all such obstacles” (Powers, 2007, p.263). In the sphere of tantrik practice, it is a powerful symbol of the state that meditators attempt to achieve. Thesis Statement: The purpose of this paper is to investigate the concept of mandala and the different types of mandalas. Their religious and philosophical meaning in Tibetan Buddism will be discussed, with an emphasis on the sand mandala. The Mandala in Tibetan Buddhism The four types of mandalas consist of two outer mandalas which are made from powdered colors or painted on textiles. The third are the mandalas formed in meditation, and finally the body is the fourth form of mandala. A further form of mandala exists in the three-dimensional type, which are difficult to understand because spatiality is the most striking feature of the basic structure of mandalas. The Dharmamandala Sutra conveys the existince of “gold, silver, shell, stone, horn, wood and clay, besides those painted on cloth or made of colored powder” (Buddhist Society, 1996, p.160). Three-dimensional mandalas have been discovered in numerous places where Tibetan Buddhism spread, including the Potala in Lhasa where there is a Kalacakra mandala; the Xuguang Ge of Pule Si in Chengde, China; and Zangdog Palri Monastery in Kalimpong, India. The intrinsic three-dimensionality of all mandalas is seen in the depiction of a three dimensional mandala. This is not a Kalacakra mandala, but a Zhi Khro mandala with one hundred and ten peaceful and wrathful deities of the intermediate state known as bar do. These are the deities that appear to the deceased immediately upon entering the sphere of death. Two-dimensional mandalas may either be painted on a cloth base or sprinkled on a flat surface with colored powder. While the latter are taken apart at the end of the relevant mandala ritual, “painted mandalas can be stored away for a long time” (Buddhist Society, 1996, p.160). While the most ancient mandalas had the basic distinctive structure, the ones created later became increasingly complex representations. They generally display numerous concentric circles surrounding a square area. The mandala has various aspects, consequently, it is difficult to define. It is known as the magic circle, a round, ritual geometric, a symbolic diagram, or usually as a circle which surrounds a square with a central symbol which may be a numeral. Similarly, other valid definitions which are also not precise enough include their representation as symbols of he cosmic elements, used as an aid to meditation, as models for certain visualizations, as an aid to self-discovery, or to meditation on the transcendental. Usually, “a mandala is a strongly symmetrical diagram, concentrated about a centre and generally divided into four quadrants of equal size; it is built up of concentric circles (‘khor) and squares possessing the same centre (dkhyl)” (Buddhist Society, 1996, p.159). The mandala is considered to be a derivation from the circular stupa, and the ritual of walking around the stupa in a circle. Perceived as the microcosm epitomising the various divine powers at work in the universe, the mandala functions as a point where the gods and universal forces collect together. The mandala with its highly elaborate symbolism and structure, stands for the totality of existence inner or outer, and has a number of deities in specific positions in the diagram. The Columbia Encyclopedia (2009, p.30545) reiterates that “mandalas are used in meditation, particularly in Tibetan Buddhism and Japanese Buddism”. At the same time, however, the term mandala also indicates other structures. These include simple circles or discs which contain a sacred centre, or form the base of one. “For example, the discs of the five elements that form the lower part of the Kalacakra universe, or the discs of the moon, sun and the to planets Rahu and Kalagni that serve as a throne for the deity” (Buddhist society, 1996, p.159). The palace that is home to the deities is also called a mandala, and so are the deities themselves that reside within, organized in an orderly pattern. Further, the term mandala can be used for the entire cosmos, particularly when the whole purified universe is mentally offered in a special ritual. Several scroll paintings portray mandalas that are unrecognizable at first sight. Tantrik Buddhism Tantric Buddhism incorporates pictorial representations into the religion with the purpose of the discovery and realization of the divine and they are utilized to support meditation (Brauen, 1992). Tantra is defined as the obscure and cryptic books or teachings of Hinduism, Buddhism, or Jainism, using symbolic often sexual language and using secret rites to achieve transcendent states, according to the AHCD (2000). In the Tantric perspective the universe, religious practice, and people are all interwoven. Emptiness is the ultimate truth of Tantric Buddhism and it offers a release from the ‘cycle of existence’ (Brauen, 1992). The three characteristics of existence described by the Buddha are: suffering and dissatisfaction or “dukka,” no eternal self (anatta), and impermanence referred to as “annica” (Fisher, 2011). In the dictionary, the mandala is defined as particular geometric designs symbolic of the universe and its powers, used in Hinduism and Buddhism to transform the proficient through mediation (AHCD, 2000). The Dalai Lama identifies three types of dukka: ‘the suffering of suffering’, ‘the suffering of change’ and ‘the suffering of conditioning’ states Lundin (2010). The first category, ‘the suffering of suffering’ are painful experiences and are the sufferings of birth, sickness, aging, and death. The second form, ‘the suffering of change’ the Dalai Lama identifies as what we typically consider as pleasurable and states that when we are unenlightened, “all of our joyful experiences are tainted and ultimately bring suffering” (Lundin, 2010, p.50). When compared with painful experiences, joyful experiences ‘appear as a form of relief’ and when repeatedly engaged in, the joy should intensify, but the Dalai Lama posits that this is not what actually occurs. His Holiness provides examples such as the acquisition of material things, engagement in other indulgences, and even relationships, and posits that those things and experiences might later be the source of ‘frustration and dissatisfaction’ (Lundin, 2010). The issue lies with not accepting the changing nature of things which brings suffering. The third type of suffering, ‘the suffering of conditioning’ is where no possible state of lasting happiness can exist under the influence of ignorance. According to the Dalai Lama, our sorrowful existence is a consequence of “our ignorance of the impermanent nature of reality” (Lundin, 2010, p.52). This mindfulness is interwoven into the activities of everyday life of Tibetan monks (Fisher, 2011). The Tibetan Sand Mandala The sand mandala is a cosmogram where deities reside, there are numerous types, and every tantric system has its own mandala. They are believed to effect purification and healing (Vira & Chandra, 1995). The Kalacakra mandala consists of five discs representing the universe and its elements (earth, space, air, water, and fire) has colors assigned for each direction, and eight charnel grounds (Brauen, 1992). When a Tibetan, Buddhist monk enters Tantric College, one of the first areas of study is the creation of sand and cloth-painted mandalas which are constructed four or five times a year in monasteries. In the sand mandala, the five traditional elements which form the foundation of the universe (space, air, fire, water and earth) are portrayed from varying viewpoints which simulate three-dimensional perspectives (Rasch, 2006). The Process of Constructing a Sand Mandala The process of constructing a sand mandala is dynamic, involves multiple phases, and requires acute precision. There are varying preparatory rituals for the wide array of sand mandalas (Brauen, 1992). A Sa-Chok ceremony is performed to bless the ground which is comprised of three components: requesting consent from the local spirit, meditation to draw ‘positive energy into the space’ and sanctification in order to retain the positive energy at the mandala site (Rasch, 2006). Measurements are then meticulously calculated to create a mandala blueprint. Generally, the mandala has four equal-sized quadrants, concentric circles and squares, which have the same “centre”. “Wisdom threads” are prepared by dipping twine into a chalk mixture and stretched out firmly, parallel above the surface of the mandala platform, and slightly snapped or pressed to leave a chalk lines called “gnosis lines” (Brauen, 1992). The diagram typically consists of eight major lines: diagonal, axes, and inner wall. The deities are then prepared and saffron water is used to purify the monks’ seats and the corners of the mandala site and a mantra is recited as grains of barley are placed on the location where each deity will be placed within the sand mandala (Brauen, 1992). A chalk outline is then made and the monks use a ‘chang-pur’ which is a metal, tubular funnel that has a small hole at the end and sand to trickle out. A rod is run back-and-forth across the chang-pur and creates a vibration that instigates the trickle of sand flow onto the mandala (Rasch, 2006). Although other materials are used on occasion, sand is the most common and sand made from precious stones is highly regarded but colored sand is often used. Each grain of sand is blessed to provide “spiritual energy,” (Fleming, 2006). The deities in many mandalas are represented in various forms: of mind, in which only the emblems are depicted called the ‘pledge-seal’; of speech, which the seed-syllable is used called a ‘law-seal’; and of body, in which complete physical manifestation is used called the ‘great seal’ (Brauen, 1992). There are six seed syllables ‘OM, AH, HUM, HOH, HAM, KSAH’ which are chanted as outer offerings and also the four syllables which represent the elements of air, fire, water, and earth, ‘YAM, RAM, VAM, and LAM’ (Brauen, 1992). When the mandala is complete, the wisdom body of the Tantric deity is invited to enter the mandala during a consecration ceremony and then later, the deity is asked to return to her own domain and the destruction ceremony begins (Rasch, 2006). Dismantling a mandala is an intricate process with mindfulness of the handling of the energy left behind by the deity (Rasch, 2006). From the center, the lama removes a bit of sand from each of the Buddha images and on all four sides the outer ring is swept through the gate (Rasch, 2006). The remaining sand is then swept and gathered into an urn to be placed into running water to disburse the sand’s healing energy (Rasch, 2006). Anderson (2002) equates the process of creating a sand mandala as the pursuit of peace through art. The ceremonial aspects in the development of mandalas in the Tibetan Buddhist culture “involve ritual as a sort of social glue that holds people together” (Anderson, 2002, p.34). The rituals personify and help to integrate collective values, mores and beliefs. Thus, the process of the Tibetan Buddhist mandala consists of eight steps, the first being purification. In this step, the body is purified of toxic elements, as in fasting, so that the consciousness is not hampered by the demands of the body. The second step is centering through meditation. “The idea is to turn the outflowing energies inward and focus them in one’s psyche to achieve a quiet center” (Anderson, 2002, p.35). When an individual becomes centred, there occurs an internal organized field pattern called orientation, which forms the third step in the way. This is exemplified by the requirement to orient oneself first to the rising sun, in order to be able to identify the cardinal points. The third step or “the orientation process is usually related to chanting, prayer, singing, dancing, incense burning, and sometimes ritual eating and drinking, with the person or earthly phenomenon to be healed somehow represented in the center” (Anderson, 2002, p.35). The orientation ceremony is as a rule conducted by a priest. The objective of orientation is to create psychic harmony by bringing together all the participants and their energies. Step four is the actual construction of the mandala. Two basic types of mandalas include the one that transmutes demonic forces, and the other which is the mandala as the cosmic fortress. Various issues are addressed in the mandala, such as world peace, and local prosperity. In Anderson’s (2002) eye witness account, the opening ceremony began with the consecration of the site by monks dressed in ceremonial orange robes and feather headdresses. They called forth the forces of goodness by chanting mantras accompanied by brass horns, drums and cymbals. The monks drew an outline of the mandala by first orienting themselves to the cardinal points on the compass, and then by using straight edges, strings, and circle-measuring tools. The monks then began to pour coloured sand into place in the sections already drawn out, using hollow brass tools that appeared like hand-rolled trumpets. They sat on all four sides of the work, and starting from the middle area they worked towards the edges. Although some monks were more skilled than others in executing the designs, no monk was in charge of a specific task or area of the mandala. It was indeed a collective, community effort based on non-hierarchical relationships. Creating the mandala with its significant iconography “felt like the construction of a world” (Anderson, 2002, p.35). The mandala construction process took place along with ceremonial rituals, which were termed Sings. These included a medicine Buddha puja, a ritual ceremony invoking blessings for the local community, a puja for world peace, and a Milrepa performance. All these were marked by multi-role chanting accompanied by flutes, horns, and percussion instruments. The Milrepa performance was also accompanied by food and drink blessings shared with all in attendance. These ceremonies built up to the next absorption stage in the process. After the mandala was completed, absorption involves the intense concentration and meditation required to transfer the contents of the work to the mind and body of the beholder, and identified with the same. “Through absorption of the constructed consciousness represented in the structure of the mandala, consciousness can be achieved and balance and order attained” (Anderson, 2002, p.35). The process of absorption is followed by ritual destruction. The main objective is to detach oneself from the work created. At this point, the essence of the work, its energy, its understandings have already been absorbed by those who have created it. The physical work has served its purpose of “achieving an inner balance and harmony that affect and reflect the outer material world through the power of the energy contained within” (Anderson, 2002, p.36). Therefore, there is no further need for the physical work. The mandala has served as a focal point for healing an understanding, and it must now be symbolically deconstructed. This process itself functions symbolically as detaching from the material world of form for its own sake. The head monk wearing an elaborate feathered headdress stood by the mandala; with ritual chanting by the other monks. Then, a gasp was heard from all the onlookers when he “quickly and deliberately pulled his thumb through the sand from the center to each of the four cardinal directions at the edge of the work” (Anderson, 2002, p.36). He then withdrew, to allow the others to continue in the deconstruction of the mandala. With small whiskbrooms, they swept the colorful sands into piles on the mandala platform. During the process of sweeping, the sand turned grey. After sweeping them and assorted flower petals into a ritual brass urn, the monks rose. They carried the urn in procession while still chanting and playing their horns and drums. Material used in a mandala is usually disposed of through an auspicious procedure by depositig it in running water such as a river, to eliminate any negative energy it had collected. Two more steps that are performed to complete the mandala process. This includes the act of reintegration or looking into the water to watch the flower petals floating downstream, and to review the process and understand what it meant to one, to have witnessed it. By doing this, one becomes attuned to the greater rhythm and forces of the universe. The final stage of actualization is the culmination of the whole mandala proces which form a prelude to this stage. “The goal is to renew and give energy to our life force, to bring order from chaos, to understand and accept that both are within us and part of our being in the universe” (Anderson, 2002, p.36). Thus, the entire mandala process is to reinforce in us that we can act conduct our everyday lives in true balance and beauty, and to guide us on the continued mandalic process in every living organism. Sand mandalas represent the impermanence of life, non-attachment, and the interconnectedness of all things (Fleming, 2006). In speaking about the ‘mandala of all existence’, the Dalai Lama stated that “it exists long enough to contemplate and to assume a sense of identity, and then it is dissolved. Inherent in the construction and in the contemplation is the knowledge of its eventual destruction. The very act of creating sets in motion the process of change and ultimately of loss” (Lundin, 2010, p.53). Once Buddhahood is attained, aids such as depictions of deities, ritual objects, and the mandala itself, are no longer necessary (Brauen, 1992). The Mandala as Map for Sacred Spatial Visualization Exploration of the mandala as an instrument in Tibetan Buddhist ceremonies, as representative of sacred maps, illustrates its function in an larger category of liberating and culturally contested space, broadening the power of cartographic depiction and contextualizing its creation (Walcott, 2006). “A mandala depicts and provides a way for humans to reach the center of the cosmogram by becoming a ‘mirror of the cosmos’” (Brauen, 1997, p.21). The observer engages with the mandala on three levels of meaning generally classified as outer, inner, and secret. One explanation is that the outer level is seen as a divine form of the world, the inner level as a map through which the ordinary mind can be altered by following it, and at the secret level as a balance of the distinct light dimensions of the mind and faint body energies. Creating the mandala purifies all the three levels, with the central goal of achieving the related virtues of wisdom, compassion, and healing (Walcott, 2006). To completely appreciate the nature of the mandala’s use as a map, the mandala has to be understood as a physically existing entity, that metaphorically represents a multidimensional space. This type of space can range from a real world to a purely metaphysical mind-training exercise. “The practitioner peels back the layers of the external-physical-tangible along a guided navigated journey through the mandala toward realization of an internal harmonious integration” (Walcott, 2006, p.74). The mandala functions as a physical spatial metaphor that captures and contains a metaphysical space. This includes directional orientation of layers oriented axially, from top to bottom and from outer points to the centre. Spatial visualization plays a vital role in the cartographic creation of a mandala. Mapped meanings that convey culture-laden messages is through the representational devices of tiered squares within a circular dome, with a deity-dwelling inner sanctum at the top which the observer reaches through the inner courtyards and corridors. “Patterned relationships play out within a physical as well as metaphysical spatial format” (Walcott, 2006, p.82). The liberating quality of this sacred map lies in the assumption that the traveller can become enlightened, attaining the insights of the guru and the diety, whose virtues are depicted, by learning the lessons tranmitted throughout the process. As a primary meditation device, the mandala is utilized in the form of a map for three-dimensional buildings, two-dimensional art hangings and sand paintings, and interior mental visions. “It is a patterning of space that imposes structured order to convey cultural meanings, partially inherited from Hindu and Jain predecessors in the Indian Buddhist hearth”, states Walcott (2006, p.82). Further, mandalas operate as moral and mental maps, widening the participants’ vision of interior space and adding a new dimension to non-Buddhist concepts of cartographic imagery and cultural geography. Geographers and visionaries in other domains employ spatial visualization and map metaphors as communication media for their imaginings of reality, as well as for analysis of relationship patterns. Mapmakers construct bridges for the construction of varied ideas such as whether the ultimate nature of reality consists of small pieces of information rather than energy, according to Sui (2004), or “underlying and ongoing consciousness that shapes and is shaped by other forces in the Buddhist worldview” (Walcott, 2006, p.82). Discussions about the mandala continue to open up ideas of space, fluidity, depiction capabilities, and a wide commonality in the human endevor, to communicate complex insights related to the characteristics of reality within multidimensional spatial depictions. The Use of Mandala in Architecture and the Built Environment “The architectural treatises of medieval India, the Vaastu Shastras, are based on a metaphysical design philosophy” (Sinha, 1998, p.27), which underlies the construction of not only buildings and settlements, but also of furniture and vehicles. The anthropomorphic form called purusha is also a symbol of self; this in abstract form is design geometry. Vaastu shastras outline a theory of environmental design based on person-place-identity, and govern both secular and sacred structures. The design of settlements is architectural design in greater scale and detail, with a “similar vocabulary of forms, their symbolic meaning, and design expertise” (Sinha, 1998, p.27). The Vaastu Shastras employ different types of mandalas as building and town plans. The mandala of 49 squares which forms the basis of multiple enclosures in South Indian temples is divided into four zones. Brahma occupies the sacred zone forming the innermost core of the temple, “surrounded by eight squares of gods, 16 squares of men and the outermost 24 squares occupied by goblins” (Sinha, 1998, p.31). The same hierarchy is reflected in the caste quarters assigned to various sectors of a settlement. As a rule, a temple complex is located at the center. Next to it are constructed the royal palace complex and the neighborhood of Brahmins. All the other castes, are located according to their position in the social hierarchy, with respect to the center of the settlements. Irrespective of the exact location, the homology between the spatial organization and the form of the purusha is clear, states Sinha (1998). The philosophy behind the connection between building design and mandala is as follows. “In Upanishadic thought, the meaning of the Sanskrit word purusha signifies atman or self” (Sinha, 1998, p.33). The Upanishads also refer to Purusha or Brahman, the omnipresent self and origin of the universe. The merging of individual with universal self, atman or Brahman, occurs with self realization. In later philosophical thought, the Vedic sacrifice continues as a metaphor for actions and thoughts leading to the elimination of ego and birth of individuated self. For the ego to die to make way for the self to be born, there is “sacrifice of sensory impressions, thoughts and desires, leading to the integration of the archaic contents of the unconscious including its collective component” (Sinha, 1998, p.33). Purusha remains as the key element; self-realization takes place in the subtle body achieved through yogic discipline. A yantra symbolizes this subtle body and is as an instrument of concentration. Like the yantra, vaastu or the built environment is the symbol of self, and represents a projection of the owner’s psychic core. Thus, “the projection of self into the building is facilitated by designing with the vaastu purusha mandala” (Sinha, 1998, p.33). The Dynamics of Visualization in Mandala as a Center-Ritual A visualization with regard to a mandala or other entity is a typical center ritual. Therefore, visualization is a process of seeking and finding one’s own center. “Even if Buddhism strives to dismantle, undo, and dissolve the ego, the meditator stands at the center of the ritual events” (Brauen, 2010, p.18). Whether a mandala visualization is equivalent to an egocentric practice, or an ego trip is the question that arises from a merely superficial examination of the process. In actuality, the closer a meditation comes to the “center, the center of the mandala and the center of the deity whose form the meditator has assumed” (Brauen, 2010, p.18), the more it loses substance and solidity, until finally, the emptiness of everything including the meditator himself is recognized, taking his own manifestation as a deity into account. Further, the whole course of the mandala ritual makes it clear that the purpose of the different spiritual and meditative efforts cannot be one’s own release alone. On the other hand, the goal is twofold: one’s own liberation for the benefit of all other living beings. However, there is a danger that visualization may result not in a dissolution of the ego, but in its enlargement. “After all, the person meditating feels himself to be a god or goddess; he says to himself again and again he has divine qualities and is enlightened” (Brauen, 2010, p.18). This dormant danger of egocentrism is the reason for the urgency of the Buddhist warning that under no circumstances should visualization be practised thoughtlessly and unaccompanied by a spiritual teacher. Demanding yoga practices can also give rise to destructive practices. In this connection, Carl Jung, the Swiss psychiatrist explains the “sphere of the chaotic personal unconscious, in which everything is found that one would willingly forget” (Brauen, 2010, p.19); and which contains everything that one would willingly forget, one would not at any cost admit even to oneself, and which one would not take to be true. Meditation also addresses these inexpressible matters. The visualization process when carried out correctly, has an autosuggestive effect, which should not be underestimated in its importance. A visualization is about experiencing and identifying emptiness, while also accepting the present, living along with other beings who are empty and devoid of any essence, but need support and affection nevertheless. “The meditator accepts his own being, admittedly having attained insight into his true nature and confidence in himself” (Brauen, 2010, p.19). Every student requires the guidance of a guru, and it is essential that the guru imagined is Buddha, and the guru and Buddha are the same for him. This may lead to unwelcome commitments, but Tibetan Buddhists have recognized this danger and state that even one’s guru should be regarded as an illusion. The connection between the microcosm within the individual and the macrocosm of the entire universe is becoming clearer in the present day. It is evident that the individual forms a major part of a “living, life-supporting system contained in the so-called biosphere, which extends from the skin of our planet or beyond to the depths of the earth and the ocean” (Brauen, 2010, p.20). Human beings pose a danger to at least three of the elements mentioned repeatedly in the mandala ritual, including the earth, water, and air. These elements are exploited and polluted by people, but modern civilization is beginning to understand that by destroying the environment humans destroy themselves because they are a significant part of the cosmic whole. This relationship between the microcosm and the macrocosm forms the fundamental wisdom of Tantrik Buddhism. Conclusion This paper has highlighted the concept of mandala as a part of Tantrik Buddhism, and the different types of mandalas in Tibetan Buddhism. The religious and philosophical meaning of mandalas in Tibetan Buddhism was determined, and the sand mandala was discussed in detail. The tenets of Tantrik Buddhism, the process of constructing a sand mandala, the mandala as map for sacred social visualization, its use in architecture and the built environment, and the dynamics of visualization in mandala as a center-ritual were examined comprehensively. Tibetan Buddism is based on visual representations such as the mandala more than on other forms of the religion. The religion believes that the absolute nature of reality is devoid of all characteristics, though fully present in every person and object. The practitioners of this religion engage in special rituals. This is reiterated by Brauen (2010, p.3) who adds that they do so for the purpose of “realizing the pure in what was previously viewed as impure, realizing the Buddha where before they knew only of ordinary things”. The complex pictorial representation of the mandala helps the meditator with the figures of deities enabling the practitioner to properly visualize the reality he strives to embody. The different stages of the construction of sand mandala reinforce in the participants and in the onlookers the need for holistic action taking into consideration mutual interrelationships, and the right to exist of the entire domain of nature. Mandala meditation reminds the participants of far-reaching interconnections between the self and the universe, and the divinity or buddhahood that forms the core of all experience. References AHCD (The American Heritage College Dictionary). (2000). The American Heritage College Dictionary. Edition 3. New York: Houghton Mifflin Company. Anderson, T. (2002). Mandala: Constructing peace through art. Art Education, 55(3): 33- 39. Brauen, M. (2010). The mandala in Tibetan Buddhism. Retrieved May 13, 2012, from http://aras.org/docs/00030MandalaBrauen.pdf Brauen, M. (1997). The mandala: Sacred circle in Tibetan buddhism. Massachusetts: Shambhala Publications. Buddhist Society. (1996). The middle way. Volumes 71-72. London: Buddhist Society Publications. Fleming, Z. (2006). The mandala in Tibetan art. Middle Way, 81(1): 28-31. Lundin, J. (2010). The new mandala: Eastern wisdom for western living. New York: Helix Publishing. Powers, John. Introduction to Tibetan Buddhism. 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