The Cosmic Mandala is encompassed by a flaming circle. At the Centre is a three-footed spiral symbolizing a first movement, surrounded by rotating wind which condenses into so-called basic elements, representing the states of aggregation:
Wind or Air stands for the gaseous state
Fire is usually depicted as a red triangle and stands for transformation
Water for liquid, represented by a half-circle or circle
Earth for solid matter, symbolized by a yellow square or cube.
The emerging forms of the elements are painted in the blue ring surrounding the Centre, in the lower sphere intimating the world-continents to be.
The blue Ether represents the all pervading condition, the source of all elements filling the space of the Mandala.
On it circles are drawn; looking like ellipses in their dynamic intersection, they portray the orbits of celestial bodies, painted in all the colours of the rainbow plus black and white and indicating the directions.
These twelve astrological circles of the upper sphere demonstrate the movements of sun, moon and stars in the seasons."
Iâm using this book to add depth to my knowledge about Tibetan Art and painting. Interesting that the first 350 pages are pure Mahamudra before any drawing grids are introduced!
A presentation on the Tibetan Buddhist path to enlightenment, through the lens of an artistâs eye and experience.
The sacred arts play an essential, intrinsic role in Tibetan Buddhist practice. Here, one of the great practitioners and master artists of our time presents a guide to the Tibetan Buddhist path, from preliminary practices through enlightenment, from the artistâs perspective. With profound wisdom, he shows how visual representations of the sacred in paintings, sculptures, mandalas, and stupas can be an essential support to practice throughout the path. This work, based on the authorâs landmark Tibetan text, The Path to Liberation, includes basic Buddhist teachings and practices, clearly pointing out the relevance of these for both the sacred artist and the practitioner, along with an overview of the history and iconography of Buddhist art.
" Godwinâs law (or Godwinâs rule), short for Godwinâs law of Nazi analogies, is an Internet adage asserting: âAs an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one.â"
This monumental appliquĂŠ shows Manjushri with his identifying attributesâa sword and book on adjacent lotusesâriding a blue lion. Manchu rulers, especially Emperor Qianlong (r. 1736â95), revered this bodhisattva; the Suzhou imperial workshop likely fabricated the piece as a gift to a Tibetan monastery. Various silks were used: silk strips to suggest the volume of the folds in his garment and couched silk cords to delineate the lionâs mane and tail. Above, the blue Buddha Akshobhya attests to Chinese familiarity with Tibetan conventions. At lower left is the pilgrim Sudhana, the ideal devotee who receives teachings from Manjushri."
