Mandala
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Dr. David L. Gitomer
REL 340
Mandala Project
23 November 1999
Although this course covered a breadth of themes relative to
Yoga and Tantra (and Religious Studies in general), I found myself
extraordinarily fascinated with Eliade's notion of the sacred
and profane. I think this was evident in class discussion and
my writing as well (viz., the potential for the application of
this theory to all religions, especially Buddhism). The impetus
for this mandala project (initially) came from this fascination
with the sacred and profane, understanding that the mandala would
allow for a concrete, tangible projection of the theory and not
just a discussion about it. As the project gained momentum (churning
in the svadhishthana cakra), I began to realize the mandala's
importance. Through introspection, it allowed me to seek control
(order) through the creation and destruction of my own cosmology
that which has become meaningful to me. I became (at times) so
absorbed in the project that I actually began to visualize entrance
into the mandala palace--my "journey toward the center"--and
the devolution of time. The following essay attempts to explicate
this journey and its relevance to certain elements found specifically
in Vajrayana Buddhism.
Congruent with Tibetan cosmology, the Yellow Leaves Mandala should
be visualized in three dimensions. The
palace foundation is comprised of five concentric circles or discs
rising upward, each representing a different element of the universe.
Moving inward, they are as follows: (i) space (black, sacred syllable
YAM); (ii) air (white, YAM); (iii) red (fire, PAM); (iv) blue
(water, VAM); (v) earth (yellow, LAM). With the stirring of the
cosmic winds (the same winds found in the subtle body), the cosmos
was created in this order (space-to-earth). Thus, the aforementioned
syllables can be utilized in a mantra to realize this creation
process (Brauen 69). Additionally, it should be noted that this
mandala is only one particular cosmos-order of the universe. There
exist many others. Everything outside this order is chaos-disarray.
Hence, the lines toward the bottom of the foundation (viz., the
space disc) are depicted as more jagged, since this element is
closest to the area outside the mandala-chaos. In this light,
the mandala creation can be seen as an attempt to "rupture
plane," as Eliade notes. Because individuals experience themselves
as alienated from the sacred (order)as existing in the profane
(chaos)--they seek a return to the sacred. The sacred can be seen
as having potentiality to generate power. This return takes place
through the axis mundi (sacred center). The axis mundi may be
visualized as a vertical spine (extending from the earth to the
heavens) existing conterminously in the individual (microcosm),
mandala (macrocosm), and temple (stupa). The objective is to devolve
space and time-going back to that first moment of creation or
even before (Eliade 214). In terms of the mandala, the further
one traverses to the center (viz., the palace), the closer one
comes to the sacred. It is to the palace that we now turn.
In the Yellow Leaves Mandala, the palace (which is composed of
three levels, homologizable to the human body and the temple)
rests atop the earth disc. It has four sides and four gates, each
consistent with a particular cardinal direction. East (black)
faces downward and is symbolized by the diamond scepter. Moving
in a clockwise fashion, South (red; fire) is next, then West (orange;
wheel), and finally North (white; lotus flower). The initiate
enters the palace at the Eastern gate (this will be discussed
later). The palace gates are at the lowest level of the palace;
this is the domain of the physical body. It is here that one must
overcome the impediments of the material body and mind, discarding
such things as bijas and samskaras. When this process
is complete, one may enter the speech tier (subtle body domain
homologizable to the ten winds and six channels of the nadi system
in the individual). This level is also marked by the colors of
the four cardinal directions. The next two levels are those of
the super subtle body or mind. These are deep awareness and great
bliss. Deep awareness is also in accordance with cardinal directions.
The realm of great bliss, however, is marked by a blue diamond,
representing return to a prenatal state-the warmth of amniotic
fluid (MAM). Floating atop this second realm of the mind is the
palace's apex--the Yellow Leaf (OM)--homologizable to the pinnacle
of the axis mundi in both the human and temple. This is the most
sacred space of the mandala. The symbolism of the Yellow Leaf
will be discussed below in reference to the ritual entry of the
mandala.
An initiate cannot simply enter a mandala in Tibetan Buddhism
without ritual preparation. The Yellow Leaves Mandala is no different
and is accompanied by the Yellow Leaves poem--a mantra (see attachment)*
This will aid the initiate in realizing the impermanence of the
faculties of the physical mind (viz., bodicitta) and the fruition
of emotions such as self-doubt. This is why the mantra is found
in the body region of the palace. After the student has been enhanced
(thinking of oneself as a Buddha having compassion for others),
the student begins to enter the mandala. The initiate must enter
all gates, but enters the East gate first. The initiate then circumambulates
to the South gate, continuing to chant the Yellow Leaves mantra.**
The student then circumanbulates to the North gate and finally
the West gate, continuing to chant the mantra. At each gate there
are car deities, which are symbolic of control and power, another
device which aids the initiate in her journey. By practicing deity
yoga, the student is able to become the deity and exhibit characteristics
of control. At this point the student proceeds through the speech
and mind levels until at the palaces apex--the Yellow Leaf. It
is here that compassion (Kalacakra in Vajrayana) and wisdom (Vishvamatr
in Vajrayana) are united. It is here also that the initiation
is conferred, realizing one's death and conception. One has completely
shattered the plane of corporeality and has reached a state of
emptiness (sunyata). There is no time and no space, just sunyata.
*Yellow Leaves (the mantra) was a poem that I composed when I was fifteen. The poem was published in The Journal of Young American Poets when I was sixteen. The work corresponds to the yellow leaf motif, both elements (the poem and leaves) have had intrinsic value ever since. As one might guess (with the picture) the leaves represent a time of innocence, purity, and of something unspoiled-the beginning, free from bijas and samskaras (at least in this lifetime). Hence, the most sacred space of the mandala. The poem, conversely, is characteristic of my overall mood growing up-a condition which continues to plague me to this day. This is self-doubt-having little joy for the present moment and constantly questioning every decision I make. This self-doubt (of course) is a faculty of the mind (hence, its place in the body realm of the palace).
**Please note that the poem should be read traditionally
from left to right per each gate in order to maintain
coherency.