Shakyamuni's Magic Circle

Mandala is a magic circle geometrically subdivided into squares or circles, in which are painted deities or symbols. In all cultures, humans have tries to order their relationships with the cosmos and to systematize nature and the natural phenomena around them. Relationship with the cosmos can be most clearly seen in a mandala. A temple floor can be seen as a duplicate of this projection. This concretization of an idea is strongly developed in stupa. A stupa is an architectonic, three-dimensional rendering of the universe. By means of spiraling end, if possible, getting closer and closer to the centre, the believer will arrive at the essence. The believer walks through galleries that become smaller the higher one goes. Literally and figuratively one rises, in altitude and in understanding, and gradually gets to the core of the matter that, in this, is a stupa on the top. The stupa is the symbol of death, namely of conquering death, thus of escaping samsara. On a two-dimensional mandala the same thing happens, although one takes a visual, rather than physical, walk to the core of understanding. From the outside of the presentation that believer moves by way of the depicted groups of deities toward the centre of the mandala where the major deity or symbol is the ultimate. Like the stupa, a mandala is a psychogram. Originally the mandala was a cosmogram. However, due to the strong resemblance between macrocosm and microcosm, the mandala also represents the disintegration and then reintegration of one's own consciousness.

A mandala can be drawn or made on the ground with meticulously sifted coloured sand. After the conclusion of the rite the mandala is removed. Over the course of time the mandala lost its original function as temporary aid at initiation rites, and merged with the thangka. The literally meaning of thangka is an object that can be rolled up. Thus the painted mandala became an everyday object of veneration, meditation, and ritual, and after the completion of the prayer, sadhana, or ritual rites, one can keep them in the proper place by rolling it.

The Buddha Shakyamuni, flanked by his two chief disciples Shariputra and Maudgalyayana, is seated in vajraparyankasana on a lotus throne in the inner circle of the mandala. His right hand is in earth-touching gesture, while the left hand, held in meditation position, holds a pinda-patra. The inner circle is surrounded with the circular of sixteen Buddhas. The area outside this circle is decorated with floral design. The Siddhas are depicted on bottom corners, inside the square.

The square within the circle represents the building, in which lives the deity. The building has been constructed to face in four cardinal directions. Here Buddhas are shown seated in the four gateways. The walls of the building are finely decorated with stylized design and lotus petals. Over the gates are houses with decorations. There is a Dharma Wheel in the upper centre of the houses, flanked by two deer. Either side of deer, umbrella has been depicted. Three vases with auspicious symbols stand on either side of each gateway outside the wall.

The square is surrounded by four circles. The outer circle is of wisdom fire or fire fence, which is stylistically rendered here. Then is a circle of ocean in which are mountains with flowers and trees are decorated withy gold garlands. Moreover, the palaces of Cosmic Buddhas have been depicted, with attendant in four cardinal directions, in this circle. This circle is followed by a circle of lotus petals. Here the spiritual realm begins and one enters the mandala of Shakyamuni Buddha.

The top centre depicts a Cosmic Buddha, flanked by two lamas. Upper left corner depicts, Amitabha Buddha and below him are White Tara and Ushnishvijaya - goddesses of long-life. The figures of Tsong Khapa along with his two chief disciples are rendered in the upper right corner. A wrathful deity is depicted in lower left corner, while Achala in lower right corner. Auspicious offerings of six senses are depicted in bottom centre, which is depicted on a lotus that sprang up in a lake. Lotuses and leaves are also depicted over the lake. This esoteric painting is very much suitable for sadhana and practices.

Select Bibliography

Ben Meulenbeld, Buddhist Symbolism in Tibetan Thangka, Holland, 2001

J.C. Huntington and D. Bangdel, The Circle of Bliss: Buddhist Meditational Art, Ohio, 2004

Lokesh Chandra, Transcendental Art of Tibet, Delhi, 1996

Marylin M. Rhie & Robert A.F. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, Thames and Hudson, 1996

Marylin M. Rhie & Robert A.F. Thurman, Worlds of Transformation: Tibetan Art of Wisdom and Compassion, New York, 1999

This description is by Dr. Shailendra K. Verma, whose Doctorate thesis is on "Emergence and Evolution of the Buddha Image (From its inception to 8th century A.D.)".

Click Here to View the Thangka Painting along with its Brocade

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