Frost PhD Appendix 4
Part III of the Mandala Notes
Structure and Symbolism
I am about to launch into a technical overview of the physical structure and symbolism common to most Tibetan mandalas. Also some of the visualizations of the mandala initiation will be described since one cannot appreciate the aesthetics of this ‘process’ without realizing that such appreciation depends upon the inner experience that one is able to generate. Thus, this appreciation is not tied to the art object per se, but to one’s spiritual capacities, one’s yogic abilities in conjunction with a ritual process involving an art object, becoming perhaps among the most elitist of possible aesthetic experiences. But then, this is not that usually the case. One’s appreciation depends on one’s preparation.
The Tibetan mandala as an art object itself is considered of minor value. Often, it is merely a psychic map. Its value is its vital contribution to the overall initiation. In many cases, in the larger initiations, the making of the physical mandala itself is part of this vital contribution.
The following information was given to me during my stay in Dharamsala, during a series of structured talks with Geshe Sonam Rinzin, Head Geshe at the Library of Tibetan Works and Archives in Dharamsala. If there are errors in the following descriptions, I’m afraid I have to claim responsibility, since Geshe Sonam was reading directly from the pertinent texts in Tibetan, (Yamantaka) and is himself thoroughly familiar with the topic. (Also see Hopkins, …)
The first Mandala is the living environment, the world. Then, there are External Mandalas, Internal Mandalas, and Secret Mandalas. External Mandalas, powder (sand) or painted are either 2 or 3 dimensional (wood or stone). The Internal Mandala is the Body. The Secret Mandalas are secret (see below).
Initiations (so important to formal Tibetan Buddhist spiritual progress) are given through mandalas. That is why we have external mandalas which are used as symbolic maps. There are three major initiations: Guhyasamaja, Heruka, Yamantaka. It is optimum if these are given by means of the powder mandala or if that is not possible, then by a painted mandala. (Painted mandalas are also used by individuals doing daily practice involving these yogas) All the three initiations above belong to Highest Yoga class of Tantra: Annutara Yoga Tantra. The other three classification of lower Tantras: Action, Kriya, and Yoga also use the external mandala, but we are concentrating on the Highest Yoga Tantra.
Of the four high initiations in the Guhyasamaja, uses the external mandala. The Guhyasamaja and the Heruka initiations mention the use of the ‘Body’ mandala. Yamantaka does not mention use of the body mandala in the formal rite. In the Guhyasamaja there is mention of meditating on the ‘Body’ mandala but not giving initiation through the ‘Body’ mandala. Heruka Tantra does mention giving initiation through ‘Body’ mandala. Have to ask the Lord of Initiations why?
The Kalachakra Initiation is always given with a powder mandala. There is no mention of painted mandala ever being used this initiation.
In making the mandala, you have to beg (local deities) for the ground to build the palace of the mandala. Have to seek their permission. If it is acquired and used, then it has to be returned at the end. All has to be done with great precision, similar to constructing a real building. Colors used for making the mandala once were made from crushed gems, supplied by wealthy benefactors or the government.
So you build the mandala. Activate it by populating it with deities. That is, invite them to reside in the mandala. This process includes a number of dances and takes several days.
There are four types of initiations:
1) Where a Guru and disciple are at a very high stage of spiritual evolution, they use a (non-physical) mandala of ‘single pointedness,’ then a mandala of meditative stabilization. As opposed to the Kalachakra, in which seven initiations in the pattern of childhood are used through a physical mandala (because most taking this initiation are at a lower level).
2) Secret initiation through mandala of ultimate altruistic intention–Bodhichitta.
3) Wisdom initiation–by means of a “wisdom woman”. There are many different ways, “actual” or not.
4) Word initiation–through explanation.
Actually there are many kinds of initiations; these, I believe, are fundamental types.
Practice of Tantra needs appropriate initiations. Mandalas are important because initiations are important. The Buddha manifested the physical mandala by initiating his disciples in the “way”, by being the palace and the deities in it. (For details see Hopkins, Tantra in Tibet and Kalachakra Initiation)
In Highest Yoga Tantra, differences are made between who gets which initiations; “actual”, secret, or wisdom initiations. For example, the “actual” involve sexual union with a consort (no seminal emission) to generate “great bliss” which is then used to produce emptiness/bliss realization. Celibates cannot do this except as they are able to ‘visualize’ what is necessary. These practices are based on Nargarjuna’s Middle Way teachings on ’emptiness’ (of inherent existence), ‘voidness.’ In layman’s language, everything is ‘originally’ pure and therefore if used properly can be used as a vehicle for ultimate realization.
What follows is physical description of the mandala’s common elements used in all classes of Tantra. Sonam Rimpoche was reading from the ‘Yamantaka’ texts, but we used a large three dimensional ‘Chenrezi’ mandala in the Library of Tibetan Works and Archives Museum where we talked, as our model. This itself indicates structure common to all Tibetan mandalas.
Let us begin with a common protection circle of “vajras” (“sumgor”). Inside that is the “lotus circle.” Exterior to both is a “fence of fire,” that is a mandala, or circle of intense heat. Below all this is a “foundation circle(s) of the four elements.” To produce this “ground” visualize a “vajra of variegated colors.” At the center of the ‘vajra’ is the symbol “Hum.”
The “Hum” gives off light rays downward and transforms the earth so that each particle is a golden ‘vajra’ light particle. The central ‘vajra’ also gives out light rays horizontally and creates the “Vajra Fence,” round or square depending on the mandala. (Haruka square, Yamantaka round, Chenrezi round, etc.) So far we have the ‘vajra ground and fence.’ Then the light rays go up from the syllable “Hum” to create a Vajra canopy, vast in proportions. Just below that is a “vajra baldaquino.” Everything is made of ‘vajras.’ Everything is constructed of different size ‘vajras,’ but to the touch any surface is smooth but very strong. Even the “Great Fire” at the end of the ‘eon’ could not destroy it. Around the “Vajra Fence (mandala) is a vast ring or wall of fire that is as strong as the “Last Fire.” In this fire is a constant barrage of “Vajra Arrows” going in all directions. So, ‘black’ forces cannot look at it. ‘White’ forces see this as rainbow and it acts as easy conveyance with alacrity. This is the visualization of the “Common Protective Circle (mandala). This is common to the four classes of Tantra. Its purpose is to prevent obstacles or leakage for meditation. Must constantly meditate, even in one’s sleep, on the “emptiness of inherent existence,” on the above ‘vacuity’ represented by the phenomenon of the mandala forms. This appearance of ‘vacuity’ is to be experienced with ‘blissful realization.’
Now, you disappear (from the mandalic visualization) and the following symbols appear in your place. (You were at the center.):
Wind Smoke
Fire Red
Water White
Earth Yellow
This is connected with the description of how the world comes into being; first is vacuity, then the elements develop towards solidification. That is, “wind, fire, water, earth.” After ‘vacuity,’ starts all ‘pure perception.’ The point of the process is to take one back to that ‘pure perception’, ’empty of (the sense of) inherent existence’. One must stop thinking of things in the normal way. Thinking of things as ‘not having inherent existence’ stops ordinary appearance and the tendency to cling to ordinary appearance. In Tantric practice one must overcome two things: 1) Thinking of things in an ordinary way. 2) Clinging to that thinking.
The above visualizations must be imaged as really vast. Though, it should be of a size with which the meditator feels comfortable.
There are certain protective mandalas, called “uncommon protective mandalas” that have in them a vast horizontal wheel with spokes in the four cardinal directions and four intermediate directions. With an ‘axle’ to the zenith and nadir representing ten directions in all. This axle is a double pointed spear on which the wheel turns. The spokes are swords. the whole thing is huge. The spear is hollow–vast. Its top barely touches the “Vajra Baldaquino.” The “Swords” do not quite touch the outer wheel so that the “Wheel of Swords” can spin on the ‘central spear.’ One visualizes oneself as ‘wrathful figure’ (to deal with undesirable states of emotions and mind, perhaps the world) seated at the ‘hub of wheel in spear’. In the ten directions are other wrathful figures who can perform various tasks of the Uncommon Protective Mandala. Can’t describe those tasks because they are secret, unless one is to practice this Tantra. Except to say that the wrathful deities on each of the blades can face outward to overcome or inward to contain. The blades whirl to destroy, overcome obstacles, evil, etc.
The whole of the “Mandala Palace” must fit into the hollow hub of this ‘wheel’ inside the ‘spear.’ So the structure must be vast; “Uncommon and Common” structures, ‘walls’ as well as ‘wheels’ and ‘ground’ and ‘baldaquino.’
For full Buddhist practice of these Tantras, one needs three prerequisites:
1) The wish to get out of cyclic existence. Utter renunciation: (Sunyatta, Kenosis, Wu-wei (chi).)
2) Altruistic intention for all sentient beings.
3) Correct understanding of reality. (i.e., Vajrayana Buddhism)
Another aspect of the uncommon mandala ritual progress is as follows:
You are sitting in the center hub of an uncommon mandala as a wrathful deity. You disappear. “Reality Source” appears in your place white in color, wide at the top and narrow at the bottom. It is steep inverted three sided pyramid. (Compare with theology of Shrichakra mandala, Tucci Plate III, and Guenther above, re: the character of Being.)
The Reality Source has a vagina shape (of the Wise Woman). Insights start small at bottom but increase towards enlightenment. All paths and results derive from the generation of inseparable Bliss and Emptiness. The whole thing symbolizes great Bliss. The divine residence within the Reality Source is inseparable Bliss and Emptiness. The three sides have a meaning: Enlightened Body, Speech, and Mind. Bliss Emptiness is the character of three doors of liberation. The exterior is white for great bliss; the inside is red for emptiness.
The definitive deity is Bliss and Emptiness. Under its seat is a fire mandala, dark red with moving flames. Red represents control of powerful activity. Black represents fierce activity. Meditate on self like that.
Think back to common protection mandala. The “Reality Source” stretches to meet the vajra wall at the top.
Imagine “pom,”
this changes into “Variegated Lotus”–a lotus of different colored petals. “Lotus-born” from mind but unsullied by being rooted in the mud. Mandala manifests Bliss and Emptiness. Using sensual objects as “path,” one remains unsullied by desire and attachment. Lotus has 64 petals, indicates the 64 energy channels at the navel. Sometimes only 32 main channels. The five colors of the Vajra consists of the five wisdoms, five Buddhas. The two stages of Tantric practice, “generation stage” and the “completion stage” focus attention on this “chakra.”
This ‘vajra’ can have five prongs or three. Crossed vajra of five prongs = 20 prongs = getting rid of the 20 intellectual misconceptions. Three prongs = 12 = 12 impure links that keep us in cyclic existence. Vajra represents such method or skillful means. (Bell represents Wisdom). The Bell and Vajra are the hand objects most commonly seen used in Vajrayana ceremonies.
The Mandala Palace.
At the center of the ‘lotus’ is a crossed vajra.’ East-white, north-green, south-yellow, west-red. The middle is blue. The hub of the vajra is square = four corners and four sides = eight doors to liberation. The celestial mansion and residents stand inside “Bliss and Emptiness.” The four walls of the mansion represent the four noble truths. “Not Buddha” is the building and Buddhas are the living beings. “Suchness,” ultimate reality, Buddha, and Non-Buddha are the same. Four walls are exactly equal.
In the middle of the crossed vajra is “droom.” This is the syllable that transforms into the celestial mansion which is square and has four doors and a number of layers in its walls of different colors, white, red, yellow green, blue. But the walls remain completely transparent, representing wisdom even with different colors.
Above the wall is a yellow balustrade, with a frieze made of yellow jewels of different shapes around the top of the wall. Just in from the base of the wall is a garland of vajras (constant turning of the wheel of Mahayana teachings) with eight pillars holding up the roof at the gates. The colors of the pillars are as follows: East-white Chacra wheels (like molecular structure), South-yellow molecules of jewels, West-red molecules of ruby. North-green, molecules of sword. These pillars support beams that hold the roof. Blue is the fifth and central color. These is the color scheme for the Akshobhya Buddha (Yamataka– aggregate of consciousness) mandala. Inside the celestial mansion is the same general color scheme.
Outside the “glass” wall above the frieze are four golden belts. On top of that the beams stick out with crocodile heads ornamenting the end of each beam. The “water beast” holds loops of jewels in its mouth and between the loops are tassels. The loops represent the ‘turning of the Dharma.’ The larger loops destroy all disturbing attitudes and predispositions. Shorter loops overcome manifestations of such attitudes. The tassels represent the fulfillment of wishes of all living beings.
Beneath the roof are a row of inverted stupa shapes. Above that is a row of half lotus. At the corners are white umbrellas. Along the edge of the roof are banners (with animals) and pennants (without animals). The animals are hybrids. Union of lion and Garuda (usually enemies): The offspring is an eight-legged lion. Basically lion with Garuda beak, two claw feet, two wings. The second hybrid is the union of fish and otter (enemies). The offspring is a hairy fish with tail and otter’s teeth. The third union is Shellfish in white conch and crocodile: The offspring is conchshell with head of crocodile, very impressive head bearing its teeth. These are the animals that adorn the banner which represent victory over that which in inimical, creating accord among enemies. Pennant waving in breeze symbolizes spreading of Dharma. Pennant has little bells which represent the giving of the teachings.
Down below, outside the transparent wall is a little red platform for goddesses of different sense objects offering all sorts of precious things. They face inward toward the Lord of the Mandala. Four platforms represents four kinds of meditative stabilization. Four kinds of analytical knowledge (four groups of goddesses).
Doors:
Eastern Door–purification of mind and body, feeling mind, other phenomena.
Southern Door-four abandonments
Western Door–completely pure, four legs (kind) of miraculous powers.
Northern Door–five different kinds of mental factors; wisdom, faith, effort, mindfullness, concentration. Reflects paths and stages as one moves towards an enlightened state.
The four lintels above doors in four directions are the four samadhi states of concentration.
Each of the four doors in the wall has a vestibule, on the outside of that, a porch. Each side of the four porches is decorated by signs of royalty; one principal sign and six other signs arranged around the tree. Seven emblems: 1. precious wheel; 2. precious jewel; 3. precious queen; 4. precious minister; 5. precious elephant; 6 precious horse; 7. precious general: Seven emblems of universal monarch. Chakra-vartin-raja: gets wheel according to his sign; god, iron, etc. Magic wheel that attracts all the rest.
Between the door and porch outside is a half moon with half dorje. Each door has four outside pillars. On top of the pillars are eleven layers: 1.Glod 2.Shambu 3. Jewel 4. Horse hoof-cloud like shapes. Munam-dark layer. 6. Waar(?) and flower 7. Munam 8. Shambu 9. Jewel 10. Horse hoof 11. Half lotus. This is crowned by Dharma Wheel flanked by male and female deer. Deer represent students that are to be tamed, listening with great interest. When Buddha first preached at Sarnath, two deer attended and were magical beings. Nearby the gods in clouds rejoice at this first turning of the wheel and showered down garlands of flowers. They said “Ah LA La,.. (tremendous joy.)
Outside all the walls of the mandala is the cemetery wall (mandala). In this wall there are eight cemeteries, each contains a tree, at the foot of which is a directional protector, little but wrathful. At the top of the trees are local protectors. There is one cloud over each cemetery and one skeleton in each. There is a dead body with a spear spitting it through as well as crows and vultures dogs, jackals, lions, tigers and zombies. There are headless dead bodies that walk around. Some are hanging down from trees. They are walking, hanging(raised), lying down impaled. The Cemetery is not owned by anybody–selflessness of corpses indicates non-inherent existence. Some of the bodies are bloated, with bare bones showing lots of ghastly things meant to imply ‘death and impermanence,’ defects of cyclic existence. Yogis sometimes meditate on decaying bodies, ugliness of the body, to control lust.
Each cemetery has a stream. The common interpretation is that the streams represents never being separated from Bodicitta and altruistic intention. For which the three prerequisites are: Need the …? wish to get out of cyclic existence or one won’t try to. Need correct views or won’ be able to cut through misconceptions of self. Without altruistic intentions one will not make the effort for the sake of others.
Each stream in each cemetery has a “naga.” Each naga is the symbol of six perfections: Generosity, ethics, patience, effort, concentration, and wisdom.
Each Naga holds a jewel that indicates the four ways of maturing others: generosity, speaking in an interesting way, concern for the welfare of others, and to act in accord as one preaches.
The six perfections and four ways of maturing others must be based on Bodhichitta.
Each cemetery has a fire which symbolizes how wisdom, understanding, selflessness burns away obstructions to liberation and omniscience.
In each cemetery is a stupa, signifying, three enlightenments; Wisdom/truth Body, Enjoyment Body and Emanation Body.
In each cemetery are yogis (strange looking fellows) who signify those who have achieved the three Bodies. They have occult powers and have achieved actual “clear light,” holding a lineage, that is, high insights in the Stage of Generation. They are Holders of the Pledge, meaning that they received initiation, keep pledge and gaze fixedly at the Buddha (central Buddha of the mandala). But actually are experiencing Wisdom of Great Bliss.
In the Uncommon Protective Mandala point of view, trees in the cemetery symbolize the central psyche nerve in the body. At the root is a Directional Protector, very important, because it looks after the world, that is, it is in charge of the Downward Voiding Wind. At the top of the tree is the Local Protector who is in charge of the Upward Moving Wind and the Life Preserving Wind. (Wind is spoken about in terms equivalent to Sanskrit “Prana” or energy.) One of the meditations associated with the mandala is called the “Death Evolution”. In this meditation, one draws all the “winds” into the heart chakra, which in Tibetan physiological systems is the imitation of the death process.)
In each cemetery is a mountain. Mountains cannot be moved and are immutable. They represent Wisdom of the Union of the Great Bliss and emptiness, of selflessness that cannot be effected by delusion, especially about the self. The fire on the mountain represent the fires of psychic heat. The small syllable “ah” flames shoot up the central psychic channel become “AH” . The intention is to keep the heat in the central channel, until it reaches and melts the white Bodhichitta at the crown of the head. This produces the “four great joys” as it moves up and moves down.
Each cemetery has a cloud which in general represents “compassion from the common point of view”; White Bodhichitta, white seminal fluid from the “uncommon” point of view. Rain falling from the cloud represents compassion falling. (Rorate Coelai?)
When the White Bodhichitta melts and travels down from the crown there are four joys. When it travels up there are four joys which equals eight joys. One must generate those joys for full realization. So when the yogis look single-pointedly at the Buddha they are in constant meditation on Bliss and Emptiness.