Mandala

The Path of Initiation

Mandalas illustrate the process of arriving at the state of awakened perception through which one may become absorbed in shunyata.

The literal translation of mandala in Tibetan is “centre and periphery”, “A mandala can be understood as the synthesis of numerous distinctive elements in a unified scheme, which through meditation can be recognised as the basic nature of existence” (the Ryder encyclopedia of eastern philosophy). Mandala literally means Circle. What is a circle? It is a relationship; between what is within a boundary, without a boundary and the boundary which separates these.

The most important relationship from the Mahayana perspective is between the opposites; samsara and shunyata, form and void, male and female, positive and negative, time and space etc. But these are only two points of interrelation, what then is the third? It is the “I”, the conscious perceiver which observes the two, who binds them together, who stands between them and verily traverses from one point to the other until they understand their point of reference as neither exclusive of one or the other but as All.

The mandala is also a diagram of the universe, as above so below. The meanings of each mandala change according to the number of elements included within the mandala and their placement. Tucci states: “Mandala is – the whole universe in its essential plan, in its emanation and reabsorption” , a “psychosmogram, the scheme of disintegration from the one to the many and the reintegration from the many to the one” (p23- 25 Theory and practice of the mandala). From a comparative perspective “the mandala is the geometrical diagram of cosmos projected on a level surface; the Buddha statue or painting, besides being a representation of a god, is a temporary reflection of the eternal being caught in the act of revealing himself; the stupa is Dharma architecturally constructed (all three iconometric rules are identical)” (Tucci, Tibetan Painted scrolls p 299).

Esoteric meaning of Mandala

In tantric mandalas the Deity of the tantra (in union with consort/ shakti) is usually depicted at the centre (4) in the mandala of great bliss.
The mandala is laid out in relation to the eight points of the compass, with four gates at the cardinal points (in simpler mandalas these with the centre stand for the five Dhyani Buddhas).

The outer perimeter is surrounded by a great protective circle of fire that burn away ignorance (1). The fires are in the five colours of the Dhyani Buddhas, in order for one to pass through this they must have past the first degree of refinement of etheric substance that relates to the five elements of the etheric subplane which requires a theoretical understanding of the mandala of which they are entering (this is known in Theosophical terms as the first initiation).

Next is the charnel grounds (2). These are symbolic of the purificatory process one must undergo to enter the mandala proper, and involves the transmutation of emotional substance and the proper understanding and control of the emotions. All forms off aversion and attachment to form concepts (emotionally understood) must be let go of and transmuted into light. The eight charnel grounds or graveyards relate to eight aspects of individuating cognition, which one must die to and “dance upon” before they are liberated from these lower watery devas (this is known in Theosophical terms as the third initiation). They correspond to; the five senses, the intellectual consciousness, the thinking faculty of the individual and the store consciousness (of both individual and collective experience).

When one has mastered the next level of the Mind, they enter the gates of the Mandala of Enlightened body (3), the celestial mansion. At this point an individual can be considered an enlightened being through their demonstration that they are no longer influenced by their personality self and act in accordance with the other deities of the mandala of which they have entered. At this point they have become a member of Enlightened Sangha (this is known in Theosophical terms as the third initiation).

When one enters the Mandala of Great Bliss at the centre of the mandala (4) and come in union with their consort or devic counterpart, they destroy all concept of self by fusing their enlightened consciousness with their transmuted Form (consisting of Devic substance). By coming in union with their consort, they come in union with all existence. No longer does the mind differentiate self from All, instead it is immersed in the infinite unity of All Being.

Esoterically, the fixed or cardinal cross stand for the human or “consciousness” stream of pranas of the pingala nadis and the mutable directions for the devic “form” stream of ida nadi pranas. Though depicted as a static image in Buddhist art, it should be understood as dynamic, with energies moving through it, revolving like a swastika. The mandala is laid out in relation to the eight points of the compass, with four gates at the cardinal points (in simpler mandalas these with the centre stand for the five Dhyani Buddhas).

The Mandala is a blueprint for the change to be effected upon the individual or group purpose.

Written by Angie O'Sullivan