About the Keydong nuns - web.wellesley.eduweb.wellesley.edu/RelLife/rel/buddhism/mandala.pdf ·...
Transcript of About the Keydong nuns - web.wellesley.eduweb.wellesley.edu/RelLife/rel/buddhism/mandala.pdf ·...
A Mandala represents simultaneously, an inner landscape
and physical realm, within which every element of experi-
ence is unified, balanced and complete. In Tibetan tradition
it is considered a great blessing to see a mandala, as it
conveys a deep impression of wholeness, bringing about
healing and peace.
Each element of the color particle sand mandala has
precise symbolic meaning. The structures portrayed are the
structures of human consciousness. The surrounding circle
represents dynamic awareness. The square symbolizes
the four directions, the physical world. At each side of the
square, a gate is constructed: these represent the four
immeasurables: loving-kindness, compassion, sympathetic
joy, and equanimity; through these practices one enters
the sacred ground.
The center point of a mandala is the essence of
an archetypal energy: this specific mandala, represents
Avalokitesvara, the archetypal energy of compassion.
Compassion is described within Tibetan art as intensity,
symmetry and grace. Avalokitesvara is represented sym-
bolically through the Sanscrit letters, “om mani pad me
hum”, the jewel within the lotus—may the mind be within
the heart.
The sacred circle of the mandala revitalizes our
dreams of the sacred nature of Earth itself, and reminds
us that the sacred ground is ultimately found here and
now, within the core of our existence.
CIR
CLE
SO
F HEALING
CI
RCLES OF PEACEa sacred M
andalaproject
DAVISART
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SEUM
AN
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TERFEBRUARY16—MARCH1,2005
About the Keydong nuns
The nuns of Keydong Thuk-Che-Cho- Ling, the first ever
trained in the art of sand mandala, use ancient traditions
to bring about personal and social transformation. The
Keydong nuns are extraordinarily dedicated to spiritual
life, and spend hours in meditation. Art is also a spiritual
practice, through which the nuns serve as a channel for the
expression of the sacred energy and confirm their insight.
The presence of the Keydong nuns, trained in Tibetan
Buddhist practice and arts, challenges eons of structural
obstacles women have faced upon the path. These Tibetan
women are actually the first ever trained in the art of
mandala creation.
The Keydong Nunnery, founded 130 years ago, is
the first institution in Tibetan tradition to provide higher
education for Buddhist nuns. This education includes:
Tibetan debate, Tibetan language, Tibetan medicine and,
increasingly, special areas of study including mandala and
thankga painting. This nunnery is an important center
for both the religious and general education of women;
its forward-moving vision includes a library now under
construction.
May I be a servant when there is a need to serve others.May I become a bridge and ship when there is a need for crossing.May I become food, drink, medicine, doctor and nurse when there is famine and disease.May I become the source of life, like the earth and other elements, and serve all those infinite beings until they go beyond conditions and suffering and find lasting freedom and happiness. — Shantideva
The
Man
dala
ison
eof
the high
est forms of Tibetan art.
Circles of Interconnection
...I knew that in finding the mandala as an expression of
the self I had attained what was for me the ultimate.
– C. G. Jung
The concept of the mandala has, in the twentieth century,
found a wide range of correspondences. Carl Jung found
the mandala exists within most world cultures.
In Jungian psychology, the mandala represents an
inner wholeness which we all seek to restore: the inherent
deep connection of all aspects of body, mind and spirit—
and the connectedness of all things to each other.
Within a mandala, the interrelationship of all elements
is clearly visible; the center of the circle and the edges are
brought into symmetry. One’s inner life, in the same way,
is always related to all phenomena and the international
world. Contemplation and action can be seen to be in
dynamic interplay, inseparable from each other.
For these nuns, taking vows is a personal, contem-
plative decision with clear political resonances, an expres-
sion of Tibetan cultural identity at a time when Tibetan
spiritual and cultural identity are politically suppressed;
monks and nuns are imprisoned for possessing a picture
of the Dalai Lama, and other peaceful expressions of
religious conscience.
Project Committee:
David Mickenburg, Director, Davis Art Museum
Dean Victor Kazanjian, Office of Religious and Spiritual Life
Anja Chavez, Curator, Davis Art Museum
Heping Liu, Art Department
James Kodera, Religion Department;
Christopher Candland, Political Science Department
Kathe Lewis, Office of Religious and Spiritual Life
Bibliography
Dalai Lama. An Open Heart: Practicing Compassion in Everyday Life.
New York: Little, Brown, 2001.
Fisher, Robert. Art of Tibet. New York: Thames and Hudson, 1997.
McArthur, Meyer. Reading Buddhist Art. New York: Thames and
Hudson, 2002.
Rhie, Marylin M. and Robert A.F. Thurman,. Wisdom and Compassion:
the Sacred Art of Tibet. New York: Harry Abrams, 1991.
Sponsors
Davis World Fund
Committee for Lectures and Cultural Events
Office of the President
Office of the Dean of Religious and Spiritual Life
Office of the Dean of Students
Wellness Fund
Art Department
Department of Religion
Department of Political Science
Department of Peace and Justice Studies
Theater Studies Department
Cultural Advisors’ Network
Slater Center
Students for a Free Tibet
In partnership with Trinity College
Project Director: Ji Hyang Sunim
Trinity Project Director: Judy Dworin
Upon completion of the sand mandala, it is dismantled
and the sand is offered back to the earth in a symbolic
recognition of impermanence. The public is invited to
participate in this, and all accompanying events.
Tuesd
ay, March 1s, 4:00 p.m.
Ceremony for the dismantling of the Avalokitesvarasand
mandala