The Tibetan Monastery and the University of Drepung Goman (Karnataka, South India) and the Family Workshop Tarasov represent IV International Art Festival "Russia - India - Tibet"
From 3 to 11 October 2009 at the Central House of Artists
The program of the Festival:
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- making a mandala out of sand - a traditional Tibetan art (the construction of the palace of the Buddha of Infinite Compassion);
- Concerts of classical Indian dance;
- Tibetan monastic ritual dances;
- Exhibition of paintings by pupils of the family workshop Tarasov
- Exhibition of Dmitry Tarasov "Cherdynsky goddess"
- Exhibition of works by children from the oncological center in Kashirke - members of the charitable project "Creative House
- Food masterclasses Russian and Tibetan artists, a master-class best children's writer, Russia 2007 Tenchoya.
The festival was successfully held in 5 cities of Russia: Perm, Moscow, Ulan-Ude, Kazan, St. Petersburg.
The project aims to help Russia and Tibetan children left without parental care.
Partners of the Festival: The museum named NK Roerich (Moscow), the Polytechnic Museum (Moscow), Cultural Center "My Moscow" (Moscow), Library of Mayakovsky (St. Petersburg), Museum of Art (Krasnoyarsk), the Museum named Sampilova (Ulan-Ude), traveler Valentin Efremov (N. Novgorod), House of Friendship of Peoples (Kazan), Perm Puppet Theater
Invite the media and sponsors to participate in this project.
Venue: Moscow, Krimsky Val, 11, Central House of Artists
Yesterday went to this event. Good luck, people were all moved to the Polytechnic Museum. Talked to the organizers, made a positive impression on them and I even gave myself to try something nibut depict sand. It is very difficult.
Hard and flat line can not hold.
Another quote:
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Avalokiteshvara - the embodiment of boundless compassion. You can consider him a god or a Buddha, if you so easily ;-)
Mandala - this is his abode. World, the astral level, the palace ... Again, all these different names for the same.
Make it a monks from colored sand. They take a marble crumb, paint, and pour out of tubes. It turns out that's a miracle.
On Sunday, during a special ritual, the mandala will be destroyed - as a symbol that all is born sooner or later die. Therefore, I advise to hurry to see the mandala.
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Monk spoke good Russian, the question is not sorry, I destroy such beauty? Gave a detailed answer:
- Now when the mandala (palace) is ready, vney are gods. Right now they are here. And if you do not hold a special ceremony and not destroy what they are and will remain in the palace. And since this sand and always something to be destroyed over time, the one who caused this to happen (a cleaning woman, for example, catches) could severely affected by this.
quote:
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Mandala lives exactly as long as he takes ritual. Once the practice is completed, the mandala is to be destroyed.
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The destruction of the mandala is a special ritual, the meaning of which emphasize one of the major tenets of Buddhism, the idea of impermanence of all things.
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Before you destroy the mandala, the monks have to ask the enlightened deities, who for all these days, stayed in the sand at the palace, to return to their heavenly abode. When the Buddha left the mandala, the master of the ritual notch it with vajra, a ritual object symbolizing the indestructible nature of mind. He reveals it to the east entrance, after taking a pinch of blue sand and putting it in a small bowl. He performs this procedure with all the other inputs, moving clockwise, and then notch on the mandala of diagonal lines. After that, the monks will sweep away the mandala to the center and put the sand into a large bowl.
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Now mandala palace ceased to be enlightened beings, but the sand has been blessed many days rituals, still has tremendous cleaning power. At the conclusion of the ceremony the guests who came to join the net, handing the remainder of the sand from which was made directly to the mandala. And as they say, and I was there and got the precious handful of sand. The rest of the tradition, poured into a river or lake, to extend the blessing of the sacred sand around the world.
There are also paintings exhibition.
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There is no left-handed. But the pipe with sand to keep it in the left hand.
The monk told me that means a tube from which the sand spill in the left and the other is being rubbed in the right, but I forgot: (. Tomorrow I'll go to the ritual destruction of all find out.
Sand mandala
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Material
Sand painting in varying degrees is present in different people, but Tibetans have achieved in the extraordinary perfection. The term "sand painting", but rather conditional, since
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material for the mandala is not a natural river sand, as is often believed, but crushed rock. In Tibet, the once rich and free mountain country, mandalas constructed from small semi-precious stones: turquoise, jasper, malachite, pearls, corals, with their bright and rich natural colors. The choice in favor of such expensive materials was not accidental: among other things was a mandala offering to the enlightened beings, and like every gift had to have exceptional beauty and perfection. Today we can only draw in the imagination, what were those precious ancient Tibetan mandalas.
Today expelled from his native country Tibetan monks have to be content with improvised means: basically they use marble which is crushed in a huge stone stupa in the monastery courtyard. Obtained as a result of heavy manual labor marble crumb sift and paint watercolors or gouache in bright colors, so that even a little closer to the glittering effect of natural stones. Basic colors that are used for these purposes - white, black, blue, red, yellow and green. Last four colors are three shades: dark, medium and light. Thus, a total of fourteen turns colors.
Marble chips sorted not only by color but by the size of particles. In the tradition of the monastery Gyudmed large background surface of the mandala spread of relatively large fragments of marble, which visually resembles a small precious stones. On top of these large stones marble fine grinding applied complex characters and decorative designs. This technique is a combination of marble chips of various sizes is extremely complex and requires monks artists enormous experience and skill. Most of the monasteries, using tantric rituals, therefore, create a mandala of uniform fine sand, which greatly simplifies and accelerates the process of their construction. In Gyudmed is already on exams monks must demonstrate the ability to work with marble aggregate different grinding.
Even the failure of the mandala in other countries, where the monks Gyudmed usually limited to a rigid timetable and the need to combine ritual with intensive communication with the public, they try to observe the tradition of the monastery. If you look closely, you may notice that the background surface and are carried out in marble of a larger size, though not so clearly as in the monastery.
Tools
On the homeland of Buddhism in India, the sand was taken to apply by hand, this technique is still used in some Tibetan monasteries. In Gyudmed manually applied only the largest pieces of marble, the primary work is done by special cone-shaped metal tubes, which in Tibetan are called chakpu. The middle part chakpu has uneven ribbed surface. Rubbing the surface of this yak horn, or other hard material, the monks create a vibration, which accounts for a smooth stream of sand poured through a small hole, allowing write intricate Buddhist symbols. Engineering application of sand with a Tibetan chakpu know-how and is not found anywhere else in the world.
Chakpu come in different sizes. Large chakpu with large holes, through which the sand tends smoothly down, are used in working with large particles of marble in completing the background surfaces. Chakpu with small holes, allowing maximum control over the flow of sand, used for drawing fine lines and drawings.
The flow of sand is also regulated by the sliding speed and the degree of pressure on chakpu. Slowly and gently rubbing can liberate a grain of sand of a grain of sand at a time as in strong and vigorous rubbing sand runs smooth stream. Mastery of this technique requires a great deal of patience and hard practice.
Chakpu held in the left hand, horn or other instrument by which creates friction - on the right. The sound of friction on the solid horn hollow cone chakpu fairly typical: some traditions see in it an expression of the Buddhist idea of emptiness, or the interdependence of all phenomena.
Apart chakpu monks also use Shing, a special spade, which they equalize the line and remove excess sand.
The development of a sand painting
Looking at the amazing beauty sand mandala, a western man with his inherent understanding of the act of creation, has always given the same question: "Is there a place of improvisation or just a mechanical reproduction of an already known pattern?" Put that way, we tore the mandala from the context of tantric ritual, part of which it is. The effectiveness and, consequently, the value of ritual and spiritual practice in general, not the least dependent on the accuracy of his play. It is no accident in tantra is great emphasis placed on maintaining the exercises in its original form and as a consequence, the close relationship the teacher (the keeper of knowledge) and the student, the knowledge of the host. That is why the concept of improvisation as completely lacking in the spiritual art: inspiration is reflected in the desire to hone their skills, bring to perfection the skill of the artist. Eventually, the monks is not motivated by selfish desire for self-expression, but the desire to benefit the greatest number of living beings through the use of sophisticated methods derived from Shakyamuni Buddha many centuries ago.
Structure and color combination of sand mandalas, as well as the sequence of their construction are described in the specific texts that the monks learns by heart. In the initial stages of development of sand mandalas, they may from time to time consult with pictorial images, but the real professionals work exclusively from memory. "The hardest thing to learn first mandala - say the monks Gyudmed - more easily.
Although mandalas, as well as enlightened beings, infinitely many, different sand castles belonging to the same monastic tradition, similar in its structure. The main difference central portion of the mandala, its heart, the place where the deities reside. Peripherals remains virtually unchanged: the palace walls, decorations, favorable umbrellas and wish-fulfilling trees are identical in most of mandalas. After careful consideration of at least one mandala Gyudmed, you will never confuse sand castles this monastery with any other, so typical artistic style of the tradition being studied here.
In Gyudmed construction of sand mandalas year study of twelve monks. Four of them tested in the central temple, building a mandala for one of the four tantric ceremonies: in June at the monastery held the ritual Yamantaka in October Guhyasamaja, and in January - Chakrasamvara.
In itself, the mastery of a sand painting, however, are not the most difficult task facing the monks. Much more effort is spent on studying the text of the ritual, which is constructed mandala, remembering melodies (sung tantric ceremony complex overtone singing), as well as the development of visualization - a mental construct three-dimensional palace. Since the correct visualization is the key to the effectiveness of the ritual in the convent, there are many methods of promoting the development of this skill. In one of the classes of the monastery school, for example, is a wooden "palace-builder," which monks learn to collect from the individual parts: the walls, grooves, trees, performing desire. These exercises continue to help the mentally reconstruct the three-dimensional palaces during the rituals and practices.
The most skillful monks, perfectly mastered the art of wood carving, was trusted with the creation of three-dimensional wooden palaces. In Gyudmed three of the palace, they belong to a tantric deities, practices which are included in the basic curriculum: Yamantaka, Chakrasamvara and Guhyasamaja. The creation of such palaces takes several years for them in the monastery are treated as precious relics.
RITUAL OF CONSTRUCTION sand mandala
So, sand mandala being constructed as part of tantric rituals that can be performed in its complete form, providing many hours of daily chanting of texts, and in short, a more simplified form. The latest version of the ritual is most often used when the monks built a mandala in the Western countries. In this simplified version of its structure is practically no different from complete, the monks only reduce the duration of each of the parts, leaving time to communicate with the public.
Preparatory rituals
Seeking refuge and the reading of Sadhana
Before you begin to construct a sand mandala, the monks hold a series of preparatory rituals for cleaning the space, the platform on which will be erected sand palace, tools, and colored sand.
As any Buddhist spiritual practice, rituals that precede the construction of the mandala begins with seeking refuge in the Three Jewels of Buddhism: Buddha, Dharma (his teachings) and Sangha (community of practitioners). They will support the monks over many days of labor over the sand palace - a clean area of the deities and sowed in his love and compassion, innate qualities of each creature.
Monks then begin in their hearts a burning ambition to make sure that they have built a mandala and performed a ritual brought endless benefit of all beings - from small, like a speck of dust, to immense as the mountains. Taking care of all the living, not only for their own welfare is the hallmark of great chariot Mahayana, to which the Tibetan Buddhism. Every human action, the practitioner of Mahayana Buddhism, his every step on the path to enlightenment, is committed with the sole purpose - to become better, wiser, only to serve as a reliable support to each creature in the universe.
Inherit monks stage to honor the enlightened beings and teachers that came to them through the centuries the noble teachings of the Buddha - the lineage of the precious knowledge. With these teachings in a pure and undistorted form from their teachers, the monks now are themselves links of this lineage to which they turn for support.
A detailed description of ritual practices is contained in the manual, which is known as sadhana. It includes a detailed description of the central deity of the mandala, in a way that the monks mentally represent themselves. Then they visualize in front of a lot of enlightened deities, whom they invited into the hall where the mandala will be constructed, and commit all kinds of offerings.
Purification space
In large tantric ceremonies, perpetrated in the monastery, the ritual cleansing of the space before construction of the mandala takes about two hours and consists of many different stages. Building a mandala in other countries, monks are usually cut it up to forty minutes, leaving the four most important part:
Satakpa
At this stage, the monks examine the place where the mandala will be constructed. Just as before the acquisition of land, we will carefully inspect the land offered to us by inquiries, we find out, Have in these parts of the earthquake and floods, and the monks find out how much room on their properties suitable for the construction of the palace of enlightened beings.
Salongva
They then seek permission for the construction of the mandala from the owners of land: first from the visible (in our case, the owners of the gallery or other venue), and then the invisible (the spirits and deities). In a sign of reconciliation with invisible beings, under the tutelage of which are chosen for the Hall of the mandala, they presented Torma special ritual offering of tsampa and oils.
Sadzhangva
Enlisting the support of both visible and invisible owners of the hall, the monks now have to clean it from all sorts of impurities and defects. Purification is accomplished in three ways: through a variety of substances (mustard seeds or white ash), through mantras and through meditation.
Chingilapa
Cleared space, centered on the wooden platform, where the monks built a mandala, and then blessed. In the tradition of the monastery Gyudmed platform is low (only 20 cm in height), so the monks are working while sitting rather than standing, as in some other monasteries, where the construction of the mandala is at high tables. Color is determined by the selected platform mandala: the palace of Chenrezig, for example, is being built on a platform of juicy blue.
Partitioning mandala
The next step monks bless the tools and colored sand, which will be used in the construction of the mandala, and then proceed to markup platform. The central and diagonal lines are traditionally applied with a clean white threads, which, according to the descriptions, must be woven by the young girls and bought without bargaining. This thread goes into the white sand, fine milling, then the monks pulled it over the surface of the mandala, a little uplift for the middle and let go. The platform is a white trail. The remaining lines are applied by means of chalk, pencils and rulers. It draws only the basic geometric loop: circle, straight tench. All the complex decorative elements of the mandala the monks will create a sand "blindly" without preliminary drawing.
Application sand
Application of sand starts from the center to the periphery. According to tradition, to build a mandala, as a rule, there are four monks, each of whom is responsible for a certain aspect of the world. However, the construction of large and complex sand mandala for public ceremonies, such as the Kalachakra initiation, the main four monks can join assistants in order to have time to complete the mandala in the shortest possible time.
The construction of the mandala should be uniformly: unacceptable that one of its sectors to build faster than others. That is why the monks are closely coordinating their work. They are finalizing the plan in advance for the day, and if anyone of them manage to do it before the others, he ran ahead, but it does help the other monks to complete scheduled.
Construction of a large sand mandala takes about ten days. All this time the hall where the monks work is pure abode of enlightened beings. It is quite amazing atmosphere: even a completely unfamiliar with Buddhism, people freeze when they look at the incredible creation of Tibetan monks. Mandala is dissolved, like a beautiful flower, gift and peace and hope everyone who looks at her faith in the heart.
Every day, the monks begin work with the morning ritual - singing, during which they urged the central deity of the mandala and originate in the heart of the aspiration to work for the benefit of all sentient beings. Building a mandala, they realize that at this moment represent the line of succession maneuvers, which today is as important as during the time of Buddha Shakyamuni. The more perfect their work, the more likely that everyone (whether a practicing Buddhist or accidental dead-room art-lovers) will receive a blessing and receive tantric teachings in the form in which they were given by the Buddha 2500 years ago.
While working on the mandala, the monks must constantly remain in the meditative concentration. Simultaneously with the construction of a sand mandala, they are in great detail to recreate in his mind palace deity in its three-dimensional form. For them it is difficult spiritual practice that allows to gain control over his mind. Even erecting sand castles in museums and galleries in western countries, monks demonstrate the highest level of concentration. But here they are facing another challenge - to teach those who come to them, and the mandala is often becomes the backdrop for an explanation of the fundamental principles of Buddhism.
Concluding its work on the mandala, the monks dedicate merits, ie the positive potential, which has been gained by them during the day, all living beings.
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This chorus of Russian folk songs. We went to CHA and sang Russian folk it. Then he spent the entire ceremony of the whole. Religion is not asked. But there is no one and did not pay. It was about purifying power of the country, city and everyone. The charged sand mandala partially poured into the Moscow River, partially distributed to those present.
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Just remember- What beautiful faces and how hopelessly pale ... (from): D
(Yaya, is Georgi Ivanov? "You must remember ...)
And just this: bitter obnovushku
Friend, I sewed.
Loves, loves krovushku
Russian land. (c)
10.10.2009, 11:54
Mandala of the Buddha of Compassion
Линейный вид
