MULTIPLE MANDALA, AVALOKITESVARA

Mandala literally means “circle” in Sanskrit. In origin it designates the ten visions of the Rig Veda, as two- or three-dimensional forms of the cosmos. Its main objective and purpose is to support meditation through the representation of a magical diagram composed of geometric shapes. In the plastic representations of tantra and Vajrayana Buddhism, the geometric forms are sometimes replaced by the representation of a divinity. In this multiple mandala, the divinity is located in the center of the composition surrounded by lateral figures inscribed in a first circle and these in turn in a square. This symbolizes the plan of a palace with its doors located in the four cardinal points. It is in turn surrounded by a circle formed by lotus flower petals – in clear reference to Buddhism, and an outer circle that alludes to fire and the light of spirituality. All this is framed in a rectangle, with two distinct areas, the lower one with four divinities that allude to the earthly world, and the upper one with five images of masters of the Gelukhpa sect. All the elements represented, whether gods, esoteric characters, masters and lamas, objects and animals, function in this mandala-like composition as a symbol or allusion to the general idea, which is none other than to show the spiritual lineage of Tsonkhapa, founder of the reforming Gelukhpa sect. Its location, gestures, attributes and colors used help the faithful to understand the ultimate meaning of the thanka and therefore its use as a means of initiation to knowledge as well as a support for meditation, in the “yogic” sense.following the geometric scheme used by the artist, we can make an iconographic reading of the elements that make up this work. Thus we see that the most relevant character for its location in the upper center of the thanka, the illumination that the artist has given him and even the size compared to other figures, is Tsongkapa, a character to whom the Thangkas of this collection nº. 1 and 2 are also dedicated. The spiritual reformer is seated on a throne in the form of a lotus flower, with his characteristic yellow cap, his monk’s clothing and his attributes that relate him to the reincarnation of Mansjuri (see. Cat.nº.2). Like the rest of the four figures that accompany him, he shows a spiritual halo framing his head, as a sign of his spiritual strength, and another exterior halo that frames the whole figure. In the case of Tsongkapa, as well as in that of the two lateral personages, green has been used in the internal halo, while the two figures that flank him directly present a halo of red color. These two personages that turn, with a slight movement towards him are identified the one on his right with the first Panchen Lama (1569-1662) and Gendun Drupa on his left, while the two external figures correspond to Butön Rinchen Drup (1290-1364), abbot of the monastery of Shalu, on the right of the composition, and another master of the Gelukhpa teachings, called Skaya Pandita (1182-1251), all these personages are located on clouds that together with the blue color of the background and the appearance of the sun and the moon allude to the celestial stage physically identified with the firmament. In the immediately inferior plane, we find again five figures, of smaller size. All of them are representations of divine or deified beings, as can be appreciated by the halo of light that frames their heads. The two that appear at the ends are standing on a small cloud. The one on the far right is dressed as a monk and carries in his left hand a small bowl that he offers, with a turn of his body, to the main divinity. Flanking the main figure, two images dancing on clouds, and in the center the main image, under the feet of Tsongkapa, manifesting the imaginary and symbolic line of union between him and the main deity of the mandala, Avalokitesvara.To the right and left of these five characters described, the terrifying images of two guardians and protectors. In both cases they are painted in blue, with multiple arms and attributes in their hands. Standing on a lotus flower, they move waving their arms, indicating their omnipotent character manifested both in their cosmic movement and in the weapons and attributes they carry.below them and on the sides used as a transition between the spiritual and terrestrial spheres, the Eight Buddhist Objects appear. On the left side and from top to bottom, the parasol, symbol of royal dignity, the vessel containing the nectar of immortality, the shell, symbol of victory in the struggle. On the right side and following the same order we find a pair of fish, sign of Buddha, the lotus flower, associated with purity and the mystical knot of immortality. On both sides the wheel of the doctrine, which on the left side appears accompanied by the flag, allusion to the victory of religion and images of characters associated with the life of Tsongkapa, as a closure to this cosmic vision, four guardians or dharmapalas offer us their most aggressive expressions, as protectors of the sacred space and defenders of the doctrine. Each one of them leans, steps or rides on an animal or person, alluding to different directions and their corresponding symbolism. All of them are wrapped in a halo of destructive fire and carry multiple attributes in their arms and as body ornaments, such as skulls, weapons, etc. The four have their origin in India, but in Tibet they undergo different symbolic and icographic transformations in contact with local traditions, the Indian tantra and even in the last periods of the Mongolian traditions. For this reason it is frequent that local iconographic varieties appear, although maintaining the meaning of protection and guardians. These four guardians or dharmapalas, are identified from left to right with Yama Dharmaraja (Yama Dharmapala), Mahakala, the goddess Penden-Lamo (Shri-Devi) and the God of Wealth with the snow lion.in the geometric center of the mandala and framed in a bichromatic circle appears a representation of the cosmic vision of the bodhisattva Avalokitesvara. He is represented in small size with six arms and multiple heads, for which he is also known by the name of Ekâdasamka (cat.no.5). Avalokitesvara marks the spiritual beginning of the Tsongkapa lineage, which is continued through the line of succession of the Dalai Lama, the latter being considered a reincarnation of Avalokitesvara.In the outer circle the lotus flower petals alternate with the figures of four Buddha images, whose location marks the four directions. In the triangles resulting from the insertion of the circle in the square, four chorten or Tibetan stupas and in the access doors the representation of the guardians of the universe. The exterior doors are highlighted following traditional Tibetan models, combined with objects associated with religious worship and ritual celebrations. / Extracted from: Isabel CERVERA FERNÁNDEZ: Fundación Rodríguez-Acosta. Asian Art Collection. Granada, 2002.Bibliography: PRATAPADIYA, P.: Tibetan Paintings. New Delhi, 1984, p. 99 / RHIE, M.; THURMANN, R.: Wisdom and Compassion. The Sacred Art of Tibet. New York, 1992, p. 34.