Modern Maṇḍala Meditation: Some Observations

Abstract

In recent decades, Buddhist maṇḍalas have become increasingly popular. The creation of the Kālacakra (‘Wheel of Time’) maṇḍala from coloured grains of sand by Tibetan monks can be seen in museums around the world. Maṇḍala colouring books, part of the recent adult colouring book trend, are on display in many bookstores. Maṇḍalas are now perceived as ‘aids’ or ‘tools to meditation’ and designated as ‘meditation diagrams’ and ‘meditational art’. In this paper, I will discuss modern applications of (Buddhist) maṇḍalas in meditation practice. I will also highlight some aspects that set this modern usage apart from traditional functions of maṇḍalas in Buddhist tantric ritual.

Notes

1. For a more detailed treatment of the topic, see Bühnemann (2005).

2. For maṇḍalas in the Hindu traditions, see Bühnemann [2003] 2007 and Bühnemann [2010] 2013.

3. For this ritual, see Shinohara (2014, 33, 66, 78, 120, 155, 160, 164, and 221).

4. For a detailed account of the ritual performed at Kōyasan, see Nicoloff (2008), 175–177 and Winfield (2012).

5. See Goodall and Isaacson (2016, 50–54).

6. Sharf (2001) has critically examined the general assumption frequently encountered in secondary literature that maṇḍalas serve as aids for visualisation. In his paper, he specifically questions this use of maṇḍalas in the Shingon tradition.

7. For the characteristics of these two types of maṇḍalas, see Mori’s introduction to his edition of the Vajrāvalī (2009), vol. 1: 10, 11.

8. For these stone maṇḍalas, see Gail (2000).

9. For the Tibetan offering (or Mount Meru) maṇḍalas, see Beyer (1973, 167–170).

10. For the gurumaṇḍala of the Newar Buddhists, see Gellner (1991).

11. For the ‘“new genre” of public mandala-making’, see McLagan (1997, 81). It is now easily possible to create such a maṇḍala at home. Brauen (2004, 201) has characterised the commercially available sand mandala kits as ‘misused ritual objects’, noting that ‘[w]hat was hitherto reserved for trained monks can now be produced by every Tom, Dick and Harry: a personal sand mandala’ (Brauen 2004, 202).

12. For a critique of Jung’s interpretation of the maṇḍala, see e.g. Brauen (1997, 121–124). Lopez (1998, 145–147) traced the complex process of psychologisation and reinterpretation of the maṇḍala in the West, while Davidson addressed the ‘idealization of the maṇḍala’ (2002, 131).

13. See also Jung ([1959] 1972, 99, 100).

14. See von Franz ([1964] 1977, 230).

15. Jaffé ([1964] 1977, 267).

16. For more information on Kellogg’s MARI^®, see Cox (2003) and Loumeau-May (2013).

17. I have already referred to the work on maṇḍalas by J. Kellogg. For an overview of the uses of maṇḍalas in art therapy, see Buchalter (2013).

18. The painting of Buddhist maṇḍalas as a meditative process is taught, for example, by Newar artist Madhu Krishna Chitrakar of Bhaktapur in Nepal. For general information on this painter, see Grieve (2006), 7, 9–12, 133–135 and Gutschow (2006), 23–34, 82–117. This painter also conducted workshops in Germany and provides instruction to non-traditional individuals, who do not share his religious and cultural background and others who do not belong to the Newar Chitrakar (painter) caste.

19. Zendala^® is an application of the Zentangle^® method, created by Maria Thomas and Rick Roberts in 2012 (Mann 2013, 26). It combines the shape of a maṇḍala with the ‘string^®’ and ‘tangles^®’ of the Zentangle. A ‘string^®’ is first used to divide the Zendala® into sections. The shapes are then filled with Zentangle® patterns (‘tangles^®’). The word Zen denotes meditation.

20. See, e.g. Gauding (2009).

21. See e.g. Tenzin-Dolma 2012, a multimedia kit including a CD with 3D maṇḍalas.

22. For these instructions, see Rose 2012; see also Tenzin-Dolma (2008, 51, 2012, 12, 2013, 5, 10); Fontana and Tenzin-Dolma (2014, 16, 19, 27), and the instruction on Tenzin-Dolma’s publisher’s website, http://www.watkinspublishing.com/how-to-meditate-on-mandalas/ (viewed on December 15, 2016).

23. Tenzin-Dolma (2008, 9) and Tenzin-Dolma, quoted on her publisher’s website, http://www.watkinspublishing.com/how-to-meditate-on-mandalas/ (viewed on December 15, 2016)

24. See the definition of the term colourtation on Rodski’s website, http://www.colourtation.com/brain-science/ (viewed on April 9, 2017). Rodski’s method consists of colouring specific designs for a minimum of 30 min daily; the colouring may be accompanied by listening to especially created sounds. These designs, which to my knowledge have no connection with maṇḍalas, are reproduced in his own line of anti-stress colouring books.

25. See the article ‘The Adult Coloring Book Fad May Be Over’, http://www.chicagotribune.com/business/ct-adult-coloring-book-fad-20170105-story.html (viewed on February 21, 2017).