Toward a Psychology of Art (1)
The choice of a circular pattern with the task of representing the universe is not random. The circle (or sphere) is the only configuration that does not nominate any particular direction, and is therefore used wherever spontaneously to depict objects whose form is uncertain, or irrelevant, or for raffigurare qualche cosa che non abbia alcuna forma, che possa avere una forma qualsiasi, o che possieda tutte le forme.
Considerata come oggetto visivo, la figura del cerchio è veicolo di due tipi diversi di espressione.
The choice of a circular pattern with the task of representing the universe is not random. The circle (or sphere) is the only configuration that does not nominate any particular direction, and is therefore used wherever spontaneously to depict objects whose form is uncertain, or irrelevant, or for raffigurare qualche cosa che non abbia alcuna forma, che possa avere una forma qualsiasi, o che possieda tutte le forme.
Considerata come oggetto visivo, la figura del cerchio è veicolo di due tipi diversi di espressione.
a) Vista come una circonferenza, vale a dire come figura monodimensionale, essa costituisce una linea a curvatura costante, la traccia di una rotazione senza fine. In tal caso, essa è posta in relazione con le forme a spirale e si adatta assai bene a simboleggiare la concezione orientale del tempo come ininterrotto, ciclico Ritorno dell’Identico (al posto della progressione in linea retta, che ha origine nel passato e procede toward a goal infinitely distant in the future).
b) as a hard two-dimensional view, the figure is an area in central symmetry, which extends from a center in all directions and is surrounded everywhere, the same distance from the center, the barrier of this outline. This barrier creates a constrictive family of carriers which make towards the center and expansive contrast vectors that emanate radially from the center. A circular boundary is always under tension like the casing of a ball, is subjected to a centrifugal pressure from inside and creates a centripetal pressure resisting expansion. The symbolic significance of this perceptual dynamics, related to activities directed towards the center and from it, we'll further. Here I will only recall that the rotational movement of the one-dimensional circle often symbolizes the time, while the radial two-dimensional dynamics of the disk shows the spatial relationships, whether real or figurative. (2)
Rudolf Arnheim
1. Arnheim, R., Toward a Psychology of Art , The Regents of the University of California, 1966 [trad. com.: Toward a Psychology of Art , Einaudi, Torino 1966] 2
Id., p. 285
Theory and practice of Mandala (1) was born
1.1 schema of the complex symbolic representation of this drama of disintegration and reintegration, which is the mandala, in which this dual process is expressed by symbols, where beds are wisely beginning, elicit the 'psychological experience liberating.
One should not think that the pictorial representation of the mandala is its only Buddhists. They have only drawn more precisely the ancient intuition which came with the passage of time clarifying, making profit, at least for the external format, even stranger ideas.
This is not the place to discuss origins of the construction of the mandala, its meaning and its significance, since in this book we are concerned not so much the question of origins, as the ideas that the mandala (as developed in Gnostic schools in India and in countries who have accepted the Indian experience) has become the center and symbol. Let us then examine these ideas when they are fully grown, and not from their point of departure. The first outlines
mandala consecration and preserves the surface from invading forces of disintegration cycles symbolized in demonic. But it is much more than just a surface to be kept pure and devoted to the liturgical and ritual purposes. It is actually a cosmogram, is the whole universe in its essential outline, in the process of emanation and resorption: the universe is not only in the inert expanse of space, but as a revolution of time, it is one and the other as a vital process that takes place from a principle essential and rotation around a central axis, the mountain Sumeru, the axis mundi upon which the sky and that is deeply mysterious underground bases. This is a pan-Asian concept which helped to give clarity and precision the ideas expressed in cosmographic zikurrat Assyrian-Babylonian, then reflected in the key of the imperial city of the King of Iran and then the image of the ideal of cakravantin palace, the monarch of the universal traditions India. Codest cosmographic equivalence and theories of the Assyrian-Babylonian origin but adapted to primitive intuitions according to which the priest or magician on earth demarcate an area sacred that not only represents the line that the defense claims, a projection of the arcane forces threaten the purity or integrity of the site's psychic who performs the ceremony, but is also, by transposition magic, the world itself, where, placing the center, the mixture is identified with the forces that govern the universe and it brings together the miraculous power. (2) 1.2
The same rule of course the construction of temples, each temple is a mandala. Entering the temple is not only entry into the holy place, but the entry in the mysterium magnum. Who is doing with pure awareness of the ritual circumambulation, according to the rules prescribed in order to visit the depths of the Temple, runs through the mechanism of the world, until he arrived in the sanctum sanctorum is transfigured, as reaching the mystical center of the sacred He is identified with the primordial unity.
From these complex conditions which derives the mandala is a geometric projection of the world, the world reduced to its essential outline, but implicitly, indeed, through identification with its center, the transformation of enterprises and thus determining the source of the first 'effectiveness the work he intends to make the mandala soon takes on a deeper meaning. It remained the paradigm of cosmic evolution and involution, but who used it was no longer just a reminder to return to the center of the universe, but rather an ebb of the experiences of the psyche of the merger, to find unity of consciousness raising and not distracted, and to discover the ideal principle of things. The mandala is then no longer a cosmogram, but a psicocosmogramma, the pattern of disintegration and reintegration one through very much from the one, to the absolute consciousness, full and bright, that yoga would again shine at the bottom of our being.
experience suggests that even in case of similar performances. The man puts himself in the center of the hidden principle of life, the divine seed, its mysterious essence, he has the intuition of an empty light that burns inside him and that spreads and spreads, his whole personality and in that light is focused around that takes place. (3)
1.3 Draw a mandala is a simple thing, it is a ritual that aims to palingenesis individual and details of which it must participate with all the attention that the importance of the result to be achieved requires a mistake, an oversight, an oversight or make the work ineffective. Not only because, as in every act and ritual magic, perfection is a guarantee of success, but also because every shortcoming is the sign of the carelessness of the sacrificer, indicates that he takes part with all the concentration and recollection due: thus lack the psychological conditions under which it produces in his mind the process of redemption. This explains the Buddhist masters have discussed with great detail the rules to be followed in the construction of the mandala. They begin to determine, for example, the quality of the string which should be use to mark the outline of the individual parts of matter that must be made, how many wires twisted together should be, providing that they are five and each of a color. This string dipped in colored powder is essential to delimit the parts of the mandala: mandala adagiatala on the surface where you must draw, if you fix the heads keeping them taut, then with two fingers, lifting it and letting it fall suddenly that scatters the dust of which is soaked. So you get the basic track on where you insert the following drawings. The treaties also require measures Cotesta cord and purification rites of the various tools that will be used for the ritual act.
... In general we can say that the mandala is an outer belt and one or more concentric circles, which racchiudono a loro volta la figura di un quadrato diviso da linee trasversali; queste partono dal centro e toccano i quattro angoli così che la superficie resta sezionata in quattro triangoli: nel centro e in mezzo a ciascun triangolo cinque cerchi contengono figure di divinità o emblemi.
Del simbolismo delle singole parti in appresso faremo parola; ma intanto conviene subito dire che a questo paradigma di linee essenziali si sovrappone uno schema più complesso nel quale ciascun elemento ha un significato ed anche un nome particolare.(4)
1.4 Conosciamo ora lo schema elementare del mandala: abbiamo per così dire ricostruito la sua ossatura, abbiamo descritto lo schema delle linee che lo determinano, lo dividono in parti, lo sezionano. Ma this is outside the diagram, we must now see what should draw on its surface, which is the symbolic significance of the figures that you will have to draw, especially as the mixture will have to read this mess of hieroglyphics, and how those images back through mysterious to the sense that they foreshadow.
The mandala, as we see, the interior is divided into five sectors, as the four sides of un'imagine or you have a central symbol in the four cardinal points four other images or symbols. We must beware dall'intendere this partition in the primitive way, that cosmographic. Here quinary arrangement of images and symbols not only marks the four points Cardinals rotating around a center (5) that affects them so doing around him the sequence of space and time, but it has a psychological meaning: the mandala is yes to all, but all the same as reflected in the ego and the five points scored in the mandala is tailored to the five elements of human personality, centered around the principle conscious core of the individual, the cause of samsara is set back. Suitable
the macrocosm to the microcosm prevails over this, in the esoteric symbolism: not as physical support, but as a complex psychological, because the revulsion of the mind and nothing else should do it. (6)
1.5 For reasons Cotesta the effective presence of images on the surface of the mandala is not necessary: \u200b\u200binstead of their performance, just the symbol of syllable, the mysterious master of their form. Remember that even these mantras are more real than the image, because this is an appearance appropriate to our karmic limitation, is a figure whereby what has no form becomes, with an artifice, accessible to us, by a robe imagined ourselves, beneath which lies an invisible essence, though, so to speak, immediately sensitive to the concentration of meditation that makes us sharers. In other words, there is a reciprocal relationship between the being that is revealed e la persona cui si rivela. In virtù di tale reciprocità quest’ultima, in certo senso, foggia essa stessa l’aspetto del primo, adattandolo al suo modo di concepire e alla sua maturità carmica...(7)
1.6 La liturgia che accompagna la costruzione e il disegno del mandala è molto complessa. Anzitutto essa presuppone di regola la presenza di un maestro che compie la cerimonia e di uno o più discepoli che abbiano chiesto di essere iniziati ai misteri rivelati in forma simbolica da quei mandala. L’accesso al mandala è infatti il compimento del lungo e paziente tirocinio, la prova della maturità spirituale che il maestro ha riconosciuto nei neofiti. La preparazione scolastica e dottrinale ha eliminato a poco a poco l’ignoranza that darkens the intellect, those errors and the uncertainties that are peculiar to the experience on earth. It now requires baptism to erase the stains congenital those that inevitably accompany our human limitations: a sacrament to help us fulfillment in our revulsion to the other plan and facilitate this, a psychological drama that upsets our inner life , return and palingenesis.
The first thing to do is purification dell'offiziante. No one can take a ritual if it is spiritually and physically pure fasting and abstinence are lawfully prescribed bathroom.
The choice of location and time is subject to caution. You must choose an auspicious day and a lonely place near the bank of the river or the sea or north of a city, the chapel of a temple, then you must prepare the ground on which you intend to draw the mandala, is to remove the stones, coal, each surplus animals that by chance there is. The ground must be flat, smooth, indicating that its appearance already in the analogy with the transcendent plane, the plane in which the mandala is adamant to be transformed as soon as the rite is performed. Then we need to eliminate the demons ... (8) 1.7
So reading the mandala, the depths of his conscience relive the moments that it represents, and spiritually in order along the various stages that are shown symbolically on the surface, producing lysis. Little by little, rising by degrees from one sector to another of its plot, that is an inner state to another and the next most complete and does not cancel the previous one, but surpasses it in himself content, the neophyte has reached a point Central. This can be done physically, such as in the great mandala used for initiation ceremonies when he, along the various parts of the mandala, finds himself in the center with his person, then that itself experiences the catharsis mandala, or mentally when focusing on the designs of mandala, put himself in the truth than foreshadowed. Of course, this point is the fifth point, the extreme point capable di una rappresentazione visibile: fuori, al di sopra è il sesto punto, l’altro piano, il Vajradhara, nel quale il miste si annulla, dal centro mandalico, così raggiunto, penetrando nella sua lucentezza con una revulsione di piano che si determina improvvisa ed immediata.
La revulsione è questione di un istante: quanto si è penetrata la verità o la essenza divina, si conosce tutto (Isvarapratyabhijñâvimarsinî of Abhinavagupta, vol. III, pag. 407, v. 10).
Pertanto il processo si appalesa agli occhi del miste, debitamente iniziato, come un immenso, mobile mandala che ora si proietta nel folgoramento dei suoi simboli visibili, splendenti imagini di dei aureolati di gloria celeste ed abbaglianti, ed ora si riassorbe nel punto centrale, immota stella che in sé tutto riassorbe e da cui tutto con vicenda alterna emana. Ma egli è quel centro, idealmente, identificando il mistico loto sulla sommità della propria testa con quel punto, inesausta matrice di tutto ciò che è, fu e sarà. Siamo quindi necessariamente portati a parlare di questa fase suprema, di questa trasposizione del mandala nel corpo del miste. (9)
Rudolf Arnheim
1. Arnheim, R., Toward a Psychology of Art , The Regents of the University of California, 1966 [trad. com.: Toward a Psychology of Art , Einaudi, Torino 1966] 2
Id., p. 285
Theory and practice of Mandala (1) was born
1.1 schema of the complex symbolic representation of this drama of disintegration and reintegration, which is the mandala, in which this dual process is expressed by symbols, where beds are wisely beginning, elicit the 'psychological experience liberating.
One should not think that the pictorial representation of the mandala is its only Buddhists. They have only drawn more precisely the ancient intuition which came with the passage of time clarifying, making profit, at least for the external format, even stranger ideas.
This is not the place to discuss origins of the construction of the mandala, its meaning and its significance, since in this book we are concerned not so much the question of origins, as the ideas that the mandala (as developed in Gnostic schools in India and in countries who have accepted the Indian experience) has become the center and symbol. Let us then examine these ideas when they are fully grown, and not from their point of departure. The first outlines
mandala consecration and preserves the surface from invading forces of disintegration cycles symbolized in demonic. But it is much more than just a surface to be kept pure and devoted to the liturgical and ritual purposes. It is actually a cosmogram, is the whole universe in its essential outline, in the process of emanation and resorption: the universe is not only in the inert expanse of space, but as a revolution of time, it is one and the other as a vital process that takes place from a principle essential and rotation around a central axis, the mountain Sumeru, the axis mundi upon which the sky and that is deeply mysterious underground bases. This is a pan-Asian concept which helped to give clarity and precision the ideas expressed in cosmographic zikurrat Assyrian-Babylonian, then reflected in the key of the imperial city of the King of Iran and then the image of the ideal of cakravantin palace, the monarch of the universal traditions India. Codest cosmographic equivalence and theories of the Assyrian-Babylonian origin but adapted to primitive intuitions according to which the priest or magician on earth demarcate an area sacred that not only represents the line that the defense claims, a projection of the arcane forces threaten the purity or integrity of the site's psychic who performs the ceremony, but is also, by transposition magic, the world itself, where, placing the center, the mixture is identified with the forces that govern the universe and it brings together the miraculous power. (2) 1.2
The same rule of course the construction of temples, each temple is a mandala. Entering the temple is not only entry into the holy place, but the entry in the mysterium magnum. Who is doing with pure awareness of the ritual circumambulation, according to the rules prescribed in order to visit the depths of the Temple, runs through the mechanism of the world, until he arrived in the sanctum sanctorum is transfigured, as reaching the mystical center of the sacred He is identified with the primordial unity.
From these complex conditions which derives the mandala is a geometric projection of the world, the world reduced to its essential outline, but implicitly, indeed, through identification with its center, the transformation of enterprises and thus determining the source of the first 'effectiveness the work he intends to make the mandala soon takes on a deeper meaning. It remained the paradigm of cosmic evolution and involution, but who used it was no longer just a reminder to return to the center of the universe, but rather an ebb of the experiences of the psyche of the merger, to find unity of consciousness raising and not distracted, and to discover the ideal principle of things. The mandala is then no longer a cosmogram, but a psicocosmogramma, the pattern of disintegration and reintegration one through very much from the one, to the absolute consciousness, full and bright, that yoga would again shine at the bottom of our being.
experience suggests that even in case of similar performances. The man puts himself in the center of the hidden principle of life, the divine seed, its mysterious essence, he has the intuition of an empty light that burns inside him and that spreads and spreads, his whole personality and in that light is focused around that takes place. (3)
1.3 Draw a mandala is a simple thing, it is a ritual that aims to palingenesis individual and details of which it must participate with all the attention that the importance of the result to be achieved requires a mistake, an oversight, an oversight or make the work ineffective. Not only because, as in every act and ritual magic, perfection is a guarantee of success, but also because every shortcoming is the sign of the carelessness of the sacrificer, indicates that he takes part with all the concentration and recollection due: thus lack the psychological conditions under which it produces in his mind the process of redemption. This explains the Buddhist masters have discussed with great detail the rules to be followed in the construction of the mandala. They begin to determine, for example, the quality of the string which should be use to mark the outline of the individual parts of matter that must be made, how many wires twisted together should be, providing that they are five and each of a color. This string dipped in colored powder is essential to delimit the parts of the mandala: mandala adagiatala on the surface where you must draw, if you fix the heads keeping them taut, then with two fingers, lifting it and letting it fall suddenly that scatters the dust of which is soaked. So you get the basic track on where you insert the following drawings. The treaties also require measures Cotesta cord and purification rites of the various tools that will be used for the ritual act.
... In general we can say that the mandala is an outer belt and one or more concentric circles, which racchiudono a loro volta la figura di un quadrato diviso da linee trasversali; queste partono dal centro e toccano i quattro angoli così che la superficie resta sezionata in quattro triangoli: nel centro e in mezzo a ciascun triangolo cinque cerchi contengono figure di divinità o emblemi.
Del simbolismo delle singole parti in appresso faremo parola; ma intanto conviene subito dire che a questo paradigma di linee essenziali si sovrappone uno schema più complesso nel quale ciascun elemento ha un significato ed anche un nome particolare.(4)
1.4 Conosciamo ora lo schema elementare del mandala: abbiamo per così dire ricostruito la sua ossatura, abbiamo descritto lo schema delle linee che lo determinano, lo dividono in parti, lo sezionano. Ma this is outside the diagram, we must now see what should draw on its surface, which is the symbolic significance of the figures that you will have to draw, especially as the mixture will have to read this mess of hieroglyphics, and how those images back through mysterious to the sense that they foreshadow.
The mandala, as we see, the interior is divided into five sectors, as the four sides of un'imagine or you have a central symbol in the four cardinal points four other images or symbols. We must beware dall'intendere this partition in the primitive way, that cosmographic. Here quinary arrangement of images and symbols not only marks the four points Cardinals rotating around a center (5) that affects them so doing around him the sequence of space and time, but it has a psychological meaning: the mandala is yes to all, but all the same as reflected in the ego and the five points scored in the mandala is tailored to the five elements of human personality, centered around the principle conscious core of the individual, the cause of samsara is set back. Suitable
the macrocosm to the microcosm prevails over this, in the esoteric symbolism: not as physical support, but as a complex psychological, because the revulsion of the mind and nothing else should do it. (6)
1.5 For reasons Cotesta the effective presence of images on the surface of the mandala is not necessary: \u200b\u200binstead of their performance, just the symbol of syllable, the mysterious master of their form. Remember that even these mantras are more real than the image, because this is an appearance appropriate to our karmic limitation, is a figure whereby what has no form becomes, with an artifice, accessible to us, by a robe imagined ourselves, beneath which lies an invisible essence, though, so to speak, immediately sensitive to the concentration of meditation that makes us sharers. In other words, there is a reciprocal relationship between the being that is revealed e la persona cui si rivela. In virtù di tale reciprocità quest’ultima, in certo senso, foggia essa stessa l’aspetto del primo, adattandolo al suo modo di concepire e alla sua maturità carmica...(7)
1.6 La liturgia che accompagna la costruzione e il disegno del mandala è molto complessa. Anzitutto essa presuppone di regola la presenza di un maestro che compie la cerimonia e di uno o più discepoli che abbiano chiesto di essere iniziati ai misteri rivelati in forma simbolica da quei mandala. L’accesso al mandala è infatti il compimento del lungo e paziente tirocinio, la prova della maturità spirituale che il maestro ha riconosciuto nei neofiti. La preparazione scolastica e dottrinale ha eliminato a poco a poco l’ignoranza that darkens the intellect, those errors and the uncertainties that are peculiar to the experience on earth. It now requires baptism to erase the stains congenital those that inevitably accompany our human limitations: a sacrament to help us fulfillment in our revulsion to the other plan and facilitate this, a psychological drama that upsets our inner life , return and palingenesis.
The first thing to do is purification dell'offiziante. No one can take a ritual if it is spiritually and physically pure fasting and abstinence are lawfully prescribed bathroom.
The choice of location and time is subject to caution. You must choose an auspicious day and a lonely place near the bank of the river or the sea or north of a city, the chapel of a temple, then you must prepare the ground on which you intend to draw the mandala, is to remove the stones, coal, each surplus animals that by chance there is. The ground must be flat, smooth, indicating that its appearance already in the analogy with the transcendent plane, the plane in which the mandala is adamant to be transformed as soon as the rite is performed. Then we need to eliminate the demons ... (8) 1.7
So reading the mandala, the depths of his conscience relive the moments that it represents, and spiritually in order along the various stages that are shown symbolically on the surface, producing lysis. Little by little, rising by degrees from one sector to another of its plot, that is an inner state to another and the next most complete and does not cancel the previous one, but surpasses it in himself content, the neophyte has reached a point Central. This can be done physically, such as in the great mandala used for initiation ceremonies when he, along the various parts of the mandala, finds himself in the center with his person, then that itself experiences the catharsis mandala, or mentally when focusing on the designs of mandala, put himself in the truth than foreshadowed. Of course, this point is the fifth point, the extreme point capable di una rappresentazione visibile: fuori, al di sopra è il sesto punto, l’altro piano, il Vajradhara, nel quale il miste si annulla, dal centro mandalico, così raggiunto, penetrando nella sua lucentezza con una revulsione di piano che si determina improvvisa ed immediata.
La revulsione è questione di un istante: quanto si è penetrata la verità o la essenza divina, si conosce tutto (Isvarapratyabhijñâvimarsinî of Abhinavagupta, vol. III, pag. 407, v. 10).
Pertanto il processo si appalesa agli occhi del miste, debitamente iniziato, come un immenso, mobile mandala che ora si proietta nel folgoramento dei suoi simboli visibili, splendenti imagini di dei aureolati di gloria celeste ed abbaglianti, ed ora si riassorbe nel punto centrale, immota stella che in sé tutto riassorbe e da cui tutto con vicenda alterna emana. Ma egli è quel centro, idealmente, identificando il mistico loto sulla sommità della propria testa con quel punto, inesausta matrice di tutto ciò che è, fu e sarà. Siamo quindi necessariamente portati a parlare di questa fase suprema, di questa trasposizione del mandala nel corpo del miste. (9)
Giuseppe Tucci
1 Tucci, G., Teoria e Pratica del Mandala , Casa Editrice Astrolabio-Ubaldini, Roma 1969
2 Id., p. 36
3 Id., p. 39
4 Id., p. 52
5 La condizione indefettibile , aksharam padam (Guhyasamaja, p. 90)
6 Teoria e pratica del Mandala , p. 63
7 Id., p. 78
8 Id., p. 99
9 Id., p. 120
2 Id., p. 36
3 Id., p. 39
4 Id., p. 52
5 La condizione indefettibile , aksharam padam (Guhyasamaja, p. 90)
6 Teoria e pratica del Mandala , p. 63
7 Id., p. 78
8 Id., p. 99
9 Id., p. 120
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