Mandala : the pattern that connects Part 1

MANDALA: THE PATTERN THAT CONNECTS Our culture emphasizes on a pattern at all levels including the ultimate cosmic design or cosmic pattern. The peculiarity of a pattern is its Relations which are more important than objects or points to make a typical pattern. In fact relations intersect to define a point: Intersect to define objects, to create institutions and finally to manifest the cosmos. Each has a place in relation with others and has relation with the One. It is the joining: Dharma, Tantra, Sutra that sustains. This is seen not only in our arts, in sculptures and in our scripts, but has been done at social structure as well : Wherever a person is, he should be helped, allowed to rise up, step by step, grades by grades, without injuring others, without getting injured by others; as per his or her Swabhava, Swadharma, Samskara and Adhikara. The pattern aims at repeating itself on different planes of consciousness. To relate with the Ekatma Manavata Vad of Deendayal Upadhyay, this is the spiral evolution from Vyashti to Samashti, to Srishti and to Parameshti. It is evolution from child to old man, from Masyavatara to Buddhavatara, from muladhara chakra to sahasrar chakra, from pinda to brahmanda, … this concept pervades in Yoga, Jyotisha, Tantra, Yajna and Puja, in temple architecture and even in the so called tribal mysticism and animism. The word Mandala sounds Sanskrit, but it has pierced the walls of Himalaya through Buddhism and reached Tibet. It spread all over the so called Mongolian belt and is seen vividly on their flags, paintings, prayer wheels, and in caves. It is notable in this context that the new paradigm in Physics, in Ecology and in Psychology emphasizes on interrelatedness and interconnectedness. The latest discoveries in Quantum physics as well as Astronomy support a Cosmic design and Pattern theory. Cosmos is not just made from building blocks of matter put on each other linearly. It is a web of interconnecting and intersecting relations. Capra tells us in ‘Uncommon wisdom’: ‘I have learned from Chew that one can use different models to describe different aspects of reality without regarding anyone of them as fundamental. And those several interlocking models can form a coherent theory.’ Gregory Bateson emphasized on relations, not objects and applied this new paradigm to ecology. Laing explained its application to medical practices and healing. They all were thrilled about the ‘Pattern that connects.’ Chew told Dr. Capra that intense concentration for prolonged period of time is an essence of any seeking for continuity is crucial. One can use different models to describe different aspects of reality without regarding anyone of them as fundamental. And those several interlocking models can provide a coherent theory. In fact it is now asserted that behind all apparent things in physical as well as mental world, There is a pattern that connects. The importance of circle, cycle, series of cycles, gradual advance of elements through a cyclic motion of advance and relapse: all these are great favorites in Indian Culture, in her designs, dances and rituals. They must be so because they are simplified visual explanations of the most abstract principles. These cycles lead to rhythm, which is essential in tribal life as well as the later agro based life. The slow rhythmic continuous and curvilinear movements are required in making a pot, an ornament, to weave a cloth, or to process the food grains. The rhythm brought songs on the lips and also gave relaxation essential to allow work for a long time. This built in relaxation and enjoyment avoided separate entertainment mechanisms which today have assumed demonic proportion. The way the dancers join their hands in a typical tribal, Indian dance is same as the way the bamboo strips are joined to make a mat or an article, and also is similar to how a weaving pattern looks. The relation is never 1-2 and 2-3. It is multiple, nonlinear and thus more beautiful, and perhaps more truthful as well.