Case Study: The Tibetan Mandala
The Tibetan Mandala is created by Buddhist monks of the Segyu Lineage. The sand painting is ritually destroyed after the completion of ceremonies
Future study programmes will aim to identify an understanding of various cross-cultural connections between the ephemeral arts of different communities. It aims to highlight similarities and commonalities. Is it legitimate to do this?
Studies should also aim to create an understanding of the visual outcomes of the work of the ephemeral artist. Is this sustainable without explaining the religious or cultural background of the creative output? I believe that it is. People should have the opportunity to first enjoy and appreciate the visual appearance of the Tibetan Mandala shown above, for example. Many students and audiences will find that it is as far as they want to go.
Others will want to explore the spiritual meanings behind the Mandala. Why do Tibetan monks create the mandala? Why do they destroy it after the Losar, the New Year celebrations and the birth of Buddha? How is the painstaking creation of the mandala project, its development, the exhibition and the ultimate ‘removal’ of the mandala ‘managed’ in the context of a festival? What are the religious meanings of the Losar Festival?
The Distance Learning Programme offers further insights into these issues. It is important to note that another form of floor based artform, the Rangoli, also has similar meanings. Associated largely with the people from the Gujarat State in India, the rangoli has been described as a ‘prayer’. Gujarati women who have worked the festival tell me that the 'Rangoli' as shown below and in sections of the main website at http://www.ephemeralarts.com/ is a personal prayer. The artist dedicates her rangoli to Lord Krishna and says further, "If He is happy with my hard work, the rangoli will be accepted and I will be pleased".
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