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Mondol,o Designs
Martba Bartfe:ld
(;!!:!)l)met:ri~ desL~ru:~-thne'!eg8 J)'{i,ueHli::J; m'O~lrnd I:n :ST!Q'i/lIJ;[i,~es., f!Q'WIers:, .s;t~iFHsn" the :!i!p~~'a~!ii o~' se'a:<ihe.H~!, ,t!lnrU other obJec~':!i--are,1!I~!j;[]; 'b1l!51c fe:;iWre~, ,af the marll:.llaUilI" all ancient: !1":liUliCUU and !::1uddlii~!].tmoUf :symboUzin:g "universe" nT "'v1ihoCt=[~!J::;;!O,,'" 'CODutailJi~lg' ci.oci,rn;" squares, triall~'I"2:;, iJl"2n~:agort!:i, and other geO'lnetri;c If:i~ures. rn!iiii1;d~1\i:ii desiWlS rt:lsoolJy ar-e reQldered i:nS~die :a drd~'FsqUi.!Ir"-!!"

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INT,RODUCTION
Mandalas (the name comes from, rbe S~n~krit: tv'Ord fur' ""dtd,e") are symmetrical geometric designs, usually enclosed within a circle, 'a ~qu,;n~e:. r a, rectangle, mat o serve as,cosmograrns and as focal points for meditation, Highly developed by HitIJdU;.~:in India and known. '[0 have been, used there in intricate forms during religious ceremonies !by 1:500 H .c, mandalas were constructed and. further elaborated 'by' Tamric Buddhists in Tibet. The 'tr.ad:iitional, Ti be tao, mandalas not only were painted on tankas (scroll paintings on f3,bricJ.j they 'also,we-re ereared as sand p.a,intings formed with mounds of colored rice" and realized En sculpture aad :a,rchittcturei, s'j!]'(h as n' UJ .....,[UJ.!" .. '1i"I~,lo ...." or .... '.,.entire eltv Mand ... ~i~~ ]!'~C ,.. 'L..", ';(''''''"'01 , of .... r-i.I..1i:1Iio........ . " i--rJLi1JLI... are drawn on paper or On the gr·(}:pnd. Their use spread. to Korea and Japan via China; they also are important in the traditional rel'igi(J!n~ ceremonies of Nepal and Bhutan. The Celts, a people with Indo-European ancestry who grcatily intl:uenced the development of Enropeau culture from northern, Italy to the Baltic sea, and who were at 'tht:: hei,ght of their expansion, in the 4th century a.c "E.) Independently developed mandala-like desi gns, These embodied the curvilinear and. latticed lines found In much Celdc art. AlthollJgh the; forms and functions of various kmds of mandalas differ) even '~vithlD the Hindu tradition, :m:;)Jfidalas have in common several qualities: ;,lJ, central point, the geometric nature of the de$i.gn~the symmetry of the pattetn,~ and. 'me, purpose or representing the oneness of the universe formed (If multiple, diverse, and sometimes seemingly chaotic elements. The' Buddhist mand8!1a~ of Tibet, China, and Japan are of t\V'O main kinds: the "womb-world n designs, representing movemen.t: :f.'tom the 0"(; t'o the manYj, and the, "diamond-world" or ~.~ thunderbolt-world" designs, expressing movement tt-o,m the ,momy to the one, The, s311n paintings of the Navaho, Ho.p11 and other indigenc)'us, group,'j; in North America share with, mandalas the four-segment patterns and the strong movement: outward Dr inward, from 0.[ to
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manifestations of the Buddha, and groups of bedhisattvas and othee holy figures The eight-petaled sacred lotus ofHindulsm {N~l1j.mbo nuci.f~'~ a form .of \vate~ my widely ,cldtiv.!ltod, iu south ,&13,) is a common clement in traditional mandalas, Four gateways, (one for each cardinal point of the compass) often are found III ancient mandala designs that are, enclosed wi,thin a square. Circles and sq nares liI~ituaHy are, divided into q uadrants wnhin the mandala d.cslgn~ which mav 'U~#L ',~.' la o-i:"',,:;.ly',,' ,;:0,1 r 'or verv lntrl '....,Ill. te W"tll hund red .s, slmole s.: I:J .... !L u'......... s ,,~ . -.I!r • ~,iL, of squaresand several levels of superimposed patterns, which invhe penetration of layers of Integration and syrn ['QLi5m. h 'i~it~11P'()rtan1r.to :nQte that, beyond the level ' of" symbolism, the. mandala is understood to acrually [,c:comc; the hom.'e 'Of 3~at (1itetl.1l,yl' '''pala(:,e 7)) of gods pertaining to the €±gbt or nine sectors of the, design dur:~ngthe ceremony or meditation. The selection of 44 de g;aL1ldy' simple but powerfully - - 'lIf"y :--.,. des "ern,'" u.-- -:t J .-. Il.,.-. n.. ..... ..... · Ll.GJ!tl~ 0'.:11 - ,,,m .... ,,. "om·e . C:..'11 sugb'';''-;u..... ve ILly .LVlLiLI.1, lUI.i....<I!!L within. ;5-sided (pentagonal) and 6~sidlcd (hexagonal) bordJe;rL~i'as well as ,many within the traditional circles and squares. The artist created these designs in 19,68~as part (if a,larger group of geometric designs that she published fur the usc: of scudents, At the beginning of 1'994 she showed the design manual zo a mend, who e.xdtedly idcmified the dC5i,g.ns a.'S mandalas, Aq, Martha Bartfeld 'W'.iIlS not: famillar with die term ~she explored the nature and. m.'i:,:~nillg mandalas, Later rhar year she moved to of Santa Fe, New Merico~ where she decided to redraw the designs, elaborating them further in, the, p.rocess,. Beginning in 1996. she: twice: shared the designs in selfpu.bli:s:hed books." The first was called Stu/nil ,Ln.'n{jut:l:gc. of the SOu!-M~H'Nhlafjor ,f1:wa,k~'ij:i~.B" udo He.aling. When a many readers commented that they had colored. the maadalas, shc p"~blbhcd the second ada!pta1ci,Q;~; ,MilWic Mandaln COW ring Bo,o,k:' 00 Original D,mgnr .. 2 n Li • M" ban:l,e,u·, Dover ,r U 'L}".ica nons p,re:sen,ts ,.: art ha, 'n C ld' 's
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Mandala Des.igns as J delightful, intriguing' collection of
timeless 'art fo,[ the enjoyment and enlightenment of all people, from children 1'.0 elders, I t h~s ,po,wt;;rful potenrial to enable, each person to take pleasure in universal patterns of line and form while creatively :addlin.g color, ~Ueviai:-etension and boredom while enhancing serenity ~nd, .menul a(.tiv~'l1b :and, hd_p :in spiritual e'::~'plor,atio:n. of the Utn.i.ty of th,e iLUl:iiverse aJll.ci the oneness of aJl lUfe.

~land-ala~ 'are; used during religious initiation ceremonies and, as aids to meditation (both pub~ic and pri,. ...n ~l'\ .,.~: v~t,e:.group' an d ,.!It.'ii.L!L''il.iLid uaij, too reauze tlte presence -0 f' . the: chief incarnation of Hindu dhinhy and~ according to a hierarchic plan, :a :nllul,'tirucie of odler ,grow" In Tanu'h:: Buddhis.m,! th,e mandaJa :simila[iJ,y represents various

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