Womb World Mandala (Taizkai mandara)

Womb World Mandala (Taizkai Mandara) Japan; Kamakura period ( !"# $$$ %&'&)( mid& $th )entur* +an,in, s)roll; )ut ,old foil( ,old paint( and )olor on indi,od*ed silk +& -.&" / W& 0-&1 )m ($" "2! / $ 21 in&) %olle)tion of 3*l4an 5arnet and William 5urto

Mandalas (Japanese( mandara ) are s)hemati) desi,ns of the uni4erse; ke* instruments in the pra)ti)e of esoteri) 5uddhism throu,h 6hi)h a human pra)titioner )an a)hie4e spiritual unit* 6ith the di4ine& These ima,es are illustrati4e representations of )on)epts e/pressed in 5uddhist sutras( or sa)red te/ts( that 6ere transmitted from 7ndia to %hina( and e4entuall* to Korea and Japan&8 3ub9e)t to reinterpretation and reformulation in ea)h host )ulture( mandalas took on ne6 forms in Japan as the*

The term mandala has a 6ider si,nifi)ation in Japanese )ulture than in other 5uddhist )ountries( referrin, not onl* to esoteri) s)hemati) dia,rams su)h as those under )onsideration in this essa*( but also from the earl* ele4enth )entur* on6ards to more representational lands)apes of 5uddha:s paradise or of shrine pre)in)ts& '/amples of the latter t*pe in)lude ima,es of the Kasu,a 3hrine ( an important 3hinto reli,ious site in ;ara& Also( 3*l4an 5arnet and William 5urto( <The Kasu,a =eer Mandala +unt(< in >rientations( ?ol& 18 ;o& (Jan2Feb 8. ) dis)usses the e/pansion of the mandala )on)ept to 4er* different kinds of paintin,s in Japan& 8 For a book@len,th treatment of Japanese mandalas in 'n,lish( see 'lizabeth ten Arotenhuis( Japanese MandalasB Cepresentations of 3a)red Aeo,raph*& +onoluluB Dni4ersit* of +a6aii Press ( ---)& 7n parti)ular( the dis)ussion of Womb World mandala on p& "! @00 features an e/tensi4e dis)ussion and )omparati4e e/amples& The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala) 2

)ame into )onta)t 6ith nati4e elements( 6hilst simultaneousl* bein, brou,ht into dialo,ue 6ith older desi,ns and do)trines from the )ontinent& This is an e/ample of a Womb World Mandala (Japanese( Taizkai mandala )( ori,inall* one half of a pair( 6hi)h illustrates a)ti4e instantiations of the absolute truth of 5uddhism in the phenomenal 6orld& This absolute truth is represented b* the meditati4e fi,ure in the )enter( the 5uddha Maha4airo)ana (Japanese =aini)hi n*orai )( 6hile the surroundin, fi,ures represent 4arious aspe)ts of that truth( all of 6hi)h are manifestations of Maha4airo)ana& >ri,inall* )onstru)ted in three@dimensional form for the ph*si)al demar)ation of spa)e for a rite( ritual )ontemplation or spe)ifi) initiation )eremonies($ t6o@dimensional mandala su)h as this one maintain the )onne)tion 6ith ph*si)al spa)e b* ser4in, as ,round plans for three@dimensional ar)hite)tural stru)tures @ pala)es @ that )an be )onstru)ted 6ithin the ima,ination&1 Maha4airo)ana is pla)ed in a lotus flo6er in the )entral and uppermost le4el of a multi@tiered pala)e( and mo4in, out6ards and do6n6ards from his di4ine and un)han,in, presen)e 6e find an ordered hierar)hi)al arran,ement of 5uddhas and bodhisatt4as before passin, into more )haoti) realms of pro,ressi4el* less enli,htened bein,s( until 6e rea)h( in the outer ed,es of the mandala( the o))upants of the lo6er realms of e/isten)e in the outer ed,es of the mandala( su)h as humans( animals( and hun,r* ,hosts& >n)e initiated into the proper use of these mandala a pra)titioner is able to use it as a ,uide to an internal pil,rima,e& 'nterin, throu,h the outer ,ates that indi)ate the transition from profane to di4ine spa)e( the initiate )an mark milestones of spiritual pro,ress b* passin, throu,h its )ompartmentalized

%ontemporar* Tibetan 5uddhists )ontinue the an)ient pra)ti)e of )onstru)tin, mandala out of )olored sand for the purposes of a spe)ifi) rite( and destro*in, them after it has been )ompleted( thou,h both the ritual use and the preparation of the mandala are a)ts of 6orship& 3ee M& 5rauen( The Mandala( 3a)red %ir)le in Tibetan 5uddhism& EondonB 3erindia Press ( --0)& 1 The 4isual dependen)e on a )oherent ar)hite)tural stru)ture in the Womb World mandala is indi)ati4e of the time in 6hi)h it 6as produ)ed& Thou,h the se4enth@)entur* te/t on 6hi)h the mandala is based( the Maha4airo)ana 3utra (Japanese( =aini)hi@k*)( does ,i4e parti)ular details( the displa*ed ar)hite)ture of ,abled roofs and ,ate6a*s are reminis)ent of Tan, period (F ! @ -.0) %hinese pala)e ar)hite)ture of the ei,hth )entur*( 6hen the i)ono,raph* for the Womb World mandala 6as established (ten Arotenhuis ---( p& F)& 7deas for the )omposition of the mandala are dra6n from )hapter t6o of the Maha4airo)ana 3utra( 6hi)h had been translated into %hinese b* 3ubhakarasimha (F$0@0$") and 7@hsin, (F!$@080)& KGkai introdu)ed the sutra and its )ommentar* in a 4ersion referred to as the =aini)hi@k*@sho and 'nnin or (0-$ @ !F1) introdu)ed another 4ersion referred to as the =aini)hi@k* Aishaku& 3hin,on emplo*s the former sutra( and the Tendai se)t the latter&

The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala) 3

)onfi,urations& 7mportantl*( these ,ates also mark the portals throu,h 6hi)h the pra)titioner lea4es the sa)red realm and returns to the 6orld on)e the rite is )omplete( 9ust as the su))essi4e tiers on ea)h le4el of the pala)e represent le4els of )ons)iousness that the pra)titioner must as)end to( and e4entuall* des)end from upon their return from the spiritual spa)e of the ritual& The demoni) bein,s that mark these transitional zones are not fri,htenin, to the initiate; the* are threatenin, to de4our onl* the passions that obstru)t the belie4er from attainin, enli,htenment& The full meanin, of the Womb World mandala is understood onl* 6hen this mandala is )onsidered to,ether 6ith another t*pe of mandala kno6n as the =iamond World Mandala (Japanese( Kon,kai mandala )& As a pair( these t6o form the T6o Worlds Mandala( or C*kai mandala ( 6hi)h are most )ommonl* arran,ed fa)in, one another upon the east and 6est 6alls of an esoteri) se)t:s initiation hall&" These mandalas e/press different but )omplementar* aspe)ts of the dharma( or 5uddhist truth; the =iamond World representin, rationalit*( the un)onditional( uni4ersal( and absolute( and the Womb World representin, )ompassion( the indi4idual( parti)ular and relati4e aspe)ts of that same truth& The* are thou,ht to ha4e been de4eloped in late ei,hth )entur* %hina b* the monk +ui,uo (01F @ !.")(F and 6ere subseHuentl* introdu)ed to Japan b* the KGkai (0$1 @ !$")(0 kno6n posthumousl* as Kb =aishi (the Areat Tea)her)( 6ho had studied 6ith +ui,uo 6hen KGkai tra4elled to %hina from !.1 to !.F as part of a ,o4ernment sponsored trip&! +ui,uo re)o,nized KGkai as his one true dis)iple(- and imparted his kno6led,e of esoteri) tea)hin,s in the fe6 months remainin, before his death& This spiritual transmission 6as marked materiall* b* KGkai:s re)eipt of +ui,uo:s

"

7t is standard pra)ti)e to pla)e the =iamond World mandala on the 6estern 6all and the Womb World mandala on the eastern 6all (ten Arotenhuis ---( p& $0)& F ibid&( p&$& 0 For ,eneral ba)k,round( see Joseph M& Kita,a6a( <Master and 3a4ior(< in ;akano Aish ()omp& and ed&) 3tudies of 'soteri) 5uddhism and Tantrism& K*otoB ;ai,ai Press( ( -F")( pp& @8F( 6hi)h presents the life and le,end of KGkai& Kita,a6a )ites bio,raphi)al sour)es for KGkai in his Celi,ion in Japanese +istor*& ;e6 IorkB %olumbia Dni4ersit* Press( ( -FF)( pp& F$@F"& ?isual sour)es in)lude se4eral Kamakura period ( !"@ $$$) portraits( and the 7llustrated Eife of Kb =aishi (Japanese( Kb =aishi ,*9ekotoba)( a fourteenth )entur* set of t6el4e hands)rolls that ,raphi)all* depi)t the main e4ents of his life& For a more re)ent stud*( see C*Gi)hi Abe( The Wea4in, of MantraB KGkai and the %onstru)tion of 'soteri) 5uddhist =is)ourse& ;e6 IorkB %olumbia Dni4ersit* Press (8...)&
! -

The trip also in)luded the monk 3ai)h (0F0 @ !88)( 6ho founded the Tendai se)t upon his return&

KGkai:s a))ount of +ui,uo:s final reHuest is translated in Ioshito +akeda( KGkaiB Ma9or Works Translated( 6ith an A))ount of his Eife and a 3tud* of his Thou,ht& ;e6 IorkB %olumbia Dni4ersit* Press ( -08)( pp& 1!@ 1-& The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala) 4

priestl* robe( or kesa ( no6 one of the )elebrated treasures of T@9i temple( K*oto&

Assembled in a pat)h6ork manner from man* fra,ments of 4aluable )loth( these robes are a reminder of the mendi)ant ideal of the monasti) order( and in the 3hin,on faith the* be)ame important do)uments of dharma transmission from master to dis)iple& Dpon his return( KGkai founded the 3hin,on se)t of 5uddhism and is still re4ered toda* as one of Japan:s most si,nifi)ant patriar)hs& Dnderstood a))ordin, its 3ino@Japanese )hara)ters( J3hin,onK means the Jtrue 6ordK or mantra; to,ether( the 3hin,on se)t and the Tendai se)t @ 6hi)h is named for Mt& Tiantai ( in %hina:s Fu9ian pro4in)e( 6here the tea)hin,s 6ere first promul,ated @ is also often referred to as mikk* ( or the Jse)ret tea)hin,K( in )ontradistin)tion to ken,* ( the Jre4ealed tea)hin,s&K This kind of 5uddhism is kno6n as esoteri) (or tantri)) be)ause it relies on the se)ret transmission of kno6led,e throu,h m*sterious and elaborate rituals that def* 4erbal e/pression& 3e)ret tea)hin,s spe)ifi)all* refer to the do)trine of the Jse)retK 5uddha Maha4airo)ana; re4ealed tea)hin,s( to the do)trine re4ealed b* the histori)al 5uddha( LMk*amuni (Japanese( 3haka n*orai)& Mandala are essential to the transmission of these tea)hin,s as 4isual representations of sa)red truths that had no other 4ehi)leB J3in)e the 'soteri) 5uddhist tea)hin,s are so profound as to def* e/pression in 6ritin,( the* are re4ealed throu,h the medium of paintin, to those 6ho are *et to be enli,htened& The 4arious postures and mudras Nsho6n in mandalaO are produ)ts of the ,reat )ompassion of the 5uddha; the si,ht of them ma* 6ell enable one to attain 5uddhahood& The se)rets of the sutras and )ommentaries are for the most part depi)ted in paintin,( and all the essentials of the esoteri) 5uddhist do)trines are( in realit*( set forth therein& ;either masters nor students )an dispense 6ith them& The* are indeed Nthe e/pressions ofO the root and sour)e of the o)eanlike assembl*K& 8 KGkai The 7talian s)holar Aiuseppe Tu))i ( !-1@ -!1)( 6ho 6as one of the first Western s)holars to fo)us his studies on Tibetan 5uddhist art and on mandalas( des)ribes mandala as a Jmeans of reinte,ration;K $ more spe)ifi)all* 6ithin the 3hin,on se)t( mandala are pi)torial attempts to sho6 that all forms of

For a stud* of the importan)e of su)h robes( see Iamaka6a Aki( J7ntert6ined ThreadsB The World of the 'nsho9i Altar %lothK( in Patri)ia Fister et& al& Amamonzeki # A +idden +erita,e B Treasures of the Japanese 7mperial %on4ents& Tok*oB 3ankei 3hinbun ( ---)& This robe 6as re)entl* on displa* at the Tok*o ;ational Museum e/hibition KGkai:s WorldB The Arts of 'soteri) 5uddhism (Jul* 8.th @ 3eptember 8"th 8. )( )at& 0& Minoru Ki*ota( J3hin,on Mikk* MandalaK( in +istor* of Celi,ions( ?ol& !( ;o& (Au,&( -F!)( p& $ & 8 +akeda -08( pp& 1F @ 1F& $ Aiuseppe Tu))i( The Theor* and Pra)ti)e of the Mandala( trans& Alan +ou,hton 5rodri)k& EondonB Cider P %o&( ( -F ) pp& 8 @1!& The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala) 5

e/isten)e are interrelated and essentiall* one( that man:s nature is one 6ith and a part of the 5uddha ?airo)ana& =o)trinall*( this Qreinte,ration: is manifest in the theor* kno6n as sokushin@9butsu ( propounded b* both KGkai and his )ontemporar* 3ai)h (0F0@!88)( 6hereb* 5uddhahood as the deit* ?airo)ana is realized in ea)h human bod* 9ust as that bod* is( in this 4er* e/isten)e& The human pra)titioner is able to attain 5uddhahood in his )urrent bod* b* re)o,nizin, himself as parti)ipatin, in Maha4airo)ana:s 5uddha nature 9ust as Maha4airo)ana re)ipro)all* parti)ipates in the pra)titioner:s bod*& Dnit* 6ith the spee)h( bod* and mind of Maha4airo)ana is a)hie4ed thou,h somati) pra)ti)es su)h as breathin, and )hantin, in rituall* pres)ribed 6a*s& These do)trines( e/pressed 4isuall* throu,h the t6o 6orlds mandala( are illustrati4e of the more dire)t path to enli,htenment pro4ided b* the esoteri) pra)ti)es introdu)ed in the +eian period (0-1 @ !")& A))ordin, to the tea)hin,s of the earlier ;ara period (0 . @ 0-1) s)hools eons and the )*)les of man* e/isten)es 6ere reHuired in order to brin, a pra)titioner to enli,htenment( and as su)h it is eas* to see 6h* 3hin,on:s do)trines( allo6in, for the possibilit* of the enli,htenment of the pra)titioner 6ithin their )urrent lifetime( )aptured the ima,ination of the +eian period nobilit*& The oldest sur4i4in, Japanese mandalas are a pair kno6n as the Takao T6o Worlds mandala in the possession of the Jin,o@9i ( K*oto 1 (Takao is the name of the mountain 6here Jin,o@9i is lo)ated&) 'a)h ima,e of the Takao pair is o4er four metres sHuare( " and 6as )ommissioned b* KGkai to repla)e e/amples he had brou,ht ba)k from %hina that had de,raded throu,h ritual use& Althou,h it is un)lear to 6hat e/tent the initiate 6as meant to use the mandala as a 4isualization aid in meditation( F 6e )an at least sa* that these t6o mandala t*pes( pla)ed behind an altar holdin, 4arious 5uddhist implements and offerin,s of flo6ers and in)ense( )reated an appropriate )eremonial ba)kdrop& Additionall*( in esoteri) initiation )eremonies( an a)ol*te 6ould be blindfolded and instru)ted to )ast a flo6er onto the mandala @ a )eremon* 6hi)h established a personal relationship bet6een the pra)titioner and the fi,ure of the deit* upon 6hi)h the petal landed& 0

After KGkai:s return( later monks( notabl* 'nnin( brou,ht ba)k other esoteri) mandala based on older %hinese models& " 3ee the Tok*o ;ational Museum e/hibition )atalo,B KGkai:s WorldB The Arts of 'soteri) 5uddhism& Tok*oB Tok*o ;ational Museum Press (8. )( )at& nos& 1 and 18& These mandala 6ere )opies of 4ersions that +ui,uo had )ommissioned for the Tan, )ourt& F 3ee Cobert +& 3harf( J5uddhist Modernism and the Chetori) of Meditati4e '/perien)eK( in ;umen( ?ol& 18( ;o& $ (>)t&( --")( pp& 88!@8!$; =a4id Aardiner( JMandala( Mandala on the WallB ?ariations of Dsa,e in the 3hin,on 3)hoolK( in Journal of the 7nternational Asso)iation of 5uddhist 3tudies -( 8 ( --F)( pp& 81" @ 80-&
0

Aardiner --F( pp& 8F. @ 8F"& A))ordin, to the Ce)ord of the Kan9 7nitiation Cite (Japanese( Kan9

rekimei) (KGkai:s World( )at& $-)( the first time an*one re)ei4ed initiations into both the Womb and =iamond World 6as in the ele4enth and t6elfth months of !.-( 6hen KGkai )ondu)ted the ritual for 3ai)h& The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala)

The 5arnet@5urto %olle)tion mandala( e/e)uted in fine ,old lines on indi,o@d*ed silk( is an e/)ellent e/ample of balan)e bet6een the ,eometri)al s*mmetr* of the ar)hite)tural stru)ture and the profusion of 4aried fi,ures& More than four hundred deities are ,i4en a )on4in)in, sense of 4olume despite their simplified )ontours; the softl* )ur4in, strokes are able to )on4e* a sense of the deities: d*nami) mo4ement and intera)tion in the densel* populated spa)e( 6hi)h is delineated more abruptl* b* the appli)ation of )ut@,old leaf or foil used for the ma9or horizontal and 4erti)al lines separatin, the different )ourts( and the )entral lotus petals& ! Aside from its ob4ious material 4alue and si,nifi)ation of pre)iousness( ,old represents the perfe)tion of the 5uddha:s ,reat 6isdom( and the indi,o@blue ba)k,round represents the lapis lazuli( the stone from 6hi)h the 5uddha:s pala)e is built& - Man* e/amples of the T6o Worlds mandala are e/e)uted in pol*)hrome; in this e/ample( ho6e4er( the onl* )olored pi,ment is the red line that si,nifies )ompassion that is painted around the )entral lotus se)tion (dis)ussed belo6)& 7t is rare to ha4e 6orks in ,old and indi,o in this state of preser4ation and s)ale from the Kamakura period ( !"@ $$$) or earlier outside of the ma9or 'soteri) temples in Japan& 7n the )enter of the mandala( a full* opened ei,ht@petalled lotus flo6er holds the 5uddha ?airo)ana( 9e6eled and ,arlanded and in prin)el* raiment( surrounded b* ei,ht petals on 6hi)h are seated four 5uddhas and four 5odhisatt4as( to,ether representin, the nine kinds of )ons)iousnesses& As the mandala radiates out6ards from the )enter( the deities and the meanin,s the* represent be)ome pro,ressi4el* more )on)erned 6ith the phenomenal 6orld( that is( 6ith the pra)ti)al fun)tionin, of kno6led,e and the senses rather than 6ith their )on)eptual purit*&8. Althou,h the i)ono,raph* of ea)h

John Cosenfield and 'lizabeth ten Arotenhuis( Journe* of the Three Je6elsB Japanese 5uddhist Paintin,s from Western %olle)tions& ;e6 IorkB Tuttle ( -0-)( p& 0F& The Takao mandala is a famous lar,e@s)ale e/ample from the ninth )entur* of a mandala of that also utilizes )ut ,old and sil4er foil on pre)ious purple@d*ed silk& A )omparable ele4enth )entur* e/ample is held in the Ko9ima@9i in ;ara( but e4en smaller s)ale 4ersions of mandala produ)ed b* this method are rare (Ari,a Ioshitaka in 5uddha:s 3mile @ Masterpie)es of Japanese 5uddhist Art& Tok*oB Eondon Aaller* Etd& (8..8) )at& --)& 5uddhist sutras had been )opied in ,old onto indi,o d*ed paper and silk from the ei,hth )entur*( and it seems that the same aestheti) is at 6ork in these mandala( and likel* the same )raftsmen 6ere in4ol4ed in their produ)tion& For an e/ample in %hina( see the Auan*in %hapter from an 7llustrated Eotus 3utra also in this e/hibition&
8.

As des)ribed in the ?isualization 3utra (Japanese( Kanmur*9Gk*)&

John Cosenfield and 'lizabeth ten Arotenhuis( Journe* of the Three Je6elsB Japanese 5uddhist Paintin,s from Western %olle)tions& ;e6 IorkB Tuttle ( -0-)( p& 0F& 3ome deities( su)h as the bodhisatt4as Jiz and Kannon( are repeated in different manifestations at different lo)ations throu,hout the mandala to represent their different attributes in different situations and 6orlds& The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala) !

aspe)t of the mandala is too )omple/ to be ,i4en e/hausti4e treatment here(8 there are se4eral broader i)ono,raphi) themes 6hi)h enable a better understandin, of esoteri) ideolo,*& Maha4airo)ana sits in the )entral open lotus flo6er( in lotus posture (le,s )rossed( ea)h foot on opposite thi,h( soles up6ard) his hands formin, the mudra or ritual hand ,esture for meditation (ri,ht palm restin, on left palm( thumbs 9oined to form an o4al)&88 This o4al shape s*mbolizes non@dualit*( and parti)ularl* in 3hin,on do)trine the non@dualit* of human and 5uddha natures& The lotus s*mbolism here is parti)ularl* important; the lotus is re4ered in 5uddhism ,enerall* be)ause it ,ro6s strai,ht up6ards out of the mud( throu,h murk* 6ater to rise pristine and blossom ele,antl* abo4e the 6ater& Eike6ise( the human soul ma* be surrounded b* the filth and darkness of materialism( but it )an rise untarnished into the pure state of enli,htenment& 7n esoteri) 5uddhism the lotus has further si,nifi)ation( s*mbolizin, as it does ho6 the 6orld of the 5uddha )an unfold inside an ordinar* human heart& 7f a lotus seed is split do6n the middle( it appears to )ontain in miniature the full* de4eloped plant )omplete 6ith roots and lea4es( analo,ous to the seed of 5uddha nature present in ea)h sentient bein, that is nurtured b* the 5uddha:s )ompassion&8$ >ther s*mboli) shapes in the mandala @ su)h as the 4essels at the four )orners of the )entral dais and the 4a9ras (st*lized thunderbolts) that partiall* emer,e from bet6een the lotus petals @ ha4e a hi,h le4el of si,nifi)an)e as )eremonial ob9e)ts that are here in)orporated into the pi)toral mandala that adorns the ritual spa)e& The 4essels are 6ish@,rantin, 4ases( the 4a9ra three@pron,ed 6eapons that s*mbolize 6isdom; similar 4ases mi,ht ha4e a)tuall* been used for a)ts of ablution in +indu or 3outh@'ast Asian )eremonies( and later absorbed into 'soteri) i)ono,raph* thereafter& >ri,inall* a +indu s*mbol( in Japan 4a9ras 6ere thou,ht to be made of diamond @ and thus si,nifiers of the un*ieldin, nature of 5uddhist truth& >ften held in the hands of esoteri) deities( the 4a9ras: hardness ,rants them the abilit* to shatter illusion and re4eal the perfe)t 6isdom of the dharma&

Althou,h this mandala shares mu)h in )ommon 6ith others of the Womb World t*pe( but there are also interestin, differen)es& For instan)e( it is a)tuall* a 4ariation of the standard i)ono,raph* that marks it out as an ob9e)t of the Tendai se)t; Catnasambha4a (Japanese( +sh n*orai) is usuall* seated on the left petal @ but here he is sho6n at the top( and the deit* Akshobh*a (Japanese( Ashuku n*orai)( 6ho usuall* o))upies the top petal is instead lo)ated to the left of ?airo)ana& Additionall*( this e/ample falls into the Jlands)ape t*peK brou,ht ba)k from %hina b* 'nnin( in 6hi)h desks are pla)e before A4alokitas4ara (Japanese( Kannon) and Kon,o Rao (Japanese( Rao Aon,en) (Ari,a 8..8)& 3ee also Adrien 3nod,rass( The Matri/ and =iamond World Mandalas in 3hin,on 5uddhism& Adit*a Prakashan ( -!!)& 88 '& =& 3aunders( MudraB A 3tud* of 3*mboli) Aestures in Japanese 5uddhist 3)ulpture& Prin)eton( ;&J&( -!"& 8$ 3hunsh Manabe( JMeanin, of the 'soteri) Mandalas in JapanK( in Moritake Matsumoto( ed&( Pro)eedin,s of the 7tobei >hira Memorial %onferen)e on Japanese 3tudies (?an)ou4erB 7nstitute of Asian Cesear)h( Dni4ersit* of 5ritish %olumbia ( -!1) pp& 8-8 @ 8-$& The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala) "

7t is important to remember that the mandala is not a stati) ima,e @ althou,h 6e usuall* think of meditation as a pra)ti)e to a)hie4e mental stillness( that is not the purpose here& The realit* of a)hie4in, enli,htenment throu,h the mandala is an a)ti4it* 6here one partakes in the pro)ess of uni4ersal sal4ation& This mandala represents )ompassion in a)tion; on)e a)hie4ed b* the pra)titioner( )ompassion radiates out6ards a,ain to6ards all bein,s in the uni4erse& This form of meditation is an a)ti4e pro)ess( transformin, the mind throu,h a series of pro)esses and ba)k a,ain& The mandala then( is not simpl* a pattern to be follo6ed( but b* a trul* intera)ti4e absorption on behalf of the pra)titioner as the ima,e be)omes an e/ternal pro9e)tion of their internal realit*& Katherine E& 5rooks Ph&=& %andidate( =epartment of +istor* of Art and Ar)hite)ture +ar4ard Dni4ersit* Pulitzer Foundation Araduate 3tudent Cesear)h Assistant +ar4ard Art Museums

The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala) #

'/hibitions Marks of 'nli,htenment( Tra)es of =e4otionB Japanese %alli,raph* and Paintin, from the 3*l4an 5arnet and William 5urto %olle)tion& +ar4ard Dni4ersit* Art Museums (8$ =e)ember 8..1 @ 0th April 8..")& Faith and FormB 3ele)ted %alli,raph* and Paintin, from the Japanese Celi,ious Traditions& Freer Aaller* of Art and Arthur M 3a)kler Aaller*

Publi)ations Iukio Eippit and Anne Cose Kita,a6a( Marks of 'nli,htenment( Tra)es of =e4otionB Japanese %alli,raph* and Paintin, from the 3*l4an 5arnet and William 5urto %olle)tion& +ar4ard Dni4ersit* Art Museum Aaller* 3eries( ;o& 11( %ambrid,e( MA (8..1)& Mi*eko Murase and Masako Watanabe( The Written 7ma,eB Japanese %alli,raph* and Paintin, from the 3*l4an 5arnet and William 5urto %olle)tion& ;e6 Iork (8..8) pp& 0F @ !$& Ari,a Ioshitaka( 5uddha:s 3mile @ Masterpie)es of Japanese 5uddhist Art& Tok*oB Eondon Aaller* Etd& (8..8) )at& --& John Cosenfield and 'lizabeth ten Arotenhuis( Journe* of the Three Je6elsB Japanese 5uddhist Paintin,s from Western %olle)tions& ;e6 IorkB Tuttle ( -0-)&

Eist of Works %onsulted Kukai:s WorldB The Arts of 'soteri) 5uddhism& Tok*o Tok*o ;ational Museum Press (8. )&

C*Gi)hi Abe( J3ai)h and KGkaiB A %onfli)t of 7nterpretationsK( in Japanese Journal of Celi,ious 3tudies( ?ol& 88( ;o& 28 (3prin,( --")( pp& .$@ $& C*Gi)hi Abe( The Wea4in, of MantraB KGkai and the %onstru)tion of 'soteri) 5uddhist =is)ourse& ;e6 IorkB %olumbia Dni4ersit* Press (8...)& Iamaka6a Aki( J7ntert6ined ThreadsB The World of the 'nsho9i Altar %lothK( in Patri)ia Fister et& al& Amamonzeki # A +idden +erita,eB Treasures of the Japanese 7mperial %on4ents& Tok*oB 3ankei 3hinbun ( ---)&

The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala) $%

M& 5rauen( The Mandala( 3a)red %ir)le in Tibetan 5uddhism& EondonB 3erindia Press ( --0)& Ci)hard 5o6rin,( JPreparin, for the Pure Eand in Eate Tenth@%entur* JapanK( in Japanese Journal of Celi,ious 3tudies( ?ol& 8"( ;o& $21 (Fall( --!)( pp& 88 @8"0& =a4id Aardiner( JMandala( Mandala on the WallB ?ariations of Dsa,e in the 3hin,on 3)hoolK( in Journal of the 7nternational Asso)iation of 5uddhist 3tudies -( 8 ( --F)( pp& 81" @ 80-& 'lizabeth ten Arotenhuis( Japanese MandalasB Cepresentations of 3a)red Aeo,raph*& +onoluluB Dni4ersit* of +a6aii Press ( ---)& 'lizabeth ten Arotenhuis( JCebirth of an 7)onB The Taima Mandala in Medie4al JapanK( in Ar)hi4es of Asian Art( ?ol& $F ( -!$)( pp& "-@!0& Ioshito +akeda( KukaiB Ma9or Works Translated( 6ith an A))ount of +is Eife and a 3tud* of his Thou,ht& ;e6 IorkB %olumbia Dni4ersit* Press ( -08)& Joseph M& Kita,a6a( <Master and 3a4ior(< in ;akano Aish (ed&) 3tudies of 'soteri) 5uddhism and Tantrism& K*otoB ;ai,ai Press ( -F")( pp& @8F& Joseph M& Kita,a6a( Celi,ion in Japanese +istor*& ;e6 IorkB %olumbia Dni4ersit* Press ( -FF)& Minoru Ki*ota( J3hin,on Mikk* MandalaK( in +istor* of Celi,ions( ?ol& !( ;o& (Au,&( -F!)( pp& $ @"-& Peter Kne)ht( J7se sankei mandara and the 7ma,e of the Pure EandK( in Japanese Journal of Celi,ious 3tudies( ?ol& $$( ;o& 8( ?arieties of Pure Eand '/perien)e (8..F)( pp& 88$@81!& Iukio Eippit and Anne Cose Kita,a6a( Marks of 'nli,htenment( Tra)es of =e4otionB Japanese %alli,raph* and Paintin, from the 3*l4an 5arnet and William 5urto %olle)tion& +ar4ard Dni4ersit* Art Museum Aaller* 3eries( ;o& 11( %ambrid,e( MA (8..1)& 3hunsh Manabe( JMeanin, of the 'soteri) Mandalas in JapanK( in Moritake Matsumoto( ed&( Pro)eedin,s of the 7tobei >hira Memorial %onferen)e on Japanese 3tudies& ?an)ou4erB 7nstitute of Asian Cesear)h( Dni4ersit* of 5ritish %olumbia ( -!1)& Mi*eko Murase and Masako Watanabe( The Written 7ma,eB Japanese %alli,raph* and Paintin, from the 3*l4an 5arnet and William 5urto %olle)tion& ;e6 Iork (8..8) pp& 0F @ !$&

The Pulitzer Foundation for the Arts Reflections of the Buddha

Womb World Mandala (Taizkai Mandala) $$

John Cosenfield and 'lizabeth ten Arotenhuis( Journe* of the Three Je6elsB Japanese 5uddhist Paintin,s from Western %olle)tions& ;e6 IorkB Tuttle ( -0-)& 3a6a C*Gken and +amada Takashi (eds&)( Mikk* bi9utsu taikan& Tok*oB Asahi 3hinbunsha ( -!$@ -!1)& '& =& 3aunders( MudraB A 3tud* of 3*mboli) Aestures in Japanese 5uddhist 3)ulpture& Prin)eton( ;&J& ( -!")& Cobert +& 3harf( J5uddhist Modernism and the Chetori) of Meditati4e '/perien)eK( in ;umen( ?ol& 18( ;o& $ (>)t&( --")( pp& 88!@8!$& To,anoo 3hun( Mandara no Kenk*G& K*otoB ;ai,ai Press ( -80)& Adrien 3nod,rass( The Matri/ and =iamond World Mandalas in 3hin,on 5uddhism& Adit*a Prakashan ( -!!)& Aiuseppe Tu))i( The Theor* and Pra)ti)e of the Mandala( trans& Alan +ou,hton 5rodri)k& EondonB Cider P %o&( ( -F )& Iana,isa6a Taka( T9i no r*kai mandarazuB renmentaru keifu& K*otoB T9i Museum ( --1)& +amada Takashi( Mandara no sekai& Tok*oB 5i9utsu 3huppansha ( -0 ) pp& 8.. @ 8..F& Ann Ionemura( leaflet to a))ompan* the e/hibition Faith and FormB 3ele)ted %alli,raph* and Paintin, from the Japanese Celi,ious Traditions& Washin,ton =&%&B Freer Aaller* of Art and Arthur M 3a)kler Aaller*&

The Pulitzer Foundation for the Arts Reflections of the Buddha