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Show a, © n the consecrated tek-pu platform, . they begin. The. pattern is.formal.and. traditionally iconographic, including geometric shapes and ancient spiritual symbols—a representation of the floor plan of a sacred mansion. With straight-edge, compass and white ink, the lamas lay out a diagram for the work of art they are to create. In Tibetan, it is called dul-tson-kyil-khor—the mandala of colored powders. In 1999, 40 years after the invasion and occupation of Tibet by Communist China, The Mystical Arts of Tibet tour isn’t just about cultural entertainment. It’s about cul- tural survival. Geshe Yeshe Thelgye, Tibetan Buddhist teacher and spokesperson for the Drepung Loseling Institute in Atlanta, describes the situation in occupied Tibet as little-changed from 1959, when monasteries were burned and the Dalai Lama was forced into exile. “Culture-wise,” says Geshe Yeshe, “there is no religious freedom. People cannot go to pray in temples. From time to time the conditions change; sometimes the restrictions are less severe. Most of the time, there is no freedom.” Americans have grown all-too-familiar with tales of persecution and rebellion in places like Northern Ireland, the West Bank care about being put into prisons; they will stand in front.of Chinese offi- _cials’ buildings and call-for free Tibet. But that is a minority.” Under such circumstances, the Tibetan culture faces virtual extinction in its native country. The 200,000 ethnic Tibetans in exile, primarily in India and Nepal, can only carry that culture with them, into the world outside Tibet’s forbidding mountains. Once the diagram is complete, the next phase begins. The artists apply colored sands to the pattern, rasping them through traditional metal funnels called chak-pur. In ancient times, the sands could be made of precious stones—lapis-lazuli for blue, rubies for red—or from herbs and grains. Working outward from the center, the artists fashion an ever more dazzling and intricate display of color, working eight to nine hours a day for as many as five days. In 1989, Canadian-born writer — Glen Mullin, who was also director of Drepung Loesling Monks, and a moment in the brief life of a mandala Tibet House in Dehli, brought the concept of the Mystical Arts tour to the monks of Drepunk Loseling Monastery. PHOTO COURTESY OF DREPUNG LOSELING MONASTERY provide such education for audiences in North America and Europe. Due to the tremendous expense of bringing the monks “The two hour performance will feature traditional dances for the elimination of negative energies, and chanting in the distinct multiphonic style that allows monks to produce three distinct vocal notes—a complete chord—simultaenously.” and the former Yugoslavia. In Tibet, however, the notion of rebellion often clashes with Buddhist principles. “Normal people there from the monastery, the monks will tour for up to a year and a half, taking them away from their own continuing spiritual study. “They can still keep their daily practices going,” Geshe Yeshe notes, “but they do not have time for philosophical study.” In recent years, philosophical study of Tibetan Buddhism and issues of Tibetan politics and culture have seeped into American popular culture, most notably in The monastery had been established in the 1997 films Seven Years in Tibet and exile in Karnataka State, India, after over Kundun. The tour has subsequently become a more popular, even broader educational experience. “Sometimes,” says Geshe Yeshe, notes. “They just want to leave and raise 500 years near Lhasa, Tibet. “At that time,” Geshe Yeshe says, “the goal was primarily cultural, to teach Hanes about Tibetan cul- their families. ture.” ... don’t talk about freedom,” Geshe Yeshe : “In some cases, young Tibetans don’t It is a great sacrifice for the monks to “people do come up afterwards and ask about Buddhist teachings.” “We do try to initiate people into the culture, and to teach about the love and compassion of Buddha.” elimination of negative energies, and chanting in the distinct multi-phonic style that allows monks to produce three distinct vocal notes—a complete chord—simultae- . nously. Yet the most provocative element of the program may be the taksal, a stylized presentation of monastic spiritual and intellectual debate. “In the daily life of the monastery,” says Geshe Yeshe, “when you attend a teacher, you need to debate logical things. The taksal is a question and answer between a student _and teacher. The purpose is logic and reach_ ing greater wisdom.” Geshe Yeshe acknowledges that “it is sometimes difficult for an audience to understand because it is in the . Tibetan language,” but comments that “they still seem to be interested and to enjoy it.” Geshe Yeshe understands that enjoyment is the key element of the Mystical Arts Tour, and welcomes it. “{Audiences] come to the performance mostly as some- thing fun. If they want to come to will showcase their arts and culture in two distinct forms. From Oct. 19-21, 10 a.m.-4 p.m., the monks will create a mandala, ~ most likely the mandala of the Healing Buddha. The community can experience this singular artistic event in the Black Box Theatre of the Eccles Center. On Friday, Oct. 22 at 8 p.m. in the ads ae oe ae ee See a ae it 4G PORE GREEE Far ea ee eS eee RDF Dh & oe eeden : hioines ~ for World Healing.” The two hour performance will feature traditional dances for the PHOTO COURTESY OF DREPUNG LOSELING MONASTERY Po Ry OY whi need of healing. Ed Eccles Center, the monks will perform a program of “Sacred Music, Sacred Dance Like sands through a chak-pur, so are the days of our lives. EFF The completed, consecrated mandala exists for only a matter of hours. In recognition of the impermanence of all that exists, the monks ritually destroy the mandala, sweeping the sands into a collection urn. They carry the sand to a flowing body of water, pouring the sand in to send the mandala’s healing energies throughout the world. Symbolically, the waters flow even to the monks’ native land, a land greatly iin > CEESee od OMG Witte Ree Re eae Fy | OCTOBER 14, 1999 |17 During their residence in Park City from Oct. 17-24, the monks of Drepung Loesling Buddhism, they will eventually come to the teachings.” Still, there is the hope that exposing Western audiences to the Tibetan culture will help ensure that the culture survives, and spur people to action. When asked if the current popular interest in things Tibetan can help promote change in Tibet itself, Geshe eee offers a wry ae “| hope so,” he says. “ hope so.” bel baci The sand-painted mandala is created as a tool to re-consecrate the earth and its inhabitants. There are mandalas to represent every tantric system, and hundreds of tantric deities. Each one has significance on a variety of levels. On the outer level, they represent the world in its divine form; on the inner level, they represent a map by which the human mind achieves enlightenment; on the secret level, they depict the perfect balance of energies for purification of the mind. |