Yātrā- Journey

Dr Uday Dokras
Yātrā (Sanskrit: यात्रा, 'journey', 'procession'), in Indian-origin religions, Hinduism,
Buddhism, Jainism and Sikhism, generally means a pilgrimage[1] to holy places such
as confluences of sacred rivers, sacred mountains, places associated with Hindu epics such as
the Mahabharata and Ramayana, and other sacred pilgrimage sites.[2] Visiting a sacred place
is believed by the pilgrim to purify the self and bring one closer to the divine. [3] The journey
itself is as important as the destination, and the hardships of travel serve as an act of devotion
in themselves.
A tīrtha-yātrā is a pilgrimage to a sacred site, generally undertaken in groups. Yatri is the
term for anyone who undertakes the yatra. According to Vedic Hindu Dharma Shastras, a
Yatri ought to perform Yatra on foot, called padayatra, ideally barefoot as a form
of tapasya in which the pilgrim should travel without umbrellas or vehicles; however, many
yatris do not follow these niyamas.
In present times, yatras are highly organized affairs, with specialized tourism companies
catering to yatris. State governments are sometimes involved in the organization of annual
yatras, stipulating numbers, registering yatris, and regulating yatri traffic.[5][6] The Hindu
sacred month of Shravan is also the time of the annual Kanwar Yatra, the annual pilgrimage
devotees of Shiva, known as Kanwaria, make to Hindu pilgrimage places
of Haridwar, Gaumukh and Gangotri in Uttarakhand to obtain water from the Ganges River.
In 2003, 55 lakh (5.5 million) pilgrims visited Haridwar.[7] Other Tirtha pilgrimages are Char
Dham Yatra, which involves Badrinath, Kedarnath, Gangotri, and Yamunotri; Amarnath
yatra in Jammu and Kashmir.
There are numerous pilgrimage sites in India and elsewhere.

Buddha-circuit:
This prikarma entails the Lumbini, Bodh Gaya, Sarnath, Sravasti (Jetavana), Rajgir
hills, Kurukshetra (Bodh Stupa on bank of Brahma Sarovar, pilgrimage undertaken by

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Buddha), Shrughna (Yamunanagar, vihara visited by Buddha for sermon), Adi
Badri (saraswati udgam sthal and vihara visited by Buddha), Parinirvana Stupa (place of
death and nirvana of Buddha at Kushinagar, and Sankissa. See also Buddhist pilgrimage sites.
A stupa (Sanskrit: स्तूप) is a mound-like or hemispherical structure containing relics (such
as śarīra – typically the remains of Buddhist monks or nuns) that is used as a place of
meditation. A related architectural term is a chaitya, which is a prayer hall or temple
containing a stupa.
In Buddhism, circumambulation or pradakhshina has been an important ritual and devotional
practice since the earliest times, and stupas always have a pradakhshina path around them.

The "Tomb of Midas" in Gordion, dated to circa 740 BCE/ Royal funeral tumulus of
King Alyattes, Lydia, 6th c. BCE/ Amrit, Phoenicia, 5th c. BCE

Cetiya and Tumulus

Stupas may have originated as pre-Buddhist tumuli in which śramaṇas were buried in a
seated position[2] called chaitya.
Some authors have suggested that stupas were derived from a wider cultural tradition from
the Mediterranean to the South Asia, and can be related to the conical mounds on circular
bases from the 8th century BCE that can be found in Phrygia (tomb of Midas, 8th c.
BCE), Lydia (such as the tomb of Alyattes, 6th c. BCE), or in Phoenicia (tombs of Amrit, 5th
c. BCE).
The Ahom kingdom in medieval Assam built octagonal tumuli called Maidams for their
kings and high officials. The kings were buried in a hillock at Charaideo in Sibsagar district
of Assam, whereas other Maidams are found scattered more widely.Archaeologists in India
have observed that a number of early Buddhist stupas or burials are found in the vicinity of
much older, pre-historic burials, including megalithic sites. A tumulus (plural tumuli) is
a mound of earth and stones raised over a grave or graves. Tumuli are also known
as barrows, burial mounds or kurgans, and may be found throughout much of the world.
A cairn, which is a mound of stones built for various purposes, may also originally have been
a tumulus.
Tumuli are often categorised according to their external apparent shape. In this respect, a long
barrow is a long tumulus, usually constructed on top of several burials, such as passage
graves. A round barrow is a round tumulus, also commonly constructed on top of burials. The
internal structure and architecture of both long and round barrows has a broad range; the
categorization only refers to the external apparent shape.The method of inhumation may
involve a dolmen, a cist, a mortuary enclosure, a mortuary house, or a chamber tomb.
Examples of barrows include Duggleby Howe and Maeshowe.

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The word tumulus is Latin for 'mound' or 'small hill', which is derived from the Proto-Indo-
European root *teuh2- with extended zero grade *tum-, 'to bulge, swell' also found in tomb,
tumor, tumescent, thumb, thigh, and thousand.

This includes site associated with the Indus Valley Civilization where broken Indus-era
pottery was incorporated into later Buddhist burials.[7] Structural features of the stupa-
including its general shape and the practice of surrounding stupas with a stone or wooden
railing- resemble both pre-Mauryan era cairn burials, as well as pre-historic relic burials
found in southern India. Some stupas not believed to have been looted have been found to be
empty when excavated, as have some pre-historic cairn sites, and animal bones are suspected
to have occasionally been deposited at both types of sites.
Mounds for the relics of the Buddha (5th century)

The Piprahwa stupa is one of the earliest surviving stupas./ Buddha's ashes Stupa built by
the Licchavis, Vaishali and one of the earliest stupas
Buddhist architecture
Religious buildings in the form of the Buddhist stupa, a dome shaped monument, started to
be used in India as commemorative monuments associated with storing sacred relics of the
Buddha.[9] After the parinirvana of the Buddha, his remains were cremated and the ashes
divided and buried under eight mounds with two further mounds encasing the urn and the
embers. The relics of the Buddha were spread between eight stupas,
in Rajagriha, Vaishali, Kapilavastu, Allakappa, Ramagrama, Pava, Kushinagar,
and Vethapida. The Piprahwa stupa also seems to have been one of the first to be built. Lars
Fogelin stated that the Vaisali relic stupa and Nigali Sagar stupa are likely the earliest
archaeologically known stupas.
Guard rails —consisting of posts, crossbars, and a coping— became a feature of safety
surrounding a stupa.[13] The Buddha had left instructions about how to pay homage to the
stupas: "And whoever lays wreaths or puts sweet perfumes and colours there with a devout
heart, will reap benefits for a long time".This practice would lead to the decoration of the
stupas with stone sculptures of flower garlands in the Classical period.
Expansion under Ashoka (250 BCE

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An early stupa, 6 meters (20 ft) in diameter, with fallen umbrella on side at Chakpat,
near Chakdara; probably Maurya, 3rd century BCE
According to Buddhist tradition, Emperor Ashoka (rule: 273—232 BCE) recovered the relics
of the Buddha from the earlier stupas (except from the Ramagrama stupa), and erected 84,000
stupas to distribute the relics across India. In effect, many stupas are thought to date
originally from the time of Ashoka, such as Sanchi or Kesariya, where he also erected pillars
with his inscriptions, and possibly Bharhut, Amaravati or Dharmarajika in Gandhara. Ashoka
also established the Pillars of Ashoka throughout his realm, generally next to Buddhist
stupas.
The first known appearance of the word "Stupa" is from an inscribed
dedication by Ashoka on the Nigali Sagar pillar (spelled in Pali in the Brahmi
script as "Thube" .

Decorated stupas (from 125 BCE)Stupas were soon to be richly decorated with sculptural
reliefs, following the first attempts at Sanchi Stupa No.2 (125 BCE). Full-fledged sculptural
decorations and scenes of the life of the Buddha would soon follow at Bharhut (115
BCE), Bodh Gaya (60 BCE), Mathura (125-60 BCE), again at Sanchi for the elevation of
the toranas (1st century BCE/CE) and then Amaravati (1st-2nd century CE).[17] The
decorative embellishment of stupas also had a considerable development in the northwest in
the area of Gandhara, with decorated stupas such as the Butkara Stupa ("monumentalized"
with Hellenistic decorative elements from the 2nd century BCE)] or the Loriyan Tangai
stupas (2nd century CE).

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Sanchi Stupa No.2, the earliest known stupa with important displays of decorative reliefs,
circa 125 BCE/ East Gateway and Railings of Bharhut Stupa. Sculptured railings: 115
BCE, toranas: 75 BCE./ The Great Stupa at Sanchi. Decorated toranas built from the 1st
c. BCE to the 1st c. CE.[ ////Amaravati stupa, 1st-2nd century CE

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Development in Gandhara (3rd century BCE-5th century CE)

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ButkaraStupa

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Buddhas of Bamiyan, from: Iwan Lawrowitsch Jaworski: Reise der russischen Gesandtschaft in Afghanistan und
Buchara in den Jahren 1878-79, Jena : Costenoble, 1885.

The Ahin Posh stupa was dedicated in the 2nd century CE under the Kushans, and contained
coins of Kaniska I.
The stupa as a structure underwent major evolutions in the area of Gandhara. Since
Buddhism spread to Central Asia, China and ultimately Korea and Japan through Gandhara,
the stylistic evolution of the Gandharan stupa was very influential in the later development of
the stupa (and related artistic or architectural forms) in these areas.[21] The Gandhara stupa
followed several steps, generally moving towards more and more elevation and addition of
decorative element, leading eventually to the development of the pagoda tower.[22] The main
stupa type are, in chronological order:

1. The Dharmarajika Stupa with a near-Indian design of a semi-hemispheric stupa

almost directly on the ground surface, probably dated to the 3rd century BCE. Similar
stupas are the Butkara stupa, the Manikyala stupa or the Chakpat stupa.[15]
2. The Saidu Sharif Stupa, pillared and quincunxial, with a flight of stairs to a dome
elevated on a square platform. Many Gandhara minutiures represent this spectacular
type (1st century CE).[23
3. The Loriyan Tangai Stupa, with an elongated shape and many narrative reliefs, in
many way the Classical Gandharan stupa (2nd century CE).
4. The near-pyramidal Jaulian stupa (2nd century CE).
5. The cruciform type, as in the Bhamala Stupa, with flights of stairs in the four cardinal
directions (4th century CE).[26]

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 The towering design of the second Kanishka stupa (4-5th century CE).[

1. A model resembling the Saidu Sharif Stupa, with square base and four columns (1st
century CE).
2. Loriyan Tangai decorated stupa, in the Greco-Buddhist art of Gandhara (2nd century
CE).
3. A tower-shaped stupa, thought to be the design of the second (rebuilt) Kanishka
stupa, Jaulian monastery
4. Stupa-shaped reliquary, Kushan period, about 2nd century CE
5. Chilas petroglyphs, Buddhist stupa, circa 300-350 CE based on paleography
Origin of the pyramidal temple
Pyramidal temples

The Mahabodhi Temple in 150-200 CE./The Mahabodhi Temple: a stepped pyramid with
round stupa on top
Model of the sikhara of a Buddhist temple; 900s
It is thought that the temple in the shape of a truncated pyramid may have derived from the
design of the stepped stupas which developed in Gandhara. The Mahabodhi Temple in Bodh
Gaya is one such example, formed of a succession of steps with niches containing Buddha
images, alternating with Greco-Roman pillars. The structure is crowned by the shape of an
hemispherical stupa topped by finials, forming a logical elongation of the stepped Gandharan
stupas such as those seen in Jaulian.
Although the current structure of the Mahabdhodi Temple dates to the Gupta period (5th
century CE), the "Plaque of Mahabhodi Temple", discovered in Kumrahar and dated to 150-
200 CE based on its dated Kharoshthi inscriptions and combined finds of Huvishka coins,
suggests that the pyramidal structure already existed in the 2nd century CE. This is confirmed
by archaeological excavations in Bodh Gaya.
This truncated pyramid design also marked the evolution from the aniconic stupa dedicated to
the cult of relics, to the iconic temple with multiple images of the Buddha and Bodhisattvas.
This design was very influential in the development of later Hindu temples.
Expansion in Asia-Asian stupas

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The Chinese Songyue Pagoda Row of stupas on roadside east of Leh, Ladakh
(523 CE) is thought to derive from the Gandharan tower-stupa model.[32]
Stupa architecture was adopted in Southeast and East Asia, where it became prominent as
a Buddhist monument used for enshrining sacred relics. The Indian gateway arches,
the torana, reached East Asia with the spread of Buddhism. Some scholars hold
that torii derives from the torana gates at the Buddhist historic site of Sanchi (3rd century
BCE – 11th century CE). In Tibet, the stupa became the chörten, and the pagoda in East
Asia. The pagoda has varied forms that also include bell-shaped and pyramidal styles. In the
Western context, there is no clear distinction between a stupa and a pagoda. In general,
however, "stupa" is the term used for a Buddhist structure in India or Southeast Asia while
"pagoda" refers to a building in East Asia which can be entered and which may be used for
secular purposes. However, use of the term varies by region. For example, stupas in Burma
tend to be referred to as "pagodas."
Stupas were built in Sri Lanka soon after Devanampiya Tissa of Anuradhapura converted to
Buddhism. The first stupa to be built was the Thuparamaya. Later, many more were built
over the years, some like the Jetavanaramaya in Anuradhapura, being one of the tallest
ancient structures in the world.

S Y M B O L I S M

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View of the Wat Phra Kaew complex from the northeast, temple complex of the Emerald
Buddha with stupas
"The shape of the stupa represents the Buddha, crowned and sitting in meditation posture on
a lion throne. His crown is the top of the spire; his head is the square at the spire's base; his
body is the vase shape; his legs are the four steps of the lower terrace; and the base is his
throne.”
Five purified elements
Although not described in any Tibetan text on stupa symbolism, the stupa may represent the
five purified elements:

 The square base represents earth

 The hemispherical dome/vase represents water
 The conical spire represents fire
 The upper lotus parasol and the crescent moon represent air
 The sun and the dissolving point represent wisdom

C O N S T R U C T I O N

To build a stupa, Dharma transmission and ceremonies known to a Buddhist teacher are
necessary.[49] The type of stupa to be constructed in a certain area is decided together with
the teacher assisting in the construction. Sometimes the type is chosen directly connected
with events that have taken place in the area.[49]

The sharing of the relics of the Buddha. Greco-Buddhist art of Gandhara, 2-3rd century
CE. ZenYouMitsu Temple Museum, Tokyo.

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 Buddha relics from Kanishka's stupa in Peshawar, Pakistan. These surviving relics are
now housed in Mandalay, Myanmar.

Treasury
All stupas contain a treasury filled with various objects. Small clay votive offerings
called tsatsas in Tibetan fill most of the treasury. Creation of various types of tsatsas is a
ceremony itself. Mantras written on paper are rolled into thin rolls and put into small clay
stupas. One layer of tsatsas is placed in the treasury, and the empty space between them
is filled with dry sand. On the thus created new surface, another layer of tsatsas is made,
and so on until the entire space of the treasury is full.[49]
The number of tsatsas required to completely fill the treasury depends on its size and the
size of the tsatsa. For example, the Kalachakra stupa in southern Spain contains
approximately 14,000 tsatsas.
Jewellery and other "precious" objects are also placed in the treasury. It is not necessary
that they be expensive, since it is the symbolic value that is important, not the market
price.[49] It is believed that the more objects placed into the stupa, the stronger the energy
of the stupa.
Tree of Life
An important element in every stupa is the "Tree of Life". This is a wooden pole covered
with gems and thousands of mantras; it is placed in the central channel of the stupa. It is
positioned during a ceremony or initiation, where the participants hold colorful ribbons
connected to the Tree of Life. Together, the participants make their most positive and
powerful wishes, which are stored in the Tree of Life. In this way the stupa is charged,
and starts to function.
Benefit
Building a stupa is considered extremely beneficial, leaving very positive karmic imprints
in the mind. Future benefits from this action result in fortunate rebirths. Fortunate worldly
benefits will be the result, such as being born into a rich family, having a beautiful body,
a nice voice, being attractive, bringing joy to others, and having a long and happy life in
which one's wishes are quickly fulfilled. On the absolute level, one will also be able
quickly to reach enlightenment, the goal of Buddhism.
Destroying a stupa, on the other hand, is considered an extremely negative deed, similar
to killing. Such an action is said to create massive negative karmic imprints, leading to
serious future problems. It is said this action leaves the mind in a state of paranoia after
death has occurred, leading to totally unfortunate rebirths
Circumambulation (from Latin circum around and ambulātus to walk) is the act of moving
around a sacred object or idol.
Circumambulation of temples or deity images is an integral part
of Hindu and Buddhist devotional practice (known in Sanskrit as pradakśiṇā). It is also
present in other religions, including Christianity, Judaism, and Islam.
Parikrama
In many Hindu temples, the temple structure reflects the symbolism of the Hindu association
of the spiritual transition from daily life to spiritual perfection as a journey through stages.
Passageways for circumambulation are present through which worshipers move in a

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clockwise direction, starting at the sanctuary doorway and moving inward toward the inner
sanctum where the deity is enshrined. This is a translation of the spiritual concept of
transition through levels in life into bodily movements by the worshipers as they move
inwardly through ambulatory halls to the most sacred centre of spiritual energy of the deity. It
is done in a clockwise direction and in an odd rather than even number of times.
Circumambulatory walking around the shrine, by keeping time, is a common form of Hindu
prayer. The ambulatory pathway made of stone around the shrine is called
the Pradakshina path.
In the Catholic Church, a priest sometimes circumambulates an altar while incensing it with
a thurible. Also, at some Catholic shrines, it is a tradition to circle the cult object of the place,
usually relics of a saint or an image of Jesus or the Virgin Mary. Often this is performed three
times, as a reference to the Trinity.
Parikrama

Relief of a devotee couple in Greek dress (right), with two Buddhist monks (left),
cicumbulating a stupa. Private collection. Personal photograph 2006. Description: the male
devotee holds a lamp in his right hand. He has hair, marked by the volume of his mane and
incised lines, identifying him as a lay devotee, in contrast to the monks who are shaven. Also,
his dress covers both shoulders, whether the monks only leave the right shoulder bare. He is
accompanied by his wife, who wears a scarf over the head and forms a gesture of
devotion. Detail of the couple of devotees, in profile. Frontal detail. Top detail. A similar
scene is also visible at the British Museum (drawing hereafter).

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Ground plan of Borobudur showing the 9 platforms, each of which can be circumambulated,
and the large central stupa
Also called pradakṣina or caṅkramaṇa in Sanskrit.
In Zen Buddhism, jundō can mean any ritual circuit or circumambulation. At Tassajara each
morning, the officiating priest ( 導 師 dōshi) visits four different altars on their way to
the zendō, to make bows and offerings of incense. This jundō begins with the first rolldown
of the han and ends as the dōshi enters the zendō with the third rolldown. After offering
incense and bowing at the altar, the dōshi walks around the zendō behind the meditators, in
what is called the kentan, inspection of the sitting platform. As the dōshi passes, each resident
raises their hands in gasshō without bowing. This joins the dōshi and sitters in mutual
acknowledgement.
THE DYNAMISM OF THE YANTRA
It consists of three concentric parts:
1. An inner figure of interpenetrating triangles. This 2gure, symmetric in its vertical
central axis, contains both upward-pointing triangles (vahni), symbolizing the male
element (“Purusha”, the Cosmic Person), and downward-pointing triangles (sakti ),
symbolizing the female aspect (“Prakriti”, i.e. energy) of divinity. There are 4 male
triangles, and 5 female ones. Their inter-penetration symbolizes the complementarity
of the opposite principles in creating the illusion of duality through ignorance,
whereas the general symmetry and balance of the whole 2gure symbolizes the more
profound reality of Unity of God through its various unfoldings.

2. Two concentric rings, holding a regular lotus (padma) design. The inner pattern bears
8 lotus petals, the outer one 16. These patterns symbolize the sanctity of the inner
diagram, used as instrument (yantra) in yoga meditation; such diagrams are abstract
analogues of the more profusely decorated tibetan thankas
3. A triple Greek-like key-pattern, the bhupura ( , or si# sirita # (shivered) frame. It
symbolizes the ground-plan of a temple with 4 square openings, in the 4 directions of

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 space. This sanctuary is the seat (pitha) . ha) of one’s chosen deity or devata, representing
one’s Higher Self. The Sri Yantra diagram is a sacred symbol of Tantric Hinduism, and it
is traditionally used in yoga meditation exercises. The original edition of Zimmer had
erroneous descriptions of Sr ! Yantra, according to the later English translation.
Unfortunately, that one is also marred with errors in diagrams, and unclear references to
inside-out construction instructions for the drawing of the triangular central pattern. T
For those who are interested in obtaining a deeper insight please read- Theoretical
Computer Science 281 (2002) 609 – 628 www.elsevier.com/locate/tcs, Sri Yantra
Geometry, Gerard Huet which gives aa more precise analysis of Sr ! Yantra than was
previously available in the published literature. We oGer this study as evidence of the
non-triviality of bridging the cultural gap between Humanities and Science on the one
hand, and Eastern–Western knowledge, or sensibility, on the other.
Vaastu Shastra, the ancient Indian canons of architecture and town planning, employs
symmetrical drawings called mandalas. Complex calculations are used to arrive at the
dimensions of a building and its components. The designs are intended to integrate
architecture with nature, the relative functions of various parts of the structure, and ancient
beliefs utilizing geometric patterns (yantra), symmetry and directional alignments. However,
early builders may have come upon mathematical proportions by accident. The
mathematician Georges Ifrah notes that simple "tricks" with string and stakes can be used to
lay out geometric shapes, such as ellipses and right angles.

The mathematics of fractals has been used to show that the reason why existing buildings
have universal appeal and are visually satisfying is because they provide the viewer with a
sense of scale at different viewing distances. For example, in the tall gopuram gatehouses
of Hindu temples such as the Virupaksha Temple at Hampi built in the seventh century, and
others such as the Kandariya Mahadev Temple at Khajuraho, the parts and the whole have the
same character, with fractal dimension in the range 1.7 to 1.8. The cluster of smaller towers
(shikhara, lit. 'mountain') about the tallest, central, tower which represents the holy Mount
Kailash, abode of Lord Shiva, depicts the endless repetition of universes in Hindu
cosmology. The religious studies scholar William J. Jackson observed of the pattern of
towers grouped among smaller towers, themselves grouped among still smaller towers, that:
The ideal form gracefully artificed suggests the infinite rising levels of existence and
consciousness, expanding sizes rising toward transcendence above, and at the same time
housing the sacred deep within.
The Meenakshi Amman Temple is a large complex with multiple shrines, with the streets
of Madurai laid out concentrically around it according to the shastras. The four gateways are
tall towers (gopurams) with fractal-like repetitive structure as at Hampi. The enclosures
around each shrine are rectangular and surrounded by high stone walls.[
Sacred geometry ascribes symbolic and sacred meanings to certain geometric shapes and
certain geometric proportions. It is associated with the belief that a god is the geometer of the
world. The geometry used in the design and construction of religious structures such
as churches, temples, mosques, religious monuments, altars, and tabernacles has sometimes
been considered sacred. The concept applies also to sacred spaces such as temenoi, sacred
groves, village greens, pagodas and holy wells, Mandala Gardens and the creation
of religious and spiritual art.
Mathematics and art: The belief that a god created the universe according to a geometric
plan has ancient origins. Plutarch attributed the belief to Plato, writing that "Plato said god

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geometrizes continually" (Convivialium disputationum, liber 8,2). In modern times, the
mathematician Carl Friedrich Gauss adapted this quote, saying "God arithmetizes".
Johannes Kepler (1571–1630) believed in the geometric underpinnings of the cosmos
Harvard mathematician Shing-Tung Yau expressed a belief in the centrality of geometry in
2010: "Lest one conclude that geometry is little more than a well-calibrated ruler – and this is
no knock against the ruler, which happens to be a technology I admire – geometry is one of
the main avenues available to us for probing the universe. Physics and cosmology have been,
almost by definition, absolutely crucial for making sense of the universe. Geometry's role in
this may be less obvious, but is equally vital. I would go so far as to say that geometry not
only deserves a place at the table alongside physics and cosmology, but in many ways it is the
table.
A religious symbol is an iconic representation intended to represent a specific religion, or a
specific concept within a given religion.
Religious symbols have been used in the military in many different countries, such as
the United States military chaplain symbols. Similarly, the United States Department of
Veterans Affairs emblems for headstones and markers recognize 57 symbols (including a
number of symbols expressing non-religiosity).
A mandala (Sanskrit: मण्डल, or 'circle', is a geometric configuration of symbols. In various
spiritual traditions, mandalas may be employed for focusing attention of practitioners and
adepts, as a spiritual guidance tool, for establishing a sacred space and as an aid
to meditation and trance induction. In the Eastern
religions of Hinduism, Buddhism, Jainism and Shintoism it is used as a map representing
deities, or especially in the case of Shintoism, paradises, kami or actual shrines. A mandala
generally represents the spiritual journey, starting from outside to the inner core, through
layers.
In spiritual or religious process, a mandala is a period of approximately 40 days in which
time the human system completes one physiological cycle.

In Hinduism, a basic mandala, also called a yantra, takes the form of a square with four
gates containing a circle with a center point. Each gate is in the general shape of a T.
Mandalas often have radial balance
A yantra is similar to a mandala, usually smaller and using a more limited colour palette. It
may be a two- or three-dimensional geometric composition used in sadhanas, puja or
meditative rituals, and may incorporate a mantra into its design. It is considered to represent
the abode of the deity. Each yantra is unique and calls the deity into the presence of the
practitioner through the elaborate symbolic geometric designs. According to one scholar,
"Yantras function as revelatory symbols of cosmic truths and as instructional charts of the
spiritual aspect of human experience"
Many situate yantras as central focus points for Hindu tantric practice. Yantras are not
representations, but are lived, experiential, nondual realities. As Khanna describes:
Despite its cosmic meanings a yantra is a reality lived. Because of the relationship that exists
in the Tantras between the outer world (the macrocosm) and man's inner world (the
microcosm), every symbol in a yantra is ambivalently resonant in inner–outer synthesis, and
is associated with the subtle body and aspects of human consciousness.[6]

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The term 'mandala' appears in the Rigveda as the name of the sections of the work, and Vedic
rituals use mandalas such as the Navagraha mandala to this day
Mandala is the Sanskrit word for “circle.” The term mandala was introduced into
the Buddhist and Hindu religions as an aid to meditation. A mandala is a vaguely circular
shape with repeating patterns. Some mandalas include a square with four “gates” within the
circle. Each gate has a center point in the form of a T. To a Buddhist or Hindu, a mandala
represents a cosmos within the universe. It is considered a sacred art form with spiritual
significance. In Western culture mandalas are often found in diagrams, charts, or geometric
designs. Mandalas are recently popular art forms used in adult coloring books. They are
intricate and beautiful once color is added.

In Hinduism, mandalas have both religious and political significance. Their intricate designs
can symbolize various forms of power in government, as well as spiritual focus and unity. A
mandala can represent a governmental system and can be used as almost a map of a particular
political infrastructure. In religion, the mandala itself is not seen as having supernatural
powers as an idol might. It is merely a tool used by Hindus to aid them in focusing,
“centering,” and meditating. Many traditional mandalas include depictions of a lotus flower,
which is sacred in Hinduism and some other false religions. The intricate designs found
within a mandala have significance for devout Hindus, but that significance is usually lost to
the general public. Because Hinduism is such a loosely defined religion, mandalas have no
strict definition or usage, either.

The question arises as to whether Christians should shun mandalas because of their
significance in false religion. Some people believe the mandala’s association with paganism
requires Christians to avoid them the way they would a carved idol. Since an idol is a
representative of godless religion and thought to have supernatural powers, it should not be
enjoyed in any way by followers of Jesus. Other people are completely unaware of the
mandala’s religious ties and simply enjoy the beauty and intricacies of the designs. And some
Christians land in the middle of these two views: they are aware of the Buddhist and Hindu
origins of mandalas but see no problem with enjoying them as coloring projects or in other
artistic avenues. Since there is no religious significance attached to a Christian’s use of the
mandala, is the picture wrong in itself?

The answer to whether or not a mandala is wrong has to do with one’s conscience and
motivation. Paul addresses some similar issues in great detail in Romans 14. In his day, the
question was whether or not Christians should celebrate the Sabbath or eat food offered to
idols. People in the church were taking sides and creating division. Each faction hoped that
the apostle would side with them and tell the others how wrong they were. Instead, Paul
wrote, “One person’s faith allows them to eat anything, but another, whose faith is weak, eats
only vegetables. The one who eats everything must not treat with contempt the one who does
not, and the one who does not eat everything must not judge the one who does, for God has
accepted them” (Romans 14:2–3). He went on to say, “One person considers one day more
sacred than another; another considers every day alike. Each of them should be fully
convinced in their own mind” (verse 5).

His conclusion was that “whatever you believe about these things keep between yourself and
God. Blessed is the one who does not condemn himself by what he approves. But whoever
has doubts is condemned if they eat, because their eating is not from faith; and everything
that does not come from faith is sin” (Romans 14:22–23). Paul stressed the importance of
having a clear conscience in matters that were not clearly sinful.

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When we apply that principle to mandalas, our stance should be, “What would God have me
do? Does my conscience bother me when I enjoy a mandala?” If we can’t color, paint, or
enjoy mandalas without thinking of Hindu religious practices, then it is wrong for us. But just
because one person’s conscience condemns him does not mean the consciences of others are
so condemned. On the other hand, if we are hosting a former Hindu who equates mandalas
with false religion, then it may be offensive for us to display our mandala collection. Doing
so could cause a brother to stumble (1 Corinthians 8:13). Our highest priority must always be
unity, purity, and doing everything for the glory of God (1 Corinthians 10:31).

Here is an example of a mandala:

The Shri Yantra, Sri Yantra, or Shri Chakra is a form of mystical diagram (yantra) used
in the Shri Vidya school of Hinduism. It consists of nine interlocking triangles of which 4 are
for Shiva and 5 for Raj rajeshwari(parvati ) that surround a central point known as a bindu.
These triangles represent the cosmos and the human body. Because of its nine triangles, Shri
Yantra is also known as the Navayoni Chakra.[1] When the two-dimensional Shri Yantra is
represented in three dimensions, it is called a Mahameru. Mount Meru derives its name from
this shape. In addition to Mount Meru, all other yantras derive from the Shri Yantra.
In the 2009 issue of Brahmavidya (the journal of the Adyar Library), Subhash Kak argues
that the description of Shri Yantra is identical to the yantra described in the Śrī Sūkta in veda.

The Shri Yantra's 9 constituent triangles vary in size and shape and intersect to form 43
smaller triangles, organized in 5 concentric levels. Together they represent the totality of the
cosmos and express Advaita or non-duality. In the middle, the power point (bindu) represents
the cosmic center. The triangles are circumscribed by two concentric circles composed of 8
and 16 petals, representing the lotus of creation and reproductive vital force. The entire
configuration is framed by the broken lines of an earth square, representing a temple with
four doors open onto the regions of the universe.

Shri Yantra in various forms

21
 Shri Yantra engraved in metal/// The Shri Yantra shown in the three-dimensional
projection called Mahāmeru/ The Lalita Sahasranama in diagrammatic form, showing
how its nine interlocking triangles form a total of 43 smaller triangles.

S Y M B O L I S M
The worship of the Shri Yantra is central to the Shri Vidya system of Hindu worship. It
represents the Goddess in the form of Devi Tripura Sundari, the natural beauty of the three
worlds: Bhu Loka (Physical Plane, Consciousness of the Physical Plane), Bhuvar Loka
(Antariksha or Intermediate Space, Sub-Consciousness of the Prana) and Swar Loka
(Svarga or Heaven or Super-Consciousness of the Divine Mind). The Shri Yantra is the
symbol of Hinduism, which is based on the Hindu philosophy of the vedas. The Shri Yantra
is the object of devotion in Shri Vidya.[5]
The Shri Yantra represents the evolution of the multiverse as a result of the natural Divine
Will of the Godhead Aadi Paraa Shakti. The four upward-pointing isosceles
triangles represent the Goddess's masculine embodiment Brahm, while the five downward-
pointing triangles symbolize the female embodiment Jagat jannani.[5] The 12 and 15 sides of
the four upward and five downward triangles also correspondingly symbolise, on the physical
plane, the 12 sidereal zodiac signs of the Sun and 15 'nityas' phase-signs of the Moon.[6]
The Shri Yantra is also known as the nav chakra because it can be seen to consist of nine
concentric layers that radiate outward from the bindu. ("Nau" or "nava" means "nine"
in Sanskrit.) Each level corresponds to a mudra, a yogini and a specific form of the deity
Tripura Sundari along with her mantra. The various deities residing in the nine levels of the
Shri Yantra are described in the Devi Khadgamala Mantra. These levels, listed from
outermost to innermost, are:

1. Trailokya Mohana, the outermost square, traced in three lines and interrupted by four
recessed portals;
2. Sarvasaa Paripuraka, the outer lotus, consisting of 16 petals;
3. Sarva Samkshobahana, the inner lotus, consisting of 8 petals;
4. Sarva Saubhagyadayaka, the outermost ring of small triangles (14 in total);
5. Sarvarthasadhaka, the next ring of triangles (10 in total);
6. Sarva Rakshakara, a smaller ring of 10 triangles;
7. Sarva Rogahara, a ring of 8 small triangles;
8. Sarva Siddhiprada, one small triangle containing the bindu at its center;
9. Sarva Anandamaya, the bindu.

22
The sound of the shankha symbolises the sacred Om sound. Vishnu holding the conch
represents him as the god of sound. Brahma Vaivarta Purana declares that shankha is the
residence of both Lakshmi and Vishnu, bathing by the waters led through a shankha is
considered like bathing with all holy waters at once. Sankha Sadma Purana declares that
bathing an image of Vishnu with cow milk is as virtuous as performing a million yajnas (fire
sacrifices), and bathing Vishnu with Ganges river water frees one from the cycle of births. It
further says "while the mere sight of the conch (shankha) dispels all sins as the Sun dispels
the fog, why talk of its worship?” Padma Purana asserts the same effect of bathing Vishnu by
Ganges water and milk and further adds doing so avoids evil, pouring water from a shankha
on one's own head before a Vishnu image is equivalent to bathing in the pious Ganges river.
A Shankha (conch shell) has religious ritual importance in Hinduism. It is the shell of any
suitable sea snail which had a hole made for the performer's embouchure.
In Hindu history, the shankha is a sacred emblem of The Hindu preserver god Vishnu. It is
still used as a trumpet in Hindu ritual, and in the past was used as a war trumpet. The shankha
is praised in Hindu scriptures as a giver of fame, longevity and prosperity, the cleanser of sin
and the abode of goddess Lakshmi, who is the goddess of wealth and consort of Vishnu.
The shankha is displayed in Hindu art in association with Vishnu. As a symbol of water, it is
associated with female fertility and serpents (Nāgas). The shankha is the state emblem of the
Indian state of Kerala and was also the national emblems of the Indian princely
state of Travancore, and the Kingdom of Cochin.
The shankha is one of the eight auspicious symbols of Buddhism, the Ashtamangala, and
represents the pervasive sound of Buddhism.
A powder made from the shell material is used in ayurveda as a treatment for stomach
ailments.
In the Western world, in the English language, the shell of this species is known as the
"divine conch" or the "sacred chank". It may also be simply called a "chank" or conch. The
more common form of this shell is known as "right-turning" in a religious context, although
scientists would call it "dextral". A very rarely encountered form has reverse coiling which is
called "left-turning" in a religious context, but is known as "sinistral" or left-coiling in a
scientific context.[
In Buddhism, the conch shell has been incorporated as one of the eight auspicious symbols,
also called Ashtamangala. The right-turning white conch shell, represents the elegant, deep,
melodious, interpenetrating and pervasive sound of Buddhism, which awakens disciples from
the deep slumber of ignorance and urges them to accomplish their own welfare and the
welfare of others
Shankha was the Royal State Emblem of Travancore and also figured on the Royal Flag of
the Jaffna kingdom. It is also the election symbol of the Indian political party Biju Janata Dal.
Shankh was also used by sikh warriors before they started the war. The maryada is still
practiced by all nihangs while doing aarti aarta prayer and is used in hola mohalla festival as
well.

23
 A shankha carved
Shankha is one of the main attributes of Vishnu. Vishnu's images, either in sitting or standing
posture, show him holding the shankha usually in his left upper hand, while Sudarshana
Chakra (chakra – discus), gada (mace) and padma (lotus flower) decorate his upper right, the
lower left and lower right hands, respectively.
Avatars of Vishnu like Matsya, Kurma, Varaha and Narasimha are also depicted holding
the shankha, along with the other attributes of Vishnu. Krishna – avatar of Vishnu is
described possessing a shankha called Panchajanya. Regional Vishnu forms
like Jagannath and Vithoba may be also pictured holding the shankha. Besides Vishnu, other
deities are also pictured holding the shankha. These include the sun god Surya, Indra – the
king of heaven and god of rain[17] the war god Kartikeya,[18] the goddess Vaishnavi[ and the
warrior goddess Durga. Similarly, Gaja Lakshmi statues show Lakshmi holding a shankha in
the right hand and lotus on the other.[
Sometimes, the shankha of Vishnu is personified as Ayudhapurusha "weapon-man" in the
sculpture and depicted as a man standing beside Vishnu or his avatars. [21] This subordinate
figure is called the Shankhapurusha who is depicted holding a shankha in both the hands.
Temple pillars, walls, gopuras (towers), basements and elsewhere in the temple, sculpted
depictions of the shankha and chakra – the emblems of Vishnu – are seen. [22] The city
of Puri also known as Shankha-kshetra is sometimes pictured as a shankha or conch in art
with the Jagannath temple at its centre.

24
Carved conches or Vamavarta shankhas, circa 11–12th century, Pala period, India: The
leftmost one is carved with the image of Lakshmi and Vishnu, and has silver
additions.RIGHT A Shankha (conch shell) with Vishnu emblem carved.
Shaligrams are iconographic fossil stones particularly found in the Gandaki River in Nepal
which are worshipped by Hindus as representative of Vishnu. The shaligrama – which has the
marks of a shanka, chakra, gada and padma arranged in this particular order – is worshipped
as Keshava. Twenty-four orders of the four symbols defined for Shaligrama are also followed
in worship of images of Vishnu with different names. Out of these, besides Keshava the four
names of images worshipped starting with Shankha on the upper hand,
are: Madhusudanah, Damodara, Balarama and Vamana
A Hindu legend in the Brahma Vaivarta Purana recalls the creation of conchs: Shiva flung a
trident towards the asuras, burning them instantaneously. Their ashes flew in the sea creating
conchs.[4] Shankha is believed to be a brother of Lakshmi as both of them were born from the
sea. A legend describes an asura named Shankhasura, who was killed by Vishnu's
fish avatar, Matsya.
In the Hindu epics of Ramayana and Mahabharata, the symbol of Shankha is widely adopted.
In the Ramayana epic, Lakshmana, Bharata and Shatrughna are considered part-incarnations

25
of Sheshanaga, Sudarshana Chakra and Shankha, respectively, while Rama, their eldest
brother, is considered one of the ten Avatars of shri Vishnu.
During the great Mahabharata war, Krishna, as the charioteer of the Pandava prince and a
protagonist of the epic – Arjuna – resounds the Panchajanya to declare war. Panchajanya in
Sanskrit means 'having control over the five classes of beings'. All five Pandava brothers are
described having their own shankhas. Yudhishthira, Bhima, Arjuna, Nakula and Sahadeva are
described to possess shankhas named Ananta-Vijaya, Poundra-Khadga, Devadatta, Sughosha
and Mani-pushpaka, respectively.

26
 Constructed in a quite simplistic albeit breathtakingly beautiful futuristic architectural
style on idea of a famed female musician and spiritual teacher going by the name of
Shri Anandi Ma, Nikora ashram is a unique place of tranquility as well as spirituality.
With a picturesque tree - lined pathway leading to the temple’s main gate, Nikora is like a
magical mirage situated deep in the recesses of the nearby forest by offering devotees and
tourists alike a magnificent view towards the shores of Narmada Nadi.
Geographically situated in the heart of the sleepy Indian village named “Nikora”, Nikora
ashram may not be an age - old shrine but nonetheless, it’s not one to be ignored for it serves
as a refuge for the needy and it houses a small medical center for diagnose and treatment of
rare diseases and a number of eye problems.
With time, the modern - looking temple gained popularity as a site where everyone, no matter
of their religion or social standing, could seek spiritual advice and immerse themselves in the
world of meditation.

BIBLIOGRAPHY

1. THE BOROBUDUR VESSELS IN CONTEXT A Thesis by DOUGLAS ANDREW

INGLIS Submitted to the Office of Graduate and Professional Studies of Texas A&M
University in partial fulfillment of the requirements for the degree of MASTER OF
ARTS,2014
2. The Ambiguous Feasibility of Borobudur Temple- Irmawati Marwoto , Mandala
Manurung2 1Department of Archaeology, Faculty of Humanities, University of

27
 Indonesia. International Journal of Innovation, Creativity and Change. www.ijicc.net
Volume 14, Issue 8, 2020 749
3. The famous Borobudur Temple, Indonesia is a Dreamland heavily influenced by the
ancient Indian 'Gupta Era' art . It was built by the legendary "Sailendra" Dynasty
using a combination of both buddhist and Hindu architecture. It's also a UNESCO
WORLD HERITAGE site.
4. The Restoration and Conservation Project of Borobudur Temple, Indonesia. Planning:
Research: Design Caesar Voûte Studies in Conservation-Vol. 18, No. 3, Special Issue
on the Conservation of Borobudur Temple, Indonesia (Aug., 1973), pp. 113-130 (18
pages)

5. GPS STUDY FOR RESOLVING THE STABILITY OF BOROBUDUR TEMPLE

SITE By Dwi Lestari ST., University of Gadjah Mada, Yogyakarta, Indonesia, 1998
A thesis submitted to The University of New South Wales in partial fulfillment of the
requirements for the Degree of Master of Engineering School of Surveying and
Spatial Information Systems (Formerly the School of Geomatic Engineering) The
University of New South Wales Sydney NSW 2052, Australia March, 2006
http://unsworks.unsw.edu.au/fapi/datastream/unsworks:4635/SOURCE1?view=true

6. The Symbolism of Mount Meru,I. W. Mabbett,History of Religions

Vol. 23, No. 1 (Aug., 1983), pp. 64-83 (20 pages),Published By: The University of
Chicago Press,https://www.jstor.org/stable/1062318

7. A RE-INVESTIGATION OF THE NATURE OF CANDI BOROBUDUR by Kathy

Cheng Mei K u
Proceedings of INTERNATIONAL SEMINAR Borobudur, Magelang, f - 5'" July 2008
pn -Uncovering the Meaning of the Hidden Base of Candi Borobudur

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