The Met unveiled their newest exhibition, “Mandalas: Mapping the Buddhist Art of Tibet,” on Sept. 10. The exhibition features over 100 paintings, sculptures, textiles and ritual objects created between the 12th and 15th century. The pieces explore the imagery of Himalayan Buddhist devotional art, creating a roadmap for understanding Himalayan Buddhist worship through early masterworks.
Mandalas are intricately designed diagrams commonly used in Vajrayana Buddhist practice. Vajrayana is a form of Mahayana Buddhism that originated in northern India around the fifth century CE, took root in Tibet in the seventh and eighth centuries, and then spread across the Himalayan region. The exhibit focuses on the symbolism of mandalas as they represent a diagram of the universe in Tibet, and this map of reality is used to conceptualize a rapid path to enlightenment. The thematic elements of the mandalas differ from piece to piece.
The entrance of the exhibit is juxtaposed with a newly commissioned temporary installation by Tibetan artist Tenzing Rigdol. The walls and floors are covered in vibrant acrylic, presenting Buddhist ideas, practices and artistic formats through a secular perspective. The paintings address a range of topics like the ecosystem and human behavior to the illusory world and digital age.
With all mandalas, one conceptually moves clockwise from the periphery toward the center. The top is usually a lineage of monks tracing back to an Indian master (mahasiddha) that documents the specific tantric teaching.
On the inner walls of the entry work lies a great mix of pieces, with a predominant focus on statues. The majority of the statues depict the Buddhist bodhisattvas and goddesses in elaborate metals and stones, with subtle nods to other deities and idols of the religion. These are enlightened beings to remain in our realm of existence to help humanity break free from the cycle of rebirth (samsara). In the Himalayan Buddhist tradition, sublime images of these figures were universally accessible, providing a devotional path to the Buddha’s teaching, or the dharma.
The furthest point of the gallery contains the majority of the mandalas from the 12th to 15th centuries. In Tibet, artisans created these ritual diagrams under the guidance of monks in accordance with tantric texts. They were designed to then be rolled up for easy transport, and removed from public view.
With all mandalas, one conceptually moves clockwise from the periphery toward the center. The top is usually a lineage of monks tracing back to an Indian master (mahasiddha) that documents the specific tantric teaching. The bottom typically contains a row of protectors who safeguard the space. At the center sits the primary Vajrayana deity, surrounded by other divine figures.
The complex structure of mandalas facilitate a Buddhist ritual that when done correctly, allows the practitioner to self-identify with the main deity and move far past false perceptions of the illusory world around us. This exhibition gives the viewer the ability to be in the same position, and put themselves in the perspective of the mandala. This perspective does not come from analyzing the art alone, the exhibit itself is structured like a mandala, and as you view the pieces you continue through the iconic structure in the same circular motion.
I personally found myself entranced by the exhibition, what I thought was going to be a quick trip turned into a day-long endeavor. Prior to my attending the gallery I had little knowledge on Buddhist art, much less specific to Tibet. As I walked around and took in the art and its descriptions, I learned more than I have from any class or textbook. Not only are the pieces visually enthralling, but the meaning behind them is equally captivating and insightful, if not moreso.
Apart from the many analyses and interpretations of the works to be found and made, the art itself is captivating and simply enjoyable to look at. Especially take the time if you know little about Tibetan and Buddhist art; study the artwork and the descriptions to educate yourself on a different culture.
“Mandalas: Mapping the Buddhist Art of Tibet,” is located in Robert Lehman Wing Galleries 963-965 and is on display until Jan. 12.