Mandalas are ancient religions, countries and peoples
The mandala known since ancient times as a unique gravelly ((from the Greek. γράφω — write -EMA) is a unit of written speech (in the alphabet — the letter eg. and . b, etc.; in non-alphabetic writing systems — syllabic sign, a hieroglyph, ideogram, etc.)), occurring at different times, in different countries and different nationalities. The most ancient graphemes, which appeared in the Paleolithic and the Neolithic, are Chevron (open triangle), the zigzag, the cross, and the mandala-a circle with dots and without them, and some others.
Celtica Mandala protection warriors:
It creates a focus for deep meditation. Includes not depicted visually in the center. He relies using the concentration figures and is a visualization of the obstacles to the attainment of the Centre.
Mandala has a chart of sacred art. It is present as an unconscious symbolism organize a certain space for the purpose of ornament or use and the mystical pursuit of the highest Association. The major components of balanced and concentric geometric shapes. The synthesis of traditional patterns and free interpretation. Can be drawn and kertitsa. Also constructed of sand drawn on the ground. Is ritual – step by step – object move towards the inner center. Associated with the idea Center. Aims, similar objectives of the alchemists – it helps to regroup all that is dispersed around the axis. The ritual of creating mandalas was psychologically and spiritually similar to the passage through the maze. The image and the synthesis of two pairs of oppositions: external and internal diversity and uniformity, diffusion and concentration, differentiation and unification, By its nature, must overcome the disorder. This visual plastic expression of the struggle to achieve order, the desire to reunite with the original center.
While driving to the center of the mandala a person goes the path of evolution from biological forms (sphere, material) to form a geometric — abstract, spiritual; this way in symbolic form represents the whole drama of separation and reconnection and reflected a desire to reunite with the primordial, spaceless, and timeless centre. The essence of this symbol is precisely, to lock the duality of differentiation and integration, diversity and unity, external and internal, scattering and concentration and to synthesize them. Mandala overcomes disordered and relative and approves the order and the absolute. It is characterized by orientation to the center; the latter is not depicted graphically, but is set by the concentration figures. There are many types of mandalas, each of which is considered to be not similar to others and reflecting the mental state of its Creator.
In China, Tibet and Japan are two types of mandalas that symbolize different aspects of being: garbha-dhatu (“womb world”), a world of involution, in which development occurs from a single to multiple; vajra-dhatu (“diamond world”), a world of evolution in which development takes place from multiple to single.
Components of the mandala are geometric shapes that are subordinate to the principles of strictly symmetric and centered image. The basic shapes involved in the construction of the mandala — circle, square, triangle. The most common scheme involves the outer circle (which represents the integrity of the world and determines its spatial and temporal boundaries), the inscribed square (symbolizing the space inhabited world and of the world) and a circle inside the square (containing the image of the sacred object, often a Lotus with a vajra in it — symbolizing the unity of two principles). The highest elements of the mandala are depicted closest to the center. Thus, the inner circle inside the square is more sacred than the square.
An important role play also the numerical elements of mandalas, ordered by a specific parameter and is identified with the fundamental ideas and objects; through it are provided with additional connotations. The basic numbers are 12 (the chain of dependent origin and the interim stage of the cycle), 6 (level inhabited world), 4 (spatial coordinates and their corresponding sacred characters). The juxtaposition of triangles and squares, apparently, associated with the conventional opposition of numbers 3 and 4, the first of which embodies the Central and the spiritual, and the second peripheral and external.