{"id":313,"date":"2017-06-04T18:41:31","date_gmt":"2017-06-04T15:41:31","guid":{"rendered":"http:\/\/3gozdergisi.com\/blog\/?p=313"},"modified":"2017-06-04T18:41:31","modified_gmt":"2017-06-04T15:41:31","slug":"mandala-kutsal-geometri-ve-sanat","status":"publish","type":"post","link":"https:\/\/3gozdergisi.com\/?p=313","title":{"rendered":"Mandala: Kutsal Geometri ve Sanat"},"content":{"rendered":"

Yaz\u0131:<\/strong> Nitin Kumar \/ Exotic India \u00a0\u00c7eviri:<\/strong> \u0130brahim Y\u0131k\u0131lmaz<\/p>\n

Budist din ve sanat\u0131nda belki de en \u00e7ok be\u011fenilen ve tart\u0131\u015f\u0131lan, guru ya da yoga gibi bir kelime olan mandala, \u0130ngiliz dilinin de bir par\u00e7as\u0131d\u0131r. Pop\u00fclerli\u011fi; mandala kelimesinin d\u00fcnyadaki bilgelikte kutsal alamla e\u015f anlaml\u0131 kullan\u0131m\u0131 ve \u0130ngiliz dili s\u00f6zl\u00fckleri ve ansiklopedilerindeki varl\u0131\u011f\u0131yla peki\u015fmektedir. Her ikisi de a\u00e7\u0131k bir \u015fekilde mandalalar\u0131; evreni sembolize eden geometrik tasar\u0131mlar olarak tan\u0131mlam\u0131\u015ft\u0131r. Budist ve Hindu uygulamalar\u0131nda referanslar\u0131n\u0131 g\u00f6rebiliriz.<\/p>\n

Mandala fikri kendi tarihinden uzun s\u00fcre \u00f6nce ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Hindistan\u2019\u0131n en erken d\u00f6nemlerinde hatta Hint-Avrupa k\u00f6kenli dinlerde, Rig Veda\u2019da ve bununla ili\u015fkili literat\u00fcrde mandala; b\u00f6l\u00fcm i\u00e7in kullan\u0131lan bir terim, mantralar\u0131n bir koleksiyonu veya Vedik t\u00f6renlerindeki ilahiler anlam\u0131na geliyordu.<\/p><\/blockquote>\n

Mandala fikri kendi tarihinden uzun s\u00fcre \u00f6nce ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Hindistan\u2019\u0131n en erken d\u00f6nemlerinde hatta Hint-Avrupa k\u00f6kenli dinlerde, Rig Veda\u2019da ve bununla ili\u015fkili literat\u00fcrde mandala; b\u00f6l\u00fcm i\u00e7in kullan\u0131lan bir terim, mantralar\u0131n bir koleksiyonu veya Vedik t\u00f6renlerindeki ilahiler anlam\u0131na geliyordu. Evrenin varl\u0131klar\u0131n\u0131n genetik modellerinin yer ald\u0131\u011f\u0131 kutsal seslerden olu\u015fan bu ilahilerden t\u00fcredi\u011fine inan\u0131l\u0131rd\u0131; bu y\u00fczden d\u00fcnya modeli olarak mandalan\u0131n zaten a\u00e7\u0131k bir anlam\u0131 vard\u0131.<\/p>\n

Mandala kelimesine; manda \u00f6z ve -la son eki ile birlikte y\u00fck sand\u0131\u011f\u0131, kap anlam\u0131 verilmi\u015ftir. Bu nedenle, mandalan\u0131n en belirgin \u00e7a\u011fr\u0131\u015f\u0131m\u0131; \u00f6z\u00fcn bir kab\u0131 (kal\u0131b\u0131) oldu\u011fudur. Bir g\u00f6r\u00fcnt\u00fc olarak mandala, Buda\u2019n\u0131n ak\u0131l ve bedeninin sembol\u00fc olabilir. Ezoterik Budizm\u2019de mandaladaki ilke, i\u00e7indeki Buda varl\u0131\u011f\u0131d\u0131r. Ama tanr\u0131lar\u0131n g\u00f6r\u00fcnt\u00fcleri gerekli de\u011fildir. Bir tekerlek, bir a\u011fa\u00e7 ya da m\u00fccevher veya ba\u015fka bir simgesel tezah\u00fcr\u00fc olarak temsil edilebilir.<\/p>\n

Mandalan\u0131n yap\u0131l\u0131\u015f\u0131<\/b><\/p>\n

Mandalan\u0131n k\u00f6keni bir merkez ve bir noktad\u0131r. Bu boyutlardan g\u00f6r\u00fcn\u00fc\u015fte \u00f6zg\u00fcr bir sembol\u00fcd\u00fcr. \u201cTohum\u201d, \u201csperm\u201d, \u201cdamla\u201d, belirgin bir ba\u015flang\u0131\u00e7 noktas\u0131 anlam\u0131na gelmektedir. Bu, d\u0131\u015f enerjilerin ve g\u00fcc\u00fcn hareketinin kar\u0131\u015ft\u0131\u011f\u0131, adanm\u0131\u015flar\u0131n enerjilerinin a\u00e7\u0131\u011fa \u00e7\u0131kt\u0131\u011f\u0131 ve kar\u0131\u015ft\u0131\u011f\u0131 bir toplama merkezidir. Bu y\u00fczden i\u00e7 ve d\u0131\u015f alan\u0131 temsil eder. Bunun amac\u0131, nesne-konu ikili\u011fini ortadan kald\u0131rmakt\u0131r. Bu s\u00fcre\u00e7 i\u00e7inde mandala, bir tanr\u0131 i\u00e7in adanm\u0131\u015ft\u0131r.<\/p>\n

Yarad\u0131l\u0131\u015f\u0131nda bir noktan\u0131n d\u0131\u015f\u0131nda bir \u00e7izgi olarak yarat\u0131lm\u0131\u015ft\u0131r. Di\u011fer \u00e7izgiler kesi\u015fene kadar \u00fc\u00e7gen geometrik desenler olu\u015ftururlar. \u00c7evresinde \u00e7izilmi\u015f olan daireler inisiyasyon yap\u0131lm\u0131\u015f olan\u0131n dinamik bilinci anlam\u0131na gelir. Kenardaki kareler d\u00f6rt y\u00f6ne ba\u011fl\u0131 d\u00f6rt kap\u0131 taraf\u0131ndan temsil edilen fiziksel d\u00fcnyay\u0131 sembolize etmektedir ve ortadaki veya merkezdeki alan tanr\u0131n\u0131n ikamet etti\u011fi yerdir. Bu y\u00fczden merkez \u00f6z olarak ve \u00e7evresi ise kavrama olarak g\u00f6r\u00fcnt\u00fclenmektedir. B\u00f6ylece, tam bir resim, bir mandala \u00f6z\u00fcn\u00fc kavrama demektir.<\/p>\n

Mandalan\u0131n yap\u0131m\u0131\u00a0<\/b><\/p>\n

Bir ke\u015fi\u015fin mandala \u00fczerinde \u00e7al\u0131\u015fmaya ba\u015flamadan \u00f6nce onun teknik ve sanatsal e\u011fitimle \u00e7e\u015fitli sembollerin nas\u0131l \u00e7izildiklerini \u00f6\u011frenip felsefi kavramlarla alakal\u0131 \u00e7al\u0131\u015farak uzun bir s\u00fcre ge\u00e7irmesi gerekir. Namgyal Manast\u0131r\u0131\u2019nda (Dalay Lama\u2019n\u0131n ki\u015fisel manast\u0131r\u0131) bu s\u00fcre, \u00fc\u00e7 y\u0131ld\u0131r. Boyaman\u0131n erken evrelerinde ke\u015fi\u015fler, boyas\u0131z mandala b\u00f6l\u00fcm\u00fcn\u00fcn d\u0131\u015f k\u0131sm\u0131na s\u00fcrekli merkeze bakarak otururlar. B\u00fcy\u00fck \u00f6l\u00e7ekli mandalalar i\u00e7in ke\u015fi\u015fler aya\u011fa kalkarlar, renkleri uygulamak i\u00e7in \u00f6ne e\u011filirler. Geleneksel olarak mandala, d\u00f6rt kadrana ayr\u0131lm\u0131\u015ft\u0131r ve her birine bir ke\u015fi\u015f atan\u0131r. Rahipler renkleri uygulamak i\u00e7in aya\u011fa kalkt\u0131klar\u0131nda her birine bir yard\u0131mc\u0131 verilir. D\u00f6rt rahip i\u015fbirli\u011fi i\u00e7inde \u00e7al\u0131\u015farak di\u011fer ayr\u0131nt\u0131lar\u0131n ana hatlar\u0131n\u0131 olu\u015ftururken yard\u0131mc\u0131lar renk alanlar\u0131n\u0131 doldurarak yard\u0131mc\u0131 olurlar.<\/p>\n

Ke\u015fi\u015fler, manast\u0131r\u0131n e\u011fitim program\u0131n\u0131n bir par\u00e7as\u0131 olarak mandalan\u0131n her bir ayr\u0131nt\u0131s\u0131n\u0131 ezberler. Mandalan\u0131n a\u00e7\u0131k\u00e7a kutsal metinlere dayand\u0131\u011f\u0131n\u0131 belirtmek \u00f6nemlidir. Her i\u015f oturumu sonunda rahipler, ba\u015fkalar\u0131n\u0131n yarar\u0131na elde edilen sanatsal ya da manevi b\u00fct\u00fcn de\u011feri hizmete sunarlar. Bu uygulama, rit\u00fcelin t\u00fcm sanatsal icraatlar\u0131nda ge\u00e7erlidir. Rahiplerin kendilerini yapt\u0131klar\u0131 i\u015fe a\u015f\u0131r\u0131 derecede vermelerinin iyi bir sebebi vard\u0131r: Onlar asl\u0131nda Buda\u2019n\u0131n \u00f6\u011fretilerini uygulamaktad\u0131rlar. Mandala Buda\u2019n\u0131n ayd\u0131nlanmaya ula\u015fmadaki talimatlar\u0131n\u0131 i\u00e7erdi\u011finden dolay\u0131 motivasyonlar\u0131n\u0131n safl\u0131\u011f\u0131 ve yapt\u0131klar\u0131 i\u015fin m\u00fckemmelli\u011fi izleyicilerine maksimum fayda sa\u011flamaktad\u0131r.<\/p>\n

Mandalan\u0131n her d\u00f6rt kadran\u0131n\u0131n detay\u0131 merkeze bakar ve bu y\u00fczden mandala, tanr\u0131s\u0131yla kar\u015f\u0131 kar\u015f\u0131yad\u0131r. Dolay\u0131s\u0131yla mandala etraf\u0131nda duran ke\u015fi\u015f ve izleyicilerin bak\u0131\u015f a\u00e7\u0131s\u0131yla en uzak kadranda sa\u011f taraf\u0131nda g\u00f6r\u00fcn\u00fcrken, izleyiciye yak\u0131n kadranda ayr\u0131nt\u0131lar tersy\u00fcz edilmi\u015f olarak g\u00f6r\u00fcn\u00fcr.<\/p>\n

K\u00f6\u015feler boyan\u0131rken her bir ke\u015fi\u015f kadran\u0131n\u0131 tutar. Ortak merkezli daireler boyand\u0131\u011f\u0131nda pe\u015f pe\u015fe mandala etraf\u0131nda hareket ederek \u00e7al\u0131\u015f\u0131rlar. Birlikte d\u0131\u015fa do\u011fru hareket etmeden \u00f6nce b\u00fct\u00fcn bir d\u00f6ng\u00fcsel faz veya katman tamamlanana kadar beklerler. Dengenin korunmas\u0131 ve mandalan\u0131n hi\u00e7bir kadran\u0131n\u0131n di\u011ferinden daha h\u0131zl\u0131 b\u00fcy\u00fcmemesi sa\u011flanm\u0131\u015f olur.<\/p>\n

Bir mandalan\u0131n haz\u0131rlanmas\u0131 sanatsal bir \u00e7abad\u0131r ve ayn\u0131 zamanda ibadet eylemidir. \u0130badet kavram\u0131 ve formunun bu \u015fekli; derin i\u00e7g\u00fcd\u00fclerimizin kristalize edilmesi ve manevi sanat olarak ifade edilmesiyle olu\u015fturulmu\u015ftur. Genellikle \u00fczerinde meditasyon yap\u0131lan tasar\u0131m, varl\u0131\u011f\u0131n\u0131 \u00fcst\u00fcn k\u0131lan \u00f6z\u00fcn, yani kavram\u0131n formun \u00f6n\u00fcnde gelmesi \u015fekliyle yap\u0131lan mekansal deneyimlerin s\u00fcreklili\u011fidir.<\/p>\n

\"\"<\/p>\n

Mandalan\u0131n en yayg\u0131n bi\u00e7imi, bir dizi e\u015f merkezli daireler olarak g\u00f6r\u00fcn\u00fcr. Her mandala, e\u015fmerkezli bu dairelerin i\u00e7inde yer alan kare yap\u0131 i\u00e7inde kendi tanr\u0131s\u0131na sahiptir. Onun e\u015fsiz kare \u015fekli, bilgeli\u011fin mutlak yerinin sapk\u0131nl\u0131ktan ba\u011f\u0131ms\u0131z oldu\u011funu g\u00f6sterir. Bu kare yap\u0131n\u0131n d\u00f6rt ayr\u0131nt\u0131l\u0131 kap\u0131s\u0131 vard\u0131r. Bu d\u00f6rt kap\u0131, s\u0131ras\u0131yla d\u00f6rt engin d\u00fc\u015f\u00fcnceyi; sevgi dolu \u015fefkat, merhamet, ac\u0131ma ve temkinli olmay\u0131 simgelemektedir. Bu kap\u0131lar\u0131n her biri; \u00e7an, \u00e7elenk ve di\u011fer s\u00fcs e\u015fyalar\u0131 ile s\u00fcslenmi\u015ftir. Bu kare \u015fekli, d\u00f6rt tarafl\u0131 bir saray ya da tap\u0131nak olarak tan\u0131mlanan mandala mimarisini ifade eder. Merkezi saray\u0131 \u00e7evreleyen dairelerin serisi, yo\u011fun bir simgesel yap\u0131 izler. D\u0131\u015ftaki dairelerden ba\u015flayarak birisi bakt\u0131\u011f\u0131nda, bir testere ile yap\u0131lm\u0131\u015f stilize bir s\u00fcsle tasvir edilen ate\u015f \u00e7emberine rastlar. Bu, s\u0131radan bir insan\u0131n, kutsal topraklara girmeden \u00f6nce ge\u00e7mek zorunda oldu\u011fu d\u00f6n\u00fc\u015f\u00fcm s\u00fcrecini simgelemektedir. Bunu, mandalan\u0131n dayan\u0131kl\u0131l\u0131\u011f\u0131n\u0131 ve manevi alemlerinin elmasa benzemesini tasvir eden y\u0131ld\u0131r\u0131m ya da elmas asa (vajra) takip eder.<\/p>\n

Mandalan\u0131n k\u00f6keni bir merkez ve bir noktad\u0131r. Bu boyutlardan g\u00f6r\u00fcn\u00fc\u015fte \u00f6zg\u00fcr bir sembol\u00fcd\u00fcr. \u201cTohum\u201d, \u201csperm\u201d, \u201cdamla\u201d, belirgin bir ba\u015flang\u0131\u00e7 noktas\u0131 anlam\u0131na gelmektedir. Bu, d\u0131\u015f enerjilerin ve g\u00fcc\u00fcn hareketinin kar\u0131\u015ft\u0131\u011f\u0131, adanm\u0131\u015flar\u0131n enerjilerinin a\u00e7\u0131\u011fa \u00e7\u0131kt\u0131\u011f\u0131 ve kar\u0131\u015ft\u0131\u011f\u0131 bir toplama merkezidir. Bu y\u00fczden i\u00e7 ve d\u0131\u015f alan\u0131 temsil eder. Bunun amac\u0131, nesne-konu ikili\u011fini ortadan kald\u0131rmakt\u0131r. Bu s\u00fcre\u00e7 i\u00e7inde mandala, bir Tanr\u0131 i\u00e7in adanm\u0131\u015ft\u0131r.<\/p><\/blockquote>\n

Sonraki ortak merkezli daire \u00f6zellikle \u00f6fkeli tanr\u0131lar\u0131n \u00f6zelliklerindeki mandalalarda, geni\u015f bantta d\u00fczenlenmi\u015f sekiz \u00f6l\u00fc yakma yerine rastlan\u0131r. Bunlar insan\u0131 ola\u011fan\u00fcst\u00fc d\u00fcnyaya ve do\u011fum \u00f6l\u00fcm d\u00f6ng\u00fcs\u00fcne ba\u011flayan insan bilincinin sekiz par\u00e7as\u0131n\u0131 temsil etmektedir. Son olarak ise mandalan\u0131n merkezinde mandalay\u0131 tan\u0131mlayan tanr\u0131 yer al\u0131r. Bu, tanr\u0131n\u0131n mandalay\u0131 sard\u0131\u011f\u0131na inan\u0131lan enerjisidir. Genellikle merkezdeki tanr\u0131 a\u015fa\u011f\u0131daki \u00fc\u00e7\u00fcnden biri olabilir:<\/p>\n

Huzur veren tanr\u0131lar\u00a0<\/b><\/p>\n

Huzur veren tanr\u0131lar; kendine \u00f6zg\u00fc varolu\u015fsal ve manevi yakla\u015f\u0131mlar\u0131n\u0131 sembolize ederler. \u00d6rne\u011fin, Boddhisattva Avalokiteshvara \u015fekli ruhsal bir deneyim merkezinin odak noktas\u0131 olarak \u015fefkati sembolize eder. Manjushri, bilgelik merkezinin odak noktas\u0131d\u0131r; Vajrapan ise kutsal bilgi aray\u0131\u015f\u0131nda g\u00fc\u00e7 ve cesaret ihtiyac\u0131n\u0131 vurgular.<\/p>\n

\u00d6fkeli tanr\u0131lar\u00a0<\/b><\/p>\n

\u00d6fkeli tanr\u0131lar; ki\u015finin yabanc\u0131la\u015fmas\u0131n\u0131 i\u00e7eren g\u00fc\u00e7l\u00fc bir m\u00fccadele ortaya koymaktad\u0131r. Bunlar\u0131n hepsini d\u00fc\u015f\u00fcncelerimizi ve eylemlerimizi karartan, ayd\u0131nlanma yolunda Budist amac\u0131m\u0131za ula\u015fmay\u0131 engelleyici, i\u00e7 ac\u0131yla somutla\u015ft\u0131rmaktad\u0131r.<\/p>\n

Cinsel g\u00f6r\u00fcnt\u00fc\u00a0<\/b><\/p>\n

Cinsel g\u00f6r\u00fcnt\u00fc; mandalan\u0131n kalbinde yatan b\u00fct\u00fcnle\u015ftirici s\u00fcreci sunar. Erkek ve kad\u0131n elementleri, insan\u0131n d\u00fcnyevi varl\u0131\u011f\u0131nda tecr\u00fcbe etmi\u015f oldu\u011fu kar\u015f\u0131tl\u0131klar\u0131n say\u0131s\u0131z sembollerinden (sevgi-nefret, iyi-k\u00f6t\u00fc gibi) ba\u015fka bir \u015fey de\u011fildir. Bu yolda yeti\u015ftirilmi\u015f kimse; sorunsuz, birbirine ba\u011fl\u0131 bir deneyim alan\u0131 olarak her \u015feyin zevkini \u00e7\u0131kar\u0131p kabul etmek suretiyle yabanc\u0131la\u015fma s\u00fcrecini k\u0131saltmak ister. Cinsel g\u00f6r\u00fcnt\u00fc; memnuniyet, mutluluk, birlik ve tamamlama nitelikleriyle birlikte ayd\u0131nlanma i\u00e7in bir metafor olarak da anla\u015f\u0131labilir.<\/p>\n

Mandalan\u0131n renk sembolizmi\u00a0<\/b><\/p>\n

Mandalada renk, bi\u00e7im kadar \u00f6nemlidir. Mandalan\u0131n saray kadranlar\u0131 tipik olarak \u015fu renkleri i\u00e7erecek \u015fekilde ikizkenar \u00fc\u00e7genlere b\u00f6l\u00fcnm\u00fc\u015ft\u00fcr: Beyaz, sar\u0131, k\u0131rm\u0131z\u0131, ye\u015fil ve koyu mavi. Bu renklerin her biri be\u015f transandantal Buda\u2019dan biri ile ili\u015fkilidir, hatta do\u011fan\u0131n be\u015f yan\u0131lg\u0131s\u0131 ile de ili\u015fkilidir. Bu yan\u0131lg\u0131lar, bizim ger\u00e7ek do\u011fam\u0131z\u0131 gizler fakat manevi uygulamalarla birlikte Buda\u2019n\u0131n be\u015f bilgeli\u011fine d\u00f6n\u00fc\u015f\u00fcr:<\/p>\n

\u2022 Beyaz – Vairocana: Cehalet yan\u0131lg\u0131s\u0131, ger\u00e7ek bilgelik halini al\u0131r.<\/p>\n

\u2022 Sar\u0131 – Ratnasambhava: Gurur yan\u0131lg\u0131s\u0131; e\u015fitlik (al\u00e7ak g\u00f6n\u00fcll\u00fck) halini al\u0131r.<\/p>\n

\u2022 K\u0131rm\u0131z\u0131 – Amitabha: \u0130lgi yan\u0131lsamas\u0131; idrak, muhakeme etme halini al\u0131r.<\/p>\n

\u2022 Ye\u015fil – Amoghasiddhi: K\u0131skan\u00e7l\u0131k yan\u0131lg\u0131s\u0131; payla\u015fma, ba\u015far\u0131 halini al\u0131r.<\/p>\n

\u2022 Mavi – Akshobhya: \u00d6fke yan\u0131lg\u0131s\u0131, bilgelik aynas\u0131 halini al\u0131r.<\/p>\n

Bir mandalan\u0131n haz\u0131rlanmas\u0131 sanatsal bir \u00e7abad\u0131r ve ayn\u0131 zamanda ibadet eylemidir. \u0130badet kavram\u0131 ve formunun bu \u015fekli; derin i\u00e7g\u00fcd\u00fclerimizin kristalize edilmesi ve manevi sanat olarak ifade edilmesiyle olu\u015fturulmu\u015ftur. Genellikle \u00fczerinde meditasyon yap\u0131lan tasar\u0131m, varl\u0131\u011f\u0131n\u0131 \u00fcst\u00fcn k\u0131lan \u00f6z\u00fcn, yani kavram\u0131n formun \u00f6n\u00fcnde gelmesi \u015fekliyle yap\u0131lan mekansal deneyimlerin s\u00fcreklili\u011fidir.<\/p><\/blockquote>\n

Kutsal arz olarak Mandala\u00a0<\/b><\/p>\n

Tap\u0131naklar\u0131, evleri dekore etme ve kutsalla\u015ft\u0131rman\u0131n yan\u0131 s\u0131ra Tibet ya\u015fam\u0131nda geleneksel olarak \u00f6\u011freti veya inisiyasyon talebi oldu\u011funda, birinin lama yada gurusuna t\u00fcm evrenin sunumu (mandala ile temsil edilir) olarak \u00f6\u011fretileri edinmede en uygun sunumu sembolize etti\u011finden mandala sunulmaktad\u0131r.<\/p>\n

Bir zamanlar Hindistan topraklar\u0131nda Mahasiddha Tilopa, m\u00fcridi Naropa\u2019dan bir mandala sunumu talep etti ve mandala yapmak i\u00e7in orada herhangi bir malzeme mevcut de\u011fildi. Naropa topra\u011fa idrar\u0131n\u0131 yapt\u0131 ve \u0131slak kumu mandala \u015fekline soktu. Ba\u015fka bir vesileyle Naropa; kan\u0131n\u0131, ba\u015f, kol ve bacaklar\u0131n\u0131, sunumlarla memnun olan gurusuna mandala sunumu yapmak i\u00e7in kulland\u0131.<\/p>\n

\"\"<\/p>\n

Sonu\u00e7<\/b><\/p>\n

Mandala kavram\u0131n\u0131n somutla\u015ft\u0131r\u0131lmas\u0131 ve g\u00f6rselle\u015ftirilmesi, Budizm\u2019in dini psikolojiye yapm\u0131\u015f oldu\u011fu en \u00f6nemli katk\u0131lardan birisidir. Mandalalar d\u00fcnyadaki varl\u0131klar\u0131yla, evrenin kutsall\u0131\u011f\u0131n\u0131 ve i\u00e7indeki potansiyeli hat\u0131rlatan kutsal yerler olarak g\u00f6r\u00fcl\u00fcr. Budist \u00f6\u011fretide mandalan\u0131n amac\u0131; ayd\u0131nlanma yolunda olma ve ger\u00e7e\u011fi do\u011fru olarak alg\u0131lamada insan\u0131n ac\u0131lar\u0131n\u0131 dindirmektir. Ki\u015finin kendi i\u00e7inde yatan ger\u00e7ekli\u011fin tanr\u0131sall\u0131\u011f\u0131n\u0131 ke\u015ffetmek i\u00e7in bir ara\u00e7t\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Yaz\u0131: Nitin Kumar \/ Exotic India \u00a0\u00c7eviri: \u0130brahim Y\u0131k\u0131lmaz Budist din ve sanat\u0131nda belki de en \u00e7ok be\u011fenilen ve tart\u0131\u015f\u0131lan, guru ya da yoga gibi bir kelime olan mandala, \u0130ngiliz dilinin de bir par\u00e7as\u0131d\u0131r. Pop\u00fclerli\u011fi; mandala kelimesinin d\u00fcnyadaki bilgelikte kutsal alamla e\u015f anlaml\u0131 kullan\u0131m\u0131 ve \u0130ngiliz dili s\u00f6zl\u00fckleri ve ansiklopedilerindekiRead More →<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":315,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[26],"tags":[51,52,53,50,54,27,28],"class_list":["entry","author-dergi","post-313","post","type-post","status-publish","format-standard","has-post-thumbnail","category-sayi-10","tag-budizm","tag-ezoterik","tag-ibrahim-yikilmaz","tag-mandala","tag-nitin-kumar","tag-sayi-10","tag-yaraticilik"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/3gozdergisi.com\/wp-content\/uploads\/2017\/06\/madla.jpg?fit=1400%2C1400&ssl=1","jetpack-related-posts":[{"id":323,"url":"https:\/\/3gozdergisi.com\/?p=323","url_meta":{"origin":313,"position":0},"title":"Bayon Tap\u0131na\u011f\u0131","author":"dergi","date":"4 Haziran 2017","format":false,"excerpt":"Yaz\u0131: Serta\u00e7 Kartal Kambo\u00e7ya\u2019da Angkor Thom\u2019un merkezinde yer alan zengin s\u00fcslemeleri olan bir Khmer tap\u0131na\u011f\u0131d\u0131r Bayon, ki, \u015fefkat-merhamet olgusu, ya\u015fam \u00e7ark\u0131 ve Ayd\u0131nlanma olgusuna adanm\u0131\u015f bir tap\u0131nakt\u0131r. Yani Samsara, Avalokitesvara- Bodhisattva,\u00a0 Budha isimleri ile ifade bulmu\u015f dinamiklerin tap\u0131na\u011fa b\u00fcr\u00fcnm\u00fc\u015f halidir. 12. yy\u2019nin sonlar\u0131 veya 13. Yy\u2019nin ba\u015flar\u0131nda Mahayana Budist Kral\u2026","rel":"","context":""gezi" i\u00e7inde","block_context":{"text":"gezi","link":"https:\/\/3gozdergisi.com\/?cat=58"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/3gozdergisi.com\/wp-content\/uploads\/2017\/06\/byon-tap%C4%B1na%C4%9F%C4%B1-2.jpg?fit=674%2C480&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/3gozdergisi.com\/wp-content\/uploads\/2017\/06\/byon-tap%C4%B1na%C4%9F%C4%B1-2.jpg?fit=674%2C480&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/3gozdergisi.com\/wp-content\/uploads\/2017\/06\/byon-tap%C4%B1na%C4%9F%C4%B1-2.jpg?fit=674%2C480&ssl=1&resize=525%2C300 1.5x"},"classes":[]},{"id":1449,"url":"https:\/\/3gozdergisi.com\/?p=1449","url_meta":{"origin":313,"position":1},"title":"En Kutsal Tap\u0131naklar","author":"g\u00fcler p\u0131narba\u015f\u0131","date":"20 Aral\u0131k 2019","format":false,"excerpt":"\u00a0Nepal\u2019de, UNESCO taraf\u0131ndan D\u00fcnya K\u00fclt\u00fcr Miras\u0131 Listesine al\u0131nm\u0131\u015f d\u00f6rt yer bulunur. Bunlardan ilk ikisi, Everest Da\u011f\u0131n\u0131n bulundu\u011fu Sagarmatha ile \u00fclkenin g\u00fcneyindeki Royal Chitwan Ulusal Parklar\u0131, \u00fc\u00e7\u00fcnc\u00fcs\u00fc budizmin kurucusu Sidarta Buda\u2019n\u0131n do\u011fum yeri olan Lumbini k\u00f6y\u00fc, d\u00f6rd\u00fcnc\u00fcs\u00fc de bir k\u00fclt\u00fcrel miras olan Katmandu Vadisidir. 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Y\u00fcz\u00fcm\u00fczdeki g\u00fcl\u00fcmseme kayboldu\u011funda ruh bedenimizde bozulmalar ba\u015flar, bu bozulmalar daha sonra zeka bedenimize, zihin bedenimize, enerji bedenimize ve en son fizik bedenimize gelir oysa.Stres, zihnin\u2026","rel":"","context":""Genel" i\u00e7inde","block_context":{"text":"Genel","link":"https:\/\/3gozdergisi.com\/?cat=1"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/3gozdergisi.com\/wp-content\/uploads\/2019\/12\/IMG-20191030-WA0021.jpg?fit=800%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/3gozdergisi.com\/wp-content\/uploads\/2019\/12\/IMG-20191030-WA0021.jpg?fit=800%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/3gozdergisi.com\/wp-content\/uploads\/2019\/12\/IMG-20191030-WA0021.jpg?fit=800%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/3gozdergisi.com\/wp-content\/uploads\/2019\/12\/IMG-20191030-WA0021.jpg?fit=800%2C1200&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1202,"url":"https:\/\/3gozdergisi.com\/?p=1202","url_meta":{"origin":313,"position":3},"title":"Hatal\u0131 fakat ‘kusursuz’ bir mandalan\u0131n hikayesi…","author":"g\u00fcler p\u0131narba\u015f\u0131","date":"15 Ekim 2019","format":false,"excerpt":"KUSUR \u00dcZER\u0130NE; \u201cKusur\u201d eksik, noksan, \u00f6z\u00fcr olarak ge\u00e7iyor TDK\u2019da. 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