Flower Mandalas

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Saturday November 8, 2008

Spiritual Questing, Near-Death Experiences, and the Global Village

Sun Wheel I.jpg

Sun Wheel I mandala

In some ways my experience of the heart of Beliefnet has been tangential. Focused mainly on art and healing, I have paid less than full attention to the remarkable phenomonen of Beliefnet itself and it's intermixing of so many spiritual paths.

No more!

This is a little story of where I've been and where I think I'm going, spiritually. I'd be grateful to hear from others about their own journeys.

Although I was raised Jewish, I have not been active in that faith since my Bar Mitzvah. Growing up Jewish in a mostly non-Jewish community, where Judaism was largely ignored and sometimes scorned, led me to becoming an alienated Jew who, at an early age, wished he could be something else. (My mother once told me that I came home from Kindergarten one December day and declared, "I'm not Jewish, I'm Christmas!) It must have been cushing to see, as the years passed, that I couln't be "Christmas" no matter how hard I tried.

So, if I couldn't be "Christmas," and Judaism did not satisfy me, I needed to become something else. But the only religions I was exposed to in my home town near Buffalo, NY, were Judaism and Christianity. Unable to find my way into either, in my teenage years I drifted into agnosticism and what I see, in retrospect, as a sense of spiritual isolation.

That began to change in college, where I was exposed to the radical inversion of Judeo-Christianity in William Blake's "The Marriage of Heaven and Hell," a poem which began my lifelong quest for a spiritual practice and a spiritual home. I soon found Buddhism, Hinduism, and Sufism; learned Transcendental Meditation; sought draft counseling from the Quakers and briefly attended their meetings; visited Unitarian churches; and attempted to find some personal connection to communities that practiced in these traditions. Yet, nothing seemed quite right, and by my early 20s my spiritual quest had reached what felt like a dead end. I retreated, again, to a vaguely spiritual kind of agnosticism. And, again, to a sense of spiritual isolation.

My near-death experience at 41 put me back on a spiritual quest, and with much more urgency. I found that the "me" I was before my brush with death was not quite the "me" I was afterward. It's hard to summarize the changes. Some of them were transitory. For the first several months, I felt possessed of a powerful energy I had never experienced before. I knew who was calling when the phone rang, and letters with infrequent correspondents crossed in the mail. I felt as if I literally had a power I could direct with my hands, like bolts of electricity issuing forth from my palms and fingers. As I became increasingly involved in the activities of daily life, however, this psychic sense gradually faded.

Other changes seem to have become a permanent part of my character. One, common to almost all near-death experiencers I have met, is that I no longer fear death itself. Although mine wasn't one of the blissful near-death experiences I have since read about, neither was it at all frightening; it was, rather, by far the calmest moment of my life, deeply centering. I also returned with a sense of purpose, of living on borrowed time that I had better make the most of. Just prior to blacking out, I had seen a series of line charts in my mind, each one representing how close to my true path I had been in all the major areas of my life. At the moment of blacking out, I saw on each of these charts a break, followed by an upward trend moving into the future. I was flooded with a sense that I knew what to do with my life, at last, and hoped for a chance to complete it.

The path I envisioned 15 years ago has been much more complex than I imagined it to be in that moment, and much more difficult, but it has led me to re-discovering myself as a photographer and thinking of myself as an artist; to redirecting my vocation to healing; and to actively searching for a spiritual practice and community. I have been on retreats with Thich Nhat Hanh, have attended weekly Unitarian services, have revisited Judaism in various forms, have received a Sufi name and practiced Wazifas, and have studied the works of several teachers of various other branches of the world's religions. Yet I have not been able to find one place that feels like home. Always there is a foreign part I can't relate to, much like the Hebrew I listened to, uncomprehendingly, on Saturday mornings as a child. Or there is a sense of not-quite-fitting, of being the ugly duckling.

Until now.

Recently, my psychotherapy mentor, a man who for 45 years has been studying most of the world's great religions, has begun to integrate teachings from all these wise traditions into a single forum. He has created a spiritual teaching center where any and all of the spiritual teachings of humanity can find a home. This feels right, to me. Although it goes against the oft-repeated notion that "the man who chases two rabbits catches none" -- the idea that one must, as I was recently told by a Lama from California, choose one path and one teacher -- I feel a kinship with this group of spiritual seekers unlike anything I have felt before. There are, I have felt for decades, many paths up the mountain, but it is the same mountain.

This is, to me, the beginning stage of a true spiritual integration.

I believe that the spiritual landscape is changing, much as the racial landscape has changed, perhaps forever, with the election of a mixed-race President. For many years, there has been a global interchange of religions and spiritual traditions. The West has been flooded with the influences and traditions of the East, as in the prior several centuries the West brought (and sometimes forced) it's traditions on the East. Meditation and Yoga, for instance, have become part of our mainstream, and with these practices came many of the teachings that accompanied them. Through modern media -- radio, television, and now especially the Internet -- we have all, everywhere, the opportunity to be exposed to the accumulated wisdom of humankind. We are not limited to the traditions in our neighborhood or village, or of our forefathers. We live in the Global Village that Marshall McLuhan predicted in the early 60s, and we can learn from all of its teachers, everywhere.

Beliefnet, it now occurs to me, is a big part of this intermixing, a place within the Global Village where not only can anyone find a spiritual home, but also where we can visit all the other neighborhoods and, in so doing, achieve spiritual enrichment unattainable until the present moment.

So. That's where I'm at in my spiritual quest. I'll keep you posted on future developments and, I hope, you'll do the same.

More anon,
David

Discussion:
Spiritual Questing, Near-Death Experiences, and the Global Village
Art, Healing, and Transformation group
Flower Mandalas Project group
Cultivating Creativity group

Request the 15 Flower Mandalas screensaver: Fifteen Flower Mandalas

© 2008, David J. Bookbinder

Tuesday March 25, 2008

Painting Mandalas: Ofira Oriel

Oriel_Mandalas.jpg

Mandalas by Ofira Oriel

Ofira Oriel is an Israeli artist and teacher. She is a graduate of Hadassah College in Jerusalem and of the Ramat Hasharon Seminary for Teachers of Art. She also has a degree in Education for children with special needs and eighteen years of experience in the field.

Ofira has studied numerous healing and spiritual arts, including Kabbalah, Jewish Meditation, Reiki, Healing through colors, Shamanism, and Bach Flower Therapy.

Her current focus is on the connection between painting and healing, and she leads seminars and workshops on these subjects. Here, she writes about her work in mandala painting, illustrated above.

Contact
e-mail: ofira@oriel-o.com
Website: http://www.oriel-o.com

More Mandala Paintings:
http://www.oriel-o.com/Gallery-view.asp?gid=17
http://www.oriel-o.com/Gallery-view.asp?gid=21

Discussion:
Painting Mandalas: Ofira Oriel

Painting Mandalas: Healing and Personal Development

Several years ago I went through a crisis, as a result of which I returned to painting, after a long hiatus.

I began all the paintings I made by looking for the central point on the canvas. I then described circles around that point. The circles created various shapes, such as bouquets, round ponds, the sun, and the moon. These became the center of the picture. I added different images around the center in a balanced and symmetrical way.

At the time I didn’t understand why I was obsessively repeating the same structure. At a certain stage that structure reminded me of paintings of mandalas which I had seen in Nepal many years ago. In the process of looking for material on the mandala I met Hava Bat Haim, a teacher of painting, a researcher in the field of children’s painting, and a leader of mandala painting workshops. With her help I understood that what I had been doing was part of a process of healing myself. Intuitively I was painting mandalic structures which helped me to concentrate and to experience the relaxing feeling of order and equilibrium within me. Since that time I have been studying the subject of the mandala.

We know of mandala paintings primarily from India and Tibet. From there the name of this structure has reached the west. Paintings with a mandalic structure have appeared, however, in various cultures throughout history, and the philosophical idea behind them is identical in all of them. The mandalic structure appears (with different names) in American Indian culture, in the culture of the Australian aborigine, in that of the Celts, and the Aztecs, and others. They appear in religious symbols. They appear in children’s paintings as part of the child’s natural development in his painting. They appear in nature in a large variety of forms. They appear in Carl jung’s theory, as part of his concept of therapy.

Temples in different cultures are built as mandalic structures. The holy temple in Jerusalem had a similar structure. Walking within it led us from the external to the internal, to the center of the temple, to the Holy of Holies. The central point of the mandala is parallel in the soul of man to the “spark of the soul” or, in the language of Hassidism, “the internal point.”

In the Book of Exodus is written, “Build me a temple and I shall dwell therein.” The temple, like a mandala, is perceived as the inner temple which exists in every one of us. Jung maintained that the mandala symbol describes the human soul. That same, central point symbolizes the self. Our central point is the function which is responsible for the integration of the varied and opposing forces in the human soul.

In the Zohar is written, “There exists no circle in the world which is not made from within a single point which is located in the center…and this point, which is located in the center, receives all the light, illuminates the body, and all is enlightened.” (Tishbi, Vol.1:247).

The English researcher Herbert Reid demonstrated that children draw mandalic designs spontaneously when asked to draw harmony and balance. He saw this as proof that the mandala is a basic form extant in the human soul. In so doing he sided with Jung’s opinion that the mandala is an archetypical form, whose source is in the depths of the human soul, and has forever been so. For that reason, mandala painting is called organic painting; a painting which springs from within the organism itself.

Mandala painting is intuitive painting. The center of the mandala is parallel to our own center; the one from which we come, and to which we will return. The process of painting enables us to contemplate ourselves. The manner in which the pencil moves on the paper reflects the way we move through reality. At the same time, it allows us to link up with the forces and abilities buried deep within our souls, and to bring them forth into the light. We enable ourselves to tap into the wavelengths we need by means of the link to colors, lines, and forms. This linkage in the structure of the mandala creates the feeling of balance.

According to the holistic approach, the creation of balance means healing.

Ofira Oriel, painter

© 2008, Ofira Oriel

Tuesday January 15, 2008

Spirituality and Art / Spiritual Art

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Blue Morning Glory II flower mandala

Lately I've been thinking a lot about spirituality and art. So far, my thoughts are vague and unformed, but I'm aware that in my own life, my work as an artist and my spiritual development have been running in tandem for a long time, often intersecting.

I'd be very intersted in hearing from others their thoughts on this: on how either making or experiencing some kind of art has related to their sense of themselves as spiritual beings, and their growth in this area. Spirituality has been so much a part of art, and art so much a part of places of worship in all cultures and, as far as I know, for as long as there have been places of worship, that they must be intricately interwoven in the human soul. It would be interesting to start to figure out how and why, and how to tweak that interweaving in our own lives to make both more accessible.

Please let us know your thoughts, either here or in the parallel post in the Art, Healing, and Transformation group.

More anon,
- David
David J. Bookbinder, LMHC
Discussion:
Spirituality and Art / Spiritual Art
Art, Healing, and Transformation group
Flower Mandalas Project group

© 2008, David J. Bookbinder

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About Flower Mandalas

Welcome to the Flower Mandalas blog!

I am a psychotherapist, photographer, digital artist, and writer living near Boston, Massachusetts. As a therapist, I work primarily with artists, children and families, and people with addictive behaviors. Like Carl Jung, one of the fathers of modern psychology, I believe art can be a pathway to the essential Self and foster personal and global transformation.

More about the Flower Mandalas blog

Thanks for listening and sharing.
- David
David J. Bookbinder, LMHC

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