The World in a Grain of Sand

Millions of grains of sand are painstakingly laid into place on a flat platform over a period of days or weeks, creating an overwhelmingly beautiful painting. When finished, to symbolize the impermanence of all that exists, the colored sands are swept up and poured into a nearby river or stream where the waters carry the healing energies throughout the world.



In Tibetan this art is called dul-tson-kyil-khor, which literally means "mandala of colored powders."

A symbol of wholeness

Traditionally, Tibetan Buddhists use sand mandalas as visualization aids for meditation during certain religious ceremonies.

The subject of a Tibetan sand painting is known in Sanskrit as a mandala, or cosmogram, of which there are many types. The mandala represents an imaginary palace that is contemplated during meditation.

Each object in the palace has significance, representing an aspect of wisdom or reminding the meditator of a guiding principle. The mandala's purpose is to help transform ordinary minds into enlightened ones and to assist with healing. Every tantric system has its own mandala, and thus each one symbolizes a particular existential and spiritual approach.



Procedures to Create Sand Mandalas

The mandala sand painting process begins with an opening ceremony, during which the lamas consecrate the site and call forth the forces of goodness. The monks chant and dance in resplendent dress.

The lamas begin the work by drawing an outline of the mandala on the wooden platform, which takes the entire day. The following days see the laying of the colored sands, which is done by pouring the sand from traditional metal funnels called chak-pur. Each monk holds a chak-pur in one hand while running a metal rod on its grated surface; the vibration causes the sands to flow like liquid.

Next, starting from the center and concentrically working outwards, the monks use metal funnels to place millions of grains of dyed sand in elaborate patterns. The vibrations of the funnel being grated with a metal rod cause the sands to flow like liquid. The sand used at Manchester Town Hall was actually ground marble from Southern India. Other popular substances are powdered flowers and herbs or grains. In ancient times powdered precious and semi precious gems were also used.

Traditionally most sand mandalas are destroyed shortly after their completion. This is done as a metaphor for the impermanence of life. The sands are swept up and placed in an urn; to fulfill the function of healing, half is distributed to the audience, while the remainder is carried to a nearby body of water, where it is deposited. The waters then carry the healing blessing to the ocean, and from there it spreads throughout the world for planetary healing.

Behind the Changing Masks

Face changing, better known as Bian Lian, is considered one of the most mysterious of China's traditional performing arts. Originally a trick of the Sichuan Opera, only a few Chinese opera masters have been able to grasp the skill.



Zeng Jingui, 70, is one of the few. As he switches his masks in such quick succession, it seems like magic.

Zeng retired in 1990 and since then he has developed a new hobby - making his own masks. So far, he has created more than 1,000 delicate masks in the style of Peking and Xiangju operas, and he displays them in every corner of his home. He spends most of his time rummaging through various markets seeking suitable materials to make new masks. His crafty hands have turned buttons into eyes and nylon ropes into beards.

Stepping into Zeng's home, you will find many different glamorous and colorful masks covering the walls of the living room, most of them homemade. The bulk of these were inspired by the famous characters from The Romance of Three Kingdoms.

A renowned artist and one-time manager of Changsha Xiangju Opera House in Central China's Hunan province, Zeng has devoted himself to mask making and exploring the secrets of mask changing.

It usually takes one month to make a mask, and it has to be in the summer so the paint can dry quickly," Zeng says. He has even tried to make a mask the size of a bean.

In 2004, Zeng became quite a controversial figure. He triggered a public backlash when he claimed he had successfully decoded the secrets behind Sichuan Opera face changing, an old skill considered to be a confidential national treasure. Many people accused Zeng of tainting this art.

In fact, it was only after hard work, watching piles of videos and repeated testing that Zeng found nylon was the most ideal material to make masks for face changing.

After uncovering the mystery behind face changing, Zeng now looks at it all much more rationally.

"Face changing is only a trick of Sichuan Opera," he says. "Without the rich cultural background behind it, it is only a kid show."

In spite of the controversy, Zeng's success has won him respect from Sichuan Opera masters, such as Peng Denghuai, who is known as the "king of face changing in Sichuan Opera".

Though Zeng is not the world's fastest face-changing artist, he can change up to 10 masks in a show. But he doesn't think the number of masks one can change in a show is the soul of mask changing: "If one only pursues the number, it is hard for audiences to enjoy the beauty of masks."

Opera masks have become the most important part of Zeng's life - even his bed is in the shape of a big mask.

"Life is a dreamlike opera," he says. "I quite enjoy my memories of working on these masks."

Zeng now spends all his energy and time creating a 32-meter-long opera mask, filled with many famous characters from classical Chinese masterpieces such as Outlaws of the Marsh, Journey to the West and The Romance of Three Kingdoms. Zeng hopes his work will make more people aware of this important national treasure so it will live on for generations.

Arts in Tibet, Gifts from Heaven

Visitors to Tibet are invariably impressed by the local people's power of imagination and boldness of their artistic expression, from architecture to clothing and decorations, from furniture to articles of daily use. Religious doctrines have not stifled their creativity. Rather, they have given wings to their imagination.



Tangka

For both lamas and votaries, Tangka is an important tool for self-cultivation. By worshipping Tangka, they may be blessed with good deeds and rewards.

Tangka, seen in every monastery and family shrine in Tibet, has been in vogue in Tibet for centuries. It is the art of Tibetan scroll-banner painting and mainly depicts the images of Buddha, eminent monks and folk customs.

Tangka painters have to follow a strict painting model, which has been passed down through generations. The original is said to be hidden among the secret sutras, recording all the rules and scales of at least eight different types of Tangka painting. No one is allowed to change them.

The pigments contribute greatly to the uniqueness of Tangka. They are made from natural materials such as rare metals and plants, and carefully mixed and processed by hand. Thus a well-kept Tangka still shines gorgeously generation after generation.

Tangkas used at home are usually not longer than 1 meter, but the giant Tangka in the Buddhist Portrait Unfolding Ritual can be big enough to cover the side of a mountain.

It is, indeed, a magnificent spectacle. The Buddhists take out the Tangka treasured by the temple and exhibit it in public to show the Pure Land of Buddhism. They deliver speeches, and sing and dance to commemorate the mighty Buddha.


Tibetan Opera

Tibetan Opera is hailed as "the living fossil of Tibetan culture." Various exaggerated masks are the highlight of Tibetan Opera and identify the roles the actors play. For example, a red mask represents the king; a green, the queen; a yellow, Lamas and deities.

Tibetan Opera boasts a history of more than 600 years, about 400 years longer than Peking Opera. Based on Buddhist stories and Tibetan history, the performance of Tibetan Opera follows fixed procedures, including religious rituals, singing, dancing, story telling and blessing ceremonies.

The musical rhythm is created by the beats of drums and cymbals that punctuate every movement, and by the singing performers. The rapidly chanted narration alternates with the sung dialogues repeated in the chorus. The dance movements are exaggerated and vigorous.

The performance ends with a blessing ritual that is also an occasion for the audience to present hada (a long piece of silk used as a greeting gift among Tibetans and Mongolians) and donations.


Butter sculptures

Tibetan butter sculptures cover a variety of subjects, like deities, flowers, animals and Buddhist motifs. Traditionally, they are displayed on monastery altars and family shrines as offerings.

Butter sculptures, mainly made of butter and mineral pigments, are modeled by hand. Since butter melts easily, monk artists need to work in cold conditions. They dip their hands into cold water to make their fingers cold enough to model the butter without melting it.

A few tools, such as hollow bones for making long threads and moulds for making leaves, are applied. Monks take great pride in doing religious work.