ASHRAM MANDALA

Sister Jude was the first to move to this village of Gollahalli, and to start the work of what came to be known as the Sunanda Trust, which led to the acquisition of about 24 acres of land, on which the Maithri Sagar Ashram was established. The twelve acres of land on which the Ashram buildings came up, were very rocky. The architect Mr. Hulliyappa from Bangalore created the working designs for the buildings, based on sketches drawn by jyoti Sahi, for whom the Ashram space was imagined as a pattern of interlocking triangles.. The first two buildings, one for living in, and the other for a meditation space and inter-faith activities, were constructed on a plan of triangles.

My studies on the structure of temples in India, had led me to the understanding of sacred space as based on the Mandala. The Mandala patterns that we find in India, like in the floor designs that are made in front of Indian homes, relate to concepts that go back to designs used in meditation, as developed in Buddhis, Jaina and Hindu schools of Yoga.

CONCEPT OF ASHRAM MEDITATION CENTRE

The concept behind the ground plan of the meditation centre was the Mandala structure known as the Sri Yantra, which is basically created by two overlapping triangles, thus forming what is sometimes called the Star of David, or in India, the Star of Lakshmi. This pattern is often the basis for the Rangoli or Kolam designs made by village women on the doorstep of the home. The design is thought to be auspicious, and to invite the Divine Mother into the home.
The Hexagonal structure on which the Sri Yantra is based, comprises a number of triangles which inter penetrate each other. Besides the star form where two triangles completely overlap, there is also the design of two triangles which only touch each other at their apex, creating a form which is like the traditional drum or dhumaroo, which folk singers use to keep time. In fact this drum also reminds one of the shape of the ancient hour glass. It is thought to both symbolize time, but also the human body, as we find in many tribal images where the upper part of the body is represented as a triangle whose apex points down, and the lower part of the body is a triangle whose apex points up. Another important form which we find in folk art is the diamond, or lozenge shape, where two equilateral triangles share a common base, though pointing in opposite directions. These forms are both dynamic, but also balanced. They seem to symbolize both rest and movement.

Symbols on Pillars

A PILLARED HALL

The Mandappam structure is typical of pillared halls in Hindu temples. This allows for the open, free flow of air. To enclose the space jail patterns are used in windows, and also metal grills are used for larger spaces, so that the inner space can be closed when not in use.
The symbolism of the pillar, or Sthamba, is very important in sacred architecture. Not only does it support the roof, but it also represents the axis mundi. The pillar is often designed as a series of Mandalas, which are carved on the square faces of cubes placed one above the other. Caroline designed a series of primal forms related to the symbolism of the journey of the Hebrew peoples towards the Promised Land, which also relate to the basic language of symbolism that can be found in Indian myths. In this way she indicated that there is underlying all archetypal forms, a fundamental understanding of a process towards inner growth and liberation.
Caroline Mackenzie designed a series of symbolic images which were carved by local craftspeople on the pillars of the Meditation Centre. She writes:
“There are pillars around a central pond and thee devotee can circumambulate the area, passing the symbols carved on the pillars which “tell” the Exodus story. These images include the seed, tree, egg and so on. One gets the idea of the whole of nature being bonded and God intervening and leading ‘her’ towards freedom. Lest we should fear too much our involvement in this work, the story of the reluctant prophet Jonah is depicted on the doorway.”

The Door of the Meditation Centre

JONAH and the WHALE

The story of Jonah is very significant in that it shows the prophetic figure as emerging out of the enclosed space of the Whale’s body, to be born again in a land where the Prophet is sent to witness to the Divine Word, and call people to change their way of life. The element of Water, and the symbol of the fish is found in Indian mythology, the fish being associated with Makara, which literally means “That which does with its mouth...’Ma’---‘kara’ “ This image of the Water monster can also be understood as linked to the Biblical creature known as Leviathan, which inhabits the depths.

The Pool at the Centre of the Meditation Space.

At the centre of the Mandala of Sacred Space is the Pool which has plants around it, and a lotus at its centre. Here the pool is designed as itself triangular. The pool is open to the sky, and can also be understood as an eye which looks up to the heavens, reflecting the light of the sun.

THE TABERNACLE SETTING.

Caroline Mackenzie who designed the Tabernacle setting in Maitri Sagar Writes:
An example of masculine and feminine symbolism at the centre of sacred space is to be found at Maitri Sagar.
“In this example the “masculine” element is provided by the pillar of fire. This is symbolized as a stone pillar with a flame on top and seven oil lamps each side. In the centre is the tabernacle. On the door there is an annunciation scene where Mary accepts the message of the fiery angel. The idea is to focus on God’s involvement in the process of liberation. Thus the pillar of fire is a symbol to guide the Israelites and the angel shows Mary her destiny in the process of liberation. Both the pillar and the angel are accepted in faith.
In the Maitri Sagar sanctuary the tabernacle is set into the pillar so that it is at eye level for someone squatting on the floor. Meditation practices such as the Adoration of the Blessed Sacrament can be done in this setting in a meaningful way. Because it is the custom to sit on the ground, one is very much aware of the earth. The Western tradition has stressed the notion of the divine descending from above, entering from outside. In the East there is more of an equal focus on above and below. Just as the pillar rises out of the earth, so the lotus flower grows up out of the muddy water. This is an obvious symbol for the integration of below and above, or dark and light”
(‘Cosmic awareness and Sacred Space: The integration of Feminine symbolism in Indian Christian art and architecture’ by Caroline Mackenzie)

Tabernacle setting at Maithri Sagar