Lumbini, the birthplace of Buddha in Nepal, is not only famous for this fact but also for the Buddhist monasteries funded and created by several country Buddhist institutions. A visit to Lumbini allows one to see how Buddhism is practiced in each country represented by the monasteries. While many people believe that Buddhism is a religion of learning mantras and rituals, others also appreciate the great art associated with it.
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Kogilavani
at Lumbini. Image: Writer M. Navin |
Everyone
has their own purpose and path to reach the Buddha, and for me, I find that art
is the way to connect with him. I approach Buddha through mandala and Thangka
paintings, which have always made me feel like he is very close to me. As a
child, I would paint mandalas and feel his presence. I have heard that Mandala
and Thangka paintings are popular in Lumbini and can be quite large. Therefore,
my main purpose in visiting Lumbini is to experience these art forms and deepen
my connection with Buddha.
Despite
the tiredness from the long journey, I felt a sense of renewal as soon as I
stepped onto Lumbini's soil. The light behind the Buddha's head seemed to
spread throughout the entire area, shining brightly. My body, mind, and
thoughts became calm and immersed in Buddha. I felt as if Buddha was fully present
within my body and soul.
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The
travel guide, Ganesh Magar. Image: Kogilavani |
On June 4th, 2023, after breakfast, my travel guide, Ganesh, provided a detailed explanation about Buddha and Buddhism. He emphasized that anyone can become a Buddha, including ourselves. He explained that the mechanism for achieving this is available in Lumbini.
As a dancer who can sing and play the veena, I feel that I have a great opportunity to become like the revered figures of Meera Bai, Quan Yin, and Bodhisattvas who are revered as Gods today. Through my art, I can connect with the divine and transform into a more enlightened being, much like Buddha himself.
The
German monastery is one of the most famous and beautiful monasteries in
Lumbini. I had watched videos of it on YouTube more than 20 times before my
visit, so I was excited to see it up close. As soon as I removed my shoes to
enter, I felt the warmth of Lumbini's 40-degree heat on my feet. It was quite
hot, so I quickly ran inside.
The entrance of German Monastery, Lumbini. Nepal. Image: Kogilavani
The German monastery was full of Buddhist monks who were chanting mantras (a sound, word, or phrase that is repeated by someone who is praying or meditating) while walking around the temple. I marveled at their ability to remain relaxed in the 40-degree heat, while I ran to my fingertips to avoid the boiling floor. As I reached the door, I did not find the Buddha at the main entrance. I immediately walked to the right side of the building and stood in front of a large Thangka arts. The German monastery looked familiar to me because I had seen it too many times on YouTube. Once inside, I felt an amazing sense of peace.
I was amazed by the huge "wheel of time" (Kaala Chakra) painted in Thangka style, which focused on the theme of heaven and hell. I watched every single aspect of the painting carefully, as it was my first time seeing a Thangka painting in person. The painting was so beautiful that I imagined it. The artist must have had an exquisite taste for art. It was clear that the artist had a vivid image of the whole painting in his mind's eye, and was able to bring it to life in such a stunning way.
Figure 1Thangka painting resembles Kaala Chakra (The Wheel of Life) in the German Monastery, Lumbini. Nepal. Image: Kogilavani
As
I stood outside the German monastery, the wind blew from the left side, almost
as if someone was calling out to me, beckoning me to come closer. I knew who
the call came from. The wind continued to blow, a little stronger this time,
and I felt compelled to follow it. I took a deep breath and started walking
towards the source of the wind. My heart was beating fast and my mind felt like
a child. Although I had seen her many times on the internet, the moment when I
saw her in person for the first time was the most important part in my life.
There was no one else around, no sound except for the wind, and I just stood in
front of her and relaxed, much like the Buddhist monks I had seen just before.
As
I approached her, I started to chant her mantra, "Om Tare Tuttare Ture
Soha". The sound of her mantra made me walk more slowly and calmly as if
she was guiding me toward her. The more I chanted, the more I felt at peace,
and the closer I felt to her.
I remembered what Govin (porter) had said to me during my trek to Annapurna Base Camp: "Every step of yours is important. Don't step behind even if your stuff has dropped. Your goal is the mountain, not the foot." I realized that every step towards her was just as important, and I approached her with a sense of divine purpose. I started at her feet and slowly looked up to her face. Her eyes were full of beauty and she seemed very realistic, as if she was truly present in that moment.
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Thangka painting resembles Goddess Green Tara at the German Monastery, Lumbini. Nepal.
Image captured by Kogilavani |
She’s
Tara.
Tara
is the female form of Buddha, who represents wisdom. In Buddhism, anyone who
has attained enlightenment is considered a Buddha. Siddhartha Gautama was not
the only Buddha; there were many Buddhas in Buddhism. One of the most
well-known Buddhas is Avalokitesvara, who is the first of its kind in the
Buddha series. In Chinese and Tibetan culture, Avalokitesvara is known as Guan
Yin.
One
day, Avalokitesvara (Guan Yin) saw the suffering of people in samsara (the
indefinitely repeated cycles of birth, misery, and death caused by karma) and
began to cry in deep sorrow. He cried for days until all his tears had turned
into a large lake. A few days later, lotus plants began to bloom in the lake,
and 21 lotus buds formed. One day, when the sun was shining and the lotus
flowers were spreading their petals, Tara was born from one of the lotus buds.
Each lotus gave birth to a Tara and a total of 21 babies Tara were born.
Thangka painting resembles 21 Goddess Tara at the German Monastery, Lumbini. Nepal. Image captured by Kogilavani
Green
Tara was the first to be born from the lotus bloom, followed by other Taras in
a variety of colors such as white, red, yellow, blue, magenta, and sandalwood
color. As they were all formed from Avalokitesvara's tears, he knew that all
Taras were endowed with kindness and compassion from birth, making them all
very sacred. Avalokitesvara raised all the Taras as princesses in his palace
and taught them all the holy teachings, including dance and music, in the
Gurukul (education system of ancient India).
Avalokitesvara recognized that Tara possessed wisdom and knowledge that transcended teaching, and counseled people to revere and venerate the Taras and follow their teachings. Despite there being no female Buddha yet, people humbly requested Tara to reincarnate as a male Buddha. However, Green Tara refused and declared that she would remain a female and continue her spiritual journey in that form. She stated, "There have been many male Buddhas before me. I was born as a female and I will continue to follow Buddhism and attain enlightenment in the form of a female." Green Tara was followed by other colored Taras who also attained enlightenment.
Thangka painting of Avalokitesvara. Image: Marylin M. Rhie and Robert A. F. Thurman
All the Taras received blessings from Avalokitesvara and pledged to perform their duties according to his teachings. The 21 Taras took on different responsibilities and began to bless and protect devotees, guiding them toward enlightenment. From that day onwards, Tara is known as the Eternal Star, a light to those who are in darkness. I can’t believe that I stood in front of a painting of Goddess Tara. I was struck by the image of a perpetual light, symbolizing her eternal presence and guidance. Even though the roofs in Lumbini were split and sunburned, the mandala and Thangka paintings from many years ago had not faded in the slightest. In fact, they shone even more in the sunlight, with not a single mistake in the painting. The 21 Taras in the German monasteries were painted in a subtle Thangka painting style. I couldn't imagine that it was just a painting. It was as if I had seen Goddess Tara in person, so realistic was the painting.
As
the first of the 21 Taras, Green Tara was drawn slightly larger than the others
in the center, and her green color gave off a cool feeling. Since small, I was
always surrounded by various shades of green in the mountains, tea gardens,
plants, grass, and solariums, but I had never seen a green quite like this. While
the remaining 20 Taras around Green Tara were displayed in many different
colors, my attention was drawn entirely to Green Tara, who sat in the center.
She was alive in her eyes, so gentle, meek, and full of femininity that I
absorbed it all through the curves of her image. After being amazed and
attracted to Apsara in Cambodia, Tara was the one who captured my attention
with her beauty. She wore red clothes that seemed to fly through the air and
envelop her mane, exuding grace in her hands and feet. As a dancer, I could feel
her grace. If she could dance, she would be so beautiful. The painter who
created such a realistic depiction of her must have seen her in person.
Otherwise, painting like this is not possible.
While
I was mesmerized by her beauty, tears fell from my eyes. I felt as though
she was just as fascinated by me. When I closed my eyes and held the Tribhanga
pose (a standing position where the body is divided into three parts making it
graceful), the structure of her feet and body aligned perfectly, making me feel
that she was not just a Buddhist Goddess, but also a great Narthaki, a dancer.
As a dancer myself, I longed to stand like her in dance form. Tara allowed me
to stand in front of her for as long as I wanted, and it was a truly
unforgettable experience.
 Spinning prayer wheel in German Monastery, Lumbini. Nepal. Image: Alamy |
For
a long time, no one came to the left side of the German monastery, and I
suddenly realized that none of my friends were with me. Slowly, I climbed onto
a nearby wall and saw Navin, Vasanthi, Aravin, and Siva all enriching the
spinning prayer wheel. From a distance, the scenery of the spinning wheel was
beautiful. Spinning prayer wheels are considered to be the greatest prayer, as
the rotation of the wheel creates a vibration that turns into an energy form
for those present. This was the first time I had seen such a large spinning
prayer wheel. Tibetans spinning prayer wheels is mainly to help all the living
beings in the world to cleanse their karma. They are an important part of
meditation practice and an instrument of Siddhartha Gautama's teachings in
Buddhism.
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Goddess
Tara painted by Artist Sulav Shakya |
As
I looked at Tara's picture again, I found myself wondering why she was so
beautiful. Was it her eyes? Yes, it was her eyes. Tara's eyes were in a
meditative state and looked downwards, just like the eyes of a Bodhisattva. In
fact, Tara was a Bodhisattva herself. She had sworn to Avalokitesvara that she
would lead people to enlightenment in the form of a female Buddha and thus
emerged as a Bodhisattva. The primary duty of Bodhisattvas is to teach people
and guide them from the state of Samsara, which is between birth and death, to
the state of enlightenment. Once their duty is fulfilled, they attain
liberation, but until then, Bodhisattvas work to protect all those who worship
them. Bodhisattvas are always in a meditative state, with downcast eyes of
mercy. Tara is a complete Bodhisattva, and the eyes of all 21 Taras are
similarly positioned in a meditative state of mercy.
Suddenly,
my attention was drawn to a blue color. It was the Blue Lotus. Green Tara held
a blue lotus in her left hand, with its stem. Blue is a rare color in lotus varieties,
so it was something special. Then, I had a look at the other Taras, but not
all of them had something in their palms that I could see. However, the few
that did all held blue lotuses.
My
uncle Pugal, who introduced me to Mandala painting, told me a lot about the
Blue Lotus. It is a very important element in Mandala and Thangka paintings and
is often used in these artworks. Blue is one of the three primary colors, with
no mixture of any other colors. Tara held a completely different and rare blue
lotus, which reminded me of Manasarovar.
Manasarovar
Lake, Mount Kailash. Image: Tibet Travel
Manasarovar
is the name of a sacred lake located on Mount Kailash, near the four major
rivers of Asia. Those who want to trek to Mount Kailash have to pass by
Manasarovar Lake. Climbers and trekkers often take a dip in the lake early in
the morning before starting their journey. During the time of Brahma Muhurta
(early morning period between 3.30 a.m. and 5.30 a.m.), the entire
Manasarovar turns blue, with light falling from the sky into the lake. It is
believed that the gods and goddesses come down from the sky to take a dip in
the lake near Mount Kailash, where the Lord Shiva resides. When this magical
incident happens, the entire lake turns blue, and even the latest technology
cameras cannot capture the actual colors of Manasarovar. I have also read about
this on the internet.
There is another miracle in Manasarovar, the blue lotus blooms. The blue lotus in Manasarovar does not bloom with sunlight, but rather with moonlight. The moon illuminates the blossom, creating a beautiful blue lotus. This miracle is said to happen only in Manasarovar. When I saw the rare blue color in Green Tara’s palm, my thoughts immediately went to Manasarovar.
The
Lotus flower is significant in Buddhism, with many roles and meanings. Maya
Devi, the mother of the Buddha, was on her way to her mother's house for her
Seemantham (Bangle Ceremony), when she saw a park and decided to take a stroll.
Suddenly, she went into labor and managed to deliver her son, Siddhartha
Gautama, in the garden. The Lotus flower is the first to receive the Buddha
into this world, which is why his birthday is celebrated as the Lotus Festival.
In Buddhism, the Lotus is a symbol of surrender and represents purity of body,
speech, and mind. When I saw the special blue lotus in Tara's hand, she
reflected even more beautifully.
As
I kept seeing Tara, I couldn't help but imagine how nice and elegant it would
be if she started to dance. This thought reminded me of the eternal dance of
Charya Nritya. Charya Nritya is an ancient dance form that originated in Nepal
and is practiced by Buddhists. It is a form of dance that is centered around
the Goddess Tara, who is a significant figure in Buddhism. In Charya Nritya,
Tara is considered the main deity and is worshipped through dance and song. The
dance form is believed to have originated in the 8th century and is still
practiced by Buddhists in Nepal today. The dance is performed by both men and
women and is characterized by its intricate hand gestures, facial expressions,
and body movements. It is believed that through the dance, the performers can
connect with the divine and receive the blessings of the Goddess Tara.
Chanira Bajracharya performs Charya Nirtya as Goddess Tara. Image: Chanira Bajracharya Facebook
One
of the distinguishing features of Charya Nritya is its intricate hand gestures,
known as mudras, which are used to convey specific meanings and emotions. The
dance also incorporates a variety of facial expressions and body movements,
which are used to convey different aspects of the story being told. Another
unique aspect of Charya Nritya is its use of traditional musical instruments,
such as the Damaru (a small drum), the Dhyangro (a double-headed drum), and the
Bansuri (a bamboo flute). The music is an integral part of the dance and is
used to set the rhythm and mood of the performance. Overall, Charya Nritya is a
highly expressive and spiritual dance form that is deeply rooted in Buddhist
traditions. It is a form of worship and devotion that is used to connect with
the divine and seek the blessings of the Goddess Tara.
Mahayana,
Theravada, and Vajrayana are the main three branches of Buddhism. In Vajrayana,
instead of practicing ethics, discipline, compassion, and meditation, one can
attain enlightenment in a lifetime through dance, music, and physical exercises
such as yoga. This is how Goddess Tara has imparted her teachings to her
devotees, through the dance of Charya Nritya. Avalokitesvara, an earlier
bodhisattva, created this dance and taught it to Tara. It is believed that Tara
descends into the body of a Narthaki during the dance performance and imparts
grace through the dance. Before dancing, certain rituals must be followed,
including drawing a Mandala, which is the flagship of the tradition. Before
performing Charya Nritya, several rituals must be followed. These rituals
include purification of the body and mind through meditation, recitation of
mantras, and offerings to the deities. The performers also wear traditional
costumes and makeup, which are meant to symbolize the deities they are
portraying.
One
of the most important rituals that must be performed before the dance is
drawing a Mandala. A Mandala is a sacred geometric design that represents the
universe and is used as a tool for meditation and spiritual transformation. In
Charya Nritya, the Mandala is drawn on the ground using colored sand or powder,
and it serves as a symbolic representation of the divine realm. The Mandala is
believed to invite the deities to the performance and create a sacred space for
the dance to take place. The significance of drawing a Mandala lies in its
ability to create a sacred space and to represent the divine realm. It is
believed that the Mandala invites the deities to the performance and creates a
space for the dance to take place. The Mandala also serves as a tool for
meditation and spiritual transformation, allowing the performers and audience
members to connect with the divine and seek enlightenment. Overall, the Mandala
is an integral part of Charya Nritya and is essential for creating a sacred and
spiritual atmosphere for the dance.
Bharatanatyam is
an Indian classical dance form that originated in Tamil Nadu, India, and has
many similarities with Charya Nritya. They both use the same mudras, or hand gestures, and are often performed in temples to glorify God and seek
enlightenment. The ornaments used in Charya Nritya are also similar to those
used in Bharatanatyam. However, one of the main differences between the two
dance forms is the use of Tribhanga in Charya Nritya. Tribhanga is a three-part
bend of the body, which is used extensively in Charya Nritya to convey
different Bhavam, emotions and expressions.
Tribhanga posture. Image: Bhumi dance
One of the main differences between Charya Nritya and Bharatanatyam is their use of body movements. While both dance forms use intricate hand gestures and facial expressions to convey meaning, Charya Nritya places a greater emphasis on the use of physical movements to convey different emotions and expressions. In particular, Charya Nritya makes extensive use of the Tribhanga posture, which is a three-part bend of the body that involves bending the head, torso, and legs in different directions. This posture is used to convey different emotions and expressions, such as anger, joy, and sorrow. In contrast, Bharatanatyam places a greater emphasis on the use of footwork and leg movements, such as adavus and jatis, to convey rhythm and movement. While hand gestures and facial expressions are also used in Bharatanatyam, they are not as prominent as they are in Charya Nritya.
 Nepalese Monastery, Lumbini. Image: Kogilavani |
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After visiting many monasteries in Lumbini, I found myself drawn to Tara, who appeared in various forms and colors. In particular, I was struck by the magnificent Nepalese monastery, which was built in the Newar culture. As soon as I entered, I felt a strong positive vibration and was inspired to dance. This positive energy emanated from a gigantic golden statue of Tara, who was holding a vase in her hand. The vase is believed to have the power to increase the life energy, power, possessions, and spirituality of the devotees. Tara's sheen spread throughout the monastery and all the pillars were adorned with her idols. The idols of Tara on the pillars in the Nepal monastery are a symbol of devotion, inspiration, and protection. They serve to connect the devotees with the divine and provide a source of guidance and support on their spiritual journey.
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All
the pillars were adorned with Goddess Tara's idol in the Nepalese
Monastery, Lumbini. Image: Kogilavani |
Goddess
Tara is like a flame that not only provides warmth but also illuminates
everything around it. Golden Tara’s lights were shining on my face when I was
standing beside her. It was similar to standing next to a fire that spreads warmth
and light to the whole body. Tara's light reflected on my face, and I felt a
sense of peace and serenity. Her presence was a source of inspiration and
comfort, and I felt grateful to be in her presence.
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Kogilavani
with Golden Tara's statue at Nepalese Monastery, Lumbini. Nepal. Image:
Writer M. Navin |
Tara,
as a symbol of compassion and wisdom, is often associated with this idea of
living for the benefit of others. Her teachings encourage us to cultivate
kindness and compassion towards all beings and to work towards the betterment
of society as a whole.
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