2. sand mandalas

The Mind's Eye

The Mind's Eye is an exhibit of Myron McGhee's photographs of Tibetan monks painting sand mandalas at Emory University in Atlanta, Georgia. While the monks focus their attention on the artistic elements of creating the sand mandala, they also devote their minds to meditation for the healing of the earth. Observing their sacred practice, our eyes are drawn to the exquisite beauty of their art, and our minds are inspired by their religious devotion.

This collection of photographs will be on exhibit at various venues on Emory's campus throughout the 2011-2014 academic years. The exhibit is curated by Juana Clem McGhee and made possible through generous support from the university and other organizations in the Atlanta area. For more details, visit the following website: http://www.emory.edu/mandala

These photographs are made possible with the support of Drepung Loseling Monastery ( http://www.drepung.org). If you are interested in purchasing photographs from this gallery, with a portion of the proceeds being donated to the monastery, email jmcghee@emory.edu
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  • 2010 - The mandala process begins and ends with consecration ceremonies led by Tibetan monks chanting, reciting mantras and playing traditional musical instruments. Click on the link below for audio comments by Myron McGhee. http://mesas.emory.edu/home/documents/audio/1MMcGhee.mp3 Click on the link below for an audio excerpt of Tibetan monks chanting during a mandala ceremony. http://mesas.emory.edu/home/documents/audio/1Chant.mp3

    2010 - The mandala process begins and ends with consecration ceremonies led by Tibetan monks chanting, reciting mantras and playing traditional musical instruments. Click on the link below for audio comments by Myron McGhee. http://mesas.emory.edu/home/documents/audio/1MMcGhee.mp3 Click on the link below for an audio excerpt of Tibetan monks chanting during a mandala ceremony. http://mesas.emory.edu/home/documents/audio/1Chant.mp3

  • 2011 - Immediately following the opening ceremony, the monks begin drawing a pattern of lines and circles on a wooden table.

    2011 - Immediately following the opening ceremony, the monks begin drawing a pattern of lines and circles on a wooden table.

  • 2011 - On the first day, the monks devote several hours to draw an elaborate series of intersecting lines and connecting circles, to form the underlying design of the mandala. They use a variety of familiar tools for this part of the process: compass, ruler, pencil, string, chalk. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/3JMcGhee.mp3

    2011 - On the first day, the monks devote several hours to draw an elaborate series of intersecting lines and connecting circles, to form the underlying design of the mandala. They use a variety of familiar tools for this part of the process: compass, ruler, pencil, string, chalk. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/3JMcGhee.mp3

  • 2010 - Sand grains, in a wide spectrum of vibrant colors, are arranged in small bowls on a side table. Click on the link below for audio comments by Jessica Cook. http://mesas.emory.edu/home/documents/audio/4Cook_edit.mp3

    2010 - Sand grains, in a wide spectrum of vibrant colors, are arranged in small bowls on a side table. Click on the link below for audio comments by Jessica Cook. http://mesas.emory.edu/home/documents/audio/4Cook_edit.mp3

  • 2007 - Selecting one color at a time, the monks pour sand into a tube (chakpur) and rub a rod (thurma) across the tube. The resulting vibration moves the sand from the tube onto the table. Click on the link below for audio comments by Myron McGhee. http://mesas.emory.edu/home/documents/audio/5MMcGhee.mp3 Click on the link below for an audio excerpt of the monks rubbing the thurma across the chakpur. http://mesas.emory.edu/home/documents/audio/5Tools.mp3

    2007 - Selecting one color at a time, the monks pour sand into a tube (chakpur) and rub a rod (thurma) across the tube. The resulting vibration moves the sand from the tube onto the table. Click on the link below for audio comments by Myron McGhee. http://mesas.emory.edu/home/documents/audio/5MMcGhee.mp3 Click on the link below for an audio excerpt of the monks rubbing the thurma across the chakpur. http://mesas.emory.edu/home/documents/audio/5Tools.mp3

  • 2010 - Millions of sand grains are carefully placed and layered, to form the designs and symbols of the mandala. Patterns are sometimes sketched in the sand to serve as a guide. Click on the link below for audio comments by Myron McGhee. http://mesas.emory.edu/home/documents/audio/6MMcGhee.mp3

    2010 - Millions of sand grains are carefully placed and layered, to form the designs and symbols of the mandala. Patterns are sometimes sketched in the sand to serve as a guide. Click on the link below for audio comments by Myron McGhee. http://mesas.emory.edu/home/documents/audio/6MMcGhee.mp3

  • 2011 - Each mandala is centered around an image of a particular Buddha. The image depicted here is the Buddha of Wisdom (Manjushri). Click on the link below for audio comments by Tsepak Rigzin. http://mesas.emory.edu/home/documents/audio/7Rigzin.mp3

    2011 - Each mandala is centered around an image of a particular Buddha. The image depicted here is the Buddha of Wisdom (Manjushri). Click on the link below for audio comments by Tsepak Rigzin. http://mesas.emory.edu/home/documents/audio/7Rigzin.mp3

  • 2011 - In a coordinated effort, the monks move outward from the center, adding colors, patterns and symbols of the mandala. Click on the link below for audio comments by Myron McGhee. http://mesas.emory.edu/home/documents/audio/8MMcGhee.mp3

    2011 - In a coordinated effort, the monks move outward from the center, adding colors, patterns and symbols of the mandala. Click on the link below for audio comments by Myron McGhee. http://mesas.emory.edu/home/documents/audio/8MMcGhee.mp3

  • 2007 - The work involves standing and bending over the table for many hours each day. This particular mandala, painted in 2007 during the visit of His Holiness the Dalai Lama, is centered around an image of the Buddha of Compassion (Avalokiteshvara). Click on the link below for audio comments by Tsepak Rigzin. http://mesas.emory.edu/home/documents/audio/9Rigzin.mp3

    2007 - The work involves standing and bending over the table for many hours each day. This particular mandala, painted in 2007 during the visit of His Holiness the Dalai Lama, is centered around an image of the Buddha of Compassion (Avalokiteshvara). Click on the link below for audio comments by Tsepak Rigzin. http://mesas.emory.edu/home/documents/audio/9Rigzin.mp3

  • 2007 - The monks often work in close proximity to one another, as seen here, head to head. This sort of proximity can represent to us a true meeting of the minds. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/10JMcGhee.mp3

    2007 - The monks often work in close proximity to one another, as seen here, head to head. This sort of proximity can represent to us a true meeting of the minds. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/10JMcGhee.mp3

  • 2010 - The mind of the monk is focused on the artistic elements of creating the mandala, while at the same time, meditating on healing the earth and its inhabitants. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/11JMcGhee.mp3

    2010 - The mind of the monk is focused on the artistic elements of creating the mandala, while at the same time, meditating on healing the earth and its inhabitants. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/11JMcGhee.mp3

  • 2011 - The monk gives attention to fine details; here, using a compass point to move individual grains of sand. The meditation beads on the monk's wrist remind us of the sacred nature of the mandala process. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/12JMcGhee.mp3

    2011 - The monk gives attention to fine details; here, using a compass point to move individual grains of sand. The meditation beads on the monk's wrist remind us of the sacred nature of the mandala process. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/12JMcGhee.mp3

  • 2011 - On the final day of construction, the monks converge at the table to review their progress and complete the remaining design elements. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/13JMcGhee.mp3

    2011 - On the final day of construction, the monks converge at the table to review their progress and complete the remaining design elements. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/13JMcGhee.mp3

  • 2011 - The mandala is complete, in this case, after six full days of collective effort.

    2011 - The mandala is complete, in this case, after six full days of collective effort.

  • 2007 - As part of the closing ceremony, the mandala is dismantled by sweeping away the sands. This ritual act serves as a reminder of the impermanence of life. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/15JMcGhee.mp3

    2007 - As part of the closing ceremony, the mandala is dismantled by sweeping away the sands. This ritual act serves as a reminder of the impermanence of life. Click on the link below for audio comments by Juana Clem McGhee. http://mesas.emory.edu/home/documents/audio/15JMcGhee.mp3

  • 2006 - The words "please return" printed on a label and attached to one of the tools may offer multiple meanings: one, to return the tool if it is misplaced; another, a reminder of Tibetan people being displaced and desiring to return to their homeland. Click on the link below for audio comments by Gary Hauk. http://mesas.emory.edu/home/documents/audio/16Hauk.mp3

    2006 - The words "please return" printed on a label and attached to one of the tools may offer multiple meanings: one, to return the tool if it is misplaced; another, a reminder of Tibetan people being displaced and desiring to return to their homeland. Click on the link below for audio comments by Gary Hauk. http://mesas.emory.edu/home/documents/audio/16Hauk.mp3

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