Chakrasamvara Jogini Mandala, with Real Stone, Metal Setting and Gold Plated

Iconography
Chakrasamvara is represented with a blue body, four faces and twelve arms in yib-yum union with his swisdom energy Vajravarahi {also known as Vajrayogini}. She holds a skullcap in her left hand behind his back and a vajra headed chopper in her right. The chakra referred to is the chakra of Supreme Bliss. Chakrasamvara is regarded as the most important meditational deity [Yidam] of Vajrayana Buddhism, & primary Yidam of the Kagyu tradition with its origin in the meditation of the eighty four Mahasiddhis of India.


He stands on a sun disc surrounded by a flaming aura of his own radiant wisdom. He wears a tiger skin loin cloth in the manner of an ascetic yogi and is adorned with both bone and jewelled ornaments and a garland of fifty freshly severed human heads. His forehead sports the third eye of wisdom and the expression on his face is a mixture of wrath and passion. Heruka embraces his red wisdom energy Vajravarahi who holds a curved knife in her right hand to cut off ego interferences and in her left behind Heruka's head she has a skull-cup symbolizing self regenerating blissful wisdom. Heruka's right leg stands on the back of the worldly deity wrathful Ishvara (also known as Bhairava), while his left leg tramples on the breast of Bhairava's consort Kalarati. this stance symbolizes the ability of Chakrasamvara to overcome the forces of ignorant hatred and desirous attachment respectively. In addition to the traditional vajra and bell, the skin of an elephant, a drum, dagger, curved knife and ant three pointed spear in his right hands, and the staff, skull-cup, noose and the head of a worldly deity in his left hands. The symbolism of these various attributes can be explained as follows (partial). The 4 faces stand for the 4 doors of liberation.

His twelve arms signify the purification of the twelve links of dependent arising explained in the Wheel of Life The vajra and bell symbolize the supreme unification of method and wisdom. The elephant skin illustrates the abandonment of ignorance. The hand drum enhances the blissful happiness experienced in the minds of all fully enlightened ones. The dagger and curved knife cut off the thre poisons as the hub of the Wheel of Becoming [Skt. Bhavachakra] and eliminate all extreme views, while the 3-pointed spear pierces through the delusions of the 3 realms of existence. The green orb around Chakrasaṃvara's head symbolizes the enlightened transformation of sensual desire through the union of bliss and emptiness.

Commentary
Chakrasamvara is sometimes called Heruka. The term Heruka is also be applied to all wrathful male deities of high-end tantra yoga. In Sanskrit Chakrasamvara means 'Born or arising from the Chakra'. The chakra refers to the wheel of life. Sometimes the deity is called 'Chakrasamvara' means "Binding the Chakra or controlling the Chakras. Chakrasamvara is a heruka which means a divine father energy & the two armed form of Chakrasamvara is often called Heruka. Hi is a principal meditational deity [Skt. Istha-devata especially of the Kagyu. The Chakrasamvara sadhana is in the mother class of the Anuttara Yoga Tantra. Their embrace symbolizes the union of wisdom and skillful means. They symbolize the sameness in the distinctions of relative truth and the non-distinctions of absolute truth. Chakrasaṃvara, the Wrathful Lord of the Wheel of Supreme Bliss, is one of the major meditational deities of the mother tantras.

Mantra of Chakrasamvara

The process of creating Seku designs involves carefully shaping and molding the metal wire into various patterns. This can include simple geometric shapes or more complex, detailed designs. The wire is then carefully placed onto the surface of the object, where it is secured in place. The final result is a beautiful and intricate design that showcases the skill and precision of the artisan.

Seku craftsmanship can be found on a variety of different objects, including traditional Newari jewelry, home decor, and even architectural elements. The technique is often used to add decorative touches to objects that are already rich in cultural significance, such as statues of deities and other religious artifacts. The intricate and detailed nature of the craftsmanship makes it highly valued and respected within the Newari community, and it continues to be an important aspect of their cultural heritage.

These mandalas, concentric diagrams, have spiritual and ritual significance in both Buddhism and Hinduism. The term is of Hindu origin and appears in the Rig Veda as the name of the sections of the work, but is also used in other Indian religions, particularly Buddhism. In the Tibetan branch of Vajrayana Buddhism, mandalas have been developed into sandpainting. They are also a key part of anuttarayoga tantra meditation practices.

Hinduism and buddhism
Buddhism
Tibetan for mandala in Vajrayana Buddhism usually depicts a landscape of the "Buddha-land", or the enlightened vision of a Buddha, which inevitably represents the nature of experience and the intricacies of both the enlightened and confused mind, or "a microcosm representing various divine powers at work in the universe." Such mandalas consist of an outer circular mandala and an inner square (or sometimes circular) mandala with an ornately decorated mandala "palace" placed at the center. Any part of the inner mandala can be occupied by Buddhist glyphs and symbols, as well as by images of its associated deities, which "symbolise different stages in the process of the realisation of the truth."

Kvarne (1975: p. 164) in his extended discussion of sahaja, discusses the relationship of sadhana interiority and exteriority in relation to mandala thus:

"...external ritual and internal sadhana form an indistinguishable whole, and this unity finds its most pregnant expression in the form of the mandala, the sacred enclosure consisting of concentric squares and circles drawn on the ground and representing that adamant plane of being on which the aspirant to Buddha hood wishes to establish himself. The unfolding of the tantric ritual depends on the mandala; and where a material mandala is not employed, the adept proceeds to construct one mentally in the course of his meditation."

Mandalas are commonly used by tantric Buddhists as an aid to meditation. More specifically, a Buddhist mandala is envisaged as a "sacred space," a "Pure Buddha Realm," and also as an abode of fully realised beings or deities. While on the one hand, the mandala is regarded as a place separated and protected from the ever-changing and impure outer world of samsara, and is thus seen as a "Buddhafield" or a place of Nirvana and peace, the view of Vajrayana Buddhism sees the greatest protection from samsara being the power to see samsaric confusion as the "shadow" of purity (which then points towards it). By visualizing "pure lands," one learns to understand experience itself as pure, and as the abode of enlightenment. The protection that we need, in this view, is from our own minds, as much as from external sources of confusion. In many tantric mandalas, this aspect of separation and protection from the outer samsaric world is depicted by "the four outer circles: the purifying fire of wisdom, the vajra circle, the circle with the eight tombs, the lotus circle." The ring of vajras forms a connected fence-like arrangement running around the perimeter of the outer mandala circle.

The mandala is also "a support for the meditating person," something to be repeatedly contemplated to the point of saturation, such that the image of the mandala becomes fully internalised in even the minutest detail and can then be summoned and contemplated at will as a clear and vivid visualized image. With every mandala comes what Tucci calls "its associated liturgy...contained in texts known as tantras," instructing practitioners on how the mandala should be drawn, built and visualised, and indicating the mantras to be recited during its ritual use.

As a meditation on impermanence (a central teaching of Buddhism), after days or weeks of creating the intricate pattern of a sand mandala, the sand is brushed together and placed in a body of running water to spread the blessings of the mandala.

A mandala can also represent the entire universe, which is traditionally depicted with Mount Meru as the axis mundi in the center, surrounded by the continents. A "mandala offering" in Tibetan Buddhism is a symbolic offering of the entire universe. Every intricate detail of these mandalas is fixed in the tradition and has specific symbolic meanings, often on more than one level.

The mandala can be shown to represent in visual form the core essence of the Vajrayana teachings. In the mandala, the outer circle of fire usually symbolises wisdom. The ring of 8 charnel grounds represents the Buddhist exhortation to always be mindful of death, and the impermanence with which samsara is suffused: "such locations were utilized in order to confront and to realize the transient nature of life." Described elsewhere: "within a flaming rainbow nimbus and encircled by a black ring of dorjes, the major outer ring depicts the eight great charnel grounds, to emphasize the dangerous nature of human life." Inside these rings lie the walls of the mandala palace itself, specifically a place populated by deities and Buddhas.

One well-known type of mandala, in Japan is the mandala of the "Five Buddhas", archetypal Buddha forms embodying various aspects of enlightenment. Such Buddhas are depicted depending on the school of Buddhism, and even the specific purpose of the mandala. A common mandala of this type is that of the Five Wisdom Buddhas (a.k.a. Five Jinas), the Buddhas Vairocana, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi. When paired with another mandala depicting the Five Wisdom Kings, this forms the Mandala of the Two Realms.



Hindisum
A yantra is a two- or three-dimensional geometric composition used in sadhanas, or meditative rituals. It is thought to be the abode of the deity. Each yantra is unique and calls the deity into the presence of the

practitioner through the elaborate symbolic geometric designs. According to one scholar, "Yantras function as revelatory symbols of cosmic truths and as instructional charts of the spiritual aspect of human experience"

Many situate yantras as central focus points for Hindu tantric practice.Yantras are not representations, but are lived, experiential, nondual realities. As Khanna describes:
Despite its cosmic meanings a yantra is a reality lived. Because of the relationship that exists in the Tantras between the outer world (the macrocosm) and man's inner world (the microcosm), every symbol in a yantra is ambivalently resonant in inner-outer synthesis, and is associated with the subtle body and aspects of human consciousness