Mandalas, a word translated phonetically from the Sanskrit word “मण्डल”, are known for their elaborate and intricate geometric visualization of thangka symbols.
The purpose of a mandala in tantras is to allow one to “grasp the essence.” In ancient India the “wheel of perfection” and “assembly,” denoted national territories and the altar for worshiping. In lokas of the modern era, however, it symbolizes the Buddhist altar, Buddhist hall or thangka, including worshipped Buddhist statues and images of Bodhisattvas. A mandala visualizes the pure lands of the Buddhas and Bodhisattvas, and symbolizes the pure state of the mind.
A mandala is not only a symbol of life itself, but also a microcosmic representation of the universal truth. It is a blueprint for envisioning the heavens, in which varying geometric configurations are symbols of different Buddhas, Bodhisattvas or specific divine realms. With the imageries representing “the infinite macrocosm” and “the inner microcosm,” mandalas are also used in meditation and spiritual practices.
According to the traditional Tibetan tantras, there are “eight offerings” that should be prepared for the Buddhist altar: “water” (for drinking), “water” (for bathing), “flowers,” “incense,” “lamp,” “perfume,” “fruit” and “music.” These cover the spectrum creatures experience from the five sense organs – “eyes, ears, nose, tongue and body” – and when in harmony lead to “the wonderful perfection like the heavenly realm.”
In Nick Dong’s solo exhibition, MANDALA, inspiration comes from the “eight offerings.” The offerings are approached in four sets, with two offerings in each set. They are combined and interwoven into an artistic creation that guides the audience into the spiritual domain. Dong also draws on ideas in astronomy and physics, in particular, how spatial-temporal concepts can be connected with the art. The works are anchored in the concept of “the void.” Minus any narratives or stories, the works serve as a physical channel enabling a complete immersion where the mind can be emptied then an unknown aspects of “the self” can be explored. In this exhibition, each visitor will experience a spiritual feast created through a multi-dimensional audio-visual sensation of a changing cosmos thereby allowing them to transcend their daily routine.
「壇城」是梵文「मण्डल」（Mandala）的意譯，音譯即為「曼陀羅」，形象上則以精細繁複的唐卡幾何圖騰為人所知。
壇城有「輪圓具足」、「聚集」之意，在密續意旨「擷取精華」；古印度時代用以指稱國家領土與奉神祭壇；於現今一般世間法中，則指佛壇、佛堂或唐卡，乃至上層供奉的佛像與菩薩像等。壇城的外在意義，是指諸佛菩薩本尊安住的淨土宮殿；內在意義，則是眾生心的清淨相；是故壇城不僅象徵本尊，同時也是揭顯宇宙真理的圖繪。壇城有如構成天堂的藍圖，不同的幾何造型象徵不同的佛菩薩，又或對應特定的天界，凝縮其中的顯像與意境，在意義與形象上兼具「無限之大宇宙」與「內在之小宇宙」不二的意涵，成為觀想修行的憑藉。
依據西藏密續傳統，佛壇上應備「八供」：「水、水、花、香、燈、塗、果、樂」。此「八供」，是世間的五種妙欲「色、聲、香、味、觸」的具象表徵，故也是所謂「美好圓滿，有如天境」的構成要素。本展《壇城》展出的四件作品，即將「八供」分為四組各兩供，相互結合衍生創作，引領觀者進入精神性的領域。另外，運用天文學、物理學等探索時空的科學理論，本展盼望以豐富的視聽語彙，創造猶如宇宙變幻的眼界，打造精神境界的饗宴，使人跳脫每日的周而復始，以「空」來進行療癒。作品不帶任何敘事／故事，以其實體作為媒介，傳遞氛圍，讓意識放空，協助觀者前往探究個人自身未知的領域。
Scented Flower
花．香
150x150x26cmD
Graphite drawing on high density foam with epoxy, LEDs, acrylic mirror, aluminum, kinetic and audio components with micro computer.
繪畫於高密度泡棉及環氧樹脂、LED、鏡面壓克力、鋁、帶有微型電腦的動力和音訊組件。
Even Water
水．水
210x55x75cmH
Aluminum, steel, acrylic paint on rigid foam and epoxy, acrylic, mirror, LED, audio and electronic components
鋁、鋼、壓克力顏料於發泡材及環氧樹脂、鏡面壓克力、LED 燈、音聲暨電子組件
Yielded Singers
果．樂
130x130x235cmH
Perfumed Light 燈．塗
50x60x100cmH
Graphite drawing on high density foam with epoxy, LEDs, acrylic mirror, aluminum, kinetic and audio components with micro computer.
繪畫於高密度泡棉及環氧樹脂、LED、鏡面壓克力、鋁、帶有微型電腦的動力和音訊組件。
82x82x110cmH
桃花心木、鏡面壓克力、鋁、LED燈、電子組件 Sapele Wood, acrylic mirror, aluminum, LED,electronic components
Complete Crescent
陰晴圓缺
50x50x28cmD
Wood, aluminum, glass mirror, LED, audio and electronic components
木材、鋁、鏡面玻璃、LED燈、音聲暨電子組件
Inside-Out Cosmos
內外宇宙
150x150x225cmH
Steel, fabric, acrylic mirror, LED, audio and electronic components
鋼、織品、鏡面壓克力、LED 燈、音聲暨電子組件
Mechanism of Time and Light – Unlimited Directions 時。光。機 之無限方向
( Right ) Mechanism of Time and Light - UP 時。光。機 之上
( Left ) Mechanism of Time and Light - DOWN 時。光。機 之下
