Dhammapala DHHAMMAPALAAMMAPALA Buddhist Monastery 2011 Dhammapala, Am Waldrand, CH-3718 Kandersteg, Switzerland www.dhammapala.ch VVisitorsisitors [email protected] Dhammapala Monastery is open to visitors and guests for most of the year, however, during retreats (see retreat program), accommodation is reserved only for registered retreatants and, during January to the 25th of March, only for the resident communi- ty. Guests coming for the fi rst time are normally required to attend one of the sched- uled weekend retreats (please check with the Guest Monk). Prior notifi cation is necessary and guests are required to follow the monastic (or retreat) schedule and abide by the eight precepts. Requests to receive the annual newsletter (in English, German, French or Thai), and general enquiries, are welcome. Tel. ++41 (0)33/675 21 00 Fax (0)33/ 675 22 41 With the exception of January and February, Margrit will answer the phone Wednesday – Saturday inclusive from 9 – 11 a.m. At other times, please do leave a message on our answering machine, and we will call you back as soon as possible. Thank you! Daily routine: 05.30 Meditation 11.15 Main meal 06.30 Clean-up 17.00 Informal Tea 07.00 Breakfast 19.30 Meditation 08.15 Work period Most evenings at 19.30 there is chanting and meditation. On Saturday evenings the meditation is followed by a Dhamma Talk or a Dhamma dialogue. Participation in the activities of the monastery is free of charge. The monastic com- munity is, however, dependant for its support on freewill donations. These may be made at the monastery or paid into the following account: In Switzerland: Spar + Leihkasse, 3714 Frutigen, 30-38188-9 Verein Dhammapala, IBAN CH65 0878 4016 2208 3700 7 In Germany: Deutsche Bank Lörrach, Verein Dhammapala, Acc.-Nr. 065 377 4; BLZ 683 700 34 For electronic transfer (also from other countries) on account of the Deutsche Bank Lörrach: IBAN DE27 6837 0034 0065 3774 00 BIC/SWIFT DEUTDE6F683 Neewsws fr oomm Dhhammapalaammapala Moonasterynastery With the alpine meadows slowly turning Arrival of the Buddha to a pale green under the intense Around early June a specially made September sun, temperatures dropping statue of the Buddha appeared in Kan- close to zero during early morning hours dersteg from Th ailand. It was delivered and the last juicy bits of grass in an unpretentious wooden box and disappearing into the stomachs of mighty padded up with long bandages, as if Swiss cows, the face of Dhammapala the artist Christo had been directly Monastery presents itself in a new and involved. Th e whole Dhammapala com- unusual way. munity was engaged in the unwrapping process, and our fi rst glimpse of Phra Buddha Vajira Trilokanat Satsada (that’s its offi cial name, meaning: Th e Awak- ened One with Diamond-like Wisdom, Teacher of the Th ree Worlds) revealed a most excellent and inspiring work of art. We immediately shift ed it to its designated site, knowing that some more preparations would still have to be made before the Buddha could fi nally stand in its proper position. A few weeks later the existing terrace of the monastery was extended and a stone plinth, half a meter high, was placed on the south eastern side. Th is is where the statue of the Buddha with the fearless gesture has taken its place. It is facing Dhammapala Newslett er 2011 1 and passers-by expressed comments of appreciation. Maybe this is the hallmark of a well craft ed piece of art within a spiritual context: that people, from very diverse backgrounds and with diff erent views on life experience, feel an intuitive reso- nance, without having to relate this to a Girl drawing the Buddha specifi c faith or even a spiritual teach- the direction where everybody passes ing. When the Good, True and Beauti- through the maple lined avenue lead- ful is represented in such an exquisite ing to the monastery. Without specifi c way, then the human heart tends to planning it so happened that the stones respond with spontaneous recognition. of the terrace were brought in from Ajahn Sumedho refl ected on this India, the Buddha statue itself is from in his book ‘Th e mind and the way’: Th ailand and the plinth stones origi- “When you contemplate a Buddha nate locally. A suitable symbolism for statue, you notice that it’s an image of the connection of the original physical a human being who’s composed, who’s realm of the Dhamma, moving on into alert and serene. It is facing the world a new environment in Asia, and fi nally looking at things. It’s aware of the arriving in a small mountain valley in world without being deluded or being Central Europe at the beginning of the caught up in it. It’s neither ecstatic nor 21st Century. depressed. It represents the ability of It was surprising and delightful at a human being to be completely calm the same time that the impressively aes- and see things as they really are – and thetic presence of an admittedly alien this provides a most skillful sugges- symbolics fi gure tion to the mind. When contemplating couldc engender a Buddha image, you begin to feel a sso much ac- sense of calm. Hence, living with Bud- cceptance and dha images is a pleasant thing; they aadmiration. are very peaceful objects to be with. Of NNot only the course when we surround ourselves rresidents and with sculptures showing great passions gguests of the of anger and ecstasy and all that which mmonastery, but is alluring and arousing to the passions aalso the neigh- within us, then we become passionate The FFearlessearless MudraMudra bbors, workmen Dhammapala Newslett er 2011 2 and aroused. We become what we look at. What is around us aff ects our minds. So when you meditate more and more, what you choose to surround yourself with are things that lead you to peace- fulness, rather than to excitement.” Th e predominant purpose of reli- gious sculptures and statues does not consist in exclusively serving our aes- thetic pleasure, but it connects us fi rst of all with the latent or even completely CircumnambulationCircumnambulation of the BuddhaBuddha obvious properties of an awakened into an androgynous whole. Th e ges- mind – with something that is pres- ture of fearlessness could also be taken ent as a potential within all of us. Th e at fi rst glance as a gesture of rejection. It resonance which we sense in the pres- is not supposed to prevent people from ence of an expressive Buddha statue can drawing closer to the monastery, to the lead us instantly into a contemplative monks or even to the Buddhist teach- state and add to the understanding of ings. Th e gesture of the open hand is the reality to which it is pointing. In initially meant for all those impulses of this sense it is again the famous fi nger our own experience which are ruled by pointing to the moon rather than the fear and whereby the heart is contract- moon itself. Th at sometimes we would ed with a sense of oppressive tightness. like to stop and gaze, in silent enjoy- Predominantly it wants to communi- ment and delight, in front of a religious cate that the awakened heart – the heart work of art is totally legitimate and of awareness – can stay fully present in prepares the heart eff ortlessly for the the face of fear. Th e light rays of aware- experience of one’s own inner stillness, ness can penetrate down to the fi nest seeing and composure. roots of those emotional states, Th e Buddha statue in the walking posture inside the garden of the monas- tery has an open and mindfully collect- ed gaze. It is not completely absorbed in itself, but is turned out towards the val- ley. Its whole bearing is one of refi ned, fl owing elegance and combines, in a balanced way, male and female aspects Dhammapala Newslett er 2011 3 where ignorance and mental blind- and ornate wood carvings. Directly ness keep inducing us to identify with beside the entrance door two wood the processes of body and mind. In the carved Devas (heavenly beings) greet representation of the Buddha with the the monastery visitors with the gesture Abhaya gesture, spiritual realization of Anjali. Th is gesture expresses wel- goes beyond any form of fear and its come and respect at the same time. Th e roots. greeting aspect speaks for itself. Th e gesture of respect, which is expressed Outward signs in Asian countries in such a graceful Since the summer of this year Dham- way, is meant to address specifi cally all mapala has been much more rec- those people who are willing to engage in an adventure of inner exploration in an open, truthful and authentic way. In that sense this gesture is meant for all those who are really interested, in- dependent of their individual world views, their momentary states of mind or any evaluations of their own spiritual competence. Looking up towards the roof of the monastery porch, one now receives an- WalkingWalking meditationmeditation Swiss stylestyle ognizable than before as a Buddhist monastery or as a spiritual place in general. Before this time the Chalet at the edge of the forest could hardly be other reminder, thanks to a wood carv- distinguished from other buildings of ing which represents the fi rst teaching similar style in the area. Besides the of the Buddha, given in the deer park Buddha statue some other works of art of Sarnath.