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Sergei Filatov «Sacred circle» In parallel program of the third Moscow Biennale of contemporary art. Graphic symbol of mandala can be found in many traditions and associated geographical areas. Originally having emerged in the early Hindu culture, the mandala has been adopted by Tibetan Bon tradition. Subsequently, mandala received the most widespread use in Buddhism. As non-classical Buddhism spread outside India, mandala became a property of Tibet, Central Asia, Mongolia, China, Japan and South-East Asia. On the exhibition «Sacred circle», we meet the interpretation of mandalas by modern Russian artist Sergei Filatov. With a mandala the author appeals to the subjective experience, based on the intuitive recognition of the geometric, abstract forms and color harmonies, emerging in the mental sphere. This approach does not involve the use of the traditional systems of symbols, except for a circle, a square and a point. In the eastern teachings mandala, above all, is perceived as an architectural drawing, a two-dimensional image of worship, or the palace. During the meditation practice the practitioner visualizes this palace in a three-dimensional measurement with the smallest details, in such a way working with his own consciousness. Each of the parts relate to such fundamental things as parts of the world, elements, deities, philosophical concepts, symbols, etc. Through this relationship a meditator recreates the universe in his consciousness. Therefore mandala is often interpreted as a model of the universe. Thus, the image of the mandala is a visual aid which greatly facilitates the process of visualization. Canonical connection between the components of the mandala with the elements of the universe in Buddhism and Hinduism dates back to ancient traditions, and in order to gain this knowledge the monks and other practitioners often need decades. On the way of self-inspection the image of mandala for Sergei Filatov, as an artist, is a tool for recreation of himself, transformation beyond the ordinary.
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