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Titus Burckhardt
Source: Studies in Comparative Religion, Vol. 4, No. 1 (Winter, 1970). World Wisdom, Inc.. www.studiesincomparativereligion.com WE reproduce a miniature of the Heavenly Jerusalem taken from a manuscript of the eleventh century, the so-called "Apocalypse of Saint-Sever",[1] which belongs to a certain group of medieval manuscripts, mostly of Spanish origin and all stemming from a single prototype, a commentary on the Apocalypse written by the Asturian monk Beatus de Libana towards the end of the eighth century. The same image of the Heavenly Jerusalem occurs in most of these manuscripts, with only slight variations, so that one can admit that its composition goes back to the prototype, which is now lost.
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This miniature of the Heavenly Jerusalem was published in a book dealing with the symbolism of the cathedral,[2] which prompted a reader in India to send the here inserted drawing of the mandala of the Paradise of Vaikuntha, the celestial abode of Vishnu, together with a translation of the corresponding passages of the Skanda Purana.[3] The resemblance of the mandala with our miniature of the heavenly city is indeed surprising; it is even more complete if one compares the corresponding scriptural texts.
Vibhuti Vaikuntha-Manimandapa" border="0" /> Tripda Vibhti Vaikuha-Maimadapa Like the Heavenly Jerusalem, the divine abode of Vaikuntha has twelve gates facing the four cardinal points. The mandala shows these in exactly the same manner as our miniature. There is one feature, however, which seems to mark an essential difference between the two images, namely the Tree of Life pictured in the center of the Vaikuntha-mandala, whereas the center of the Heavenly Jerusalem is the Lamb. But this difference is due to an iconographical economy only; it veils an even deeper analogy, for the Apocalypse mentions also the Tree of Life in the center of the divine city: "In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month..." (XXII, 2). The central field of the Vaikuntha-mandala is divided into small squares; there should be 12 x 12=144 compartments according to the Purana; our drawing has 13 X 12, probably by mistake. The same division into 12 x 12and sometimes 13 x 12squares marks the central field of the celestial city in some of the older manuscripts of the Beatus-group.[4] The number 144 is mentioned in the Apocalypse
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The interior of the Temple is in twelve by twelve parts and is shining with the fiery brilliance of the Sun. It is resting on sixteen pillars made of emeralds and has twelve portals towards the four directions of space.
Deathlessness (amrta), Bliss (nanda), Growth or Increase (pusti), Happiness (tu), Prosperity (pus), Delight (rati), Steadfastness (dhriti), Moon-like Luster (aini), Illumination (candrik), Splendor (knti), Heavenly Light (jyoti), Fortune (r), these are the twelve guardians of the portals. These Pratiharins, who are guarding the portals are all very young and beautiful.
The walls of the secondary shrines in the four corners are made of rubies and have perforated windows with sixteen openings. These are sixteen parts (kals), by adding which the full number of 64 kals is obtained. The beautiful sacrificial Hall is emitting a light equal to a crore of Suns, and that light will endure to the end of all the kalpas. And there shall be no night there; and they need no candle, neither light of sun; for the Lord God giveth them light: and they shall reign for ever and ever (XXII, 5). And he shewed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb. In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month; and the leaves of the tree were for the healing of the nations (XXII, 1, 2).
In the center of the Hall there is the stainless Tree (of Life) arising from the shining, hundred-petaled lotus.
Its roof has two storyes and is covered with golden tiles. Between the stories there is a perforated wall made of pearls. On the top of the roof is a beautiful kalaa, a golden pitcher filled with the Milk of Immortality. The flagstaff is made of coral, and the flag is motionless. Two divine birds are sitting by the side of the kalaa in perfect silence. In this self-luminous, brilliant sanctuary no sun is shining, no moon and no stars. This is the abode of Nryana, who is beyond the changeable world and beyond the unchangeable. I worship this Puruottama, who in all the three worlds is the most difficult to approach. And this city has no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof (XXI, 23.)
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