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History
The term chakra appears to first emerge within the Hindu Vedas, though not precisely in the sense of psychic energy centers, rather as chakravartin or the king who "turns the wheel of his empire" in all directions from a center, representing his influence and power. The iconography popular in representing the Chakras, states White, trace back to the five symbols of yajna, the Vedic fire altar: "square, circle, triangle, half moon and dumpling".

The hymn 10.136 of the Rigveda mentions a renunciate yogi with a female named kunamnama. Literally, it means "she who is bent, coiled", representing both a minor goddess and one of many embedded enigmas and esoteric riddles within the Rigveda. Some scholars, such as David Gordon White and Georg Feuerstein, interpret this might be related to kundalini shakti, and an overt overture to the terms of esotericism that would later emerge in Post-Aryan Bramhanism. the Upanishad.

Breath channels (nāḍi) are mentioned in the classical Upanishads of Hinduism from the 1st millennium BCE, but not psychic-energy chakra theories. The latter, states David Gordon White, were introduced about 8th-century CE in Buddhist texts as hierarchies of inner energy centers, such as in the Hevajra Tantra and Caryāgiti. These are called by various terms such as cakka, padma (lotus) or pitha (mound). These medieval Buddhist texts mention only four chakras, while later Hindu texts such as the Kubjikāmata and Kaulajñānanirnaya expanded the list to many more.

In contrast to White, according to Georg Feuerstein, early Upanishads of Hinduism do mention cakra in the sense of "psychospiritual vortices", along with other terms found in tantra: prana or vayu (life energy) along with nadi (energy carrying arteries). According to Gavin Flood, the ancient texts do not present chakra and kundalini-style yoga theories although these words appear in the earliest Vedic literature in many contexts. The chakra in the sense of four or more vital energy centers appear in the medieval era Hindu and Buddhist texts.

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

In Nepal, the tam-tam is an important part of religious ceremonies and rituals, as well as in music and dance performances. It is often played in a variety of settings, including temples, homes, and public events. The tam-tam may or may not have a shallow rim, and is made by hand using a variety of techniques and materials. Bronze, brass, and other metals are commonly used to make the tam-tam, and it is often adorned with intricate designs and symbols that have cultural and spiritual significance.

In Nepali culture, the tam-tam is revered for its role in music, rituals, and ceremonies. It is considered a sacred instrument and is often played by skilled musicians who have trained in the traditional techniques of playing the tam-tam. The tam-tam is an important part of Nepali identity and serves as a symbol of the country's rich cultural heritage.

Importance in nepal
Bronze gongs have been an important part of Buddhist and Nepali culture for centuries. In Buddhist culture, gongs are often used in meditation and chanting and are believed to have a powerful effect on the mind and body. The sound of a gong is said to clear the mind, promote relaxation, and bring about a sense of inner peace. In Nepal, the gong is used in a variety of religious and cultural settings, including religious ceremonies and rituals, music and dance performances, and as a symbol of Nepali identity.

Sound Healing and Gong Sound Baths
Sound healing is an ancient practice that uses the vibrations of sound to promote healing and relaxation in the body and mind. Gong sound baths are a popular form of sound healing that involve using gongs and other instruments to create a deeply relaxing and meditative experience. During a gong sound bath, participants lie down and listen to the sound of the gongs, which are played in a variety of rhythms and tones. The vibrations of the gongs are believed to promote relaxation, reduce stress, and bring about a sense of inner calm.

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