In almost every religion, we can find various symbols and representations of flowers, the reason being that these flowers often emerge from the dirt and mud and still remain clean, thus expressing the essence of the religion. The defining flower symbol of Buddhism is the lotus, which is able to be reborn perfectly clean in the morning from the dark, muddy water, which is why the lotus flower symbolizes purity, spiritual awakening and loyalty.

Just as a flower lifts its beautiful flower out of dark, mud-contaminated water and conquers with its irresistible beauty, so a person can rise from the darkness of the world to a new level of thinking and lifestyle. Therefore, this flower is a symbol of rebirth, it represents the growth and purification of the spirit and at the same time faith. It shows that it is possible to emerge from the dark, problem-laden world and the most hopeless environment and create harmony and peace within ourselves.

In Buddhism, the lotus represents the following virtues:

• Patience
• Purity
• Mysticism
• A direct spiritual connection
• Freedom from desire
• Enlightenment

The stage of growth of the lotus flower refers to the stage of enlightenment: the closed flower or bud symbolizes the time when a Buddhist finds the path to enlightenment, while the fully open flower symbolizes enlightenment. That is why Buddhas and Bodhisattvas are often depicted sitting or standing on an open lotus flower.

The eight petals of the lotus represent the Noble Eightfold Path, which is one of the Buddha's most important teachings. By following this path, we reach the awakening of ourselves, and the factors of which are:

1. Correct attitude
2. Good intention
3. Correct speech
4. Correct action
5. Right lifestyle
6. Right effort
7. Proper vigilance
8. Correct immersion

The lotus flower is depicted with different colors and each color has a different meaning:

Blue lotus: symbolizes the victory of the spirit, wisdom and common sense. In Buddhist art, it is always depicted half-open, its center is never visible, which means that one must constantly strive to learn, to acquire wisdom in order to achieve enlightenment.

White lotus: symbolizes the state of spiritual purity and spiritual perfection, as well as the heart of the Buddhas and the conqueror of the obstacles of human nature.

Purple lotus: represents mysticism and spirituality. It is also depicted as an open flower and a bud.

Pink lotus: this is the supreme lotus and is considered the true lotus of the Buddha, it symbolizes the Buddha himself, His history and legends.

Red lotus: associated with the heart, symbolizing love, the bonds of the heart and compassion. It is usually depicted as an open flower, symbolizing an open and loving heart.

Golden Lotus: the symbol of complete and total enlightenment.

https://www.youtube.com/watch?v=_E3IeW0vpAs

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The power of the mandala has been known for centuries in Eastern cultures. It was considered a highly complex map of the cosmos. A mandala is a symbolic mental image that, when meditated upon, can result in deep inner transformation.

The origin of the mandala is the center, which is a point. It is a symbol that is apparently dimensionless. A gathering point that draws in external energies and lets its own energies unfold, thus representing external and internal spaces.

The point is the result of the lines used in the creation of the mandala, which create different geometric shapes. The circle represents dynamic knowledge, the outer square represents the physical world. The middle area is the abode of the deities.

There is a long way to go before someone gets permission to work on a mandala. In doing so, you must memorize the symbols, their combinations and possible locations and acquire the technical knowledge that is essential to create mandalas. You should also learn the philosophical and spiritual content of each symbol and how it can be applied in the creation of a mandala. It is important to note that the mandala is specifically based on scriptural texts. The art of creating a mandala is very complex, learning the related knowledge takes years. The reason for this is not only the acquisition of technical knowledge, but also the learning of appropriate attention and concentration, since the painter conveys the Buddha's teachings through the mandala. Since the mandala contains the instructions given by the Buddha to achieve enlightenment, the creator must strive for purity of motivation and perfection in his work.

Painting a mandala is not only an artistic activity, but also a form of worship. During its creation, the deepest intuitions of Buddhism are crystallized and reflected as spiritual art on the created work. The design of the mandala ensures the continuity of spatial experiences, and also shows that the concept precedes the form.

Not only the form is crucial when painting a mandala, but also the colors used. The five basic colors used in mandala painting are white, yellow, red, green and dark blue. Each color represents one of the five transcendental Buddhas, associated with the five delusions of human nature. These delusions obscure our true nature, but through meditation they can become the wisdom of the five Buddhas:

• White - Vairocana: The delusion of ignorance becomes the wisdom of reality.
• Yellow - Ratnasambhava: The disappointment of pride becomes the wisdom of equanimity.
• Red - Amitabha: The disappointment of attachment becomes the wisdom of discrimination.
• Green - Amoghasiddhi: The deception of jealousy becomes the wisdom of realization.
• Blue - Akshobhya: The deception of anger becomes the mirror of wisdom.

However, mandalas do not only use these five basic colors, there is a much wider range of colors that can be used, each of which has its own meaning.

- White: relief, perfection, compassion, calm.

- Black: secret, intuition, insight, rebirth.

- Grey: spiritual healing, gentleness, love, loyalty.

- Yellow: friendliness, receptiveness, nature, intelligence.

- Blue: satisfaction, relaxation, harmony, peace, good health

- Fire red: fearlessness, power, change, love.

- Crimson: love of humanity, idealism, wisdom.

- Pink: sensitivity, "inner" healing, universal healing.

- Orange: self-control, vitality, ambition, intuition.

- Green: growth, trust, connection, healing, calm.

- Brown: closeness to the earth, stability, conscious attachment to the environment.

- Silver: supernatural abilities, overflowing emotions, well-being.

Visualizing the mandala concept is one of the most significant factors in Buddhism. Mandalas are considered sacred places that, through their presence in the world, remind us of the sacredness of the universe. In the Buddhist way, the purpose of the mandala is to end human suffering and to know reality correctly. The mandala is also a means for the meditator to discover that the divinity resides within one's own self.

Different types of mandalas have different meanings, each speaking to the meditator in a different way.

Kalachakra Mandala

The word Kalachakra means the wheel of time, the cycles of time. This mandala is a symbolic representation of many aspects of the Kalachakra Tantra. The Kalachakra Tantra belongs to the highest class of Tantras, the Anuttarayoga Tantras, and is a profound system of Buddhist teaching and practice. It includes three aspects: the outer Kalachakra, which symbolizes the environment of the world, the sun, the moon and the cycles of the planets, the inner Kalachakra, which symbolizes the sentient beings living in the universe, the cycles of death and birth, while the alternative Kalachakra, the individual the practice of purification performed by

The symbolic representation and graphic structure of the Kalachakra Mandala is different from other mandalas. This is the last philosophy of the Dalai Lama, which suggests that time flies quickly, has no beginning and no end. The mandala depicts the stupa from above, where the circles surrounding the stupa form the cosmos, expressing wisdom, space, air, water, fire and earth.

The mandala depicts a total of 536 deities, but we can also see 12 animals within the outer walls, which symbolize the 12 months. Each animal carries a 28-petalled lotus flower, on which a deity is placed, and in the center is a pair of deities representing the new moon and the full moon.

The perfect square shape of the central motif symbolizes the absolute place of wisdom. This rectangular structure has four elaborate gates. These four doors symbolize the union of the four boundless thoughts, namely loving-kindness, compassion, sympathy and equality.

Buddha eye mandala

In Buddhism, there are two types of eyes: the first is the inner eye or the eye of wisdom, which sees the world of Dharma, which is also called the third eye of the Buddha, while the other is called the outer eye, with which we see the outer world. The inner eye, characteristic of tantric deities, is a direct vision of the unity of ultimate reality, which exists simultaneously in the symbol of the eye of the Buddha with the two outer eyes, which see the dualistic, relative world of human beings. The winding line between the eyes is the Sanskrit number 1, which symbolizes the unity of all things.

Om mani padme hum mandala

Tibetan Buddhists believe that the repetition of the mantra Om mani padme hum or Om mani peme hung invokes the benevolent attention and blessings of the deities and helps to embody compassion. The written form of the mantra has the same effect as the oral form. One of the clearest forms of written form is the mandala, which helps even the uninitiated to reach a higher quality. The mantra can be recited freely by anyone, it does not require the prior initiation of a Buddhist master.

This mantra is very simple to repeat, but nevertheless has a deep meaning. Each of the six syllables has its own meaning:

 Om cleanses you of the neurotic attachment to happiness and pride that afflicts those who exist in the world of the gods;

 the blessing of the syllable Ma helps to achieve perfection in the practice of generosity, promotes the practice of pure ethics;

 Ni promotes the practice of patience (waiting) and patience (tolerating others);

 Pe, the fourth syllable, helps to perfect endurance;

 Me helps with concentration;

 the last sixth syllable, Hung, helps in practicing wisdom.

According to the 14th Dalai Lama Tendzin Gyaco, the syllable Om symbolizes the impure body, speech and thinking of the worshiper, but also the pure body, speech and thinking of the Buddha. The following four syllables show the true way. Mani means jewel and symbolizes the method: the ancient intention of enlightenment, compassion and love. Peme means lotus and symbolizes wisdom. Simplicity can be achieved through the undivided unity of regularity and wisdom. Indivisibility is symbolized by the last syllable, Hung. So the six syllables of Om Mani Peme Hung mean that by practicing the path of undivided regularity and wisdom, we can transform our own impure body, speech and thought into the pure body, speech and thought of the Buddha.

How to meditate with the mandala?

When you use a mandala for meditation, choose one that has caught your attention very deeply. Meditation is very much about concentration, so find a quiet place away from noise and other distractions before using your chosen mandala. Try to dissolve in the calm atmosphere around you, quiet your mind and take slow, deep breaths.

1. Position yourself facing the selected mandala. Sit comfortably on a chair with your feet on the floor or with your legs crossed on a cushion.

2. Inhale slowly and deeply from your diaphragm as you quiet and empty your mind.

3. Gently look at the mandala while relaxing your eyes so that the image slowly fades.

4. Sitting quietly, focus on the image and let its shapes, patterns, and colors begin to work in the unconscious mind. If disturbing thoughts arise, let them drift away and gently bring your attention back to the mandala.

5. When you have finished meditating, slowly bring your attention back to your surroundings.

The duration of the first meditations should be at least 5 minutes, try to gradually increase this to 15 minutes.

Om mani peme hung

The thangka is an important and highly developed expressive tool through which the entire Buddhist philosophy can be explained. Thangkas are mainly used in Buddhist temples and monasteries to support and strengthen meditation, but their use is not limited to monasteries and temples, as they can help meditation anywhere due to their content, idealism and design.

The history of thangkas dates back to early Buddhist painting, the remains of which can now be found in only a few places, such as the Ajanta Caves in India and the Mogao Caves along the Silk Road, which have extremely extensive wall paintings. These traditions gave rise to early Tibetan wall painting, which can be considered the predecessor of thangka paintings.

The first thangkas date from the 11th century, but their real flowering begins after the revival of Buddhism in the 12th century. Early thangkas are already complex, but less so than their modern successors.

But what exactly is a thangka? At its physical level, it is an intricate, complex three-dimensional object consisting of a hand-painted or embroidered image, a textile frame, and a silk curtain to cover the image. Its material and production allow it to be rolled up and thus easily transported.

Thangka is a Tibetan word that means "recorded message". The thangka sends a message to the person who looks at it, as each motif, each detail has a deep meaning and refers to certain parts of Buddhist philosophy. That is why, historically, thangkas were also used as educational tools to present the lives of various masters and deities.

Traditionally in education, the student was expected to understand the sutra and the direct experience of emptiness before stepping onto the tantric path. The images of tantric deities could only be seen by the spiritually prepared student who had reached such a level that he was able to interpret the images positively and effectively. The curtain made it possible for the student to see the picture at the right time during the lesson. In the case of thankgs, you can see two red free-hanging ribbons next to the central image. These are used during meditation, the purpose of which is to create a closer connection with the ideological message of the picture, by touching the ribbons, you can achieve an effect as if you were holding the hand of the deity shown in the picture, thus creating a more direct connection and increasing the quality of the meditation.

 The material of the thangkas is linen, cotton or silk. The thangkas are made by hand and their preparation begins with the proper preparation of the material. Before the painting begins, the material is sewn at the edges with linen thread and stretched in a special wooden frame. The material is then treated with a liquid made from calcite powder and animal glue, dried, and repeated twice more. When the third layer has dried, the material is rubbed with a large pebble to obtain an even surface and then the material is ready for painting.

A charcoal pencil is usually used to create the sketch and the central figure is created first. Then outline the supporting characters and the surrounding landscape. Coloring is the last step. For this, pigments from non-transparent minerals and plants are usually used, which are mixed with the material used for the foundation and thus the thangka remains shiny for a long time. Finally, when the painting is finished and dry, it is applied to a silk border and draped, which allows the image to be covered. The choice of proportions, color and pattern of the silk scarf is also very important, because it can amplify or obscure the central message of the image.

The composition of the thangka, like much of Buddhist art, is based on strict geometrical rules. In order for the master to draw a Buddhist figure or mandala on the thangka, he must know exactly the proportions and dimensions of each deity, which is determined by Buddhist iconography and artistic practice. Arms, legs, eyes, nostrils, ears, and various ritual tools are all formed from angular, intersecting lines. A skilled thangka artist usually selects the elements of the composition from various prepared forms. The process seems mechanical, but it requires a lot of practice to understand the symbolism in depth and to select the right elements in order to reflect the right spirit in the image. Each thangka usually contains many references and symbols. Since the art of thangka painting is specifically religious, all symbols and allusions must conform to the strict guidelines set forth in Buddhist scriptures. That is why the artist must be properly trained and have enough religious understanding, knowledge and background to create an accurate and Buddhist thangka. Each thangka can take up to six weeks to create, from preparing the canvas to adding the frame and curtain.

Since the essence of thangka painting is not the artist's imagination, but the transmission of the appropriate spiritual content, the role of the artist is significantly different from the role of painters and artists working in the Western world. A thangka artist is a medium or channel who rises above his own worldly consciousness to create a higher light in the world through the work he creates. The tradition of thanka painting is passed down from generation to generation, with many years of training, the masters pass on their knowledge to the next generation, teaching them the use of iconographic grids, the application of correct proportions and the mixing of mineral pigments. Precisely because of this long and complex learning process, thangka painting is often passed down from father to son within the family.

Traditionally, thangka paintings are not primarily used for their aesthetic beauty, but primarily for their assistance in meditation practices. Meditators use the thangka to clearly visualize a particular deity and strengthen concentration, which helps to establish a connection with the imagined deity.

Most thangkas are relatively small, with the central image rarely exceeding 45-50 cm in size, but there are also extremely large thangkas that can reach several meters in size. These were designed to be displayed for a short period of time as part of religious holidays, usually on the walls of monasteries. However, most thangkas are for personal meditation.

At a deeper level, thangka paintings can be seen as a visual expression of the highest state of consciousness, which is the ultimate goal of the Buddhist spiritual path. This is why thangkas are sometimes called "roadmaps to enlightenment" as they provide support for finding the path to enlightenment.

In order for each thangka to be able to help its owner in meditation for a long time, proper treatment is important. The thangka usually comes rolled up to its final location, where, with rare exceptions, it is displayed on the wall. In doing so, it is important to place the hook or nail at such a height that the deity's heart is above the eye line. It is both a sign of respect and a source of inspiration if you have to look up during meditation. Next, we suspend the thangka by the support tape and let the material slowly descend with the help of our hands.

The next step is to tie the silk curtain to the top border of the picture. The role of the silk curtain is twofold: on the one hand, it protects the image from dust, intense radiation and damage during transport and storage, and on the other hand, it hides the image from uninitiated and spiritually unprepared eyes.

The curtain is usually tied in a traditional way. The thinner string at the top of the thangka is used for this purpose - the thicker one is used to suspend the image. Then, the evenly lowered curtain should be grasped at the center of its lower edge and gathered evenly in the hands as we move upwards until we reach the top of the thangka. When we reach the top of the image, the gathered fabric must be pushed under the string at the top of the image and arranged so that the lower edges of the curtain are located in a semicircle.

Prayer flags are simple tools that, combined with the natural energy of the wind, quietly harmonize the environment, generating happiness and good luck. Many people think that prayer flags are praying to God, but this is not true. Tibetans believe that the wind absorbs the prayers and mantras on the prayer flags and radiates goodwill and compassion to the environment.

The history of prayer flags dates back to ancient times. Shamanistic Bonpo priests used different colored cloths in healing ceremonies. Each color corresponded to a primary element – ​​earth, water, fire, air, space. According to Eastern medicine, the harmony of these five elements maintains balance in the human body and the environment. The colorful flags placed around the patient were intended to help the patient find physical and mental health.

Colored flags were also used to appease local gods and spirits. According to their belief, it was thus possible to prevent them from causing natural disasters and diseases. Appeasing the gods and spirits through rites and sacrifices was the way to appease nature and obtain divine blessings according to the Bonpo priests.

It is not known whether the Bonpo priests wrote words on the flags. Pre-Buddhist religion was basically based on oral tradition, literacy was limited. On the other hand, the term "bonpo" means "one who utters magical formulas", so it is likely that sacred symbols were painted on the flags. Some of the symbols seen on Buddhist prayer flags are undoubtedly of Bonpo origin.

Originally, the images and text on the flags were hand-painted, but a technique discovered in China in the 15th century - printing carved images and text on blocks of wood - allowed the same image and writing to be applied to the flags and allowed the original design to be passed down from generation to generation. .

Famous Buddhist masters designed most of the prayer flags, and local artisans made copies, but they did not create new designs. Nowadays, we know relatively few basic models whose history goes back thousands of years. The range of images and texts printed on flags has expanded over time, but there hasn't really been any change in the flag production process in the past 500 years. Most flags are still printed in the traditional way, using patterns carved on wood blocks.

There are two types of prayer flags:

• Lung ta (horizontal) prayer flags are square or rectangular, with the shorter side tied on a string. They are usually stretched between two objects in high places such as churches, monasteries, columns and mountain crossings.

• Darchog (vertical) prayer flags are usually large straight rectangles attached to poles in vertical order. Darchog is often planted in the ground, in mountains, near rock piles and on roofs. "Dar" means increase in life, luck, health and wealth. "Chog": all sentient beings.

Everything - from the color to the figures and words on the flag - has a deeper meaning. Flags traditionally consist of five different colors that must be connected to each other in a specific order. Each color represents each element, in a certain order;

• blue for the sky and space

• white the air and the wind

• the fire is red

• green the water

• yellow the earth

 In addition, they show directions - North, South, East, West and Center.

Good motivation is important when placing prayer flags. The prayer flag should not be displayed with selfish or limiting thoughts. When placing the prayer flags it is important to think that all beings will benefit from it and find happiness, this motivation greatly increases the power of the prayers.

Prayer flags should never be still or lifeless. The reason they are raised above the roof is so that the wind can play with them. It is said that they emit positive spiritual vibrations and that their spiritual meaning is carried by the wind like a silent prayer. It is considered disrespectful if the flags touch the ground. Therefore, they should always be suspended in a high place.

Buddhists change prayer flags annually on Tibetan New Year's Day, but the flags can be displayed on other days as well. It is believed that sunny and windy days are the best days to display the flags. Some believe that placing prayer flags on inauspicious astrological dates can bring misfortune. Unfavorable dates in the near future October: 14, 30, November: 10, 25, December: 7, 22, January (2018): 2, 14, 17, 29, February (2018): 10

It is natural for prayer flags to fade over time, symbolizing the inevitable passing of all things. But with this fading, the prayers of the flag become a permanent part of the universe. Tibetans keep renewing their hopes by placing new flags next to the old ones. The new prayer flags can be hung above the old ones. The contrast between the old and new prayer flags reminds us of transience and the natural cycle of life and death. But the old flags can also be taken down and burned, so the rising smoke conveys good wishes to the environment.

The texts displayed on prayer flags can be broadly classified as mantras and sutras.

A mantra is a powerful syllable or a series of syllables or sounds that affect certain energy dimensions. The vibration of the mantra can control the invisible energies and occult forces that govern existence. The continuous repetition of mantras is a form of meditation in many Buddhist schools. The language of mantras is almost always Sanskrit - the ancient language of Hinduism and Buddhism. They are not really translatable; their inner meaning is beyond words. Probably the oldest Buddhist mantra, and still the most common among Tibetans, is Avalokiteshvara, the six-syllable mantra of the bodhisattva of compassion. OM MANI PADME HUM. Printed on the prayer flag, the mantra conveys the blessing of compassion to the six worldly realms.

The sutras are mostly from Shakyamuni Buddha, the historical Buddha who taught in India just over 2,500 years ago. Many sutras have long, medium and short versions. Prayer flags use medium or short versions.

As I mentioned on my first trip to Nepal, for some inexplicable reason the Mountain began to attract me.

After I returned home from Kathmandu, I kept thinking that I had to get to the Everest base camp.

Although I hesitated between Annapurna and Everest, of course only Everest could win.

I've never been on a trek before, and I'm not even a big hiker, apart from some running, I didn't train too much for the trip, which my body felt on the way, so if someone feels like doing such a trip, don't be as irresponsible as I was.

All my life I have been a fan of cheap and self-organized tours, but I only dared to go here with an organized group.

After two years of collecting, we finally set off with a Hungarian team of 12 people, supplemented by two local tour guides.

The majority of the group signed up for the trip alone, as did I.

There were several of us who had never hiked before, but as it turned out, according to experienced trekkers, we started well with the most difficult.

On the first day, we flew to Lukla at dawn, where we landed at what is considered the most dangerous airport in the world, where the runway starts in a ravine and ends in a mountain wall.

This is the last place where machines still take the things necessary for life. After that, the task is left to the sherpas, who carry everything from the door to the refrigerator up the mountain themselves.

In the first couple of days, we hiked in short sleeves, but at night I spent the whole night in my North Face imitation sleeping bag - comfortable up to 20 degrees. (Lesson, you shouldn't buy an imitation for such a serious tour!! )

If I don't have one of my hiking companions, László Kovács, who finally lent me a sleeping bag insert for the whole journey, then it is quite likely that I will freeze before the base camp or turn back.

(I also thank him for the sleeping bag insert and his wonderful photos, which can be found in the Everest gallery and here.)

At an altitude of over 3,500 meters, we had all kinds of symptoms, from nausea, to terrible headaches that wouldn't go away, to diarrhea.

After a few days, we reached the height where, due to the lack of oxygen, I and two other companions had such a hard time marching that we had to stop every few steps.

In Gorak Shep, where we spent our last night before the base camp, it was so cold that I couldn't even take off my shoes, so I went to bed with them in the sleeping bag. I was so sick at night that I was absolutely sure that I was going to die that night.

In the morning, when I wanted to drink from the steel water bottle, I had to face the fact that the water in it was completely frozen.

At four in the morning, we left for the long-awaited base camp, where a round trip of 5 hours awaited us in minus 27 degrees and wind.

My body was already completely gutted, yet I started the tour, I think that's why I came, so that I could go home without stopping before the finish line.

There were some in the group who were so sick that they didn't even go here.

It was beautiful to hike under the never-before-seen number of stars at night, but everyone was just bored with this morning hike, while that's why we came to see the base camp.

After an hour of marching, I decided I couldn't take it anymore and turned back, hoping to find my way back under the still dark sky.

I can thank Péter that I still made it, because he encouraged me to not give up if I had come this far! Fortunately, I listened to him, so I managed to get to the base camp.

Although we were warned in advance that it was the end of the season, we were the last group, there would be no one at the base camp, but it was a bit of a disappointment to find a completely empty camp, where there were only ice glaciers, rocks and prayer flags.

But we did it! :)

After a short breakfast, we could start back down to cover the 8-day uphill distance to Lukla in 3 days.

At first, I didn't understand why it was necessary to head back so tired right after the base camp, but we'd rather walk than spend another night in such a cold place.

Arriving in Kathmandu, we were finally able to shower and wash our hair, which we did not have the opportunity to do for 11 days, although it was surprisingly easy to get used to the nomadic conditions.

After I returned home, I never said that again, and that was enough for a lifetime.

This state lasted for two weeks. Then I started missing the mountain again, and now I think I would go again. When we went to Nepal to get the goods and I couldn't go hiking, it felt bad.

The stunningly beautiful mountains that accompanied us along the way are unforgettable. Now I understand why those who have seen them once go back again and again.

All my respect goes to the climbers who don't "just" climb up to the base camp, as this 5357 meters was also very trying.

Boudhanath Stupa is a Buddhist stupa in Kathmandu that is a UNESCO World Heritage Site.

Due to its huge mandala, it is considered one of the largest stupas in the world.

Thanks to the large number of Tibetan refugees pouring into the capital of Nepal, more than 50 Tibetan monasteries have already been built around Boudhanath.

Although Tibetan traders have lived near the stupa for centuries, the number of Tibetans really increased with the arrival of Tibetan refugees.

Personally, my favorite place in Nepal is this stupa and its surroundings, so whenever I go here, I always choose accommodation near it.

The place has a huge energy, and it makes every visitor to turn the prayer mills, on which the mantra Om mani padme hum is written, together with the locals.

By turning the prayer wheel, the blessing of the mantra spreads in all directions.

Since this good influence extends to everything around it, I sourced all the Nepali handicrafts from here, except for the t-shirts.

The hand-painted thangkas, also hand-painted mandalas, together with the singing bowls. Prayer flags and door curtains are sewn nearby, and malas are strung around the outer circle of the stupa.

Unfortunately, the 2015 Nepal earthquake also destroyed this stupa, but it was rebuilt with cooperation. I was lucky enough to return to Kathmandu from the Everest base camp tour the same week that they finished rebuilding it, which was completed with a puja lasting several days.

I've wanted to go to Nepal for years, I've always been attracted to this culture, I've always loved it.

For many years, all that remained was longing, until one day my well-travelled girlfriends discovered an incredibly cheap flight ticket to Kathmandu, although the price was that it took almost two days to get there with several transfers. Still, I was looking forward to this trip with great excitement, fulfilling my old dream.

At first, I was scared to death when I saw the traffic in Nepal, but after this first shock, I already thought the chaos, which is invisible to a European person who is constantly flowing, was funny.

Since I, unlike my friends, insisted on living next to the Boudhanath stupa, we spent the first two days separately.

Families fleeing from Tibet moved around the stupa, and there are many monasteries, so it was clear that I wanted to live here.

I did almost nothing but walk around until late at night, spinning the prayer wheels.

I was so happy to be there!

Since my girlfriends always want to know every detail of the given country, after two days we rented a car with a driver and set off to the most interesting parts of the whole country.

First, we headed to the Chitwan National Park, where we did the jungle tour on the back of an elephant, it was a great experience, the elephants were very sweet.

Unfortunately, we didn't see a tiger on the tour, which I would have liked, but we did meet a hippopotamus.

The next day we went on a crocodile viewing tour on the river. Contrary to what I imagined, the boat was so narrow that I wondered what I was going to do if a crocodile attacked us.

I prayed that we wouldn't meet one, because if I knew in advance how narrow and dangerous this little boat was, I wouldn't have ventured on it. Fortunately, I managed to survive the trip, but never again!

Leaving Chitwan, we went to Pokhara, which is one of the most popular starting points for hikers.

I never wanted to climb a mountain, but seeing the many enthusiastic climbers, I was seized with an incomprehensible desire for mountains.

This desire remained, but I will tell you about it in another story...

Before we went back to Kathmandu, we stopped at Lumbini, the birthplace of the historical Buddha (Shakyamuni), where Queen Maya gave birth to her child while clinging to a tree.

When we got back to Kathmandu, we visited the Durbar Square, which was still standing then and has since been destroyed due to the earthquake.

We returned home after a week with a heavy heart, but full of experiences.

A mala and a Buddha statue were already resting in my backpack.