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Ora N. Asael Silverstein Abstract Introduction This paper stems from a process that I have experienced following the former conference of the International Visual Literacy Association in Wyoming U.S.A in 1996. The title was Vision Quest: Journey Towards Visual Literacy (Fig. 1). The organizers wrote: "Our vision for the conference is that you join friends and colleagues around the world in seeking inspiration and guidance in our lifelong quest to promote visual literacy, communication, and learning. Native American culture inspires this year's theme for the International Visual Literacy Association conference. This year's conference logo incorporates the dream catcher. This artifact was usually placed above an infant's cradle board where it would filter all dreams and let only the good dreams flow through the open circle while the bad dreams were caught on the surrounding web. A Vision Quest is the ritual of seeking to communicate with the spirit world in order to obtain life guidance and strength. An individual retreats to a secluded place for a number of days to be in touch with the inner spirit and to be blessed by a vision of a spiritual teacher and helper. Translating these traditions to our conference setting, we invite you to join the IVLA in pursuing your personal vision of visual literacy with the guidance and companionship of colleagues and friends." Background The place and theme of the 1996 conference were related to the research I was carrying out at that time. From 1990 onwards, I became involved with the research of Visual Literacy and began to ask questions about Picture Language (1991). Since 1994 I have been trying to understand the mode of communication and visual thinking of the American Indians. The American Indian's petroglyphs and pictographs enabled me to understand their picture language. During 1995-1996, I wrote about the American Indian's Pictography and the sciences.  I described my study of picture language, which was carried out with a group of children in Israel. The youngest was 15 months old and the oldest was 5 years old. I examined their ability in reading Picture Language and gained assurance of their capability to do so (1996). In Wyoming I presented the results of the continuation of this research which was actually done by follow-up on one child in building one concept. I found out that at the time of science concept formation, there was metaphor formation too and I was witness to the occurrence of creativity (1997). I realized that there was a turn in my research, and continued to examine the metaphor formation with my colleagues at the Society of Creative Women in Israel (1999). I might say that the symbol of the dreamcatcher directed me in the quest for the inner spirit. There is no doubt that the information for creating a metaphor originates from the "inner spirit." Literature According to the psychologist C.G. Jung, the mandala symbol, which is visualized by a circle, is the representation of the self. Jung saw in the shape of the mandala the embodiment of unity, harmony and wholeness within the personality. In Personality Theories (1992) Hjeller & Ziegler give a very clear report on C.G.Jung's analytical theory of personality. The struggle for unity, harmony, togetherness and wholeness which takes place in the "self" of every human being is the basis for conflict solving in the self and also between nations on planet earth. In the books of Jewish Kabbala (Halevi, 1984) and in Buddhism (Mookerjeet & khanna1997) we find pictures of the mandala which is a Sanskrit word meaning a magic circle. According to old traditions, it is the human psyche. In Man and His Symbols by Jung (1964) we find both text and visuals that give the entire meaning of the mandala according to various cultures on our planet. After reading about the mandala it seemed to me that I should start looking for some early evidence. I looked for something as early as possible and this I found in Rujm Hiri. After reading references in the Bible and visiting the Kazerin museum, I decided to go and read nature itself. Objectives Methods The required maps and information were gathered. The process included personal meetings and tours around the sites along 1999.
- The visit at Rujm Hiri - An interview with Doron Bar Adon - The visits at the Mitlol Zurim escarpment
The meeting with Serena Sage and Anika Kanter Movchine The symbol of the mandala, which enables conflict solving on the road to wholeness and peace, is linked with the process described in this article. Israel, like many other countries, suffers from an atmosphere of violence. Side by side with the difficult security situation, there are disagreements and outbursts of extreme violence. Dispute is portrayed in every day traffic conflicts and also in human relationships in the family and the community. Both the Israeli Government and volunteer organizations are trying to find solutions for the conflicts in the region, whilst handling the problems of violence in Israeli society. The International Congress on Conflict Resolution Through Culture and Literature reflects the activity of the organization for peace through literature and culture. Chair of the congress, Ada Aharoni, founded the international organization IFLAC: "International Friends of Literature and Culture". This congress took place on June 28 30, 1999 at Shavei Zion, Hotel, Galilee, Israel. IFLAC Pave Peace initiated the Israeli-Palestinian cooperation through cultural bridges and Gaza was joined to the other members of the international community. For those interested in following up the activities of that movement, please refer to the following sites: Ada Website: tx.technion.ac.il/ada/home.html Jubillenium website: www.jubillenium.com These sites are essential for the activity of The International Friends of Literature and Culture Pave Peace Network Union. The union is active on the internet under the above title. The immediate result of the congress at Shavey Zion was the continued activity in Gaza. This activity is ongoing and representatives are continuing to visit each other in Gaza and in Israel, promoting peace talks. I came to the congress in order to present the symbol of the mandala, for conflict solving. The 200 participants in the congress, worked together. I made contact with Anika and Serena. Anika Kanter Movchine is a painter and a healer as well as a web designer whose site: Earth Mandala: http://www.haderech.org/mandala presents the mandala on the internet in an astonishing visual form. Serena is a psychologist who has already been using the "circle" as a means for meditation and therapy. Throughout the congress we created a bridge "behind the scenes" and revealed to the participants the secret of the mandala, using visual tools, simulation and creative painting singing and dancing activation. After the congress, Serena participated in the journey to Rujm Hiri (as detailed herewith). At a later stage we met with Anika in her home in Kibbutz Shomrat. Facing her Mandala site on the computer, we discussed the continuation of our activities and focused on the symbol of the mandala. This activity is to be continued at the IVLA Congress in Wyoming in October 1999. The invitation for the 1999 conference: The voyage The American Indians indicate a "spirit" by a circle and a dot in its center I found myself gathering information about the shape of the circle. I also found myself carried to places with mandala shapes in the open. This process was stimulated by the call for 1999 "Natural Vistas, Visual Literacy In The World Around Us." In this paper, especially prepared for this conference, I will provide information on circular man made natural vistas in Israel. The description of the voyage itself is to be published in another paper because that which had been stated in 1996, has happened to me. "And to be blessed by a vision of a spiritual teacher and helper". I found two friends and their inner journey will be described in: Gaining Visual Insight through Ceremonial Symbols in Natural Vistas (to be published 2000), in which I collaborate with Serena Sage and Anika Kanter Movchine. http://www.haderech.org/mandala/index.html The visit at Rujm Hiri In order to reach the mysterious site of Rujm Hiri (Fig. 2), one must make special preparations. The site is close to the border between Israel and Syria. The area serves as an IDF training site. In winter the soil is very muddy. In summer the heat is oppressive. The site is distant from paved roads and in order to protect it there are no fixed signposts so that finding it and reaching it is no easy mission. Ami Silverstein, a patrolman and a skilled driver, made this journey possible. We prepared the maps in advance and ascertained when the best time to reach the site might be. When Serena Sage decided to spend the weekend with us, following the conference at which I met her, it seemed to be the best time to make our journy. The three of us, Ami, Serena and myself, took off on a hot day at the end of June and with the help of the map, and the people we met on our way, including army officers, we managed to get there. Reaching the actual site requires a strenuous walk. Entering the central part of the site requires climbing and crawling . Rujm Hiri is located on a narrow basalt plateau, on which more than a hundred stone-piles and dolmens are scattered. The dimensions of the piles differ from each other. Some of them were preserved. Sometimes the dolmen is inside the pile, circling a square or round wall, which has been preserved. "The Dolmen Ridge" continues as half-bow, overlooking south-west, as if from a stage of an enormous amphitheater, which is perhaps the most interesting archeological site in the Golan: "Rujm El Hiri" (Rujm: in Arabic: a pile of stones, reference point 2254/2573). According to Jonathan Mizrachi (1992) Rujm El Hiri means: "stone heap of the wild cat" . We do not have any satisfactory explanation for the origin of this unusual name, which was adopted by the survey team from old Syrian military maps captured after the 1967 war. This is a monumental site, consisting of five concentric stone circles. The walls are preserved to a height of 2-3 meters. The diameter of the external circle is approximately 150 meters and its circumference more than 500 meters. In the external wall, there are two big openings facing northeast and southeast. In the center of each opening there is a pile of stones, out of which low walls emerge and close the direct access to the system. In the center of the wall system there is a high pile of stones, which has been preserved to a height of almost ten meters with a diameter of approximately twenty meters. Between the walls, intersecting walls were built. This is the reason why Rujm Hiri looks like a labyrinth. The central space is very exciting. Its external structure reminded Serena of the Kiva of the American Indians. For me the central space was somewhat similar to the spaces in the graves I saw at the Necropolis sites in various places in e Asia Minor, Turkey of the present day. I would like to emphasize that it has been unanimously agreed, that from the point of view of its strong impact, its antiquity and its character the only place one can doubtlessly compare Rujm Hiri to, is Stonehenge. Rujm Hiri is made of basalt. This stone is a message from the beginning of creation. Hard, black and pure. Each rock has its own unique character, a rich heritage of stone masonry, volcanic environmental sculpture. Stonehenge is a prehistoric monument. It has aroused the awe of visitors as one of the wonders of Britain. Stonehenge had three phases in its development, which started 4000 or 5000 years ago as a Neolithic worship and burial place. The final stage of Stonehenge, which visitors see today, is considerably ruined, whereas the complete Stonehenge (Fig. 3) consisted of a full lintel stone circle. Around the stone circle there were an earth bank and a ditch. After visiting both Stonehenge and Rujm Hiri, I wish to assert that it is only from the air that we can possibly perceive the complete picture of each. Figure 2 A Plan Of Rujm Hiri 
Figure 3  Rujm Hiri in the Bible In the book of Joshua, 4:19-20: "Now the people came up from the Jordan, and they camped in Gilad on the eastern border of Jericho. And those twelve stones which they took out of the Jordan, Joshua set up in Gilgal." Genesis, 14:5 " and smote the Rephaims in Ashteroth-Karnaim". Deuteronomy 3:13 "..which was called the Land of Rephaim (giants) " Researchers agree that these chapters, as well as others, are connected in their meaning, to Rujm Hiri. The meaning and place are so important that the little study that has been performed so far, does not provide answers to the questions originating from Rujm Hiri. Discovery & Investigation of Rujm Hiri The site was discovered during the 1967-1968 archeological survey of the lower Golan Heights in Israel.(1992). Digging was carried out during the years 1988-1991. The place did not serve for habitation, only very few pieces of broken clay pottery were found. The items found in the center, which was used for rituals or burial, were arrowheads, golden earrings and weapons. Mizrachi (1992) suggests that the cairn of Rujm Hiri was built within a preexisting monumental complex of concentric circles. It was erected in the early Bronze age (mid third millenium B.C.E). The influence of Rujm Hiri The site has aroused great curiosity and interest ever since it was discovered in 1967. Scholars do not agree either as to its function or its date. (Mizrachi 1992) Rujm Hiri and the mystery enveloping it fascinated several contemporary artists. They were inspired by its architecture and its function as a scene of cultic ceremony or as a site of astronomical forecasting . The Interview with Doron Bar-Adon, Israel, April 1999 The interview took place in Haifa and is presented as the artist has told it and according to his writing. Doron is a painter, sculptor and an investigator of the history of art. His father Pesach Bar Adon was a famous archeologist, which explains the deep connection Doron has for Israeli landscape and history. Stone spiral in the quarry of "Mitlol Zurim" After visiting the Kazerin museum I visited Mitlol Zurim (Fig. 4) (Mitlol, Hebrew for escarpment) and Honni's Circle. The story of Mitlol Zurim is given here in the words of the sculptor Doron Bar-Adon who constructed the place and a recording of my 2 visits to the sight. Mitlol Zurim is located about 3 Km north of Carmiel, west of the Nahaf village, at the ascent of the road leading to Teffen. Over the years, the beautiful green view was changed by a number of quarries. The welcome blessed initiative of various environmental institutiones has brought about the rehabilitation of the place and is turning it into a public park. For many years, Bar-Adon has performed works in the compilation of rocks both in the Judean desert and in Kazarin in the Golan Heights. "In 1989, when I sculptured The Circle of Honni in the Kazerin Park, I dreamt about creating a spiral in a spatial vista. Having worked along the linear pivot along the road of the Dead Sea, and having created a circle in the Basalt site on the mountain plane of the Golan, it was almost as if the creation of a spiral form had asked to be created. An open, endless spiral which comes out of itself and returns into itself. " The artist reached the Zurim escarpment, being fully aware of the precedents of the creation of the spiral form in ancient cultures: The serpent paintings of ancient Egypt, the artistic creations of the Far East, in Islam in Christianity in Southern America etc. as well as the precedents in modern art such as in the paintings of William Blake, Van Gogh, Paul Clay, Juan Meero and of course the spiral of Robert Smitson at the Utah lake. In addition he has always been accompanied by the memories of the symbolic and preceeding activity of Isaac Danziger in his conservation of the Nesher quarry in Israel. But the precedents are never the new created reality. The artist found the site of that quarry suitable for the creation of the spiral, particularly because it was half closed, immersed and delimited on its northern part by a tall quarry escarpment (8m.). The twin depressions in the west and east permitted the creation of two sister-spirals, through which the artist could find the flavor of enhancement of echo and rhythm. Mitlol Zurim, Israel Doron Bar-Adon  "There is no use in piling up words regarding the special energy which radiates from the archetype spiral form, whether as a spiritual experience or as a symbolic one, whether as a form that gathers into its center by the laws of the cut of gold or as a form that develops according to the sensations of indirect sketching. It was obvious that the possibility of creating spirals in dimensions that can carry on them live people in real motion, was especially exciting, to begin with. Special dynamics were supposed to be created here, those that move between the intimate sensations of gathering within, into the central stone, and the sensations of flowing out. These artistic creations are located towards the wide step of the mountain and the open panoramic vista. A huge "Bugger" tractor, trucks, special digging device and a lot of hard and persistent hand labour did the job. Carrying it out was a very unique experience especially for the operators and workers, both from the Druse village of Julis and the Arab villages of Nahaf and Magd El Khrum who live nearby. With their roots in the quarry they were more then enthusiastic and appreciative about transforming an ugly quarry into an environmental statue and green park in the close vicinity of their homes. Looking down we can see the panoramic view of Carmiel in the south Magd El Khrum valley in the west and the Nahaf village on the east". Doron concluded his story and said: "As far as I am concerned, the uniqueness of the project is in its being an interesting break-through into the environmental and psychological space of life. It is pleasant to think that in Israel of the years 1996-7, in which Peace is fighting for its life, the 'tough establishmen' has actualized such a positive public enterprise, one that enables the spirit of inner peace, personal, social and national all in one to blow. The spiral form, in its nature and spirit, probably transmits the message and helps to consolidate the contradictions." The visit at Kazerin Museum The city of Kazerin is situated in the Golan Heights. This is a modern, vibrant city, founded after the Yom Kippur war and its population is that of relatively young Israelis who chose a new and different way of life. The museum is located in the center of town alongside other public institutions, and includes antiques, expositions and light and sound performance through which one can experience Jewish history in the Golan Heights, most especially that of the wondrous city of Gamla. To our delight, the museum dedicated a special exposition to Rujm Hiri. I saw this exposition on my visit to the museum, which preceded the visit at Rujm Hiri. As explained before Rujm Hiri was a difficult place to reach. That is why, Ami, Serena and I, tried to visit the museum at first, and to our delight found it open. The exposition includes the Rujm Hiri model and the sight & sound show enables to understand the research that has been done, quotes the Biblical sources and displays the findings that were collected at the site. The information we received at the museum is integrated into the description of Rujm Hiri in this article. The Visit at Honni's Circle Honni The Circle Maker was one of the first Ta'Naim. He drew the form of a circle, sat inside and declared: "Creator of the world, I am not moving from here until you take pity on your sons and the rains start to fall" (Taanit, 19) Honni the Circle Maker has been known in Judiac parable, since that incident, as one who has the power to bring about rain. Drought was one of the characteristics of the Holy Land in the days of our forefathers. When the rains ld stopped, Honni would draw a circle, go inside, pray and never come out until the rain started to fall. The symbolism of the circle in its meaning of self control, power of concentration and determination working for the inter-relation with nature and its Creator are very strongly projected in Honni's tradition. The environmental statue created by Doron Bar- Adon, located in the Statue Park in Kazerin in the Golan Heights, is very impressive. Doron has chosen a dry riverbed in the open plateau area with the meager vegetation, in the park. He arranged a circle from the local Basalt stones, a simple form and blatant in its simplicity. Discussion This article presents man made circles in nature representing elements of architectural statues symbolizing the sacred meaning of the mandala. The most ancient one of these is Rujm Hiri in the Golan Heights. Its circular labyrinth form, symbolize a sacred pattern which exist in all ancient cultures and which is believed to lead into the inner self. The connection of Doron Bar Adon's works to the deepest meanings of Rujm Hiri and the natural works he created in Honni's Circle in the Kazerin Park and the two labyrinth circles in the Zurim escarpment, strengthen the intensity of this sacred place and its meaning. Doron wrote: "Special energy radiates from the archetype spiral form, whether as a spiritual experience or as a symbolic one" (Fig. 5, 6). It is C.G. Jung's greatness in the understanding of the mutual legacy shared by human cultures which helps us understand the philosophy and the psychology of the symbolic heritage we have in our visual memory which has to do with the meanings of the circle. The circle symbol is visually expressed in Buddhism, Hinduism, and by the Chinese and the ancient Egyptians. There is a visual connection between the circular symbols in the human visual imagery heritage and of the physical world. The movement of the atom particles the movement of the planets have their connection to the symbols given to the centers in the human body and the human spirit by the Alchemist and the Kabbalist. Its proximity to eastern cultures and Jewish Kabbala, is beyond any doubt. The search for the meaning of the circle known as mandala symbol Mitlol Zurim, Israel The Western Spiral Doron Bar-Adon  Figure 6 Mitlol Zurim, Israel The Eastern Spiral Doron Bar-Adon 
The visual power of mandala symbolism might be effective for the achievement of completion with the self and the outside world. Reference Atkinson, R.J.C. (1987). Stonehenge and Neighboring Monuments. English heritage. Halevi, Z.bS. (1984). The Work Of The kabalist. Samuel Weiser, inc. New York Beach, Maine Hjelle, L.A. Ziegler, D.J. (1992). Personality Theories McGraw-Hill, pp 172-176. Ilan, Z. Eretz Hagolan A Guide, (1969). Hebrew. Mifaley Tarbut VeHinuch Ltd. Tel Aviv, Israel. Jung, C.G. (1964). Man and his Symbols. Laurel. Jung, C.G. (1973). Mandala Symbolism. Princeton University Press Kanter Movchine Anika (1999). http://www.gecities.com/HotSprings/1132 http://www.haderech.org/mandala Kanter Movchine, A.K. (1999) About Manadala. Kibbutz Shomrat, D.N. Ashrat, 25218, Israel. Mizrachi,Y. (1992). Biblical Archeology review, Israel. Mookerjee, A. Khanna, M. (1997) The Tantric Way, Thames & Hudson. Rijkshogeschool Ijselland Deven ter. pp. 163-168. Pettersson, R. (1998) Circles, Triangles and Squares: Sacred Symbols in the Mayan Culture. In: Griffin, R.E. Schiffman, C.B.Gibbs W.J. (Eds.) Connecting with the Community: Exploring Resources for Visual Learning Expressions. International Visual Literacy Association. Silverstein Asael, O.N. Tamir, P. (1991) The Perception of Biological Concepts Through Story Animated Movies. In Baca, J.C. Beauchamps, D.G. Braden, R.A. (Eds.) Communictions: Bridging Across Countries. Readings, The international Visual Literacy Association, pp. 127-139. Silverstein Asael, O.N. (1996). Science Picture Language. In Velders, T. (Eds.) Multimedia Education in Praxis. Selected readings. The 4th International Research Symposium on Visual Verbal Literacy, International Visual Literacy Association. Silverstein Asael, O.N. (1997). Imagery, Concept Formation & Creativity From Past to Future. In Griffin, R.E. Hunter, J.M. Schiffman, C.B. Gibbs, W.J. Vision Quest: Journeys Toward Visual Literacy. Selected readings of IVLA pp. 305-312. Silverstein Asael, O.N. (1999). Postmodern Verbo-visual Women's Creativity. In Griffin, R.E. Gibbs, W.J. Wiegmann, B. (Eds.). Visual Literacy in an Information Age. Selected Readings of The International Visual Literacy Association. Soyre, R. Dunkerley, S. Horton, D. Fullwodd, M.R. (1999). Gestalt, Context, Ambiguity and Archetypal Meaning in Photographic Education. pp. 283, 284, 286, 287 Shearer, A. (1992). Buddha, Thames and Hudson Young, N.J. (1992). Signs From the Ancestors. University Of New Mexico Press, pp. 77, 118. |