Call No.

Author Title

&qq . 3 a a y
Qs-7

Accession No.

V l ~ c f

This book should bc returned on or bef'orc the date last ~llnrkcdbclow.

THE INDIAN BUDDHIST ICONOGRAPHY

Mainly Based on

THE SADHANAMALA
and Cognate Tgntric Texts of Rituals

Formerly Director of Oriental Institute and General Editor, Gaeku~ad'sOrrental Serles, Bnroda

FIRMA

K. L. MUKHOPADHYAY
1958

CALCUTTA

Published by K. L. MUKHOPADHYAY, 6/1A, Banchharam A k u t Lane, Calcutta-I t , India.

SECOND EDITION
Revised and Enlarged with 357 Illustrations

JUNE 1958

Dr. B. Bhattacharyya Naihati, 2CParganas

Printed by A. C. Ghosh, GHOSH PRINTING HOUSE PRIVATE LIMITED, 17A, British Indian Street, Calcutta-1

Bound by N E W INDIA BINDERS, SB, Patwar Bagan Lane,

Calcutta-9

Jndcriied

to tRo

3Memoru o/

Xtj

Father

PREFACE TO THE SECOND EDITION

The Mighty Gods and Goddesses of the Buddhist Pantheon wish t o reveal themselves before the world once again through the pages of the Buddhist Iconography. Their Will is supreme. After overcoming difficulties, delays and obstacles, the Buddhist Iconography at last is presented t o the scholarly world in a second edition after a lapse of full thirty-four years. It is pleasant t o live these long years t o see my favourite book pass through a second edition. This is an occasion when I should remember with gratitude two of my illuse trious preceptors, Professbr A. Foucher and my father Mm. Haraprasad Shastri both of whom are no longer in the land of the living. I believe in my heart of hearts that their invisible care and blessings are in a large measure responsible for this happy ending. It gives me immense satisfaction. When the first edition of this book was published in 1924, my studies were much hampered owing t o paucity of material. But since then such a great volume of information has been published that it appears almost overwhelming. I never could think that it would be possible for me t o handle such vast material in a manner befitting this serious subject. Thus the second edition goes t o the world with all its imperfections of which I am conscious more than my critics. After 1924, the texts of the SZidhanarnala and the Ni+pannayog~vali were published. Both these texts proved to be veritable mines of information on Buddhist gods and goddesses. Between the two publications, the edition of the Advayavajrasarigraha and the Suhyasamaja followed in rapid succession, and the information furnished in these two excellent texts not only added to my difficulties, but also changed materially the whole outlook underlying the classification and arrangement of Buddhist deities. These Sanskrit texts were published in the Cjaekwad's Oriental Series when I was the General Editor under, my ,erstwhile Maqter, the late His Highness Maharaja . Sayaji Rap 111, Gaekwad of Baroda and his illustrious Dewan Sir V. T Krishnaw Charjar, now Deputy Chairman of the Planning Commission f q the @public of India.

. ,Later, publications such as the Elements of Buddhist Iconography by &omaraswaray.rhe second edition of the hsSods of. Northem Buddhism

by Alice Getty, the Iconography of Tibetan Lamaism by Mrs. A. K . Gordon and the Iconography of Buddhist and Brahmanical Sculptures in the Dacca Museum by my friend and colleague Dr. N. K. Bhattasali, Curator of the Dacca Museum, made my work of revision still more difficult and embarrassing ! Professor Walter Eugene Clarke of the Harvard University by publishing the two sumptuous volumes of the Two Lamaistic Pantheons served t o put the proverbial last straw o n the camel's back. This book published for the first time photographs of an unbelievable number of Buddhist statuettes in the Royal Temple at Peiping in Manchuria. If the statues had been entirely Chinese in character it would not have affected me in the least, because I am connected palpably with the Indian branch of Buddhist iconography. But an examination of the published photographs showed that the Peiping collection was exclusively inspired by Indian tradition, depended entirely on Indian texts, and faithfully followed thedirections given in Sanskrit texts such as the S2idhanamTila and the Nispannayogavali. The remarkable Indian character of the Chinese statuettes led me t o include a large number of them in this book, and their study made the task of revision not only difficult but also delicate by forcing me t o include Chinese specimens in a book which is chiefly concerned with the Indian branch of Buddhist iconography. I must thank the learned American author Professor Clarke for imposing o n me this additional labour and responsibility ! The study of the Buddhist branch of Indian iconography is one of the most interesting and fascinating of all studies. In Buddhist iconography the whole world is interested because Buddhism is not confined within the limits of India like Hinduism o r Jainism, but travelled far and wide beyond the Himalayas t o Tibet, China, Japan, Korea and Mongolia on one side, and to IndoeChina, Siam, Indonesia, Burma and Ceylon o n the other. In the time of the great Achaemenid Emperor Darius, Lord Buddha laid the foundation of a religion which was destined t o be the religion of one third of the population of the globe. The fountain head of inspiration relating t o Buddhist iconography was furnished by the ancient Sanskrit manuscripts of India, and the ideas and directions contained therein travelled t o different countries, notably Tibet and China, where they were coloured by the art and culture characteristics of the respective peoples. W e have now reached a stage where it is n o longer possible t o isolate Buddhist icono-. graphy of India from its developments in Tibet and China which we16 profoundly influenced by the Buddhist Tantras of India. And th; chief need of the subject is the publication of a great volume cf

original and unpublished manuscript material that lies hidden in the archives of MSS Libraries throughout the world. When this huge material is published then alone the study of Buddhist iconography can be said t o be complete. The second edition has been thoroughly revised and greatly enlarged. New chapters have been incorporated, old chapters have been redistributed. Many pictures have been deleted, and many new ones have been included in order t o make the study as up-to-date as possible. In 1924, when the first edition .was published, I could only see the material side of the problem. But with the availability of fresh material, the other side, namely the psychic side, also became apparent. Evidence of this change will be found in the introduction which is almost wholly re-written, as also in other chapters, notably on the DhyBni Buddhas. I offer an explanation here lest my readers receive a shock while reading this book in a second edition. I may further point out that repetitions in a book of this kind can hardly be avoided. and deities have been repeated at different places for different purposes and in different contexts. My critics of the first edition will also notice how irrepularities pointed out by them have been regularised in the second edition In preparing this edition I have received help from a number of persons. With their help I could complete the revision and place the book in the hands of scholars in its present form. First of all, it is my sacred duty to acknowledge the debt I owe'to the late lamented Dr. N. P. Chakravarti, one-time Director-General of Archaeology in India, for graciously permitting me t o reproduce all the photographs belonging t o the Department as were included in the first edition. These photographs either purchased direct o r reproduced from Departmental publications are shown in the list of Acknowledgements. It is hardly necessary for me t~ add that iconographic studies in India are not possible without the generous help of the Archaeological Department-help that is always given cheerfully as also gracefully. Shrimati Hansa Ben Mehta, the talented Vice-Chancellor of the Maharaja Sayajirao University of Baroda, has laid me under a deep debt of obligation by ordering a loan for the purpose of reproduction, of nine full-page blocks belonging t o the University. As the Baroda Museum now belongs to this University I have t o thank the ViceChancellor also for using the Baroda Museum specimens in this book. ' It is difficult for me to adequately express my gratitude and thankfulness t o our worthy colleague and associate, Prof. Walter Eugene a a r k , Wales Professor of Sanskrit in the Harvard University, who me permission t o reproduce as many photographs as I liked from
1(

his monumental book : Two Lamaistic Pantheons. He made n o conditions, and I am simply overwhelmed with his kindness and generosity. T o my friend and colleague, Dr. Hermann Goetz, formerly Curator of the Baroda Museum, I feel very deeply indebted for allowing me to take a number of photographs of interesting Buddhist images deposited in the Baroda Museum years ago, for their eventual reproduction in this volume from my own negatives. All the statuettes belonging t o the Baroda Museum and published in this book show the place of their origin at the foot of each and every such illustration. I have t o thank the Baroda Musuem authorities and Dr. Goetz, the eminent art-critic, very heartily for the favours enumerated above. Pandit Siddhiharsha VajrHcHryya of Nepal, my friend, philosopher and guide, helped me at every step. He supplied copies of rare manuscripts and original Nepalese drawings of rare deities whenever there was need for them. The drawings of the Twenty-Five Bodhisattvas were all procured by him from Nepalese artists. Out of this number, sixteen were copied from stone images in one of the famous Caityas of Patan in Nepal. I am deeply indebted t o him, as also t o his son Dharmaharsha and his grandson Purnaharsha VajrScSryya for their intelligent, prompt, active and effective co-operation. I am also grateful t o my old artist of Nepal, Virman Chitrakar who supplied all the Nepalese drawings illustrated in the first edition. T o Professor N. A. Gore I am indebted for three beautiful photographs : one of Gagapati (four-armed) and two of the rare deity SifihZsy'. from originals in the collection of his father-in-law, Dr. H. G. Moghe, L. D. S., R. C. S. ( Eng. ) of Khar, Bombay. I express my gratitude t o both while reproducing all the three photographs in this edition.

I take this opportunity of once again recording my heartfelt thanks t o Dr. W. Y. Evans-Wentz who allowed me years ago to reproduce some of the miniatures in his possession. His name is mentioned at appropriate places.
My grateful thanks are also due t o Miss Raihana Tyabji, the mystic daughter of the illustrious Indian leader, the late Shri Abbas Tyabji, for going through the first edition for the purpose of a detailed revision more than 15 years ago. I am also indebted t o the Manager, Bomby Branch of the Oxford University Press for readily agreeing t o have this second edition published through Firma K. L. Mukhopadhyay. It was h e who pursua.

ded me, much against my wishes, t o revise the book for a second edition as early as 1949. I have many reasons to be thankful t o him. It is my pleasant duty to express my indebtedness t o the Curators, Keepers and Superintendents of Museums, Picture Galleries, image collections, and the rest, wherefrom images in metal, stone and paints I am partiings have been selected for reproduction in t h ~ volume. culary grateful to the authorities of the Indian Museum, Calcuttta, the Museum and Picture Gallery at Baroda, the Provincial Museum, Lucknow, the Museums at Sarnath, Nalanda and Dacca, the Vahgiya Siihitya Parisat Museum, Calcutta, and the Palace Temple Collection of images at Peiping in Manchuria. T o all of them I tender my grateful acknowledgments. All those Universities of India which prescribed the first edition of the Indian Buddhist Iconography as a text-book for the M.A. Examination in Ancient Indian History and Culture, deserve my grateful thanks for selecting the book. It is hoped that the authorities will extend the same patronage t o the second edition which is now published. My grateful thanks are due t o Messrs. Ghosh Printing House Private Limited, Calcutta, especially Shri P. C. Basak, for exercising great care on the accurate printing and excellent get-up of this volume. In spite of our best efforts, however, a few errors have crept in, and for these I crave the indulgence of my readers. These are mostly minor errors and can be corrected with ease. Shri N. L. Dutt has also been very helpful, and I acknowledge my indebtedness to him. Lastly, I am duty bound t o acknowledge my indebtedness t o my brother Shriyut Paritosh Rhattacharyya of Messrs. Sanjal & Co., Calcutta, for his sustained encouragement and for his many acts of kindness. My gratitude t o Shri K. L. Mukhopadhyay of Firma K. L. Mukhopadhyay knows no bounds, for all that he has done in bringing out this edition in its present form. I thank him cordially and bless hinl heartily. This time I can only inscribe the book t o the memory of my loving father, the late Mahamahopadhyaya Haraprasad Shastri in whose invisible but tender care I have the honour t o place this second edition of Buddhist Iconography.

Shastri Villa
Naihati (West Bengal)

B. BHATTACHARYYA

Rathayiitri 1958

ABB REVlATlONS
A ADV AS1 Bendall Bhattasali Clark Foucher Getty GNB Gordon GOS IBBS Appendix Advayavajrasailgraha Arch~ologicalSurvey of India Professor Cecil Bendall (Dr.) N. K. Bhattasali Professor Walter Eugene Clark Professor A. Foucher Miss Alice Getty Gods of Northern Buddhism Mrs. A. K. Gordon Cjaekwad's Oriental Series Iconography of Buddhist and Brahmanical Sculptures the Dacca Museum Iconography of Tibetan Lamaism Journal of the Asiatic Society of Bengal Journal of the Bihar und Orissa Research Society Journal of the Royal Asiatic Society of Great Britain Professor H. Kern Nispannayog~vali Pandit Satyavrata S'im'akrami Two Lamaistic Pantheons, 2 Vols. Professor J. Ph. Vogel

ITL JASB JBORS JRAS Kern NSP S'im'airami TLP Vogel

ACKNOWLEDGMENTS
Grateful acknowledgments are made of the Courtesy and Copyright of the following institutions among others and of private collections, with their officers, curators, keepers, superintendents as well as individual owners, while reproducing photographs of images, bronzes, sculptures, bas-reliefs, statuettes, miniatures and blocks in their charge, the copyright being reserved in all appropriate cases. I. The Archaeological Survey of India, New Delhi along with the Archaeological Museums at Calcutta, Lucknow, Sarnath and Nalanda functioning under the Department, in respect of Figures : 1, 2, 3, 4,S, 17, 26, 27, 45,46, 77, 81,83, 84, 85,94, 95, 96. 98, 99, 101, 104, 105, 107, 116, 130, 138, 140, 142, 148, 152, 153, 151, 156, 166, 167, 169, 180, 189, 190 and 233.
11. The Museum and Picture Gallery under the M. S. University, Baroda, in respect of Figures : 13, 16, 42, 74, 75, 87,92, 97, lC6, 127, 131, 160, 163,168 and 188.

111. The Palace Temple at Peiping in Manchuria and the author of the Two Lamaistic Pantheons, 2 Vols., Professor Walter Eugene Clark, in respect of Figures : 30,50, 71, 80, 111, 114, 115, 122, 123, 129, 133, 183, 193, 134, 195, 202, 203, 204, 205, 2C6, 207, 208, 209, 210, 211, 212, 213, 214,217, 219,220, 221, 222, 223, 224, 225, 231, 236, 237, 238, 239, 240, 241,242,243, 244, 245,246,247 and 248. IV. Professor W. Y. Evans-Wentz (private collection), in respect of Figures : 19, 22, 28, 33, 37, 150, 157, 165, 196, 197, 198, 199, 200 and 229. V. Dacca Museum, Dacca (East Pakistan), in respect of Figures : 89, 125, 185 and 249. VI. Vahgiya SZhitya Parigat, Calcutta, in respect of Figures : 93 and 149. VII. Dr. H. G. Moghe, L.D.S., R.C.S.(Eng.), of Khar, Bombay (private collection), in respect of Figures : 215, 216 and 227. VIII. Berlin Museum, Berlin, Germany, in respect of Figure : 90,

IX. Leiden Museum, Leiden, Holland, in respect of Figure : 141.

X. The Late Mr. W. 8.Whitney of New York (private collection), in respect of Figure : 161. XI. The Hindu Monastery at Bodh Gaya, in respect of Figure : 164. XII. Dacca Szhitya Parisat, Dacca (East Pakistan), in respect of Figure : 184. XIII. Her Highness The Dowager Maharani Chimanabai Gaekwad of Baroda (private collection), in respect of Figure : 228. XIV. The Oriental Institute of the M.S. University, Baroda for the loan of nine full page blocks, in respect of Figures : 89, 99. 103, 105, 156,166, 169, 173 and 177. XV. The Indian Museum, Calcutta, in respect of Figures : 1, 3 , 4 , 5, 26, 45, 46, 81, 84, 85, 95, 104, 138, 140, 142, 148, 152, 153, 156, 167, 169. 180 and 190. XVI. The NHland5 Museum, NPlandH (Bihar), in respect of Figures : 17, 27, 189 and 233. XVII. The Provincial Museum, Lucknow, in respect of Figures : 99, 105, 154 and 166. XVIII. The SgranPth Museum, SHranHth (Benares), in respect of Figures : 77, 94, 98, 107, 116 and 130. XIX. Pandits Siddhiharsha, Dharmaharsha and Purrlaharsha VajrHczryya of Kathmandu (Nepal), in respect of Nepalese images reproduced in Figures : 9, 10, 11, 14, 15, 29, 43, 44, 82, 86, 91, 102, 108, 146, 151, 176, 187, 201 and 226.

SYNOPSIS OF CONTENTS
Preface Abbreviations Acknowledgments Synopsis of Contents List of Illustrations Select Bibliography Errata ... ... ... 1 Introduction 1. Materials for the study of Buddhist Iconography ; 2. Vajrayiina Mysticism ; 3. The Psychic Process of S'idhana ; 4. Godhead in Buddhism ; 5. The Pantheon. CHAPTER I. DhyHni and Mortal Buddhas ... ... 42 Vajradhara ; 1. Amit'abha ; P'i~dar'a ; PadmapZgi ; 2. Aksobhya ; M'imaki ; VajrapBqi ; 3, Vairocana ; Locan5 ; Samantabhadra ; 4. Amoghasiddhi ; THrl ; Vi6vapBqi ; 5. Ratnasambhava ; Vajradh'atviivari ; RarnapPgi ; 6. Vajrasattva ; Vajrasattv'itmika ; GhaqfHp'iqi ; Mortal Buddhas ; Vajr'isana ; Durgatipariiodhana ; Mortal BuddhaQaktis ; Mortal Bodhisattvas ; Maitreya. CHAPTER 11. The Bodhisattvas ... ... .,. 82 1. Samantabhadra ; 2. Aksayamati ; 3. Ksitigarbha ; 4. A k ~ Q a ~ a r b; h 5. a Gaganagaaja ; 6. Ratna- . plqi ; 7. S'igaramati ; 8. Vajragarbha ; G l o k i t e Q v a r a;it 10. MahZsth'amaprPpta ; 11. Candraprabha ; 12. J'alinIprabha ; 13. Amitaprabha ; 14. Pratibhlnaktiya ; 15. SarvaQokatam~nir~h'atamati ; 16. Sarvanivaragaviskambhi ; 17. Maitreya ; 1 8 . MaZjuSri 3 19. Gandhahasti ; 20. Jii'inaketu ; 21. Bhadrap'ila ; 22. SarvPpayaZjaha ; 23. AmoghadarSi ; 24. Surahgama ; 25. Vajrap'a~i 4 General remarks. CHAPTER 111. Bodhisattva MaEjukri , ... 100 1. Vajrar'aga ; 2. Dharmadhltu-V~igSSvara; 3. MaEjughoga ; 4. Siddhaikavira ; 5. Vajr'inahga ; 6, NZmasahgiti Maajuiri ; 7. V'igiQvara; 8. Mazjuvara ; 9. Ma% juvajra ; lor Maiijukums'ata ; 11. Arapacana ; 12. Sthiracakra ; 13. V'adirZit.

..

CHAPTER IV. Bodhisattva Avalokitehvara 1 ... ... 124 1. Sadaksari Lokefvara ; 2. Sifihan'ada ; 3. Khasarpapa; 4. LokanHtha ; 5. Hd'ahala ; 6. Padmanarttehvara ; 7. Harihariharivzhana ; 8. T~ailok~avakahkara ; 9. Rakta-Lokesvara ; 10. MHy'ajBlakrama ; 11. Nilakaptha ; 12. Sugatisandarbana ; 13. Pretasanrarpita ; 14. SukhBvati Lokek vara ; 15. Vajradharma ; General. V. Emanations of Amitlbha ... ... 145 CHAPTER I. Gods : 1. M a h ~ b a l a ; 2. Saptaiatika Hayagriva 1 1 . Goddesses : CIIAPTEK VI. Emanations of Aksobhya I. Gods :

...

...

154

1. Capdarosaqa ; 2. Heruka ; 3. Hevajra ; 4. Buddhahap'ila ; 5. Sambara ; 6. Sapt'aksara ; 7. Mahlmiiy5 ; 8. H & a ; ktayamzri ; 10. KrsgayamBri ; 11. lamJambhala ; 13. VighnBntaka ; 14. Vajrahiinlilra ; 15. Bhiitadzmara ; 16. Vajrajjvzliina; 18. Param~hva ; 19. YogBm-

CHAPTER VII. Emanations of Aksobhya (continued) 1 1 . Goddesses :

...

189

jjvBlZkarBli ; 5. Parpakabari ; 6. Prajii'ipzra carcikz ; 8. M a h ~ m a n t r ' i n u s ~ r i q ; iY a h l p r a t y a h g i r Z ; 10. Dhvajggrakeytirii ; 11. Vasud BrB 1 2. Nair'itmB ; 13. JZ~nadZkini ; 14. Vajravid'irapl. CHAPTER VIII. Emanations of Vairocana I. Gods : 1. N'imasariglti 11. Goddesses :

...

...

206

CHAPTER IX. Emanations of Amoghasiddhi I. Gods : 1. Vajr'am~ta

...

...

226

11. Goddesses : 2. Khadiravaqi Tars ; 3. MahPSri TPrH ; 4. VaSyatIrH ; 5. Sadbhuja SitatHrP ; 6. Dhanada TZirH ; 7. Sitat'irii 8. Pargahabari ; 9. Mah"azyiiri ; 10. Vajra6yhkhal'i ; 1I. Vajrag~ndh'ari.

CHAPTER X. Emanations of Ratnasambhava ...

I. Gods:

...

1. Jambhala ; 2. Ucchusma Jambhala 11. Goddesses : 3. Va' tHrH ; 4. MahHpratisar'i ; 5. Vasudh'ir'i ; 6. Apa jitH 7. Vajrayogini ; 8. Prasanna THrH ... CHAPTER XI. Collective Deities ... ... I. Ten Gods of Direction : ... ... 1. Yam'intaka ; 2. PrajEPntaka ; 3. Padm'intaka ; 4. Vighnlntaka ; 5. Takkir'ija ; 6. Niladanda ; 7. Mah'ibala; 8. Acala; 9. U q i s a ; 10. Sumbharzja. 11. Six Goddesses of Direction : ... ...

? I F ;

/
...

4.

1. Vajr'ifikuBi ; 2. VajrapGi ; 3. VajrasphofB ; Vairaghaqfl ; 5. Usqisavijay~ ; 6. Sumbhii.

... ... 111. Eight Usgisa Gods : ... 1. Vajrosr;lisa ; 2. Ratnosgisa ; 3. Padmosqiga ; 4. V i S ~ o s q i ~ ;a 5. Tejosglsa ; 6. Dhvajogqisa ; 7. Tiksgosgisa ; 8. Chhatrosqiza. ... ... IV. Five Protectresses : ... 1. Mahlpratisar'i ; 2. Mahiislahasrapramardani; 3. MahHmantr'inusHri~i; 4. Mah~iitavati; 5. MahPmiiyiiri. ... ... V. TgrPs of Five Colour : . . . 1. Green TgrP ; 2. White T'irH ; 3. Yellow TPrii ; 4. Blue THrH ; 5. Red THrB. ... VI. Eight Gauri Group : ... 1. Gauri ; 2. Cauri ; 3. Vetiili ; 4. Ghasmari ; 5. Pukkasi ; 6. Sabari ; 7. CagdIli ; 8. Dombi. ,.. ... VII. Four Dance Deities : 1. Lssy'i ; 2 . . Miilii ; 3. Gitii ; 4. Nytyz. VIII. Four Musical Instruments : 1. V a & k ; 2. V ' q H ; 3. Mukund'a ; 4. Murajii.

...

...
...

...

... ... IX. Four Door Goddesses : ... 1. T'ilik'i ; 2. KuEci ; 3. Kap'ic'i ; 4. Patadh'irigi. X. Four Light Goddesses : ... ... ... 1. Siiryahast'i ; 2. dip^ ; 3. Ratnolk'i ; 4. Taditkar'i. ... XI. Four Animal-Faced Goddesses : ... 1. Hay'iky'i ; 2. $iikar'lsy'i ; 3. ~v'in'isy'i; 4. Si&h'isy'i. ... XII. Four D'lkini Group : ... 1. D'.kini ; 2. L'imH ; 3. Khagdaroh'i ; 4. R ~ p i d .
CHAPTER XII. Philosophical Deities :

...

...

... ... I. Twelve Pframit'is : ... ... 1. RatnapSramitH ; 2. Diinap'iramit'i ; 3. $ilap5ramitH ; 4. Ks'intip'iramitii ; 5. Viryap'iramit'i ; 6. Dh'y'anap'iramitf ; 7. Prajii'lp'iramit'i ; 8 Up5yap'aramitl ; 9. PragidhHnap'iramitH ; 10. BalapHramit'. ; 1 I. JA'inapHramit5 ; 12. Vajrakarmap'iramit'i.
... ... 11. Twelve VaBit'i Goddesses : ... 1. Ayurva6it'i ; 2. Cittavaiit'i ; 3. Parisk~ravaBit'i; 4. Karmavaiit'i ; 5. Upapattiva6itii ; 6. RddhivaBit5 ; 7. Adhimuktivakit'i ; 8. PraqidhHnavaBitH ; 9. JEInavakit'i ; 10. DharmavaSitH ; 11. Tathat'ivahit'i ; 12. Buddhabodhiprabh'i-vaBit3.

... 111. Twelve Bhtimis : ... ... 1. Adhimukticary'i ; 2. Pramudit'i ; 3. Vimal'i ; 4. Prabh~kari ; 5. Arcigmati ; 6. Sudurjay'i ; 7. Abhimukh; ; 8. DtiraiigamH ; 9. Acal'i ; 10. S'idhumati ; 11. Dharmamegh'i ; 12, SamantaprabhI.
... ... IV. Twelve Dh'irigls : ... I. Sumati; 2. RatnolkH ; 3. Uagigavijay'i; 4. M f r I ; 5. Pargababari; 6. J'iiiguli ; 7. Anantamukhi ; 8 Cund'i ; 9. Prajz'ivardhani ; 10. Sarvakarm'ivara~aviBodhan3 ; 11. Ak+ayajZfnakaraqQii ; 12 Sarvabuddhadharmakoaavati.

... ... V. Four Pratisamvits : 1. Dharma Pratisar5vit ; 2. Artha Pratisahvit ; 3. Nirukti Pratisahit ; 4. Pratibhiina Pratisahvit.

...

XIX

... : C H A ~XIII. E R Hindu Gods in Vajrayiina : ... 1 . MahHkHla ; 2. Gagapati ; 3. Ga~apatihbday'a; 4 Sarasvati ; ... ... 5. The Eight DikpTlas : I Indra ; 11. Yama ; 111. Varuqa ; IV. Kubera ; V. k n a ; VI. Agni ; VII. N a i ~ t ; i VIII. VHyu ... 6, Ten Principal Hindu Deities : Brahmii ; 11. Vispu ; 111. ahesvara ; IV. Kiirttikeya ; V. Vlr'ahi ; VI. CHrnu9c;Z~ ; VII. BhyhgT.; VIII. Gagapati; IX Mahsk'ila; X. Nandikebvara. ... ... 7. Nine Planets : I. Aditya ; U, Candra ; 111. Mahgala ; IV. Budha ; V. Byhaspati ; VI. Sukra : VII. 6ani ; VIII. R'ihu ; IX. Ketu. ... ... 8. Balabhadra Group : ... I. Balabhadra ; 11. Jayakara ; 111. Madhukara ; IV. Vasanta. 9. Lords of the Yakqas, Kinnaras, Gandharvas and ... ... ... Vidyiidharas : ... I. Yakga Kings ; 11. Kinnara King ; 111. Gandharva King ; IV. Vidysdhara King. 10. Twenty-Eight Constellations ... 11. Time Deities : ... ... I. Months ; 11. Dates ; 1 1 1 . Zodiacal Signs ; IV. Seasons CHAPTER XIV. Conclusion ... ... Apppendix. 108 Forms of Avalokiteivara ... ... Glossary ... .. ... ... Index of Words Index of Illustrations ... ...

344

...

...

...

...

...

...

...

... ... ... ...

LIST OF ILLUSTRATIONS
Fig

1 MgyH's Dream (Bharhut) 2 . Bodhi Tree (Sanchi) .. ... 3. Buddha's Head-dress (Bharhut) ... 4 . Buddha's Footprints (Bharhut) .. 5 Wheel-of-the-law (Bharhut ) ... 6 . Simbhu (Nepal) ... ... .. 7 . Baudh (Nepal) 8 . Kathe Simbhu (Nepal) ... 9 Dharma (Nepal) ... ... 10 Buddha (Nepal) ... ... 11. Sangha (Nepal) ... 12. Adibuddha Vajradhara (Nepal) ... 13 Vajradhara (Baroda Museum) ... 14. Va jradhara Y ab-yum (Nepal) Vajradhara Yab-yum (side view) 15. ... 16. Vajradhara (Baroda Museum) 17. Buddha in different Mudrzs (Nalanda Museum) 18 Buddha in different Mudrzs (Java) ... .. 19. Amitlbha (Nepalese miniature) ... 20 P h d a r g (Nepalese drawing) 21 PadmapBgi (Nepal) ... ... 22 Aksobhya (Nepalese miniature) ... ... 23. Aksobhya (Nepal) ... 24. M'imakf (Nepalese drawing) ... ... 25 . Vajrap'iqi (Nepal) ... Vajrap'ipi (Indian Museum) 26 ... 27 Vajrap'igi (Nalanda Museum) ... 28. Vairocana (Nepalese miniature) ... ... 29 Vairocana (Nepal) .. 30 Vairocana Vajradhiiru (Peiping) ... 31 Locan'l (Nepalese drawing) ... 32 Samantabhadra (Nepal) 33 Amoghasiddhi (Nepalese miniature) ... ... 34 Amoghasiddhi (Nepal)

Names

Page

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. . .

. . . . . . .

33 33 36 36 36 37 37 37 49 40 40 57 58 58 58 58 59 59 60 60 60 60 61 61 61 62 62 62 62 63 63 63 64 64

Fig

Names

'

Page

35. 36 37 38. ~ 3. 9 40 41

THrS (Nepalese drawing) ... ... ... Vibvap'iqi (Nepal) ... ... Ratnasambhava (Nepalese miniature) ... ... ... Ratnsambhava (Nepal) ... ... Vajradh5tviSvari (Nepalese drawing) . ... Ratnapzqi (Nepal) ... ... Vajrasattva (Nepal) .. ... 42 . Vajrasattva (Baroda Museum) ... ... ... ... 43 Vajrasattva Yab-yum (Nepal) ... ... 44 Vajrasattva Yab-yum (side view) 45 . Seven Mortal Buddhas with Maitreya (Indian ... ... ... Museum) VajrBsana (Indian Museum) ... ... ... ... Maitreya (Nepalese drawing) ... Samantabhadra (Nepalese drawing) ... ... ... Akgayamati (Nepalese drawing) ... ... Aksayamati (Peiping)... ... Kgitigarbha (Nepalese drawing) .. ... Ak56agarbha (Nepalese drawing) ... ... ... Gaganagazja (Nepalese drawing) ... RatnapBci (Nepalese drawing) ... ... SHgaramati (Nepalese drawing) ... ... ... Vajragarbha (Nepalese drawing) Avalokireivara (Nepalese drawing) ... ... MahBsthBmaprBpta (Nepalese drawing) Candrapra bha (Nepalese drawing) ... ... ... Jiiliniprabha (Nepalese drawing) ... Amitaprabha (Nepalese drawing) ... ... PratibhSinakCiya (Nepalese drawing) ... ... Sarva6okatamonirghPtamati (Nepalese drawing) ... Sarvanivaraqaviskambhi (Nepalese drawing) ... ... Maitreya (Nepalese drawing) ... ... MaEjuQr; (Nepalese drawing) ... ... Gandhahasti (Nepelese drawing) ... ... JiiBnaketu (Nepalese drawing) ... .... . ... Bhadrap'ala (Nepalese drawing Smv'ipgyazjaha (Nepalese drawing) ... ... Sa~viip'ayaiijaha (Peiping) ... ... Amoghadargin (Nepalese drawing) .... . ,... _ ... Surahgama (Nepalese drawing) . ... . Maiijubri with Gaqapati and V i ~ g u (Baroda ~useumj:::'

. .

64
65 65 65
66 66 66 67

. .

67 67

..

Fig

. 113. 114.
112

. 106. 107. 108. 109. 110. 111.

105

75 76 77 78 79. 80. 81. 82. 83 84 85. 86. 87. 88. 89 . 90. 91. 92. 93. 94. 95. 96 97 98 99 100 101 102. 103. 104.

. . . .

Names

Page

. .

. . . . . .

115

... Vajrariiga (Baroda Musem) ... VajrarHga (Nepalese drawing) Siddhaikavira (Sarnath Museum) ... VajrInahga (Nepalese drawing) Nlmasahgiti MaiijuSrT (Nepalese drawing) NImasahgiti MaZjuAri (Peipinp) ... V~giivara (Indian Museum) ... VlgiBvara (Nepal) ... ... MaEjuvara (Birbhum) ... ... MaEjuvara (Indian Museum) ... ... MaEjuvara (Indian Museum) MaZjuvara (Nepal) ... ... MaEjuvajra (Baroda Museum) ... MaiijukumHra (Nepalese drawing) ... Arapacana (Dacca Museum) ... Arapacana (Berlin Museum) ... Arapacana (Nepal) ... ... Arapacana (Baroda Museum) ... Sthiracakra (Vahgiya Sghitya Parisat) ... Sadak~ari Group (Sarnath Museum) ... Sadaksari Group (Indian Museum) ... Sadaksari Group (Birbhum) ... Sadaksari LokeSvara (Baroda Museum) Sadaksari MahPvidyP (Sarnath Museum) SihhanHda-Mahoba (Lucknow Musuem) Sihhan'ada (Nepal) ..: ... Sihhangda (Magadha) ... SihhanHda (Nepal) ... ... Khasarpa~a (Vikrampur, Dacca) ... Khasarpaqa (Indian Musuem) ... LokanHtha-Mahoba (Lucknow Museum) Lokanltha (Baroda Museum) ... Lokan'atha (Sarnath Museum) ... Lokan'atha (Nepal) ... HHlPhala (Nepal) ... PadmanartteSvara (Nepal) Padmanartteivara (Peiping) Padmanartteivara (Nepalese drawing) Hariharihariv&ana (Nepalese drawing) Trailokyavai~hkara (Peiping) RaktaeLokeSvara (Peiping)

...

...
... ...

...

... ... ...

110
110 111 111 111 112 112 112 169 169 169 170 170 170 171 172 172 172 173 173 173 174

...

...
...

...

...

... ... ... ...

...

... ...
...
... ...
... ...

..

174

174
175 176 176 176

...

... ... ... ... ...

...

257
259 258 259 259 260 260 260 261 261 261 262

...

... ... ...

...
0 . .

...
.a.

... ...

...

0 .

*a*

262

XXIII
Fig

Names

Page

116 117 118 119. 120. 121. 122. 123 124 125. 126. 127 128. 129. 130. 131. 132. 133. I34 . 135. 136. 137. 138 139. 140 141. 142. 143. 144 145. 146. 147. 148. 149 150 151 152 153 154 155 156

. .

. .

. . . . . . .

... Nilakaqyha (Sarnath Museum) SugatisandarSana (Nepalese drawing) ... Pretasantarpita (Nepalese drawing) ... Sukhiivati Lokeivara (Nepal) .. Vajradharma (Nepalese drawing) ... KurukullH (Nepalese drawing) Kurukula (Peiping) ... ... B h r k u ~ (Peiping) i ... ... Cagdarosaca (Nepalese drawing) ... ... Heruka (Dacca Museum) Ruddhakap'ila (Nepalese drawing) ... Buddha kap'ila (Baroda Museum) ... ... Hayagriva (Nepalese drawing) ... Hayagriva (Peiping) ... Ucchusma Jambhala (Sarnath Museum) Vighn'antaka (Baroda Museum) ... Paramliva (Nepalese drawing) ... Yog'imbara (Peiping) ... ... Kllacakra (Nepalese drawing) ... Mahlcina THrl (Nepalese drawing) ... Mahiicina Tar'i (Nepalese drawing) ... ... J~hguJi (Nepalese drawing) EkajatH (Indian Museum) ... EkajatH (Nepalese drawing) ... ~ar~ababar (Indian i Museum) ... PrajElpHramitH (Leiden. Holland) ... Pra j5Zp'iramid (Indian Museum) ... Vajracarcikii (Nepalese drawing) ... Pratyahgira (Nepalese drawing) ... ... Pratyahgirl (Nepalese drawing) PratyahgirH (Nepal) ... Dhva jggrakeyiirg (Nepalese drawing) ... NairiitmH (Indian Museum) NairHtm'i (Vangiga Sahitya Parisat) ... Vajravid~ragi (Nepalese miniature) ... N~masahgiti (Nepal) Astabhu ja M ~ r i c i (Indian Museum) ... Asfabhuja MHrici (Indian Museum) Asfbhuja M'irici (Lucknow Museum)... DaSabhujasita M ~ r i c i (Nepalese drawing) Ugql~avijay Zi (Indian Museum)

... ...

... ...

... ...

... ...

...

...

...

... ... ... ...

... ... ...
.

...

... ...

... ... ... ...

...
... ...

...

...

...

... ... ... ...

...

... ...

... ... ...

...

... ... ...

262 263 263 263 264 264 264 265 265 265 266 266 266 267 267 267 268 269 268 269 269 269 270 270 270 271 271 271 272 272 272 274 274 274 274 276 275 276 276 278 277

Mahiimantr'inus'iri$ (Nepalese miniature) Mah'iQitavat'i (Nepalese miniature) hiah5mFiyiir? (Nepalese miniature) ... ... 201 . Mahattari T'ar'i (Nepal) ... 202 . Vetal'i (Peiping) ... 203 Ghasmari (Peiping) ... 204. Pukkasi (Peiping) ... 205 Dombi (Peiping) ... 206 LBsyH (Peiping) ... (Peiping) 207 G i t ~ ... 208 Nrtys (Peiping) ... 209. Viq5 (Peiping) ... 210. MukundB (Peiping) ... 211. TEilik5 (Peiping) KaparI (Peiping) . 212 ... 213 Dip5 (Peiping) ... 214 . RatnolkB (Peiping) 21 5 . Si&hHsyH (Dr Moghe's Collection) . 216 . Si&hZisyZi. upper view (Dr Moghe's Collection) ... 217 Dgkini (Peiping) 218 . Liiml (Nepalese painting in colour) ... ... 219 . DhyBna PBramitB (Peiping) ... 220 . PravidhHna PZramitH (Peiping) ... 221 . Upapatti Vahit5 (Peiping) ... 222 Rddhi Vakitg (Peiping) ... 223 Dharmamegh~(Peiping) ... 224 . Nirukti Pratisnhvit (Peiping) 225 . Pratibhiina Pratisafivit (Peiping) .. ... 226 . Mah5kZla (Nepal) 227 . Gaqapati (Dr. Moghe7sCollection) ... 228 . Gaqapati (Maharani Chimanabai Collection) 229 Ga~apatihydayl (Nepalese miniature)... 230 . M a h ~ s a ~ a s v a(Nepalese tl drawing) ... 231 . Va jravi~tiSarasvati (Peiping) ... 232 Vajrakirad~ (Nepalese drawing) ... 233. Vajra65radl (Nalanda Museum) 234 . Arya-~arasvati (Nepalese drawing) ... ... 235 Vajrasarasvati (Nepalese drawing) ... 236 . Indra (Peiping) 237 Agni (Peiping) ... 238. VZyu (Peiping)

. 198. 199. 200.

Fig

Names

Page

...

. .

. .

. .

.
. .

...

...

294 295 295 295 296 296 296 353 353 353 354 354 354 355 355 355 356 356 356 357 376 357 357 358 358 358 359 359 359 360 360 360 369 369 369 370 370 370 371 371 37 1

Fig

239 240. 241 . 242. 243244 245 246. 247 . 248 . 249.

.
.

Names

Page

BrahmE (Peiping) Maheivara (Peiping) Gagapati (Peiping) RBhu (Peiping) Ketu (Peiping) Navami Tithi (Peiping) Dabami Tithi (Peiping) TUB(Peiping) Kumbha (Peiping) Mina (Peiping) Khadiravagi THrB (Dacca Museum)

... ... ... ... ...

...
...
...

... ... ...

...

...

... ...
...
...

...

... ...
...
...

372 372 372 373 373 373 374 374 374 375 375

APPENDIX
Eyeecopy of paintings in the Machhandar Vahal. Kathmandu. Nepal
Fig

1(A) . 2(A). 3(A). 4(A).

5(.4).

15(A).

6(A) 7(A). 8(A) 9(AJ. 10(A). 11(A). 12(A) . 13(A) 14(A)

16(A) . 17(A).
18(A).

19(A). 20(A). 21(A). 22(A). 2 3(A). 24(A) 25(A). 26(A) 27(A) 28(A) 29(A) 30(A) 31(A). 32(A)

. . . .

.
.

... Hayagriva Lokeivara ... Mojaghgajabala (?) Lokeivara ... Hiilghala Lokeivara ... Hariharihariv'ahana LokeQvara ... MiiyZjBlakrama Lokekvara ... Sadaksari ~ o k e b v a r a A n a n d l d i Lokebvara ... Vaky~dhikiiraLokeSvara ... Potapiida Lokekvara ... Kama~dalu I. okeQvara ... Varad'iyaka Lokebvara ... Jatiimukuta Lokekvara ... S u k h ~ v a tLokeivara i ... Pretasantarpapa LokeSvara ... M~~~jiilakramakrod Lokekvara ha ... S~~atisandarian ~a okekvara ... Nilakaqtha LokeSvara ~ o k a n ' a t h a - ~ a k t ' iyiivalokiteQvara ry Trailokyasandarbana Lokeivara ... Simhaniitha Lokehvara ... Khasarpaqa LokeQvara ... Maqipadma Lokebvara ... Vajradharma Lokebvara ... Pupala ( 1 ) Lokehvara ... Utnauti (?) Lokeivara V~+qHcanaLokekvara ... Brahmadaqda Lokegvara ... AcHta (?) Lokeivara ... ... Mah'avajrasattva Lnkekvara ViSvahana Lakekvara S ~ k y a b u d d h aLokeivara Siintiisi LokeSvara

...

... ... ... ... ...

...
... ...

... ...

...

...

Page

... ...

...

...

...

...
... ...
...

...

...

... ... ... ...

... ... ...

... ... ...

...

...

401 401 401 401 402 402 402 402 403 403 403 403 404 404 404 404 405 405 405 405 406 406 406 406 407 407 407 407 408 408 408 408

XXVIII
Fig

Namea

Page

33(A) 34(A) 35(A) 36(A). 37(A). 38(A) 39(A) 40(A) 41(A). 42(A) 43(A) 44(A). 45(A). 46(A). 47(A) 48(A). 49(A). 50(A) 51(A). 52(A). 53(A). 54(A) 55(A). 56(A) 57(A) 58(A) 59(A). 60(A) 61(A) 62(A) 63(A) 64(A) 65(A) 66(A) 67(A). 68(A) 69(A) 70(A) 71(A)

Yamadagda LokeQvara ... Vajrosgisa LokeQvara ... Vajrahuntika (?) LokeQvara .. JZlinadhtitu LokeBvara ... KBraqdavyiiba Lokebvara ... Sarvanivaraqaviskambhi LokeQvara Sarvakokatamonirgh~ta Lokekvara Pratibhtinakiita LokeQvara ... Ampaprabha LokeQvara ... Jglinipra bha LokeSvara ... Candraprabha Lokekvara ... Avalokita Lokebvara ... Vajragarbha LokeSvara ... Sligaramati Lokekvara ... Ratnapzgi LokeSvara ... GaganagaEja LokeBvara ... AkiiSagarbha LokeBvara ... Ksitigarbha ~ o k e h v a r a ... Aksayamati LokeQvara ... Srstiklintii LokeBvara ... ~arnantabhadia LokeQvara ... Mah~sahasrabhuja LokeSvara ... Mahiiratnakirti LokeQvara ... Mahiiiahkhaniitha LokeSvara ... Mahlisahasrasiiryya Lokekvara ... Mahliratnakula Lokekvara ... MahliplitIla Lokekvara ... Mahiimazjudatta Lokebvara ... Mahticandra bimba LokeSvara ... Mahlis'iryyabimba Lokeivara ... Mahli-Abhayaphalada Lokekvara ... Mah~dAbha~akari Lokekvara ... Mahlimai5jubhEta LokeSvara ... Mahiivikvaiuddha LokeSvara ... Mahlivajradhlitu Lokekvara ... Mah'avajradhyk LokeQvara ... MahHvajrapli~iLokeQvara MahHvajranZitha LokeSvara Amoghap'ika LokeSvara ... ... 72(A) DevadevatH LokeQvara 73(A) Pigdaplitra Lokekvara

. . .

. . . . . .

. . . .

. .

. . .

. .

. . . . . .

... ...
...

409 409 409 409 410 410 $10 410 411 411 411 411 412 412 412 412 413 413 413 413 414 414 414 414 415 415 415 415 416 416 416 416 417 417 417 417 418 418 418 418 419

Fig.

Names

Page

74(A) 75 (A) 76(A). 77(A) 78(A). 79(A). 8C(A) 81(A). 82(A) . 83(A). 81(A). 85(A). 86(A). 87(A). 88(A). 89(A) . 90(A). 91(A). 92(A). 93(A). 91(A). 95,A). 96(A). 97(A). 98(A) 99(A). 100(A) 101(A). 102(A). 103(A) . 104(A) 105(A) 106(A). 107(A). 108(A) .

. . . .

. .

. .

SZl thavHha Lokebvara Ratnadala Lokeivara Visqup'a~i Lokeivara Kamalacandra Lokeivara Vajrakhapda Lokeivara Acalaketu LokeQvara Sirisarii(?) LokeQvara Dharmacakra LokeQvara HarivHhana LokeBvara Sarasiri (?) LokeQvara Harihara Lokeivara Simhanzda LokeQvara ViQvavajra Lokeivara AmitIibha Lokeivara Vajrasattvadhiitu Lokeivara Viivabhiita LokeAvara DharmadhLtu LokeQvara Vajradhiitu Lokeivara $iikyabuddha Lokeevara Cittadhiitu Lokeivara C i n t Z m a ~LokeQvara i h n t a m a t i Lokebvara MaFijunHtha LokeQvara Vis~ucakra Lokeivara K y t s j a l i Lokeivara Vispukiint Z Lokeivara Vajrasrsta Lokekvara $ahkhanstha Lokesvara Vidyiipati LokeQvara NityanPtha LokeQvara PadmapHpi LokeQvara VajrapPqi Lokebvara MahPsthHn~aprZptaLokeivara Vajran~tha Lokeivara

...

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...

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...

...

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...
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...

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...
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..

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...

grimad-Aryy~valoltiteivara

... ... ...

...

...

...

419 419 419 420 420 420 420 421 421 421 421 422 422 422 422 423 423 423 423 424 424 424 424 425 425 425 425 426 426 426 426 427 427 427 427

SELECT BIBLIOGRAPHY
Abhay'ikara Gupta-Nispannayog'ivali GOS No. CIX, Baroda, 1949.
Advayavajra-Advayavajrasahgraha

(NSP) ed : B. Bhattacharyva,

(ADV) consisting of nineteen short works, ed : Haraprasad Shastri, GOS No. XL, Baroda, 1927.

Beal (S)-Si-yu-ki or the Buddhist Records of the Western World translated from the Chinese of Hiuen Thsang, 2 vols. London, 1906. Bendall ( ~ ) - S i k ~ i i - ~ a r n u c cof a ~ hntideva a in the Bibliotheca Buddhica Series, St. Petersburg, 1897. 2. Catalogue of Buddhist Sanskrit Manuscripts in the University Library, Cambridge, 188-1.
3. A Historical Introduction to H. Shastri's Nepal Catalogue Vol. I Calcutta, 1905.

Bhattacharyya (Benoytohh), ed : SBdhanarnPISi, 2 vols. GOS Nos. 26 and 41, Oriental Institute, Baroda, 1925-1928. 2. Ed : Two Vajray'ina Works consisting of the Ji'ignasiddhi of Indrabhiiti and the P r a j i i ~ ~ ~ ~ a v i n i ~ c a ~ aof sid Anangavajra, dhi GOS No. 44, Baroda, 1929.
3. Ed : Guhyasam'ija Tantra or the Tath'agataguhyaka, GOS No. 53, Baroda, 1931.

4. Ed : Nispannayog'ivalT cf Abhay'ikara Gupta, GOS No. 109, Baroda, 1949.

1 , No. 1. 5. Iconography of Heruka : in Indian Culture, Vol. 1

6. An Introduction to Buddhist Esoterism, oxford University Press, 1932. Bhattasali ( Nalini Kanta )-Iconography of Buddhist and Brahmanical Dacca, 1929. Sculptures in the Dacca Museum, (IBBS) Burgess (J) and Fergusson (J)-The Cave Temples of India, London, 1880.

XXXI

Clark (Walter Eugene)-Two Lamaistic Pantheons, (TLP) 2 vols. in the Harvard Yenching Institute Monograph Series, Cambridge, Mass. Coomaraswamy ( Dr. A. K. ) Mah'iyiina Buddhist Images from Ceylon and Java (with three plates), JRAS, April 1909. Cordier (P)-Catalogue du Fonds Tibetain de la Bibliotheca Nationale, 2e partie, Index du Bstan-Hgyur (1909), 3e partie (1915), Paris. Csoma (Alex., De Koros)-Note on the Origin of the KPlacakra and Adi-~uddha systems, in JASB, Vol. 11, 1833, 57ff.

2. Notices on the different systems of Buddhism extracted from Tibetan authorities, in JASB, Vol. VII, 1838, Part I, 142ff.
Cunningham (A)-The Bhilsa Topes or Buddhist Monuments of Central India, London, 1854. Davids ( W Rhysl-Early Dikshit (K. N.)-Six No. 8. Buddhism. London, 1908.

Sculptures from Mahoba, Memoirs of the AS1

Fergusson (J)-See Burgess (1) Foucher (A)-Etude sur l'lconographie Bouddhique d e l'lnde, 1st partie, Paris, 1900, 2e. partie 1905. 2. The Beginnings of Buddhist Art and other Essays in Indian and Central Asian Archaeology, translated by L. A. Thomas and F. W. Thoinas with a preface by the latter, Oxford, 1917. Getty (Alice)--The Sods of Northern Buddhism (SNB), 1st edition, Oxford, 1914 and the second edition, Oxford, 1928. Gordon (Antoinette K.)-The iconography of Tiberan Lamaism (ITL), Columbia University Press, New York, 1939. Grunwedel (A)-Buddhist Art in India, translated from German by Agnes Gibson, revised and enlarged by J. Burgess, London, 1901. Guhyasamiija Tantra or Tathiigataguhyaka, ed : B. Bhattacharyya, GOS Baroda, 1931. Indrabhiiti-JE'lnasiddhi along with the PrajKop'iyavini&cayasiddhi, published under the title, Two VajrayiZna Works, ed : B. Bhatta. charyya, in GOS No. XLIV, Baroda, 1929.

XXXII

Kern (H)-Manual of Indian Buddhism, Strassbourg, 1896 Legge (J)-A Record of Buddhistic Kingdoms, being an account of the Chinese m o n k Fa-Hien of his Travels in India (A. D. 399-414), Oxford, 1886. Max Muller (F), Kasavara (K) and Wengel (H)-The attributed to N'agTirjuna, Oxford, 1885. Dharmasafigraha

Mitra (R)-The Sanskrit Buddhist Literature of Nepal, Calcutta, 1882. Monier-Williams (Sir M.)-Buddhism in its Connexion with Brahmanism and Hinduism and m zts contrast with Chrlstianity, London, 1889. Oldfield (H. A.)-Sketches from Nipal. Vol. 2, London, 1880. Rao (T. A. Gopinatha)-Elements Madras, 1916. of Hindu Iconography, Vols. I and 1 1 ,

S l d h a n a m ~ led ~ , : B. Bhattacharyya, GOS, 2 vols., Vol. 1. 1925, Vol. 11, 1928, Baroda. Sahni ( D. R. )-Catalogue Calcutta, 1914. SlmlkramT (S)-ed of the Museum of Archaeology at Sarnath, Calcutta.

: Klravda-Vyaha,

68str1 (H)-Eighteen articles in Bengali on "Bauddhadharma" published in the monthly magazine "h7HrHyapa", Calcutta. 2. Introduction to N. N. Vasu's "The Modern Brtddhism and its Followers in Orissa." Calcutta, 1911. 3. A Catalogue of Palm-leaf and Selected paper Manuscr~f>ts belongtng to the Durbar Library, Nepal, Vol. I (1905) and Vol. I1 (1915), Calcutta. 4. A Descriptive Catalogue of Sanskrit MSS in the Government Collection under the care of the Asiatic Society of Bengal, Vol. I. Buddhist MSS, Calcutta, 1917. 5. 'Buddhists in Bengal' in the Dacca Review, Vol. 11, No. 7, pp. 91-104, Dacca, 1922. 6 . Discovery of Living Buddhism in Bengal, Calcutta. 7. Bauddha Giin 0 Doha (in Bengali) Sahitya Parisat Granthavali No. 55, Calcutta, B. S. 1323. 8. Barigalar Puriina Aksara (in Bengali) in the Journal of t h e Vangiya Sahitya Parisat, B.S. 1327 9. 'The Discovery of a work by Aryadeva in Sanskrit' in JASB, 1898, p. 175 ff.

XXXIII

Siistri (H, Krishna)-South Indian Images of Sods and Soddesses, Madras, 1916. Senart (El-Le Mahavastu, Vol. 3, part I, Paris, 1882. Smith (V. A.)-A 1911. Nisto~y of Fine Arts in India and Cey!on, Oxford

Sujuki (D. T.)-The Outlines of Mah~yiina Buddhism, London, 1907.

Ui (HI-The Vadesika Philosophy, edited by F. W. Thomas, Oriental Translation Fund, New Series, Vol. XXIV, London, 1917.

Vasu

( N. N. )-The Modern Buddhism and its Followers in Orissa, Calcutta, 1911. 2. The ArchaeoIog~caE Survey of Mayarbhanj, Calcutta.

Vogel ( J. Ph. )-Catalogztc of the Archaeological Museum at Muthura, Allahabad, 1910. 2. Introduction to D. R. Sahni's Sarnath Catalogue, See (Sahni, D R.). 3. 'The Mathura School of Sculpture' contributed to the ASI, Annual Report, 1906-7, pp. 137-160. Waddell ( L. A. ) 'The Indian Buddhist Cult of Avalokita and his Consorr TiirB, the 'Saviouress' illustrated from the remains of Magadha' JRAS, 1898. 2. The Buddhism of Ttbet or Lamaism, London, 1895. Wright (D)-H~story of Nepal, Cambridge, 1877,

ERRATA
Page VI[I Line or Fig. 6and 23 27 n. 3

For
Clarke Budhhisrn jPyote willread inVajrayog:ni Siddhis In the con fees withe t h lamp become moniscience here in Bodhi Tree (Ama~aoat i) Asia Vajradhatu Yub-yum has SarvHpHyaEjaha Calrk

Read
Clark Buddhism jHyate will read In Vajrayogini Siddhis was The confess with the lump becomes omniscience herein Bodhi Tree (Sanchi) India Vajradhgtu Yab-yum has this SarvBpHyaiijaha (Peiping) Clark

7
9 15 17 18 18 20 23 26 27

23
3 33

34 31 19

28
32 33

15 36 32 12 Fig. 2

43 63
75

3
Fig. 30

5
last Fig. 71 n.
1

80 109

134 154
181 185 219 227 229

1 15
9 1 23

CHAPTER V
Siva V'ihana

CHAPTER VI
Siva VBhana-

VASYA
Companion

VA~YA
Companions

295
359

24 Fig. 199 Fig. 226

15

VASYATARA
Mah'isitavati Mah'ikBla (Peiping) MahPpatala MahBparala 88. Vrjrasattvadh'itu

VASYATARA
MahBBitavatI Mah"aka1a (Nepal) MahBpZit'ain MahHpEtHla 88. Vajrasattvadhiitu

400

415 Fig. 59 (A) 4 29 37

1.

Materials for the study of Buddhist Iconography.

All the three great religious systems of India, Hinduism, Buddhism and Jainism developed well-filled pantheons, and it is not always easy t o decide t o which of thesr three systems a particular image should be assigned. The importance of the study of iconography, which primarily concerns itself with the proper recognition of images thus becomes apparent.

The difficulties of the investigator are increased hy the fact that a free and frequent interchange of deities took place among the three religious systems. Such Hindu de~ties as Piir\?atI, Indra, Lak~mi. Sarasvati are to he found among the Jainah. The Hindus, on the other hand, have borrowed goddesses like MahPcirliitHrH, Jinguli, VajrayoginI from the Buddhist pantheon and incorporated them into their own under the names of TIrH, Manas2 and Chinnanlastii respectively. Thus there is evidence that a free interchange of deities actually took place at the \.c.rv outset of Buddhism and Jainism as in the more promiscuous TZntrii age. The Jninas and the R~~cldhists alike borrowed Hindu gods In their earlier stages, but in the Tiintric age Buddhist gods were commonly exploited. The problem of correct idcnt~tication c d images, therefore. presents a real difficc~ltv which creat scholars h a \ e more than once attempted to s:~lr:e. Scholars ot d l l ~ouiltries. nnt~l.ly Nladdell, Gn~nwedel. Foucher, Hurgcss, (;etty, Coomaras\vamy, Rhattasali, Kakhaldas Ranerji and many others, have written useful a n J authoritative works, and collected together R considerilhlr amount of information on Hud,lhist iconography. I t is unfortunate. however, that the pantheon of the Indian VajrayInists who were mainly responsil~lt~ in Iyililding it up has s o far heen more or less neglected Gettv and IJeniker's 'Gods of Northern Rudtlhism', although a ~na\tcrpiece,deals only with Tibetan, Chinese and Japaneht. god5 hut thc. pt~telvIndian gods seen) t o have attracted little notice fro111 t!:en~. I t was I'rofessor Foucher who by the publication of his 'Erudes sur I' Icortogrr~ghir Ihtddhique de L' lndr' in two parts puhlislled as early as 1900 and 1905, first drew the attention of sch lars to this rich field of resenrch. His curiosity was roused by a stu of the miniatures appearing on such Buddhist manuscripts as the PrajfiHpiiramitl, and then he made a systematic attempt to identify the sculptures. For the purpose of recopnisinp images he hunted out a

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number o f SBdhanas from the manuscripts of S'idhanamgll, and he was surprised t o find that the images tallied most remarkably with the descriptions given in the unpublished text of the Tiintric manuscript. Again, the images and sculptures supplied interesting details such as were not available in the Siidhana. Thus the SBdhana and the image mutually enlightened each other. Professor Foucher's second volume embodies a critical, although partial, study of the Siidhanamiilii and it was this book that first emphasized the necessity of referring to a SBdhana in order t o make or justify any single identification of a Buddhist image. When the present author was studying at the feet of the illustrious savant, Professor Foucher, at the Indian Museum, Calcutta, he was advised to edit and study the different recensions of the SiidhanamPlH before proceeding with the delicate art of identification of Buddhist deities. ) The SldhanamPlB is thus the most valuable and jmportant-.a&to Buddhist iconography@ot only because it records the latest advances in psychic research of the Vajrayana Buddhists, but also because it was a product of a period when Buddhism was about to be destroyed in Bengal due to Mussalman invasion. This standard work on Buddhist iconography has been ~ublished in two volumes as Nos. 26 and 41 of the Cjaekwad's Oriental Series with an elaborate introduction dealing with the text and the various problems raised therein. _ comprises ~_ . . l , . ~ - . 31 _ .2 SBdh5n~s-d The edition of the S i i d h a n a m ~ l contains __._-descriptiumerou_s_Bud4hic,$eit&s. All new S'adhanas found in a different collection called the Siidhanasamuccaya have been carefully incorporated in their appropriate places in the present edition, which may very well represent a Vade Mecum of the S'idhana literature of the ~uddhists. he Sadhanarn~liinot --Ionly . . . gives valuable .details -regarding the-_ deities, _ l.-l buts study of this y ~ k , ~ e a J much s_ hjs~ricd aiia cultural informati0~9~&-TAgt&-&, the TBntric philosophy, an'dits psychic exercises, and on authors, Siddhas, Mantras, Maqdalas, and magic as prevalent among the Buddhists. The specia1.form of Buddhism which developed in the Tlntric period is called the Vajrayiina, and the Sidhanamiilii throws a great deal of light on this obscure pzkh of Buddhism which was current in India from the 7th to the 13th century A.D. The SHdhanamllg does not however exhaust the material for the study of Indian Buddhist Iconography. One of the SHdhanamiilii Mss. is dated ir the Newari Era 285 corresponding t o A.D. 1165, and therefore, this work is not expected to record all the developments that took place after 1165 A. D. Many of the later developments are found incorporated in the work entitled the Dharmakotasahgraha- of Am~tlnanda who was the Residency Pandit when B. Hodgson was the
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Resident of Nepal. A manuscript of this work is preserved in the Durbar Library of N,epal, and there is also a copy of the original, preserved in the Royal Asiatic Society of Bengal i n t h e Government Collection. AmrtPnanda's work is not published. Besides AmytHnanda's work there are others more ancient and capable of supplying much iconographic material. O n e such work is the Nispannayog~valTof MahHpaqdita PbhayHkara Gupta of the VikramaB T l a monastery wh%flourished during the reign of the - Pala -.. King-KHmaThis valuable work is now pHfa. ( A.D. 1084-1130 ). in the Cjaekwad's Ortental Series as No. 109 with an elaborate introduction and a full summary of its contents
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The Nispannayogavali is a work o n Mandalas and is remarkable for its richness of information and brevity. It contains in all 26 Mavdalas in twenty-six chapters, some short, some long. All these Mavqlalas describe innumerable deities of theTantra cult. A large number o f these descriptions is absolutely originaI, highly interesting a n d informative. Marly of the names and forms which were altogether lost, are published here for the first time. Many of the deities described accurately in the work are not t o br found anywhere in printed literature. T h e Nispannayogiivali thus presents a unique, original, useful and most valuable information which constitutes our most autherltic material for the study of the images and deities belonging t o the i S'idhanamzl~since Buddhist pantheon. N i ~ p a n n a y o g ~ v a loutbeats the material presented here is more varied, more extensi\.e and nlore prolific. W h a t service this NispsnnayogBvali can render t o 13uddhism may be illustrated by a reference t o the several hundreds of images of Buddhist deities discovered in the Forbidden City of Peiping in M a n c h u t i ~ . In July 1926 Stael Holstein the Russian archzologist received permission t o visit a number of Lama temples situated in Peiping which seen1 t o have been neglected for a long time. In the upper storey of o n e o f these temples he found J collection of bronze statuettes constituting a Lamakt Pantheon which had consisted originally of 787 figures. These figures along ~ 7 1 i ha series of photographs from three manuscripts written in Chinese were studied%y the famous American Professor Walter Eugene Clark, Wales Professor of Sanskrit in the Hnrvard University, and he published this rich material in two s u n ~ p t u o u s volumes, entitled, the Two Lumaistic Pantheons in the Har\.ard Yenching Institute Monograph Series in the year 1937. The first volume contains a n introduction, bibliography and indexes of deities in Sanskrit, Tibetan and Chinese. T h e second volume contains illustrations of innumerahle deities.

These illustrations are of the utmost importance for the study of the Buddhist pantheon not only of China but also of India, Nepal and Tibet. The original images bear inscriptions in Chinese and sometimes in Tibetan and other languages, and the learned editor took great pains in restoring their original Sanskrit names. A large number of these names derived from Chinese sources is found in the Nispannayog'ivall with their full iconographic descriptions. Thus the Nigpannay~~Pvali provides the much needed descriptive texts which served as a basis for the artists t o prepare the statuettes found in China. Since this book Nispannayog'avali gives full iconographic descriptions of most of these deities it is not unreasonable t o suppose that the Nispannayogiivali formed at least one of the originals from which the artists obtained the correct idea of the form of the numerous deities represented in the statuettes. Otherwise it is difficult to conceive how form can be given t o such obscure deities as the Sixteen Boddhisattvas, the Twelve Piiramitgs, the Twelve Vaiitas, the Twelve EhGrnis, the Four Pratisamvits, etc. which are described accurately in the Maiijuvajra Magdala of the Nispannayog~vali. It is simply imposible t o prepare images of these deities without the help of descriptions as given by Abhayzkaragupta. The volume of information given in the Nispannayog~vali of Abhayiikaragupta is so great that an independent book is required t o deal with them exhaustively. Besides the above mentioned Nispannayogiivali, there are numerous Tiintric texts which furnish considerable material for the study of Buddhist iconography of the Tiintric period with which this work primarily concerns itself. Some of the more important materials can be found in the original Tantra works such as the Heruka and the Hevajra Tantras, Cagdamahiirosa~a Tantra, Vajrav'ir'ihi Tantra, ~ri;lsamucca~a, Vajrsvali nHma Ma~dalopiiyikii, ~ o ~ i n i j g lTantra a Abhidh'inottra Tantra and many others The list of such original Tantras furnishing valuable information on Buddhist deities can by n o means be exhausted. The works above mentioned are all unpublished, and their handwritten copies can be found in the manuscript libraries such as the Durbar Library, Nepal; Asiatic Society's Library, Bengal; University Library, Cambridge; Musee Guimet, Paris; and the Russian Academy of Sciences in Leningrad. Numerous such manuscripts are also t o be found in the hundreds of Buddhist monasteries of Nepal at Kathmandu, Pattan and Bhatgaon. Thus there is still an inexhaustive field for research and original work in Buddhist iconography alone It is a pity that these valuable and original source books of Buddhism should remain unpublished in this country, and sooner attention is drawn t o this field of work, the better it will be for the history of our

cultural past. It is a matter of deep regret that even to-day there are lakhs of handwritten manuscripts in India in private houses, and n o effort is being made to collect o r preserve them. Thus these valuable source books of Indian history and culture are allowed t o perish in India. Sanskrit being the most important member of the Indo-European family of languages is world property to-day, and it is the duty of every scholar in the world to see that this precious heritage is not allowed to be dissipated in an irresponsible manner. There is another class of manuscripts which bears miniatures and paintings of Buddhist gods and goddesses. T h e different recensions of the PrajEHpHramitZ and PaEcaraks'a bear miniakre paintings on them. Illuminated manuscripts of the K'arandavytiha and Bodhicaryzvat'ara are also not unknown. The Paiicaraks'a manuscripts are t o be found almost in every Buddhist house in Nepal, they hear different sets of miniatures, and are calculated t o serve many household purposes. Holy books are illuminated with miniatures in order that they may he treated with respect by others, and in order that their sanctity may be increased and preserved. By far the most important material for .the study of Buddhist ... . is represented by sculptures, bronzes, metal images and iconography miniatures. T h e earlier phases of Buddhism & more o r less free from thqrepresentations of gods and goddesses. But scenes from Buddha's life, and JPtaka stories were given preference in the earlier Buddhism, Such scenes and stories are found represented in stone at Sanchi, Rharhut, Amaravati and also in the Gandhara school. According t o Professor Foucher the first image of the Buddha was fashior~edin the Gandhara school of art.(') Sculptures of Bodhisattvas and Hindu gods are not rare in this school. The sculpture remains at Amaravati are ~ontem~draneou with s those of the Gandhara school. The Mathura school followed closely and then came the sculptures of Sarnath, Magadha, Bengal, Orissa, Java and Nepal in the TBntric age. The paintings at Ajant'a begin from the first century A.D. and the sculptures of Ellora and many other places, Buddhist cave temples of Southern and Northern India show the influence of immature Tantra on them. Sculptures produced in the earlier schools have received ample attention of great scholars, but images belonging to the Tiintric and postTHntric periods and profoundly influenced by the Tantras have not been s o fortunate. The excavations at Sarnath, N'aland'a, Kurkihar have brought t o light a large number of images of Buddhist gods and goddesses belonging t o the Tantra school, and it may be reasonably expected that the old strongholds of THntric learning such as Odanta-

---.- -- - --- - ---(1) Foucher :Beginnings of Buddhist Art and other essays, p. 127.

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purl, VikramaBila, NPlandii, Sarnath and Jagaddala monasteries will prove n o less fruitful ir, this respect. The museums of Eastern India such as Sarnath, Patna, Calcutta, Dacca, Rajshahi, Mayurbhanj, Khiching and few others contain numerous metal images and sculptures belonging t o the Tsntric cult. That Bengal in the pre-Muhammadan period was practically Buddhist is made obvious by the fact that the worship of Dharma and Maiijughoga still prevails there, and that nu. merous Buddhist sculptures are being constantly discovered throughout the length and breadth of the province. It is needless t o add that the Buddhist images discovered in Bengal, Rihar and Assam are mostly the product of the TBntric school of the Buddhists. The wealth of sculptural and bronze remains in Nepal has not yet received the attention it deserved. Nepal is the only country which abounds in rich material for the study of Buddhist iconogaphy, and in Nepal Buddhism can be studied as a living religion. Some of the Buddhist monasteries at Pattan are s o rich in images that they can he said t o constitute small museums by themselves. The stEpa of Rodh115th alone contains 110 less than a hundred and eight sculptures executed in a neat manner. Occasional images of Guru Padn~asambhasa in the peculiar Tibetan technique and costume bespeak the Tibctn11 character of the temple. Forty-seven images in this famous temple are represented in Yab-yum and the rest are sinale. About ten of thr sit~gle images depict the Siddhas of Tibet such as Mila-ras-pa, Mar-pa, Padmasambhava, Naro-pa and others. Although Tibetan i n character the temple contains nevertheless some of the purely Indian gods of the Vajrayzna pantheon, such as Sadaks3ri Lokekvara, VPI;, Heruka, YamHntaka and a few others. An old Tihetan tradition declares tl-tat in the matter of art Bengal comes f i r ~ t ,Nepal second while the Tibetan and Chinese are the worst. At Simbhu in Nepal one can witness the grandeur of an excellent Buddhist museum where the finest specimens of Buddhist sculptures are preserved round about the StCipa itself and in the ~Grroundings. At the Macchandar Vahal or the temple of Matsyendran5tha the great Nztha Yogin, there can be found 108 different forms of AvalokitrSvarn in colo r.' Images and forms of deities painted o n a running 8 that are not available in India are t o he fi>und in plenty in the Buddhist monasteries in Nepal. Anywhere in Nepal round a central sttipa ticrs of small chapels rising from the grou!ld t o the t o p are found to contain first class artistic specimens of Buddhist gods and goddesses. In monasteries which are run by courteous and learned TBntric monks one can find quite a number of images, sculptures, bronzes, pai~ltings

--.-- (I) These 108 forms are illustrated in the ~ ~ ~ e n d at i the ; end of this volume

and illuminated manuscripts. It is possible t o have an idea of the enormous wealth of cultural remains in Nepal, when it is remembered that the number of monasteries at Kathmandu alone exceeds five hundred. In Nepal, interesting material for the study of Buddhist iconography is obtained from an entirely unexpected quarter. There is a class of people called the Citrakiiras or professional artists. They are so proficient in their art that they can produce an excellent drawing of any Buddhist deity in a few minutes. These artists seem t o have a phenomenal memory with regard t o the iconographic details such as the number of faces and hands, the pose, the symbols, the weapons and the parental Dhyiini Buddha. They prepare such drawings in the presen:e of the customer without ever referring t o a book or painted specimen, although at home they keep albums full of drawings in black and white and paintings in colour all relating to Buddhist deities. The specimens obtained from a gifted CitrakZra named VTrm~n are reproduced in the body of the book in large numbers. All line drawings, barring the twenty-four Bodhisattvas, reproduced in this volume are from his drawings'in black and white. The above is a short survey of materials of different kinds that are available to the student of Buddhist iconography. It may be noticed that the images, scuiptures, bronzes, drawings, miniatures, and the gods and goddesses represented by these, together with the literature explaining them, all belong to the THntric mode of thought and culture. They are brought together under the comprehensive term of Vajray'ina o r the "Adamantine Vehicle". It leads therefore t o a con. sideration of that form of Budhhism which is well known as VajrayHna.

2.

Vajrayzna Mysticism.

Both the Hindus and the Buddhists were alike prolific writers on the Tantras and the literature extant o n them is wonderfully extensive. O n e of the reasons why the word Tantra cannot be defined is that t h e Tantra comprises an astounding number of subjects along with its own numerous sub-divisions. Whatever was best, whatever was ennobling and whatever was beautiful in India were all incorporated in the Tantra. THntric literature contributes a great deal t o such sciences a s astronomy, astrology, medicine, alchemy, chiromancy, horoscopy, divination, prog&s'is, Yoga and Hathayoga. The Tantra is an admixture o i ieligion, philosophy, science, superstition, dogmas, psychic exercises and mysticism. In this wonderful literature is locked up much of the cultural history of India, and when this literature is intensively studied, it will reveal a great deal of India's past history and culture, particularly for the period between the 7th century A. D. right upto the Muhammadan conquest. It may here be mentioned that the Tantras, inspite of all their faults, are peculiarly Indian and represent India's contribution t o world culture. A literature of this kind is not found in the history and civilization of any other country in the wbrld. T o understand the rise of VajrayHna it is necessary t o go back t o the original teachings of the Buddha. Buddha prescribed fwp Ylnas in the beginniy, namely, the SrHvakayPnaand -tvc=ka. buddhayzna. The Sr'avakas were t 6 G r fr&> Buddha but they had t o wait till the advent of another Buddha for their emancipation. In the meanwhile the Srlvakas could teach, but they could neither attain NirvHna themselves nor help others t o attain it. The Pratyekas were eminent men ; they could attain Nirvzna by their own efforts, without the help of a Buddha but they could not impart Nirv'iqa t o others. Buddhism continued in this state till the rise of the MahlyZina properly called, the BodhisattvayBna.\ T h e Mahiiyznists dismissed the previous YHnas with the contemptuous epithet of H h a y l n a . They claimed that they could not only attain NirvPna, nay even Buddhahood, with their own unaided efforts, but could also help others t o atrain these ideals. The diitinction between MahHyZna and H i n a y ~ n ais graphically described in the earliest work, the MahXyHnasiitrPlahkHra, attributed t o the famous Buddhist sage AsaAga. Thus there were three Ylnas in Buddhism about 300 A. D. which may approximatelv be taken as the time of Asahga. But against these three YHnas there were four schools of philosophy in Buddhism, (Vainamely, the SarvHstivHda (SautrHntika), the Viihyiirthabhahga ~. .. G - V - (Yog'icsra), and the S u n y a v ~ d a (Madhyabhlsika), the V~jnanavada . -.-A-

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maka). How these four systems of philosophy were distributed amongst the three YPnas is one of the vital questions of Buddhism. T h e Tattvaratn'ivali of Advayavajra (12th century A. D.) answers this question i n a praiseworthy manner. According t o this authority "Three are the Ylnas, Sr'ivakayzna, Pratyekayzna And Mah'iygna. There a r e four theories; Vaibhzgika, Sautrgntika, YogBcHra and Sravakay2na and Pratyekay'ina are explained by the Madhyamaka. theories of the Vaibh'isikas. MHhgyHna is of two kinds : Piiramitlnaya and Mantranaya. PBramitEnaya is explained by the theories either o f Sautrgntika, YogPcHra o r Madhyamaka. Mantranaya is explained by the theories of Yogiic'ira and Madhyamaka only". Thus Mantranaya c o m c e s with the most abstruse theories of 4~=a and z j ~ z n a v ~ d aAdvayavajra . in o n e place says,-"Mant. ranaya is very abstruse. I t concerns men who seek emancipation by deep and solemn methods. It is also very extensive owing t o the understanding of such theories as the four symbolic representations. Therefore, the author is not fit t o explairl it". ' Advayavajra cites for his authority a statement which says that the Mantrakistra transcends all other h s t r a s , because though the S ~ s t r a shave the same common object there is n o fear of ignorance here. The means are many and the end not difficult of attainment by men whose senses are sharpened t o the highest degree. Advayavajra in his S e k a n i r ~ a ~ a accepts the Mahzsukha theorv, dilates upon the various stages of the Mahzsukha which according t o him is not possible of attainment witho u t the Sakti the enlbodinlent of Karuqii. :' It is hardly necessary now t o state that the Buddhism of the Lord Buddha found entirely different expressions as time p s s e d from century t o century, s o much so, that e\.en if Buddha is reborn, he will not be able t o recognize Vajrayiina o r the Buddhist Tantra as his own handicraft. Though r h t Buddha was antagonistic t o all sorts of sacrifices, sorcery, necromancy o r magic, he nevertheless is credited by some later authorities with having given instructions o n Mudriis, Mandalas, Yoga and Tantra, so that prosperity in this world could be attained by his less advanced disciples who seemed to care more for this world than for the NirvH1;a preached by him. ' India in Buddha's time y s such that any religion which dared Carbid all kinds of mdgical practices, could hardly be popular. A clever organiser as the Buddha was, he did not fail t o notice the in~portance of incorporating magical practices in his reiigiorl t o make it popular from all points of view. The Tantras and

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Adv. p. 14 2. Adv. p. 2 1 3. Adv. p. 28 "Taduktan~antru~og~dini~am~J Vidhivat Krtst. pi jayote. Aloka 3487

1.

4. Tattvasahgraha of &ntaraksita
Praj'n~r~g~avibhutv~didy~yadharmo.

Mantras were all there in the time of the Buddha, but unfortunately, we d o not possess any connected account of them except a few works on the Dh'iraqis in which the Chinese were interested in the beginning of the Christian era. These Dh'iraqis are only unmeaning strings of words which are said to confer great merit when mutterred repeatedly for a number of times. Then comes the worship of Buddha in the PrajE'iplramit'i with all the paraphernalia of worship such as are found in the Tantras. Then follow the different recensions of the PrajEiip'iramit'i, its sctra, hrdayasiitra, its Dh'irapi and Mantra the recitation of all of which confers the benefit of reading the whole of the Praji%ipHramit'i scripture. This is a very old work and was translated into Chinese in the second century. A. D. The Mai?juSrimiilakalpa appears t o be a product of the same period and is full of deities, mudrgs, magdalas and Tantric practices, which became systematized in the Guhyasam'ija Tantra in circa 300 A. D. The Buddhist Tarltras belong undoubtedly t o Mah'iy'ina although it is quite possible t o infer the presence of magical practices amongst the followers of the early Buddhism.' The Tontras were a development of the YogHclra which was inspired by the Siinyav~daof the Madhyamakas. VajrayHna marks a step in advance even of the Yog'ic'ira thought. The Mah'iyitna in the opinion of the Vajray'inists is co-extensive with what they called Dharma which they considered as eternal and t o which was given a more important place in later Buddhism, than was assigned t o the Buddha himself. The Vajrayiinists refer to 6iinya in all their writings, but this is not the h n y a of the Madhyamakas about which neither existence nor non-existence nor a combination of the two nor a negation of the two can be predicated T o the Madhyamakas both the subject and the object are h n y a in essence ; there is no reality either of the mind or of the external world. Obviously, this is a position which was not agreeable t o the Vajray'inists because to them a positive aspect in the h n y a is absolutely necessary. The Y o g ~ c ~ r a or the VijEHnavHda goes a little further and the view of Vijii'inav'ida as formulated by the school is that when emancipation is obtained it does not become Siinya, but turn into eternal consciousness. VajrayHna, on the other hand,-is characterized as the 'Path which leads t o perfect enlightenment' or what they call in Sanskrit 'Ansttara Samyak Sambodhi'. Vajrayzna literally means the adamantine path o r vehicle, but its technical meaning is the '&inya Vehicle' where h n y a is used in a special sense t o represent Vajra. It is said.--

1. Bhattacharyya : Buddhist Eeoterism, p. 24

"STinyatii is designated as Vajra because it is firm and sound, and cannot be changed, cannot be pierced, cannot be penetrated, cannot be burnt and cannot be destroyed". ' The Mahzyanists differ from the HInayBnists who are keen on obtaining liberation for themselves by their own efforts. The Mah'iy'anists, o n the other hand, d o not care for :heir own salvation. They are more solicitous about the deliverance of their fellow creatures/ than about their own. Their compassion for the sufferings of others actuates them t o renounce their comforts, merits and even their right to salvation. The ideal of a MahByHnist finds expression in the Kiiragdavyiiha where the ideal Bodhisattva AvalokiteQvara is represented as refusing his well earned NirvH~a until all beings of the world were in possession of the Bodhi knowledge and obtained freedom from worldly miseries. ? This then may be considered t o be the goal of every Bodhisattva, which can be reached by following the tenets either of S ~ n ~ a v ~ ordof a VijZ~naviida. The Madhyamaka theory postulated a transcendental state but the Yogiiczra added the element of VijiiBna 'consciousness' t o 6iinya. The Bodhi mind is a chain of VijiiHna which is changing every moment, the VijEiina of the previous moment giving rise t o the VijCHna of the succer~lingmoment with the same memory the same conformations and same qualities, and this process goes o n till Vijziina attains liberation. Now, this is the sort of emancipation t o which the VijEZnavsdins led their followers. In this NirvHna, as is already pointed out, there are two elements, 6iinya and VijEiina. The Vajrayiina which is a direct outcome of the YogHclra school introduced a new element o r the element of Mahiisukha 'eternal bliss' t o their conception of liberation. The evolution of Buddhism became complete and found full expression in VajrayHna. Vajray'ina introduced many innovations of a revolutionary character. It introduced, for instance, the theory of the five D h y ~ n iBuddhas as embodiments of the five Skandha: o r cosmic elements and formulated the theory of the Kulas o r families of the five Dhy'ini Buddhas from which deities emerge according t o need. It introduced the worship of the PrajZB o r Sakti in Buddhism for the first time, and a host of other things including a large number of gods and goddesses, their SBdhanas
1. Adv. p. 23
2. K~raqdavyEha,ed. Siim~irami, pp. 21-22

for the purpose of visualisation, Mantras, Tantras, Yantras, Mudr'is, Mapdalas, mystic realizations and psychic exercises of the most subtle character. It is not possible t o trace the origin of Vajraygna without referring to the Tibetan authorities and ancient T'antric authors T'irzngth is reported t o have said ' that T'antrism existed from very early times and was transmitted in a secret manner from the time of Asanga down to the time of Dharmakirti. Asahga who was a brother of Vasubandhu (280-360 A. D.) must have flourished circa 300 A. D. and Dhar~nakirti who is not mentioned by the Chinese traveller Hiuen Thsang but is referred t o with great. respect by I-Tsing very probably belonged t o a period between 625-675 A. D. Thus it can be seen that during a long period of nearly three hundred years TZntrism was handed down from Gurus to disciples in an occult manner, before its followers could be numerically strong enough t o preach their secret doctrines it1 public. It seems, therefore, reasonable that the MalGsiddhas such as Saraha, N'agHrjuna, Luipl, l'admavajra, Anahgavajra, Indrabhiiti and the rest who were masters of Tantra and were great authors and magicians, were the chief agents to boldly and publicly preach their doctrines and exhort people t o follow their tenets, doctrines and practices. Their endeavours combined with their unique personal achievements must have converted a considerable number of people t o Vajraylna faith. It is rather difficult to point out the source of inforn~ationfrom which Tiirlnzth drew his inspiration, but a perusal of such Tzntric works as the Guhyasiddhi of Padmavajra and the JZHnasiddhi of Indramakes it possible t o infer that it was the Guhyasamlja which was regarded as the most ancient and the most authoritative work of the Tantra school. Padmavajra not only advocates the cause of Tiintric Buddhism but also gives a succinct digest of the work which he calls ; r ~ - s a m ~ jor a the 'Venerable SamHja' in his treatise which is still unpublished. IndrabhCiti in his Jalnasiddhi acknowledges the Guhyasamiija as the work of highest authority, and gives a summary of some chapters and the topics dealt with in this work. There is thus hardly any doubt that the Guhyasamgja is the original Sahgiti which introduced for the first time the tenets of VajrayHna into Buddhism. It is believed t o have been introduced in an Assembly of the Faithful by Lord Buddha who is here called Sarva-TathHgata-KHya-VHk-Citta. The Guhyasam~ja is written in the form of a Sahgiti and is considered highly authoritative even now amongst the Vajray'anists, and is regarded as one of the Nine Dharmas of Nepal. This is evidently the first work of Vajraygna, and
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1 . Kern : Manual of Buddhtsm, p. 133

Asahga quite conceivably may have had something to d o with it, as it is comnlonly believed that the Tantras were introduced by Asahga after being initiated by Maitreya the Coming Buddha in the mysteries of Tantra in the Tusita heaven. ' It cannot be denied that in the very beginnings of Buddhism and even when MahByBna sprang up in later times a very strict discipline was enjoined on the followers of the faith. O n the monks the rules were very strictly put into operation. For instance, they must not have anything to d o with women, must not take any forbidden food. Wine, flesh, fish, appetisers and such objects of enjoyment were specially forbidden. The rules were indeed good and were very attractive in the time of the Buddha. But it is wholly absurd to expect obedience to such strict disciplinary measures from all members of the Sangha even in the Buddha's life-time, if not for centuries after his disappearance. And after all, what will be the result ? Freedom from births and rebirths was only a possibility, and success at best was only questionable ! The members of the Sahgha must have revolted from time to time against the unnatural rules of discipline imposed on them, and party quarrels were already in evidence in the Second Great Council when the MahZs5hghilias were expelled from the Orthodox church by the Sthaviras or Elders, because the latter were unwilling to make any concession on the ten minor points of discipline. Rebellion against the rules on broader and more important matters of discipline must have been in existence amongst the monks but they could not create a party of their own which could sufficiently withstand the criticisms of the orthodox section which was sure to go against them and denounce them as heretics. Those monks who saw s-alvation only in leading a natural life went on devising plans to modify their faith according t o their light, probably by writing what is called the original Tantras which were secretly handed down through trusted disciples who could practice their secret rites without let o r hindrance. These Tantras are in the form of Sangitis and are said t o have been delivered by the Buddha in an Assembly of the Faithful. It is in this Sahgiti form that all new ideas were introduced into Buddhism and the Sarisitis were very powerful agencies in the introduction of innovations, because Buddhism will not be prepared t o accept anything as true unless spoken by the Buddha in a public assembly. The orthodox followers of the faith were sure to challenge anything that had not been sponsored by the Buddha, and that seems to be the
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1. For further information refer to introduction to GuhyasamHja published in the Cjaekwad's Oriental Series, (GOS).

-- -1. See introduction to the MaiijuirImtilakalpa by the editor, Ganapati Shastri. 2. Sukhiivativyiiha, p p. 1, 28, 32

reason of the great popularity of the Sahgiti literature. The original Tantras of Buddhism are written in the SaAgiti form wherein are inculcated doctrines which are diametrically opposed t o the original teachings of the Buddha. Easy methods leading t o happiness in this world were held out in this literature, easy paths leading t o salvation were shown ; great parade was made of the merits accruing from the repetitions of the Mantras, DhHravis, panegyrics and worship of gods and goddesses. But everywhere any casual reader can detect a desire on the part of the authors to thwart all unnatural rules and regulations imposed on the followers. These disciplinary regulations, as a consequence gradually slackened down one after another, and ultimately when the Vajrayznists gained in power the secret doctrines n o longer remained secret, but were openly preached and practised t o the great annoyance of the orthodoxy. In order t o increase the popularity of Vajraylna the followers included in it every conceivable tenets, dogmas, rites and practices that were calculated t o attract more adherents. Thus the leading tenets of MantrayHna along with Mantras, Maqdalas, Mudrzs, gods and goddesses were included in VajrayHna. The earliest work of this class is said t o be thc VidyHdharapitaka which has been characterised by Hiuen Thsang as belonging t o the canonical literature of the MahEsEhghikas. But this work is not available in original Sanskrit, and it is not possible to say anything with regard t o the contents of the text. But with regard are different. t o another work the MaZjuirim~lakalpathe circumstar~ces This extensive work is published in the Trivandrum Sanskrit Series in three volumes. The text forms a part of the ancient Vaipulyastitras of MahEyBna and is decidedly the earliest work of Mantraysna at present available. It is written in the Safigiti style in prose and in verse, and in an archaic style closely resembling the GHthl style, and is written throughout in what is called the Mixed Sanskrit. This work must have been very popular even after the destruction of Buddhism in India as will be evident from the fact that the book was copied only about four hundred years back in a monastery of South India by Ravicandra the head of the Mtilaghosa VihEra. ' The MaEju6rimLilakalpa deals with the formulae and practices which lead both t o meterial prosperity and spiritual regeneration, and belongs to the early centuries A. D. but decidedly after the time of the composition of the Amitlyus Siitra o r the Sukhiivati Vyiiha which ushered in the conception of AmitZbha and Avalokiteivara for the first time in MahHyPna. The Amitzyus Siitra was first translated into Chinese in a period between A. D. 148-170, and hence the time of its composition may be fixed at about 100 A. D.

" -

The MaiTj~lBrirniilakaI~a in that case would only be about a hundred years later than the Amitzyus Siitra. If the Guhyasam'ija is accepted as the very first work of the Vajray'ana school it must be admitted that much time must have elapsed between the age of the MaZju6rimiilakalpa and that of the Guhyasam'ija which is put down in circa 300 A. D. The beginning of the Safigiti i n the MaiTju6rim61akalpa is in the orthodox style as opposed t o the T'intric style which is decidedly later, is introduced in the company of a large number and where Bhagav~n of women instead of an assembly of pious and devout Bodhisattvas only as in the earlier Safigitis. The doctrine of the five Dhy'ani Buddhas o r even their names, Mudr'is, Mantras, families, Saktis, colour and direction are all absent in the MaZj~QrimElakal~a. Moreover, the Mantras and MudrHs which were later systematized in the Vajraygna work of Guhyasam'ija are found scattered in the body of the text of the MaZjuQrimtilakalpa in a disorganised manner. The Mantras of some of the Dhylni Buddhas are indeed t o be found in the Ma'iiju6rimiilakalpa although not exactly in the sarne meaning and form as in the later Guhyasam'ija. The Ma?iju6rimiilakalFa further apeaks of MantrayHna but it does not refer t o Vajrayzna which is mentioned for the first time in the Guhyasamzja the Tantra of Secret Communion. Under the circumstances it is possible t o call the MaEjuirimElakalpa as one of the earliest Mah'iy'ana Siitra works on which perhaps is based the outward foundation of the Vajrayzna system. Yet one who willread this work t which there is carefully will not fail t o notice that it is a ~ r o d u c behind a history of development of several centuries. And probably, if ever o n e can go t o the root of MantrayZna one will have to voice the opinion of $'antaraksita and KamalaLila that instruction on Tantras, Mudr'as and Maqdalas were delivered by the Buddha for the benefit of such followers as would care more for their material prosperity than spiritual. Vajray'ina thus included in its purview all varieties of attractive tenets, notions, dogmas, theories, rites and practices, and incorporated all that was best in Buddhsim and probably in Hinduism also, and owing t o this circumstance VajrayZna attained great fame and popularity. It satisfied everybody, the cultured and the uncultured, the pious and the sinner, the lower and the higher ranks of the people and devotees. Vajray'ina catered t o all tastes with equal efficiency, and it had some. thing useful for everybody. Its universal popularity became an established fact. It is difficult t o say from what exact locality T'antrism took its origin. In the SPdhanamiil'a are mentioned the four Pithas o r sacred spotsof the
1. See irltroduction to GuhyasamZija, where this date hae been ditlcuracd.

Vajrayfnists, namely, Kfmlkhy'., Sirihatta, Pcrgagiri and Uddiyzna. T h e Tibetan authorities are of opinion that the T'intric Buddhism originated from Uddiyfna. The location of Uddiyzna thus is important for the history of the Buddhist Tfntric literature. Uddiy~na is mentioned in the SPdhanamPlP rather frequently. T h e earliest manuscript of the S'adhanamfl~ is dated in the Newari Era 285 which is equivalent t o A. D. 1165. In this work Uddiyfna is connected , and with the SPdhana of KurukullB. ~ r a i l o k ~ a v a i a A k a r aMfrici Vajrayogini. The SPdhanamfl'. also connects UddiyPna with such T f ntric authors as Saraha. T h e Jzfnasiddhi of Indrabhtiti is stated in the last colophon as having started from Uddiy'.na (Odiyfna). Uddiysna being one of the four Pithas sacred t o Vajrayogini should be at least near KfmfkhyS (Kfmartipa), and Sirihatta (Sylhet) in Assam and it is not unusual t o think that all these four Pithas received their sanctity from temples dedicated t o Vajrayogini. Thus Uddiyzna has t o be located in Eastern and Assam area. In the mediseval period when Tantras flourished, Vahga and Samat a p were the two important centres of culture in Bengal. VaAga included the present Dacca, Faridpur and Backerganj districts, whi1eSamatay:t comprised the present Sylhet, Chittagong, Tipperah and Mymensingh districts. That Vahga and Samatata were the two great centres of culture in Bengal is borne out by the numerous Buddhist and Brahmanical images of the TBntric type discovered i n the whole of this region. Numerous old inscriptions, remains of old buildings, coins and terracottas found in these regions, confirm the conclusion that from the Vahga-Samatara area radiated different streams of culture to the rest of Eastern India. ' In this Vahga-Samatata region one of the most important places is the PargaqP Vikrampur in the Dacca district. Anyone acquainted with the ancient inscriptions of Bengal will be able t o appreciate the importance of 1;ikrampur which is sometimes mentioned as the seat from which imperial charters were issued. There was a great Buddhist monastery here in the reign of the Candras and the Senas. Atiia Dipahkara, famous in Tibetan history as a great scholar and master of TBntric lore, is said t o belong t o the royal family of Vikrampur. Vikrampur is recognized even to-day as one of the foremost places of culture in East Bengal. In this Pargana Vikrampur there is a fairly large and well-popuiated village which is now known by the rather extraordinary name of
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1. Bhattasali : IBBS, intro. p. xxviii.

Vajrayogini. Round about this village numerous VajrayHna images have been discovered, and among them may be noticed images of Jambhala, Parqakabari, Vajrasattva and TPrP. The term 'Vajra' inVajrayoginT is also a familiar Buddhist word. Vajra is equivalent t o Stinya. Vajrayogini is a Buddhist deity which the Hindus borrowed in the form of Chhinnama@. Thus the name of the village appears t o be unmistakably Buddhist. The village must have derived its name from the temple of Vajrayogini which was in existence in early times. It has already been pointed o u t that the temples dedicated t o Vajrayogini could only be expected at four places, KHmPkhyH, Sirihatra, Piirgagiri and U d d i y ~ n a . O u t of these KHmPkhyH and Sirihatra (Jylhet) still retain their original names. PGrqagiri which signifies a hill is not identified yet with certainty. But it is possible t o spot the fourth place which is connected with Vajrayogini. Thus it becomes evident that the present village Vajravogini was originally known as Uddiytina but as the deity VrjrayoginT became more popular later, the original name g~adually disappeared giving place t o the name of the deity. TPntrism of the Buddhists therefore originated here in UddiyHna-Vajrayogini, and thence was transmited t o the rest of India. ' One of the chief topics dealt with in Vajrayiina is the deity. These deities are a product of psychic exercises of the most subtle character, and are visualized by the worshipper in the course of intense meditation. These psychic exercises are called the SLdhanas a collection of which is published in the SiidhanamElH already referred to. T o appreciate Buddhist iconography, therefore, a reference t o the Siidhana process of god-realisation is necessary. This process is described in the next section. 3. The Psychic Process of Ssdhana. The THRtrics of ancient India were formidable optimists. They intuitively realised that though this universe is composed of matter and spirit, it is the spirit which always dominates over matter, and is undoubtedly more powerful than the latter. There were several schools of thought in ancient India which took it for granted that spirit was supreme and that this spirit should be developed in order that power may be gained. Amongst these schools the Yoga and Tantra were preeminently the most influential and popular. T h e followers of these schools, particularly the latter, wanted t o achieve through spiritual o r psychic power everything that could be achieved in the material sphere. To-day for quick travel the material world presents t o u s railways,
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1.

For further details, see the author's article, entitled The Home of Tantric Buddhism in B . C. Law Commemmoration Volume, Vol. I.

aeroplanes and steamers, but the T'intrics claimed that by spiritual culture weight of the body can be so reduced that it can fly over space t o any distance within the shortest possible time. To-day for information about kinsmen in distant lands people send letters, wires and cables, but the T'intrics claim that by intense meditation alone they can visualize what is happening in other parts of the world, either bya projection of the mind or by mentally travelling the distance in a few seconds. For conversing with a friend at a long distance the material world provides telephones and wireless instruments but the T'intrics claim that by psychic exercises they can hear anything from any distance, even the voice of gods and other invisible beings in the firmament. When a man siiffersfrom disease the material world provides doctors, medicines, injections and so forth, but t o a T'intric these are unnecssary. By developing psychic resources of the mind he can cure by a mere glance, or touch or by recitation of Mantras. These extraordinary powers of the mind are called Siddhis. Thus it can be seen that the T'intrics recognised long before the present age that psychic culture is of the utmost importance in life, and through these exercises anything that can be accomplished in the material sphere can be achieved in the psychic sphere. This tendency even in the present day is a dominating factor in Indian life, and n o one should wonder seeing people running after S5dhus and Sannylsins leaving aside modern scientific men in many of their difficulties. Occasionally, stories are told of miraculous powers of ascetics over the elements of nature o r of their power of curing diseases for which apparently no recognised system of scientific medicine has discovered a cure. There are many such Yogins evennow in India moving about in jungles, cities, caves and mountains, possessing wonderful and miraculous powers. The TZntrics who were the advocates of psychic culture, by persistent efforts through mental exercises, used t o obtain super-normal powers which were known as Siddhis. Those who gained such Siddhis were called Siddhas, and the process through which they obtained Siddhis called S~dhana. In the YogasEtra which is recognised to be the earliest work in Sanskrit on the subject of psychic exercises, enumerates eight different Siddhis. Later works mention more and the Brahmavaivarta PurHqa mentions thirty-four kinds of Siddhis including the eight already mentioned in the Yogasiitra. The Siddhas o r those who attain super+normal powers are considered t o be of three distinct varieties, the Best, Middling and the Mild. The first class magicians can fulfil all their desires by mere thought, that is t o say, as soon as a desire arises in his mind it is instantly fulfilled.

The Middling variety of Siddhas is able t o conquer death, commune with gods, enter unperceived into dead bodies or homes of others, move in the air, hear the gods talk, understand all terrestrial truths, obtain conveyances and ornaments, and are able t o bewitch people, perform miracles, remove diseases by glance or touch, extract poison, obtain erudition in scriptures, renounce all worldly enjoyments, practise Yoga in all its subdivisions, show compassion t o all beings and even obtain omniscience. The Mild or the third class of Siddha obtains fame, long life, conveyances, ornaments, familiarity with the king, popularity with royal personages and people of influence and power, wealth and prosperity, children and family. The Siddhas of the first and second class were known as Mah'asiddhas 'Great MagiciansJ and in India their number was recognized as eight;four. Most of these Mahlsiddhas flourished during the PHla Period of Indian history (8th to 12th centuries A.D.) and were famous because of their uncanny and prodigious feats. The Sldhana or the process prescribed for attaining the different Siddhis forms the bulk of the Tlntric literature of both the Buddhists and the Hindus. Thousands of Sldhanas were written, both in prose and in verse, in Sanskrit and thousands were translated into Tibetan and are now preserved in the pages of the Tibetan Tangyur. Besides, every TIntric manuscript, cart loads of which are even to-day t o be found in public and private collections, describes the Siidhanas through which Siddhis are possible of attainment. The Buddhists had a special literature called the S'adhanas and they were always written in Sanskrit by many of the well known THntric authors and the MahPsiddhas. This literature is now almost lost in original Sanskrit, but fortunately for us some collections of S'adhanas are still extant. These collections were given the names of Sldhanamlll and S'adhanasamu~ca~a, and a critical edition of all available Sldhanas in these two collections is already published in two volumes in the Saekwad's Oriental Series as Nos. 26 and 41. The publication of these Sldhanas has revealed a number of hitherto unknown and important facts. The S'adhanas revealed that the Buddhists were not lagging behind any other religion in India in the matter of psychic culture as advocated in the Tantras. Secondly, . as these Siidhanas contain the description of a large number of Buddhist deities it becomes possible t o differentiate them from the deities of the Hindu and Jain faiths, and t o determine the purpose for which they were made and what they stood for. The S'adhanas being most important for the study of Buddhist iconogtaphy it is necessary t o give a general idea of the contents of the S'adhana o r the detailed process through which spiritual eminence

o r Siddhi is obtained. For this purpose a summarised translation of an elaborate SHdhana in the SBdhanam~lBis given here. But before proceeding t o translate the Szdhana it may be emphasized that it is a purely ~ s y c h i c process for the realisation and visualisation of the deity with whom the worshipper is asked to identify himself. The Sgdhana in all cases is prescribed for the realisation of some god or goddess according to a fixed procedure laid therein. For describing the contents of the SBdhanas a specimen is here selected which is published as SBdhana No. 98 in the S'idhanam'il'i of the printed edition, for the realisation of the goddess THrH, composed by Sthavira Anupama Raksita who was a well-known T'intric author and who flourished before 1165 and whose works, five in number, are preserved in translation in the Tibetan Tangyur. The contents of this S'idhana is given below. "The worshipper after leaving the bed in the morning should wash his feet and face and after purifying himself should go t o a place which is lonely, agreeable, besmeared with scents, strewn with fragrant flowers, and then sit there in an easy pose. Then he should meditate on his heart the orb of the moon which originates from the first syllable -Aand on it think o n the form of a beautiful blue lotus. O n the filament of the lotus he should meditate o n another moon the yellow germ syl]able-THk-as destroying the darkness of ignorance, illuminating innumerable worlds of the ten quarters, and bringing from the firmament innumerable Buddha6 and Bodhisattvas. "Then after an elaborate worship of these great compassionate Buddhas and Bodhisattvas with celestial flowers, incense, scents garlands, unguents, powders, mendicant dress, umbrellas, flags, bells, banners and the like, the worshipper should confess his sins with the follonving words ; 'Whatever sinful deeds I have done, caused t o be done, o r consented t o be done, in this endless cycle of creation, everything I confees'. "Thereafter, meditating on the restraint of wrong deeds he should give his assent t o the meritorious deeds of others with the following Mantra ; 'I assent to the virtuous deeds of the Sugatas, Pratyekas, Sr~vakas,the Jinas and their sons the Bodhisattvas, and of the world with all the gods beginning with Brahman'. "Then he should take refuge in the Three Jewels with the Mantra ; 'I take refuge in the Buddha so long as the Bodhi essence subsists ; I take refuge in the Dharma so long as the Bodhi essence subsists ; and I take refuge in the Saiigha so long a s the Bodhi essence subsistsJ. "Thereafter the adherence t o the path of the TathPgatas should be made with the Mantra : 'By me shall be followed the path indicated

by the TanthHgatas and naught else'. "Then a prayer should be uttered with the Mantra : 'The gods and the TathHgatas instruct me with such incontrovertible advices on law by which all beings may be freed from the bonds of the world quickly'. "Then he should meditate on the results of hismeritorious deeds with the words ; 'Whatever merit I have acquired by the seven kinds of extraordinary worship like the confession of sins, etc. all that I devote t o gain at the end the final Sambodhi'. "After having finished the seven kinds of extraordinary worship the deities should be dismissed with the formula : - O h Ah Muh- o r with the following words : 'Thou movest now according t o Thy will, being besmeared with the sandal paste of Silas (conduct), wearing the garments of the DhyHna (meditation) and strewn with the flowers of the Bodhi (Enlightenment)'. "Then the worshipper should meditate on the Four Brahmas, of Friendship, Joyousness, Compassion and Indifference. Friendship is the love that exists in all beings like the love towards the only son. or like its fruition in their welfare and happiness. "Compassion again is of what kind ? It is the desire t o save all beings from misery and from causes that lead t o misery. The desire that I shall even save the beings who are burnt in the great fire of suffering from the three evils and have entered the prison of SahsHra is what is called Compassion. O r it is the desire to save all beings sufferingfrom the three evils from the sea of SarhsHra. "MuditP or Joyousness is of the following nature. It is the desire in all beings of the world for the attainment of Buddhahood which is unlikely t o materialize. O r it is the attraction in all beings towards the virtues that. exist in the world and to the enjoyment of spiritual powers arising out of them. "What is Indifference or Upeks'i ? It is the doing of great welfare t o all beings, good or bad, by overcoming adverse requests and obstacles. O r it is the desire that comes of its own accord t o d o good t o all beings without the least craving for any return, love or hatred. O r it is the indifference towards the eight human institutions of gain o r loss, fame o r notoriety, praise o r blame, pleasure o r pain, and similar things. "Thus meditating on the Four Brahmas the inherent purity of the phenomenal world should be meditated upon. All phenomena are indeed inherently pure, and therefore, the worshipper should think himself t o be pure by nature. This natural purity of all phenomena should be established by the formula : O h svabh'iva8uddh8h sarvadharm~h svabh~va8uddho'ham-. If all phenomena are inherently

pure, where then is the possibility of the cycle of existence ? Because of its being covered up with such thought categories as the subject and the object. The way of purging of this impurity is the meditation on the good path By this it is made to disappear. Thus is established the inherent purity of all phenomena. "After meditating on the purity of the phenomenal existence the 6tinyatZ of all phenomena should be meditated upon. Here k n y a means this. He should conceive the entire universe with its mobile and immobile creations as the clear manifestation of non-duality when the mind is devoid of all the extensions of such thought categories as the subject and the object. The SCinyatii should be established by the formula-Oh SiinyatPj6Hnavajrasvabh~viitmyako'harh-. "Then as previously stated, the worshipper should meditate on his heart the goddess Aryatzrii who originates from the yellow germ-syllable -Tiirk-placed on the orb of the moon with the deer on its lap. "The worshipper should meditate on goddess AryatZrii as one-faced and two-armed of deep green complexion, fully decked in all ornaments, of youthful appearance, clad in celestial garments, holding on her crown the miniature figure of the parental DhyHni Buddha Amogha. siddhi. The deity should further be meditated upon as sitting in the ardhaparyahka attitude and showing the gift-bestowing signal in the right hand and carrying a full-blown lotus in the left hand. "The goddess of this description should be meditated upon as long as desired. Then the eternally accomplished Bhagavati should be drawn our from within by the spreading rays that illumine the three worlds, the rays that issue forth from the yellow germ syllable-T'ah-placed on the orb of the spotted moon which is enclosed within the filament of a beautiful blue lotus. After thus discovering her, she should be placed on the firmament and should be worshipped with the offerings of scented water and fragrant flowers contained in the vessel inlaid with gems at the feet of the goddess. She should also be worshipped with various rites, external and internal, by means of flowers, incense, light stick, food offerings, scents, garlands, unguents, powders, mendicant dress, umbrella, flags, bell, banner and the like. Thus after repeatedly worshipping her and offering her panegyrics, the MudrH o r the mystic signal should be exhibited. The palms of the hands, should be joined together with the two middle fingers stretched in the form of a needle. The two first fingers should be slightly bent their tips touching the third phalanges of the first fingers. The two third fingers should be concealed within the palm, and the two little fingers should be stretched. This is called the Utpala Mudr'. o r the signal of the night lotus.

"With this Mudr'i the goddess of the essence of Knowledge in the front should be propitiated, and then she should be commingled with the goddess of the essence of Time within, and by so doing the nonduality of the two should be meditated upon. Then the rays issuing forth from the yellow germ syllable-T'irh-placed on the spotless moon will appear t o him as illumining the ten quarters, as causing the removal of the poverty and misery of all beings by showers of various gems and as satisfying them by the nectar of advice on the nature of Siinya. "Engaging himself in doing good to the world, the worshipper should meditate on the form of goddess T'ar'i which is identified with the universe. Further, he should meditate repeatedly until tired on the yellow germ syllable and the Bhagavati contained therein. He who is unable t o meditate thus should mutter the Mantra which in this case This is the lord of all Mantras, is-Orh T%reTutt'ire Ture Sv'ih'i-. is endowed with great powers, and is saluted, worshipped and revered by all Tathiigatas. "After having finished his meditation on the form of THrP he should think the world as identical withe th goddess and should move atrout thinking his own form as that of the goddess. Generally speaking, those who meditate on the Bhagavati in this manner, all the eight supernormal powers fall at their feet, and other small powers come t o him as a matter of course. Whoever meditates on the Bhagavati in the lonely caves of mountains espies her with his own eyes. The Bhagavati herself gives him his breath, nay more, even the Buddhahood which is most difficult t o attain comes t o him like a plum on the palm of his hand." The above is a summary of the contents of a SZdhana devoted t o a single goddess, T%r%,and there are hundreds of such Ssdhanas for other gods and goddesses. But the important point t o be noted in this connection is that the gods have n o independent and real existence apart from the mind of the worshipper and the manner of worship. The deities possess no external form, but represent purely mental conceptions of the S'idhaka who by means of the SHdhana undergoes a detailed mental exercise for the development of his spiritual o r psychic powers. The discussion in this section leads t o a consideration of godhead in THntrism in order that the deities treated in this work may be studied in their true perspective,

4. Godhead in Buddhism,

f There is a great deal of confusion regarding the true nature of the deity whether it is of the Hindu or Buddhist conception. The general belief is that the deity is nothing more than an idol, and therefore, not worthy of any attention. The deities are connected, as all students of Tantra know, with S'adhana and Siddhi, and the conception of godhead therefore is an essentially spiritual or psychic matter. j The Siidhana is concerned with the process for worshipping a particular deity as has been made abundantly clear in the previous section. This consists in meditation in a quiet place and there practise Yoga till a state similar t o deep sleep is brought about. In this state of deep sleep the ascetic communes with the Infinite Spirit o r the inexhaustible store-house of energy, which is supposed to be the highest creative principle behind the world structure. By this communion the ascetic draws forth energy from that inexhaustible store-house and becomes power ul himself. This process of the realisation of the Infinite Spirit is what is called Szdhana. The deity is part of this psychic process. The Tantras are, in fact, sciences dealing with psychic matters, and give directions for a variety of psychi3 exercises. It therefore stands o reason that the Tantra is a science o r a Vidy'a requiring competent preceptors and efficient disciples. Like all other sciences t e Tantra is not also open to all and the sundry, but only for those who re initiat d b into the mysteries of the seience, and are competent to follow the p cribed practices with patience and zeal. These are the right type of disciples for TEntric practices, and may be called the Adhik'arins or rightful persons. In many Tzntric works long chapters are devoted to the qualifications of the preceptorsLnd disciples and there are also rules for their respective competence to give or receive initiation. The Adhik~rinmust have a certain equipment before he proceeds to receive his initiation in the Tantra from a preceptor. And, in fact, as the Tantra path is an exceedingly difficult path, the disciple is required t o have a great deal more equipment than is necessary for persuing any other Vidy5 known t o ancient India. First of all, the neophyte must be patient, enduring, devoted and sincere, and he must serve his preceptor with whole-hearted devotion. But the most important equipment necessary for him is that he should be proficient in the art of Yoga and Hathayoga without which it is not possible t o proceed with any S'adhana worth the name or with any difficult T'intric practice. The process of the visualisation of the deity requires intensive training as the following account will show. The difficult psychic process is described in detail and in an elaborate form in the Guhyasamgja which may be called the Bible of the TTintric

t
f

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Buddhists. A perusal of the book makes it clear that when the Bodhicitta o r the Will t o Enlightenment mingles with Siinya o r the Infinite Spirit in the highest state of meditation the mind-sky is filled with innumerable visions and scenes, until at l a x like sparks the individual visualises letters o r germ syllables, which gradually assume the shape of deities, first indistinct, then changing into perfect, glorious and living forms, the embodiment of the Infinite $iinya. They appear in bright, effulgent, gorgeous and divine beauty in form, ornaments and dress. Violent deities in like manner appear bcfore him in the most violent form conceivable, in arl awe0inspirin.g manner with dishevelled hair, blood-shot eyes, bare fangs, decked in ornaments of human skulls, severed heads and human bones, with frightful weapons and dress. These beings both benefic and malefic, are known as deities, and once realised they never leave the ascetic hut become instrumental in bestowing o n the ascetic more and more spiritual and psychic powers. l The process of the evolution of the deity is described in TSntric works, where clear-cut statements are made o n the origin of the deities and their gradual evolution from the germ syllable. In the A d ~ a ~ a v a j r a sangraha, for instance, it is said : I ( "The form of the deity is an explosion of the Siinya. It is by nature nqn-existent. Whenever there is an explosion it must be Siinya in essence.'' ( In another place in the same book it is declared : I I f"From the right perception of SiinyatB proceeds the germ-syllable ; from the germ-syllable proceeds the conception of an icon, and from the icon its external representations. The whole process therefore is one of dependent originatton."" T h e equipment necessary for persons competent t o worship and realize deities, and the nature of the evolution of the deities have already been indicated. Now it is necessary t o state the views of the GuhyasamPja regarding the principles of god-realisation, and the various experiences through which the S ~ d h a k ahas t o pass before the deity is realised and visualiscd. The GuhyasamBjaS calls this process Uplya (means) which is rrcognised as of four kinds, SevZ, Upaszdhana, Sldhana and MahZsBdhana. SevB (worship) is again sub-divided into two, namely, StimBnya (ordinary) and Uttama (excellent). Of these two, the Szm'anya Sevg consists of four Vajras : first, the conception of $iinyatS ; second, its transformation into the germ.syllable ; third, its evolution

'

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1. ADV. p. 60, lines 7, 8. 2. ADV. p. 5Llines.6, 7. 3. Guhyasam~ja,chapter, 18, pp. 162, 163.

in the form of a deity, and the fourth, the external representation of the deity. In the Uttama SevP (excellent worship) Yoga with its six limbs should be employed. These six limbs are : Praty'ih'ira, Dhy'ina, PrPgiiyiima, Dhiiragb, Anusmrti and SamHdhi.. PratyHhPra (control) is here described as the process by which the ten sense-organs arc controlled. Dhy'ina (meditation) is explained as the conception of the five desired objects through the five DhyPni Buddhas, namely, Vairocana, Ratnasambhava, Amitiibha, Amoghasiddhi and Aksobhya. This Dhyiina is again subdivided into five kinds : Vitarka (cogitation), Vic'ara (thinking), Priti (pleasure), Sukha (happiness), and Ekbgrat'. (concentration). Pr'a~HyPma (breath control) is the control of the breathing process by which breath which is of the nature of the five BhiTtas (elements) and the five kinds of knowledge, and is like a bright gem, is drawn from inside and placed as a lamp at the tip of the nose and is meditated upon. DhPrHq'a (meditation) is the meditation o f one's own Mantra on the heart, and the placing of it on the Prggabindu (heart centre) after restraining the jewel of sense-organs. When this is done Nimittas (signs) make their appearance. These signs are of five kinds and appear in succession. The first is the sign of the MaricikH (mirage), the second is that of smoke, the third is of fire-flies, the fourth is of light, and the fifth of constant light ltke a cloudless sky. Anusmrti (memory) is the constant meditation of the object for which the psychic exercise is undertaken, and by this Pratibh~sa (revelation) takes place. After commingling the two elements PrajEH (knowledge) and Up'aya (means) the whole objective world should be conceived as contracted in the form of a lump, and this should be meditated upon in the Bimba (icon-circle). By this process the transcendental knowledge is suddenly realised by the worshipper and is known as Sam'idhi (visualisation). For the purpose of visualisation it is necessary that the process should be continued for six months and this is done according t o the Guhyasam'ija always while enjoying all kinds of desired objects If within six months the deity does not show herself the process should be repeated thrice while following the rules of restraint duly prescribed. If the deity is not: visualised even after this, it should be forced by the practice of Harhayoga. By this Yoga the ascetic most certainly attains the knowledge of the deity. The above incidentally shows what part is played by R'ljayoga and Hathayoga in the process for the realisation of the deity. It shows also that the Tantra begins where Yoga ends. Therefore, the worshippers of the deity must first be adepts in Yoga before they make an attempt

t o foIlow the more advanced science of the Tantra which obviously, is not meant for o r d i ~ a r ypeople. The conception of godhead in Buddhist as well as in the Hindu Tantra is thus philosophically most profound. The individual soul is variously called the Bodhisattva ( Bodhi Essence), Bodhicitta (Will to Enlightenment), JivHtman (individual soul) while the Infinite o r the Universal soul is variously known as Siinya Brahma and ParamHtman. When they combine in the state of the highest meditation and concentration, an artificial condition akin t o deep sleep is brought about, and the deity appears in the mind sky in flashes and sparks. The nature of the J i v ~ t m a nbeing finite, it is not possible to realise the Infinite in its entirety, that is t o say, the result of the mystic experience of the Jiv~trnan also remains finite. And as the object for which the worshipper sits in meditation is different in different cases the deity visualised also becomes different. It is the BhHvanH (desire) of the worshipper which is of the nature of a psychic force that reacts on the Infinite Energy, giving rise to different manifestations according to the nature of the reaction. The nature of this reaction is of i!limitable variety and thus the resultant deity also appears in an infinite variety of forms, and this seems to be the chief reason why we find gods and goddesses of different forms in the pantheons of both the Buddhists and the Hindus. The ascetic who visualises a particular deity, generally makes it a rule to record the process by which the visualisation of a particular deity took place, for the benefit of his disciples in order that the latter may rcalise the deity in the easiest and most efficient manner. The Infinite ~ner?&a in VairavHna, and this Siinya is invoked by thLe worshippers of different classes with different desires and= ent degrees of mental d c,ehpme ~ nt. As Siinya is invoked in for thou. sand a n d o n e , it manifests itself in thousand and one warn in thousand and one forms, and it is precisely in this manner that the = o f deities in the Buddhist pantheon increased t o an enormous extent-e psychic exercise prescribed in the case of different deities isdifferent in the SHdhanas. The Szdhanas become less o r more difficult according t o the menral capacity of the worshippers, who are classified as High, Middling or Low. The regulation of life in the case of the worshippers of different classes become more or less stringent according t o the degree of psychic progress.

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In the realisation of the deity, there are thus three elements, the worshipper, the deity and their c o n n e c t . These are n a a in w a s the Bodhicitta, the Mantrapuruga (Mantra body) and the Ahahk'ira (identity). The worshipper is called the , Bodhisattva (Bodhi essence), and, his mind is known as the Bodhi-

citta (Will t o Enlightenment). T h e deity is the embodiment of the cluster of letters contained in a Mantra which are dynamized by excessive concentration and repetition. The sacred words o r letters set u p strong vibrations and ultimately condense themselves in the form of deities and this is called the Mantrapurusa (Mantra body) o r Mantra person. But before the Mantra person is visualised there must always be a complete identity between the Bodhicitta and the Mantrapuru~a. The subject is both interesting and important for the study of gods and goddesses, and therefore merits a detailed treatment. The VajrayHna conception of the Bodhi mind appears t o be the same as advocated in Yoggciira, :n idea of which can be gained by a reference to the TattvasaAgraha of SHntarak~ita. The Bodhi mind is like a continuous stream of consciousness which changes every rnomenw. the consciousness of the previous moment giving rise to or causing the consciousness of the succeeding moment. The chain of momentary consciousness which is without a beginning o r an end. opersting in m i s o n with the all powerful act-force leads it either t o degradation o r t o emancipation according as the actiorls done are good or bad. The Bodhi mind is by nature surcharged with impurities such as desire, memory, existence, non-existence, subject, object and the rest which are all unreal. T o purify this chain of consciousness is the sole aim of the Bodhisattva, but s o long as impurities are not removed, it will be subject to a series of transmigrations either in the world of gods or men, o r of animals, birds, ghosts and demons. According as the impurities are removed one after another, the Bodhi mind commences an upward march in the different spiritual spheres, called Bhiimis, and stays in them only s o long as it is not qualified to ascend t o a higher sphere. The number of BhCimis are recognized generally as ten and the Siitra which describes them is called the Dahabhiimika Siitra. The Bodhi mind obtains emancipation, o r in other words when it crosses the ten Bhiimis mentioned above, it is rewarded with moniscience. These Bhiimis are not meant for the HinayBnists but were exclusively designed for the MahHyPnists who are the real Bodhisattvas. No Buddhist will be called a Bodhisattva who has n o compassion for suffering humanity o r w h o will not be prepared t o sacrifice his all for the benefit of others. The Vajraygnisr conception is the same, and it defines Bodhi mind as ohe where h n y a and KaruqB (compassion) work in unison. In the eye of a VajrayHnist the external world has k u c h the same significance as if appears in YogHcHra. T h e Tantras characterize the external world with .its movable and immovable objects like a pot, picture, carriage, house, stone-house, mountains and the rest as reduced by reason t o mere appearances, in

the same way as magic and dream are considered t o he appearances. 'Therefore, the Vajrayiinists hold that external objects have n o greater reality than magic, mirage, shadow o r dream, and their reality cannot be proved by reason. The Mantras o r mystic syllables constitute the backbone of VajrayZna worship, and are of illimitable varieties. The Mantras are mostly unmeaning words but they sometimes reveal the influence of some unknown language. T h e Vajrayiinists maintain that the Mantras are endowed with great powers. "What is there impossible" they say, "For the Mantras t o perform if they are applied according t o rules ?" Ir is also said that through repeated muttering of the h 4 a n t r ~ s such power is zenerated that it can astonish the whole world. The Mantra has power even t o confer Buddhahood o r omniscience. T h e merits that accrue from the repetitions of the Mantra of Mahlkzla are s o numerous that all the Buddhas taken together cannot count them even if thcy were t o count without cessation for a number of days and nights. Ry the Dh5rar;li of Avalokitebvara even an ass can memorize q be s o powerful three hundred verses. Thc Mantra of Ekajarl is said t that the moment it is uttered a man becomes free from danger, he is always followed by good fortune and his enemies are all destroyed. The repetition of the mantra is however to be done with the greatest care, for instance, it should n o t he muttered too quickly nor t o o slowly. T h e mind at the time of repetition ~ h o u l dbe concentrated o n the letters of the Mantra and should be free from all evil thoughts, and the mantra should not be repeated when the mind is fatigued o r tired. Thus it can be seen that the Vajrayiinists believed that the Mantras were endowed with dynamic power. Their power consisted in the arrangeme& of the syllables, the purity of which is t o be guarded with the greatest care. T h e Mantra is required t o be received with proper ceremonies from a competent preceptor. The Mantra is powerful when it comes from a preceptor who is pure, and has repeated continuously s o as t o visualize the Mantra person o r the deity sacred t o the Mantra. T h e letters of the Mantra can only he dynamized by continual repetition by day and a t night until t h e deity is visualized. When t h e Mantra becomes powerful the vibrations let loose by the Bodhi mind react o n the universal Siinya which explodes in consequence in t h e divine form of the deity and appears before his mind sky. According as the calling signal is different in different cases the deity becomes different, and thus its number increases. The deities are nothing but the forms created by the force of word o r letter vibrations, and by continuous practice anyone can visualise the deity. T h e Mantra idea

is not only logically correct but also philosophically profound. The relation between the caller and the calling deity is one of identification, It is called AhahkZra or the identity of the Bodhi mind with the deity, the manifestation of Siinya o r the ultimate reality. The identity is established with the Mantra "I am the goddess and the goddess is in me". T h e worshipper should conceive himself as the deity with the same complexion, form and limbs as described i n the S'idhana and should, instead of worshipping any external object, worship himself. The Bodhi mind and the deity apparently signify duality but their \duality disappears with enlightenment. The Bodhi mind is of the nature of Siinya and the deity is a manifestation of 6iinya and, therefore, both have the same origin. Dut t o realise that the two are the same requires perfect: knowledge. Continuous meditation and austerities enable the worshipper t o shed the veil of ignorance which makes one thing appear as two. The Bodhi mind is further called KaruqB (compassion) and the ultimate reality as Siinyatii, and when the two commingle, it is called Advaya o r non-duality. As copper leaves its dirty colour (and become gold) when it comes in contact with the magic tincture (of alchemy), even so, the body leaves off its attachment, hatred, etc. when it comes in contact with the tincture of Advaya. This Advaya is a form of cognition where the Bodhi mind commingles with Siinya and becomes one with it. T o symbolize this principle VajrayHna brought in the conception of the Yab-yum form of deities in which the deity appears locked in close embrace with his Sakti o r the female counterpart. When the deity is single, it means that the female counterpart has merged into the deity even as salt melts in water. The deity is .siinya and the female principle is the Bodhi mind, o r the first is the ultimate reality and the female is Karuq'i (compassion). The Bodhi mind can become ultimate reality through the one principle of KarugH. This KarugH is symbolized in the form of Avalokiteivara, the great comin order t o serve his passionate Bodhisattva who sacrificed his Nirvii~a fellowmen. From the foregoing even a casual observeican find that t h e v a j r a y ~ n ists formulated the principle that b.ehind the creation there is_an indomitable will which multiplies in the form of words and $adually cona e n i s z e s in the fgrA of the d e i t z I h x m a l e ;'ounterpart is a m e r g r o s s e n i n E e h e creative process rossening , g n a n d the process of evolutionJ This process can only be stopped' by the p a e o i naruqa @ompassion) which gradually leads the Rodhi mind to soar higher and higher, and t o become finer and thinner before it merges in $nya. According fo Vajrayiina, therefore, the

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reverse process of involution starts only when the Bodhi mind is sur. charged with Karugz or compassion.

5. _T h e Pantheon. ___" --. ".

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The word Pantheon is derived from pan-all, and theos-god and therefore, concerns itself with all gods belonging to a community follow. ing the same religion. In Hinay~nao r Primitive Buddhism there was n o pantheon to which worship was offered by any Buddhist. But in I$ahHyHna a large number of deities was included and later, in its more f orm advanced ntheon became surprisingly large with deities of every description. 1 Virtually, there was an epedemic of deification in which every philosophical dogma, ritualistic literature, abstract ideas, human qualities, even desires such as sleeping, yawning, and sneezing were deified or given a deity form. The varied, extensive, and diversified pantheon of the Northern Buddhists owes its origin to Tiintric Buddhism or Vajrayzna. There are certain indications that Buddhism had n o pantheon before Tsntrism was well established. In very early days Buddhism recognised thirtythree gods of the Hindus who, were the residents of the T r ~ ~ a s t r i h k a Heaven which is one of the Rtipa heavens. Buddha did not believe in gods or worship, and in the Saundarananda K5vya of A6vaghosa we find Buddha discouraging his half-brother Nanda t o touch his feet in token of worship. He told Nanda that he would not be in the least pleased by Nanda's taking the dust of his feet, but he would bless him if he would follow the precepts of true Saddharma. ' In in MahByiina which considered him t o be Lokottara or superhum~n. i a s lo Buddha images are not met with in the earlier schools . . such as_Sanchi and Bharhut, and it is believed that the Graeco-Buddhists ---.of Gandhara were the first to __._ carve out his image in stone\ This is the view held by the celebrated French archaeologistPrOtessor A. Foucher. " In Bharhut and Sanchi scenes connected with the life of the Buddha, v i I ) , and the symbols of such as the dream of his mother M ~ y ~ d e(fig. Buddha like the Bodhi Tree, his head-dress his foot-prints (figs,2,3,4,5), and the rest used t o be freely represented, but his actual likeness was regarded as too scared t o admit of representation. Dr. Coomaraswamy on the other hand has shown that the Mathura s c h o v a n have an equally strong claim t o antiquity and probably for carving out the first image of Buddha. These are great authorities and it is not possible here t o examine their theories in detail. For the present work it is immaterial whether the claim for carving out the first image of
_ I

- -. - .. - ..- .-.- ---1. Kern ; Manual of Buddhism, p. 3 2. Beginnings of Buddhist Art, p. 127.
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Buddha is established in favour of either Gandhara orJyi&ura. It is enough t o know that There are many images of Buddha in these t w o schools of art. Besides the sacred symbols connected with Buddha's life and teachings, worship was offered by the Buddhists to numerous other 'objects. One of the most important among these objects is the Stiipa which is regarded as the embodiment of the B 3 with 411 the heavens as conceived in Buddhism The stiipas received worship even in the life-time of thc B u d d b n J continued throughout the l . ) stiipas are found in ahuncenturies after his ~ a h f i ~ i r v l ~ iSuch dance ln. thc Buddliist countries, and a few celebrated stiipas in Nepal are illustrated here in (F~gs. 6 , 7, 8) They are the Stiipas of the Svayambhfiniitha (uulgo-hmhhu), the HodhnHrh and Kafhe Simhhu. Besides the Stiipas, the Three Jewels of Buddhism, known by the names Sanghn were conceived i n the form of ffcFed to them by the Buddhists in both syrnbolic and human forms The imageh of rhe Holy Triad as obtained in Nepal are here illustrated. (F1t.s. 9, 10, 11). O u t of the three, one Dharma is a goddess. Later, a number of gods and goddesses are descrited in the MaFij!,16rimiilakal~a which is bcl~eved t o be an earlier work than the -. . __ . _._ ~uhyasarn~j which a is dated circa A. D. 300' Again in the PrajEHpiiramitii Buddha is worshipped elaborately with diverse paraphernalia of worship. But even then it does not seem clear that Buddhism at this time had any conception of a well-defined and well-classified pantheon. It is in the Guhvasamiija that the idea of a pantheon, rationally classified, is properly and systematically crystallised. Here for the first time are found the descriptions of the five Dhy'ani Buddhas, their mantras, their o ---,Mandalas, a n d their iaktls o r female c These Dhylni Buddhas represent the five Skandhas o r the five cosmic elements of which the world is composed. They are here described as. the progenitors of the five Kulas or families of gods and goddesses. The families owe allegiance to their progenitors who are known as Kulehas or Lords of Families. 111 the GuhyasamHja it is said : "The five Kulas (families) are the Dvesa (hatred), Moha (delusion), R'aga (attachment), CintBma~i (Wishing Gem), and Samaya- (convention) which conduce to the attainment of all desires and emancipation." q The emanations o r offsprings of these Dhy'ini Buddhas constitute their families. It is in this way that the Buddhists built a well-classified pantheon with its multiplicity of gods and goddesses, and when these
1. See the discussion on the subject in Quhyasam~ja, intro. p. XXXVI-XXXVII. 2. Guhyasam~ja : p. 6.

Fig. 1 M5yii's Llream.

1 Rh,rrh,lt

S Y MBOL-WORSHIP

Fig. 2 Liodhi T r c e . ( .4mamvati )

were represented in art, they were required to show their origin by holding on their heads the miniature figure of the& parental DhyBni Buddha. Every deity almost without exception was given various forms with two, four, six, eight, ten, twelve, sixteen and even more hands, and proportionately one head t o three, four, six, and eight heads. They were given different colours, different expressions and different companions according as they were worshipped in the different Tsntric rites and according as they were required t o discharge different functions, from curing a disease t o the killing of an enemy. The artists had a considerable hand in executing the images and they introduced their own traditions, provincialisms and innovations The votaries also according as they wanted to have their gods in a powerful form, added extra hands, heads and feet to suit their own ideas and whims, and it is precisely in this way that the deities increased to an amazing number. The GuhyasamZja or the Tantra of Secret Communion which is perhaps the first book inculcating VajrayBna philosophy of Mahnsukha is a product of circa 300.A.D. which is the time of Asahga. Quite naturally the Tantra could not get publicity as the public mind was not prepared to receive the revolutionary innovations introduced in it. T n e hands and was handed down throuqh vears in an unbroken chain ofGurlls and disciples for- t ihe most secret manner possible. It obtained ~ublicitv through the teachings and mystic songs of the Buddhist VajrPcPryyas or Siddhas in about the middle of the 7th century. It is for this reason that references t o the pantheon in the general Buddhistic literature are not ---._ . , met w a a s can be expected, nor the accounts of the Chinese travellers show much acquaintance with the pantheon, when they came to India t o investigate the condition of Buddhism in India. Despite this certain names of Buddhist gods and goddesses are indeed met with in their writings, though they d o not pertain t o the well classified pantheon referred t o above. In the Sukhnvati Vytiha whichwas translated into Chinese between A , 73. 148-170 the name of Amitsbha appears for the first time as the-presiding deity o f the Sukhnvati or the '?!ha heaven where he is believed t o have brought faith A v a e n to existence. It should be remembered that in K e vajray5= works also this heaven has been characterized as the abode of all gods and goddesses. In the smaller recension of the Sukh'ivati Vyiiha which was translated into Chinese between A. D. 384-417 mention is made of two more gods namely Aksobhya as a

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1. Sukhavati Vgiiha, pp. 1, 28, 32.

TathBgata and Manjugri as a BodhisatwkFq-Hien (A. D. 394-414) m>ntions the names ' of ~ W b v a r a and , the future Buddha Maitreya, while Yuan Chwang (629-645 A. D.) refers t o the names of Avalokitebvara, H ~ r i t i , Kgitigarbha, Maitreya, Maiijubri, PadmapHqi, Vaibravaqa, h k y a Buddha, SHkya Bodhisattva, and Yama together with such deified saints as Abvaghosa, N'ag'arjuna, AsaAga, Sumedhas and others. I-Tsing (671-695 A.D.) mentions the names of Avalokitebvara, Amitlyus, HHriti, the Catur-Mah'atHjikas, Maitreya, Maiijubri and Yama besides several others. h n t i d e v a (695-730 A.D.) in his $iksisamuccaya mentions the names o f Aksobhya as a Tathiigata, Gaganagaiija as a Bodhisattva, Si~havikriditaas a Tathlgata. CundH, Trisamayarija, MHrici, Sirhhangda, MaEjughosa and many others. After S'antideva the Tantra of the Buddhists got wide Kuhlicity, and the TSntric works wrilten after his time all referred t o the pantheon and described numerous gods, especially the DhyHni Buddhas a definite product of Tintric Buddhism. The S'idhana literature which describes the forms of gods and goddesses and lays down the procedure for worshipping them was developed by the MahHsiddhas or great magicians like Saraha, NHgHrjuna, SabaripH, Anahgavajra, Indrabhati and others, although it is very probable that the earliest Sidhana was composed by Asahga who flourished in circa 300 A.D. In the Siidhana attributed to Asahga the DhyIni Buddhas and their emanations are referred to. When a reference is made to the numerous images executed in the different schools of art it also becomes palpable that the Buddhist . . pantheon wks not well developed before the Tantras got wide publicity in- about tlhe middle of the 7th century --~ 3 T n X e ~ ' a n d h a r &hool, a for instance, . m e the ~ Bu3dha images, there are images of Jambhala Kubera, Indra, Maitreya, H ~ r i t iand several unidentified Bodhisattva images. In the htathura school which was either contemporaneous o r somewhat later than the Gandhara school there are numerous Buddha and Bodhisattva images along with those of Kubera, the Yakqas and NHgas. The Mathura school extended t o the early Gupta period2 and here also later Buddhist images of THntric flavour Hre not met with. Not even the images of AvalokiteQvara, ~ a i i j u i r ; are t o be found in this school. The case of the later Magadha school however, is otherwise. The Magadha school included the images found in Sarnath, NiilandH, Odantapuri, Kurkihar, Gaya and other ancient sites in Bihar. T h e most flourishing period of the Magadha school
-

1. Bendall's introduction to Sik$asmuccaya, p. V. 2. v o g e l : The Mothura School of Sculpture in A.S I. Annual Report, 1906-7, p. 145.

was conternporaneous~withthe reign of the P'ila kings of Bengal and lasted till the Muhammadan conquest of Bihar and Bengal in the beginning of the thirteenth century A. D. In the Magadha sc&ool arg t o be found a definite evidence of the e x z n c e of a well classified --. p a n t I i e o ~ ~ s ~ E O n c e ~Vajray'ina ve~in Buddhism. In most of the images there are figures of five Dhy'.ni Buddhas o n the halo round the head of the principal deity, as also others with miniature figures of Dhy'ini Buddhas o n the crown t o indicate the origin of the deity installed. Again, unlike the Mathura and Gandhara schools there is a distinct dearth of Buddha images in later schools of art, and even when he is represented, he takes the semi-mythical form of Vajr'isana being flanked by AvalokiteLvara and Maitreya o n two sides. In the Magadha school therefore Buddha lost his original importance and became similar t o the Dhy'ini Buddha Aksobhya as is evident from the numerous Siidhanas dedicated t o the worship of Vajr'isana Buddha with the earth touching signal. The Bodhisattva images are also not s o stereotyped as they are found either in Gandhara o r in Mathura. T h e Magadha school is characterised by its wide variety of images of gods and goddesses and this will be apparent t o any visitor who visits the museums a t Sarnath, N'ilandZ, Pdtna, o r even at Calcutta, and takes a round in the extensive ruins of the Odantapuri VihBra (Modern Bihar) o n the Bakhtiyarpur Bihar Light Railway. The same is the case with the ruins of Gaya, Kurkihar, Sahet-Mahet and Kasia. At Sarnath, the contents o f the museum are rich with such interesting and symbolic images as SadaksarI LokeQvara, Ucchusma Jambhala, MaiijuQri, TPr'i, VasudhHr'., M'iricT, all the Five Dhy'ini Buddhas, Vajrasltttva the sixth Dhy'ini Buddha and numerous others belonging t o the VajrayZna pantheon. Niiland'. images are enriched with the same deities as are found in Sarnath.

---

The Bengal school which is contemporaneous with the Magadha school is distinguished by the high class of art it developed and for its beauty of execution. Its flourishing period ranged from the 10th century till the conquest of Bengal by the Muhammadans. Marly of the specimens of the Bengal school are preserved in the museums at Calcutta, Dacca, Rajshahi, and the Vangiya Sahitya Parishad, and a large number of them are scattered about in the Pargana Vikrampur and in the districts of Dinajpur, Rajshahi, Birbhum and Cornilia. In this school many interesting and unique specimens of images belonging t o Tlntric Buddhism are met with. From the above it becomes clear that the artists were acquainted with the descriptions of deities as given in the S'idhana literature, because the images and the Dhy'inas as given in the S'idhana coincide most remarkably. In this school

INTRODUCTION

39

are t o be found such images as Heruka, VasudhHrH, Jambhala, Arapacana, Khasarpapa, ParpaAabari, Sirhhan'ida, MaZjuvara, AparHjitH, Mahgpratisar'i, NairHtmH, Sadaksari Lokebvara, MahHbri THrH, Khadiravani T'ar'a along with many others too numerous t o mention. Scholars desirous of having more information o n the subject are recommended t o refer to the excellent work of Dr. N. K. Bhattasali, entitled, The iconography of Buddhist and Brhamanical Sculptures in the Dacca Museum where incidentally images discovered elsewhere in Eastern Bengal have also been treated. Another monumental work o n the subject is R. D. Banerji's Eastern Indian School of Medieval Sculpture, published by the Arch~ological Department of the Government of India. The images of Buddhist deities found at Ajanta, Ellora and the cave temples of Western India show signs of immature Tantra and may be assigned t o a period before the 7th century A. D. although some of the paintings and sculptures are of long antiquity. It does not seem that the Tantras were very popular with the Buddhists of Western India o r that they were influenced by the teachings of the Tantra which was mainly a product of Eastern India. Had it not been so, the cave temples would have at least exhibited some of the Tgntric deities such as MaEjubri, T'irg, Khasarpaqa, Jambhala, PrajEIpHramitZ and others. The Javanese art seems t o have been profoundly influenced by the Bengal school, and the images of gods and goddesses as found in the Borobudur temple show that they were acquainted with many deities of the Vajrayiina pantheon As VajrayHna was mainly a p-oduct of Bengal it is probable that colonists carried their art and religion t o Java and Indonesia by the sea route, probably from the sea-port at THmralipti o r from Chittagong and Orisss. The PrajEHpHramitH image produced in the Javanese school has been acclaimed as one of the finest specimens of eastern art, ancient o r modern. After the destruction of Fiuddhism from India the priests of the celebrated monasteries of Bengal and Magadha who could save their heads from the hostile sword of the Muhammadans, fled t o Nepal which is protected o n all sides by the mighty walls of the Himalayan mountains, and took refuge in that country, and thus kept the torch o f Buddhism still burning there. The Bengal school of art which was carried by the priests was soon modified into a typical Nepalese art when it came in contact with the native artists, and thus became stereotyped. But after the 18th century it became debased and crude. The general impression of the visitor who inspects the numerous monasteries in Nepal which are the repositories of Buddhist images of diverse kinds, is that the dreamy sweetness and the sublime beauty

of the Bengal school could nor be preserved in Nepal, although earlier specimens of really good art are not at all wanting in the Nepal school. The followers of Vajray'ina who went to Nepal in order t o make sure of their existence converted a good many Newars of the land t o Buddhism and carved o u t innumerable images of gods and goddesses in stone. metal o r wood, s o much so, that a student of iconography is overwhelmed at their wealth and variety. It is however curious t o note that the origin of almost all the monasteries in Kathmandu, Bhatgaon, and Lalitapattan dates from the 13th century, which shows unmistakably that these monasteries were founded almost immediately after the Muhammadan conquest by the refugees fleeing from Eastern India. The cumulative evidence of art, history, and literature leads one t o believe that the pantheon of the Northern Buddhists was not widely known before the 7th century A. D. nor was the underlying philosophy, which may warrant the formation of a pantheon, well developed before that time, although the origin of it is definitely earlier. This may be explained by the fact that the Guhyasam'aja which for the first time inculcated the doctrine of the five Dhy'ini Buddhas and their families, was composed in secret and transmitted in an occult manner for about three hundred years. This is o n e of the many reasons why neither the Guhyasamgja Tantra nor the Dhy'ini Buddhas nor the varied pantheon of Vajray'ana could be widely known. It is only in the S'idhana of Asahga as included in the S'adhanam'ilii a definite reference t o the five Dhpiini Buddhas and their families is t o be met with, and for that reason it is not improbable to connect Asafiga with the introduction of the very Guhyasam'ija Tantra itself. T h e subsequent writers only got a glimpse of what filtered through the secret but v e 6 popular mystic organisations. After the 7th century secrecy was n o longer necessary, as the principles of VajrayHna were then fully established and widely spread through the teachings and mystic songs of the Siddhas and MahHsiddhas. The beautiful images produced by the priests and artists made the teachings doubly attractive. Great men came forward t o advocate the cause of Vajray'ina. Chairs for the study and teaching of Tantras were founded in the different and famous centres of learning such as N'iland'i, Odantapuri, Vikramahila and Jagaddala. Eminent scholars like S'antaraksita worked as professors of Tantra in the world famous university of N'alandii.

CHAPTER 1,
DHYANI AND
MORTAL BUDDHAS. The pantheon of the Northern Buddhists revolves round the theory of the five DhyHni Buddhas. The Buddhists believe that the world is composed of five cosmic elements o r Skandhas. The five Skandhas are Riipa (form), Vedan'i (sensation), Sa SanskHra (conformation) and VijEUa (consciousness). These elements are eternal cosmic forces and are Githout a beginning o r an end. These cosmic forces are deified in VajrayBna as the five DhyZni Buddhas. In the course of time they were regarded as the five primordial gods responsible for this diversified creation, and thus VajrayLna took a polytheistic form, although polytheism can hardly apply t o a system which considers Siinya as the o n e , Indivisible and Ultimate Reality. But so long as form could not be given t o Siinya as an anthropomorphic deity, the system of five D h y ~ n iBuddhas certainly had the flavour of polytheism. The priests and the VajrayPna authors were conscious of this shortcoming, especially in view of the fact that all the six Hindu systems of philosophy tended to develop a highly monistic philosophy. They tried at first t o cure this defect by the theory of the Kulas (families), and KuleSas (lord of families) of gods and men, and thus divided everything into five groups. For each group, a particular DhyBni Buddha becomes the Kuleia o r the primordial lord, all other groups taking their origin from him. Another grand conception of the Vajraygna Bughism is the theory of the highest god V d h a r a , also ..-- called . . - Adibuddha, the .... grimordial - . ...--.. w m the embodiment o f 3 6 n y a t o whom even m+otheistic the DhyBni Buddhas owe their origin. The theory originated in the NHlandH monastery in about the 10th century. ' Thereafter, a large number of images of Vajradhara must have been made in the different schools of art. The special Tantra dedicated t o Adibuddha is the KPlacakra Tantra which appears t o be the original Tantra in which the doctrine of Adibuddha was for the first time inculcated. The Kiilacakra Tantra thus is a product of the 10th century. Vajradhara was particularly popular in Nepal and Tibet where numerous images

----

-. . --- - ... . .1. T h e idea of an Adibuddha originated in the Nillandil Monastery in the beginning of the 10th Century A.D. See JASB, Vol. I1 ( 1833) pp. 57 ff. Also Vajradhara V s . Vajrasattva in JBORS, Val. IX, pg. 114 ff.

DHYANI AND MORTAL BUDDHAS

43

of this primordial god are to be met with. Alexander Csoma de Koros places the introduction of this conception of Adibuddha in Central Asia in the latter half of the 10th century. It originated at Ndandii according t o him in the beginning of the 10th century, and no mention of the Adibuddha cult is made by any writer prior t o this time. Homage is paid to Adibuddha in the shape of a flame of fire which the priests consider as eternal,--sTfGmT'fiif-existent. It is said in ~ ~ j i i y a m 6 h iPurlqa i' that ^&dibuddha first manifested himself in Nepal in the form of a flame of fire, and MaZjuiri erected a temple over it in order t o preserve the flame. This ancient temple is known as the Svayambhii Caitya.

The Eonception of ~ a j r a d h a r a presupposes Adibuddha and, therefore, is later than the first half of the 10th century. Vajrasattva, being a regular development of the Bodhisattva Vajrapiigi emanating from the Dhyiini Buddha Aksobhya, is a little earlier, although the conception of Vajradhara and Vajrasattva are sometimes inextricably mixed up. In Vajrayiina, Adibuddha is regarded as the highest deity of the Buddhist pantheon, the originator even of the five DhyPni Buddhas. When represented in human form, he begets the name of Vajradhara and is conceived in two forms, single and Yab-yum. When single, he is bedecked in jewels, gaudy ornaments and -dress, sits in the Vajraparyahka or the attitude of meditation with the two feet locked with soles of the feet turned upwards. He carries the Vajra in the right hand and the Ghagtii (bell) in the left, the two hands being crossed against the chest in what is known as the Vajrahuhk'ira -.Mudra symbol for the ultimate (Fig 12). The Vajra (thunderbolt) here is the .__ -- -.-- " - -. . . .. reality called 'Siinya while the bell represnts Prajsii . --. or wisdom the sounds of which travel far and wide. Sometimes the s).mbols are shown on a: lotus on either side, the ~ajra'being on the right and the GhantP in the left (Fig 13). In Yab-yum, his form remains the same as when -....-o -r the single except that here he is locked in close embrace by his jakti female counterpart whose name according to Getty is - PrajGiipiiramitP: The 6akti is somewhat smaller ;n size,ii- richly dressed and 'bedecked in ornaments, carrying the Kartri (knife) and the Kap'ila (skull cup) in the right and left hands respectively (Figs. 14, 15). In these figures the Kartri is the symbol for the destruction of ignorance, thi-f(ipP1a stands , the double form Yab-yum-. 'represents that for oneness a b s o l u ~while -. the distinction between duality and non-duality is unreal, and the two mix themselves into one as salt mixes in ?ate;. The deity Vajradhara of the hi&est,;eg!ity, -Sqnya! 3,h.i!e~lai~1~Pramit'i is an embodiment C - - -" represents K a r u ~ P (compassion) and in ,. close .. .. embrace ---Y.they tu? Zi h n y a in which Karunii merges, and the duality ceases. Vajradhara

-- +.

_-_

44

BUDDHIST ICONOGRAPHY

is widely represented in Tibet. Vajradhara is described in Buddhist n n t r i c works and he has several forms. An important description in the Nigpannayog'avali is given below. This particular form of Vajradhara is three-faced and six-armed. Vajradhara. Colour-Reddish Arms- Six. White. Faces-Three. Pose-Tii~dava Dance.

Vajradhara is the principal deity in the Vajrasattva Magdala in the Niqpannayog~val'i. He is described thus :"K~$igHragarbheVajradharah.. .isadraktiinu-viddhasitavargah.. .trim~kho nila-raktasavyetaravaktrah...sadbhujo vajra-ghaqf'lviriijitabhujzbhygm ~IihgitasvZbhaprajiiB.. ....savyakariibhyiim k~p~qiihku6avarau v~miibhy'am kapZlapii6abhyt............ardhaparyarikena navaniifyarasaistaqdavi." NSP. p. 8. "In the innermost chamber of the Maqdala there is Vajradhara. His colour is reddish white. He is three-faced. The right face is blue and the left is red. He is six-armed. With the two principal hands carrying the Vajra and the Ghag'l he embraces the PrajEH. The two other right hands show the excellent sword and the Afikuia. In the two remaining left hands, he carries the Kap'ala and the noose. He stands in the Ardhaparyahka and dances the Tlqdava dance exhibitingt the nine dramatic sentiments". Fig. 16 represents a three-faced and six-armed Vajradhara image without the Sakti in the Baroda Museum. But Vajradhara was not universally accepted as the Adibuddha o r the first creative principle. When the theory of Adibuddha was fully established the Buddhists seem t o have ranged themselves into so many sects as it were, holding different views regarding specific forms which the Adibuddha should take. Some considered one among the five Dhyiini Buddhas as the Adibuddha, some acknowledged Vajrasattva as the Adibuddha. Many others were content to regard the Boddhisattva such as Samantabhadra or Vajrap'a~i as the Adibuddha. Thus the cult of Adibuddha was widely distributed amongst the different'schools, which gave rise t o as many different sects amongst the T'antric Buddhists. Vajradhara o r the Adibuddha is supposed t o be the originator of the five Dhyiini Buddhas, the progenitors of the five Kulas o r families of Buddhist gods and goddesses. Next t o Vajradhara the D-Buddhas or the Tathiigatas are important in Buddhist iconography and, therefore, . ., : ".----. . ", . ---, -. -.
l . l - ,

r.-.-.

1 .

1. Getty -.GNB, p. 5

DHYANI AND

MORTAL BUDDHAS

45

requires treatment in detail. The Guhyasamzja Tantra (Tantra of Secret Communion) was the first to reveal their existence in a Sahgiti (holy assembly) which is supposed t o introduce new ideas into Buddhism. In t h e GuhyasamHja ' the DhyHni Buddhas are given a Mantra, a colour?S;kti,8dirqclion. .and a guardian of ;he gate. A s these Dhyzni BL'ddhas i r e of primary importance in Buddhist iconography, it is necessary t o deal with their origin in some detail here. The GuhyasamPja opens in a grandiloquent style with the description of a monster assembly of gods, Tath'agatas, Bodhisattvas, Saktis, and various other divine beings. The Tath'agatas present in the Assembly requested the Lord Bodhicittavajra t o define the TathPgatamapdala o r the magic circle of the five DhyHni Buddhas and in response t o their request, the Lord sat in a special Samiidhi (meditation) called the JEiinapradipa (lamp of knowledge), and his whole form started resounding with the sacred sounds of VAJRADHRK which is the mantra of the Dvesa family. No sooner the words came out, the sounds transformed themselves into the concrete shape of Aksobhya with the earth-touching signal (Mudrz). Then the Lord sat in another meditation and soon became vibrant with the sacred sounds of JINAJIK, the principal mantra of the Moha family. The sounds condensed themselves into the concrete form of Vairocaua with the ~ h G m a c a k r a MudrH and was placed in his front in ;he East. Next with a third Sam'idhi (meditation) the Lord became resonant with the word RATNDHRK the principal mantra of the Cintiimaqi family and soon became condensed in the human form of Ratnaketu with his favourite signal of Varada (gift bestowing) and was placed t o the south of the Lord. The Lord thereupon took a fourth SamPdhi and became resonant with the sacred sound of AROLIK, whith is the principal mantra of the Vajrargga family, The vibrations soon grossened themselves in the human form of Amit'ibha with the signal of DhyPna (meditation) and was placed behind the Lord in the west. Next, the Lord assumed another Sam'idhi and soon became resonant with the sacred sound of PRAJNADHRK, the principal Mantra of the Samaya family. The vibrations after condensation gradually assumed the shape of Amoghasiddhi with his characteristic symbol of Abhaya (assurance), and w s placed by the Lord in the north. Then the Lord sat in a series of special SamHdhis, five in number, and became resonant with five different mantras. The vibrations in like
~

1. Guhyasamtija, chapter 1

is entirely devoted to the formation of the Dhpiini

Buddha mapdala.

46

BUDDHIST ICONOGRAPHY

manner were condensed in the form of five goddesses as female counterparts of the five TathagHtas already named and were placed in their appropriate positions. Thus, the Lord in the first SamHdhi became resonant with the sound DVESARATI which transformed itself into the form of his own queen and was placed on his own seat. Next, he became resonant with the sound MOHARATI which took the shape of a goddess and was placed in the eastern direction as the queen of Vairocana. Thereafter he became vibrant with the sound IRSYARATI which took the shape of a goddess and was placed in the southern direction as the queen of Ratnasambhava. Next in another Samiidhi the Lord became vibrant with the sound RAGARATI which soon took the concrete shape of a goddess and was placed in the western direction as the queen of Amit~bha. Then in a further meditation the Lord became resonant with the sound VAJRAKATI which took the concrete shape of a goddess and was placed in the northern direction as the queen of Amoghasiddhi. When all the TathHgatas were associated with their female counterparts the Lord sat in four more meditations and through these created four guardians of gates for the four cardinal directions. First, he sat in the MahHvairocanavajra SamBdhi and became resonant with the sound YAMANTAKRT. These sound vibrations soon assumed the concrete shape of a violent deity, fearful to the Tath'agatas, and was placed at the eastern gate. Next, he became vibrant with the sound PRAJNANTAKRT. The sound vibrations soon assumed the form of a violent deity, fearful t o the Vajra process, and was placed at the southern gate. In a third SamHdhi the Lord became vibrant with the sound PADMANTAKRTwhich soon took the form of a violent deity repreand was placed at the western gate. senting the speech of the Tath~gatas Finally, the Lord sat in another SamHdhi called the KHyavHkcittavajra of the T a t h ~ ~ a t aand s , became vibrant with the sound VIGHNANTAKRT which soon took the shape of aviolent deity representing the body, speech and the mind of theTathHgatas, and was placed at thenorthern gate. The above account as recorded in the Guhyasamgja Tantra marks the beginning of the theory of the five DhyPni Buddhas, their counterparts, their mantras and the guardian of the gates.\ The five Dhy'ani Buddhas a d r n e r stones of Buddhist Iconography on which the whole edifice of the Buddhist pantheon i the five Dhyzni Buddhas are thTprogenitors of the five K ilies of deities, and the community worshipping them were known as the Kaulas, and the

DHYANI AND MORTAL BUDDHAS

47

process of worship was called KulHcHra o r family conduct. These DhyHni Buddhas furtherGlit themselves up in the form of Bodhhisattva and their female principles who are responsible for creating everything found in existence. The forms of deities are nothing but the gross forms of the different sounds, and thus the connection of the mantra with the deity is established. 1 The five Dhy'ani Buddhas who are the embodiments of the five Skandhas or primordial elements are the progenitors of the five families of deities constituting the whole of the Buddhist pantheon. The emanated deities of these Dhy'ini Buddhas, as a rule, hold the miniature figure of the parental Dhynni Buddha on their heads and are usually of the same colour as that of the DhyHni Buddha and are placed in the same direction as is assigned t o their sires. This very plan is followed most scrupulously in almost all the Mapdalas or magic circles as described in the remarkable work, NispannayogHvali of MahHpaqdita AbhayHkara Gupta. 1 The names, colours and the symbols of the five DhyHni Buddhas are stated briefly in the following verse occuring in the SZdhanamHlB : Jino Vairocano khyHto Ratnasambhava eva ca AmitHbh~moghasiddhiraksobh~aSca prakirtitah Varpii amiszrn sitah pito rakto haritamecakau BodhyaAgi Varado DhyHnam MudrH Abhaya-BhiispySau. SiidhanamPlH, p. 568-9 "The Jinas (victorious ones) are Vairocana, Ratnasambhava, AmitHbha, Amoghasiddhi and Aksobhya. Their colours are white, yellow, red, green and blue, and they exhihit the BodhyaAgi (teaching), Varada (boon), DhyHna (meditation), Abhaya (protection), and BhiisparSa (earth-touching) attitudes of hands respectively." I ~ h Dhylsi e Buddhas are a peculiar kind of Buddhas who are not required t o pass through the stage of a Bodhisatta. They were never anything less than a Buddha. They are always engaged in peaceful meditation, and they voluntarily abstain themselves from the act of creation. T o create is the work of their emanations, the Divine Bodhisattvas. As has been said already, the DhyHni Buddhas are five in number t o which a sixth Vajrasattva is sometimes added. The GuhyasamPja Tantra makes it clear that all the five D h y ~ n Buddhas i along with their female counterparts and the guardians of gates were known in circa 300 A. D. the time of the introduction of this new Tantra. That the five DhyHni Buddhas might have owed their origin t o the theory of the eternity of the five senses, seems t o be borne o u t by P passage in the Cittavisuddhiprakayana ' of the Tlntric Aryadeva. 1
1. JASB, 1896. p. 178.

48

BUDDHIST ICONOGRAPHY

But it may also be possible that the tive MudrHs which Buddha S'akyasihha made sacred by using on memorable occasions and which were constantly depicted in the Buddhistic figures of the different schools of art, gave rise to the five DhyZni Buddhas (Figs 17, 18). Advayavajra who flourished in the 11th century, has written in one of his short works that the five DhyZni Buddhas took their origin from the theory of the eternity of the five Skandhas (elements), that is to say, that the D h y ~ n Buddhas i represented the five primordial cosmic forces which are responsible for creation. Vajrasattva, the sixth Dhy'ani Buddha, who is generally regarded as t h e s t of theTiG!7%yiini ~ u d d h a d and is usually represented with the priestly symbols, the Vajra and the Ghagtz, is an embodiment of the five Skandhas collectively, and undoubtedly a later addition t o the pantheon of the Northern Buddhists. The DhyZni Buddhas are always represented as seated on a full blown lotus, and in the meditative pose with legs crossed, the right foot crossing over and in front of the left: with the soles of both feet turned upwards. The hand that rests on the lap is sometimes empty, but in most cases holds the bowl. The head is bare, the thick clustering curls radiate effulgence like a flame of fire The eyes are half-closed in-meditation showing the mind completely drawn inwards in perfect introspection. The dress consists of an undergarment reaching from the chest t o the knee, and secured by a scarf. The body is loosely covered by the habit of a monk, leaving only the right arm bare. The Dhyzni Buddhas are generally represented on the four sides of a Stlipa which is the symbol of the Buddhist Universe, facing the fodr cardinal points. Vairocana is the deity of the inner shrine and is, therefore, generally unrepresented. But exceptions t o this tule are Ey n o means rare. He is occasionally assigned a place between Ratnsambhava in the south and Akaobhya in the East. Independent shrines are also dedicated t o each of the Buddhas. , The five DhvHni Buddhas are given each a special recognition symbol , The symbols are extremely import and a colour. the female counterparts and the of iconographical stu=ecause has invariably display these symbols in s Amitiibha is given the Lotus as the iigdarii and his Rodhisatta P a d m p ~ ~ i must exhibit the Lotus symbol in order t o show that they are the emanations of Amit'abha. Similarly, all the other DhyIni Buddhas also have their own symbols and the name of the family is generally fixed from these symbols ; for instance, Amit'abha is the progenitor of the Lotus family, Aksobhya is the leader of the Vajra family, Ratnasarnbhava is the embodiment of the Jewel family, and so forth.

The Advayavajrasahgraha gave speci%l epithets to the Dhylni Buddhas t o indicate their families, although these special epithets are not known from any other source. According to this authority, Amitiibha is Padmakuli, Aksobhya is Vajrakuli, Vairocana is Tath~gatakuli,Ratnasambhava is Ratnakuli and Amoghasiddhi is Karmakuli. T h e Kula in the case of Vajrasattva is not given for the simple reason that he has neither family nor a special element. Next to symbols, the colour of the DhyHni Buddhas is important. Each DhyHni Buddha has a special colour and this colour is required t o be shown by all originating from each. Sometimes in classifying Buddhist deities there is n o other sure indication of the parental DhyHni Buddha except the colour. O n the ground of colour alone, and in the absence of positive mention of the parental Dhylni Buddhas, several deities have been classified in this book in this manner. A detailed description of the Dhylnl Buddhas along with their female counterparts and their offsprings, the Bodhisattvas, now follows with relevant information regarding their forms and their statues and paintings. Descriptive quotations from THntric works have been incorporated t o indicate the source of information wherever possible.l 1. AMITABHA. I I ,; Colour-Red Vehicle-Peacock , IBy far the most ancient among the Dhylni Buddhas is Amit'abha who is said t o reside in the Sukh'avati heaven in peaceful meditation. He presides over the current Kalpa (cycle) which is Bhadrakalpa. As a DhyZni Buddha he does not create. It is his Bodhisattva PadmapIr?i, also known as Ayalokiteivara, who is responsible for creation. The form of Amit'abha is described in the PaEclk'ara section of the Aci~a~avajrasarhgraha thus : "Pa4cimadale Ravima9dalopari rakta-Hrihk'arasambhiito raktavarqo Amitzbhah padmacihnah sam'idhimudrldharah samjiiHskandhasvahh~vo r ~ ~ a k a r i r akukr~tmakah h padmakuli pratyaveksaqHjiTiinalaksapo grisrnaFturlipahH mlarasaharirnh ravargPtml pradosavHn". ADV. p. .41 \"on the western petal on the disc of the sun there is Arnitlbhs of red colour originating from the red syllable Hrih. He has a lotus as his sign and he exhibits the SamHdhi MudrZi in his two hands. He is of the nature of the cosmic element of Sarhj5'. (name), is an embodiment of attachment and belongs to the Lotus family. He stands f o r the vital fluid, and is endowed with the Pratyaveksaq'i (looking after)

50

BUDDHIST ICONOGRAPHY

knowledge. He represents the sumder season and the acid taste. He presides over the group of letters beginning with Ta (cerebrals) and rules over the evening twilight". , When represented on the St'ipa, he always faces the West and the Nepalese Buddhists regard him as the fourth DhyHni Buddha. His two hands with palm open lie on his lap, one upon the other forming the Dhyiina % t h e meditative mudr8. His colour is red and his Viihana is a pair of peacocks. His recognition symbol is the Lotus. Images, sculptures, paintings and drawings of this description are found in all Buddhist countries including India, Tibet and China. \ One miniature painting of the Dhyiini Buddha is reproduced in Fig. 19. Besides the two-armed form various other forms are known of this and other DhyHni Buddhas. It may be remembered here that all the five miniatures reproduced here belong t o the collection of Dr. Evans-Wentz. t Amitiibha images are found in abundance in Tibet and in China '

PANDARA ..

Colour-Red

Synl bol-Lotus

( P ~ ~ d a r is i i also called Pii~daraviisini. According to a Dhyiina in she belongs to the Lotus - -..._.II. family . which is the Ad~a~avajrasahgraha also the family of the DhyHni Buddha Amitzbha. Piindar~ thus is tlieeipi;&al consort of AmitHbha. \Her form and nature are described as under :-I "V'ayavyiirh candramagdalopari Pii&kHrabijasambhiitii P'ipdaravHsini raktH raktavarpii padmacihng tejodhHtusvarupii padmakul~ riigaraktz." ADV. p. 43. "In the VIyu corner on the orb of the moon there is P~pda. raviisini originating from the ( red ) germ syllable PZ*. t She is red in colour and has the Padma ( lotus ) as her recognition symbol. She is the embodiment of the element of Fire. She belongs t o the Lotus family and is full of attachment." 1 Images and paintings of this goddess are rare. She is however know; in Nepal in paintings, and some of her s ~ u e t t e sare found in china? Fig 20 illustrates a Nepalese drawing of the goddess. 1 Piigdarg is represented in Tibet and China The illustrations of drawings of all the five Buddhaiaktis, Piipdarz and . - -. --

--

""

1. Gordon :ITL p. 27. Getty-GNB. pp. 38, 39. 2. Chrk :TLP, 11, pp. 32, 57, 142. 3. Getty : GNB p. 139. 1 , under the name of PiiI?darav~sinI, pp. 61, 106, 152,164. 4. Clark : TLP, 1

DHYANI AND MORTAL BUDDHAS

51

others are reproduced from Wright's Hi~tory of Nepal, Plate VI. These drawings are made by Nepalese painters.

PADMAPANI.
Colour-Red Symbol-Lotus
( lotus ) PadrnapZini is the Bodhisattva atrached t o the ~ a d i a family which is presided over by the D h y ~ n iBuddha Amitgbha whose spiritual consort is PHgdarFi or PHpdaravPsin'l. The Lotus is the symbol of this family and the colour assigned to this family is red. The Bodhisattva Padmap'ipi begets the red colour and a full-blown lotus as his symbol. Padmapiipi is fairly well represented in the Buddhist countries of the North including Tibet ' and China./ One of his images is illustrated in Fig. 21 '. 2. AKSOBHYA. Colour-Blue MudrH-Bhii~~ar6a Vehicle-Elephant Sym bol-Va jra .

Next in importance and antiquity is the Dhygni Buddha Aksobhya --.w h c m e n t i o n e d as a TathZiata in the smaller recension of- the ArnitHyus Sijtra which was translated into Chinese between A. D. 384 and 417. Ak~obhyais regarded as the Second Dhy'ini Buddha by the Nepalese Buddhists. His description appears almost everywhere in Tgntric literature. The PaEciikih-a section of the Advaya~ajrasah~raha perhaps gives the best description thus : ccS~ryamagdalastha-nila-HGhkPra~~i~panno dvibhuja ekamukho BhEspar6amudr~dhar~ vajraparyariki. ..... .. ..vijalnaskandhasvabhgvah ...... vajrakuli. .... . . 618irarnadhy8hnaka~uSruti.gk~8a6abda=cavaro Ak~obhya. vikuddhah". ADV. p. 40-41. Aksobhya originates from the blue syllable HE& which is placed on the orb of the sun. He is two-armed and one-faced, exhibits , , the ~ h T i s ~ a r 6 (a e a r t h - t o u c h i ~ ~ a n'*sits"ih'd ';he Vajraparyahka (ZGEiitinesCit) -pose. He represents the primordial cosmic element of VijZZna ( consciousness ). He is the embodiment of the Vajra family and represents the wlnter season, noon-time, pungent taste, faculty of hearing, the element of Ether and Sound and the Ca (palatal) group of lettersp.,

Images, sculptures, statuettes and paintings of Ak~obhyaof this description are t o be met with everywhere in Buddhist countries sented in the StGpa he always especially of the North.
1. Getty : GNB. pp. 61, 62 2. This and other illustrarions of the five Dhyini Bodhisattvas are in fullsize bronzes. All these are to be found in the U Vahal in Nepal.

1 -.

52

BUDDHIST ICONOGRAPHY

faces the East. His left hand rests on the lap while the right Tests o n i e f i g h t knee with the tips of the fingers touching the ground with palm drawn inwardly. His Vyhana is a pair of elephants and his recognition symbol is the Vajra or the thunderbolt. , -, , Various other forms of Aksobhya are found in T'intric works, some four-armed, some six-armed, some standing and some sitting, two-armed specimens are some single and some in ~ a b - y u m J S o m e reproduced here (Figs. 22, 23). #He is popular in Tibet and China ( ii ) Colour-Blue Arms-Eight Aksobhya is the principal deity in the Aksobhya Mapdala according to Piqdikrama in the Nispannayoggvali. He is described thus : "Aksobhyah k ~ s q oraudrah sitaraktasavyetaramuw savyakaraih kulacakrapadmiini vPmair-ghaqtii-Cintgmaqi-khadg'invibhrgqah svlbha6par~avajr~lihgitah". NSP. p. 5.' I "Aksobhya is blue in colour and is angry-looking. The colour of his right face is white and that of the left is red. He holds in his right hands the Vajra (family symbol), the discus and the lotus. In the three left hands he carries the bell, the Cintgmaqi jewel and the sword. With the two principal hands he embraces the PrajiiB sparAavajr'i by name".
a

21

Colour -Blue Symbol-Vajra 1 According t o a DhyZna in the Advayavajrasahgraha, M'imaki belongs t o the Vajra family and thus she is the spiritual consort of the DhyHni Buddha Aksobhya, the embodiment of the Vajrakula. )The description is given below : ' NairytyZm candramaqdalopari kysqa-MZ&-k'arabijasambiit~ MHmaki krsqavarqii kysqavajracihn'i abdhiitusvabhZv'i Vajrakul'i dve. saraktl". ADV. p. 43. '$On the orb of the Moon in the Nairfta corner there is MHmaki originating from the blue germ syllable MIA. She is blue in colour and has the blue Vajra as her recogntion symbol. She is the ernbodiment of the element of Water and she belongs t o the Vajra family. She is full of enmity". f M'imakT is very rarely represented. There are Nepalese drawings of this goddesslof which one specimen is reproduced here (Fig 24). She is known in Tibet and China.l 1

\I

MAMAKT

.--

1. Gordon : ITL, p. 104 ; Getty : GNB,pp. 36,37. 2 . CIark : TLP, 11, pp. 126, 129, 138, 244.

DHYANI AND MORTAL BUDDHAS

53

1 Colour-Blue Symbol-Vajra The Bodhisattva Vajrapiiqi with the Vajra symbol is the spiritual son of the DhyPni Buddha Akaobhya who is the progenitor of the Vajra family. His spiritual mother is M'imaki. Vajrap'igi, when represented, either stands or sits and carries usua&=a lotus on which is placed the family symbol of Vajra. Sometimes he holds the Vajra against the chest in one of his hands1 Some images of his are illustrated here (Figs. 25, 26, 27). He is known and widely represented in Tibet and China

'.I

3. VAIROCANA ' Mudr5-Dharmacakra i Colour-White VHhana-Dragon Symbol-Discus Vairocana is mentioned along wit11 the other Dhylni Buddhas in He is - regarded as the. the Guhysam'aja which is dated circa 300 A.D. --. oldest and the first DhyIni Buddha by the Nepalese Buddhists and ..----. Gis place is in the sanctum of the Stspa where he is the master of the whole temple and its contents. Naturally, therefore, he cannot be represented outside the Sttipa, but exception to this rule is frequently met with in the important stiipas of Nepal where he is assigned a place between Aksobhva in the East and Ratnasambhava in the South. His form is frequently described in E n t r i c works, but the description occuring in the Pailc5k"aa section of the Advayavajrasangraha is full. It is given below : 1 "Piirvadale candrarnagdalopari Orhklrajah Suklavarna-vairocan* Quklacakracihnah Bodhyahg?-mudr~dharah riipaskandhasvabh'ivfi mohasvariipo viyavibuddhah tath~igatakuli ~dariatvena patisthitah ~emanta~tuvibuddhah madhurarasasarirah Kavargavy5pi prabh'itasandhy8tmak~yasvabh'avah". ADV. p. 41 L'vairocana originates from the white syllable Orh placed on the orb of the moon on the eastern petal of the lotus and is white in colour. His recognition symbol is the white Discus. He exhibits the Bodhyafigi mudrH ar& represents the cosmic element O ? " R E (Form). ~~ He is of the 'riature of Moha (delusion) and is without bad companions, he is the embodiment of the Tathagata family, and is established as an embodiment of Adarba (ideal) knowledge. He represents the Hemanta season, the sweet taste, the Ka (guttural) group of letters, and the mornings and evenings of the day". \ ---

2.

1. Oetty : GNB. p. 5 1 Clark : TLP. 11. pp. 8, 11, 56, 197. 201.

54

BUDDHIST ICONOGRAPHY

When represented, Vairocana is white in colour, and his two hands are held against the chest with the tips of the thumb and forefinger of each hand united. His Vghana is a pair of Dragons o r gryphons and his recognition symbol is shown t o be the Cakra or the Disc. Instead of two, he may have many arms, and such descriptions are a h a met with in the ~ i ~ p a n n a ~ o ~ ~ Some v a l i .of / his two-armed images are reproduced here (Figs 28, 29).1 His images are found in Tibet ' and China

"

ii ) Faces-Four

Colour-White Arms-Eight

When Vairocana is four-faced and eight-armed he is called Vajrad h l t u and in this form he is described in the Vajradhzru Magdala of the NispannayogZvali with the following words : "Vairocano vajraparyahkena nisannah Aubhrah sita-pita-raktaharita-caturvaktro astabhujah savyavHm'ibhy8m dhytasavajrahodhyahg1mudro' parzbhygm dhytadhyiinamudro dakgiggbhyHm alisarn~l'iiat-adharo v ~ m ~ bH~ h y cakraclpa hhyt". NSP. p. 44. "Vairocana is seated in Vajraparyanka and is whlte in colour. HIS four faces show white, yellow, red and green colours. H e is eightarmed. With the two principal hands holding the Vajra he exhibits the Bodhyahgi or the Dharmacakra mudrz. With the second pair of hands he shows the DhyHna mudr'i. The two remaining right hands hold the rosary and the axrow, and with the two remaining left he carries the discus and the bow". VajradhBtu Buddha is mentioned in the Chinese collection l . The Chinese figure corresponds with the description glven here and is illustrated in Fig 30. LOCANA. Colour- White Arms-Two Symbol-Discus

The Dhylni Buddhas are all as,sociated with their Sakti o r female counterpart and an offspring o r Bqdhisattva. They fall into a separate group of five o r six if Vajra~attva is added. LocanH belongs t o the Tath'igata family to which the Dl~yPni Buddha Valrocana also belongs. Thus Locanl is the. hakti o r the female counterpart of the Dhylni a Buddha Vairocana. 1 A short Dhyznq in the Advayavajrasangraha describes her form thus : 1
1. Gordon : ITL. p. 5 1 ; Getty : GNB,, p. 34. 2. Clark .. TLP. 11, pp 12, 57. 3. Clark
:

TLP. Vol. 11, p. 115

DHYANI AND MORTAL BUDDHAS

55

/-

"Agneyakoqadale candramaqdalopari Sukla-Lo&-k'iraj~6uklavarp'a LocanH cakraecihnii prthvidhHtusvariipH TathHgatakulodbhav'i moharakt'a". ADV. p. 42 "On the disc of the moon on the petal in the Agni corner there is Locar% originating from the white germ syllable Lo&. j She is w l & g . in colour, bears the recognition symbol of the ,"-discus, and is the embodi. ment of the cosmic e l F e T b f 'EGth; She belongs-To the TathHgata .,_.____~ f a Yand - is steeped in deluiion". Paintings and sculptures of this goddess are rare. A Nepalese drawing of the goddess is reproduced here in Fig. 31 Locan'a is represented in Tibet. '

'

---.-.1,,.-,-

SAMANTABHADRA Colour- White Symbol-Cakra progenitors of the different families and they have each a spiritual consort and spiritual son. These spiritual sons are called the Bodhisattvas. The Bodhisattvas bear the same colour, and the same recognition symbol whether they sit or stand. The Bodhisattva with the Cakra symbol is Samantabhadra and is thus affiliated t o the DhayBni Buddha Vairocana with the Cakra symbol. He belongs to the Tath'agata ~ u l a . ' When re~resantgC1, _he eithey., stan.& --. erect o r sits in different sitting attitudes, such as Dhyzna, Lalita o r Bhadra poses on a full-blown lotus. He usually holds the stem of a lotus on which the family symbol, the Cakra, is shown. China :' and is frequently Samantabhadra is known in Tibet "nd represented in the Buddhist countries of the ~ o r t h . \ One of his images is illustrated here in Fig. 32.

( The DhyHni Buddhas are the

4. AMOGHASIDDHI.
Colour-Green Mudrz-Abhaya

\The Nepalese Buddhists consider him to be the Fifth Dhyzni Buddha in order. His left hand lies open on the lap and the right exhibits the Abhaya ( protection ) mudr'i. His form is described in many places in TZintric works l but the one appearing in the Ad~a~avajrasahgrahaappears to be the best and is quoted below : 4 "Uttaradale siiryamaqdalopari Sy~ma-Kharh.k~rajah Syiimavarqo'moghasiddhih vikva-vajra~ihn'ibha~amudr~dharah 'Samskfraskandha---.

1. Getty ; GNB, p. 139. 2. Getty ; GNB. p. 47.

3 .

Clark ; TLP, 1 1 , pp, 8, 9, 52, 133

56

BUDDHIST ICONOQRAPHY

svabh'ivo Var5fyturtipah [Karmakuli] pi&it'ip(&?)ahtiktaras'atmakah pavargavibuddhah ardhariitrasvabhPvah." ADV. p. 41-42 "Amoghasiddhi originates from the green syllable Kham placed on the orb of the sun on the northern petal of the lotus, and is of p e e n colour. His recognition symbol is the Vibvavajra o r the double thunderbdlt. He exhibits the'..bhaya ( protection ) r n u d r ~ and represents the Eosmic "element Sahskgra ( confor_ - - - of . -,*..-. riration ). He is the embodiment of the rainy season and is a demon by nature ; [ he belongs to the Karma family ] and he rep;l_esents the bitter taste, the Pa (labial) group of letters and the middle part of the night." When represented, his colour is green and he always faces the North. His VPhana is a pair of Garudas and his recognition symbol is the Viivavajra or the double conventional thunderbolt. Sometimes a serpent with seven hoods forms the background and an umbrella. In front of his shrine, therefore, is found a small square pit which is meant for the snake Statues and paintings of this DhyBni Buddha are found in large numbers in all Buddhist countries especially of the North. Some of them are reproduced here (Figs. 33, 34 ). ( He is popular in Tibet ' and China '{ Colour-Green Symbol-Utpala

also called Tiiriqi according to a DhyIna found in the Paiic'ik'ira section of the Adva~avajrasahgraha belongs to the Karma family to which evidently the DhyHni Buddha Amoghasiddhi is also associated. The green colour of TSrL also suggest: that she is the spiritual consort of Amoghasiddhi of green colour Her form and nature are given in the following passage : "Ai!+'inyiimcandramaqdalopari kanakahy'ima-T5m ksraparigatii Tgrigi Qy'amavarqP syImanilotpalacihnP viiyudh5tusvarEpH Karrnakul~ ir~y~rakt~." ADV. p. 43. "In the I6'ina corner on the orb of the moon there is T'irigi originating from the germ syllable THh of golden green colour Her recogniti,o.n-- symbol is a green night lotus. She is the embodiment of the e l e m e s of Aii.- ..- She "belongs t b e " P = m a family and is full of jealousy." - -- - . 1, Gordon : ITL, p. 27 , Gctty : GNB. p. 42. 2. Clark : TLP, 11, pp. 32, 56, 115, 126, 128, 138, 144.

l THrS

Fig. 12
(

AI)I-BUDDHA, VAJRADHARA. From a Nepalese Paintir~g )

Fig. 13 Vajradhara ( B'rrocla Museum )

Fig. 1 4 Vajradl~dra Yah-yum ( Nrp'~l )

Fig. 15 Vajradhara Yab-yum ( Side View )

Fig. 16 Vajradhara (Six-armed) ( Baroda Museum )

Fig. 18 Buddha in d~fferentMudrHs ( lava )

Fig. 19 AmitZblln.

Fig. 20 P?i?darz.

Fig. 21 PadmapPni ( Nepal )

Fig. 22 Aksobhya.

Fig. 45

Seven Mortal Buddhai with Maitreya ( Indian Museunl )

Fig 46 VajrBsana ( Irldinn hfrrseum

DHYANI AND MORTAL BUDDHAS

73

The same remarks apply t o her images and paintings which are rare in India. One specimen of her images is illustrated here (Fig. 35 ). In Tibet' and China2 she is widely known.

Colour-Green

Symbol-ViBvavajra.

Viivap'i~i,as the name indicates, is the holder of the ViBvavajra or the double thunderbolt which is the symbol of the Dhyzni Buddha Amoghasiddhi, whose spiritual consort is TiirH or T i i r i ~ i . They all helong to what is called the Karmakula to which the green colour is assigned. Vi6vap~r;li thus is green in colour and shows the Vikvavajra on a lotus. When represented, he may stand erect or sit in different sitting postures. His images are sbmetimes found, and one sfiecimcn is -illustrated here ( Fig 36 ). Viivapiini is known in Tibet "

5. RATNASAMBHAVA.
Colour-Yellow VHhana-Lion Mudrii-Var ada Symbol-Jewel

The Nepalese Buddh~stsregard him as the Third DhjZni Buddhr in order, and the earliest mention of his name may be found in the Guhyasamiija whlch is believed t o have been composed circa 300 A. IJ. He is the progenitor of the Katnakula. and is described widely in the Buddhist Tiintric works. Out of all descriptions the one given in the PaEciikiira section of the AJvayavajrasaAgraha is perl~aps the hest f Here Ratnasambhava is described as under :- j "Dak~~nadale siiryamaqdalopari TrH&-k'irajah pTta\.arqo Ratnasambhavo ratnacilinavaradam1idr5dharo vedanHsval~h5va~pi~unabarir:11~ raktiitmako ratnakuli samatiiiiiiinavln vasantarturiipo lavagabarirah Tavarg vyiipi trtlyacaturtllaprahar~tmakah". ADV, p. 41. \"Ratnasambhava originates from the yellow syllable Triirh placed o n the orb of the sun on the soothern petal./ He.-",is yellow in c ~ l o u r . his recognition symhul is the jewel an$ he exhibits the Varada (giftbesrawing) MudA. He represents the cosmic element d ~ e d a n g (sensation) and is t h e e;nbodinlent of slander (pihuna). :+I presides over the blood in the human system, and belongs t o the Ratna (jewel) family of deities. He possesses the knowledge of Samat'i (equality) and presides over the spring season, the saline taste, the Ta (dental) group of letters and the third and fourth parts of the day and night". \
C

-- - .

-A

1. G e t t y : GNB, p. 127 3. Getry: GNB, p. 101

Clark: TLP, 11, pp. 60, 107, 171.

10

74

BUDDHIST ICONOGRAPHY

When represented, his colour is yellow, and he always faces the - '. - - ...-. South. His left hand rests on the lap with -Cpen-pal%, and the rig3t 'sxTi't;its the Varada MudrB o r the gift bestowing attitude. His VHhana is a pair of fions, and therepebgnition symbol is the Jewel (RatnacchatH). He may have more arms than two and in such forms he is described i n 3 2 NiipannayogBval~.' SucK'fi5rms a ? T also represFnted ih a r t . m m e o f hSs rwo.armed foiiiis are only illustrated here . (Figs 37, 3%).1He is widely known and represented in Tibet and China

'.I

\!
;:

VAJ RADHATVISVARI Colour-Yellow Symbol-Jewel

Vajradh~tvIivari,according to a statement in the Ad~a~avajrasarhgraha is the deity of the centre surrounded by the four Ruddhaiaktis, kocan'a, THrFi, PiiqdarB, and MHmaki. She is said t o be the embodiment of the highest truth in Mahlylna Buddhism which is named differently as Tathatii, StinyayB, I'rajE8piiramitH and so forth :I. VajradhHt\~ibvarithus can be taken as the spiritual consort of Ratnasambhavn only, with the yellow colour and the jewel as symbol. Images and paintings of this deity arc still rarer than those of the other Buddhnhktis. O n e of her Nepalese paintings is iIlustrated here (Fig 39)./She is known in Tiber

I!
,

RATNAPANI
Colour-Y ellow Symbol-Jewel

RatnapHgi, as the name signifies, belongs t o the Ratnakula which is presided over by the DhyBni Buddha Ratnasambhava, whose spiritual consort is Vajradh'itv?Qvari. Ratnap'iqi is of the same nature as the Dhv'ani Buddha and when represented, he either in digerent* sitting postures. He K-hi' stands erect, .. . or . sits . , -- .---stalk of a lotus o n which appears the Kula syfr;bol ,.wh;i&,i.s ..., - > , . here-* Jewel (Ratnacchat'i). He is represented sparingly in the Buddliist ~ o u n t r i e sof"'the North, and a metal image of his found in Nepal is illustrated here (Fig 40). Ratnap'ani is known and represented in Tibet 5 . 6. VAJRASATTVA.
* .
I.

4.

Colour-White

Symbols-Vajra

and GhaqyS

(Vnjrasattva, t h ~ Sixth DhyBni Buddha, is regarded by the Nepal Buddhists as the priest of the Five Dhy'ani Buddhas. He is not repre.-

. a - -1. Getty : GNB, p. 37. 3* ADV, p. 43. 5. Getty ; GNB, p 53, 54

. -

- ----- ----2. Clerk :TLP, 11, pp. 32, 57 119, 126. 4. Getty : ONE, p. 139.

DHYANI AND MORTAL BUDDHAS

75

sented in the Stiipa like the other Dhygni Buddhas, but independent shrines are dedicated t o his worship. His worship is always performed in secret and is not open t o those who are not initiated into the mysteries of Vajrayzna. Vajrasattva is represenred in two forms, single and Yub-yum. The notable feature of this DhyBni Buddha is that he wears all ornaments, rich dress and a crown instead of the poor dress of the other DhyHni Buddhas consisting of three rags (trichara). Thus Vajrasattva appears more t o be a Bodhisattva than a DhyHni Buddha. He sits cross-legged in the meditative pose like the other Dhy'ini Buddhas, and exhibits n o special MudrE. He carries the Vajra in his right hand with palm upwards against the chest and the GhaqtP (Bell) in the left hand resting against the left thigh. His form is repeatedly described in THntric works. The description given in the Advayavajrasahgraha is typical and is quoted below :

"Vairosattvastu Hfi61kBrajanm'. Quklo dviblluja ekavaktro vajravajraghaptgdharo K5sPyarasa&arirah Aarad~tuviQuddho YaralavEdyItma. kah ardhar'itratah prabhltak'ilaparyanro DharmailhZtuparan~rnB".

ADV, p. 41.
"Vajrasattva originates from the syllable HGM and is white in colour. He is two-armed and one-faced and hol& 'in' his two hinds the ~aj;; and Vaira-marked Ghanri. ( H e represents the astringent taste, the Autumn season, the letters of the alphabet ya, ra, la, and va, and the part of the night from midnight to daybreak. His second name is DharmadhBtuJ'. \
'

When represented singly, he is exhibited before the public. The Yab-yum form, , is . generalIy,.ke~t,secreti , ,.. ..When represented in Yah61%; -he is cIosely associated with his' Sakti who is generally known as Vajrasattv~tmik5. He carries the Vajra and the Ghapt'. in the same manner as when single, but the Sakti holds the Kartri in the right hand and the Kap'ila in the left (Figs. 41, 42). 1
[ H e is represented widely in all Buddhist countries

of the North.

Some of his single and Yab-yum forms are illustrated here (Figs. 43,44). 'His white colour suggests that his spiritual sire is Vairocana of white colour. His position amongst the DhyHni Budd as is anomalous. Vajrasattva is widely represented in Tibet and China

1. Gctty : GNB, p. 6

2.' Clark : TLP. 11. p. 138.

BUDDHIST ICONOGRAPHY

Colour-White Arms-Two

Symbol-Kartri and Kap'ala

As all the Dhylni Buddhas have a gakti each attached t o them, even so the Sixth Dhy'ini Buddha Vajrasattva also can claim a gakti. VajrasattvHtrnikZi thus is the spiritual consort of the Sixth T'anDhy'ani Buddha Vajrasattva. Her Dhyiina is rarely fou,nd,,in,, tric literature, but her form seen- from the images where she is in close embrace with Vajrasattva in Yab-yum. In suchcases she carries the Kartri in the right hand and KapBla in the left. j

Colour-White

Symbol-Ghar;lt~

The Sixth DhyEni Buddha Vajrasattva and his consort VajrasattvHtmikH claim GhaqtBpaqi as their Bodhisattva. The recognition symbol of this Bodhisattva is the GhavtH or the Bell Like his spiritual sire he must be white in colour. GhantEp'agi is rarely represented, and his images are very rare in Buddhist countries.

Both the MahHyEnists and the Hinay'inists hold thar a Buddha is one who is endowed with the thirty-two major and eighty minor auspicious marks known as "external characteristics" as enumerated in the Dharmasadgraha, attributed to NHgBrjuna. He must have in addition, three kinds of mental characteristics, namely, the ten Balas or forces, eighteen AveQika Dharmas or peculiar properties, and the four Vai6aradyas o r points of self-confidence o r assurance. The Hinaylnists, even in their earlier stages, recognised e n t p c , four bygone Buddhas, each having a peculiar Bodhi tree. b fie Mahly'anists also give several lists, though not systematically and = to different names have been recovered. The last seven 'Jath'igatas are well known, and are designated by the Mah'iy'ini. sts as -~ortal Buddhas. ~ h e s eare, VipaSyin, Sikhi, ViivabhG, Krakucchanda, Kanakamuni, Kasyapa and S ~ i k ~ a s i h h a . The historicity of these Buddhas is still uncertain excepting of course that of the last, but there are good grounds for thinking that Kanakarnuni and Krakucchanda historical aecsonages. Attempts have been made t o establish a fantastic conn~ction betieen the last f i & ' ~ o r t a l Buddhas and th=five DhyHni Buddhas and their Bodhisattvas by holding that the Divine Bodhisattvas

., ,,,

DHYANI AND MORTAL BUDDHAS

77

discharge their duties of creation through the agency of the five Mbrtal The theory may b e current in Tibet ; it may ..-.-. . Buddha!. , ingeniously establish a new connection and may find strong support from scholars, but it is against all T'intric traditions of India. When represented, the last seven Mortal Buddhas appear all alike they are of one colour and one form, usually sitting cross-legged, with the right hand disposed in the q i i m i e p a r i a Mudr'i &s&.- - touching attitude), which is the MudEJ+peculiar t o Aksobhya and a ; a matter of fact, it i s T p o s s i b l e t o identify a sculpture of the latter unless it is coloured or if n o other identification mark is present. In paintings, the Mortal Buddhas have usually a yellow or golden complexion. The only possible chance of identifying them is when they appear in groups of seven.' Sometimes they are represented as standing, in which case they appear under a distinguishing Bodhi Tree and with a distinguishing MudrB. The Indian Museum image No. B. G, 83 (Fig. 45) is an image of this kind. It may be noted, however, that Maitreya, the future Buddha, has been added to this group.

;\

-. . 1 . Colossal images of the Seven Mortal Buddhas representing them with the Bhc. rnigarda mudrl appear in one of cave temples at Ellora. Fergusaon and Burgese: Cave Templu of India, p. 383.
> -

Gautama, the last orf the group of the seven Mortal Buddhas, is widely represented both in sculptures and in paintings. His images date from a period anterior t o the birth of Christ and the fascination of Indian sculptors for Buddha images seems never t o have diminished. Innumerable images of Buddha in innumerable attitudes and with. innumerable expressions have been discovered in India, as in those other countries which came under the influence of Buddhism. Images of Buddha, therefore, are an independent study by themselves. The S'idhanamzl'. furnishes us with several descriptions of Buddha Vajr'isana sitting in the Vajraparyahka attitude, with his right hand displaying the BhiimisparQa pose. The DhyHna, as given in one of the S'idhana is quoted below : "Savyakarena Bhiispariamudrah utsarigasthitHvasavyahastam kHsZya. vastr'ivagugthanaih nilagauraraktaiyamacatur-M5ropari viiva.padmavaj. r'lvasthitaih ;'antam lak~apavya?ijanenHnvitagHtra&. Tasya Bhagavato d a k ~ i g e Maitreya-Bodhisattvah gauram dvibhuja& jat'imukutinam savyakarepa c'imararatnadh'iripah avasavyena n'igake6'irapuspaccha+ dh'arigam, Tath'i vlmato Lokeivarrah iuklafi daksipakarega c'ama-

78

.BUDDHIST ICONOGRAPHY

r'idharafi vlmakareqa kamaladhararh BhagavanmukhBvlokanaprau ca tau bh'avayet. Iti VajrBsanasBdhanarh samBptam" Siidhanam^al^a, p. 24. "The worshipper should meditate himself as (VajrHsana) who displays the Bh'iisparba Mudr5 in his right hand while the left rests on the lap. He is dressed in red garments and sits on the Vajra* marked double lotus placed on the four M'iras of blue, white, red and green colour. He is peaceful in appearance and his body is endowed with all the major and minor auspicious marks. "To the right of the God is Maitreya Bodhisattva who is white, two-armed, and wears the JatHmukuta (crown of matted hair), and carries the chowrie-Jewel in the right hand, and the N'agakeiara flower in the left. "Similarly, t o the left of the principal God is Lokeivara of white complexion, carrying in his right hand the chowrie and the lotus in the left. "These two gods should be meditated upor) as looking towards the face of the (principal) god "Here ends the Szdhana for Vajrtisana" Images of this divinity are found in o.r~erwhelming numbers in almost all Buddhist centres in India. The Indian Museum image (Fig. 46) is an exampk of this form of Gautama. Buddha Szkyasihha was conceived in another form which was called by the name of Durgdtipari60dhana. This particular form of S^akyas i ~ h is a described in the Nispannayog5valI of AbhayPkara Gupta.

......

Colour-Yellow Arms-Two

Face-One MudrH-Dharamacakra

~ i i k ~ a s i k hthe a , embodiment of Mahzvairocana, is the principal deity He has been described in a short sentence : "Cakrasya vedy'im vi.4vasarojasthasifihopari bri-$iikyasifiho Bhagav'an Mah'avairocanah suvarqavarqo dhrtadharmacakramudrah, NSP, p. 66. "On the centre of the wheel o n a lion placed on a double lotus sits 6 4iikyasihha, the embodiment of Mahiivairocana of golden the god S yellow colour, dispalying in his two hands the Dharmacakra Mudr'i". Nepalese paintings of the deity are available, but sculptures are not recorded anywhere, , .:-. .
in the D ~ r g a t i ~ a r i i o d h a n Macdala a of the Nigpannayog'avali.

DHYANI AND MORTAL BUDDHAS

79

Like the Dhy'ani Buddhas, the Mortal Buddhas have also their respective Buddhakaktis through whom they obtained the seven Mortal Bodhisattvas. The Buddhakaktis are :I. Vipaiyanti 4. Kakudvati 5. Kar;l$ham'ilini 2. Sikhirn'alini 3. Vikvadharii 6. MahSdhar'i 7. Yasodhar'i Representation of these are not met with anywhere in Indla. Only one Staruette of the last Yaiodhar'i is found in China '. MORTAL BODHISATTVAS They were brought into existence by their respective Mortal Buddhas and their Saktis. They are :-

1. M a h B i n a t i 4. S a k a m a r i g a l a 2. R a t n a d h a r a 5. K a n a k a r i i j a 3. A k ~ L a ~ a i i j a 6. D h a r m a d h a r a 7. A n a n d a "
The names of YnsodharH and Ananda are familiar namrs, the former being the name of hkyasihha's wife and thc latter that of his favourite disciple. The relation between the Morral Buddllas, their BuddhaSaktis and the Bodhisattvas may be thus shown in a tabular form :. - - -- -- -- . . - -. - -- .- -.- Mortal Mortal Mortal Bodhisattva Buddha Ruddhasakti VipaQyi Sikh! Vi ivabhii Krakucchanda Kanakamuni Kaiyapa $5kyasifiha Vipasyant7 kikhimzlini VisvadharH Kakudvati Ka~thamdini Mahidhar'i Ya kodhar'i Mah'imati Ratnadhara Ak'i4aga%ja Sakarnaligala KanakarHja Dharmadhara nanda
S tches

1. Clark : TLP, 11, p, 171. For the names of the Buddhadaktis see from Nipal, Vo. If. 163 and 185 ff. 2. Oldfield : Sketches from Nipal,'Vol. 11. pp. 163 and 185

80

BUDDHIST ICONOGRAPHY

MAITREYA, THE FUTURE BUDDHA. It would not be out of place to mention here the name of Maitreya who partakes of the nature of a Mortal Buddha, though he is not a Buddha yet. He is supposed to be passing the life of a Bodhisattva in the Tusita heaven, preparatory to his descent to earth in human form. It is said that he will come to earth full 4000 years after the disappearance of Buddha Gautama for the deliverance of all sentient beings. Asanga is said t o have visited Maitreya in the Tusita heaven and to have been initiated by him into the mysteries of Tantra. He is the only Bodhisattva who is worshipped alike by the HInayZnists and the MahByZnists and his images can be traced from the Gandhara School down to the present time.' Hiuen Tsang records the existence of Maitreya in UdyZna (U-chang-na). The sculptor, in order to ascertain his correct form, is believed to have gone several times to the Tusita heaven before carving it. Maitreya may be represented as a standing figure, adorned with rich ornaments and holding in his right hand the stalk of a lotus He is distinguished from PadmapZvi mainly by the figure of a small Caitya which he bears on his crown. Getty remarks that ln Indian sculpture he shows in his hands the usual DharmacakramudrH ; in the left there is a vase, round, oval or pointed, or there may be the stems of flowers which support his two characteristic symbols, the vase and the wheel. Maitreya may also be represented seated as a Buddha, with legs either interlacked or dangling down. His cc;lrdur is yellow, and his images sometimes bear the figures of tlie five DhyHni Buddhas, on the aureole behind. The small Caitya on the crown of Maitreya is said to refer to the belief that a Stiipa in the mount Kukkuyapiida near Bodh-Gaya covers a spot where Kaiyapa Buddha is lying. When Maitreya would descend t o earth he would go direct to the spot, which would open by magic, and receive from KaQyapa the garments of a Buddha. The Siidhanamiil'i furnishes us with only one description of Maitreya as a principal divinity and several others in which he is represented as a minor god. When as a minor god, he accompanies others, he generally carries the chowrie in the right hand and the NZgakekara flower in the left. The SHdhana describing the procedure of his worship has DhyPna :

DHYANl AND MORTAL BUDDHAS

81

viQvakamalasthitah trimukhah caturbhujam k ~ s n a Q u k l a d a k ~ i q a v I m a m u k suvarqaqauram ha sattvaparyahkinah ~~5khyZnamudrHdharakaradvayam aparadaksi9av~mabhujHbhyg& v a r a d a p ~ ~ ~ i t a n 8 ~ a k e 6 a r a m a i i j a r i d h a r a h ' n ~ n g l a h k g radharam Ztrniinah MaitreyarGpah Siambya.. . . .. . Maitreyasldhanam. SiidhanamHll, p. 560.

.........Pita'Maih'kgraparigatarh

.. .

"The worshipper should meditate himse!f as Maitreya who originates from the yellow germ syllable "Maim" . H e is three-faced HIS right and left faces respectively three-eyed, and four-armed. are of blue and white colour. His complexion is yellow like that of gold. H e sits in the Paryanka attitude o n an animal. His two hands are engaged in exhibiting the VyBkhyBna MudrZ and he shows in his other right and left hands the Varada Mudrg and a full-blown N~gakeQara flower with its branches He is decked in many ornaments. Meditating thus .. This is the Siidhana for Maitreya."

A Nepalese drawing (Fig. 47) represents 'this form of Maitreya which follows the DhyIna in all tdetails except the vehicle. Maitreya is popular in Tibet1 and his images are found in abundance in China'.

1. Gordon : ITL,pp. 104, 107; Getty : GNB,pp. 22, 23. 2. Clark :TLP, 1 1 . pp. 7, 9, 59, 143, 195.

11

CHAPTER
THE BODHISATTVAS

I The term Bodhisattva consists of two words Bodhl (enlightenment) and Sattva (essence) and they represent a class of deities who derive thrir origin from the five DhYlni Buddhas rrprescnting the five primordial elements. The Bodhisattvas 'thus connote all the v a l e deities of the Buddhist pantheon. while their female counterparts8are known by the generic natnc of iaktis. These S a ~ t i ssl~ould 1-c dist~ngu~shed from the Ruddhahaktis who are f l ~ e queens of the five Dhyani DudJhat.. The Rodhisartvas are sometimes represented in the company ot their E t i s who are seated either hes~de them o r on their laps or in rlosr embrace. Altllough all the male deitlcs of the Huddl~ist pantheon can be called the Bodhisattvas, they are rlrvcrtheless separated in iconographic studies as an independent group. Thus, in thc ~ i ~ ~ a n n a y o g ~ v a l i , three distinct groups of sixteen Dodllisattvas are mentioned and it is necessary t o refer to them here :)long with thrir iconography as found in this excellent book. Amongst the Bodhisattvas, ~valokitehvara a n d M ~ E i r I - a r the e chiefibd have wide popularity not only in this co.~ntry,but also - -. in pther Buddhist countries such as Tibet. China and As the images of Avalokiteivara and Maiijuh-i are found in Iapa;r d r t ese countries in large numbers and in a wide variety of forms they require obviously a separate treatment in subsequent chapters. Gupta menThe N i ~ p a n n a ~ o ~ i i vof a l i M a h S ~ a ~ d i tAbhayHkarn a tions altogether I hree sets1 of sixteen Bodhisattvas. Some names occur in one o r two or all the three lists, which when snhlysed, give an account of twenty-five Bodhisattvas in all. These three lists are headed i n one by Samantabhadra and in two others by Maitre~a, the Future Buddha. Images of many of these Bodhisattvas are found i n India, hut their number is the largest in China as would be seen in the Two Lgmuistrc Pantheons by Walter Eugene Clark. The three lists as given by Abha~iikara Gupta are stated below for facility of comparison, before the Bodhisattvas are actually described with the help of the Dby'at~as. List No. 1 Samantabhadra, Aksavamati, Ksirigarbha, ~ k ~ Q a ~ a r l h a , GanganagaEja, Ratnap%?i, Siigaramati, Vojragarbha, Aralokire6vara, Mt~h'asth'amaprii~ta. Chandraprabha, J~liniprabha, AmicapraFha, Pratibhiinliiiya, S a t v t i S ~ k a t a m o n i r ~ h ~ t a m a r i , Sarvanivaraqaviskamhhin. - . ---. --.I. NSP, pp. 46,50,67.

THE RODHISATTVAS

83

List No. 2 Maitreya, Maiijuhri, Gandhahasti, JEZnaketu, Bhadrapiila, S'igaramati, Aksayamati, PratibhBnakiTta, MahZsthZmaprZpta, Sarv'ipgyaiijaha, SarvaQokatamonirgh~tamati, Jzliniprabha, Candraprabha, Amitaprabha, Guganagaiija, Sarvanivara~aviskainbhin. List No. 3 Maitreya, Amoghadarbin, Apzyaiijaha-S:~rvipz~aEjaha, SarvaiokatarnonirghZtamati, Gandhahasti, Surahgama, Gaganagazja, JZSnaketu, Amitaprabha, Cnndraprabha, BhadrapBla. Jdiniprabha, Vajragarbha, Aksayamati, Pratibhiinakilta, Samanta hadra. 1. SAMANTABHADRA' Colour-Yellow and Blue

1
1

Symbol- Jewel

[ The Rodhisattva Samantabhaura (Universal Goodness) is important as the leader o f the sixteen Rodhisattvas and thus is not a whit less important than the Future Buddha Maizeya who is at the head of the two other lists of Bodhisattvas. Samanrabhadra's popularity is further exemplified by freqtrent mention of his name in the NispannayogBval?. Samantabhadra is popular both in Tibet and China where his images are frequent and numerous. 1He is described several times in the NispannayogEvali and in several places his form is identical with that of his sire. But there are places where his independent forms are described which are important for the purpose of iconographic studies. These are mentioned here./ In the DharmadhiituvBg'ikvara Mapdala Samantabhadra is described as foIlows : Samantebhadrah pitah savyena varado vBmena utpalakhadgadharah. NSP, p. 58. "Samantabhadra is yellow in colour, shows the Varada (boon) in the right Land and holds o n the left the sword on lotus." \ 1 In the Durgatipariiodhana Mar;ldala he is dcscribed as :/ Samantabhadrnh suvarpavarno ratnamaSjaribhyddak~ipap3~ih katisthav'imamus~i h. NSP, p. 67. "Samantahhadra is of golden colour, holds a bunch of jewels in the right hand;' while the left rests on the hip.',,' ' 1 Once again Samantabhadra is described in the K'ilacakra Maqdala. There he is described as : 1 Samantabhadrah nilah savyairvajrakartriparaLiin vZmair-ghanf'ae kap'ila-Brahma6ir~hsi d a d h ~ n a h . Brahmasirahsth~ne utpalam v'i. Dharmavajr'isam~~anno'~arh. NSP, p. 85. ' Sumantabhadra is blue in colour and holds in his three right hands the Vajra, the Kartri and the P a r a h , and in the three left hands the
- --. .. 1. For a full description see Getty : GNB, p. 47, f.

84

BUDDHIST ICONOGRAPHY

G h a g a , the KapHla and the severed head of BrahmH. Sometimes the head of Brahm'i is repraced by the Utpala. He is embraced by his consort DharmavajrH." 1 I Although images of Samantabhadra are not rare in India, the bulk of his images are t o be met with in China. At least five images of the Bodhisattva are found in Peiping alone. 1 ' Fig. 48 is a Nepalese drawing of the deity. 1 Samantabhadra is popular in the SBdhanamPlii, although only one description of his is available. In the LokanHtha S ~ d h a n ahe is described as : / Samantabhadrah pitiibho ratnotpalavarapradah Siidhanamd~,p. 49 "Samantabhadra is of yellowish colour, holds the jewel on a lotus and exhibits the Varada Mudrg in his two hands." / ,

2.

AKSAYAMATI Symbol-Sword or Jar

l ~ h.-... e second Bodhisattva is Aksayarnati (Indestructible m i d ) and his name is widelp known in the Buddhist ritualistic literature. Aksa;;mati is described thrice in the ~ i ~ p & n a ~ o ~ i i " 4 ali. In the MaEjuvajra Magdala Aksayamati is described as : Aksayamatih suvargavargo vZmamustim hrdyavasthzpya savyena varadamudrah. NSP, p. 50. I &'Aksyamati is of golden complexion, and shows the clenched left hand against the chest, and exhibits the Varada mudrH in the right." I I In the Dharmadhiituv~~i&vara Magcjala, he is described somewhat differently as :1 Aksayamatih pitah savyena khadgam v5menaabhayakamalam bi bharti. NSP, p 58. / "Aksayamati is yellow in colour and flourishes th,e sword in the right hand, while h e exhibits in the left hand the Abhaya mudrP and the Kamala." 1 A third description of this Bodhisattva occursbin the Durgati. pariiodhana Maqdala and he is described in the following words : Aksayamatih sito k s t ~ b h y ' a r h jii'in'imTtakala6adhPrI NSP, p. 67. "Aksayamati is white in colour and with his two hands holds the bowl containing the nectar of knowledge." . . . -- -S C -

1. Chrk : TLP, 1 1 , pp. 8, 9 , 52, 133, 274.

THE BODHISATTVAS

85

1 A Chinese statuette1 depicts him in the form of the Dhy'ini Buddha Amoghasiddhi with the right hand raised against the chest in the Abhayamudr'i and the left resting o n the l a p , l ~ i g .49 is a Nepalese drawing of the deity. Fig. 50 illustrates a Chinese specimen.
3. KSITIGARBHA
Colour-Yellow or Green

"
Tree on Jar

Symbol-Kalpa

The third Bodhisattva Ksitigarbha (matrix of the earth) is rarely represented. He is described twice in the Ni,spannayog'lvali. In one, he is identical with his sire Vairocana with the Cakra symbol. In another, Ksitigarbha is described in the following words : Ksitigarbhah pito daksigena krtabhCispar&o viimenzbjastha-kalpadrumadharah. NSP, p. 58. "Ksitigarbha is yellow in colour, shows the earth-touching m u d 6 in the right hand, and a lotus with the wish-giving tree (kalpav~ksa)in the left." Ksitigarbha is iliustrated four times in the Peiping collection in , different f o r m s . V e is also found in Tibet.' Fig. 51 is a Nepalese drawing of the deity. Under Lokaniitha SBdhana in the Sgdhanamllg a further description occurs of the Bodhisattva Ksitigarbha. Here he is described in verse as : Ksitigarbhah &y'lmavarr?ahkalaeam c'ihhayalil tath'l. SPdhanan1El5, p. 49. "K,sitigarbha is of green colour, and shows in his two hands the jar and the Abhaya mudr'l."

Colour-Green

Symbol-Jewel

The Bodhisattva Ak'14agarbha (essence of ether) is also known by the name of Khagarbha, the words "Kha" and "Ak'i6a" signify the same thing "Sky" A k ~ B a ~ a r b his a the Bodhisattva who lives in the womb of the sky. A k ~ B a ~ a r b his a described i n the Dharmadh'ituv~~iBvara Maqdala of the Nispannayog~vali. His form is depicted in the following
.

-seq.

1. Clark : TLP, 11. p. 132. 2. For further information see Getty : GNB. p. 90, et. 3. Clark : TLP, 1 1 , pp. 8. 9,56, 274. 4. Gordon : ITL,p. 60. 5. For futher information see Getty : GNB, p. 101.

86

BUDDHIST ICONOGRAPHY

words : Ak5;agarbhah iy'imab savyena sarvaratnavars? 1 l m t n a cintzmapibhyt. NSP, p 58. " A k ~ i a ~ a r b h is a green in complexion, with the right hands he showers all k ~ n dof jewels and with the left, he holds the CintZmaqi (wlsh-giving) jewel." f A k ~ i a ~ a r b happear a in the two Altogether four illustrations o Lamnistic Pantheons. In China, he is represented in three dihtinct forms.' Two statuettes show the lotus in the right hand and tlle Varada mudrP in the left. The third is three-faced atid six-armed while the f o a t h shows the jewel in the r ~ g h thand and the Varada mudr6 with the jcwel in the left. Fig. 52 is a Ncpalcse drawing of the deitv. A k ~ B s p r h h ais recognized by his second name of Khagarhlla in the Sa l l r ~ n m ~ l i and i under the Lokaniitha Siidhana his form is descril~cd a s follows : Khagdrk h o nabha$8yamlbho cintPmaqivarapradah. Siidhanamdz, p. 49 "Khagarbha is green as the sky, holds the CintZmaqi jcwel in' one hand and exhibits the Varada mudrii in the other."

5. GAGANAGAGJA Colour-Yellow or Red Svmhol-KaIpa

J
Tree

1 The Bodhisattva GaganagaEja is described four times in the

NiFpannayog~vali. His colour is yellow showing his affiliation to Ratnasamb11av;t of yellow colour with the Varada mudrii and the jewel. In the MaEiuvajra Mapdala he is described as :l GaganagaEjah suvarpavarqo vBme vajramusrirh garvena kafyBr5 nyasya dak~i9aI.n gagane bhriimayan. NSP, p. 50.

I "Gaganagasja is of golden yellow colour. In the left h e hoIds the Vajra with in clcnched hand which is proudly placed o n the hip, while the right is flourished upwards in the sky." 4 I The DharrnadhBtu\~ii~iivara Magdala describes him with the following words : 1 Gaganagazjah pitah savyena CintPmaqibh~d-viimena hhadraghat8. valarn birakalpavrksah dadhiinah. NSP, p. 58. I "GaganagaHja is yellow and shows the CintHma~ijewel in the right: hand. In the left, he holds the auspicious bowl from which / is suspended a Kalpa (wish-giving) tree." I

1. Clark : TLP, 1 1 . pp. 8, 9, 56, 273. Also N i p . introduction p 25.

THE BODHIL;..\TIV.AS

81

( A thitcl description of Gaganagazja occurs in the Durgatipari&&an

I M a ~ a a l a . There his form is as under : 1 C;aganag;~n'jah sitapTtah savyena padmasthadP>armaCai?jac1hariih kayleth~viimahastah. NSP, p. 67 "GLlganagaiij;l is whitish in cornplexicm. Hc lzolds the Dilarruagan'ja on lotus in the right hand, while his left hand rests on tlie i,,p." 1 Gananngaiiia is also represented in the same form as his sire Rattlasun~bh:~\ a of yeilow colour. In the Two Lannaistic I'anthcolls Gagana. gniija occurs only once a n J he is of the hame form as IS sire Kasnnsambhavn.1 Fig. 53 is a Nepalese drawing of the Bodhissttva.

Bo~lhistlttvu Chgatilagafija is not unlcnown t o the SHJhanamBIZi. In

tht. LokrlBtha SBdhana, a slilort Jescription of the deity is availal~le. It runs a s follows :

GdganagaEjo raktavapo nllatpalavarapradah S5dhanamll~,p. 49. '"~agana~aiija of red colour, holds the blue lotus a ~ l dexhibits the Vardo r n u d r ~ in his two hands.'"

6 . RATNAPAN]
Colour-Green

Symbol-Jewcl o r the Moon

T h e RodIlisattva RarnapHpi (Jewel bearer) is described only oncc in the Dharrnadh~tuvii$5vara Magdala of the NispannayogZvali. Here he i s descrit>ed a s : Ratanapii?ih Ry~tno daksinapZninii ratnam vSmen8hjastba-candrarna~dalah bihhrgph. NSI', p, 58. "Ratnapzni is green in calour, holds the jewel in the right hand, and the disc of the moon o n lotus in the left hand." He is the Bodhisattva of the Dhysni Buddha Ratna~amhh:l\.a a n d a$ image is not such, he is sometimes represented in Nepal and Tibet. c ) f the found in the Chinese collection. Fig. 54 is a Nepalese d r a w ~ n g Bodhisttva. Colour-White Symbol-Sea Wave or Couch

Bodhisattva SHgaramati ( ocean mind ) is twice described in the In the MaEjuvajra Magdala, he is described as: Nis~anna~o~ifival?. Siigaramatib sito hastadvayapras'irit* sarv5hpulibhistarang~EhinaJ? NSP, p. 50,
--4_-d.-..

1, Clark : TLP, 11. p. 136.

2. For futher information see Oetty : ONB.p. 53, 54.

89

BUDDHIST ICONOGRAPHY

"S'igaramati is w h ~ t e in colour with both hands outstretched and the fingers displaying the seaewaves." In the Dharmadh'atuv~~i6vara Magdala he is once again described as : S'agaramatih sitah savyena Qakkharbviimena vajrakhadgarb dadh'anah. NSP, p. 58. "SHgaramati is white in colour, holds in the right hand the conch, and in the left a sword marked with a Vajra." Fig. 55 is a Nepalese drawing of SHgaramati.

8. VAJRAGARBHA
Colour-Blue or Bluish White Symboludbdorlurlluca

Scripture

The Bodhisattva Vajragarbha (matrix of Thunderbolt) is descrilxd twice in the Nispannayog~vali. In the Dharmadh~tuv'a~ikvara Mapdala he is described as : I Vajragarbho niiotpaladalavargo daksigena vajrari.1 vHmena daiabhumikapustakadharah. NSP, p. 58. "Vajragarbha is of the colour of the petal of a blue lotus and holds in the right hand the Vajra and in the left the hook called the Dagabh~mika." ( In the Durgatiparikodhana ~ a ~ d a Vajragarbha's ia form @ depicted thus : Vajragabho nilasitah savyer~a nilotpaladharah katinyastaviirnamu~fih. NSP, p . 67. "Vajragarbha is of bluish white colour and holds the blue lotus in the right hand while the clenched left rests on the hip." I His images are rare, and he is not represented in the Chinese collection. Fig. 56 is a Nepalese drawing of Vajragarbha.

9. AVALOKITE~VARA
(Colour-White Symbol-Lotus The Bodhisattva Avalokiteivara (The Watchful Lord) also called P a d m a p z ~ (Lotus i bearer) is the spiritual son of; the D h y ~ n iBuddha Amitiibha. He is one of the most popular Bodhisattvas 9f the Buddhist Pantheon having as many as 108 different forms. A separate chapter is devoted t o this Bodhisattva in this work. Here only his special fo;m that occurs in the Nispannayog'avali in the list of Sixteen Bodhisattvas will be referred to. L Avalokiteivara is described in the Dharmadhiituv~giivaraMagdala as: Avalokitehvarah iubhrah savyena varado v'amena sarojadharah. NSP, p. 58. "Avalokite6vara is white in colour ; he displays the Varada mudr'i in the right hand and in his left, he holds the lotus."

THE

BODHISATTVAS

89

Avalokiteivara is four times illustrated in the Two Lamaistic Pantheons '. Fig. 57 is a Nepalese drawing of Avalokiteivara. Colour-White or Yellow Symbol-Six Lotuses or Sword

The Bodhisattva MahBsthZmaprZpta (one who has obtained great strength) is described twice in the Nispannayogiivali. In the MaEjuvajraMandala he is descr~bed as : MahgsthZmapriiptah sito vzmena sat-vikasitapadmadhiiri savyena varadah. NSP, p. 50. "MahBsthZmaprZpta is white in colour and holds in his left hand a bunch of six full-blown lotuses, while the right displays the Varada mudrii." In the D h a r n ~ a d h i i t u \ ~ ~ ~ Mandala, i ~ ~ a r a he is once again described with the following words : Mahzsth'imaprgptah pirah savyena lihadgafi viimena padmam dadhznah. NSP. p. 58 "Mah'isthBmaprBpta is yellow in colour. He holds the sword in the right hand, and the lotus in the left." In the Chinese collection, MahHsth?imaprapta occur only once2. F I ~58 . is a Nepalese drawing of MahHsthZmaprZpta. &olour-

1 1 . CANDRAPRABHA SJmEol-Moo11 on Lotus Wh~te

- -. 1.

Bodhisattva Caodraprahha (Light of the Moon) is described thrice in the Nispannayog'lvafi. In the MaEjuvajra Maqdala he is described as :I Candrapra bhab candrava~qo ~Bmenot~alastha-candramaqdaladh~ri dakgiqena varadah NSP. p. 50. , ' "Candraprahha is of white colour 11kethe moon. He holds in his left hand the disc of the moon on a lotus, and displays the Varada mudrii in his right."[ Candraprabha is described in the Dharrnadhiitu~5~iBvara Mapdala in the following words : Candraprabhah Buhhrah savyena vajracakrah vZmena padmasthacandramandalah dhatte. NSP. p. 58. "Candraprabha is white in colour. He holdi in his right hand the discus marked with a Vajra, and in the left the disc of the moon on a lotus." i

--

.-

...-

-~

Clark : TLP, Vol. 11, p. 7, 11, 161, 195. For further information on Avalokitedvara and his forms in Tibet, China and Japan, see Getty : GNB,p. 55 f. 2. Clark: TLP, 11. p 160. For further information on the deity see Getty : GNB,p. 115.

12

90

BUDDHIST ICONOGRAPHY

[ I n the Durgatipariiodhana Maqdala he is described differently as follows : I Candraprabhah Bubhrah savyena padmasthacandrabimba* bibhrznah katisthaviimamusPh. NSP. p. 67 '( "Candraprabha is white in colour. He holds the moon on a lotus in the right hand while the clenched left rests on the hip." f Thus the recognition symbol of Candraprabha is the moon on lotus. In the Chinese collection Candraprabha occurs only once1. Fig, 59 is a Nepalese drawing of Candraprabha

Colour-Red

Symbol-Sun-disc

&The Bodhisattva Jtiliniprabha (Light of the Sun) is also ltnown by and he is described three times in the Nispanthe name of Siir~aprabha nayogPvali. In the Macjuvajra Maqdala he is described as : E J ~ l i n i ~ r a b h rakto o v~menotpalastha-siiryarnEqdaladh~r5 savyena varadah. NSP. p. 50. 1 "Jlliniprabha is of red colour. He holds the disc of the sun on a lotus in the left hand while the right displays the Varada mudrii.; L JiilinTprabha is again described in the Dharmadh~tuv'i~ibvara Maqdala as :1 J'alinTprabhah sitaraktah savyenPsi* v'amenlbjasthasiiryafi' NSP. p. 58. I "J'iliniprabha is whitish red in complexion. He holds the sword in the right hand and the disc of the sun on a lotus in the left hand.'! I In the Durgatiparihodhana Magdala he is described f;r her as :i J~liniprabho raktah savyena vajrapafijararh bibhrzgah katisthav~m. amugih. NSP. p. 67. I "Jiiliniprabha red in colour. He holds the Vajrapaajara (Vajra marked cage) in the right hand while the clenched left rests on the hip.)' 1 The symbol of J~liniprabha is the disc of the sun and his red colour suggests that he is the spiritual son of the DhyZni Buddha Amit'ibha. In the Chinese collection he is represented as Amit'ibha2j Fig. 60 is a Nepalese drawing of J'aliniprabha.

13. AMITAPRABHA
Colour-White o r Red Symbol-Jar

The Bodhisattva Amitaprabha ( Boundless Light) also spelt as Amrtaprabha (Light of Nectar) is described t h c e in the Nispannayog'i-- 1. Clark :TLP,11. p. 147. 2. Clark : TLP, 11, p. 132

THE BODHISATTVAS

91

vali. Twice he is mentioned as of white colour and only once as red. It thus appears that Amitaprabha should belong to the'family of Vairocana because of his white colour. His spiritual father will be A m i t ~ b h a when he is red ill colour. 1 In the DurgatipariLodhana Magdala, Amrtaprabha is described as : I Amytaprabhah 8uhhrah n~ukuto~ar~amrtakalaLabh~tsav~akarah kayis. thaviimamusyih. NSP. p. 67. 1 "Amytaprabha iswhite in colour, In his right hand he holds the jar of nectar on the crown of his head. His clenched left hand rests on the hip.") In the Masjuvajra Magdala he is once again described a s :1 Amitaprabhah raktah hastadvayena abhisekakalaiadh~ri. NSP. p. 50. ) "Amitaprabha is of red colour and holds in his two hands the jar required in the bath of initiation.'i 1 In the Dharmadhiituv~giSvaraMagdala a further description of the deity appears :I Amitaprahhah sitah savyerla viivapadmam vHmenZbjasthakala8am bibhr51;lah. NSP. p. 59. I "Amitaprabha is of white colour. 'With the right hand he holds the double lotus and with the left hand a jar on lotus."( I The jar of consecration is thus the recognition symbol of the Bodhisattva.1 Fig. 61 i h an illustration of a Nepalese drawing of Amitapr bha.
14.

PRATIRHANAK uTA

Colour-Green,

Yellow or Rcd

Symbol- Whip

1 The Bodh~sattvaPratibl~iinakiIiais described thrice in the Nispannayog~vali. In one he is green in colour, in the second he is yellow and in the third red, thus affiliating himself to the families of Amophasiddhi, Ratnasambhava and ~ r n i t 3 b h a . l ( In the Maajuvajra M a ~ d a l a he is described as : I PratibhkakEiah d y ~ m autsaAgavPmamusfir-daksiqena chotikzpradah. NSP. p. 50. ("~ratibh~nak~ isyof a green colour. His clenched left hand is placed on the lap, while he flourishes the whip with the right hand."] His description in the Dharmadh~tuvlgiLvara Mandala is as follows ; PratibhLnakiiiah ~ i t daksigena o chotiktirh vtimena padmasthakypti~amdhatte. NSP. p. 59.

I "PratibhHnakEia is of yellow colour. With the right hand he holds the whip and with the left, a sword placed on lotus."

92

BUDDHIST ICONOGRAPHY

Thc D ~ r g a t i ~ a r i l o d h a n Mapdala a describes his form with the following words : I PratibhBnakEyo raktah savyenZbjasthamukutadhBri kayisthav5mamugih. NSP. p. 67. l " ~ r a t i b h l n a k l t a is red in complexion. With the right hand he holds the crown placed on a lotus, while his clenched left hand rests on the hip."l He is not tepresented in the Chinese collection, nor his images are found in India. Fig. 62 is a Nepalese drawing of Pratibh'anakiiya. Colour-Whitish Yellow. Yellow or Red Symbol-Staft \I This Bodhisattva who destroys all sorrows and inertia is described thrice in the Ni.~panna~o~'ivalT He is given twice the yellow colour or the colour of gold whitish yellow knd once the red. Thus the Bodhisattva undoubtedly belongs t o the family of the Dhyzni Buddha Ratnasambhava, although red suggests AmitZbha also. I i The Durgatiparibodha~laM a ~ d a l a describes him as :I SarvaAokatamonirghBtamatih sitap!tamiAravargal! dagdabhytsavyakarah kayisthavi?imamustih. NSP. p. 66. 1 "SarvaAokatamonirgh'atamati is of mixed white and yellow colour. With his right hand he holds the staff while his clenched left hand rests on the hip." I [ The Ma'iijuvajra Mapdala describes him with the following wordsb Sarvaiokatamonirgh~tarnatihkanakakiintih NSP. p. 50. hastadvayasampufena prahlr~bhinayi. 1 "Sarvaliokatarnonirgh'itamati is of golden complexion. With his two hands joined palm t o palm, he displays the attitude of striking.'l /I In the Dharmadh~tuvHg?bvaraMaqdala his description is as under(;: SarvaSokatamonirghBtamatih kumkumavargah savyena pa'iicasticikakulilia& v'amena liaktim dadhgnah. Y SP. p. 59. Sarva6okamonirghZtamati is of the red colour of Kurinkuma (vermillion). With his right hand he holds the Vajra with five thongs and with the left, the Sakti (jave1in)l + In the Chinese collection, this Bodhisattva is illustrated twice as TamodghHtamati and as Sokanirgh'itarnatil. Fig. 63 illustrates a Nepalese drawing of Sarvaliokatamonirgh'itamati.

16. SARVANIVARANAVISKAMBHIN , Colour- White o r Blue Symbol-Sword and Book Sarvanivaragaviskambhin is the Bodhisattva who is the effacer
------.

1. Clark : TLP, 1 1 , pp. 192, 135.

THE BODHISATTVAS

93

of all sins. Two independent forms of this Bodhisattva are described

in the Nispannayog'ivali. His colour is either blue or white and thus he is the spiritual son of Aksobhya in one psychic school and of Vairocana in another. The Maiijuvajra Mandala describes him as : Sarvanivara~aviskambhinilah huklo v f vfmena bhiigparsl daksige musfitarjanyahgughau sarhmilya pra6am'abhinayi. NSP. p. 50. "Sarvanivara~aviskambhi is of either blue o r white colour. With the left hand he displays the Bhlisparha (earth-touching) 1nudr8 ; with the t h u m b b n d the index finger joined together in the clenched right hand he displays the act of pacification." In the Dharrnadhiituv~g;hvara Mandala he is described in the following words : Sarvanivaracaviskambhi n'llah k~p81?abhytsav~ap?i?ihv'amena vihvavajrHrikapat'ik5dharah. NSP. p. 59. "Sarvanivara~aviskambhi is blue in colour. With his right hand he holds the sword and with the left the banner marked with a double thunderbolt." This Bodhisattva is also known by his shorter name of Viskambhin, and his statuettes occur at least four times in the Chinese collection'. H e is popular also in Tibet'. Fig. 61 is a Nepalese drawing of the Bodhisattva. This Bodhisattva under his shorter name Viskamhhin appears also in the S'adhanamfila. In the Lokan'athas'adhana his description is as under : Viskambh; t u k ~ f r a v a r ~ ratnottamavarapradab o S'adhanamBla, p . 50. "Viskambhin is of the colour of ash, and holds the excellent jewel and the Varada m u d r ~ in his t w o hands."

k6
Colour-Golden

17. MAITREYA
Yellow

Symbol-N'igakebara

Flower

1 The Bodhisattva Maitreya who is supposed to be waiting in the Tusita heaven in order t o come down t o earth as the Future Ruddha is described several times in the Nispamyog'avali Maitreya heads the list of Bodhisattvas in the Maiijuvajra Mandala. Although h e takes the form of his spiritual sires Vairocana and Aksobhya two of his independent forms are nevertheless available. I 1 In t h e Mairjuvajra Mapdala h e is degcribed as : 1
1. Clark : TLP, 11, pp. 7, 11, 52, 274 2. Gordon : ITL, p. 104 ; Getty : GNB, p. 107.

94

BUDDHIST ICONOGRAPHY

Maitreyah suvarqavarno dvZbhyZ& kTtadharmadeQaniimudro varadasavyakaro vzmena saPuipan8gake$arapallavadharah. NSP. p. 50 ( "Maitreya is of golden colour. With the two principal hands he displays the Dharmacakra mudrz. T h e other two hands show the Varada mudrP in the right and the twig of a N'agakegara with flower in the left." / 1 In the Durgatipariiodhana Mapdala his description is as under : / Maitreyah pitah savyakareqa nigakeQarakusumam vzmena kuqdim dadhinah. NSP. p. 66. He holds in his right hand the 1 "Maitreya is yellow in colour. r a with the left the mendicant bowl."/ flower of N ~ ~ a k e b a and 1 In thc Chinese collection his statuettes occur at least six times and he is variously represented I . The Nggake6ara flower is his chief recognition symbol both in China and in India. He is found also in Tibet:!! Fig. 65 is a Nepalese drawing of the Bodhisattva. 1 In the Szdhanamzli his description is simple : / SidhanamPlii, p. 49. Maitreyal? pitavarpa6ca nzgapu:pavarapradah. I "Maitreya IS yellow in colour and shows the Nlga flower and the Varada mudr'i." f 18 M A ~ ~ J U ~ R ~ . : ~

'd

Colour-Golden

Symbol-Sword

and Book

Like Avalokitrkvara Maiijuiri is w o sliipped ~ ill all Buddhist countries and has a variety of forms. Maiijuir? has seve~alnames such as Maiijuvajra, Maiijughosa, D h a r m a d h i t u v ~ ~ i k \ ~ a rand a s o forth. His wide variety of forms, and his legendary origin deserve a separate treatment in a later chapter. As one of the sixteen Bodhisattvas MaiijuQri is taken as second in the group headed by Maitreya. MaEjuSri does not find mention in the list headed by Sarnantabhadra. Mai'ijuQri comes as a Bodhisattva in In the Maiijuj~ajraM a ~ d a l a the third circle of deities surrounding the principal god Maiijuvajra who is represented along with his Prajc'a o r female counterpar,t. According t o NispannayogHvali, MaEjuQri should have the same f o r h as the principal deity but he shduld have no Prajsii. Thus the form of MaiiijuQriwill be of the following description : PitanilakukIa~av~ etaravaktrah sadbhujo daksigaih khadgavaradaDiigiin viimaih praj?iiipHramit'ipustakanilBbjadhanu@i bibhr'aqah. ' NSP. p. 48.
1 1. CIark : TLP, 11, 7, 9, 69, 143. 195, 202 2. Gordon : 11 L, p. 104, 107 3 . For a detailed account of the legendary origin of the deity and his forms in Tibet, China and Japan. See Getty : GNB. pp. 112, 113

THE BODHISATTVAS

95

"Manjusri is three faced, with the three faces of yellow, blue and white colour. He is endowed with six arms ; in his three right hands he holds the sword, Varada m u c l r ~and the arrow, and in the three left shows the Prajirlplramitl book, the blue lotus and the bow." Next t o Avalokitegvara, MaEju6ri is important in the Buddhist pantheon as the God of Learning with the sword for destroying ignorance and the book of transcendental wisdom. His images are numerous, and the Chinese collection presents n o less than five different statuettes showing his great popularity in China'. Fig 66 illustrates a Nepalese drawing of the Rodhisattva. MaEjugrT as one of the eight Bodhisattvas is recognised by the favourite name of MaZjughosa (soft voice) and under this name he is described in the Lokaniithasiidhana of the S'idhnnam5lH The text is : MaEjughosah kanakiibhah khadgapustakadhiirakahb SiidhanamdH, p. 49. "Maiijughosa is of golden colour and h e holds in his two hands the sword and the book."

II

19. GANDHAHASTl
Colour-Green

o r Whitish Green Trunk o r Conch

Symbol-Elephant's

1 The Bodhisattva Gandhahasti is mentioned in the Nispannayogiivali as belonging t o the group of sixteen Bodhisattvas headed by Maitreya and is described in two independent forms. In one prominence is given t o the word .Hasti' and in the other to 'Gandha'. ( I In the Mairjuvajra Magdala he is described as follows : / Gandhastih QyzmovHmena kamalasthahastikaradhZd savye varadah. NSP. p. 50. 1 "Gandhahasti is green in colour and holds in the left hand the trunk of an elephant o n a lotus. The right hand exhibits the Varada mudr8." I I In the Durgatipariiodhana Maqdala on the other hand the Bodhisattva is described somewhat differently as .I Gandhahastih sitaiygmah savyena gandhaiarhkhadharah katisthavEmarnusti~. NSP. p. 66. I "Gandhahasti is whitish green i n colour. He holds in his right hand the conch containing sandal paste. The clenched left is placed on the hip."
--

- -

1, Clatk : TLP, 11. pp. 7, 11, 53, 198 199

96

BUDDHIST ICONOGRAPHY

I This Rodhisattva is represented only once in the Chinese collection.' His images are very rare. 1 Fig. 67 illustrates a Nepalese drawing of the Bodhisattva. 20. J ~ A N A K E T U
Colour-kllow o r Blue Symbol - Flag with CintHmapi jewel
"I

1 The Bodhisattva JZBnakctu is mentioned as one of the sixteen

Bodhisattvas under the leadership of Miiitreya. Two independent forms of his are described in the NispannayogHvali. 1 ( In the MaiSjuvajra Mapdala he is described as : I JiSBnaketuh pito vgmena ~ i n t g m a ~ i d h v a j a d h ~ r j savyena varadah. NSP. p. 50. 1 "JiSHnakettr is yellow in colour. He holds in his right hniid the flag marked with the CintBmaqi jewel. The left hand displays the Varada rnudrHV In the D~rgati~ariSodhana Maqdaln he is described somewhat differently as : I JiiBnaketu nilah cintiimaqidhvajat~hyddaksi~ap'apih kayisthaviirnamu~yih. . NSP. p. 67. "JBPnaketu is blue in colour. He holda in his right hand the flag marked wi h the CintHmaqi jewel. The clenched left hand rests on the hip." 1 Jiirnakaketu occurs only once in the ~ h l k e s ecollection, where his form is identical with his sire Ratnasamhhava Fig. 68 is a Nepalese drawing of the deity.

"

is

2 1.
Colour-Red

BHADRAPALA
Symbol-Jewel.

1 The name of ~ h a d r a ~ ~ l a o c c in u rthe s second list of si.xteen BodhisAt least two independent forms of this attvas headed by Maitreya. Bodhisattva are t o be found in the Nispannayog'ivali. ff 4
In the MarTjuvajra Maqdlla his form is described with the following words : I BhadrapHlo raktavarpo vPmena ratnabh~d-daksigenavaradah: NSP. p. 50. Bhadrapiila is of red colour. He holds in his left hand the jewel, while the right displays the Varada mudr'a." 1 In the D ~ r g a t i ~ a r i i o d h a n Mapdala a again he is described bomewhat differently as : I BhadrapPlah Bubhrah savyena sajjvPlaratnadh'ir1 kayisthav'amamustih. NSP. p. 67
-1 , Clark : TLP, 11, p. 135. 2. Clark :TLP, 11, p. 146.
-

0r White

- -. - I

-- --

--

- - -

THE BODHISATTVAS

97

"Bhadrapiila is white in colour. He holds in his right hand the glistening jewel, while his clenched left hand rests on the hip " t Bhadrap'ila is represented only once in the Chinese colIection and there his form is identical with that of his sire Amitiibha q. Fig. 69 illustrates a Nepalese drawing of Bhadrapda.

1Y
Colour- White

22. SARVAPAYARJAHA.
Symbol-Act

/'

of removing sin o r goad.

1 Bodhisattva SarvHpZyai'ijaha (Remover of all miseries) is also known by his shorter name of ApiiyaAjaha and is described twice in the Ni~pannayogBvaliin two independent forms. I

f In the MaEjuvajramaqdala this interesting Bodhisattva is described as : SarvZpiiyaZjahah kuklo hastadvayena pZpaksepag~bhinayi. NSP. P. 50.
( "SarvlpZyaAjaha is white in colour. With his two hands he displays the act of removing all sins." /
(@ the DurgatipariBodhanarnaI;tdala he is described as ApByaEjaha with the following words : I

" A p ~ ~ a E j a h a6veto'hku6abhytkaradvaYah. h NSP. p. 66. C " ~ ~ i i ~ a i 5 j a is h a of white colour. With both hands he carries the AfikuQa (goad)." He is represented twice in the Chinese collection. In one he is identical with his spiritual sire Aksobhya with the RhiisparLa m u d r ~ and in another his right hand with open palm rests against the chest while the left shows the act of forbidding. Perhaps this attitude is Fig. 70 is e Nepalese identical with the act of removing sin 1" drawing of tjie deity. Fig. 71 illustrates his Chinese stat te.
/

bb

23. AMOGHADAR~IN
Colour-Yellow

J"

SymboI-Lotus

(The name of Bodhisattva A r n ~ ~ h a d a r l i appears n in the third list of sixteen Bodhisattvas headed by Maitreya in the Ni~pannayogZvali. T h e DurgatipariQodhanamar;ldala contains the only one description as available in the work; There his 'form is desfribed in t h e following , words : /
,

. -

ACnoghadariipitah sanetr5mbhojabhyd-daksipakarah NSP. p. 66, ka~isthav~mamu.s;ih. . . - - -

1. Clark : TLP, 11, p, 147. 2. C l ~ r k :TLP, 11. pp. 143, 169.

. 1

98

BUDDHIST ICONOGRAPHY

"Amoghadar6i is yellow in colour. In his right hand he holds the lotus with its central core, while the clenched left rests on the hip."\ Amoghadariin's statuette occurs thrice in the Chinese col1ectio.n I . Fig. 72 is a Nepalese drawing of Bodhisattva AmoghedarRin.

Colour- White

Symbol-Sword.

(Surahgama's ntme occurs in the third list of the sixteen Bodhisattvas headed by Maitreya. In the Nispannayogiivali his name is referred t o twice only and his single independent form is described in .* the DurgatipariAodhanamapdala as under :( Surahgamah Bubhrah savyena asidharah katisthaviimamustih NSP. p. 67. "Surahgama is white in colour. He holds the sword in the right hand, while the clenched left is placed on the hip." I ( In the Chinese collection Surafigama is represented only once, and that t o o in a different form ?. 1 Fig. 73 illustrates a Nepalese drawing of the Bodhisattva Surahgama.

CoIour-White

Symbol-Vajra.

The Rodhisattva VajrapPgi although not included in the three lists of Bodhisattvas as available in the Nispannayogiival$, is nevertheless important as one of the eight principal Bodhisattvas enumerated in the Siidhanam~liiin Siidhana No. 18 for Lokangtha. This list of eight Bodhisattvas is also headed Ey Maitreya and consists of :

I . Maitreya 2. Ksitigarbha 3. Vajrapiiqi 4. Khagarbha

5. 6. 7. 8.

MaEjughosa GaganagaEja Viskambhin Samantabhadra

'The description of VajrapPgi also occurs under the Lokaniithszdhana in the Siidhanamiila. A half verse here describes Vajraplgi : Vajrap5gi6ca 6ukliibho vajrahasto varapradah. S~dhanamiilii,p. 49. "VajrapPqi is of white colour, carries the Vajra in one hand and displays the Abhaya mudrs in the other."
1. 2.

Clark :TLP, 11, pp. 20, 143, 247. Clark :TLP. 11, p. 135.

THE BODHISATTVAS

99

This Bodhisattva of the DhyHni Buddha Aksobhya is popular in China and at least five statuettes are noted in the Two Lamaistic 1 . ' Tibetan specimens of his image are also Pantheons, Vol. 1 found. GENERAL REMARKS. This Chapter on the Bodhisattavas cannot be closed without a reference t o a very important passage in the Nispannayoggvali, where the Bodhisattvas are connected with their spiritual sires, whose forms they assume. In the Vajradh'atumagdalas it is said that the four Bodhisattvas : 1. Maitreya ~f 3. SarvHp'ayaEjaha 2. Amoghadarsi 4. Sarva60katamonir~h~tamati have the same form as :hat of the eastern DhyHni Buddha Aksobhya of blue coIour. The four Bodhisattvas : 3. GaganagaEja 1. Gandhahasti L/ 4. JEPnaketu 2. SuraAgama J have the same form as that of the southern Dhygni Buddha Ratnasambhava of yellow colour . The fou Bodhisattvas : . 1. Amitaprabha 3. BhadrapPla 2. Chandraprabha 4. J~liniprabhs have the same form as that of the western DhyPni Buddha Amit"aha of red colour. The four Bodhisattvas : 3. Pratibh'anaktita 1. Vajragarbha J 2. Aksayamati J 4. Samantahhadra have the same form as that of the northern DhyHni Buddha Amoghasiddhi of green colour. Although this is a valuable iconographic information, it should, however, be noted that these are not absolute laws, but the views of only certain psychic schools of Buddhist Tantra. Be i t noted, however, that the Central DhyHni Buddha Vairocana has n o place in this classification and none of the sixteen Bodhisattvas is affiliated t o him. Nevertheless, the information as given in the Vajradh'itumagdala of the Nispannayogiivali will be found t o be of value in identifying some of the Chinese statuettes where Bodhisattvas are given DhyPni Buddha forms.

./

1. Op. Cit. pp. 8, 11, 56, 197, 201. For further detail* see Oettp: ONB, pp. 50-51. 2. Gordon . ITL,p. 64. 3. NSP. p. 45.

CHAPTER 111 BODHISATTVA M A G J U ~ R ~

There is n o doubt that the place assigned t o MaZjuArT in the Buddhist pantheon is one of the very highest. The MahSy5nists consider him t o be one of the greatest Bodhisattvas. They believe that the worship of Maiijubri can confer upon them wisdom, retentive memory, intelligence and eloquence, and enables them to master many sacred scriptures. It is 110 wonder, therefore, that his worship became widely prevalent amongst the Buddhists of the North. They conceived him in various forms and worshipped him with various mantras. Those who could not form an): conception of him according t o Tzntric rites, attained perfection only by muttering his numerous mantras. It is difficult t o fix the exact time when Ma5juAri entered the pantheon of the Northern Buddhists. His images are not found in the Gandhara and Mathura schools of sculpture, and AQvaghoAa, NHgiirjuna, Aryadeva d o not mention him in their works. His name occurs for the first time in the Aryama5jukrimfilakalFa which is obviously a pre-Guhyasamiija work, and then in the GubyasamEija Tantra which is dated circa 300 A.D. In this work there are at least four' references to MaiijuSri and threeg t o Manjuvajra. His name also occurs in the S u k h ~ v a t i Vpuha or the AmitHyus SEtra in its smaller recension" which was translated into Chinese between A.D. 384 and 417. Subsequent Buddhist works however give many teferences t o MaiijubrT, and in the accounts of foreign travellers like Fa-hien ' , Hiuen-Thsang, LTsing, hiaiijusri also finds mention. His images are t o be found in the sculptures of Sarnath, Magadha, Bengal, Nepal and other places. Many details about MaEju61-i are t o be found in the Svayambhii P u r H ~ a ,dealing with the glories of the Svayambhiiksetra in Nepal. The Adibuddha manifested himself here in the shape of a flame of fire, and so it is called the Svayambhiiksettra ( place of the Self-Born ). This place is consecrated with a temple of Adibuddha, and close t o it is the ~ a a j u b r Hill i now known as the Sarasvatisth'ina. The information &out MaEjukri as gleaned from the Svayambhii Purggg is given below in brief.
1. OuhgasamBja TantrB, G. 0. S. pp. 46, 69, 93, 133. 2. Ibid,pp. 51,87, 121. 3. Sukhiivativyiiha, p. 92. App, 11. 4. There is a considerab!e difference of opinion with regard to the divinity of ~aiijub6 mentioned by FaWHien. Legge : Travels of Fa-Hien, p. 46

It is said therein that MaEju6r; hailed from China, where he was living on mo&t PaficaSirsa (the H i l l of Five Peaks). He was a great saint with many disciples and followers, including Dharmakara, the king of the country. Receiving divine intimation one day that the self-born Lord Adibuddha, has manifested himself as a flame of fire on a lotus on the waters of Lake K~1;hrada in Nepal, he forthwith set out for that country along with a large number of his disciples, his two wives and king Uharmakara, with the intention of paying homage t o the deity. When he came t o the lake, however, he found a great expanse of water surrounding the god rendering him quite inaccessible, and it was with immense difficulty that he could approach the flame and offer his obeisance. Having a t last succeeded in doing so, however, he cast about in his mind for some means of making the god accessible t o all and he began a circuit of the lake. When he reached the southern barrier of hills, he lifted his sword and clove it asunder. The hill was split into two, and the water rushed through that opening, leaving behind a vast strench of dry land, which is now known as the a s the Nepal Valley. The waters of the AFighmati flow down even to this day through that opening, wh~ch is still called "KO!-b~r" or "su~ord-cut". t MaZjuiri lostino tlme in erectlng a temple over the flame of fire and on n h i l l ~ c knearby he made his own abode, and also a Vihlra (or monastery) still known as the Masjupattana, for his disciples. Lastly, he made Dharmakara the King of Nepal. These and many pious deeds are ascribed t o MaEjuQriin the Svayambhii Purzna. Putting everything in proper order, MaZju6ri returned home and soon attained the divine form of a Bodhisattva, leaving his mundane body behind '. From above it appears that MaEjuhti was a great man who brought civilization t o Nepal from China. He had apparently extraordinary engineering skill, and was a gredt architect. It is not definitely known when he came down t o Nepal from China, but there is no doubt that in 300 A. D, he was well-known as a Bodhisattva. He wielded great influence on the minds of the Buddhists, and the Mahzyznists worshipped him in various forms and in various ways. He is known in almost all the countries in the continent of Asia where Buddhism had its sway, Various countries conceived various forms of MaEjuiri, but there was a definite Indian tradition with regard to the conception - -- .- ---1. An account of the story recorded in the Svayambhii Putspa with many details will be found in R. Mitra : Sanskrrt Buddhist Lterature, pp. 249-258 ; in H ~ d ~ s o n ' ~ Essays, p. 115 ff.and in Oldfield : Sketches from Nlpal, Vol. 11, p. 185 ff.

102

BUDDHIST ICONOGRAPHY

of Mairjukri and it is the purpose of this section to deal with the images that are purely Indian or are influenced largely by the Indian tradition. It has been made abundantly clear that the Buddhists believe that their gods and goddesses affiliate themselves t o the families of the five DhyHni Buddhas, and as such, various attempts were made to assign Maiijubri t o a particular DhyBni Buddha. Sometimes in the S~dhanas he is made an offspring of AmitHbha of red colour, and sometimes of Aksobhya with the blue colour. MaZju6r; also shows several colours showing his allegiance to several Kulas or families. The human origin of Maiijubri seems t o be responsible for this kind of confusion. Maiiju6ri seems to have been deified in the same manner as Akvaghosa, NBgHrjuna, Aryadeva, Asaliga and many others were regarded as Bodhisattvas in the time of Hiuen Thsang. Forty-one SHdhanas in the SHdhanam8lH are devoted to the worship of Majiiubr'i, and in them are described several distinct forms of the Bodhisattva. In finding out rhe names of the different varieties of Maiijubri special stress has heen laid on the mantras rather than on the colophons of the SHdhanas. It should always he noted that in determining the names of gods the mantras are the safest guides, especially when one deity has several divergent forms. The different forms of Mairjubrf are described in the following pages one by one having distinct iconographic peculiarities. In his simplest form Macjukrl carries the sword in his right hand and the PrajiiPpPramitP manuscript in his left. In representations sometimes the two symbols are placed on lotuses. Sometimes he is accompanied only by YamHri, sometimes only by his Sakti or female counterpart, sometimes by Sudhanakum'ara and Yamzri and sometimes again by the four divinities, J~liniprabha(also called Siiryyaprabha), Candraprabha, KeSini and Upakekini. Though the last four are required t o be present with Arapacana, they are nevertheless found in others also. Under the general name of MairjuBri several of his Chinese images are noticed by Clark in his Two Lamaistic Pantheons I; A remarkable specimen showing Mairjubri in the company of two principal Hindu gods, Gaqapati and Visgu is found in the Baroda Museum (Fig. 74). 1. VAJRARAGA Colour-White MudrH-Sam'adhi Asana-vajraParyahka Vajrar'iga Mairjukri is also known by the two names of VHk and Amitlbha MaEjuSri showing his allegiance t o the Dhygni Buddha AmitHbha of red colour. Vajrar'iga is one-faced and twovarmed. His - -----1. Clark : TLP, 11, pp.7. 11, 63, 198.

BODHISATTVA MANJUSRI

103

two hands are joined on his lap forming what is called the Sam'idhi o r the Dhy'ina mudr'a. In this respect he is identical with the DhyIni Buddha Amit'ibha whose effigy he bears o n his tongue. He differs from the DhyHni Buddha in respect of his ornaments and dress. Images of this form of Maiijuiri are not altogether rare in India or in the Buddhist countries of the North. The Siidhanamd'i describes his form in the following DhyHna :Dvibhujaikamukhah site* vajraparyahkopari samPdhimudrPhastah ahesakum'ir~bharagabh~itam paikacirakah MaiijuhribharfHrakafi.. . ni;pLdya . vajrajihvopari Buddhafi Amitifibha* vicintya.. O h Viikyedam namah iti japamantralf'. S'idhanamalii, p. 129 "The worshipper should think himself as Maiijuiri BhaytHraka who is two-armed and one-faced and has white colour. His two hands are joined in forming the SamHdhi mudrH. He is decked in all princely ornaments, wears the five pieces of monkish garments ...thus meditating ...he should think of the figure of Buddha Amittibha on'the adamantine tongue.. .'Oh Vakyedam namah' is the Mantra for muttering". Fig. 75 illustrates a metal statuette of the god in the Baroda Museum. Fig. 76 illustrates a Nepalese drawing. vajra;Tiga is known in Tibet' and China '.

2.

DHARMADHATIJ VAGJSVARA
White Face-Four Arms-Eight

Colour-Reddish Asana-~alita

Stone o r bronze images of Dharmadhifitu VHgiivara are by n o means common, but paintings are still made of him by the CitrakHras in Nepal. When represented he is white in colour with four faces, and eight arms, and he bears five jewels on his diadem. H e is clad in'celestial garments and the leading sentiment displayed by him is one of SrhgHra (amour). The two principal hands carry the bow and the arrow, the second pair has the noose and the goad, the third the book and the sword, and the fourth the Ghagtii and the Vajra. He may also haveanother form, exhibiting the Dharmacalcra mudr'i in the first pair of hands instead of the bow and the arrow, and in the second pair the arrow and the vessel instead of the noose and the goad. T h e Dhy'ina describing the former is given below :". Astabhujah caturmukhah mGlamukhah raktagaurafi daksiqam k u 6 k u m l r u q a h palcimafi padmaraktah, uttara& pitaraktah, dvibhy. 'ifi hastsbhy'ih dhanurb'igandharafi, apariibhyiirh p'iilhkuiadhara6,

..

1. Gordon : ITL, p. 66 illustratee his statue under the general title of Mailjuiri. 2. Clark : TLP, 11, pp. 120, 227.

104

BUDDHIST ICONOGRAPHY

punarapar'ibhy'im YrajiiapHrarnitHpustakakhadgadharam,tath8par&bhy'ifi ghagt'ivajradhararh ma~'ir'lga&yhg'ararasojjvala~ lalitgsmastha& vi&va. padmacandre divy avastr'abharagarh Amit'ibhajat'irnukutinam... S'adhanam'ilz, p. 128. "The worshipper should think himself as the god Dharmadh~tuV~gSBvara who is eight-armed, four-faced and of reddish-white colour. His right face is red, the face behind is of lotus-red colour, and the left is of yellowish-red colour. He holds the bow and the arrow in one pair of hands, the noose and the goad in another pair, the PrajzHp'iramitz manuscript and the sword in the third and the Ghaqt'i and the Vajra in the fourth. He displays the sentiment of Srhg5ra (amour), and sits o n the moon on a double lotus in the Lalita attitude. He is decked in celestial garments and ornaments and bears on his Jatzmuku~a (crown of matted hair) the effigy of Amit'ibha". ( ii ) Colour - Golden Yellow Faces-Four Arms-Eight Maniughosa is the principal deity in the Dhararnadh~tuv~g'ihvar~ MarZdala of the Ni+pann?yog'ivalI. His form may be given briefly as follows : "Mai5jugho~o VajraparyaAki. ..suvargavarvah.. ....pita-nila-rakta-sita# m~la-savyaPaLcimavEmamukho astabhujo dv5l>hyPxi-1 Dharmacakrarnudrah savyaih kypiipa-b'iqa-vajr8r;li vHmaih praji?5pZramit'ipustakaNSP. p. 54. cHpavajra-gha@ vibhr'inah' '. "Maiijughosa sits in the Vajraparyahka attitude.. ...is of golden colour... ...His four faces show the yellow colour in the first, blue in the right, red behind, and white left. He is eight-armed. With the two picipal hands4heexhibits the Dharmacakra Mudr'i. The remaining right hands show the sword, the arrow and the Vajra, while the remaining left carry the PrajiTHpEramitP manuscript the bow and the bell". ~ h r e of e his images are known t o the Chinese collection of Peiping. 1 H e is also found in Tibet "

3. MA~JUGHOSA.
Colour-Golden Vahana-Lion Yellow. Mudr'i-Vy 5kh ~ n a Symbol-Lotus in the left.

Four Sgdhanas in the S'idhanam'il'l describe this variety of MaiTjuiri, which is known by the name of MaEjughopa. When represefited, he closely resembles Mazjuvara, with the difference that the -1. TLP, I1 p. 115, 124, 241, 262. 2. Cletty : GNB, PL. XXXV, 6 is a good illustration of this form,

Fig. 74 MaFijukt-7 with Gaqapati and Visr;lu (Baroda Museum)

Fig. 75

Vajratzga (Baroda Museum)

Fig. 76 Vajriiriiga

BODHISATTVA M A ~ U S R ~

113

lotus here does not bear the book. It may also be pointed out that Mazjughosa should have the lotus only in his left, but Maiijuvara may have it o n either side hearing the hook. His complexion is golden yellow, h e rides a lion, and is decked in all sorts of ornaments. He is two-armed and displavs the Vylkhyiina mudrii, and in his left there is the lotus. He is sometimes accompanied by YamZri in the left and Sudhanakumiira in the right. The Dhygna as found in one of the S'dhanas is given belour :"Maiijugho~ariipam-EtmEnah Fagyet sirhhastharh kanakagauravar~afi sarvElaIikiirabhGsitarh Vygkhyiinamudrzvyagrakaraxb v ~ r n a ~ ~ r utpalagve dharam Aksobhyamukuyinam. Dakslqe Sudhanakumiirarh vzme Yamiin. takarb pakyet.. .mantra& japet Orh V~giSvaraM iih" SHdhanamHIii p. 109 The worshipper should ineditate himself as the deity MaZjughosa who rides a lion, and is of golden yellou~ colour. He is decked in all ornaments, and his hands are enpaeed in forming the Vyiikhyzna (teaching) mudrii. He displays the night lotus in his left, and bears the image of Aksobhya on his crown. O n his right there is Sudhanakumiira and o n the left YamBntaka ... The Mantra Oxb VBgiivara Mtih should be muttered". Some of the SPdhanas mention that he should slt in Lalitgsana on the hack of a lion while others are silent about the attitude o r Asana. It is thus possible t o conclude that he may sit in other attitudes also, such as the Vajraparyahka or the Ardhaparyahka. His colour is generally yellow, hut h e may have the colour of Kuhkuma as well.

4. SIDDHAIKAV~R A. /
Colour-Whtte Mudrz-Varada Sym hol-Lotus. Four Sgdhanas in the SHdhanamiilS describe the form of Siddhaika\&a and in one of these he is said to bear the image of the Dhy'ani Buddha Aksobhya on his crown (Mauli) thus showing the family connection with Aksobhya the progenitor of the Vajra family. When represented, his left hand holds the blue lotus while the ripht displays the Varada mudrg. The Dhyiina in the S'idhanamPlB descrikes his form in the following words : "Siddhaikaviro BhagavHn candrama~dalasthah candropP4rayah jagadudyotakHri dvibhuja ekamukhah 4uklah vajraparyahki divy'ilahk g r a b h ~ s i t a h p a ~ c a v i r a k a ~ e l t h a r a v'ame ~ n i l ~ t ~ a l a d h a r ad ha k g i ~ e varadah ...tat0 Bhagavato maulau Aksobhyah devatyah piijI& kurvanti". Sndhanam?il%,p. 140. "God Siddhaikavira sits o n the o r b of the moon, is supported by the moon, and illumines the world. He is two-armed, one-faced and 15

114

BUDDHIST ICONOGRAPHY

of white colour. He sits in the VajraparyaAka attitude, and is decked in celestial ornaments, His head is decorated with the effigies of the five Dhy'ani Buddhas ....He carries the Utpala in the left hand and exhibits the Varada mudrH in the right. The goddesses pay homage to Aksobhya who is on the crown of the God". In another Siidhana the description of the Mapdala for Maiiju6ri is given. The god in the form of Siddhaikavira is painted red and is placed in the centre. He is accompanied by four deities, J'iliniprabha, Candraprabha, Kabini and Upak6ini. These four deities more often accompany Arapacana, another from of MaZjuBri which will be described later. The Sgdhanas are not generally explicit as to the Asana of the god. In Saranath his image is shown in a standing attitude (Fig. 77). A confusion is likely to arise between the forms of LoknanPtha and SiddhaikavTra if they are both represented without companions and without the figure of the parental Dhyiini Buddha on their crown, for both these deities have the same symbol, the lotus and the same mudr'i, the Varada pose. In that case the image would most likely be identified as that of Lokan'itha, who happens t o be widely represented. Images of Siddhaikavira, it may be added, are extremely rare. 5. VAJRANANGA. Colour-Yellow Asana-~rat~~lidha. Hands-Six

or Four.

This form of Maiijukrl bearing the image of Aksobhya on the crown is known as VajrZnahga, who is worshipped in the Tiintric rite of VaBikarapa, or bewitching men and women. His complexion is yellow, he is in the prime of youth, and bears the image of Aksobhya on his crown. The two principal hands hold the fully expanded bow of flowers charged with the arrow of a lotus bud. The four remaining hands carry the sword and the looking-glass in the two right hands, while the two left carry the lotus and the ABoka bough with red flowers. In another SHdhana the Aioka bough is replaced by Kahkelli flowers. He may have an alternative form with four hands, in which case the hands carrying the mirror and the Ahoka bough are dropped. The Dhyiina describing the six-armed variety of VajrPnafiga is given below: VajrHnahganHmH A r y a - ~ a 3 j u g h o s a h pitavarqarin $adbhujarin miilae bhujgbhy'im ~kargapliritaraktotpalakalik~Bara~ukta-kusumadhanurdha~ ram; daksigadvayena khadgadarpapabhytarin v~mayugalenendivararakt5B~ka~allavadhararin; Aksobhygdhisthita-jaFmukutinax5 praty'ilidhapadam soda6avarslik~rarh mah5&yhg'lramiirtihpasyet". SHdhanamHlii, p. 124

BCDHISATTVA M A ~ J U S R ~

115

"The worshipper should think himself as & a - ~ a i ? j u ~ h o ? a in the form of Vajrlnahga with yellow complexion, and six arms. With the two principal hands he draws t o the ear t h e bow of flowers charged with an errow of a red lotus bud; the two remaining right hands carry the sword and the mirror, while the two left hold the iotus and the AAoka bough with red flowers. He bears the image of Aksohhya on his Jatzrnukuta, stands in the Prat,'ilidha attitude, arrears a youth of sixteen years and displays the intense grhg5ra Rasa " Vajr'inaliga as the name implies, is the Buddhist God of Love,-the prototype of the Hindu God Madana-in the Buddhist Pantheon. The flowery bow and the arrow of flowers are strikingly common to both. Unlike the Hindu Anahga, however, several other weapons besides these are also attributed t o the Buddhist God of Love, and an account is given below of how he makes use of them. It is said in the SBdhanamHlH that in the act of bewitching a woman, the worshipper should imagine himself as piercing her bosom with the arrow of the lotus bud. The woman falls flat on the ground in a swoon, whereupon the worshipper should visualise her legs as being tied by the chain which is the bow. Then he should imagine that the noose of the lotus stalk is flung round her neck, and she is drawn to his side. Thereupon, he should think that he is striking her with the AQoka bough, is frightening her with the sword, and s u b s e ~ l u c n t l ~ he has only t o confront her with the mirror by which she is completely subjugated '. Fig. 78 illustrates a Nepalese drawings of the deity.

Colour-Reddish Faces-Three

white

Asana-vajraParyailka Arms-Four

This form of MaEjuAri with the effigy of the Dhy'ani Buddha Aksobhya on the crown is known as Nzmasahgiti Maiijuiri, to whom only one S'idhana in the S'adhanamll'i is assigned In this S'idhana he is described as three-faced and four-armed, and as bearing the image of Akaobhya on the crown. The first o r the principal face is red, the second blue and the third white. Of his four hands, the first pair holds the bow and the arrow and the second the book and the sword. He sits in the Vajraparyanka attitude on the lotus. The Dhysna describes him in the following terms : " .. . Raktagaurarh padmacandropari vajraparj ahkanisaggah ; prathamamukharfi raktah, dakgiparh nilarh, vgme iuklarfi iti trimukharh, hastacatugayena yath'iyogain Prajil'ikhadgadhanurk5qayoginah ratna-

.- -.

- - . - -- - - .---

Sldhanamlll, p. 123

116

BUDDHlST ICONOGRAPHY

kiritinah dv8trirh~allak~agHnuvya~janavirHjita kumHr~bharagabh0~itah HtmHnam vibhHvya tadanu sarva-Tath'agatHbhidapiirvakam Aksobhyamaulinarh gtm5nam vicintya . ... SHdhanamHIH p. 159-160 "The worshipper should meditate himself as Aryan~masaAgiti, who is reddish white in colour and sits in the VajraparyaAka attitude on the o r b of the moon o n a lotus. His principal face is red, the right blue and the left white and thus he 1s three-faced In his four hands he carries the Praji'il(pHramitZ), the sword, the bow and the arrow according to custom. He wears a bejewelled crown and is endowed with the thirty-two major and eighty minor auspicious marks. H e appears a prince with princely ornaments. .. .. Then the worshipper after offeringAhhiseka to all the Tarli'agatas, should further meditate himself as bearing the effigy of Aksobhya on the crown." Rare are the imagcs of this form of MaEiuSri Fig. 79 illustrates a Nepalese drawing of the deity. NHmasahgiti Mai'ijuiri is known in China'. Fig. 80 illustrates his statuette in China.

7. V A G ~ ~ V A R A
Colour-Red Vghana-Lion of Yellow Asana-Ardhaparyafika Symhol-Utpala

V~gjhvara is the rutelary deity of the Nepalese Buddhists and is widely worshipped in Nepal. The fact that innumerable prayerwheels in Nepalese temples hear, in monumental Newari characters, i i h " stands witness to his popularity. the mantra " O h V'igihvara M O n e of the S'adhanas describes him as red in colour with all princely ornaments, and as seated on a lion in the Aidhaparyafika attitude. He carries the Utpala in his left hand, and the right is disposed in a graceful attitude. He may have a yellow variety, which is known as the MahZrEjalila Maiijuiri, and the Dhyana describing that form has already been quoted and translated by r adescribed in the Professor Foucher. The red variety of V ~ ~ i Q v a is DhyHna thus : "Pa5cavirakaAekhararh kum'iram sarvHbharanabhiisitaIh kunkum'i* r u g a h vlmenotpalarh daksigena lilay'. sthitah sifih5sa.nasthafi iitm'inam kumHrarEpe~acintayet.. .O& VHgibvara Miih". SHdhanam'iIH, p. 105 "The worshipper should think himself as VQikvara whose head is beautified by the images of the five Dhy'ani Buddhas. H e looks a prince, is decked in all ornaments, and has the complexion of Kuhkuma. H e carries the night lotus in his left hand while the
1. Clark : TLP, 11, p. 263.

BODHISATTVA

MASJUSRT

117

right is displayed artistically. He rides a lion and possesses princely grace ...... O h V'agiivara Miih. The Indian Museum image (Fig. 81) of this divinity carries a bell in the right hand, and sits on a lion throne instead of a lion. The other image in bronze (Fig. 82) is a recent one, and represents the god somewhat differently. VSg%vara statuettes are found in Tibet'.

Colour- Golden Yellow Mudr'i-Dharmacakra Asana-~alita or Ardhaparyafilia Symbol-PrajS~pZramitZ on lotus Two SHdhanas in the SBdhanamHB are devoted t o the worship of Maiijuvara who is widely represented. He is yellow in colnur, sits on the back of a lion, in the Lalita o r the ArdhaparyaAka attitude, and displays the sentiment of Srhg'ara (amour) lavishly. His two hands are joined against the chest in forming the Dharmacakra mudr'a which is the eternal symbol of instruction on the secrets of Dharma. He holds the stalk of one or two lotuses o n which appears the PrajiSBpBramitZ manuscript. The text o f t h e Dhy'ana in one of the S ~ d h a n a s is givea below : "Taptak'aEcanB b h a h pa5cavlrakakumiirah Dharmacakramudriisamyuktah PrajiS'apHramit'anvitotpaladhHrinaIh sihhastha* lalit'aksepah sarv8lahk8rabhiisitaIh.. . O h Maiijuvara Hi?rh9'. SPdhanamHl'a, p . 1 11. "The worshipper should think himself as god MaEjuvara of golden yellow colour with head decorated with the images of the five DhyHni Buddhas. His hands display the Dharmacakra mudr': and he shows the blue lotus bearing the PrajE5pBramitH manuscript. He rides a Iion, sits thereon in the Lalita attitude and is decked in all ornaments. ..Oh Mairjuvara Hiih". According to a second Siidhana MaiTjuvara should have the lotus in his left hand with the PrajSnp'aramitii on it. He may sit in the Ardhaparyahka attitude and may be accompanied with the fierce god Yam'antaka of blue colour, whose face distorted with bare fangs is terrible t o behold. YamBntaka carries the staff in one of his hands and touches the feet of MaiTjuvara with the other. The image (Fig. 83) discovered at Bara in the district of Birbhum in Bengal probably represents this form of MaiTjubri, with the miniature figures of the five Dhygni Buddhas over the head, and of the two
~

.Gordon : ITL,p. 68 under the title of M a h ~ r ~ j a l ~aiijudr?. ?l~ 2. This image was first identified as that of the Hindu goddess, Bhuvanesvari in the Birbhum Bibarapa ( in Bengali ), then as that of Siqhan~da Lokedvara in A. S. I. Eastern Circle, Annual Report. 1920-21, p. 27 and later on as that of Mai?juirI in Ibid, Plate 1, Fig. 2
-~

1.

118

BUDDHIST ICONOGRAPHY

divinities t o the right and left of him. The figure to the right probably represents Sudhanakum'ara and the figure t o the left is Yam'antaka. The ~rincipal god here displays the Dharmacakra mudrZ and from under his left armpit rises a lotus which bears the PrajEZpTiramitZ manuscript as required by the S'idhana. The lotus t o the right is added in order t o maintain the balance with the lotus t o the .left. The lion vehicle of MaEjuvara is sometimes absent, and in later images he may be found sitting in the Paryahka o r any other attitude (Fig. 84). The lotus t o the right which is not rxpressly required by the Siidhana sometimes bears the book (Fig. 85), and sometimes the sword in order t o preserve the balance in a better way (Fig. 86). One of the two Indian Museum imapes of Maiijuvara has o n either side of the god two feminine figures which n o doubt represent the two wires of MaEjuhrT, ~ e i i n iand Upakehini, Adasjuvara is well known in Tibet '

9. M A ~ ~ J U V A J R A
( i )

Colour-Red Arms-Six

Faces-Three Variety-Yah-yum

The form of MaEjuiri called hv the name of Masjuvajra is somewhat popular amongst the T'intric Buddhists. Several of his forms are described both in thc SZdhanam'il: and the Ni+pannayogZvali of AbhayBkara Gupta. In the SiidhanamHIB the colour of his body including the principal face is red like Kuhkuma, the right face is blue and the left white. He has six arms of which the principal pair is enpaged in embracing his female counterpart. The remaining four hands carry the sword, the arrow, the bow and the night lotus. He sits in Vajr'isana or in the Vajraparyahka attitude on the orh of the moon supported by a lotus. T h e DhrZina is in verse and may be quoted as follows :Kunkum'iruqasanmiirtir-nila~itatra~~nanah I

Bhujadvayasam~iliga-sv'abha~idy'idhar'as~adhyk I1 Khadgat~iqa t-hujaiic'ipa-nilotpalaparigrahah I ViQvadal~hjacandrasthah vajr~sanahabiprabhah I1

S'adhanam~lg, p. 163. "...His handsome body is red IikeKuhkuma and he is endowed with three faces of (Kurikuma) blue and white colour. He embraces his SvBbhZi PrajEB with two arms, of which one touches her face, H e carries the Khadga, the arrow, the bow, and the blue Utpala, sits o n the moon on a double lotus in Vajr'isana, and is radiant like the moon."
---A-

pl.

xxxv.

1.

. -Gordon : ITL. p. 68 under thf title of Dharmacakra Maiiju&r<,Getty : GNB,

Maajuvajra is represented in Tibet (ii) Yellow. Faces-Three Arms-Six. Mazjuvajra is the principal deity of the Maiijuvajra Mandala in the Nispannayog'ivali. His form has been described thus : "Sirhhopari s a t t v a p a r y a h k a n i s a ~ Bhagavgn Vairocanasvabhgvo Mazjuvajrah kamanTyakanakak'intib.. pita-nTla-Qukla-savyetaravaktrah sadbhujo daksiqaih khadgavaradabgpiin vHrnaih PrajiiBpHramitBpustakanil~bjadhanu&~ vibhr'iqah." i NSP, p. $8. "God Mazjuvajra is seated on the back of a lion, is of beautiful golden colour and resembles Vairocana. His three faces have yellow blue and white colour. He is sixvarmed. In the three right hands he holds the sword, the Varada mudrz and the arrow. In the three left likewise he carries the PrajEEipZramitB manuscript, the blue lotus and the bow." (iii) Colour-Red Arms-Six Colour-Golden Maiijuvajra is the principal deity in a second Maqdala dedicated to Maiijuvajra in the NispannayogIval?. Here he is identified with the Sixth Dhylni Buddha Vajrasattva. The KuleQa of this god is Aksobhya according t o a definite statement in the Maqdala. He is described thus : "BhagavHn Vajrasattvo Masjuvajra-riipah k u h k u m E r u ~ a h kys~asitasavyetaravadanah pradhgnabhujEbhy'i15 svHbha-prajE~liA~itosi6aNSP, p. 2. reudivarac~padharo"... "The god Vajrasattva in the form of Maiijuvajra is red like vermillion. His right face is blue and the left white. With the two principal hands he embraces his PrajiiZ ; in the others he carries the sword, the arrow the lotus and the bow." Under the name of Maiiju6ri his different forms are to be found in the Chinese collection \ Fig. 83 illustrates an eight-armed Maiijuvajra with the 6akti in the Baroda Museum. It is both remarkable and beautiful. lo. MASJUKUMARA Colour-Red VZhsna-Animal Faces-Three Arms-Six Only one S'adhana is assigned to this form of MaZju6ri in the S~dhanarn'all,which depicts him as three-faced and six- armed, riding ------ ------" -1. Gordon :ITL, p. 66 with the Sakti under the title of Maiijun~tha. 2. Clark : TLP, 11, pp. 7, 11, 53, 198, 199.

120

BUDDHIST ICONOGRAPHY

on an animal. In his three left hands he carries the Prajii'ap'aramitTi, the Utpala and the bow while the three right show the sword, the arrow, and the Varada pose. The extract is given below : "MaiTjukumiirarh trimukharh ~adbhujarhkuhkumiiruparh nnilasitadaksigetaravadanam sattvaparyahkinarh Khadgabiiqavaradam daksiqaka~atrayark, Prajii3p~ramit~pustakanilotpalacii~avadviimakaratraa sahyhgHrakum"arHbharapanivasanHdikari1 n 2 n ~ p u , s p a r n a h ~ ~ o b h ~ c ~ r a t r a y a v i r i i jitarh Tathiigataparam'agu-parighafitah iitm'anarh dhy'atv'a.. ." Siidhanamiil3, p 151 "The worshipper should think himself as god MaZjukumiira, who is three-faced and six-armed, of red Kurikuma, colour. His right and left faces have (respectively) the blue and white colour. He is seated o n a n animal. His three right hands hold the sword, the arrow and the Varada pose, while the three left carry the PrajiTiipEramitH, blue LJtpala and the bow. He is decked in princely ornaments and dress as befitting the SFhglra (amour) sentiment he displays. He wears the three rags of s mendicant, which are richly decorated with various kinds of flowers. His body is composed of the particles of the Tathiigatas......Thus meditating.. ." Ma6jukumBra is not lcnown either in sculptures or in ancient paintings. Fig. 88 illustrates a drawing from Nepal.

Colour-White

11. ARAPACANA o r red Asana-vajraparyahka

Symbols-Book and Sword

Companions-Four

Eight Siidhanas in the S'adhanamEIP describe the form of this divinity, which is sometimes white and sometimes red. He sits always in the Vajraparyahka attitude, but when he sits on an animal he is called Prajii'acakra. He is accompanied by the four divinities, Kehini, Upakrhini, Candraprabha and Stiryaprabha, and as the group of five originates from the five syllables, 'A', 'R', 'P', 'C' and 'N', the principal god is called Arapacana. When represented, the four companions of Arapacana resemble the principal god in all respects. None of the forms of MaiijuSrI is so widely represented both in stone and in bronze as Arapacana. He is accompanied by his four attendants, but in some instances the companions are entirely absent. In one of the sculptures ( Fig. 89 ) preserved in the Dacca Museum' the four DhyIni Buddhas, Vairocana, Ratnasambhava, AmitHbha and Amoghasiddhi (besides the usual four companions). are pictured on the aureole behind, the centre at the top being occupied
1. Bhattasali : IBBS, p. 28f,PI. VII, b.

BODHISATTVA

MA~USR~

12 1

by one of the companion deities resembling the principal god. The Java figure (Fig. 90)belongs t o this class and shows the four companions as required by the Sgdhanal. The Nepal bronze (Fig 91) does not carry the book against the chest, but holds the stem of a lotus, which bears the book. The Baroda bronze (Fig. 92) also does likewise. Both these are without companions. Arapacana is also called Sadyonubhava-Arapacana, or Sadyonubhava-MaEju8rI. H e is resplendent like the full moon, has a smiling face, is decked in all sorts of princely ornaments, and sits on a double lotus in the Vajraparyarika attitude. He brandishes the sword in his right hand, while his left holds the PrajiiHp'iramit'i book against his chest. J~linikum'ara(or Szryaprahha) is in front of him, Candraprabha behind, KeQini t o the right and Upakekini t o the left. All these four divinities are replicas of the principal god. The Dhy'ana in one of the S'adhanas describes the principal god in the following terms : ". ..Khadgapustakadh'iriqarh ~kuiicitapaEcacirar5, raktavastrayugayutarh Qpig'araveQadh~riqaA srnitavikasitavadanar5 6aQ'ihkak~nt.itulyaQobhaA viQvadalakamalasthabaddhaparyahkah SadyonubhavBrapacanarcpar% 'atmiinah-ikseta". Sgdhanam'al'a, p. 121. "The worshipper should think himself as Sadyonubhava-Arapecana, who carries the Khadga and the book, and wears the five cirakas(rags) which are slightly folded. His garments are of red colour, which befits the SrhF5ra Kasa he displays. His face is radiant with a smile, and is resplendent like the moon. H e sits o n a double lotus in the Vajraparyahka attitude. .." This S'idhana further adds that the principal god should originate from the first syllable "A7', J'alinikum~ra from the syllable "R", Candraprahha from "P", KeQinifrom "C" and Upakeiini from "Nu. MaEjuQri should be in the middle, JBlinikurn~rain front, Candraprabha behind, Keiini to the right and Upakebini t o the left. All of them should have white colour and should be identical with the principal god in appearance. China :'. In Tibet his sword Arapacana is popular in Tibet "nd in the right hand is replaced by the bell in a remarkable statuette. . -... .. .. - .-. 1. First published and identified as Maiijuiri in Grunwedel : Buddhist Art in

India. p. 199.
2. Gordon : ITL,p. 68. Getty : GNB, pl. XXXV illustrates a unique image with the Ghaqt% in the right hand instead of the sword. By t.he sound of the holy gong ignorance seems t o disappear. 3. Clark : TLP, 11, p. 199 illustrates an image of Arapacana under the title of Maiijuiri.

16

BUDDHIST ICONOGRAPHY

12. STHIRACAKRA.
Colour- White Symbol-Sword

T h e S'idhana for the worship of Sthiracakra has one remarkable feature which distinguishes it from the other S'idhanas in the SHdhanamHB, namely, that it does not give the Dhygna at a stretch, but the information about his form is scattered throughout the Szdhana, which again, is in verse. From the information gleaned from the SHdhana ahout his form it appears that in one of his hands he carries the sword, which by radiating light destroys the darkness of ignorance, while the other is engaged in bestowing boons of all kinds, or in other words, displays the Varda pose. His colour is white and he is decked in garments of the colour of the bee ; he sits on the moon, supported by a lotus, and wears the Cirakas which makes his body resplendent. He wears prlncely ornaments and displays the sentiment of passionate love. He is accompanied by a PrajEii, who is beautiful, displays the sentiment of passionate love and laughs profusely. Images of this form of MaEjuirS are rarely met with. The Vahgiya SBhitya Parisad (Calcutta) image No. C ( d ) 8/16 has a feint resemblance with the description given above, and may quite conceivably represent Sthiracakra. The special feature of this image is that the sword appears o n a lotus, the stem of which is held in the left hand of the god, while the right hand exhibits the Varada pose. He sits in the LalitHsana on the moon over a lotus, and is accompanied by his Sakti who according to Indian custom occupies a position t o the left of her consort (Fig. 93) I . Sthiracakra is represented in the Chinese Collection '.

Asana-~rdha~ar~a~ka VEhana-Tiger MudrB-VyTkhy Hna This form of MazjuLri is rarely t o be met with either in stone o r in bronze. O n e S'idhana only is devoted t o the worship of this divinity which shows that this form was not very popular amongst the Vajray'inists. VadirPr is of medium height, neither very short n o r very tall, and appears a youth of sixteen years. H e sits on the back of a tiger in

1. This image is described in the Hand book to the Scluptures I n the Museum of the Vangiya Sahitya Partshad, p. 33. 2 . Clark :TLP, 11, p. 261.

BODHISATTVA M A ~ J U ~ R ~

123

the Ardhaparyahka attitude with his left leg slightly raised. He wears all sorts of ornaments, and exhibits the Vy'ikhy'ina mudrB. The Dhy'ina which is in verse, describes the form of V'idir'it in the following terms : Svaccha* sodahavatsar~k~tidharafi 4'irdd'ilapysyhasthitafi VyHkhylvyiikulapiqipadmayugalarh v'imiirdhaparyahkinarh 1 Dirgahfi nLpi na c'ipi kharvamasamah saundaryarZkyiikrayafi R a t n a s v a r ~ a m a p i p r a k i i r a v i v i d h i i l a A k H r a m m I1 Sarimad-~'idirly-~iidhanarh sam'iptarh. Kytiriyafi Paqdita4ri Cint'imani-Dattasya SHdhanamHl'i, p. 98. "The worshipper should think himself as (VBdirii~), who is handsome in appearance (lit. pure o r transparent), and appears a youth of sixteen years. He sits on the back of a tiger. His lotus-like hands are eagerly engaged in displaying the VyHkhyHna mudrl. His left leg is attitude. He is neither tall, nor slightly raised in the Ardhapar~anka very short, is unparalled by any, is the receptacle of all beauties in the world, and is decked in various ornaments consisting of jewels, gold, gems and other valuables. Here ends the Siidhana for VHdirHt written by the author 6ri C l n t l r n a ~ Datta." i Viidiriit is represented in the Chinese Collection ' .

".

1.

Clark : TLP, 11, p. 262.

CHAPTER 1V
Avalokitebvara is famous in the MahIyIna Pantheon as a Bodhisattva emanating from the Dhyiini Buddha, Amitlbha and his Sakti, Piindarl. As Amitiibha and Piigdarl are the presiding Dhyiini Buddha and ~uddhabaktiof the present Kalpa (cycle), namely, the Bhadrakalpa, Avalokitehvara is said t o be the Bodhisattva who rules during the pried between the disappearance of the Mortal Buddha, Sbyasi&ha, and the advent of the Future Buddha, Maitreya. The Gugak'iraqda. vyiiha gives an account of his character, moral teachings and miracles and from it is learnt that he refused Nirviiqa, until all created beings should be in possession of the Bodhi knowledge and to that end he is still supposed to work and foster spiritual knowledge amongst his fellow creatures. One of the passages in Kiiragdavy'iha "haracterises him as taking the shape of all gods of all religions, nay, even the shape of the father and mother,-in fact, the form of the worshipped of any and every worshipper, t o whom he might impart knowledge of Dharma. By a slow and gradual process, first human beings and then animals and other creatures would advance spiritually t o obtain salvation. For all these reasons AvalokiteBvara is characterised as the best of the Sahgha, the Jewel of the Buddhist Church or Sangharatna. The S'ddhanam'ilP gives altogether thirty-eight Siidhanas which describe a variety of forms of Avalokiteivara. Some of these forms have already been described by M. Foucher in his Etude sur 1' Iconographie Bouddhique de E'lnde, Vol I1 with translations in French of the Sanskrit texts of the SHdhanas. From the S'idhanamiilii and allied works it is possible t o individualize at least fifteen different forms of Avalokitebvara. All these forms are described in the following pages one by one. These fifteen by no means exhaust the forms of Avalokiteivara since there is evidence that these forms even numbered one hundred and eight, each of them bearing distinct features and distinct names. In the Macchandar Vahal one of the numerous VihHras of K'ithmggdu in Nepal, there are paintings in many colours of one hundred and eight varieties of the Bodhisattva,
1. R. Mitra : Sanskrit Buddhut Literature, p. 95. 2. Kltanaavyiiha : ed. S~rn~QrarnI, pp. 21-22.

executed on the wooden panel surrounding the main temple on three sides. These paintings appear t o be at least two hundred years old, and they bear inscriptions in old Newari giving the names of deities they depict. Clearly, from the view point of antiquity, this discovery is of lesser importance than the ones obtained from earlier TPntric works, but as the overwhelming number of forms islikely t o throw a flood of light on the iconography of Avalokitehvara, a description of all these varieties is given with their respective illustrations in a separate Appendix at the end of this volume. Out of the fifteen different forms of Avalokiteivara mentioned above fourteen bear the figure of Amitzbha on the crown, thus clearly revealing their origin. The fifteenth, Vajradharma by name, is said t o bear the figures of the five Dhy'ani Buddhas on his crown. Images of Avalokiteivara are found abundantly in India and Nepal. Out of these the typical one8 are described in their appropriate places. Such images are popular both in Tibet as well as in China2.

'

1. SADAKSART-LOKESVARA. Colour- White Arms-Four

Mudr'i-Aiijali Companions-Maqidhara Symbols-Rosary and lotus and Sadaksari MahBvidyg

Four SBdhanas in the S'adhanam'ilz are devoted to the worship of this form of Avalokiteivara, of which two describe him in a group of three. In a third he is accompanied by Sadaksari MahEvidyP, and in the fourth he is single. In all these, the form of Lokebvara is the same, Below is quoted the DhyHna of the Sgdhana describing him in a group of three :" A t r n i i n a ~ L~keivararii~arh sarvFilahkHrabhiisitari.1 B~klavar~ari.1 v ~ m a t a hpadmadharak daksi~ato'ksasiitradharari.1 aparzbhyzrh hast%bhygrh hrdi samputZiiijalisthitarh dhy'iygt. Daksiqe Maqidharah tatta. dvargabhujPnvitarh padmgntaroparisthah. VZme tathaiva aparapadmaSHdhanamzB, p. 27. sth~rh Sadaksarirb MahlvidyIrh". ''The worshipper should think himself as [Sadaksarl] Lokeivara who is decked in all sorts of ornaments, white in colour, and fourarmed, carrying the lotus in the left hand and the rosary in the right.
. .. .. . - -- - - -1. Gordon : ITL,p, 44 illustrtrtes a Tibetan drawing of LokeBvara with eleven heads and eight arms. This form is not described anywhere in Sanskrit. Getty : GNB,pp. 60-64. 2. References to statuettes from China are given at their appropriate placea

126

BUDDHIST ICONOGRAPHY

The other two hands are joined in forming the mudr'i of clasped hand against the chest. T o his right is Magidhara, with the same colour and the same hands, sitting o n another lotus. T o the left is Sadaksari Mah'avidyZ with identical form sitting on another lotus". The Dhy'ana of this god has been extracted from the K~ragdavyCiha according t o a statement in one of the colophons of the Sgdhanas. The Mantra assigned t o this form of AvalokiteSvara is the famous "Orb Maqipadme HEm" consisting of six syllables which are here deified in the form of Sadaksari Mahzvidy'a. When Lokeivara is associated with the Great Knowledge of the Six Syllables, he is called Sadaksarl LokeSvara. An artistic sculpture ( Fig. 94 ) depicting all the three deities of the Sadaksarl group is preserved in the Sarnath Museum I . In this group, Sadaksari Loke6vara is in the middle, the figure t o the right is Manidhara and the female figure t o the left is SadaksarI Mah'avidyii. It may be noticed that under the seats of lotuses there are four diminutive figures which represent none else than the four guardians of the gates of the Sadaksari Maqdala, as prescribed in 2 .a the K ~ r a ~ d a v y i i h Another artistic but mutilated image of the Sadakaari group (Fig. 95) 1s now t o bz found in the Indian Museum, Calcutta. In this piece both Magidhara and SadaksarT MahZvidyZ are shown in the peculiar attitude of sitting known as VirZsana. A third image (Fig. 96) found In the district of Birbhum by Mr. K. N. Dikshit ' of the Archaeological Department is also of the Sodaksari group, although it is mutilated beyond recognition. The central figure depicting Sadaksari Lokekvara has lost two hands bearing the rosary and the lotus, but the marks are still there on the stone. The two hands exhibiting the AEjali mudr'i hold also the jewel. Images of Sadaksari Lokebvara both singly as well as in groups abound in Nepal and almost every monastery in Nepal contains one or more images. A coloured image of this divinity appears in the temple of Bodhn'ath a famous place of pilgrimage in Nepal. Fig. 97 illustrates the principal deity as single in a beautiful bronze now preserved in the Baroda Museum. When he appears in a group of two in the company of Sadaksari Mah~vidyH,the goddess may have another form depicting her in Vir~sana with yellow colour and two hands. Her right hand remains

- -- --- -. .

Sarnath Catalogue, No. B (e) 6. P I XIV (b)

2. K~randavyiiha,p. 74. 3. A . S. I. Eastern Circle, Annual Report, 1920-21, p. 27 and illustrated in pl. 1(2).

empty, while the left holds the jewel. The Sarnath Museum image (Fig. 98) although mutilated, must represent this form of Sadaksari MahiividyS who can be readily recognised by the peculiar Asana which is uncommon in Buddhist iconography. Another alternative is also prescribed in the S8dhanamBl'a for all the three deities, and the Ssdhana adds : "Sometin~esin the SHclhana of Sadaksari MahHvidpB, Lokekvara holds also the lotus bearing the jewel and the'hook, Magidhara may hold the jewel and the lotus but should be without the hook. Sadaksari may hold the book and the lotus but should not have the jewel. '

'Colour- W hite Symbols-(i)Sword on lotus,

(11)

Tribtila entwined by a snake

Four Siidhanas also are devoted t o the worship of Sihhanzda, who is regarded by the MahByHnists as the curer of all diseases. He is one of the most popular forms of the Bodhisattva Avalokitekvara, and his images are by n o means rare in India. At Patan in Nepal, all the more important monasteries have two images of SirhhanEda, either in stone or in bronze, on either side o t the stair-case leading t o the sanctum. He appears in many forms only slightlv different from one another. The four Siidhanas alike describe him as follows : "Atm~narh SikhanBda-Lokekvarariipam bhiivayet, Svetavarqah trinetrah jarZmukuyinah nirbhGsaqari.1 vyiighracarmaprHhhytarh sixhhiisanastharh mah~r'ijalilarh candrzsanarh candraprat-ham bh'avayet. Daksipe sitaphaqivestitah rriStilah b e t a h , vgme n~n8sugandhikusumaparipCritapadmabhHjanah. VHmahastHt uttharh padmopari jvalatkhadgah". SPdhanam'ilP, p. 63. "The worshipper should think himself as SirhhanHda Lokekvara of white complexion, with three eyes, and the jatiirnukuta (crown of matted hair). He is without ornaments, is clad in tiger-skin, and sits o n a lion in the attitude of princely ease. H e is seated o n the o r b of the moon and is radiant like her. In his right there is a white trident entwined by a white snake, and in his left there i s a lotus-bowl full of fragrant flowers. From his left hand rises a lotus on which there is a sword burning like fire". Images of Sixhhan'ida are by n o means rare and are rather easy t o identify because of clear-cut symbols. Fig. 99 is the famous image
-. ---

. -

- .-- --

S~dhanamSlE,p. 36.

128

BUDDHIST ICONOGRAPHY

of Simhan'ida from Mahoba carrying a rosary l . Fig. 100 is a Nepalese statue a t the gate of a monastery. Fig. 101 illustrates a sculpture from Magadha, while Fig. 102 is a small bronze of Simhan'ada witho u t the lion, from Nepal. Sirhhan'ada wears n o ornaments and this feature of his images differentiates him from MaEju6ri when he is on the back of a lion. Sirhhan'ida is popular both in Tibet "nd i n China? .

3.
Colour-White MudrH-Varada Companions-Tiirii,

KHASARPANA Symbol-Lotus Asana-~alita or Ardhaparyanka Sudhanakum~ra, Bhrkuti, HayagrTva

K h a s a r p a ~ a is described in a number of S'adhanas in the S ~ d h a n a m d a , which fact points t o his popularity. T h e peculiar feature of this god is that he is invariably accompanied by the four divinities Tiirii, Sudhanakum'ara, Bhrkuri and Hayagriva. The principal figure is the same as Lokaniitha, two-armed, an3 one faced, carrying the same symbol and exhibiting the same Mudr'a ; the difference lies in the fact that Lokan'atha has only two companions, T'arii and Hayagriva while Khasarpaqa has two in addition, namely, Bhrkuti and Sudhanakumsra. He is of white complexion, and sirs either in the Lalita o r the Ardhaparyahka attitude. Below is given a somewhat lengthy DhyHna describing the god :" A t m ~ n ' a n ~Bhagavantarh dhyzyzt himakarakoiikirapiivadiitarh deharh, Grdhvajaiiimakuyarh AmitHbhaBekhararh viQvanalinani~aqqarh BaBimandale, ardhaparyahkanisaqprh sakalHlabkiiradharavigraharh smeramukharh dvirastavarSade4Tyarh daksiqe varadakararh vzmakarena saniilakamaladharah , k a r a ~ i g a l a t p i ~ ~ s a~bh~avahiirarasikarh dh~r tadadhah samPropitordhvamukhah mahiikuksih atikyBarh ati6itivatqarh Siicimukharh tarpayantarh Srimat-Yotalak~calodaraniv~sinam karuqssnigdhavilokanarh 6yAg5rarasaparyup5sitah atis~ntarhniinLlaksan5lankytarh. Tasya puratas-TZrH daksiqapiirkve Sudhanakumiirah. Tatra THrI hy'arn'a, v'amakaravidhrtarh sanHlafi utpalah daksiqakareqa vikiisay anti n ~ n ~ l a h k ' a r a v a abhinavayauvanod ti bhinnakucabhw. Sudhanalzun~~rakca kytziijalipufah kanakiivabhiisidyutib, kum'irariip a d h ~ r viimakaksavinyastapustakah i sakalHIankZravgn. Pahime Bhrkuti Hayagrlva uttare. Tntrn Bhrkuri caturbhujii hemaprabhz jat~kaliipini,vHme tridaqdikama~daludhiirihastiidaksiqe vandaniibhinay'aksaslitradharakar': trinetrii.
-- -- - -. --1. First publish(,d by K.N. Dihshit. : Sax Scitlpt;ires fiom Mahoba in the A. 8. I. Memoir No.8 , pl. la. p 2. 2. Getty : GNB, pp. 60, 61,69, 3. Clark : TLP,11, pp. 199, 265. For tho Magadha specimensee JRAS,1894, pl. 1.
--

Hayagrivo raktavarnah kharvalambodarah iirddhvajvalatpihgalakeQah hhujagayajiiopaviti kayilatara~maQru~reqiparicitamukhama~alah raktavartulatrinetrah bhrkrlfikutilabhriikah vy~hracarm8mbarah daqdiiyudhah daksipakareqa vandan~hhinayi. Ete sarva eva svanByakBnanapreritad~stayo yath'iiobharh avasthit~icintaniy~h.. . fti KhasarpaqasBdhanarh". Sadhanamala, pp. 39-41 "The worshipper should think himself as the god (Khasarpapa) from whose body radiate rays of a crore of moons. He wears the JatHmukuta (crown of matted hair), holds the image of A m i t ~ h h aon his head, and sits on the moon over a double lotus in the Ardhaparyanka attitude. He is decked in all sorts of ornaments, has a smiling lace, is age3 about twice eight years, exhibits the Varada pose in the right hand, and holds the lotus with a stem in the left. H e is an expert in d~stributingthe stream of nectar that flows from his hand, and STicimukha who stands Irelou~ with an uplifted face. a protruding belly and very pale appearance receives the same. He resides in the womb of the mount Potalaka, looks beautiful with compassion, is full of the sentiment of SpigHra (amour), is extremely peaceful and is endowed with various auspicious marks "Before h ~ m is THrB and t o the right is Sudhanakumiira "Here THrH is green. She causes t o blossom with her right hand the lotus flower with a stem held in her left. She has many ornaments and her breasts are oppressively heavy due t o adolescence "Sudhanakumiira, again, has his two hands joined ( aiijali ), is resplendent like gold, and has the appearance of a prince. He carries the book under his left arm-pit and is dzcked in all ornaments. "To the West of the god is BhrkuA and t o the North Hayagriva "Here Bhrkuri has four arms, is resplendent like gold has matted hair, carries the staff with three horns and the Kamaqdalu in the two left hands. The two rlght show the mudrs of bowing in one and the rosary in the second. She has three eyes. "Hayagriva is red in colour and 1s short, with a protruding belly. His hair rises upwards in the shape of a flame, and he has a snake as his sacred thread. His face is recognised by a deep brown pair of moustaches; his eyes are red and round; his eye-brows are drstotted in a frown. He is clad in tiger-skin, has the staff as a weapon, and his right hand exhibits the act of bowing. "A11 these deities should be meditated on as disposed in a befitting and artistic manner, with their eyes directed towards the face of for Khasarpaqa." the principal deity. Here ends the S ~ d h a n a

17

130

BUDDHIST ICONOGRAPHY

The finest image (Fig. 103) of Khasarpaga was discovered by the late N. K. Bhattasali in the Pargana Vlkrampur in Eastern Bengal I . The sculpture is recognized to be one of the best products of Bengal art. Had the central figure been mutilated like the one reproduced in Fig. 104 it would still be possible to identify Khasarpa~a by means of the four companions to the right and the left of the principal god. China ". Images of Khasarpaga are found in Tibet "nd

4,
Colour-White

LOKANATHA
Symbol-Lotus

Four SHdhanas are devoted t o the worship of the LolianHtha form of Avalokiteivara. He is single in three Szdhanas and only one SHdhana describes him as accompanied by TErH and Hayagriva. The same S'adhHna adds further that Lokan'atha should be accompanied also by the eight Bodhisattvas : Maitreya, Ksitlgarbha, Vajrap~q'1, Khagarbha, Viskambhin, Samantabhadra, Maiijughosa, and Gaganagasja, and by the four goddesses : DhGpH, PuspH, GandhH, and Dip'a, and by the four guardians of the gates : Vajr~hkuii, Vajrap'ak?, Vajrasphotg and VajraghagyS. In other words the SHdhana gives the constitution of the whole rviagdala of Lokanhha. The principal god has two hands and carries the lotus in rhe left hand and exhibits the Varada pose in the right, exactly like Khasarpa~a previously described. The S'adhana which is in verse is given below : "PGrvavat-kramayogena Lokanzthak Qakiprabham I Hrihk~r'ak+arasambhtitaI?n jatHmukutamapditah I1 VajradharmajayHntahsthafi a6esaroganii6ana& I Varadak daksige haste vHme padmadharaIb tath'. I1 Lalit'aksepasa&stha~% tu mah'asaumyam prabhssvaram I Varadotpalakar'i saumy'. TgrB daksigatah sthit'i I1 Vandan'adaqdahastastu Hayagrivo'tha v'amatah I Raktavargo mahzraudro vviighracarmSmbarapriyah' I1 SPdhanam~lP, p. 49. "Following the same procedure as before, the worshipper should think himself as Lokan'atha, resplendent like the moon, as springing from the sacred syllable Hrih and wearing the Jat'amuku~a. "He has within his matted hair the figure of the god, Vajradharma, is the destroyer of all diseases, exhibits the Varada mudr'. in the right hand and carries the lotus in the left.
-

-.

1. Bhattasali : IBBS, p. 24f, PI. VI1,a. 3. Clark : TLP, XI, pp. 202, 264. 2. Gordon :ITL,p, 66

"He sits in the Lalita attitude, is peaceful and resplendent. T o his right is TBrB, who has a peaceful appearance, exhibits the Varada mudrz and carries the lotus. "To the left is Hayagriva, who displays the gesture of bowing and carries the staff in his two hands. He is red in colour, appears terrible and is clad in the'garment of tiger-skin". Later, the S'adhana adds an account of the deities constituting the Lokaniitha M a ~ d a l a ,including the Bodhisattvas and the gatekeepers. The relevant text is given below : '.Tadvaratak'astadale padme Maitreygdirh ca vinyaset I Maitreyah ~itavar?aSca nsgapuspavaraprada h I1 Ksitigarhhah QyBmavarqahEralabah c ~ b h a y a & tath~I Vajrap'agikca Sukliihho vajrahasto varapradah I1 Khagarbho nabhahSyBmBbho cintHma~~#varapradah 1 Maiijughosah kanakgbhah khadgapustakadhzrakah I1 GaganagaFijo raktavarqo nilotpalavarapradah I Viskambhi tu ksiiravarqo ratnottamavarapradah I1 Snmantabhadrah pitiibhah ratnotpalavarapradah I ~hii~iidicaturddev ca f Vajr5AkusyHdidvHrapHh I1 VarI?Hyudhe yathii~iirvarh rnaqdalasyHnusiiratah I Evamvidhaih samZyukta& Lokanzthsh prabh'avayet 11". SBdhanamZlH, pp. 49-50 "On the eight petals of the lotus [on which the god sits] should he placed the gods Maitreya and others. Maitreya is yellow in colour carries the Niiga Ikekara] flower and exhihrts the Varada pose. Ksitiprhha is of green colour, carries the Kalaia and exhibits the Abhaya pose. VajrapHqi is whitish in colour, carries the Vajra and exhibits the Abhaya m u d 6 Khagarbha has the colour of the hlue sky, carries the Cintgmagi and exhibits the Varada mudrg. MaFijughosa is of golden complexion and carries in his two hands the sword and the book. Gaganagafija is of red colour, carries the lotus and exhibits the Varada mudrg. Viskambhin is ash-coloured, carries the excellent jewel and exhibits the Varada mudrz. Samantabhadra is yellowish in complexion, carries the jewel o n a lotus and exhibits the Varada m u d r ~ . ' The four goddesses DhEp'. and others (accom. pany Lokangtha) and the (four goddesses) VajriiAkuSi and others guard the gates, their colour and weapons being in accordance with the canons the Maqdala. In this way Lokaniitha should be meditated upon by the worshipper". When represented, LokanHtha is generally alone and is occasionally accompanied by TZrB and Hayagtiva. In ~ a i n t i n g sof the complete Maqdala alone all the companion deities are expected t o be

132

BUDDHIST ICONOGRAPHY

present. LokanBtha may sit in three attitudes according t o three different Siidhanns ; he may have the Lalita, the Pdryahlca o r the Vajriiparyahka attitude. O u t of all images of Lokan'itha s o far discovered, t h e o n e from Mahoba is perhaps the best and the most artistic (Fig. 105). There is a fine bronze of Lokangtha (Fig 106) in the Baroda Museum. The Sarnath image (Flg. 107) shows the miniature figure of AmitBbha in the SamHdhi mudrB on the crown. The Nepal image is made of pure ivory (Fig. 108). These last two represent Lokanztha in the standing attitude.

Colour-White Hands-Six

Faces -Three Companion-Praj55

Three S d h a n a s in the Sldhanam31E are devoted t o the worship of H~l'ihala LokeQvara. Images of this divinity are rarely t o he met with i n India, but in Nepal there are some, though they d o not strictly follow the Siidhana. The distinguishing feature of HiilHhala is that he is generally accompanied by his Sakti or female energy whom he carries on his lap. The S'idhanas all enjoin the presence of the $akti, but in a stone image from Nepal (Fig. 109), he is represented alone. According to the SBdhana the god should be seated, but the image above referred to represents him in a stand~ng attitude. The Dhyzna contained in one of the Siidhanas is in verse and reads as follows : "Hrihk'arabijanismnnah HPliihalarh mah'akrpam I Trinetrarb trimukharb caiva jatHmukufama~;ldltah I1 PrathamPsyam sitarh n i l a d a k s i ~ a hvBmalohita& I Sai~hkBrdhadhararhrnzrdhni kapz1akrtaQekhararh I1 JatPntahsthajinam samyak sarviibhara~abhtisitam I SitHravindanirhhPsa~i~ iFhgiirarasasundaram I1 Sadbhujah smeravaktrah ca vyBghracarmiimbarapriyah Varada~ dalcsiqe piinau dvitiye c8ksamBlikarh I1 Trtiye 6aranarttanam ca vHme ciipadharafi tathH I Dvitiye sitapaclmah ca tftiye stanameva ca I1

VBmajBnunB sitHm S v ~ b h a d e v i h dadhiinam. Viimena kamaladhariirit dak~iqena bhujena Bhagavadiilifiganapariim kusumakobhitajat~kalB~ii~. Dak+inaFBr6ve sarpavesritam trikiilah, v'imaptr6ve padmasthakap'ilarh n~in~sugandhikusurnaih sarnpiiyqah, raktapadmacandre l i l ~ k s e ~ a s t h i t a h vibhiivayet Bhagavantah." SLdhanamiil~, pp. 65-66.
. -

1.

K. N. Dikshit : SIX Scrb!ptraes from Mahoba, in the Memoir No. 8 o f A.S.1.

"The worshipper should think himself as Hiil?il~ala,the Great Come syllable Hrih, with three eyes, passionate, originating f r o m ~ h sacred three faces and matted hair rising upwards in the shape of a crown. The first ( o r the principal) face is white, the right blue and the left red. He bears on his head the crescent and the Kap'ila. The Jlna Amitsbha is within his matted hair and he is decked in all ornaments. He is resplendent like the whlte lotub and appears beautiful by the sentiment of passionate love he displays. He has slx arms, a smiling face and is fond of garments of t~ger-skin. He displays the Varada mudrH in the first right hand, the second has the rosary, while the third flourishes the arrow. The first left hand carries the bow, the second the white lotus and the thlrd touches the breast (of his Sakti). He carries the Sakti of his own creation on the left lap. She shows the lotus In the left hand and the right is engaged in the act of embracing the god Her Jay2 (matted hair) is decorated with flowers. To their right is the TrigLila entwined by a snake, and on the left is the KHp~laon the lotus, full of fragrant flowers. The god sits In the Lalita attitude on the red lotus". One image of HBlBhala is found in China ' .

6. PADMAN~RTTESVARA (I) Eiglr teen-Armed

Face - One Symbol-Double Arms-E~ghteen lotus in all hands A s a n a - ~ a n c i n ~in Ardhaparyanka

Three S'idhanas in the SHdhanamHlH are devoted t o the worship of this variant of Avalok~teivara, all entirely different and describing three widely different forms of the deity. It is, therefore, necessary that all the three DhyHnas should be quoted and translated. There is n o difficulty in taking the three t o refer t o Padmanartteivara, because all doubt is set at rest by the fact that the Mantra, where mentioned, is in all cases the same, and that the SBdhanas always designate him as Padrnanartteivara. Images of Padmanarttekvara are rare in India. Fig. 110 illustrates one good example from Nepal. It follows the Dhyana given helow : "Padmanartte6var'amnHyena A r y a - ~ v a l o k i t e h v a r a - ~ h a ~ r a k a HtmHrh narh vibhzvayet ekamukhah a$;'idagabhuja& a r d h a ~ a r ~ a h k i n a rAmih tiibhajat'ijii<arnapdala sarvakarair-vi6vapadmadhZiriI!ah, yoginiv~ndaparivytarh, dak~igav~ma~~r6vasthita~T~rZi-Sudhana-Bhykufi-Hayagrivarh divy'llahkHravastrahhiisaqa& ." SHdhanamElH, p. 77.
- -- - -- - -- . 1. Clark :TLP, 11, 265.
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--

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134

BUDDHIST ICONOGRAPHY

"The worshipper should think himself as Bharriiraka ~valokitekvara in the form of Padmanarttehvara, who is one-faced and eighteen-armed. He stands in the Ardhaparyahka attitude, and o n his Jariimukuta there is an effigy of Amitgbha. He carries the double lotus in all his (eighteen) hands and is surrounded by a host of Yoginis. His right and left sides are occupied by Tzrii. Sudhana, Bhrkufi and Hayagriva. He is decked in all kinds of d ~ v i n e ornaments and dress". The Asana prescrited in the Szdhana is the Ardhaparyahka. This ; the ordinary, which is also called the Asana may have two ~arieties M a h i i r ~ ~ a l ~as l Hin , the cases of VHgiivara and SirhhanHda, and the dancing vanety, (ardhaparyahkena ngtyastha) as in the cases of Heruka, VajravHr~hI and othrrs. As the word 'nartteivara' means the "God of Dance" or the "God in a dancing attitude" the Asana of PadmanartteL vara may be taken as the dancing varlet). of Ardhaparyafika, and this is borne o u t by the fact that the Nepal image illustrated in Fig. 110 shows the god in this particular attitude. Thls image hails from the SarasvatTsthzna or the Ma5juhri Hill at Svayaml?hiiksettra in Nepal. Though the god is here represented with only two of the companion deities, yet the pincipal figure corresponds in all details, to the description given in the SZdhanamllH. One statuette of this god is found In China I . This Chinese statuette is illustrated in Fig. 1 11. Colour-Red Mud r3-S'uci

(11) Two-Armed Companion- hakti Symbol- Lotus \Ghana-Animal

Another form of Padmanarttekvara is described in a second Siidhana. and the DhyHna contained therein runs-as follows : "PadmanartteQvaram PtmBnarh bhgvayet sattvaparyahkani~aggarh dvi bhu jaikamukhah raktarb sakalzlahkiiradharam Amitiibhamukutarin vHmapIr&ve P~~darav~sin;sam~kli$la& Ilifigan'ibhinayasthitav~mabhujena raktapadmadharam, narttanzbhinayena SEcimudray~v i k ~ i a ~ a d a paradaksi~akaram.. .". SPdhanamHIii, p. 75. "The worshipper should think himself as Padmanartteh ara, who is seated on an animal, is two-armed and one-faced. His colour is red, and he is decked in all kinds of ornaments ; he bears the effigy of Amitsbha on the crown and is embraced by P ~ q d a r a v ~ s iin n i the left. His left hand, which carries the lotus, is raised in the act of embracing ( the Sakti ), while the right shows the Siicimudr~in the act of dancing.

..".

1. Calrk:TLP,11, 193.

The same SHdharia which contains the Dhygna quoted above, gives a description of the Mapdala, and adds the information that the lotus on which the god sits has eight petals. The petals contain one goddess each. For instance, on the East petal there is VilokinT, white In colour and carrying the red lotus. The South is occupied by Tgr5 of green colour, holding the Pal~Aa and the lotus flowers. Bhtiriqi is in the West, is yellow in complexion and carries the Cakra and the blue lotus. Bhyku;; is in the North, with white colour holding the yellow lotus. In the North-East there is ~admavlsinf,who is yellow in colour and holds the red lotus. The South-East is occupied hy Vib~a~admebvari, who is sky-coloured and holds the white lotus. The South-West is occupied by Vikvapadmii, who is white and carries the the black lotus. In the Norh-West there is ViSvavajrii of variegated colour holding the double lotus I . Fig. 112 illustrates a Nepalese drawing of the principal deity although it does not agree with the SHdhana in all details.
(111) Eight-Armed Colour-Red Arms-Eight A s a n a - ~ a n c i n ~in Ardhaparyahka

One S'idhana in the S'idhanamHlH describes an eight-armed form of Padmanarttehvara. The Dhyzna contained therein is given below : "Namah PadmanartteSvar~~a. Tatra Vi6vapadmopari candre rakta-Hrihkiirapariqatarb Padmanarttebvaram raktavarqam 'ekamukham jattimuku~inafn trinetram, astabhujam sarv3lankPrabhi'i~itarb sarpaYajiiopavitarb ardhaparyankena tiindava~h. Prathamabhujadvayena nrty'lhhinayah, d ~ i t i ~ a d a k s i c a b h u jena hrdi v i k ~ f a ~ a n t a r sficimudrIih, h vgrnabhujena raktapadmafi kirasi dhrtarh, trt?yabhujadvayena ~ajravadda~danik'iladharam, caturthabhujadvayena ak:asiitrakupdikHdharam, astadeviparivltam, evambh'itam S'idhanamllH, p. 76. PadmanatteSvarah Lokanztham bhiivayet." "Salutation to Padmanarttehara ! Here the worshipper should think himself as Padmanattebvara, o n the moon over the double lotus, originating from the sacred syllable HrIh. He is red in colour with one face, the JayHmukuta, three eyes and eight arms. He is decked in all sorts of ornaments, wears the sacred thread of a snake, and dances in the Ardhaparyabka attitude. The first pair of hands exhibits the dancing pose ; the second right shows the S~c;mudrH against the chest, the second left holds a red lotus over his head.; the third pair carries the staff and the Trigtila, stamped with the Vajra ; while the fourth pair carries the
1

S~adhanam~I~, pp, 75-76.

136

BUDDHIST ICONOGRAPHY

rosary and the water-pot. The principal god is surrounded by eighr goddesses. In such a manner the god Padmanarttekvara LokanHtha should be meditated upon".

Colour-White Vihana-Simha,

Arms- Six Garuda and Visgu

The composition of the deity is so queer that great difficulry is experienced lrr recognizing the images of this form of Avalokitegvara, called by the peculiar name of Harihariharivshana. The SHdhana gives a description of the god, but is practically silent as to why such a special name is given t o this particular variety of LokeSvara. I n d ~ a has not given uptil now any image of Harihariharivshana and it is rare even in Nepal. There is onIy one sculpture at Svayambhiiksettra and a bronze in one of the monasteries at Pattan, and both of them follow the SZdhana faithfully. The lion is lowermost, o n it rides Garuda. O n the back of Garuda, agaln, rides the Hindu god Visgu with the four symbols, the conch, the discus, the mace and the lotus. O n the shoulder of Visnu rides LokeLvara. The lion, the Garuda and the god Visgu, all have 'Hari' as their synonym and because the vehicle of LokeQvara is composed of three 'Hari's, the principal pod acquires the name of Hariharihariviihana. Two Siidhanas in the SBdhanamilH are devoted to the worshlp of this form of Arya Avalokitekvara and the Dhyina in one of them describes the god 11-r the following terms :-

Harihar~harivHhanodbhavam Bhagavantah r?rya-~valokitcSvarah sarv'ihgakukla~jariimukuti~amkiintavekarh daksi~akarcqaBhagavanta* Tathigatah s5ksipaI-h kurvantari7 dvitiyena a k s a m i i l ~ d h ~ r i ~ tFtiyena arh duhkuhakah lokam upadeSayantarh vPmena dapdadharam dvit?lyrna kfsgijinadhararin trtiyena kama~daludhararb sirinha-garuda-visQuskandhasthitarh HtminaI-h d h ~ ~ t ~ ."z . . SHdhanamiIii, p. 77 "The worshipper should think himself as the Hariharihariv~hanaform of god Avalokitehvara, white in all limbs, with the JarPmukula (crown of matted hair) and clad in graceful garments. He cites the Tath&pats as witness with one of his right hands, carries the rosary in the second, and instructs deluded people with the third. He carries the staff in one of his left hands, the deereskin in the second and the KamaqdaIu in the third. He sits o n the shoulder of Visqu below whom there are Garuda and the lion. Thus meditatin g..."

In the drawing of HariharharivHhana illustrated in the Appendlx there is a snake below the lion. The snake also has the synonym o f 'Hari' in Sanskrit, and that is how a snake is added, although it is not required hy the SHdhaza. Fig. 113 is a Nepalese drawing of the god and here instead of the deer-skin in one of the left hands, an actual elephant is seen. In other respects the draiving represents the principal goil In a11 details. This deity is also I\l;own in China ' .

Colour-Red

Asana-~ajra~aryahka

This variety of Lokeh~ara is also known by the name of LTddiyIna o r Oddiygna Lokehvsra or LokeSvara as worshipped in U?diyHna which was, in the middle apes, a great centre of Tiintric learn~ng. It has already been shown that there are good grounds for identify~ng th~s Uddiyiina w ~ t h the vlllape of Vajrayogini 111 the Pargana Vihrampur in the district of Dacca now in Eastern Paki,stai~. Thlb form of ~okehvara does riot seem t o ha\.e heen widely represented. There is a bronze image of the god in the K1.a Vahal at Pattan i11 hiepal, but it does not follo\v the SBJhana in all deta~ls. Trvo SHdhanas in the S~dhanamPlPare devoted t o the worship of TrailokYa\agahkara and the Dhyzna contained in one of them is given below :"Lokeivatarh sarvPAgamal~BrHparakta& tkamukham d~,lbhujafi trinetrarh ja~Hn~ulcu~amaqd~ta& vajr5Akitapl~Hhku;ahastah raktapadrne vajraparyahkanisapqah drvyIL~haraqa\~astraviEliEs~tah ZtmInam vicintya". SPJhanamzl^a,p. 80 "The worshipper should tltink h~mself as Lokekvara whose limbs are reddened by the intense ~erltiment o f pacsrcn, ar d w11o is one-faced, t~vo-armed and three-eyed. He wears a crown of matted hair, and carries in his two hands the noose and the goad stamped w ~ t hthe Vajra. He is seated on a red lotus in the Vajrapurynhka attitude and is decked in celestial garments and ornaments. Thus meditating.. " The DhyBna, it may be noticed, does not expressly mention the name of Trailokyavabafikara which is given in the colophon. It further says thar the SBdhana is composed by the gteat THntric savant, Sarahap'ida, famous in the Middle Ages as one of the eighty-four Mahiisiddhas-'Great Mystics'. Two illustrations of this form of Avalokiteivara occur in the Two Lamaistic Panth~onsof Clark2, Fig, 114 illustrates one of the statuettes in China.
1. Clark : TLP, 11, p. 266 2. Clark TLP, pp. 219, 266.

18

BUDDHIST ICONOGRAPHY

9. RAKTALOKE~VARA
(

Four-Armed Arms-Four

Colour-Red

Companions-THrH and BhykuG Two SHdhanas in the SBdhanamHlP are devoted t o his worship, but the two DhyBnas describe two widely different forms of the god. It is necessary, therefore, t o quote and translate both the DhyBnas. One of the DhyHnas describe him thus : "Daksir?ottarapiirjve TBrZ-BhykutIdevIdvayasahitafi Arya-~valokitekvara-Bhatt5raktu-h raktavarqarh raktam5,vHrnbarHnulepanarh pH6~liku6adhanurbiiqadharar5 caturbhujah .raktakusumavat~bokataroradhast~t avasthitarh HtmHna61 vicintayet.. . Rakta-LokekvarasBdhanarh" S a d h a n a m ~ lp. ~ , 83 "The worshipper should think himself as Arya-~valokiteQvara, who is flanked in his right and left by the two goddesses T8rH and Bhykuyi. He is red in colour, wears red garments and is besmeared with red unguents. He carries in hls four hands, the noose, the goad, the bow and the arrow.. and stands under the A6oka tree, which has blossomed into red flowers." The colophon of the SHdhana attributes t o him the name of RaktaLokekvara and this name is given simply because his colour is red. Images of Kakta-Lokebvara are rare. A few can be seen in the Kva Vahal at Pattan in Nepal. Statuettes of Rakta-Loke6vara are found in China under the title of Caturbhuja Avalokiteivara '. This Chinese statuette is illustrated in Fig. 115.
( 11 )

Two-Armed

Colour-Red MudrH-Opening

Symbol-Lotus
of the Petals

The second Sldhana in the SHdhanamHlH describes a two-armed form of the god Rakta-Lokekvara. This twoearmed form is not met with either in painting or in stone. The DhyBna contained in the S~dhanam'ilH describes this two-armed form in the following words : "Raktavarqam Amit'ibhagarbhaja~Hmuku;adharafi v ~ m a k a r a ~ ~ h l t a . raktapadmarh tacca claksipakareqa viklkayantah vividhHlank'aravastra= vibhiigitah ...". SladhanamHlH, p. 84

#'The worshipper should think himself as Rakta-Lolzelvara of red colour, having a Jat'amukuya (crown of matted hair) bearing the effigy
. - 1. Clark : TLP, 11. p. 219.

---

*-

of Amit'ibha. He carries the red lotus in the left hand, and opens its petals with the right and is decked in various ornaments and dress ..." h reference may here be made to the DhyBna of Vajradharma another variety of Lokeivara, equally unrepresented, whose form will be described later in this chapter. The forms of Rakta-Lokelvara and Vajradharma are almost identical with the difference that the SHdhana enjoins for Vajradharma, the VHhana of a peacock.

Faces-Five Hands-Twelve A s a n a - ~ r a t ~ ~ l i d h a Colour-Blue As the Sgdhana for the worship of this particular form of Avalokitrivara, occurs originally in the M'ay'ajzla Tantra, this peculiar name has been given t o the deity. This is the only fierce form of Lokelvara known t o the Indian Buddhists, although fiercer forms are t o be met with in the Tibetan Buddhist Iconography. The Dhy'ana given in the S~dhanamElE describes him in the following terms : "Bhagavanoh Arya~~valokitc6varari7 kysqavarqah pratyzlidhasthah siiryamaqdalasthitarh paircarnukharh trinetrah dv~dakabhujarhsitaraktadaksi~amukhadvayak tathii pitaharitaviirnamukhad~a~nrh dak;inabhujaih d a m a r u - k h a t v H n g a - a l i k u 8 a ~ p ' a 6 a + v a j r a - g a vzmabhujaih , tarjani-kap'ala-raktakamala-maqbcakra-c5paharah da~i~+trPkar~lasakaIavadanarh 5agmudropetaxi-i s~rdramur;ldam8l'ilarikyta6a1iramn a g n a ~ sarv~hgasundaran'lPtmPnah jhafiti pratyiikalayya.. ." SBdhanamPl'i, p. 86 "The worshipper should think himself as Arya.AvalokiteSvara, whose colour is blue. He stands in the Pratyiilidha attitude, on the orb of the sun. He is fiveefaced, three-eyed, twelve-armed, with the two right faces of white and red colour, and two left of yellow and green coIour. He carries in his right hands the 1. Damaru, 2. the Khatv~nga, 3. the goad, 4. the noose, 5. the Vajra and the 6 . the arrow, and in the left hands the 1. raised index finger, 2. the Kap'ila, 3. the red lotus, 4. the jewel, 5. the discus, and 6. the bow. His faces look terrible with bare fangs. He wears the six bone ornaments and his person is embellished by the garland of heads. He is nude and appears beautiful in all limbs. Thus quickly meditating.. ." One illustration of this form of Lokebvara occurs in the Two Lamaistic Pantheons of Clark '. His statue can be seen in Nepal a t S~a~ambhtiksettra. A Nepalese drawing of this form is illustrated in the Appendix.
I. Clark : TLP, 11, p. 267

--

BUDDHIST ICONOGRAPHY

11 . N~LAKAN'THA ..
Colour-Yellow Mudr'i-SamPdhi Companions-Two Asana-~ajra~arvahka. Symbol-Bowl of Jewels serpents o n either side

One Sgdhana only is devoted t o the worship of this form of Lokehvara, which is almost identical with that of Amitgbha, his sire, whose image he bears o n his head. Indeed, this mark of descent and the sacred thread h e wears, constitute the only points of difference between them. AmitHbha being a DhyHni Buddha, has n o father. Nilakaptha, according t o the S'idhana, is accompanied Ey two serpents. The Dhyiina is given below "Bhagavantah pitavarqam ardhacandrPrikitaja$mukutina& AmitHbhopalaksitahirahpradehah raktapadmoparisthitah ; kyspasiirahari~acarmaqi vajraparyahkinah sam'ldhimudropari n'ln'iratnaparipiirqakap'iladhHriqafi epeyacarmakytayajikpavitinafi, vy8ghracarmPmbarad h a r a h nir'ibharaparh Nilakapthak nIlagutikHvi6israkanthafi ; p ~ r 6 v a dvaye paraspar'ibhisambaddhapuccha-samaqiphap~~~isi~~a-Bhagavadavalokanaparordhvamukhak~asarpadvayopalak$tar5 HtmZnafi evarh vibhgvayet-. . Sadhanam'ilii, pp. 85-86 "The worshipper should think himself as the god Nilaka~tha, who is in colour and whose Ja$Pmukura is adorned with the crescent and the effigy of Amitgbha. He sits in the Vajraparyahka attitude o n a red lotus, on which is spread the skin of black deer. He exhibits the Samiidhi mudr'l with his two hands carrying the KapHla (bowl) filled with a variety of gems. His sacred thread is made of the deer-skin (eneya-carma). He wears the tiger-skin, and bears n o ornaments (on his person). His throat shows the blue pill (of poison). The two sides of the god are occupied by two cobras with jewels on their hoods and tails entwined with each other. They look towards the god. Thus mediating.. ." Apparently, the conception of this god has been modelled on the Hindu deity Siva, who is said t o have saved the world from destruction by swallowing the poison that issued from the mouth of V'isuki, the lord of serpents, while the gods and demons were churning the ocean together. The poison, could it have entered h a ' s stomach, would surely have destroyed him, but it remained in his throat, and as the colour of the poison is said t o be blue, there is a blue spot in the white throat of the god. That is the reason why the name a l a k a q t h a (Blue-throat) has been given t o h a . As this particular form of Lokeevara has also the same name, it may well be that its origin was the Hindu god Siva Nilaka~rha.

BODHISATTVA AVALOKTTESVARA

14 1

A confusion is likely to arise in the identification of the images of Nilakapfha and Vajrarzga, a variety of MaiSjuhri, if their respective sires are not represented. The only point of distinction in that case would be the total absence of ornaments and rich garments in the case of Nilaka?:ha. If the image bears princely ornaments and is richly clad, it must be identified as that of Maiijuiri. In the temple of Bodhnath in Nepal, a coloured image of this god is found, but here he is alone, without the serpents. The other image. (Fig. 1163 hails from the monastery a t Sarnath. In this sculpture two tiny figures carrying bowls are seen instead of two serpents. One statuette of this deity occurs in the Chinese collection

'.

Colour- White

Arms-Six

One short Szdhana in the S'idhanamzlii describes this form of Avalokite6vara. The Dhy%na for S ~ ~ a t i s a n d a r i a ndescribes a his form in the following words : " ~ u ~ a t i s a n d a r k a n a - L o k e h a r a - B h a ~ r a k abuklavar~am r sadbhujarh varadZbhayiiksamZlPdharax5 daksine, viime padmaku?d;trida~?dIdharah ca ratn'ihharagabhiisith vratasiitradhHrinah jayiimukutah padmopari candramaqdalasthitam saumyariiparh bhiivayet". SHdhanamHIH, p. 88 The worshipper should thlnk himself as BhattZraka S ~ ~ a t i s a n d a r i a n a Lokeivara white in complexion, six-armed, showing the Varada and Abhaya poses and the rosary in the three right hands, and carrying the lotus, the water-pot and the staff with three horns in the three left hands. He is decked in ornaments and jewels, wears the sacred thread and a crown of matted hair. He stands on the moon over lotus and is peaceful in appearance". Fig. 117 illustrates a Nepalese drawing of Sugatisandar6ana LokeBvara which agrees with the SHdhana in major details.

13. PRETASANTARPITA.
Colour-White Arms-Six Only one SHdhana in the SHdhanamZlP describes this form of Avalokiteivara. T t e DhyHna describing the form of Pretasantarpita is brief and is worded as follows : "Jay'amukuyjna&sadbhujam prathamabhujadvayena varadau dvitiyae bhujadvavena ratnapustakau t~ti~abhujadvayena aksamiil"arida~dikali.1, sar\l'ilahkHraDhGsitax5 vratas8tradhHri~afi saumyamlirtim, padmopari candramandale sthitam ~vetavarqarh vibhZvapet". Sladhanamglg, p. 89
- -- -- - - ---. . . 1.

Clark : TLP, 11, p. 267,

142

BUDDHIST ICONOGRAPHY

"The worshipper should think himself as Pretasantarpita ~okekvara who bears the Jatiimukuta (crown of matted hair), is six-armed, exhibits in the first pair of hands the Varada poses,-carries in the scond pair the jewel and the book, and in the third pair holds the rosary and the Tridapdi (staff with three horns ). He is decked in all sorts of ornaments, wears the sacred thread, has a graceful appearance, stands on the o r b of the moon on lotus, and is white in colour." Fig. 118 illustrates a Nepalese drawing of Pretasantarpita Lokekvara.

14. SUKHAVATI LOKESVARA

Colour- White
I

Faces-Three

Companion-Sakti

A description of the deity occurs in the Dharmak~~asaligraha of AmftHnanda. Nepal abourids in images of Sukhiivati Lokeivara both in stone and in hrome, though his images are not found in any other Buddhist country of the North. The description above referred t o runs as follows : "Trimukha h i ~ e t a v a rh ~ asadbhuja h dakse mudrsh, 6ara ksepa-japarnglii-varadiini, viimesu dhanuh-kamala-TZrorGsamarpapHnilalitHsanah kamalopari, Vajrat~rz-ViQvatiirH-PadmatHr'ibhih parivrtab. Upari caityah. SukhHvatI LokeLvarah' "Sukhiivati Lokekvara is three-faced, white in colour, and six-armed. One of his right hands is in the act of shooting an arrow, the remaining two have the rosary and the Varada post. In two of his left hands he carries the bow and the lotus, and the third is placed on the thigh of THrH. He sits in LalitHsana on the lotus, and is surrounded by the goddesses VajratHr'i, Vibvat'irii, Yadmat'ir'. and the like. There is a Caitya on the top". Fig. 119 illustrates a sculpture from Nepal representing the deity Sukh~vati Lokebvara. Here the god is in the company of his Sakti but is without the other companions as prescribed.

15. VAJRADHARMA
Colour-Reddish VHhana-Peacock White Symbol-Lotus

One Siidhana in the Siidhanam'al'. describes this form of Avalokiteivara. The distinguishing feature of this god is that he rides a peacock. The SHdhana in question is entirely in verse, and the

relevant portion containing the description of the form of Vajradharma is given below :
6 I Tarin sitar5 raktavarqafi t u padmar'agasamadyutirin 1 Paikabuddhamukuyadharah har~eqotphullalocanafi I1 VHmato spardhayii ndarh d h ~ t v +odaAapatrakarb ~ I Padma* vik~kayantaiica hrdi dak+inapZqinZ I1 MayTiropari madhyasthe nisar;lqar5 candramaqdale I SattvaparyafikamEbhujya sa$hg8rarasotsava& 11 CaityHntahsthamahPkarma-kTit5gPravihBriqa1-h I BhPvayet Vajradharn~Egryafinityarh Bodhim avSpnuy'at."

I1

"The worshipper should conceive himself as excellent Vajradharma, of reddish white complexion, bright as the Padmariiga gem, who hears the effigies of the Five DhyHni Ruddhas o n the crown. His eyes beam with delight ; and h e holds with pride the stem of a lotus with sixteen petals in his left hand and with the right causes it t o blossom against his chest. He sits o n the moon over lotus o n the back of a peacock, enjoys his seat of the animal and displays the delightful sentiment of amour. Hc moves in the sanctum of the Caitya, the place for great performances. He ( t h e worshipper ) certainly receives the Bodhi who meditates (upon him) in this manner." Fig. 120 illustrates a Nepalese drawing of the deity. also occurs in the Chinese collection I .

A statuette

GENERAL
The conception of Avalokitekvara is as old as the third century B. C. H e was first ushered into existence by the Mah'asiifighikas, about the time of Aioka, in their work, entitled, MahBvastu Avad'ana, where h e has been characterised as the "Bhagav'an who takes the form of a Bodhisattva, whose duty it is to look round (Avalokita) for the sake of instructing the people and for their constant welfare and happiness" % This Avalokita Bodhisattva n o doubt gave rise t o the concrete form of Avalokiteivara, even before the second century A. D. and his images can be traced from the Gupta period onwards. H e first appears in the Sukh~vat'IVyiiha \ and a passage in the K'iraqdavyiiha where h e is said t o manifest in all possible forms of godhead for the sake of the ignorant and t o bring salvation t o

1. Clack : TLP, 11, p. 265. 2. Senart : Le Mahiivastu, Vol. 11, p. -294 3. This work was first translated into Chinese between A.D. 148 and 170 while

the smaller recension was translated into the same language between A.U. 384 and 417. Max Muller : Sukhavad Vyiiha, introduction, pp. iii-iv.

144

BUDDHIST ICONOGRAPHY

manklnd, accounts undoubtedly for the great number of his forms. As diiferent people belonged t o different faiths, this Compassionate Boilhisattva wab obliged t o assume the shape of all gods of all faiths, nay, even the shape of father and mother. Avalokitegvara thus is given n o less than 208 forms which are painted on the walls of the Macchandar Vahal at Kathmandu in Nepal with inscriptions for the All these paintings hare keen copied out purpose of ident~ficat~on. by an expert Nepalese artlst, and are illustrated in this book in an Appendix. To this a reference mav be made for the numerous forms of ~valokitegvara.

CHAPTER
EMANATIONS O F AMITABHA I. GODS Besides Aralokite&vara and a few forms of MaCjuirT already dcscribed, only two male divinities in the Siidhanam~liiemanate from the DhyHni Buddha Amitlhha. These are MahBEala and Saptaiatika Hayagriva. Their parental DhyHni Buddha, it may he remembered, is distinguished by his red colour, the family symbol of lotus, and the SamPdhi m u d 6 he displays. His offsprings MahHbala and HayagrIva belong, therefore, t o the lotus family and should show :he signs characteristic of the fam~ly. They are studied below in the order of rheir importance.
1.

MAHABALA
Asana-~rat~~lldha Arms-Four

Colour-Red

Only one Szdhana in the SHdhanam5Il is devoted to the wotsllip of Mahiibala. a fierce emanation of the DhyBnl Buddha Amit'ibha T h e DhyBna is given below : "MahBbalam ekamukha5 caturhhujam sarviifigarakta& Brdhva. pirigalasarp'ivabaddhakebafi daksi~al~hujifibhy~fi sitadaqda-sitac~maradharafi viimabhujlbhyiirin vandaniibhinaya-sap~iatarjanikaram byiighracarmanivasanarin sarpHhhara~arh pratyBlidhax5 dams~rHkar';lavadanafi sliryamaqdalaprabt'imSlina& Amit5bhamukurinax5 dhyHtvB..." S'adhanam~lP.p. 507. "The worshipper should think h~mself as MahIbala with one face, four arms and red complex~on. His brown hair rises upwards and is tied by a snake. He carries in his two right hands the white staff and the chowrit while the two left show the mudrii oi bowing and the raised index finger. He is clad in tiger-skin, wears ornaments of snakes and stands in the Praty~lidha attitude His face looks terrible with hare fangs and h e is bright like the o r b of the sun. He holds the effigy of Amit'abha o n the crown". Two statuettes of MahHbala are known to the Chinese collection at Peiping '. . --- - - -- - - - -- - - -. -Clark

TLP, 11, pp. 49, 217.

19

BUDDHIST ICONOGRAPHY

2 . SAPTASATIKA HAYAGR~VA
Colour- Red Symbols-Ve jra and Daqda Special Feature-Horse-head

other forms and these will he described at their appropriate places. One of these forms is said to bear the effigy of Amitzbha on its crown This particular form of Hayagriva, therefore, should refer to the spiritual son of Amitzbha with the red colour and the Samsdhi m u d 6 The present SBdhana describing his form states in the colophon that it is restored from the Saptahatika Kalpa. This particular form of Hayagriva, therefore, is designated as the SaptaSatika Hayagriva. \The DhyHna contained In the S ~ d h a n ais given below : "Ralitavar~pfi mahzbhaygnakam trinetrah kapila&md6ruraudrah byhadudardh damgrlkariiilnah dantau,syhakapHlarnHllna& jatiimukut i n a h Amit'ibhaiiraskari~. Dvitiyamukham bhimabhayiinakah nilam hayznanah hihik5ranHdinam Brahm5qdaklkhar~kr~nt'd6 dvltiyena b h a v ~ ~ r a p a r y a n t aastanagopetam h kharvav5maniikSrak vyzghrcarmanlvasanah sarviilankZrabhi?sitam sakaladevZsurah tarjayantah !gyhitavajradavdafi.. .vicintayet". SCdhanam515, p. 509. )"The worshipper should conceive himself as (Saptasatika Hayagriva) -- .of red complexion, who is ' t z i b l y awe-inspiring, w ~ t hthree-eyes, and a brown beard. He is angry and has protruding belly. His face appears terrible with bare fangs ; he wears a garland of skulls with teeth and lips, is crowned with h ~ s Jay5 and the figure of Amit'ibha. His second face is distorted like that of a horse, which is blue in colour and neighs incessantly. He tramples on the t o p of the wQrld with one leg and the bottom of the world with the other. He wears ornaments of eight serpents, is short and dwarfish, is clad in tigerskin and decked in all ornaments. H e threatens all the gods and Asuras, and holds the Vajra and the staff (in his two hands)". It may be noticed that the DhyHna is not clear about the number of hands and faces ; but it seems from the description that Hayagriva is endowed with a principal face, terrible in appearance, over which there is the horse's head. This horse's head over the principal face, is found only in case of Hayagriva, and distinguishes him from all other Buddhist deities. But when, as a minor god, he accompanies others, the horse's head is n o t seen as a rule. In such cases, the Dagda o r the staff serves as the identification mark. From the Dhygna it also appears that h e is two-armed and carries the Vajra and the Daqda, the Vajra being generally held in the right hand, while
*--.
C

I has several IHayagr~va

EMANATIONS OF AMITABHA

147

the Dagda is carried in the left. About the name, however, the colophon is certain, and it asserts that this Sadhana has been restored from the Sapt'akatika Kalpa, that is to say, a ritual work consisting of letters that can make up seven hundred verses in the A n u p b h metre. Images of Hayagriva are found in Tibet

' and China

2.

The f e m ~ l e divinities that emanate from the Dhy5ni Buddha AmitHbha are three in number, the most important and popular among them being Kurukullii, to whose worship n o less than fourteen SBdhanas are devoted in the SZdhanam515. Two Siidhanas are devoted to Rh~kurT and one SHdhana only t o Mah~iitavati. who 1s also included in the list of the Pa'icaraksB deities o r the Five Great Protectresses. These goddesses as a rule are nor represented in stone o r bronze ; paintings, however, are made by the Nepalese artists even in modern times.

She is one-faced and may have two, four, S I X or eight arms. When she is six-armed, she bears the effigies of t1.e five DhyHni Buddhas , on her crown. When two-armed, she i s called Gukla K u r u k u l l ~and when she is four-armed she is called by the names of Tiirodbhava KurukullH, U ? ? ~ ~ l nKurukulla, a Hevajrakrama KurukullP and Kalpokta Kuru kulll . Kurukull5 is salt1 t o confer success in the Tlntric rite of VaSikara~a o r the rite of enchant~ng merr, women, ministers. even kings. Some of the SBdhanas contain many lrlterestlng methods of casting spells O o n different people. The mantra of KurukullB is " Hiim Hrih SviihB". When thls mantra is muttered ten thousand t=all m e n i e w i t c h e d . Thirty thousand times would prove sufficient t o subdue a minister, but the subjugation of a king requires n o less than a lakh. She can even confer on her devotees the power of subduing all ministers and kings. Images of Kurukullii are found in T ~ b e t and China and she is as very popular in these countries. The different forms of Kur u k u l l ~ in the following pages. available in the SHdhanamHlP are dealt w ~ t h

-- - .-- - - - - - - - ..- .- .--.Gordon : ITL,pp. 90, 93 ; Getty : GNB, p. 163 as Hayagr'lva. 2. Clark : TLP, U, pp. 59, 164, 172, 198 under the title of Hayagriva. 3. Getty : GNB, pp. 126, 127. 4. Clark : TLP,11, 106, 239. Also Gordon ; ITL, p. 75.
1.

BUDDHIST ICONOGRAPHY

Colour-White

Symbols-Rosary

and the Bowl of Lotus

states the method whereby Only one Siidhana in the SIdhanam~lH she should be propitiated. The Dhyiina contained therein is a long one and runs as follows : "AtmHnam BhapHvati& aksasiitrotpal~rnytakuqdirh savyPvasavyapiiqibhyzrh dadhiiniirh, trinetriim Padmadhrkpramukhaih sarva-Tathiigataih ViqiidisodaBadevIbhir-abhi:sikt~rh AmitHbha-viriijitangnHpuspopakobhitaja~~mukut~ B~hg~r3diraso~etiirh, 6 kizcit-savyapiiqipallavasthHksasiitramHlokamgnBm,k$r"abhodhikvetavarq~bjasth~m-amyt~hkopari sattvaparyahkiisanasthiirh, kahkapa-keyiira-kur;ldala.niipuramukt~h~radivyavastriidivibhiisitarhnil~nantabaddhakekih pivusavarna-V~sukikrtahf riirh, rakta~Taksakak~takarqograkugdaliimd6rvHLyZma-Karkkotakakytayaji?opavItiirh, iukla-Padman~~endrakytahZrii6, myqHlavarqa-Mahiipadmakytaniipuriirh, pita-8ahkhapiilakFtakahkaq~rh, dhiimii bhravat-Kulikakrtakeyiiriifi, kubhravarq~rhsravadamrtavigrahiim karu+irdracittiirh bhiivayet. Sukla-~urukullii-~iidhanak". SiidhanamZlH, pp. 362-363 "The worshipper should think himself as the goddess (Kurukullii), who carries the rosary and the cup of Utpala full of nectar in the right and left hands respectively. She is three-eyed and is offered bathing water by (the Bodhisattvas) Padmapiiqi and others, by all the Tathiigatas and the sixteen damsels beginning with Vi?^a. She wears the Jatiimukuta which is decorated with various flowers and the miniature figure of AmitPbha. She displays the sentiment of passionate love, and other sentiments, and turns slightly t o have a look at the rosary which she carries in her leaf-like hand. She sits on an animal and rests on the nectar-like lap of the white lotus, that rises from the ocean of milk. She 1s decked in bracelets, armlets, earerings, anklets, pearl-necklace, and is clad in celestial garments. Her hair is tied up by the Ferpent Ananta o f blue colour, her necklace is formed by the milk-colourcd Viisuki, and her prominent ear-ornament (Kuqdala) by red Taksaka, her sacred thread is the green Karkkotaka, her girdle is the whire Padma the lord of serpents, her Ntipura (anklet) is the serpent Mahgpadma of the colour of the lotus stalk, her l a ,armlet is Kulika of the colour bracelet is the yellow ~ a f i k h a ~ ~her of smoky clouds. She is white in colour, and seems t o diffuse nectar. She possesses a heart which is melting with compassion."

This lengthy description is sufficient t o give o n e a vivid picture of the form of Sukla-KurukullP, which has many features in common with the other varieties t o be described hriefly hereafter. It is not necessary to quote and translate all the DhyHnas given in the SHdhanamHlH, because that would only serve to increase the bulk of the book unnecessarily. (11)

TARODBHAVA KURUKULLA
Arms-Four
Viit ana-Kgmadeva

Colour-Red Asana-vajraparyahka

with wife on R H ~ U

Five SHdhanas differing but slightly from one another describe this form of KurukullH designated as Tiirodbhava Ku~ukullii in the SHdhanas According t o the information supplied by the SPdhanas, Tiirodbhava is red in colour wlth red garments, red ornaments and the seat of a red lotus. She has four arms. The two left hands show the Abhaya mudrE and the arrow, and the two right carry the bow and the red lotus. She sits in the Vajraparyarika attitude and under the seat appear KHmadeva and his wife riding on the demon REhu. She has a red aureole behind her, she wears the effigy of Amitgbha o n t h e crown, and resides In the Kurukulla mountain. She is in the fulness of youth and displays amorous sentiments. Sometimes she is seen charging a flowery arrow on the flowery bow, ready t o strike. F I ~ 121 . ~llustrates a recent Nepalese d r a w ~ n gof the deity.

Appearance-Terri ble Asana-~rdha~ar~anka Arms-Four

Colour- Red VHhana-Corpse

This form of KurukullP is called in SZidhanas U d d i y ~ n aK u r u k u l l ~ o r Kurukullii as worshiped in UddiyHna (mod. Vajrajogini). This form of the goddess looks rather fierce, with the garland of heads, the five skulls o n the head, protruding teeth and tongue, garments of tiger-skin, and brown hair rising above her head in the shape of a flame. Her eyes, red, round and moving, are three in number. She is four-armed ; the principal pair of hands is engaged in drawing t o the full the flowery bow charged with an arrow of red lotus, while the second pair holds the goad of flowers and the red lotus.. She is red in colour and sits in the Ardhaparvahka attitude o n a corpse. Fig. 122 illustrates one of her statuettes found in Peiping. Here the V'ahana of corpse is present.

BUDDHIST ICONOGRAPHY

rv

ASTABHUJA-KURUKULLA .. Colour-Red Mudr'i-Trailokyavilaya

Arms-Eight Asana-Vairaparyahka

As has already been pointed out, Kurukullz may have another form wlth eight arms which is described in the only S'idhana devoted t o her worship. This Szdhana is attributted in the colophon t o the great Siddhlc'iryya Indrabhiit), who flourished about 700 A. D. and who had a daughter even more illustrious than himself, Laksmkikar~by name, well-versed in the doctrines of both VajrayHna and Sahajayiina. T h e goddess descr~hed in t h ~ sSldhana is not terrible like the six-armed Mly'ijiila KurukullH o r the four-armed L!ddiyiina Kurukulla, but is mild, youthful and compassionate The most important feature of the S'idhana i s that it gives the description of a complete Magdala which comprises the prirlcipal goddess and twelve surrounding divinities. For a better understanding of the form of this goddess and of the constitution of the Maqdala, it is desirable that the DhyHna should be quoted in exrrnso atid translated :"Kurukulllfi Bhagavat'lm a ~ t a b h u j a h raktavarqzrh raktlstadalapadmasiiryye Vajraparyanl<anisaqpZrh kGtZg'iramad11~ aniv~sinim prathamakaraJvayena T r a i l ~ k ~ a v i j a y a m u d r l d h a r l f i ,ava6is;adaksiqakaraih ahkueah ~karqapiiritaiatarh varadamudrzh dadh^anE&l: ppari6isyav~mabhujaih cgparh utpalafi dadhlniim, sakal~lankiiravatirh bhiivayet. Piirvadale PrasannatErPrn, daks padale NizpannatSrlm, paicimadale JayatPr5m, uttaraclale KarqatHr'im, a i i ~ n a d a l e C u n d i m , Ggne~adale Aparljitiim, n a i r ~ t ~ a d a l e Prad'lpat'iriim, v'iyavyadale Gaurit'ir'iEca dhyZyiit. EtHkca sarriih r a k t a v a r ~ z h Paiica-Tath5gatamuliu;'i vajra paryahkanisaqq~ d a k s i p a b h u ~ ~ b h varadamudrs-Ekarpapiirita-karay dharl. viirnabhujZbl~y%i~utpalaclpadhoriih. Piit\.ad\fire Vajravetiilirb lam hodargh v~kyramukhirh raktavargzrh Ak,sobhyamukulam, daksiqah~stiib1lyi.itarja~ly-ahkuiadhar~m, vPmakarlbh~ L m ~a~raghaqy~~a6ad11arHm DaksiqadvZre AparHj itgrh pitavatqHrh Ratnasambhavamuku;Pk dak~iqahast'ihhyiirin dngd~nku6ailhar~m, vHmahast'ibhyHh ghaqt~p'i&adhar~m. Pa6cimadviire EkajatZ& kysqavam'afi iirdhvakekth lambodariim dant'avastahdha~~th'ifi Amit~hamukufHm, dak~iqakar'abhylkvajr'ihkiadhar'im viimakariibhy'im g h a q ~ l ~ H Q a d h a r ~ r n . Uttaradvzre V a j r a g ~ n d h ~ r ikanakaQy'irn'ari~ m Amoghasiddhimukut'ik vikytamukhi* lambodar'im, dakgigabhujiibhy'i* k h a d g ~ h k u i a d h a r ~ m

EMANATIONS OF AMITABHA

15 1

~Zmabhujiibhyiim ghagfap~iadhariirh vicintayet. Et~kcatasra didhapadasthiil?" SPdhanamiilH, pp. 351-352 "The worshipper should think himself as goddess Kurukullii, who is eight-armed, red in colour, slts in the VajraparyaAkn attitude, on the orb of the sun over the lotus with eight petals and resides in the sanctum ; she displays the Trailokyavijayamudr in her first pair of hands, and shows in the other right hands, ahkuka, the arrow drawn up to the ear and the Varada pose. In the remaining left hands she holds the noose, the bow and the Utpala ; she is decked in all kinds of ornaments. On the east petal is PrasannatPrP, on the south is Nispannatiirii, on the west JayatPrii, on the north Karqatiirii ; on the north-east petal is CundH, on the east Apariijid, on the south-west Pradipat~rz,and on the north-west is Gaurit~rii. All these delties have red colour and the five Dhyiini Buddhas on their crowns. They sit in the Vajraparyanka attitude and show in the two right hands the boon and the arrow drawn up to the ear, and in the two left hands the Utpala and the bow. 111 the eastern gate is VajravetHII, who has a protruding belly, d~stortted face, red complexion, the effigy of Aksobhya on her crown, and carries in the two right hands the Tarjani and the goad, and in the two left the VajraghaglH and the noose. In the southern gate is AparBjitH, who is yellow in colour and has the effigyof Katnasambhava on her crown ; she carrles in her two right hands the staff and the goad, and in the two left the bell and the noose. In the western gate is Ekajatii, who is blue in colour with hair rising upwards over head, and a protruding belly ; she bites her lips with her teeth, bears the image of AmitPbha on her crown and carries in her two right hands the Vajra and the goad, and in the two left the bell and the noose. In the northern gate is Vajragzndhiiri, golden in complexion, who bears the image of Amoghaslddhi on her crown, has a distorted face and portruding belly, and carries in her two right hands the sword and the goad, and in the two left the bell and the noose. All these four goddesses stand in the Alidha attitude''

(v) MAYAJALAKRAMAKURUKULLA
Asana-Vajraparyanka Colour-Red Another form of KurukullH is known as MHyHj~lakramaKurukull~ since the Siidhana describing it is said t o have been restored from Arms-Six

152

BUDDHIST ICONOGRAPHY

the now lost M'ay'ij'ala Tantra by the TBntric author Krsglc'irya '. This form of Kurukull'i is six-armed. In accordance with the S'idhana she sits in the VajraparyaAka attitude, o n the sun over the red lotus of eight petals. She is red in coIour and is clad in red garments. She exhibits the Trailokyavijaya mudr6 in the first pair of hands, shows the Abhaya mudrii and the sprout of a white Kunda flower in the second, and the rosary and the Kamagdalu in the third. She bears the images of the five DhyHni Buddhas o n the crown, and sits on the back of the serpent Taksaka. She has another form with six arms, which is not expressly called the MHyPjHla KurukullP, and is described in another S'idhana. According to that SBdhana, she exhibits the Trailokyavljaya m u d r ~in the first pair of hands, and carries Arikuia and the red lotus In the second pair, and the fulldrawn bow charged with an arrow in the third. Images of KurukullP are rare.

4.
Colour-Yellow

BHRKL~TT
Arms-Four

B h ~ k u Gis another goddess emanating from the DhyPni Buddha, AmitHbha of red colour. She is already familiar as a companion of Avalokiteivara as a minor goddess. When she accompanies Khasarpans she is yellow in colour and four-armed. She carrles in her two left hands the Tridapdi and the Kamaqdalu. O n e of the two right hands is raised in the attitude of bowing, while the other carries the rosary. Bhrkufi is also worshipped as a principal goddess, and two SPdhanas in the SPdhanam~lBare devoted to her worship. She is described in the following words : "Caturbhujaikamukhirh pitzrh t r i n e t r i h navayauvaniirh Vatad60

ksasEtradharadaksiqakarHm tridaqdTkamaqdaludharav'imakarpri7 AmitPbhamudritP5 padmacandr'asanasthHm Rhagavatirh dhy'itv 'i... BhykuyTs~dhanah." S'idhanamd'a, p 341. "The goddess Bhrkuri should be conceived as four-armed, onefaced and yellow in colour, three-eyed and as blooming with youth. She shows the Varada m u d 6 and the rosary in her two right hands, and carries the TridaqdT and the K a m a ~ d a l u in the two left. Her crown is stamped with the effigy of Amitzbha. She sits on the o r b of the moon over a lotus. Thus meditating ...." Another S'idhana adds the information that she should be peaceful in appearance and should wear a crown of matted hair. Images of . - ---- - . -.
+ -

1. Ssdhana No. 181. Sndhanarnslfi p. 372.

EMANATIONS OF AMITABHA

153

Bhrkuti are rare, but they are known in Tlbet illustrates one of the Peiping images.

'

and China

'.

Fig. 123

5.

MAHASITAVAT~.
Arms-Four

Colour- Red

All the five goddesses corlstituting the Pa5caraksZ group are said t o emanate from one or another of the DhyPn~Buddhas. M a h ~ i i t a v a t iis affil~atedt o her p3rental DhyHni Buddha Amitzhha. The short SHdhana describing her form is as follows : "Mah~gita(sicslta) vaG caturbhujaikamukhi raktii d a k ~ i q a h h u j a d v a ~ e aksasEtlavaradavati ~Hmabhujadvaye ~ajriirikuSah~tprade6asthapustaka\fati Jifibijii Amitiihhamukuti ardhaparyahkasthitii niiniilahkiiravati ~GryLsanaprahhP ceti". SHdhanam'ilH, p . 401. "MahgbTta\~ati 1s four-armed, one-faced, and red in colour. She shows in her two right hands the rosary and thc Varada pose, and in her two left hands the Vajra and the Rook against the chest. She originates from the syllable 'Jih', bears thc effigy of Amitiibha on rhe crown, sits i n the Ardhaparyanka attitude, and is decked in various ornaments. She sits on the o r b of the sun a n d glows like the sun". Irnapes of this goddess are found in Tibet .' and china 4 .

1. Getty : GNB,pp. 124-125. 2 . Clark : TLP, 11, pp. 160, 171, 288. 3. Qetty : GNB, p, 139. 4. Clnrk : TLP, 1 1 . pp. 206 pnd 275 undm the title of & t p v d

20

CHAPTER V
EMANATIONS OF AKSOBHYA

I. GODS The number of deities emanating from the Dhy'ani Buddha Aksobhya is quite large, larger than that of the emanations of any other Dhyiini Buddha. The blue colour of Aksobhya is associated with the terrible deities in the S'adhanamglf and with the gruesome rites in the Tantras, and the deities emanating from this Dhy'ani Buddha are generally of blue colour and terrible in character both in deed and in appearance. With the exception of Jamhhala, the God of Wealth, all the male emanations of Aksobhya have a terrible appearance with distorted face, bare fangs, three blood-shot eyes, protruding tongue, garland of severed heads and skulls, tiger-skin and ornaments of snake. Amongst the deities emanating from the DhyHni Buddha Aksobhya Heruka stands pre-eminent. Heruka and his yab-yum form Hevajra are the chief gods in this group and they have numerous forms, many with different names. For the sake of clarity and convenience these forms have been separated for treatment, especially when a characteristic name is supplied by the Sgdhaaas to such forms, The Four Guardians of Gates treated later under the Chapter : 'Collective Deities' are of fierce appearance and figure prominently amongst the offsprings of Aksobhya. The deities coming under the Vajra Family ofAk9obhya are described below one by one.

1. CANDAROSANA. ..
Colour-Yellow Symbols-Sword Arms-Two and Tarjanip'asa

Cagdarosaqa is also called Mahgcagdarosaga, Cagdamahiirosaga and Acala. Four SHdhanas are devoted t o his worship and he is always represented in yab-yum. Prabh'akarakirti is said t o be the author of one of the SHdhanas the major portion of which i s i n verse. . , Another Dhy'ana describing the god runs as follows : "$6-~a~damah'iro~agar Bhagavantah h atas~pu~pasahk~ba~:.Acal5paraniim'anaxh d&hujad kek'a~kiarh-damsp~vikarda&hgghoravadan a h ratnamaulinaxh dahslrPnipidit'adhararh mugdam'iliibiraskah

EMANATIONS OF AKSOBHYA

155

Hriktacakgurdvayafi daksine khadgadhararh tarjanip~6ahyda~asthav'smakarah sitasarpayajiiopavitarh vyiiphracarmanivasanarh n5nHratnaviracitiibharaqarh bhiimilagnavZimacaram isadunnatadakgiqacarapah s~ryyaprahh8m'ilinam PtmHnatin vicintya.. Aksobhj amukuyinarh dhy8y8t." SldhanamiilH, p. 172. "The worshipper should think himself as Sri-~aqdamah'irosa~a, whose colour is like that of the Atasi flower and whose second name is Acala. He is one-faced, twoearmed and is squint-eyed. His face appears terrible with hare fangs. He wears a jewelled headedress, bites his lips and wears o n his crown a garland of se\vered heads. His eyes are slightly recl, and he carries the sword In his right hand and the noose round the raised index finger itgainst the chest in the left. His sacrecl thread consisrs of a whrte snake ; he is clad in tiger-skin and he wears jewels. His left leg touches the ground while the right is slightly raised. He is radiant as the sun and.. hears on his crown the effigy of Aksobhya. Thus the god should be meditated upon". It should be noticed that the Dhyiina is silent about the Gakti In whose embrace the god should renialn m yab-yum, but if the Buddhist priests are t o he believed and if the testimony of the Nepalese CitrakHras has any value, it must he assumed that Cavdaro?aga IS always represented ill yah-yun: and should not be represented singly. Cat;ldaro!ar)a 1s the most importarlt figure in the celebrated Cat;ldarnahProsa~a Tantra dedicated to his worsh~p. His worship is always performed In secret and the god is kept secluded from puhl~c gaze. Even if there be a bronze inlage it is practically ir~accessible t o any one except the initiated. Fig. 124 illustrates a Nepalese drawing of the d e ~ t y . As Acala and Acala-Vajrapiiqi he is popular in Tibet '.

2 . HERUKA
Colour- Blue Symbols-Vajra and KapHla Arms-Two Variety-Sirlgle

Heruka is one of the most popular deities of the Buddhist pantheon and a regular Tantra, the Heruka Tantra, is devoted t o his worship. Heruka is worshipped singly as well as in yah-yum. When he is in yab-yun~ he is generally known as Hevajra and in this form he is popular in Tibet. Many of his forms ate described in the SPdhanam$ii in its numerous SHdhanas, and the additional ones are derived from the NispannayogHvali of Abhayskara Gupta.

--

-----

1.

Getty :

QNB,pp.

5 2 and 170.

156

-BUDDHIST ICONOGRAPHY

In the S'idhanamBlZ the worship of Heruka is said to confet Buddhahood o n his worshippers, and he is said t o destroy all the M'iras (mischievous beings) of the world, A Dhyiina in verse in the SPdhanamPlii describes his form in t h e following words : Savastharin ardhaparyahkah naracarmasuvZsasarb I BhasmoddhIilitagZtraEca sphuradva jraiica daksigak 1 1 Calatpat'akPkhafvPhgah v'ame raktakarotakam I ~ a t ~ r d h a r n u g d a m i i l ~ bkrtahgramanorarnam h~h 1 1 IsaddamsyrZkarZlHsyam raktanetraxil vilzsinarb I Pihgorddhvakeiafi Aksobhyarnukuram kargakuqdalnm I1 ~ s t h ~ ~ b h a r a q a b o b h tu a x Grab-paiicakap~lakam b 1 BuddhatvadHyinafi dhyzyat jaganmaranivlraqam I1 SPdhanamiilg, p. 473. "The worshipper should conceive himself as the god (Hcruka) who stands o n a corpse in the Ardhaparyahka attitude. He is well clad in human skin and his body is besmeared with ashes. He wields the Vajra in the right hand and from his left shoulder hangs the KhatvBhga with a flowing banner, like a sacred thread. He carries in his left hand the KagZla full of blood. His necklace is beautified by a chain of half-a-hundred severed heads. His face is slightly distorted with bare fangs and blood-shot eyes. His brown hair riseb upwards and forms into a crown which bears the effigy of Aksobhya. He wears a Kuqdala and 1s decked in ornaments of hones. His head is beautified by fi1.e skulls. He bestows Buddhahood and protects the world from the M'iras (wicked beings)". In another SHdhana for the worship of thls particular kind of Heruka the KhatvSliga 1s described as being marked with a Vajra of five thongs and decorated with a banner with jingling bells, human heads and double lotus, the lower part of the Khatviihga resembling the Vajra with one thong. The SEdhana does not mention the number of heads in the necklace, but says simply that they are strung with guts, His left leg rests o n the double lotus (and not o n the corpse) while the right is placed o n the left thigh in a dancing attitude. T h e image ( Fig. 125 ) discovered by Mr. N. K. Bhattasali and deposited in the Dacca Museum, agrees in all details with the description given above. Though the hands are broken it can yet be discerned that the right wielded the Vajra and the left carried the Kapiila against the chest. The attitude in which h e stands is called the dancing attitude in Ardhaparyahka. His head-dress in decorated with five skulls and the effigy of Aksobhya. T h e KhatvPhga has an overflowing banner attached t o it, and at the end of the banner small bells can be seen.

EMANATIONS O F AKSOBHYA

147

3. HEVAJRA.

In the Hevajra Mapdala of the NigpannayogHvali, Heruka is the

principal deity, thus showing that their is only a very thin llne of demarcation between the two, Heruka and Hevajra, When Heruka is accompanied with his PrajCP, he begets the name of Hevajra. In the Maqdala n o less than four distinct forms of Hevajra are described. In all these Hevajra is accompanied with his Saktr whose name differs according t o the numbers of his hand*.
I

( i )

Two-Armed Face-One PrajfiZ-NairHtm'j.

Colour-Blue Arms-Two

When two-armed, Heruka gets the name of TrailokyBksepa and h ~ s form is described jn the following words : "Trailokylksepah krLgo Ardllaparyanki ..eknrnukho d v ~ b h u j o valriinkitaraktap~r~al.;apB1abI~~d-v-.. Vajrodda ~ d a s a v y bhujah." a NSI', p. 14 "TrailokyZkgepa (HeruAa) is blue 111 colaur arld dances in the Ardhaparyanka attitude.. .He is one-faced and two-armed. W it11 the left hand carrying the skull cup, full of blood arid marked w ~ t ha Vajra, he embraces his Prajiil NalrHtmP ...1 he right holding the Vajra is raisedw.

The same form is again descr~bed m the SEdha~lamElEwhich gives

the additional infornlatlon that the Sakti carries the Kartri hand and the KapHla in the left I .
(11)
111

the right

Four-Armed. Face-One PrajEH-Vajravlrlhi

Colour-Blue Arms-Four

When four-armed, Hevajra shows all the characteristics of the twoarmed variety with the difference that here the I'rajfiii is know11 by the name of Vajrav%rHhi. His descriptior~in the Nispannayogiivali is short and is worded thus : ''Athavii caturbhujo dvibhujavat. AparabhujHbhyBm savzbha-Vajrav~r~hisarnPlihgita ityeva vihesah". NSP, p. 14 "Or, he may be four-armed and appear similar t o the two-armed form. In the two other hands h e embraces his Sakti VajravlrIhi of his own creation. This is the only difference".

--

.-

- .-. -

- - ..

1. Sadhansmiili%, p. 462.

158

BUDDHIST ICONOGRAPHY

In the SBdhanamZlH, one SBdhana is also devoted t o the worship of this particular form of Hevajra. Here also Hevajra is four-armed and is embraced by his 4akti who is identical with him in all respects: Hevajra carries in his four hands the blue Vajra, the sword, the K h a p viifiya and the jewel. The KhapHhga does not however hang from his shoulder but is carried in one of his hands.
(lil)

SIX-Armed Face-Three PrajE5-Vajrairhk ha15

Colour-Blue Arms -SIX

When Hevajrd is six-armed and in yab-yum h ~ main s form remains the same, with the difference that here he is three-faced and six-armed, carrylng add~tiorlal symbols. He IS described thus :
"Athav'a Sadbhujah krsqah kysgasitaraktatrim~lkhah ...VHn~alr-\.a~ragha~fiim dhanuh kapllam ca dddhiinab savyair-vajram bHqam t r i i ~ l a m ca vajravajragha~;InvitahastHbhv5fi sv~bha-\7ajraBynkha1iimzilifigitah, '

NSP. p. 14.
"Or, he (Hevajra) nlay he bix-armed and blue in colour. The principal, the right and left faces show hlue, whlte and red colour. In the three left hands he holds the bell marked with a Vajra, the bow and the skull-cup. In the three right hands he carrles the Vajra, t h e arrow and the trident. He embraces with the two hands carrying the 111s OWE creation". I7ajraend the Gha

PrajZH-NairHtmZ The fourth type of Hevajra accord~ng t o Hevajrd Mapdala is slxteenarmed and is alike In appearance with the three other forms descr~bed before. T h e difference l ~ e sIn his having eight faces and four legs ; with his four legs h e tran~ples upon four Hindu gods instead of standing upon a corpse as in the three others. His form is described rather elaborately in the Mandala in question as under : "Caturtho Hevajrah Hodaiabhujo Akgobhyamudrito Nair'itm'asamTi Tatra Skandhapannah. Kintvasya cat\?Zro miirsh pr~gukta6avasth~ne. m l r o riipato Brahml pitah, K l e i a m ~ r o Visguh k y s ~ o ,MrtyumHro Maheivarah Lubhro, DevaputramPro Sakrah gaurah. Tesu Bhagaviin dvzbhylfn ArdhaparyahkavPn aparPbhySx5 Alidhastha iti c a t u i ~ a r a ~ a h krego.. ....aq$isYah. Mukhslntu miilah k ~ q q a m hasat savyam h k l a m ,

EMANATIONS OF AKSOBHYA

159

"imam raktam, iirddhvah vikayadaxiqtra~ iesH$ krsqsni. Daksigabhujesu vajram khadgam bHqam cakram casakam trisiilam+aqkuSam ca ; vHmesu ghaptiim, padmam, dhanur-udyatakharv~fiyam, kapiilam, (NSP, pp. 14.1 5). tarjanip86a& ca." "Hevajra of the fourth. class is sixteen-armed and bears on his crown the effigy of the DhyPni Buddha Aksobhya. He emhraces his i a k t i NairHtmH. Instead of the corpse under his legs as aforesaid, he has four M'iras under his four legs. The first is Skandha MHra in the form of Brahmii of yellow colour, the second is Kleea MPra in the form of V i g ~ uof blue colour, the third is Mrtyu MHra in the form of Mahebvara of white colour, and the fourth is Devaputra Mlra in the form of i a k r a of white colour. On them the four-legged god stands with two legs arranged iu Ardhaparyahka and two others in Alidha. He is blue In colour and has eight faces. The principal face is blue, the right has a smile and is white, the left is red, the fourth is o n the t o p of his head with dlstortecl teeth. All other faces are blue in colour. In the rlght hands he carries 1. the Vajra, 2. the sword, 3. the arrow, 4. the discus, 5. the wine-glass, 6. the staff, 7. the T~lbiila,and 8. the goad. In the left hands the holds 1. the bell, 2. the lotus, 3. the bow, 4. the raised Khatviinga, 5. the skull-cup, 6. the jewel, 7. the raised index finger and 8. the noose... 9 Hevajra is popular in Tibet ' and China '.
9

4. BUDDHAKAPALA
Arms-Four Colour---Blue S a k t i - - ~ i t r a s e n ~ Asana-Danang in Ardhaparyahka Only one Siidhana gives the description of this god, who is, in all pobability, another form of Heruka. The S ~ d h a n asays that when Heruka is embraced by Citrasenii he gets the name of BuddhakapPla, H e has one face and four arms, and his hands hold the Khatviinga, the Kap'ila, the Kartri and the Damaru ; he is embraced by his Prajii'i, Citrasenii, and remains in yab-yum. He is slightly different from the four-armed variety of Heruka as the following DhyPna in the SPdhana will show : "Mah'ivIro ghorasarhh'irakiirakah nilavarqo mah'ivapuh asthysbhara. namsrpbaparya6kanTtYastha& rnu~dam'il~vibhfi~ita& muku!e Aklobhyadhlrigam ekavaktrarh caturbhujarn, vHme KhapHhgakapllam, daksige kartridamaruka& ~ r a j ~ i l i h ~ i t a ;m vSme CitrasenH matts nagn'i muktakeii sarvabhayaraIiit5 devi." . ---L--+--* . 1 : .Gccty :GNB, 142,143 A ~ibetan-image i s illustrated in Gorden : I T L ,p. 83.
I

'

'

2. TLP, 11, p. 236.

..

. '

160

BUDDHIST ICONOGRAPHY

Srimato RuddhakapHlasya S'idhanam"

SiidhanamPlH, pp. 501-502

"The worshipper should think himself as (Buddhakap'ila) who is a great hero, the supreme destroyer, of blue complexion and gigantic stature. He has ornaments of bones, stands in Ardhaparyanka in a dancing attitude, is decked in garlands of heads, bears the effigy of Ak9obhya on the crown, is one-faced and fourarmed. He carries the Kharviihga and the KapPla in the left hands and the Kartri and the Damaru in the right, and is embraced in the left by the Prajn'P, Citrabenii by name, who is intoxicated, nude, and fearless, Thus meditating.. "

The same SHdhana later o n gives the details of the Maqdala, and goes on to say that Buddhakapsla is surrounded by twentyfour goddesses arranged in three circles. The first circle has SumHlini (blue) in the east, Kapiilini (yellow) in the n o ~ t h Bhimii , (green) in the west and D u ~ j a j E (white) in the south. The next circle has Subharnekhalii (east), Riipigi (north), JayE (west) and Kauveri (south) , K ~ m i n i (north-east), Mahodadhi (north-west) K~rir;li (south-west) and Miirigi (south-east). The outermost circle has BhimadarkanE (east) AjayH (north), Subhii (west) O s t ~ r a k i (south) , Suraksigi (north-east), VikPlariitrl (north-west), Mahiiya6ii (south-west) and Surldari (south-east). Resides these, there are the four guardians of gates : Sundarii (east) Subhag5 (north), PriyadarSan5 (west) and Nairiitm' (south). Excepting the four deities of the innermost clrcle, all the goddesses have blue colour t w o arms, one face, ornaments of bones, brown hair rising upwards but no garlands of heads. They carry the KapBla in the left and the Kartri in the right, and dance in the Ardhaparyanka attitude. Flg. 126 illustrates a Nepalese drawing of the principal god in the embrace of his Sakti CltrasenE but without attendants. Buddhakapiila is represented in the Chinese collection at Peiping '. He is also represented singly in a remarkable statuette in the Baroda Museum. (Fig. 127). 5. SAMBARA
(i) Two-Armed Colour-Blue Asana- Alidha Vshana-Kclarltri Symbols-Vajra and Ghagtii Pra ji'iii-Va jrav~rZhi One Siidhana only in the SSdhanamHlH describes t h e procedure fqr the worship of Sambara who is only another form of Hevajra. H e is.

..--------.--

-.

- -

1.

TLP, 11. pp. 103, 237,

EMANATIONS OF AKSOBHYA

161

two-armed and one-faced, and bears the effigy of Aksobhya o n his crown. He appears terrible with his garment of tiger-skin, the garland of heads, a string of skulls round the head, three eyes and the Alidha attitude, in which he tramples, upor) KPlarItri. The Dhygna is in verse and describes the god in the following terms : "LalPfasthakapiiliini c a r ~ d r g r d h a miirdhn~ ~~ dhzrayet I Saqmudrii-mupdamili ca vi5vavajri trilocanah 11 AIIdhapadavin Pso viL\r~ksarav~r,artinThI Sabhairavgm KPlarHtrim5riidho vyzghracarmabhrt 11 Aksobhya6ekharah kubjo vajraghaqtBjarHnvitah 1 Viro'sau V a j r a v ~ r ~ h \7ajrHs~kpGrpakapBlabhrt i I1 KhafviingamekhalZ raktii tr~netriim u p d a m ~ l i n i I Paiicainudrg muktakeii d~gvastrl Buddhabekhar~ I1

Dvibhuja-San~haro~adeiah samzptah

"

SPdhanamiilI, p. 504 "The worshipper should think himbtrlf as Sambara w ~ t ha string of skulls over h ~ s forehead and the crescent moon o n the top. He wears the SIX auspicious ornaments and a necklace of heads. He shows the VtLvsvajra [on his head-dressj and 1s three-eyed. He stands in the Alidha attitude and originates from a combinatlorl of all the letters of the alphabet. He tramples upor) Bhairava and KBlarHtri and 1s clad rn tiger-skin. He shows the effigy of Aksobhya on h ~ s crown and is hlue In colour. He carrles the Vajra and the Ghagtii ; has matted hair, displays heroism and is embraced hy h ~ s iakti Vajraviir~hiholding the Vnjra and the Kapiila full of blood. Her glrdle 1s the KhatvPhga, her colour i s red and she is three-eyed. She wears a garland of severed heads, is erldowed with the five ausp~cious symbols, has dishevelled hair and no garment. She shows the image of Buddha (Vairocana) o n her crown." San~bara has another form with four faces and twelve arms and in this form he is mentioned in the Nispannavoc~vali. (ii) Twelve-Armed Colour-Blue Arms-Twelve Faces Four

Saktt - Vajravlriihi

Sambara is the principal deity in the Sambara Maqdala of the Mippannayog~rali. T h e Sakti of Sambarlr is V a j r a v ~ r ~ h i Sambara , thus 21

162

BUDDHIST ICONOGRAPHY

is only another form of the great god Heruka. Here h e is four-faced and twelve-armed, The description is quoted below in brief : "Bhagav~n ...R h a i r a v a k i i l a r ~ t r ~ ~ v 8 1 i d h a c a r a b h iikrlntah ~m krsgah krsgaharitara ktapitapiirvottargdi-caturmukhah. D d a a h u j a h savajravajraghaq~5bhu~ayugmHlingita-Vajravir~hiko Ihujiibhyiim ...saraktaprasp tagajacarmadharah tadaparaih damaru-paraiu-kartri-tribiil~ni vibhrat, viimair-vajr%hk1takha~v5hga-raktapiiritaka~iila1i1 vajrapHSarin BrahmaQiraSca navaniityarasar8iih." NSP, P. 26 "God (Sambara) ..stands in the Alidha posture o n the prostrate forms of Bhairava and KiilarHtri. He is blue In colour and his four faces o n the east, south, west and north are blue, green, red and yellow in colour.. H e 1s twelve-armed. With the two principal hands carrying the Vajra and Vajra-marked bell, he embraces hls Sakti Vajrav~r~h'Z. With the second pair ...he carries the elephant skin from which blood trickles down. In the remaining four right hands he holds the Damaru, the axe, the Kartri and the trident. T h e four left hands show the Vajra-marked KhatvHhga, the skull cup full of blood, the Vajra-marked noose and the the severed head of HrahmB...H e displays m full the nine dramatic sentiments". The parental OhyHni Buddha of Sambara is Aksobhya and that of V a j r a v ~ r l h iis Vairocana according t o a statement contained in the aforesaid Maqdala '. Sambara is popular in T ~ b e t and China
st.

a SAPTAKSARA
Faces-Three Asana- Alicjha Arms- Six PrajEH-Vajrav~r~hi This variety of Hevajra is called Sdptlksara o r 'seven-syllabled' because his Mantra consists of seven syllables. Like Dvibhuja-Sambara mentioned above, h e IS also embraced by VajravPr~hi, who in all respects resembles her consort. Like Sambara this god also tramples upon KalarLtrl and holds the Vi6vavajra o n the crown. He has also the crescent o n his head, is endowed with the six suspicious symbols, and stands in the Alidhn attitude o n the o r b of the sun. He has three faces of blue, yellow and green colour and carries the Vajra, the GhagtB and the human skin in the three left hands and the K a p ~ l a the Khatviinga and the Trihtila in the three right.

-. -1. NSP, p. 28. 2. Two images o i Sambara are illustrated in A. K. Gordon: ITL, pp. 83, 84. See also Getty : GNB, pp. 145, 150 3. As SarnbararfijaBuddha he is mentioned in Clark : TLF'. 11, pp. 80 and 90.
'

EMANATIONS OF AKSOBHYA

163

T h e Szdhana further adds that o n each of the six spokes of the wheel of the sun on which the god stands there are six deities, namely, (commencing from the right) HerukT, VajravHrHhi, Ghoracaqdi, \'a]rabh'iskari, VajraraudG and Vajradiikini. They have respectively blue, yellow, red, green, smoky and white colour. All of them ha\ e dlshevelled hair, fierce appearance, three eyes and the quarters as garments. They carry the resoundlnp Danlaru and the Ghantii in the first pair of hands, and the human skin ;I the other pair. They stand ou the o r b of the sun placed on a corpse. Their head-dresses are decorated with rows of skulls, and they stand In the A13dha attitude. In another SHdhana devoted to the worship of SaptZksara, a slight variation is noticed. In it. ~t 1s said that the god carries, In the first pair of hands, engaged In embracing the Prajiil, the Vajra and the GhanlZi ; in the second pair, the human skin only, and in the third pair the Kapda and the T r i i ~ l a . The Khafvlhgu hangs from hls shoulder as usual. VajravBrshi 1s identical ~ t h the Prajcii mentioned before, with this difference that she should have In her second pair of hands the how and the arrow ~nstead of the 11uman skin.

7. MAHAMAYA Colour--Blue Faces---Four Arms-Four Prajii3-Buddhd~klnI

"Mahiin~iyPhvayah dew& caturmukhafi caturbhuja6 I Ahke yasya tathii devi catasro dik,su clpariih" I1 "The god called MahHma\l?i is four-faced and four-armed. He has on his lap a goddess and four o t h ~ r s In t h e four cardinal directions". Hevajra takes the name of MahZniZy'i when he is emhraced by his Sakti Buddhadiikini and remains with her in yah-yum. This variety of Heruka, a s the verse above indicates, has four faces and four arms and is accompanied by four goddesses 11) the four cardinal points. Two Sgdhanas (Nos. 239, 240) in the SHdhanam'ilSi are devoted t o tile worship of the delty, one of which is attributed t o Kukkuriplda celebrated as one of the elphty.four Mahssiddhas who flour~shed in early times. Below 1s given a summary of the description of the Magdala of MahBrnHyB. Mah'amPyL IS terrible in appearance. His body is hesmeared with ashes and his hair streams upwards in the shape of a flame of fire. He 1s blue in colour and his head-dress is decorated with a row of skulls. His four faces are of blue, yellow, white and green colour, and he carries in his four hands the KapHIa, the arrow, the KhatvHnga, and the bow. H e is endowed with five auspicious symbols, has a torque round the neck and bracelets on his wrists. He is clad in human skin,

164

BUDDHIST ICONOGRAPHY

has three eyes in each head, and flames of fire radiate from his body. He appears beautiful in his sentiment of mixed anger and delight, and stands in the Ardhaparyahka in a dancing attitude. He is embraced by Ruddhadiikini, who is red, carries the same weapons and has the same appearance and symbols as those of MahPmHyH. Her four faces are red, yellow, white and green. T h e four petals in the four cardinal directions of the lotus seat are 1 occupied by the following goddesses. (1) Vajradiikini in the east, who is blue in colour with four faces of blue, yellow, ,white and green colour, and carries the KhatvPhga and the GhaqtB in the two left hands and the Vajra and the KapEla in the two right.

( 2 ) R a t n a d ~ k i n iof yellow colour is in the south, with four faces

of yellow, blue, red and green colour. S h e carries the flag and the jackal in her two left hands and the Triiiila and the jewel in her two right.

(3) Padmad~kini in the west is of reddish white colour, has

four faces of red, yellow, blue and green colour, and carries the bow and the Kap'ila in her two left hands and. the arrow and the double lotus in the two right.

(4) V i i v a d ~ k i n in i the north, of green colour, who has four faces

of green, yellow, red and blue colour, and who carries the PP;~ and the Kapiila in her two left hands and the K h a f v ~ h ~ a (or the sword) and the Damaru in the two right.
These four denies exh~bit wrath, have their heads decorated with a number of skulls, have garlands of heads still wet with blood, three eyes and portruding teeth. Their brown hair stream upwards in the shape of a flame, and flames of fire radiate from theirlpersons. In the Nispannayog~vali, MahiimHyH also finds mention and the description givcn t4erein is quoted below : "Mah'lmPy ahva-Herukah kys~o-'rkapra bho.. n~lapita8vetaharitam~lasavyapaicima~~8ma-caturmukhah ...s a v y a b h u j b h kap81abarau viim'ibhyiirh khatv8ngadhanuG dadhsnah ...ardhaparyahkena tii~davi." NSP. p. 22. "The form of Heruka called MahHmByH is blue in colour and resembles the dazzling sun. ...He is four-faced ; the principal face is blue, the right yellow, the one behind is white and the left green ....He holds in his two right hands the skull cup and the arrow, and in the two left the Khapiinga and the bow ...He dances the THgdava dance in Ardha. paryahka".

EMANATIONS O F AKSOBHY 4

Mah'am'ayg is known both in Tibet

' and In China '.

Faces--Three Asana-~alita

8. HAYAGR~VA
Colour-Red Arms-Eight

Appearance-Terrible. [ o n e form of Hayagriva, as an emanation of AmitZhha, has already been discussed in the previous chapter, but there is another form of the god that emanates from the Dhylni Buddha A k ~ o h h y a . ~ h Dhylna describing him runs as follou~s :

"&a-HayagAvafi raktavarnafi trimukham asyabhuiam pratimukharh trinetram nilasitadak+i~etaravadanafisarpiibhara~amlal~tiiksepapadanyiisam sakrodhadysfinlrik~a?ak, prathamarnukham srnerafi~ lalajjihvam, dakgipamukham darinsyriivasyabdhaustham, vy5ghracarrnan1.vasanaxk v a j r a - d a g d a - k a r a r ; l a m u d r ~ - 6 a r o d y a t a d tara Janik~-svakucagraha-padma-dhanurudyatavZmakaracatu~~a~am Aksohhyamaulinam dhyiiylt." Siidhanan~iill, p. 508. I ' ~ h eworshipper should c u n c m e hlmself as Arya.~ayapriva of red colour, with eight arms and three faces, each face ~ 7 1 t hthrrc eyes. His right and left faces are blue and w h ~ t e respectlvcly and he has silakes for ornaments. His legs are arranged in the Lalita attitude and he looks wrathful. His first face has a smiling appearance, the right has s his left. He is clad In a protruding tongue and he bites his l ~ p in tiger-skin and shows in his four right hands the Vajra, the staff, the Karapa pose and the raised arrow. O f the four left hands, one has the raised index finger, the second touches the breast and the two remaining ones hold the lotus and the bow. He bears the effigy of Ak,sobbya on h ~ crown". s I Fig. 128 rllustrates a Nepalese drawing of the deity. It vanes a little from the description given 111 the Sadhana. /The hand that ought t o be touching his own breast displays a d~fferentmudrii and the hand that ought t o d~splay the raised index finger only has a noose round it. Nevertheless, the sketch is important as ~t shows a miniature head of a horse on the head, t o show that he is really Hayagriva "Horse-neck". The rare Karaga pose shown in the picture is noteworthy. HayagrIva is popular both in Tibet" and in China4. Fig. 129 illustrates a Chinese statuette of Hayagriva.
#

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- -- -

~.

1. A. K. Gordon : ITL, p. 83 ; Getty : GNB,p. 144. 2. Clark : TLP, 11, pp. 82, 237. 3. A. K. Gordon : ITL,pp. 90, 93. See also Gettp : GNB, p 163 4 . Clark :TLP, 11. pp. 59. 164, 172, 198.

BUDDHIST ICONOGRAPHY

9.
Arms-Two

RAKTAYAMARI
Face-One Variety-Yab-Yum

Colour-Red

Several SHdhanas in the SBdhanamBiP describe the manner in which the deity should be worshipped. In one of the h d h a n a s , it 1 s said that the colour of the deity varies in accordance with the different functions he has t o discharge. For Instance, in the hntikavi. dhi (rite of pacification) the deity is white and faces the east ; in Paugika rite he is yellow and faces the north ; in Vaiyavidhi (rite of subduing) he is red and faces the west, and in Akarsa?a (attraction) he is blue and faces the south, and so on. Of these varieties the red and blue are the most popular ; in other words, his worship is mostly performed with a view t o enchanting men and women and t o forcibly subduing them and bringing them t o the worshipper. W h e n YamHntaka. 1s red he i s called RaktayamHri and when he is blue he is called K p p y a m H r ~ . Yamiiri o r YamPntaka may either he worshipped alone o r ln conjunction with his PrajiTH. H e should have the head of a buffalo on his shoulders and should ride a buffalo. Getty ' records a tradltron current In Tihet which glves the origin of this fearful god. There was once a holy man who lived in a cave in deep meditation for fifty years after which h e was t o enter NirvHna. On the night of the forty-ninth year, eleventh month and twenty-nlnth day two robbers entered the cave with n stolen hull and slaughtered ~tthere. But when they d~scovered the presence of an ascetic, a witness t o their crime, beheaded him and lo ! his body assumed the feroc~ousform of Yama, and taking u p the hull's head he set it up on his headless shoulder. He tl~erikilled the two robbers and drank t h e n blood fiom the cup made out of their skulls. In his fiery and insatiable thirst for victims he threatened t o depopulate the whole of Tibet. The Tlbetans appealed t o their Tutelary deity, MaEjuirl, who thereupon, assumed the fierce form of Yamgntaka and defeated Yama in a fearful struggle Whatever might be the truth of the tradition, it sufficiently explains the presence of eulogies of Maiijuirl, in the SZdhanas for Yam'antaka. It may be noted, however, that the SBdhanamPlP is absolutely silent about Yama, both as a principal deity o r as an opponent of YamHntaka. Yama is the god of Death amongst the Hindus. The Buddhists created a killer of Yama In YamHntaka and it must have been an achievement
-1.
. -- . Oetty : GNB, pp. 152-153.

-.

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EhIANATIONS OF AKSOBHYA

1 b7
I.

then. Under the t ~ t l e o f Yamfintaka he is known in Tibet the title of Yamzntakavajra he is found in China '.

llnder

Six S'adhanas are devoted to the worship of this varlety of Yam'intaka. He is one-faced and two-armed and is embraced by the PrajE'i who is his own creation. The Dhylna descrlhing !)is form is as follows : b L A t m ~ n aYarngntakam m ekamulthah d\.ibhujafi pratyiilidhapadam sfirdrapitamuq~~n!atas~tadagdada~iqakarax5 nlggbharaqavihhfisaqari~ piAgalordhvakesax5 i,yiighrararmiim. baradharam Aksobhyamukuyinarb svHhha-Praj5ll1ng1tam nlahisopari \~ikvadalakamalasiiryastharh dhy5) at. Bhagavatiiica dvl bhujaikamukhim, vicitrHbhara~Zm iilic.jhapadasthitfih madavihvaliik skhaladvyHghracarmH~kuk8mBhagavatii saha samputayogena pratyalidherliivasthlt8~ evam vlcintya. .."
raktaparipfirqakap'ilaviirnakarah

Siidhanan~iilii p. 530. "The worshipper should tliink hinlsrlf as YamHntaka, one-faced and two-armed, who stands ill the Pratylidha attitude, carries the Kapfila full of blood in the left hard and the whlte staff surmounted by a yellow head still wet wlth blood, In the rlght- He is decked in orrlaments of s~lakes and his brown hair rlbes upwards. He weals garments of tiger-skln, bears the image o t Aksobhyrl on the crown, and is embraced by his Sviibhii Prajfil. He stands on the o r b of the sun over the double lotus on the back of a buffalo. He (the worshipper) should also meditate upon the Bhagavati (Prajii'i) who 1s one-faced, two-armed, and has variegated ornaments. She stands in the PratyElidha attitude, is intoxicated wlth wine, wears garments of tiger-skin whlch slips down her waist and remains in y8b-yum with the god, both standing in the PratyHlIdha attitude. Thus meditating...".

Colou~ --Blue

Varieties-Four

Eight Szdhanas in the S'idhanamHlP descrihe his different forms. He may have one face and two arms, o r three faces and four arms, o r three o r six faces and six arms. O n e six-armed variety is described also in the N~~pannayog'ivali. K~sgayarnlriis represented singly as well as in yab-yum. His different forms are dealt with one by one in the foIlowing sections.
-

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--

1. Oetty : GNB, p. 164. 2. Cluk : TLP,11, pp. 52, 73.

BUDDHIST ICONOGRAPHY

( i ) Two-Armed

Colour-Blue

Face-One

Thls two-armed form of KyspayamEri 1s without any companiotl. The DhyPtla 111 the SHdhanamHlB describes his form thus : "YamBrih vicintayet HtmEnarh praty~lidhapadasth~tah ekamukhah dvibhuiarin nilavarpam d a k i i ~ a k a r evajr~nkttodyata-nilada~dah vvHmakare tarjanip~bamhydi, evambhtitah YamHrirh. ~~iQvadalakarnalopari s i i r y a s t h a m a h t i ~ r ~ d h abh8vayrt." fi SPdhanam3lB, p. 547 "The worshipper should concelve h~mself as ( K y s ~ aYamHri ) who stands in the Praty~lidhaattitude, 1s one-faced, two-armed and of blue colour. H e brandishes the staff marked with a Vajra with the right hand, and shoufs the ratsrd index finger with the noose against the chest in the left. In thrs form Yamlri should be meditated upon a s standing on the o r b ot the sun o n a double lotus and as rlding a buffalo."
(ii)

Four-Armed Variety-- Yab-yum Arms--Four

Appeat ance-Tern ble Faces- -Three

The form of Yaniiir~w t h three faces and four arms looks terrlblr and awe-insp~ring. He 1s represented In yab-yum, and the Phyiina describes his form In verse a s follows : " . .YamBriratihh&w 1 Ka~lloravarlrik~~~11iibl1i11~ savya~uklHrunetarah I1 Krodhaparyahkayogena vi~v~hjaravisahsthitah I Sv~hha\~idvHdharlsvldaras3yanamahPsukhahI1 Kad~rordhvajjvalatkeSahplnga b h r ~ ~ m a i r u l o c a n a h I Phanindravyndanepathyo my~Pladhavaladvijaih 11 h4udgar'asidharab savye vlme rljivaratnadhyk" I1 SiidhanamBlH, p . 544
"YamHri is terribly fierce, is of deep (hlue) colour like that of the throat of a peacock, and his right and left faces are of white and red colour (respectit~ely). He stands o n the orh of the sun on a double lotus 1 1 an angry mood. He enjoys the bliss of partaking the nectar from the lips of the Prajiiii of his own creation. His hair stands o n his head in the shape of a flame of fire, and his beard and the eyes are of brown colour. His ornaments are formed by the host of the lords of

Fig. 89 Arapacana (Dacca Museum)

4 .CI 4

' a .

a,'
KJ.

* rn

Fig. 96 SadaksarT Group (Birbhum)

Fig. 97 Sadaksari LokeSvara

(Bwoda Museum)

Fig. 98 Sada ksari Mah~vidyiii (Sarnath)

Fig. 99 Sirhhanlda
1 AAlr hnhn I

EMANATIONS OF AKSOBHYA

177

twice-born serpents w h o are white like stalks of lotuses. H e carries in his right hands t h e Mudgara and t h e sword, and in his left t h e lotus a n d the jewel". (iil) SIX-Armed Asana - Alidha Arms-Six Faces-Three o r Six Variety-Single

T h e form of Yamzri with three faces a n d six arms, is fierce in appearance as the previous ones, and is slngle. He is threc-faced, and all his faces show a protrudlng tongue, canine teeth, three eyes, and contorted brows. He has a b ~ g belly, IS short and dwarfish In appearance and wears a garment of tiger-slm. He carries t h e Vajra, t h e sword and t h e Miisala in h ~ three s right hands and the goblln ( V e t ~ l S ) t h e axe and the lasso ~n his thrce left According to another statement in the Sldhana. he carries the sword, the Mudgara an'! t h e Vajra In t h e three rrght hands and t h e GhaqtZ, the Vajrap~La and the Miisala In the three left. T h e same SHdhana further says that though h e 1s represented generally as three-faced and six-armed, he may also have six faces and SIX legs, w ~ t h the same weapons. The Dhyiilla for t h e worship of t h ~ ssix-faced and SIX-lcggecl variety ot 'I'nrn~rltaka runs as follows : "YarnPntakafi kruddham iirdhvakebarh ktsqarh ,sar;lrnultharil ,sad. h h u j a h s a t c a r a ~ a r bmahlsHrijdhari7 p r a t y ~ l ~ c l f h a s t l i i t a naranlugdarug. ~i~ dairvibhiis~cah a t ~ l ~ h a y ~ n a kvy9ghracurman11.3sanari.1 k r dnl,sine khadga- rnudgara-vajrlni, vZme g h a r ; l t Z - ~ a ~ r a p ~ ; ~ - m i dhZrayanta& i~al~n mukut;e A k s o b h y a h vibhHvayct". SEdhanamHl~, p. 546 "The worshipper should concewe hlmselt as Yamzntaka, with an angry mood whose hair rises upwards a n 3 ~ 1 1 0 1s SIX-faced, six-armed a n 3 six-legged. H e rides a buffalo, stands In the PratyHITdha attitude, is embellished with severed f ~ u m a n heads, and has a very fcroclous appearance. He is clad jn garmer~tsof t i g e r - A n , carrles In the three right hands t h e Khadga, the kludaara and t h e V a ~ r a and , ti t h e three left the Ghaqt;H, t h c Vajrap~Sa a n d t h r Miisala. He bears the effigy of Aksobhya or) the crowrl." Yamiirl of blue colour 1s t h e pr~nclpal de~ty in the YamZri M a ~ d a l a of the Ni+pannayopZ\,ali. Here his f o r m IS three-faced and SIX-armed like t h e one p r e v i o u s l ~ described. The dcscrlption may be briefly given thus : "Kysga-sita-rakta-m~la-savya-vsmavadanah sadbhujah k a r t r i k a p ~ . l~iicita-sdv~etarakar%bhy5ms v l b h a p r a j 5 H s a m P l 1 n g i t ~ savyfbhygm va j r ~ s vPmzbhyH& i cakrP bje vibhrPqah". NSP, p. 36

23

178

BUDDHIST ICONOORAPHY

"Yam'ari's three faces show the blue, white and red colour in the principal, the right and the left. He is six-armed. In the principal pair of hands carrying the Kartri and the KapHla he embraces the PrajZP of his own creation. In the two remaining right hands he carries the Vajra and the sword, and in the two left he carries the discus and the lotus." and two statuettes of As Yam'antakavajra he is known In China his are illustrated in Two Lamaistic Pantheons of Clark.

11. JAMBHALA Faczs-Three Arms-Six Variety-Yab-Yum

Jambhala has undoubtedly a greater antiquity behind him than that: of the iive DhyHni Buddhas. Jambhala again is a Y a k ~ aand that indicates his non-Buddhist origin. This may be one of reasons why he could not be assigned t o any one as parental Dhy'ani Buddha. In other words Jambhala is similar to Mafijuhr; whose sire also could not be definitely determined. In the Siidhanam'alH the parental Dhyzni Buddha of Jambhala is either Ratnasambhava o r Aksobhya. Images of Jambhala are t o be met with in the Gandhara, Mathura, Sarnath, Magadha, Bengal and Nepal sculptures. For the purpose of this section, however, the form emanating from Aksobhya is important. Here he is three-faced and six-armed and is represented in yab-yum. Though the Dhygna does not niention the colour, it can be presumed that his colour is blue which is the colour of the DhyHni Buddha Aksobhya from whom he takes his origin. Jambhala as the god of wealth commanded great respect amongst the Buddhists, and received worship in various forms in all Buddhist countries. The Dhy'ana in the SHdhanamHlH describes his six-armed form as follows : "Jambhalam trimukha& sadbhujam Aksobhyajat'amuku;inarh daksi?atribhujaih m'atulungii-hkuga-b'apadharah prathamav'amabhujaikena v~ma-~~r$vasthita-Praj5iilibgitam aparav'amabhuj'abhy'ah sap'aQa!lakulik ~ r m u k ~ d h a r aHtm'ana~h h nisp'adya.. ." Siidhanam'al'a p. 564 "The worshipper should conceive himself as Jambhala, three-faced and six-armed, on whose matted hair there is an image of Aksobhya. He carries in his three right hands the citron, the goad and- the arrow. He embraces the PrajEa with the first left hand, carries the mongoose tied round with a lasso and the arrow respectively in the second and the third. Thus meditating...".
-1. TLP, Vol. 11, pp. 52, 73. For a Tibetan specimen see Gordon : ITL, p. 90

-_ ___

EMANATIONS OF AKSOBHYA

179

Two statuettes of the six-armed Jambhala is known in Tibet I . Jambhala are t o be found in the Chinese collection at Peiping ?.

Appearance-Terri ble VHhana-Kuvera Asana-~rat~iilidha

vomitting jewels

Ucchusma also called Dimhha, being a variety of Jambhala, bears also the image of Aksobhya on his crown. He may however, have the image of Ratnasambhava instead, and as an emanation of Ratnasambhava Jambhala will be described later. Several SHdhanas are devoted t o his worship, and the DhyHna describing him with the image of Aksobhya o n his crown runs as follows : $'Atmanam Bhagavantarh Ucchusrnak paiicavarsakum5riikrtim kharvarh viLvapadmastharh candropari sarpHbharaqabhiisitarh ratnamukutirh muiicad-ratnamukhapitiingasupta-Dhanadasya 1alHram daksinena caraqena caranadvyari~ vZmen5krEntamiirtik praty51idhapadarh ; nagnarh iirdhvalihgah lambodararh ; hrdi daksiqapiigi~tharakta~iirp a k a p ~ l ~ b h i m u k h a d r s t; ~m vImajanghlsaktav8makarega ratnacchayodg~ryyadhomukhanakulih aviddhadh~llakarnadva~arh ardhendu [Qekharafi] dams~sHharHlavadanarh raktavarttulatrinetrarh krtabhykufilaliipm pihgordhvakekarb ~hii~~ariarnudra-nil-Aks~bh~arnunimastakarb.. ." SadhanamiilH, p. 577. "The worshipper should med~tatehimself a s the god Ucchusma, who appears a child of five years and is dwarfish. H e stands on a double lotus on the moon, is decked in ornaments of snakes and has a jewelled headdress. He stands in the PratyZIIdha attitude and presses with his right leg the forehead of the sleeping Dhanada of yellow colour with his mouth vomitting o u t jewels. His left leg rests on the two leps (of Dhanada). He is nude, and his rnembrurn vir~le is pointed upwards. H e has a protruding belly, and has his eyes fixed on the Kaplla full of blood which he carries in his right hand against the chest. He holds in his left hand the mongoose vomitting our jewels, on his left thigh. His ears are large and unpierced and he has a crescent o n his crown. His face is distorted wlth bare fangs, and his three eyes are red and round. His brows are distorted, and his brown hair rises upwards. H e bears o n his crown the image of AkHobhya of blue colour displaying the earth-touching attitude".
- . ..-.-.-

.-

1. Getty : GNB, p 159. 2. Clark :TLP,11, p. 310 under the title of Sadbhuja Jambhala, and on p. 203 as Sndbhuja Jambhalavajra.

180

BUDDHIST ICONOGRAPHY

The Sarnath image (Fig. standing on Dhanada o r the may be noticed as coming feature of this sculpture is Sakti Vasudhgrii.

130) illustrates this form of Jambhala Hindu god of wealth. Streaks of jewels out of Kuvera's mouth. T h e peculiar that here Dimbha is accompanied by his

Asana-~raty~lidha Symbols-TarjanipPia

Colour-Blue and Vajra

V~ghnHntaka is closely associated with three other gods, Padmiintaka, Yam~ntaka, and PrajEintaka, who are generally represented as is represented guardians of the gates in the Mapdala. Vighx~Hntaka in various forms. T h e name is significant as the word "Vighna" o r "obstacle" refers t o the Hindu god Gapesa. Only one short SBdhana in the SBdhanamBlH describes his form in the follow~ng terms :

(CA tmanarh pratyiilidhapadasthitah ekamukharh dvibhujah nilavarqam viimakarena t a r j a n i k ~ ~ i i k a m daksipakareqodyatavajrari.1 , bhaygnakarh pingalordhvake&am.
"The worshipger should conceive himself as (V~ghnsntaka)who stands in the Praty~lidha attitude, IS one-faced, two-armed, and blue in colour. H e carries in his left hand the Tajanipiiia, and w~eldsthe Vajra in the rlght. He is terrible in appearance and his brown hair rises upwards. His seat is on the o r b of the sun placed on a lotus". This Sldhana is silent about the prostrate figure of Gaqeia whom h e tramples under his feet, thereby giving significance t o his name as already indicated. It may be pointed out here that the god Gageha, whom the Hindus consider t o be the remover of all obstacles, is regarded as the most dangerous obstacle by the Buddhists ! As t o the origirl of this god there runs a Nepalese legend that at a certain time an Odiygna Pandit was performing a T'antric rite o n the bank of the Baghmati river near Kathmandu in order t o obtain Siddhi (perfection). Gageia, it is said, being strongly opposed t o the idea, began throwing dangerous obstacles in the way of the due performance of the rite. The Odiyiina Pandit finding himself helpless, invoked the eod Vighn5ntaka, the destroyer of all obstacles, and l o ! VighnPntaka appeared in a fierce and terrible form, armed with destructive weapons and gave h o t chase t o Gageka, who was by this time, flying in terror, and in ' n o time overcame the latter.

EMANATIONS OF AKSOBHYA

18 1

In the statuette illustrated in Fig. 131 it may be seen how VighnZntaka is trampling heavily on G a ~ e k a and the latter, in order keep up the dignlty of his godhead, exhlhlts the Abhaya pose even in his agony ! The form in which VighnBntaka is said to have appeared before the Odiy'ina Vajr'iciiryya has SIX arms. He carries in his two principal hands the Kartri and the KapBla acainst the chest ; the rest carry the Damru and the goad in the right, and the 'rribiila and the noose with fhe Tarjani in the left. The original image is in the Baroda Museum collection. Vighnzntaka is known also to the Chinese collection at Peiping '.

(1)

Two-Armed Symbols-Vajra Arms-Two Viihana-S~va and Ghapyii

Appearance-Tern

ble

Mudrz-VajrahiihLBra Asma-~rat~~lidha

Only one Sldhana in the SiidhanamPlB describes the form of the god VajrahEnkZra, who is so-called because his two hands carrylng the Vajra and the Ghaqtl exhibit the Vajrahiihklra mudrz. The Sldhana says that the god orrginates from the sacred syllahle 'Hiim' which is irresistible like the Fire of Destruction, is blue In colour, and d a z z l ~ i ~ g l ~ bright. The S'idhana adds further : "Tadutpannam mahzraudrarh Vajrahiink'ira-sakjzakarh I AttahPsam n~ah'iraudrarinksepayantam tridhgtukam I1 c3har;lyPvajraprayogena mudrzbaddhakaradvayah I Pratyllidhapadenalva Bhairaviikr~ntabhikararh" I1 SiZdhanamZlZ, p. 506 " I h e worshipper should conceive himself as the god Vajrahiihklra, who originates from that syllahle (H'irh) and is terribly fierce in appearance. He laughs horribly, is wrathful, and disturbs the three worlds. His two hands carrying the GhaqtS and the Vajra are locked in the Vajrahiihk'ira mudrz. He tramples upon Bhairava, in the Praty%lidhZattitude, and inspires awe." It may be pointed out that though Vajradhara also displays the Vajrahiihk'ira mudrz and carries the Ghapt'. and the Vajra in exactly the same way as Vajrahlihk'ira does, there are many differences between their forms. Vajradhara sits in the Vajraparyahka attitude on a lotus and has a peaceful and graceful appearance, while Vajrahiihkfra stands

---".

--

--

- ---

1. Clark : TLP, 11, pp. 217, 311.

162

BUDDHIST ICONOGRAPHY

in the P r a t ~ ~ l i d hattitude, a tramples upon Bhairava, a form of the Hindu god Siva, and has a terrible appearance. No connection can, therefore, be established between the two. Vajrahtigkzra images are known t o the Chinese collection at Peiping ' although they are not generally found in Ind~a.
(ii) Six-armed

Colour-Blue

Faces-Three Arms- SIX

Vajrahiirikiira is the principal deity in the Vajrahiinkara Mapdala o i the Nispannayog~vali, and is ~dentified with Trailokyavijaya. He is three-faced and six-armed. With his two principal hands arranged in the Trailokyavijaya ' mudrH and holding the Vajra and Ghavt.5 he embraces the PrajEZ of h ~ sown creation. With the two remaining right hands he holds the goad and the noose, and with the two left he shows the skull-cup and the Khafviihga :' As VajrahCihkZ1-a and Trailokyavijaya he is known in China
"

Colour--Black as collyriun~ Arms-Four

Appearance-Terrible MudrP-Bhiitadiimara.

Three Siidhanas in the S5dhanamfilii describe the form of Bhiitddiimara, who is terrible and awe-inspiring, w ~ t hornamer~ts of snakes, canine teeth, and garlands of skulls. The DhyHna runs as follows : " A t r n ~ n a hpasyet raudrah jvPliimHlPkulaprabham I Caturbhujah rrahiikrodhah bhinniii5janasamaprabhaA 1 1 Daksiqe vajramullHlya tarjayan v5rnapiir;lmP 1 DafistriikarHlavadanah nHgii5;akavibhGsitarh I1 KapHlarfalHmukufa~ trailokyah api niikanam I A;yahSsa& mahihiidam trailoky8dhigfhitam prabhum I1 Pratyiilidhasusa&sthPnam iidityakotitejasam I Aparljitapad5krHntarh mudrlbandhena tisrhati I1 BhGtadHmara-siidhanam ." SHdhanamHl~, p. 521 "The worshipper should conceive himself as (Bhtitad~mara)who is wrathful in appearance and whose person radiates fiery flames. He is four-armed, terribly angry, and is bright like a broken lump of
..
-.
~

-- -

-.

----

-.

1. Clark : TLP, 11, pp. 238, 314 2. Probably the Rame as the Vajrahii~ikiira miidri. mudts see Gordon : ITL, p. 22 3. NSP, p. 24 4. Clark : TLP, 11, pp. 238, 314

For

deecription of this

EMANATIONS OF AKSOBHYA

183

collyrium. He weilds the Vajra in the right hand and shows the Tarjani in a threatening attitude in the left. Hls face appears terrible with bare fangs and h e is decked in ornaments of eight serpents. He has the garland of skulls o n the crown and is capable of destroying the three worlds. He stands firmly in the Pratyiilidha attitude and is resplendent like myriads of suns. He tramples under his feet, the god Apnriijita, and exhibits his special mudr8." From the Dhyiina above quoted it will appear that the two principdl hands of the god exhibit the BhiitadHmara or the DHmara mudrii ' while the other two carry the menacing Vajra In the right and the mudrii appears in the Tarjani in the left. The description of t h ~ s same SBdhana. Bhiitadiimara is the principal deity in the Bhiitadiimara Mandala of the Nispannayoglvall. Here he tramples upon the prostrate form of Apariijita, and 1s violent in appearance. He is four-armed. He wieids the Vajra in the right hand rased in a menacing att~tude. In the left the two principal hands, he he shows the TarjanT and the noose. W ~ t h shows the DHmara mudrii '. ~ c c o r d i nto ' ~ statement in the Ni+pannayogHvali the spiritual father of BhiitadLmara is Aksobhya (Atra cakre6asya kule60Jksobhyah, NSP, p. 74). He is known in China under the name of Bhiita?Hmara VajrapHqi ".
16. VAJRAJVALANALARKA

Colour-Blue Arms-Eight Vahana-Visnu

Faces---Four Asana- Alidha and his wife.

Only one Siidhana in the SHdhanamPlii describes his form. He is four-faced, eight-armed, stands m the Alidha attitude, and tramples upon Visgu, who is accompanied by his wife. He is blue in colour and has a terrible appearance. The Dhyiina describes him in the following terms : "Vajra~viiliinaliirkafi nilavargafi jviil~m8liikulaprabhah caturmu-

turbhir-daksi~akarair-vajra-khadga-cakra.biigadharam caturviimakarairghag~8-c'ipa-p~6a-kha~v~ng~sakta~icitrapat~kiidharam jvaladanalakapila&khiikaliipam a t i b h i s a g a m a h i i h l v a l a g a - k a h k a g a - k a m ( h i .

1.
- --- - -- .. For a description of chis mudrii see Gordon : ITL, p. 20 and for a picture,

~btd,p. 62. 2. For further information on the subject, see Bhattachayyycl, B : The Cult of Bhiitadamara in the Proceedings of Patna Oriental Conference. 3. Clark : TLP, 11, pp. 242, 152

184

BUDDHIST ICONOGRAPHY

k'i-kuqdala-mukuyiibharaqam mah~miiyiicakraracanacaturarb sapatnlka&

Visqum-'alidhapadena ~ k r a m y a avasthita* bhiivayet." Siidhanamiilii p. 512 "The worshipper should conceive h~mself as Vajrajviiliinal'arka o f blue colour, whose person radiates fiery flames. He is four-faced and eight-armed, and his four-faces display the sentiments of love, heroism, disgust and compassion. He carries in his four right hands the Vajra, the sword, the Cakra and the arrow. and In the four left the GhagtH, the bow, the noose and the KharvIhga surmounted by a banner of varie. gated colour.. His brown hair resembles a burnlng flame and he is decked in ornaments of bracelet, armlet, girdle, nLipura, torque, ear-ring and crown corisisting of the (eight) great lords o f the frightful serpents. He stands l r l the Alidha attitude and tramples upon Visqu wit11 hi5 consort who are clever in enveloping everything with their great MByB (decept~on).

17. TRAILOKY AVIJAYA

Colour-Blue Armb---Elgilt Viihana-Gauri Fnces-Four Asana-~ratyiilidha and 6iva

Trailokyavijaya is also of bluc colour, terrible in appearance, and awe-inspiring. Two images of this divinity have been noted by Prof. Foucher, one from Java and the other preserved In the monastery of the Hindu Moharlt at Bodh Gaya. The DhySna describes his form i r i the following words :

"Trailokyavijaya-Bha~rgrakarhnilam caturmukharh astabhujarh ; prathaman~ulzharhkrodhatyhgZram, dakslqam raudram, viimaxi~bibhatsaril, ~!?tharh virarasd* ; dvBbhy8rh ghaqtZvajrznvitahast~bh~~m hrd~ vajra hiin kirnrnudriidhararb ; daksiqatri karaih k h a t v ~ h g ~ q k u i a b ~ q a dhararh, v ~ r n a t r i k n r a ~ h ~ ' i ~ a p ~ k a v a j r a d h a r; am pratygl'idhena vHrna. padiikriinta-Mahedvaran~astakah dak~iqapadlvasfahdha-Gauristanayugala& ; H u d d h a s r a g d ~ m a m P l ~ i d i v i c i t r g m h a l P b h a r a m Itmiinah vicintya.. ." Siidhanam5l:, p. 511.
"The worshipper should meditate himself as Trailokyavijaya Bhattzraka of blue colour, four-faced and eight-armed. His first face displays the sentiment of wrathful passion, the right rage, the left disgust, and the face behind the sentiment of heroism. He exhibits the VajrahiihkEra mudrz with the t w o hands bearing the Ghaqt'i and the Vajra against the chest. H e carries in his three ,right hands the Khatviihga, the goad and the arrow, and in the three left the bow, the

EMANATIONS OF AKSOBHYA

185

noose and the Vajra. He stands in the Praty'ilidha attitude, tramples upon the head of Mahebvara with his left leg, while the right presses upon the bosom of Gauri. He wears garments of variegated colours, and many ornaments and garlands assigned to the Buddhas. Thus meditating.. ." This god is known in Tibet and China '.

'

Faces-Four Legs-Four

Arms-Eight V'ihana Four gods and four goddesses

It has already been said that Param'ibva "Great Horse" is another form of Hayagriva "Horse-Neck" as the word "asva" in Param~bva indicates. In the S'adhana it is said that h e should have four faces, but in reality he has seven faces, for one of his faces is said t o be Rrahmamukha, o r the face of Brahmz, who is credited with four faces. The other peculiar feature of this god is that he has four legs, each trampling upon two deities. The Dhylina contained in the SEdhanamPl'a is quoted helow : "Param'alvah raktam caturmukham a,srabhuja& catuicargah ; prathamamukhah krodhaQyhE~ra&trilocana~k, daksigaxh raudrah, v'imarh Brahmamukhah miirdhni lalitoddhulirosrhah harit'ih,amukharh ; ekena dak~inatripatzkldharakareqa vi~vavajrasahitenottisrhiihhinayaIk kurvantam ;ekena v'imakherakahastena viQvapadmam dhlrayantah ; punardaksigatripatzk'ikareqa uttisrh'ibhinayam kurvantam punarvzmakarena 6aktim dhzrayantak ; punardak,sigakarlibhyiih khadgafi bblgazca, avaSisraviimakarHbhy'irh daqdam c8paEca dhiira yantafi. Praty 'ilidhena doksigap'idaikena I n d r ~ g i k Sriyasca Hkramya sthitam, dvitiyadaksigacaragena Ratih PritiEca v~maprathamap'idena Indrah Madhukarazca, v'imadvitiyap'idena Jayakaram Vasantai?ca, ityltmHnah dhy'iyzt ..." SPdhanam'aB, pp. 510-51 1. . "The worshipper should think himself as Param'agva, of red colour four-faced, eight-armed and four-legged. The first face with three eyes displays angry passion, the second depicts wrath, the third is the face of Brahm'a, and the fourth on the top is green, distorted like a horse with its lower lip beautifully protruding. He weilds the double Vajra, in one of his right hands with three fingers erect (TripatHkH) and in one of his left hands carries the stag with the double lotus. Another
~ - . -

1.

--

Gordon t ITL, p. 60 ; See also Getty GNB, p. 115.

2. Clark :TLP, 11, pp. 116. 168.

24

186

BUDDHIST ICONOGRAPHY

right hand, with three fingers erect, is raised upwards, and the other left carries the Sakti (dart). The remaining two right hands carry the Khadga and the arrow, and the remaining left carry the staff and the bow. He stands in the PratyHlidha attitude, and tramples with one of his right legs upon IndrHr?i and Sri, and with the second Rati and Priti ; with one of the left legs Indra and Madhukara, and with the other left Jayakara and Vasanta". Fig. 132 illustrates a Nepalese drawing of the deity Param~Qva. In the picture the horse-head is noteworthy, which also occurs in the case of another god, Ha~agriva.

19. YOGAMBARA. Colour- Blue Faces-Three Variety-Yab-Yum Arms-Six Sakti-~58nadiikin'i

God YogHmbara is the principal deity of the YogPmbara Mandala or the NispannayogZvali. His form is there described in the following words : "Sirhhopari vibv~mbhojacandre ardhaparyahkanisagr)~ Bhagaviin Y ogiimbarah krsnah krsgaesita-rakta~miilasa~yavamiimukhatra~ah.. . sadbhujo vajravajraghagt.Sbhrdbhuj~bhylrinkrsq'im bukliim vii JEiinadgkinih pitabhujahgabhiisa~iirniilihgitah savyiibhyiim stanabiigau v'imiibhy'ixb abja bhiijanadhanusi dadhiinah" NSP, p. 32. "YogHmbara sits in Ardhaparyanka on the moon on a double lotus placed on a lion. He is blue in colour and is three-faced. His principal face is blue, the right white and the left red, He is sixearmed. In his two principal hands carrying the Vajra and the Vajra-marked bell he embraces his Prajiia JZHnad~kini who is either blue or white in colour, and is decked in ornaments of snake. In the remaining two right hands he holds the breast and the arrow, and in the two left he shows the lotus bowl and the bow " The blue colour of the deity shows that Yogiimbara belongs t o the family of the Dhy'ini Buddha Akaobhya. YogZimbara is known in China '. His Chinese statuette is illustrated in Fig. 133.

20. KALACAKRA. Colour-Blue Faces -Four

K'ilacakra is the principal deity in the Kiilacakra Magdala of the Nigpannayogiivali. The famous Tantra of the Buddhists called the 1. Clark :TLP,11, pp. 239, 81,103

EMANATIONS OF AKSOBHYA

187

KPlacakra Tantra introduces the cult of K'alacakra into Buddhism. Vimalaprabh'i is the commentary on the K'alacakra Tantra which is referred t o in the NispannayogZivali. It is thus probable that the cult of K'alacakra came into vogue in the 10th century. According t o the KHlacakra Tantra, the cult was given the name of Adibuddhay'ana o r Adiy'ina. From the Vimalaprabh'a it is evident that by introducing the worship of K'alacakra, the circle of time, an attempt was made t o bring the warring communities of the Hindus and the Buddhists under the same banner, and unite them against the cultural penetration of the Mlrchhas from the Western borders of India where the followers of Islam were daily growing strong and were destroying old and ancient civilizations. The form of K'ilacakra as described in the Nispannayog'avali is elaborate and somewhat grotesque. But it is necessary t o give an idea of his form as briefly as possible. He is here described thus :
"Utt~n'anangarudrah~dayayor~hena nrtyan Bhagav'in K'alucakrah k p g o ....vy 'aghracarm'ambaradharo dv'adaianetraS;caturmukhah.. ..trigrho bhagavHn satskandho'sau ...dv'idaSab3h~rupabhutah prabhrti caturvih6atisahasrah. Tatra daksiqau dvau bahii nilau dvau raktau dvau duklau tathz viimau evam kar'a6catvlrah.. .savy'i v'im'akca. ..

..

VPmesu krsgesu ca vajra-ghaqfsphalake vikasitamukhakhafv~h~am raktapiirqa-kapslam ca ; raktesu kodagdap'akau magiratnam pugdarikam ca ; iuklesu darpanaevajra-syhkhala-Brahmadiraica." NSP, pp. 83-84. "God K'ilacakra dances in Alidha attitude on the bodies of Anahga and Rudra lying on the back. He IS blue in colour. He wears tiger-skin and has twelve eyes and four faces. He is endowed with three necks and six shoulders. With the principal twelve hands on each side and the subsidiary hands, the total number of his hands is twenty-four thousand. Two of his right hands are blue, two red and two white. The hands are similar in the left. Thus along with subsidiary hands, four are blue, four red and four white. They occur both in the right and in the left. In the four right hands of blue colour are held the Vajra, the sword, the Trtbiila and the Kartri. In the four hands of red colour are held the Fire, the arrow, the Vajra and the Afikuka. And .in the three ' white hands are shown the discus, the knife, the rod, and the axe.

188 ., s

BUDDHIST ICONOGRAPHY .*,

In the four left hands of blue colour are shown the Vajra-marked bell, the plate, the KharvHhga with the gaping mouth, and the KapHla full of blood. In the four hands of red colour can be seen the bow, the noose, the jewel and the lotus. In the four hands of white colour, there are the mirror, the Vajra, the chain and the severed head of Brahm'a." KHlacakra is known t o the Chipese colltction and a presentation of his form is given in the Two Lpmaistic Pantheons. Images or painticgs ,of KHlacakra are rarely found in India. He is popular in Tibet ' as .well as in China < Fig. 134 illustrates a Nepalese drawing of Kglacakra. The blue colour of the god suggests that his spritual sire is Aksobhya.

1. &tty : GNB, p. 146. A full deruiption end a fine picture are given in Gordon :

ITL, pp. 84, 85. 2. Clerk : TLP, 1 1 , pp. 49, 233.

C H A P T E R V11
EMANATIONS OF AKSOBHYA f CONTINI-JED)
1 1 . GODDESSES

Compared t o the other DhyHni Buddhas the number of goddesses emanating from the DhyHni Buddha Ak~obhya is large. Some of the goddesses are well known and popular in the Buddhist countries of the t o them. It has already been north but many Sldhanas are not ass~gned pointed out that the emanations of this Dhyzni Buddha are, as a rule, terrible in appearance and awe-inspiring in character. The goddesses emanating from Aksobhya are likewise blue In colour, and partake of the fierce nature of the male divinities. The genuin;ly peaceful and benign deities such as PrajiiEpiiramitB and VasudhErH are exceptions to the rule. The goddesses emadating from the Dhyiini Buddha Aksobhya are described below one by one. 1

L/ 1. MAHAC~NATARA Asana-~rat~iilidha Appearance-Terri ble Viihana-Corpse Arms- our Two SHdhanas are devoted t o the worship of Mah~cinatBrH or TPrZ of MahHcina (Great China) and two DhyBnas, one in prose and the other in verse describe one and the same form of the goddess. She is also known in Buddhist T'ntric literature as UgratHrH, and the Vajrayogini temple at S i i ~ k uin Nepal, contains in the sanctum a figure of Ugratiirii. This Ugratiirii o r MahZcinatHrii of the Buddhists has been incorporated in the Hindu pantheon under the name of TZrE, and is now regarded as one of the ten Mahlvidyii goddesses. The DhyBna in the S'adhanamSlH describes her form in the following verses : "PratyPlidhapadiik ghoriirh mu~~damHliipralambitiirinI Kharvalambodar'arin bhimiim nilanirajar'ajitiih I1 Tryambakaikamukh'ah divy'am ghorlf~ah'asabh'asurlh I Suprahystiiri, 6av'iriidhiirh n2igZsyakavibhBgit'am 1 1 Raktavarttutanetr'a5ca vy'aghracarm~v~t'ah karau I Navayauvanasampanniim pai5camudrPvibhiisitP15 I1 Lalajjihv'im r n a h ~ b h i m ~sadams$rotkarabhisagH& fi I Khadgakartrikarsm savye v2imotpalakapaladhHtin I1 Pihgograika jafP& dhyPyHt maul'av-Akgobhyabhiitit'ih I1 MahlcinatlrS- S'adhanak". S'idhanamdii, p: 210

190

BUDDHIST ICONOGRAPHY

"The worshipper should conceive himself as (Mahiicina-Tiirl) who stands in the Praty'ilidha attitude, and is awe-inspiring with a garland of heads hanging from the neck. She is short and has a protruding belly, and her looks are terrible. Her complexion is like that of the blue lotus, and she is three-eyed, one-faced, celestial and laughs horribly. She is in an intensely pleasant mood, stands o n a corpse, is decked in ornaments of snakes, has red and round eyes, wears the garments of tiger-skin round her loins. is in youthful bloom, is endowed with the five suspicious symbols, and has a protrudiug tongue. She is most terrible, appears fierce, with bare canine fangs, carries the sword and the Kartri in the two right hands and the Uptala and the KapHla in the two left. Her Jatiimuku~a of one coil is brown and fiery and bears the image of Aksobhya within it." This is the Dhy'ina in the S'idhanamiilii, the earliest manuscript of which belongs t o A. D. 1165. According t o the colophon, the Siidhana for Mahiicinat'ir'i has been restored from the Mah~cina-Tantra, which should therefore be earlier than the earliest extant manuscript of the SHdhanamHlH. As the Siidhana in verse is attributed t o 6'i;vatavajra it is certain that the DhyHna, just quoted. was not in existence before Sii~vatavajra. Now, in the THrSrahasya of BrahmHnanda, who flourished in the middle of the 16th century and in the Tantrasiira of Krsgiinanda A g a r n a v ~ ~ ian i a almost identical Dhyiina is stated describing a goddess of the name of T'irB : "Pratyiilidhapad~rh ghorLrh mur;ldamiilZvibhtisitlm I Kharviih lambodarim bhim'im vyBghracarmLvytH& kafau I1 Nava yauvanasampannsm pa5camudr5vibhiisit%i1 I Chaturbhuj'irh lolajihviirh mahlbhimiirh varapradgrh I1

KhadgakartrisamHyukta-savyetarabhujadvay'irh I KapiilotpalasarhyuktasavyapZgiyug'invitPm I1 Pihgograikajafiirh dhyiiyenmaulHv-Ak~obhyabhtisitLrh I B~liirkamagdaliik~ralocanatrayabhii~itHlin I1 Jalaccitiimadhyagatiirh ghoradarhstr'irh kariilinifi I SiiveBasmernvadaniifi stryalankHravibhlisitii& 11 Vievavy~pakatoyiintah ivetapadmoparisthit'irh I

AksobhyadevimiirdhanyastrImiirtirn'igariipadhrkn I1 TantrasPra, p, 415 et sqq.

A comparison of the two Dhflnas will at once revea'l'how the original composition of Sii~vatavajra has been modified in the Tantra. siira by a Hindu TLntric author. Some lines have' been added' t o the original Dhy'ina and all grammatical errors are tectified. ' This is evidently the recognized method of Hinduizing a BuddhistTTintric deity.

EMANATIONS OF AKSOBHYA (CONTINUED)

191

It is rkmarkable that the Hindus retained in their DhyEna the efFigy o f Aksobhya bespeaking as it does, the Buddhist origin of the goddess, for it is well known that the Hindu gods or goddesses are not in the habit of wearing a miniature figure of their sires on the crown. Moreover, Aksobhya is unknown in the Hindu pantheon except when he is borrowed from the Buddhists, and the Hindus fail to explain the desirability of putting his figure on the crown of TErE. Figs. 135, 136 illustrate the Buddhist form of Tiir'. o r ~ah'icInatErI, and shows in what different forms she is represented in Nepal in modern times. It may be pointed out that the corpse under the feet of the Hindu TIrE is not a corpse properly speaking, but it is the prostrate form of Mah'ideva t o whom she is attached as a 4akti.

Jiinguli is widely worshipped amongst the Buddhists as a goddess who cures snake-bite and even prevents it. According t o a Sahgiti she is as old as Buddha himself, and the secret of in the SHdhanam'al~ JEfiguli and the mantra for her worship are said t o have been imparted t o Ananda by Lord Buddha. Besides, the Sahgiti, four STdhanas describe the procedure of her worship and give elaborate mantras for the extraction of poison from the body of the snake-bitten. These four S'idhanas describe three entirely different forms of J I ~ g u l i ,two with one face and four arms and one with three faces and six arms. Images are found in Tibet ' and China '. of j ~ h g u l i

(i)
Colour-White Symbol-Snake, or Viqf Mudrii-A bha y a In two SLdhanas JTnguli is described as having one face and four arms. In both cases she is alike in all respects except for the weapons she carries in her hands. In one of the Dhy'inas she is described as follows : " A t r n ~ n a mArya-~~hpuIirTip~rh sarva4ukl8m caturbhujiih ekamukhlrh j a t ~ m u k u r i n i h bukllm bukla~asanottari~lrhsitaratnIlahkHrabhiiaitlrh buklasarpairvibhTi~itii&sattvaparyahke upavigt'ih mtilabhujiibhy'arh viq861 viidayantim dvitiyavhabhujena ~itasar~adhiiriqirk aparadaksigen~bhayaprad'ah candr'ihhum'alinih dhy'ayiit.. ." SiidhZinamZilii, p. 253.,
1, Gctty : GNB, p. 123 2. Clark : TLP, 11, pp. 204, 217, 28 1

192

BUDDHIST ICONOGRAPHY

"The worshipper should meditate himself as Arya ~ghguliwho is all white in complexion, four-armed, one-faced, wears the Jay'amukutH and a white scarf. She is decked in white ornaments of gems and white serpents and rests on an animal. She plays on the Vig'a with the two principal hands, carries the white snake in the second left and exhibits the Abhaya mudrii with the second right, and is radiant like the moon." In a second S'idhana she is said to exhibit the Varada mudr'a in the second right hand. Fig. 137 illustrates a Nepalese drawing of the twoarmed form of J'ahguli.
(ii)

Colour-Green Mudrii-Abhaya Symbols-Trikla, Peacock's feathers and Snake. The second variety resembles the first in many respects, but the Ssdhsna ' does not mention the animal-seat or the particular Asana in which j'ahgulI should stand o r sit. The symbols also are different namely, the TriAiila, peacock's feathers and the snake. The mudrii, however, is the same Abhaya mudrP. (iii1 Faces-Three Vshana-Snake Arms-Six Colour-Yellow

The third variety of J'ahguii has three faces and six arms. Two S'idhanas in the S'adhanamglii, one in prose, and the other in verse, describe thls form. The Dhy'ana contained in one of these runs as follows : "Arya-~'ingulix5 'atm'anarh , jhafiti nisp'adayet p'it'arh, trimukh'irh sadhhuj'afi ni~asitadak~iqetaravadanZm khadgavajrab~qadaksiqahasta. tray'irh satarjanip~Qavi~apu~pak8rmukav'amakaratra y 5 5 sphitaphan~n~aqdala$irahsth'iA sar~adiv~avastr'abharaqahhiisit~rh k u r c ~ r i 1aksagojjvalZrh Aks~bh~Hkr'antamastak'arh d h y z t ~..." z SHdhanam'alH, p. 248 "The worshipper should quickly conceive himself i s Arya-~'ahguli, who is yellow in colour, three-faced, and six-armed: Her faces to the right and.left are blue and white. She carries the swordi the Vajra and the arrow in the three right hands, and the Tarjani with rhe noose, the blue lotus and the bow in the three left hands; She rest&-o n the expanded hood of the serpant, is decked in celestial ornaments and dress, is resplendent with the auspicious marks of a virgin, and bears the image of Aksobhya on head. Thus meditating,,.." -1. SHdhana No. 121, S%idhanamiilP p. 251.

EMANATIONS O F AKSOBHYA (CONTINUED)

193

T h e Hindu goddess Manass or Vitahari has a marked resemblance t o the appearance of Jshguli and some of the Dhysnas in the Hindu Tiintric works for the goddess distinctly give her the epithet of "Jiihguli".

3.
Colour-Blue

EKAJATA. -'
Appearance-Terrible

Attitude-Praty~lqha Ekajatz is one o f the most powerful goddesses in the VajrayPna pantheon. It is said in the Siidhanamiilii that if a person listens to her mantra but once, he is at once freed from all obstacles and is attended always wtth good fortune, his enemies are destroyed and he becomes religiously inclined, even attaining the level of a Buddha. Four Siidhanas in the S~dhanamlliidovoted to the worship o f Ekajatii, describe three different forms of the goddess. She may have one face with two, four or eight arms. The main featu~esof the goddess ale given in one of the Szdhanas, the Colophon of which asserts that the SHdhana has ) by Arya NZpiirjona, who was been restored from Tibet ( F h o ~ a famous in the mediaeval ages as one of the e~ghty-four Siddhapurusas of India. The general description of the goddess given in the Siidhana is as follows : "Kys~avar+i matiih sarviih vyzghra-carmHvyt5h katau I Ekavaktriih t r i n e t r ~ i c a pihgordhvake~arnfirdhaj~h I1 Kharvii lambodarz raudriih pratyBlidhnpadasthit* I SaropkariilavaktrH rnupdamH1iipralambtt~ I1 KugapasthH mahiihhim~MaulHv-Aksn bhyabhiisit* 1 Na~a~auvanasampann gho~ii;tahiisahhiisvartih ~h I1 Vi4vapadmopari s k y y e cintaniyiih prayatnatah" 11 SPdhanamiilTi p. 266.

"All these (three) forms (of Ekajad) are of blue colour, have the tiger.skin round their loins, are one-faced and three-eyed, and have brown hair rising upwards on their head. They are short, pot* bellied, wrathful and stand in the Pratyiilidha attitude, they have faces distorted with anger ; with garlands of heads hanging from their necks, they rest on corpses, are terrible in appearance and bear the image of Aksobhya on the crown. They have youthful bloom and laugh horribly and they should be conceived o n the o r b of the sun over the double lotus." 25

,194

,BUDDHIST ICONOGRAPHY

This general description . only applies t o the following three forms of Ekajat'a with one face and two, four o r eight arms : (1) When two-armed, she carries the Kartri and the Karora (skull-cup) in her two hands (Fig. 138).
I

(ii) When four-armed, Ekajarii carries the arrow and the sword in the two right hands and the bow and the skull in the t w o left. In two other Sldhanas describing the four-armed variety, her appearance undergoes a slight modification. Here she holds in the first pair of hands the KapBla and the Kartri, while the other pair shows the Utpala and the sword. She may hold also the rosary instead of the sword (Fig. 139). (iii) When eight-armed, she carries the sword, the arrow, the Vajra and the Kartri in the four right hands and the bow, the Utpala, the para& and the skull in the four left hands. Images of Ekajat'i are found in almost all Buddhist countries of the North. She is known in Tibet ' as well as in China '. Faces-Twelve Arms-Twenty-four

V~hana-Indra, Brahrn'i, Visqu and Siva

SYMBOLS :
Right Left

7. Dart I. Bow 7. Wine-glass Khadga 2. Noose 8. Utpala Vajra 8. Mudgara 9. M'isala Cakra 3. Tarjani 9. Bell 10. Kartri 4. Banner 10. ParaBu Jewel 5. Ahkusa 11. Damaru 5. Mace 11. Brahmagiras 6. Arrow 12. Rosary 6. Triiiila 12. K a p ~ l a Another variety of EkajatH is known as V i d y u j j v ' i l ~ k a r ~ l ~ , who is said to have originated from t h e sweat of Buddha. This form of EkajafZi, with twelve faces and twenty-four arms, is rarely met with in sculptures either in stone o r in bronze. The Dhysna is rather long and it describes the goddess vividly thus : "~v'adaiamukh'arhmahPkr~x;lavarr;lLh caturvithiatibhuj'ah caturmzrasam'ikr'int'a~h Bvetakap'ilopari pratyiilidhapad~~i~ mahZipralay'agnisainaprabhEIh vivytHsyBrk h'ahlklr'im 1alajjihv"a s a r o s l h vikrtakqibhimabhrku~tatodbhriinetracaladvartulli& bhayasy'api bhayahkarim . . - .
I. 2. 3. 4.
1. Gordon : ITL, p. 76, Getty : GNB, pp. 125.1 26 2. Clark : TLP,11. p. 284
,

EMANATIONS OF AKSOBHYX (CONTINUED)

195

kapiilamiil' Qirasi bhfisit'ih vyldairalahkrtiih sagmudropetlm prathamamukhak mah'akysgam tathii daksigamukhapaiicakah sitapitaharitad raktadhGmravargaiica, vlmamukhapa'iicakah raktasitapltaharitasitarak@ h a , iirdhvamukharh dhijmrah vikrtam kruddham, sarvamukhsni dahslriikar'ilavadan'ini, trinetr'ani, jvalitordhvapihgalakeh~ni , sarosiih kharvalambodarim pinonnatapayodharsm vyHghracarmanivasan'rin daksiqadviidakabhujesu khadga-vajra-cakra-ratnacchay-PhkuLa-6ara-6akti-mudgara-miisala.kartri-+maru~ak~amHlik8ca7 v~madv'idaLabhujesu dhanuh-p~ha-tarjani-pat~k~-gad~-tri&la-ca~aka-ut~ala-~hag~~-~ara~uBrahmakirah-kapHla5ca.

Iti

VidYujjvd~k~ralinHmaikaja~~s~dhanarh "

"The worshipper should conceive himself as (VidyujjvHlHkariili) who has twelve faces, deep blue colour and twenty-four arms, she tramples upon t h e . four MHras (Brahmii, Vlsgu, 6iva and Indra), stands on white skulls in the Pratyiilidha attitude, is terrible like the Fire of Destruction, has a wide open mouth from which comes the sounds of 'hH"hiiD. She has protruding tongue, is wrathful, has eyes round and mpvlng, and her forehead is distorted owing to the frequent contortions of the brows. She is more aweinspiring than Awe itself, and her head is decorated with a garland of skulls ; she is decked in ornaments of snake, and is endowed with the six auspicious symbols ; her first face is of deep blue colour and the five faces to the right are white, yellow, green, red and smoky in colour ; the five faces to the left are of red, white, yellow, green and whitish red colour. The face o n the top is of the colour of smoke, distorted and displays anger. All her faces look terrible with bare fangs and three eyes ; her brown hair rise upwards in the shape of a flame ; she is short and has a protruding belly. Her breasts are full and heaving ; she is clad in tiger-skin, and carries in her twelve right hands, 1. the sword, 2. the thunderbolt, 3. the discus, 4. ' t h e jewel, 5. the elephant-goad, 6. the arrow, 7. the dart, 8. the hammer, 9. the pestle, 10. the saw, 1 I . the drum and 12. the r6sary ; and in her twelve left hands she has 1. the bow, 2. :he noose, 3. the raised index finger, 4. the flag, 5. the mace, 6. the trident, 7. the wine-glass; 8. the blue lotus, 9. the bell, I O..the axe, 11. the sev&td head of BrahaiH, 12: ahd the skull. In an extremely hsppy

1 ' 9 6

BUDDHIST ICONOGRAPHY

mood she rides a corpse, is youthful, appears resplendent with terrible laugh, wears a JatLmukuta, which is brown and fiery and which bears the image of Akgobhya o n it." Here ends the S'adhaha, for Vidyujjv'il'akar'ili, anocher form of EkajatH."
J

Colour-Y ellow Faces-T hree Arms-Six ' ' ' V'ihana--Vighnas Ksana-praty 'ilidha The worship of Parpakabari, it is believed, is effective in preventing out-breaks of epidemics and in assuring safety to the terrorstriken. The epithet 'Pi65c:' given in the mantra shows that she was regarded as one' of the demi-gods, half human, half divine. Two S ~ d h a n a sin the SSdhanamHlH describe two forms of the goddess, one with the image of Aksobhya on the crown and the other &ith that of Amoghasiddhi. In one, her faces are lit with pleasant Chiles, and in another she smiles but has an irritated expression dl1 the same. Curiously enough, the two images that have been discovered in Eastern Bengal, both have the effigies of Amoghasiddhi bn the crown. The DhyBna describing Pargaiabari of yeIIow colour with the image' of Aksobhya on her crown, runs as follows : "Bhagavatirh pitavarQiim trimukhgh trinetrHrh sadbhujiim prathamarnukharh pitam, daksiqam sitaxb v'imam raktarh, lalitah'isinih sarvg 1ahk~radharBxbparqapicchlk~vasan'a&, navayauvanoddhat'ixb ~ i n i i m ... daksi9abhujaih vajraparakubaradh'iri~im v'imabhujaih satarjanik~p'iiaparQapicchik~dhanurdh~riqim pusp'ivabaddhaja~'imuku~astha-AksobhyadhHrir;lim s'iryyaprabh5magdalinim adho vighn'in nipgtya sitapadmacandr'isane praty'ilidhasthgrh, h~dvLmamus~itarjanyiidho vihnagaqsn santarjya daksiqavajramusfiprah~r'ibhina~'i& .. b h ~ v a ~ e t . S'adhanamHl'i, pp. 306.307. Parqahabari-SEdhanah" "The worshipper should conceive himself as (ParqaQabari) of yellow complexion, with three faces, three eyes and six arms. Her first face is blue. the right white and the left red, and she smiles in a pleasing manner. She is decked in all sorts of ornaments, bears a garment of leaves, is arrogant in her youthful bloom, is stout in appear. ance and carries in her right hands the Vajra, the Par& and the arrow, and in her left the Tarjani with the noose, the cluster .of leaves and the bow. Her Ja$imukup is decorated with flowers and the image of, Akgobhya ; &e has the effulgenac of the sun as her aureole, stands in

EMANATIONS O F AKSOBHYA (CONTINUED)

197

the Praty31idha attitude on the moon over the white lotus, trampling under her feet the Vighnas. She threatens the host of (other) Vighnas with the clenched fist of the left hand exhibiting the Tarjani against the chest, and shakes her right fist at (the host of the Vighnas) .." The mutilated image (Fig. 140) in the Indian Museum, with three faces and six arms trampling upon Gapeka, probably represents this form of PargaBabari, as the word 'Vighna' in the SZdhanamZlZ often refers t o Gaqeia. The above-mentioned Sgdhana, further states that PargaBabari may have an alternative form with four arms and the image of Alcsobhya on the crown, in which case she will carry the Vajra and the ParaQuin the two right hands, and the Tarjani with the noose, and the cluster of leaves in the two left, omitting the bow and the arrow. Images of PargaBabaG are also found in Tibet ' and in China '.
6. PRAJ~APARAM ITA

PrajalpZramitH is the embodiment of the MahZyiina Scripture of the same name which was, according to the Buddhlst tradition, restored from the nether regions by NZglrjuna in the second century A. D . Buddha is said t o have entrusted this Book of Transcedental Knowledge t o the care of the Niigas in the nether regions, as in his time people were not sufficiently intelligent to grasp the true meaning of the doctrines it contained. 'The worship of Praj5BpPramitP was very popular among the Buddhists, and Arya Asanga is credtted t o have composed one of the SHdhanas for her worship whicll is said to confer wisdom and erudition on her devotees Nine Siidhanas in the SHdhanamP15 describe the procedure of her worship, and of these only two are assigned t o the kulu of the Dhylni Buddha Akgobhya. She too, like Maajubri, could not be assigned t o any one of the Dhylni Buddhas because the PrajEHpZramitP scripture was chronologically earlier than the DhyPni Buddhas. The two Siidhanas describe the white and the yellow forms ofthe goddess. Images of PrajiiZpZramitH are found in T ~ b e t ' and China 5 . (i) SITAPRAJN~APARAMITA Colour--White Asana-Vajraparyahka Symbols-Lotus and Book Only one S'idhana in the SHdhanamHl~ describes the form of white PrajSgpHramit'i with the image of Akgobhya o n the crown. She is two.--- -.
1. Gordon : ITL, p. 71 ; Qetty : GNB, pp. 134-135. 2. Clark : TLP, XI, p. 278 ' 3. See Bhattasali : IBBS, p. 42. 4. Getty : GNB. pp. 131-132. 5. Clark : TLP,11, pp. 140, 160.

198

BUDDHIST ICONOGRAPHY

armed, one-faced, sits in the Vajraparyahka attitude on a white lotus, and carries the red lotus in the right hand and the PrajB'ipHramit'i Book in the left. She is decked in all sorts of ornaments, has a beautiful face and pleasant expression, unlike other emanations of AksoEhya. The Dhrgna runs as follows : "Dvibhujsrh ekavadanii* sitavarg'ifi manoramHm I ArdhacarcarakeS~iicaSvet~mbhoruhasa~sthitHrh I1 Padrnah daksigahaste tu raktavar~am vibhsvayet I PrajiiDpHramitgh vgme vajraparyahkasamsthitiih I1 SarvalHrikiirasamp'?rp'i& bh~vayenniibhimapdale I AnkiirajBHnasambh'itZirh param~nandakHrig!rh I1 . Aksobhyamudritg ceyarh

Siidhanamiilii, pp. 310-311. The worshipper should meditate o n the navel the form of SitaprajEHpiiramitH, as two-armed, one-faced, white in colour, and beautiful in appearance, with half curly hair, as sitting on the white lotus, carrying in her right hand the red lotus, and the PrajZ5p'iramitl Book in her left. She sits in the Vajrapdryahka attitude, and is decked in all sorts of ornaments. She originates from the knowledge of the letter ' A h ' and releases immense delight ... This goddess is sramped with the image of Aksobhya (on the crown)."

Colour-Yellow Distinctive Mark-Book

MudrH-VyHk hyHna o n lotus t o the left.

T h e yellour variety of PrajiiHy'iramit5 with the effigy of Aksohhya is identical in form with the one described above, except with regard t o the colour and the rnudr'i. She is yellow in complexion, bears the image of Aksobhya on her Jay'imukuta, wears celestial ornaments, and her two hands display the Vy'ikhy'na attitude. O n a lotus t o her left rests the scripture Prajii'ipTiramitZ '. The celebrated image of PrajiiHp'iramitZ (Fig. 141) of Java belongs t o this variety, and tallies in all details with the description given in the DhyHna.
-. .. ---1. Ssdhana No. 158, Sadhanamsla, p. 321

EMANATIONS OF AKSOBHYA (CONTINUED)

(iii) KANAKAPRAJRAPAR

AMITA

Colour-Golden Mudrii-Dharmacakra Asana--vajraparyahka Symbol-Book o n lotus o n two sides. This form of PrajiiHpIramitH is identical in all respects with o n e of the forms described previously. The difference lies in the fact that although she exhibits the Dharmacakra mudrH with her two hands, there are two books o n two lotuses rising from under her two arm-pits. She is golden in colour l . The Java figure of PrajiiPpHramitii illustrated previously has only one lotus bearing the book in her left, but t h e Indian Museum image (Fig. 142) with two lotuses on either side, each bearing a manuscript, may definitely he identified with this variety of Pra ji%pBramitii.

7. VAJRACARCIKA
Asana-~ancing in Ardhaparyafika Colour-Red VHhana-Corpse Arms-Six body Distinctive feature-Emaciated Appearance-Terrible

Only one Szdhana in the SZdhanamHlH describes the form of Vajracarc~ks and the Dhysna contained therein runs as follows : "VajracarcikHm trinetriirb ekamukhim ardhaparyahkatiir;ldavti& rnytakGsanasthHrh, krkiingih dahsyrotka;abhairaviim naraiiromiil i i v i b h i i s i t a k a ~ ~ h a asthyHbllaragavibhQit~m de~ paiican~udr~dh~rinim Aks~bh~amukuyinim vyEghracarmanivasanHm muktakehim sadbhujiim daksige vajrakhadgacakradhiiriqim vHme kapHlamaqikamaladhariim raktavarniim karmlnuriipatah ~uklHdivarpayuktliica dhyltvii" SPdhanamPIZ, p. 395. "The worshipper should concelve himself as VajracarcikP, who is three-eyed and one-faced, dances i n the Ardhaparyafika attitude on a corpse, is emaciated In appearance and looks terrible with bare fangs. Her neck is embellished by a garland of human heads, and she is decked in ornaments of bones, is endowed with the five auspicious symbols, bears the image of Aksobhya on the crown, is clad in garments of tiger-skin and has dishevelled hair. She is six-armed and carries in her three right hands the Vajra, the sword, and the Cakra and in her three left the Kapiila, the jewel and the lotus. She is red in colour but changes t o white and other colours in accordance with the different purposes for which she is invoked. Thus meditatin g..."
__I__

- - --

1. S~dhane No, 154, Siidhanamils, pp . 3 13-3 14

206

BUDDHIST ICONOGRAPHY

The acconlpanying sketch, (Fig. 143) gives a vivid idea of her terrible form, with the skeleton of her fleshless body showing through the skin in all its nakedness, and her vultute-like claws enhancing the fierceness of her appearance.
A statuette of this goddess is found in China

'.

Colour- Blue Arms-Four Mudrg-Varada The remarks made in the case of Mahakitavati, an emanation of Amitlbha and one of the PaEcaraks5 goddesses, apply t o the case of Mah~rnantrlnuslripialso. This goddess is another of the PaEcaraks'i goddesses, and as her colour is blue, she affiliates herself to the family of the DhyHlli Buddha Aksohhya Only one short S ~ d h a n a desc r ~ b e sher form, and the Dhyiina contained therein is as follows :
" MahiimantriinusZirir$ c ~ t u r b h u j a i k a m u k h krsqz ~ daksiqabhujadvaye vajravaradavati vzmabhujadvaye parahup~iavari Hiimk~rahij8 Aksobhyakiritini siiryyHsanaprahh8 ceti" Szdhanamalii, p. 401.

"Mah'amantr~inus'iti~? is four-armed and one-faced, is blue in complexion, shows in her two right hands, the Vajra and the Varada mudrz and in her two left the Para6u and the noose. She originates from the svllable "H'Trh", bears t h e image of Aksobhya on the crown, sits on and glows l ~ k the e sun." Images of this deity ate known in Tlbet hand China .*

9.

MAHAPRATYANGIRA
Arm s-Six

Colour-Blue

O n e short Siidhana only is assigned i n the Sldhanamll'i t o Mahapratyahgirz. The DhyHna describing her form is as follows : "Mah'ipratyangirH ky~c'. sadbhujaikamukh'. khadg~hku6avaradadaksiqahastg raktaFadmatrikiila-h~dayasthasapi~atarjaniyuktav'amahast~ HiihbIji Aksobhyamukutli sarvlilank'aravati rtipayauvanasampann'i".
.-

SHdhanamd'a, p. 402.
--

- ----

1. Clark : TLP, 11, p. 269. 2. Gordon : ITL, p. 76 3. As M a n t r ~ n u d h ~ r as ~ h e I occura in Clark : TLP, 11, pp. 2060275.

EMANATIONS OF AKSOBHYA (CONTINUED)

20 1

" MahHpratyahgirH is blue in colour, six-armed, and one-faced. She shows in her three right hands the sword, the goad, and the Varada mudrg, and in her three left hands she holds the Tarjani with the noose against the chest, the red lotus and the trident ; she originates from the syllable "HZ&" , bears the image of Aksobhya on her crown, is decked in all sorts of ornaments, and is young and beautiful.
Figs. 144 and 145 illustrate two Nepalese drawings of the goddess MahHpratyahgirH. They conform to the description given in the Sgdhana. The ivory image from Nepal (Fig 146) with innumerable heads is also worshipped as MahZpratyahgirZ. This goddess is found also in China ' .

Two SHdhanas in the SHdhanamZlii describe two widely different forms of DhvajZgrakeyErP. In one the effigy of Aksobhya on the crown is expressly mentioned, but in the other, the DhyZini Buddha is absent. The weapons are also different, and in one case she is three-faced and i n the other four-faced. In all other respects, however, the forms are identical. Images of DhvajHgrakeytirP are found in China (i) Three-Faced. Colour--Blue Faces -Three Arms-Four Appearance-Terrible Asana--~raty~lIdha The DhyIna describing Dh~ajPgrake~iirB, with three faces and four arms and w ~ t h the effigy of A k ~ o b h y aruns , as follows : "DhvajZgrakeyGrB kysqP trimukhi caturbhujH rakta$y~madaksigac v~rnamukhi khadgap~Badh~ridaksir;lakaradvaliivajrZhkitakha~vHhgaca. kravzmahastadvayii iirdhvapihgalake6i 6ugkapa5camupdBlahkytahirask~ vyZghrHjinavasan8 darhstr~kariilainukhSpralambodari pratyHIIdhapadH sGryHsanaprabhZ pitavastrakaacukini H u k O i j ~ Akgobhyamukut~." SHdhanamBlI, p. 403 "DhvajHgrakeytirZ is blue in colour, three-faced, and four-armed, with the right and left faces of red and green colour (respectively). She carries the sword and the noose in the two right hands, and the KharvHAga stamped with a Vajra and the Cakra in the two left,
>

:.

. -

- -- . 1. Clark :TLP 11, pp. 200, 289. 2. C l a r k :TLP 11, pp. 200, 289.

. -

. .

202

'

BUDDHIST ICONOGRAPHY

has brown hair rising upwards on her head which is embellished by a row of five shrivelled heads. She wears garments of tiger-skin, and has faces distorted with bare fangs. She has a protruding belly, stands in attitude, has her seat on and glows like the sun, wears the Praty~lidha yellow garments and jacket, originates from the syllable 'Hiih' and bears the image of Aksobhya on the crown".
(ii) Four-Faced

Faces-Four

Arms-Four

Colour-Yellow As already pointed out, DhvajZgrakeyErH has another form, with four faces and four arms carrylng the sword and the Cakra In the two right hands, and the TarjanipZia and the Miisala, marked with a Vajra, in the two left. A TriBtila hangs from her left shoulder. Her first face is yellow, left red, right white, and the face above is distorted and is of the colour of smoke. In all other respects her form is identical with the one described above. Fig. 147 illustrates a Nepalese draw~ng of the golldess.
11. VASUDHARA Mudr 5-Varada Symbol-Ears Colour-Yellow

of Corn

VasudhPrH figures in the pantheon of the Mah'iylna Buddhists as the consort of Jambhala, the Buddhist god of wealth. Only three SEdhanas are devoted t o her worship and in one of these only is she said t o bear the image of Aksobhya. The two others assign her to the Dhysni Buddha Katnasambhava. It may be noticed, by the way, that VasudhZrZ is of a greater antiquity than the DhyZni Buddhas themselves. The DhyEna describing the goddess with the figure of Aksobhya on the crown runs as follows : "VasudhHrBm Bhagavatim dhyHyEt, kanakavarq'ii~ sakalIlahk'iravat i h dvirastavarsskrtirh daksiqakareqa varadlfi, vPmakarega dh'inyamaZjaridharZm Aksobhyadh~ripim. Purato Bhagavatim SrIvasundhar~h dakjipato Vasulriyam palcimatah Srivasumukhirh, vlmato Vasumati&riyam; etiilcEdYiik~arab~js1?h svan~yik~sarn'inar~p~cintani~lh." Sldhanamiilii, p. 421

"The worshipper should corlceive himself as the goddess VasudhZrH of golden complexion and decked in all sorts of ornaments. She appears a young girl of twice eight years, exhibits the Varada i m b
1. Ssdhana No. 210 in the Wdhanarndr, pp. 415, 416.

-~~ -

EMANATIONS O F AKSOBHYA (CONTINUED)

203

the right Rand, carries the ears of corn- in -..-the left, In front o f the Vasuiri, in the west Srivasumukhi, anc in the left Vasumatiiri. These four goddesses originate from the firs syllables of their names, and are Identical in form with the principa goddess". Images of VasudhPrii are found in the Buddhist countries of thi North including Tibet '

A s a n a - ~ a n c i n ~in Ardhaparyahka Colour-Blue Viihana-Corpse lying on its back. Appearance-Terri ble Symbols-Kartri and Kapiila.

Two Sldhanas in the SHdhanamZlii describe her form, which is in many respects, similar to the form of Vajraviiriihi wrth the Kartri and the principal point of difference being the position of the the KapHl~, corpse which forms their V'ahana, When it lies on its chest it is Vajra. vlriihi, tjut ~f it lies o n ~ t s back the goddess is NairHtmH. There are other distinguishing features also For instance, Vajraviiriihi being an emanation of Vairocana, should bear the image of Valrocana o n the crown ; w h ~ l NairHtmZ, t being an enlanation of Aksobhya, should bear the image o t Aksobhya instead. Moreoyer, the excrescence near the the right eal of Vajravzriihi must be ahsent in the case of Nair'itmii. In all other respects therc IS a remarkable resemblance between the two. The DhyZna In one of the two SEdhanas describe the form of NBiriitmP in the f o l l o w ~ ~terms ly : "~avahrccandrastl~iirdhaparyarikanPfyasthit~m Nairiitmiixh krsxj' ' ekamukhii& ~rdhvapih~alake$iirh Aksobhyamukupni& darhs<rPkarHI lalajjihvgfi, d a k s i ~ e n a kartridhiiriqim, viime kap8lakhayvPngadh3riqih, raktavartulatrinetriifi paEcamudrPvibh~saq5~1 (dh~ii~~t).'' SPdhanamHlP, p. 451 "The worshipper should conceive himself as NairPtmH who stands in the Ardhaparyanka in a dancing attitude on the moon over the chest of a corpse. She is blue in colour, has brown h a ~ rising r upwards, and bears the image of Akgobhya o n her crown. Her face looks terrible with bare fangs and protruding tongue, and she carries the Kartri in t h e right hand and bears the KapHla and the Khayv'ifiga in the left. Her &g.e eyes are red and round, and she is endowed with the five awpicious symbols."
1. Gordon :ITL, p. 72 ; Getty : GNB, p. 174.

204

BUDDHIST ICONOGRAPHY

The word 'NairItmf' means 'no-soul' and is another name for Siinya, in which the Bodhisattva merges on the attainment of NirvHca. Gradually, the conception of h n y a took the form of a goddess in whose embrace the Bodhisattva is said to remain in eternal bliss and happiness. Nair'itmH gets the blue colour, because the colour of $ ~ n ~ a according to the Buddhist tradition, is like the colour of the sky, which is blue. The Indian Museum image No. 3941 (Fig. 148) is the only image of this goddess which conforms t o the description given in the SBdhana just quoted. Here the goddess, in accordance with the Dhyzna, has a terrible appearance with canine teeth, garland of heads and three eyes rolling in anger. She stands on the corpse lying on its back, and dances in the Ardhaparyahka attitude. Burning flames radiare from her person, and her hair rise upwards in the shape of a flame. She is decked in the five auspicious symbols, the KagthikB (torque), Rucaka (bracelets), Katna (jewels), Mekhal5 (girdle), and Bhasma (ashes) or the SGtra (sacred thread) in the form of a garland of heads. She bears the image of her sire Aksobhya on her crown and carries the menacing Kartri in the right hand. The left hand holding the Kapgla is broken. The KhatvBhga, as usual, hangs from her left shoulder. The V5hgiya SHhitya Parishat bronze (Fig. 149) shows the above characteristics, but the KhatvBhga is lost. It is lost in the same way as small weapons in Nepalese and Tibetan bronzes are often found missing. NairHtmB is popular in China I .

Colour-Blue Arms-Six

Faces-Three Kuleia-Ak~obhya

JEBnadHkini is the principal deity of the JEBnadBkini M a ~ d a l aof the She ~i~~anna~o~5v a l is ; . described thus : "JiEnadiikini nilBsyf... savyarh Quklarh...vIma& raktaQyhg5rah.. . daksigabhujatraye i~rdhvikytakha~v~ligarh paraium vajrafica v'imatraye ghagf~raktap~rgakap51akhadg~~." NSP, p. 12 "JS'anad2ikini has a blue face the right is white ...the left is red and amorous ...In the three right hands she carries the raised Khatv~Qa, the axe and the Vajra. In the three left there are the bell, the cup full of blood and the sword." J3Hnad'akini is represented in the Chinese collection 2.

...

I. Clark : TLP, 11. pp. 61,238 2. Clark :TLP,11, p 237

EMANATIONS OF AKSOBHYA (CONTINUED)

205

Vajravid~ragi is described in the Dharrnakosasahgraha of Amp tHnanda as follows : "Vajravid~ragi pazcamukhi da6abhujg ; d a k ~ eahkuia-khadga-6aravajra-varad8 ; vsme pa6a-carma~dhanu-dhvaja-abl~ay~ praty~lidhlsanii". Dharmakosasahgraha Fol. 44A. "Vajravidgraqi is five-faced, ten-armed, carries in the right hands the goad, the sword, the arrow, the Vajra, and the Varada mudr8, and in the left the noose, the shield, the bow, the flag and the Abhnya pose. She stands in the Praty'alidha attitude". Fig. 150 illustrates a miniature painting of the goddess in the collection of Dr. Evans-Wentz.

C H A P T E R VIII
EMANATIONS OF VAIROCANA According t o the SHdhanamHl5 all the deities that emanate from the the Dhy'ini Ruddha Vairocana have generally the white colour or the colour assigned t o Vairocana. Several goddesses have the images 'of Vairocana on their crowns, thus showing that they are all emanations of this particular Dhplni Ruddha. Some of the deities are expressly stated in the Siidhanas t o he "VairocanakulodbhavP" or "horn of the family of Vairocana" The deities emanating from this DhyPni Ruddha are said t o reside in the interior of the Caitya, since Vairocana, it may he remembered, is the lord of t h e sanctum of the tempje or the StGpa. Among the deities emanating ftom Vairocana MHrici seems to the first in importance and popularity. She is even regarded as the consort of Vairocana. Vairocana is distinguished from the other DhyHni BudJhas hy his white complexion and the Dharmacakra mudr'i he dis plays in his two hands.

1.

NAMASANG~TI
Face-One A s a n a - ~ a jraparyahka

Colour-White Arms-Twelve

Pandit AmytBnanda's Dharmakosasafigraha gives the description of a most interesting god, named as N~masahgTti. This description enables the students of iconography t o identify a large number of his images that Ile scattered throughout the Nepal valley ahd other Buddhist countries. This deity should be distinguished from the Ngmasafigiti MaSjuSri who has already been described as one of t h e varieties of the Bodhisattva MaEjubri. Like the goddess PrajZZipBramit'. who is the embodiment of the PrajZPpHramitH literature, N'imasahgiti also seems t o be the deification of the N~masabgiti literature of the Buddhists. Pandit Amyt'ananda characterises NHmasahgiti as a Buddha but from the description and the illustration it would appear that h e is a Bodhisattva. The elaborate ornaments, the fierce symbol of Khafv5hga as also other Rodhisattva symbols d o not befit a Buddha. Although the parental Dhy'ni Buddha of N~iniasahgitiis not expressly mentioned he is brought here under Vairocana in the description of Am~tznanda, because of his white colour.

EMANATIONS OF VAIROCANA

20 7

Images of NHmasahgiti are t o he found in large numbers in Nepal either in stone o r in bronze and he is popular also in Tibet and China. Getty erroneously labels this deity as a "Dogmatic Form of Avalokie teivara" and the names given t o the various mudriis exhibited hy the deity are also inaccurate. The DhyHna as given in the Dharmakosasafigraha is quoted as follows : "N~masahgitiniima(Bodhisattvah).
Ekavaktrah kvetavargah dhylnanayanah smer'ananah Jat'lmukuyadharah niinBlafiklr'ilafikr ta h sagmudrllahkrtah dv~daiahhujahpratham'ibhylh savyadaks8hhylh hydayaprade6e abhayan~udrklvayah, dvayiibhy'irh mukuropari k~t'iEjalimudrarh, d a k s a t r ~ i ~ e vikvavajropari ~la khadgam savyavlmacaturthHbhylr5 tarpagamudriidvayarii, savyoviimapaZcamHbhylh pltrasthlmrtaksepar;lamudram +asrhasavyav8mHbhyiik sapZtradhyEnamudram v~matrtiyena savajrakhafviihgam dadhiinah, kamalopari vajrlsanah." Dharmakosasangraha (A. S. B. MS.) Fol. 91 "The (Bodhisattva) N'imsahgTti. "He is one-faced, white in colour, has eyes (half-closed) in meditation, a smiling countenance, the Jayzmuku~a and various ornaments, is decked in the six auspic~ous ornaments, and twelve-armed. He exhibirs in the first pair of right and left hands the two Abhaya mudrHs against the chest ; and in the second pair the A6jali (clasped hand) mudrH over the crown. The third right hand carries the sword o n the double Vajra. The fourth pair exhibits the Tarpaga mudrBs, the fifth pair shows the mudrl of sprinkling nectar from the vessel (Ksepa~a) and , the sixth pair exhiblts the Sarnzilhi m u d r l o n which is the vessel (of nectar); the third left hand carries the Kharviihga with the Vajra ; and he sits in the meditative pose on the lotus". The image reproduced by Getty has lost the sword on the double Vajra and the Khafviihga with the Vajra carried in the third pair of hands by the deity. Fig. 151 illustrates a Nepalese statuette of the deity.

2.

MKRTCT

MHrici is invoked by the Lamas of Tibet about the time of sun-rise, which shows her connection with the sun. She too, like the Hindu Sun-god, has a chariot. Her chariot is drawn by seven pigs, while that of the sun is drawn by seven horses. Again, the charioteer of the sun is A r u ~ a ,who has n o legs, but that of M ~ r i c iis either a goddess with n o legs, o r RPhu-only the head without a body.
'1; Oetty :GNB, pp. 66,67.

208

BUDDHIST ICOWOORAPHY

There is a theory that M'arici and VajravirHhi are the same, but it cannot be supported ; for, whereas Vajravir'ahi is actively associated in yabeyum with her consort Heruka, o r Samvara an emanation of Aksobhya, M'arici invariably appears singly, and her consort is Vairocana himself, and not any'emanation of a Dhy'ani Buddha. Again, Heruka rides a corpse lying on its chest, and accordinply, such a Vihana has been given to Vajrav~r'ahi, but ~ ' a r i cis i never known to tread upon a corpse, o r even the prostrate body of a man. The images of Vajrav'ar'ahi always represent her as one-faced with an excrescence near the right ear, but M'arici, even when represented as one-faced is not known t o have any excrescence on her face. Vajraviir'ihi according t o the DhyPna, may have four arms, but Miirici must have either two, eight, ten or twelve arms according t o the Siidhana. M'arici is always said t o reside in the womb of a Caitya, whereas Vajrav'ir~hi, being an abbess, may reside anywhere. The mantra for Vajrav'irBhi is "Ofi Sarva-BuddhadZkiniye Vajrai~arqaniyeh ' i h hB-h phar phat svsh'a" or "01% Vajravetiili h i i h phat". hntideva gives the Dhiirani for MBrici but the Dh'araqi never refers t o her as Vajrav'ir~hi. The conception of MBrici has a greater antiquity than the conception of either Vajraviir~hi or Heruka. The union of Heruka and Vajrav'irihi is the subjectematter of the Vajrav~r'ahiTantra, but n o Tantra is assigned t o M'irici. Vajrav'ar'ihi stands in the Ardhaparyahka in a dancing attitude on a corpse, hut MPrici stands almost always in the Alidha attitude and moves in a chariot, but she is never in the dancing attitude. Last but not the least, Vajraviir'ahi has been called a DPkinI, that is. anabhess who had attained perfection, ( siddhi ) and had become a deified woman, hut M ~ r i c is i a goddess, first and last.
In view of these wide differences in form, character and accoutrements, the identity of the two goddesses Mirici and Vajraviirzhi, can not be established. The only poinrs of agreement between them are that both of them are emanations of Vairocana, and both sometimes have two arms and two legs.

Sixteen S'adhanas in the S'adhanamiil'a describe six distinct forms of Miirici, She may have one, three, five o r six faces and two. eight, ten o r twelve arms. She is generally accompanied by her four attendants, Vartt'ali, Vad'ali, VarPli and Varihamukhi. She is recognized generally by the sow face and the seven pigs that run her chariot. The needle and the string are her characteristic symbols, t o sew up the mouths and eyes of the wicked. Images of M'arici are rather common in India. In her two-armed form of Aiokak'anti she accompanies KhadiravanT E r g ; amongst other varieties of Mirici, the form with three faces and

EMANATIONS OF VAIROCANA

209

eight arms, is extensively met with in sculptures are found in Tibet 5 n d China J.

'.

Images of M'arici

Goddess M'arici is the principal deity in the M'irki Macdala of the Nispannayog'ivali. The form described here is three-faced and sixarmed. 6'iQvata o r Vairocana is said t o be the spiritualsire of h.15rici J.

VEhana --PIS Asana-standing Distinctive feature-Left

Colour-Yellow
M udrs- Varada

hand touching the AQoka bough

Ordinarily, M'arici has two arms and one face. She is called ASokakHntP when she holds the bough of an Ahoka tree in the left hand and exhibits the Varada mudrii in the right hand ; but she is called Arya-hlHrici if she carries the needle and the string in her two hands. The DhyZna describing the form of AQokak'antPis stated below :

"I bow t o M'arici who rides the sow of golden colour, whose complexion is like the colour of molten gold. She stands in a sportive attitude on the mocn over the lotus, and holds with her left hand the bough of an AQokatree, and displays the Varada pose in the right. She bears the image of the Dhy'ini Buddha (Vairocana) on the crown, is decorated with bright jewels, wears white garments and grants assurance of safety (to the world)".
An image of Akokak'ant'a -.
is referred to by Alice Getty 5 . - . - --- .- - --.
1. Bhattasali : IBBS. p. 43f and P1. XIII-XIV 2. Getty : GNB, p. 133 3. Clark :TLP, XI, pp. 207, 286, 189, 20 1 4 NSP :pp. 40.41 5. Getty :ONB,p. 133.

27

BUDDHIST ICONOGRAPHY

Symbols-Needle

and String.

A r y a - ~ a r i cis i identical with ABokak~ntl except for the symbols she has the Aboka bears in her hands. As already stated, 'Abokak~nt~i bough and the Varada pose, but A r y a - ~ l r i c icarries the needle and the string l . (111) MAR~CTPICUVA. Faces-Three Arms-Eight M'iricipicuv~is also called ~~tabhuja~ita-MHrjc; or Sarhk~ipta-MPrici. These two names denote two distinct varieties of MHrici, although both are endowed with three faces and eight arms and carry simibr weapons in their hands. One Siidhana only is devoted to M~ricipicuvii, and it does not mention whether she should be accompanied by the four goddesses as usual. She holds the needle and the string in the first pair' of hands, the Alikuia and the noose in another pair, the bow and the arrow in the third pair, and the Vajra and the Aioka flower in the fourth pair. She has three faces, each displaying a mixture of three different sentiments (Rasa). The Dhy'ina in verse runs as follows :

'Srhg~ravirasaddharsair-jiirnbiinadasamaprabhiixbI Madhyendranilavarg'asyf m bhayabibhatsaraudrakaih I1 Karuqiidbhutab~ntaiBca sphatikendvitarsnangm I TrivimoksamukhaistryaksPm dharmasambhoganirmitlm I1 Pit'ibharaqasadvastriirh mayiikhasukhaviisinim I SucyHk~HsyHni sivantixh badhnantik mukhacakgu6 I1 Hrdga1enku~apPSPbhyHm bindhantim blqakHrmukaih I Vajreqa du~~h~dbhitv~bokenPsecaniiparP~ 11.. . Prajiiop'iyapad'ikriinta Mgricim bhlvayedvrati I1
M~ricipicuvii-S4dhanak1'.

S'idhanam'all pp. 297-298.

1. S~dhma No. 147 in the S%dhanam~h, p. 305.

"The worshipper should conceive himself as Miiricipicuv~ who displays the sentiments of SpSgiira, Vira, and Harsa in one of her faces, which is of the colour of JHmbiinada (gold). In the middle face which is of the colour of the Indranila gem, the sentiments of Bhaya, Bibhatsa, and Raudra are displayed ; and in the third face of crystal colour, the sentiments of Karugl, Adbhuta and h n t a appear. She has three eyes in each one of her three faces, which give freedom from the three great evils. Her essence is made of DharmakHya and SambhogakHya. She
,

EMANATIONS OF VAIROCANA

211

is clad in garments of yellow colour and resides happily in the mass. of raps. She sews up the eyes and the mouths of the wicked with the needle and secures them with the srring. She sttikes their hearts with the Ahkuga, draws them by the neck with the noose, pierces them with the bow and the arrow, and shatters their hearts t o pieces with the Vajra, and then sprinkles water with the leaves of Aboka.. .She tramples under her feet PrajE'i and UpPya." Astabhuja-Miirici or Sahksipta-Miirici is yellow in colour, wears red garments, is decked in various ornaments, bears the image of Vairocana on the crown and resides within the cavity of a Caitya. Her three faces display three different sentiments. The first, or the principal face displays passionate love, and is of the colour of gold. The second. or the left face is distorted, sow-like, has the colour of the Indranila gem, displays wrath and looks terrible with bare fangs and protruding lips. The third or the right face is of deep red colour, glows in heavenly splendour and displays the sentiment cf h n t a . She rides a chariot drawn by seven pigs, stands in the Alidha attitude, and appears a virgin in the fulness of youth. Below the seven sows is the fierce Rshu, who devours the sun and the moon. She is surrounded by the four attendant goddesses, VarttBli, VadB11, VarPli and Var~hamukhi. (i) VarttHli has red complexion, the sow+face and four arms. She wears red garments, is decked in all sorts of ornaments, and carries the noose and the Aboka in the two left hands and the Vajriihkuia and the needle in the right. (ii) Vad'ali has many features in common with Varttlli, but her colour is yellow and she carries the noose and the Vajra in -the two left hands and Aboka and the needle in the right. (iii) Variili is identical with VadHli, except that she holds the Vajra and the needle in the two right hands and the noose and the Aboka in the left. (iv) Variihamukhi wears the same garments and the same ornaments as Vadiili and Variili, but her complexion is ruddy, and - she carries the Vajra and the arrow in the two right hands and - t h e Aboka and the bow in the left. . .

It is very curious that almost all the images of M ~ r i c known i so .far, belong t o this variety. 1t-1 actual images, a legless lady charioteer may saketimes :%e tnet with- instead of Riihu, while spme ' images retain the charibieek 'asA' well ' as Rghu. Two images of' the eight-armed variety of rMKrici- are in the ' Dacia MusCumi two

212

BUDDHIST ICONOGRAPHY

are in the Indian Museum ( Figs. 152, 153 ) Calcutta, and the one (Fig. 154) wllich is reproduced in many works of art, was discovered a t Sarnath and is now deposited in the Lucknow Museum, while a sixth has been discovered in Orissa. Besides these, several other images of Mlrici are available in the museums at Rajshahi and Sarnath. All these images are three- faced and eight-armed, and some of them are very fine specimens of art. In the more artistic and accurate images the three sentiments have actually been depicted bv the sculptors. A study of these images will show that though the sculptors generally follow the Sgdhana in all details, yet they are not always so scrupulous in the case of the four attendant goddesses who are sometimes twoarmed, and sometimes, though four-armed, do not carry the symbols prescribed by the SBdhanamPlZ.

(IV)

UBHAYAVARAHANANA
Arms-Tw elve Distinctive mark-Two Sowefaces

Faces-Three Asana-Alidha

She has been given this name because, unlike all other three-faced forms of MPrici, both her right and left faces are like that of a sow. She is clad in tiger-skin, has red complexion, a jewelled headdress, a red scarf and is decked in all sorts of ornaments. She resides within the womb of a Caitya, stands in the AlIdha attitude, and is endowed with three faces, each with three eyes, and twelve arms. The principal face smiles with delight, is peaceful in expression and display the emotion of love, while the two side ones are distorted sowlike. The face t o the left is red, and is paid homage t o by a deity carrying the Vajra and the Mudgara ; the face to the right has a reddish effulgence like that of Saindhava salt, and is paid homage to by Purandara (Indra) who carries the Vajra and the noose. In her six left hands she shows the Tarjani against the chest, the Aioka bough, the Vajrsnkuga, the Kap'ala, the head of BrahmP and the vessel, and in the six right hands the needle, the Ankuia, the BhivdipHla ( spear ), the sword, the Kartri and the Staff stamped w ~ t ha Vajra. She bears the image of Vairocana on her crown, and tramples under her feet the Hindu gods, such as Hari ( V i g u ) , Hara (Siva), Hiraqyagarbha ( B r a h m ~ ) and others. The guardians of the quarters all pay homage t o :his goddess. It may be pointed out here that the SHdhana is reticent about the chariot, the seven sows that run it, and about the four attendant goddesses, VarttHli, Vaddi, Variili and Varhamukhi '. . - - ---1. Stdbana No. 145 in the SPdhanamnlii, pp. 299-302.

EMANATIONS OF VAIROCANA

Faces-Five Arms-Ten

Colour- White Legs -Four

Two S'adhanas in the Sgdhanamiil'a describe her form which is tenarmed, and white in colour. The most important feature of this variety is that she is endowed with four legs. She has five faces, The principal face is white, the right is blue, the left is red and distorted sow-like, the face behind is green, and the face above is yellow and bears the TriQikh'a (three tufts of hair) and the Jat'imukuta. The 6ve right hands hold the sun, the blue Vajra, the arrow, the goad and the needle while the five left hands carry the moon, the bow, the Akoka bough, the noose with the Tarjan? and the string. She rides a chariot drawn by seven pigs, and tramples under her feet the four Hindu gods Indra, Siva, Visnu and BrahrnH. She bears the effigy of Vairocana on her crown. The S'adhanas further add that she should be accompanied by three other goddesses of whom the first is blue in colour, and rides upon a Makara. Her face is mis-shapen like that of a sow, and she carries the Vajra in one hand and the Tarjani in the other. The second goddess appears t o the right of MZirjci, wears celestial ornaments, is ruddy in colour with one face mis-shapen like that of a sow. The third goddess appears t o the left of ~ ' a r i c i . She is of red colour, with one face mis-shapen like that of a sow, and four arms. The two principal hands are engaged in drawing to the full the bow charged with an arrow, while the remaining two hold the Vajra in the right and the Aboka bough in the left. Below the seven pigs drawing the chariot are the Navagrahas o r the Nine Planets, and various diseases and disasters in human shape lie flat o n the ground '

The SHdhanas d o not give the names of the attendant deities, which are only three in number. I t is possible that these three are the members oi the Vartt'ali group. Fig. 155 illustrates a Nepalese drawing of this variety of Msr'arici. 1. Sadhanu No. 139 in the Sitdhanamiilii, pp. 285-286.

BUDDHIST ICONOGRAPHY

Faces-Six Arms-Twelve

Asana-Alidha Appearance-Terrible

When six-faced and twelve-armed, -M'ir;ci is invoked in three daerent forms and under three different narnes:Vajradh~tviSvari MB6ci'. UddiyIna MPric?, and Vajravetdi. These three forms are classed together here because of their marked resemblance. They differ however in minor details and in respect of the weapons they carry in their hands. The features that are common t o all the three may be summarised from the Ssdhanas as follows. They are all endowed with six faces and twelve arms. The first five faces are respectively of red, blue, green, yellow and white colour. The face o n the top is mis-shapen like that of a sow, and is blue in colour. All the three are said t o reside in the womb of a Caitya; they stand in the Alidha attitude and bear the image of Vairocana on the crown. They present a terrifying spectacle with three eyes, protruding tongue, bare fangs, serpents for ornaments and garments of tiger-skin. Vajradh~tvihvaricarries in her six right hands, 1. the sword, . 2 . the Miisala, 3. the arrow, 4. the goad, 5. the Vajra and 6. the,Paraiu, and in the six left 1. the noose, 2. the KapHla, 3. the Ahoka bough, 4. the severed head of BrahmH, 5. the bow and 6. the Trihula. Uddiy'ana M~irici holds the Cakra in one of her right hands, instead of the goad, and the Khap~nga-KapHla in one of the left hands instead of only the Kapsla. VajravetHli in one of her right hands holds the crossed double thunderbolt instead of the goad o r the Cakra, and in one of the left the noose instead of the KapPla or the KhatvghgaKapiila. All the other hands carry the same weapons in all the three cases ' .

Colour-White

3. USN~SAVIJAYA .. Faces-Three

Arms-Eight

Identification mark-Buddha

on lotus

Us~isavijay'i is also said to bear the image of VairoLike M~irici, cana .qp )p~acrown and t o reside within rhe womb of a Caitya. She is .... , .. one bf the m ~ t - ~ q ~ udeities l a r of the pantheon, and almosd every temple in Nepal c6ntaia.s her ' imag;. The most artistic specimea, however, beIongs t o the Indian Museum, Calcutta. - A miniature Caitya' - . -.. 1. Sidhmne No. 136 iq the Sedixarramiih, p. 280 -

EMANATIONS OF VAIROCANA

215

on the top of the image of U s ~ i s a v i j a y signifies ~ that she is an offspring of Vairocana who resides in the centre of the Caitya. It is not improis the deified form of the Dh'iriqi of the same bable that U~qi~avijayii name included in the group of twelve Dhliri~igoddesses. She may thus represent the deified form of the Us&avijayii Dhiiriqi. Several S'idhanas describe her form and the Dhy'ina contained in one of these is given below : "6ukllrh trimukh'irh trinetriilir navayauvaniih n5niila6kliradhariip agtabhuj'irh Bhagavatirh cintayet ; pitak~sgadakgigetaravadaniirh; daksiqacaturbhujaih vikavajra-padmastha-Buddha-b~qa-varadamudriidharii~, vlimacaturbhujaih c'ipa-tarjanipHQa-abha~ahasta-piirqakumbhh ; caityaguhtigarbhasthit'i~, VairocanamukuyinT& nispiidya.. ." "The worshipper should conceive himself as (Us$savijayH) who is white in complexion, three-faced, three-eyed, youthful and is decked in many ornaments. Her right and left faces are'respectively of yellow and blue colour. Her four right hands display the Vikvavajra, Buddha pose, and her four left hands show on lotus, the arrow and the ~ a r a d a the bow, the noose with the Tarjani, the Abhaya pose and the wellfilled water-vessel. She resides in the womb of the Caitya, and bears the image of Vairocana on the crown. Thus meditating The statuette (Fig. 156) of Usgisavijay~ in the Indian Museum, Calcutta, agrees almost in all details with the description given in the SHdhana. The attitude in which she sits here is the Vajraparyahka attitude. The other illustration (Fig. 157) is the reproduction of a painting in the possession contained in an illuminated manuscript of PaZcarak~H of Dr. W. Y. Evans-Wentz. In it, the right hand which ought to have carried the Vikvavajra o r the crossed thunderbolt, carries the jewel instead. In all other respects the painting follows the description of the Siidhana most accurately. Images of this deity are also found in Tibet l and China 2 .

..."

Faces-Three Arms-Six Colour-- White One S'idhana only is devoted t o the worship of this deity. The word "VairocananZiyakH&" in the S'idGha shows that she also belongs

1. Getty : QNB, p. 135, ' . : 2. Clark : TLP,11, p. 286

_---

, ,

:+:

'

216

BUDDHIST ICONOGRAPHY

t o the .family of the DhyHni Buddha Vairocana. She is mild in nature except for the eyes, which display anger. T h e Dhyiina describes her form in the following manner : "SitHtapatriipHrPjitiik Bhagavatih trimukhiih sadbhujiih, pratimukh: m trinayanHk, iukliih nil'aru~adaksigav'amamukhlm, cakriihku6adhanurdharadaksigakar515 sitavajraiarap'a~atarjanidharavIrnal<arI~ sakrodhadystikiim sarvagrahavidhvaksinhh divyiilahkIravastravatih VairocananEyakiih dhyHtv5..." S'adhanamzlii, p. 395 "The worshipper should conceive himself as goddess SitHtapatrP AparEjitH, who is three-faced, six armed, and has three eyes in each of her faces. She is of white colour. Her faces t o the right and left are respectively of blue and red colour. She carries in her three right hands the Cakra, the goad and the bow, and in the three left the white Vajra, the arrow and the noose with the Tarjani. She has angry looks, destroys all sorts of e\il spirits (Grahas Ilr. Planets), wears celestial ornaments and garments, and is led by Vairocana. Thus meditating ..." This goddess is called Sitiitapatrg AparEjitI "The Invincible Goddess with the White Parasol" and should be distinguished from the other Aparajitii who has an entirely different form and is yellow in colour. Fig. 158 illustrates a Nepalease drawing of the deity Sitiitapatr'. Apat ZjitB l . As Sitiitapatrii this deity is known in Tibet
r

and China

3,

Colour- White

Arms-Six

Mah~siihasrapramardani is another goddess of the PaEcaraksii group, and is assigned t o Vairocana exactly in the same way as Mahiigitavati and Mahiimantr'anuh'iriqi are affiliated respectively to Amitiibha and Aksobhya. Her form is different from that in which she is worshipped in the Paiicarak,sii Mandala. Here the Dhy'ina describes her form in the following terms : "Mah~s~hasrapramardanim 'atmsnah dhyPyEt ; iukliih ekamukhirh ?adbhujiim ; daksiqatribhujegu khadgabiipavaradamudriih viimatrib h u j e g dhanuhpiiiaparaiavah ; vicitriilankiiradharii& riipayauvana6;hgiiravatih Vair~canakirifa~uktiifi padmacandr'asanaprabhiih". S'adhanam'ilii, p. 400 1. Bhattasali : IBBS,p. 53, PI. XVIII. 2. Gordon : ITL,p. 27 ; For SitatapatrS AparirjitH see Getty : GNB,p. 136.
3. Clark : TLP, 11, pp. 190, 202 under the title of Sitstapatts.

EMANATIONS OF VAIROCANA

217

"The worshipper should conceive himself as Mahlsiihasrapramardani who is of white complexion, one-faced an3 six-armed. She carries in her three right hands the sword, the arrow and the Varada pose, and in the three left the bow, the noose arid the P a r a h . She is decked in variegated ornaments, is young and beautiful, displays the sentiment of amour, bears the figure of Va~rocana on her crown, sits o n the moon over a lotus, and 1s radiant like the moon". Images of this deity are found In T ~ h e t' and C h ~ n a

A s a n a - ~ a n c i n ~in Ardhaparyanka Characteristic feature-Excrescence near the right ear. Thc union of VajravzrHhf with Heruka is the cult of the celebrated Cakrasarnvara Tantra. One of thc SSdhnnas gives her rlle epithet of "hiHerukadeva~~~~ram or a "the t~~~ first ~ " queen o t the sod h i - ~ e r u k a " . She is also called a Diikini and In the Buddhlst Tantra t h ~ ssignifies any Sakti w ~ t h whom the Yuganaddha (yah-)um) worshlp may be perIt will not be out of place to mention here rhat HeruAa 1s formed. also associated w ~ t h Vajrayogir~i and the11 union 1s tllr subject of the great Heruka T a n t ~ a but , ValravSrlhi dlflers corlslJetally from Vajrayogir~i In form. If V a j r a v ~ r ~IS h ithe first queer) of Heruka, there is 110 reason t o suppose that Vajrayojimi may not be anclther. In fact, it has already been shown that Hcruko 111 yab-yum i ~ , r n i used to he associated with other goddesses, such a s Nairiitmii and Vaj~al~hkhalii, as well. VajravEriih; is represcnteci ah nude and as d~splaylng intense and passionate love. The name VajravZrlhi or 'adamalltine sow' is given t o her for the simple reason that she has an excrescence near her right ear which resembles the face of a sow. It is far more hkely that Getty's story about Yun-gar's attack on the abbess and the monastery ; while M ~ l i c llas i one face whlch refers t o VajraviirHhi than t o M ~ r i c i for may be distorted sow-hke, VajrsvHrHhi has a natural excrescencc just near the richt ear, which has gained for her the epithet 'VajraghoqH' in the Siidhanas. Another argument In favour of t h ~ is s that, while Vajravlriihf is called a Dlkini, and 1s associated w ~ t h four other Diik~nis, she may quite easily de an abbess, and therefore, a Siddha w o k a n deified, and not a goddess. But Miirici is decidedly a goddess ; she is Vajradhiitvikvari and the consort of a Dhylni Buddha.
.

Gordon : ITL, p. 76 2. Clark : TLP,Ii, p 275

1.

28

218

BUDDHIST ICONOGRAPHY

Several S'idhanas, both long and short, describe two distinct forms of Vajrav'ir'ihi. who is also known as Buddhadiikini and Vajravairocan;. She is either twodarmed or four-armed. Even when two-armed she may have several forms according to weapons she carries in her two hands. In one S'idhana only is she said to emanate from the family of Vairocana, and bear the double Va-jra on her head, but the others are silent as to her sire. Images of this very popular goddess are found in Tibet China ?. (I) VAJRAVARAH~ Colour-Red Appearance-Nude Asana-~rat~iilidha Arms-Two Symbols-Vajra-Tarjani and Kapiila. Several Siidhanas in the Siidhanamiilii describe two-armed forms of Vajrav'iriihI. Below is quoted a Dhyiina which gives a general idea of her form : Atmiinah Bhagavatih Vajraviiriihim diidimakusumaprakhyiirh dvibhujiiril daksinakareqa vajratarjaniklkarzm vzmena karofakhatviibgadhariih ekznan'im trinetrzrh muktake6~1-b sanmudriimudritiik digambargrh paFicaj5'in'itmikiirh sahajBnandasvabhiiv%%,pratyiilidhapad8kriinta-Bhairava-Kiilariitrikiim sz:dramundamiiliilaAkrtagiitriirh sravadrudhirarh pibanti& bhiivayet. SBdhanamiilB, p. 425. "The worshipper should think himself as goddess 17ajraviir'ihi whose colour is red like the pomegranate flower and is two-armed. She exhibits in her right hand the Vajra along with the raised index finger, and shows in the left the Kapiila and the Khafviihga. She is one-faced and three-eyed, has dishevelled hair, is marked with the six auspicious symbols and is nude. She is the essence of the five kinds of knowledge, and is the embodiment of the Sahaja pleasure. She stands in dha tramples upon the gods Bhairava and KiilarZtri. the ~ r a t ~ ~ l i attitude, wears a garland of heads still wet with blood which she drinks." The STadhana further adds that the four petals of the lotus on which she stands are occupied by the four goddesses DEkini, Liim'a, KhapdarohH and RiipiG in the four cardinal directiois beginning from the right. The four companions are of blue, green, red and white colour respectively, and they are all one-faced and four-armed. They all carry the KharvBhga, the Kap'ila in the left hands and the Damaru and the Kartri in the two right hands. 1. Gordon: ITL,p. 80 ; Getty : GNB,pp. 13 1, 132.
2. Clark : TLP, 11, p. 238.

'

and

EMANATIONS O F VAIROCANA

219

(11)
Symbols-Kartri

VASYA-VAJRAVARAHT
A s a n a - ~ a n c i n ~in Ardhaparyanka lying on back

and KapBla Vghana-Corpse

h iinvoked in those rituals which are perThis form of V a j r a v ~ r ~ is formed with the specific purpose of bewitching men and women, and is very popular in Nepal and other Buddhist countries. This form is almost identical with the one described above with the difference that here the goddess wields the Kartri in the right hand instead of the Vajra, along with the raised index finger. The left has the KapHla like the previous one. The KhapZAga as usual hangs from her left shoulder just as it is seen in the Heruka and Nairztmz images. She stands in the attitude of dancing in Ardhaparyanka on a corpse instead of showing the Pratyzlidha as in the previous case l . Fig. 159 illustrates a Nepalese drawing of the .goddess. A beautiful is preserved In the Baroda Museum (Fig. 16G). statutte of Vajravzr~hi

(11 11
Appearance-T

ARYA-VAJRAVARAH~
erriblr Arms-Four A ~ a n a - Alidha

is i also similar t o the forms The four-armed form of V a j r a v ~ r ~ h T h e difference lies mentioned before, and is called Arya-vajrav~r~hi. only in the attitude, number of arms, and the symbols carried in her hands. She carries in the two right hands the Vajra and rhe goad, and i n the two left the Kapsla and the Tarjani with the noose. She is one-faced and three-eyed, and appears terrible with contortions of eye-brows, the adamantine excrescence, and the protruding tongue, teeth and belly. She stands in the Alidha attitude on the corpse, unlike the other forms of V a j r a v ~ r ~ h i .The Khatviihga hangs from her left shoulder as usual 2.

7. CUNDA
Colour-White Arms-Two, Symbol-Book on Lotus. Face- One Four, Sixteen, Eighteen and Twenty-six.

According t o a definite statement contained in the Nispanr~ayo~iivali under the Maajuvajra Maqdaia, Cundii is affiliated t o the DhyHni
.. - - -- - -- --- 1. Siidhana No. 220 in the SHdhanamHlH p. 433. 2. Siidhana No. 224 in the SidhanamHB, pp. 437,438. 3. Nispanneyogiiva11, p . 52. Here Maiijtvajra is the semr as Vairocara.
-

--

220

BUDDHIST ICONOGRAPHY

Buddha Vairocana, and thus CundH is the spiritual daughter of Vairocana, and is required t o be classed under the emanations of this very Dhysni Buddha. The name of the deity is spelt variously as Cundii, Cundrii, CandrB, CaqdH, and CuqdrH. She is also called Cundavajri. The spelling of Cundii as adopted by Foucher appears t o be correct since her mantra as given in the S'adhanamH11: "Oh Cale Cule Cunde Sviihl contains the word Cund'. in the vocative as Cunde Under the circumstances the correct spelling and the name of the deity as CundB may be taken as certain. From the Sldhana it is not possible to ascertain the character of the deity or her origin. But from a reference in the NisPannayogiival; ' it appears probable that the deity CundZ is the embodiment of the Buddhist Dhiirigi work called the C u n d ~ d h ~ r itq oi which a reference is made by hntideva. The NispannayogBvali acknowledges altogether twelve Dhlripi deities and gives their descriptions. These DhHriqis look altke when represented and they are usual1y two-armed, holding the ViSvavajra in the right hand andtheir special symbols in the left. as given in the Nippannayogiivali The names of the twelve D h ~ r i q i s are these : 1. Sumati, 2. RatnolkE, 3. Ilsgisavijayii, 4. MHri 5. Parpakabari, 6. Jariguli 7. Anantamukhi 8. Cundii 9. Prajaiivardhani 10. Sarvakarm~vara~avi8odhanI 11. AksayajZBnakarapdB and 12. Sarvabuddhadharma-Kosavati. These DhBrigis are collectively assigned t o the DhyHni Buddha Amoghasiddhi, and are described later in this book. The Dh'iri$s are a peculiar kind of Buddhist literature which is supposed to generate great mystic power if repeated continually foralorig time. They are short works mostly composed of meaningless syllables, sometimes revealing traces of a language now defunct. The deification of books is not unknown in Buddhism. The best example of this is the deity PrajSZpHramitH, who is the embodiment of the great MahByHna scripture, the PrajSiipHramitH, which is believed to have been rescued from the nether regions by NEgHrjuna the Pontiif. Amongst the DhHrigi deities Usqisavijayii, JHgguli, Parqaiabari and Cund'i are popular, and there are Sldhanas and images of these deities in art. But they represent nothing more than the respective VidyHs o r mantras of which they are the embodiments.
- -

.- -

----

I. See the list of Dharip deities in the Dharmadhatu-V~g'lbvara Ma~dala, NSP,

p. 57.

EMANATIONS OF VAIROCANA

221

CundE thus is the embodiment of the Cundii Dhiiriqi or the Cundii mantra. The Buddhists believe that when the D h ~ r i is ~i repeated in deep meditation for a long time with concentration and faith, the mantra vibrations grossen themselves in the concrete form of a deity which the worshipper visualizes, and thus obtains Siddhi o r success. Once realized, the deity never leaves the worshipper and gives him e\.erytt~ingthat he desires. With regard t o the antiquity of Cundg in the Buddhist pantheon, it may be said that the very first mention of her name CandrH which is considered t o be the same as CundH, appears in the MaZju6rimiilakalpa, the composition of which is usuaIly placed cir. 20C A. D. As Cundavajri, she finds mention in one of the earliest TSntric works, the Gullyasamgja which was written most probably in the time of Asanga, clr. 300 A. D. Cundl is also mentioned in the SiksHsarnuccaya of kintidcva in the 7th century. CundH images are found in illuminated PrajEHpiiramitH MSS of the 1l t h century and several SHdhanas are dedicated to her in the SPdhanamHlP, the earliest MS of which hears a date which is equivalent to A. D. 1165. Earl~er, she 1s mentioned in the NispannayogHvali of AbhayLltara Gupta (C 1130. A. D.). So tar only three S~dhanas of Cundz are known, and they are all t o be found in the printed edition of the SHdhanamHll as Nos. 129, 130, and 131. There is a further description of the goddess in the same book where CundH is included a s a minor deity in the M a ~ d a l a of Astabhuja-KurukullZ. Three more descriptions are available in the NispannayogHvali. The three Sgdhanas in the Szdhanamglii describe the principal deity CundZ in one form only. She is four-armed, one-faced and of white complexion. The Dhy'ina is given below :

"She is of the colour of the autumn moon, and is four-armed. She shows the Varada mudrH in the right hand and holds the book on a lotus in the left. The two other hands hold the bowl. She is decked in all ornaments." Only one image of Cundg (Fig. 161) of this description was in the collection of the late Mr. W. B. Whitney ' of America. The ilIustration is from a photograph kindly supplied by the owner.

1. Also illustreted in Gordon : ITL, p. 74. of Art.

I t is now i n the famous Freer Gallery

.-

222

BUDDHIST ICONOGRAPHY

T h e SHdhanamiilii also makes CundH a cbmpanion deity of AstabhujH KurukullH in S ~ d h a n a No. 174, p. 352. In the h a corrler of the Kurukullii Maqdala on a lotus petal sits Cund'i while the other petals are occupied by PrasannatHrH in the east, NispannatiirP in the south, JayatHrH in the west, Karpatiirii in the north, ApariijitB in the Agni corner, P r a d i p a t ~ rin ~ the Nairrta corner and GauritsrH in the V l y u corner. A11 the deities including Cundii look alike and are described as follows : "EtHSca sarvii raktavarggh pa?icatathiigatamula$i vajraparyankanisa9 8 5 daksiqabhujiibhyiim varadamudrg-iikar?apiirita6aradharii v ~ m a b h u jiibhy'ah utpala-cSpadhariih." Siidhanamiilii, p. 352. They wear a crown with "All these deities are red in colour. the figures of the five Dhyiini Buddhas, and sit in the Vajraparyahka attitude. With the two right hands they show the Varada m u d 6 and the arrow drawn t o the ears. They carrv in their two lek hands the blue lotus and the how." In the NispannayosHvali there are altogether three descriptions of Cund'i. In the KHlacakra Mapdala, C u n d ~ is the consort of Takkiriija who is similar t o Ratnasambhava in appearance The relevan; passage is given below : "Cundii 6uklH savyiibhyiih mudgara-kuntau vHmHbhyHm padma-dap dau vibhr8pHn. NSP, p. 89 "Cundii is white in colour. In the two right hands she carries the Mudgara (club) and the Kunta (knife) and in the two left the Padma (lotus) and the Daqda (staff) " Cundii is once again mentioned in the Dhararnadh~tuv~giSvara Magdala. In this M a ~ d a l a her form is described in the following words : "Cundii SuklP ak+asfitrii\ralambita-kama?daludharP

NSP, p. 57 "Cundii is white in colour. She carries in her two hands the rosary t o which a Kamandalu is suspended." A' third form of Cundii is described in the Nispannayogiivali in the MaEjuvajra Mapdala, It is an elaborate description of CundH who is here endowed with as many as twenty-six arms. T h e relevant extract is quoted below : "Ciind'i candravarpii s a d v i h i a t i b h u j ~pradhBnHbhyiih hydi mijlamudr'ih daksiqairabhayah khadgah ramad'ama bijap'irah Sarah parakurh gad'arh mudgarah arikuSah vajratin t r i p a t ~ k g b h i n a ~ aa hk s a s ~ t r a h ca ; v~imaiicint'imapidhvaja&p a d a h kamagdalurk pii6afi c8pah iakti& cakrah khadga& tarjanah ghaqtzh bhipdipzlah prajii'ip'iramit'ipustakafi ca vibhrati. NSP, p 49

EMANATIONS OF VAlROCANA

223

"Cundg is moon-white in colour. She has twenty-six arms. With the two principal hands she exhibits the chief mudr'i '. In the remaining right hands she shows the 1. Abhaya mudrii, 2. sword, 3. garland of jewels, 4. citron, 5. arrow, 6. axe, 7. club, 8.hammer, 9. goad, 10. thunderbolt, 11. Tripat'iks and 12. rosary. In the remaining left hands she shows the 1. flag marked with Cintiimani jewel, 2. lotus, 3. Kamagdalu, 4. noose, 5. bow, 6. javelin, 7. discus, 8. sword, 9. Tarjani (raised index finger), 10. bowl, 11. BhiqdipHla and 12. the Praji'iHpEramitH Scripture". Although images of CundH with twenty-six arms are not available, there are several images of CundZ with sixteen arms. These can be identified with the help of a miniature painting of sixteen-armed Cundii (Fig. 162) available in the manuscript No. Add 1643 of PrajFiHpHrarnitH in the Cambridge University Library. This miniature bears a label in old Newari characters which reads as : "Paytikere CundHvarabhavane Cund'i" "CundZ in the excellent temple of Cund'. at Patrikera." This inscription leaves n o room for doubting the identification of the s~xteen-armedimage as that of Cundz. In this figure also the principal pair of hands exhlbits against the chest the mudrH which is called inthe Sldhana as the M61a m u d 6 which is akin if not equal t o the Dharmacakra mudr'i. Foucher has given a description of the miniature of Cundii in his L'lconographie Bouddhique, part I, p. 199. According t o him the two principal hands exhibit the mudrH of teaching. T h e remaining seven right hands show the 1. Varada mudrH, 2. thunderbolt, 3. discus, 4. club, 5. Jagger, 6, (indistinct) and 7. rosary. In the seven left hands she carries the 1. vessel, 2. axe, 3. trident, 4. bow, 5. dagger, 6 . (indistinct) and 7 . sceptre. Dr. N. K. Bhattasali Q i v e s a slightly different description of the same miniature. Thus it is apparent that there was an image of Cund'. in the CundP temple at Pattikera which is identified by Dr. Bhattasali with the remains on the Lalmai h ~ l l s in Tippera in Ezst Bengal. The miniature o f the Praj?%ipHramitH manuscript obviously depicts the sixteen-armed image of CundH, and thus becomes instrumental in identifying several of her unidentified images. The Baroda Museum image (Fig. 163) is one such image and is a small and very artistic piece made of the usual octo-alloy of the Nepalese school. Thinly covered in the front part with a golden leaf o r polish
-

1. This mudrii mag be called the ~undernudriiwhich is akin to the Dhermecekra mudrs displayed by Vairocana. 2. Bhattesali : lBBS, p. 13.

224

BUDDHIST ICONOGRAPHY

which has faded out at many places, on a pedestal there is the prostrate figure of a man lying on his back. In the Paryahka Asana the deity sits o n the prostrate figure. She is richly dressed and is decked in ornaments such as necklace, chain, tiara, ear-rings, bracelets, armlets, anklets and girdle. She is sixteen-armed. The two principal hands are arranged in the form of a mudrii which is akin t o Dharmacakra T h e remaining seven right hands show downwards from the top the 1. sword, 2. Damaru (kettle-drum), 3. knife, 4. (broken), 5. hammer, 6. garland of jewels, 7. Abhaya mudrz. The remaining seven left hands show likewise the 1. discus, 2. bell, 3. noose, 4. dagger, 5. goad, 6. arrow a r d 7. Vara. da mudr8. The deity is one-faced.

Thc Baroda Museum image has therefore t o be identified with C u n d ~ , although there is some mlnor variation. Similarly, the Bodh Gaya image found in the Hindu monastery (Fig. 164) has also t o be identified with Cundii with sixteen arms. One more stone imagc of Cund8 is illustrated In the History of Bengal, Vol. I, p1. xxvi, 64. Here CundH has eighteen srms instead of sixteen as in the miniature.
l'he special feature of the Bnroda Museum image is its seat which is on the prostrate figure of a man. This Lind of special seat is absent 1 1 1 all other i~llages of Cundii so far discovered either in stone o r in metal. But t h ~ seat s appears t o be a specla1 feature of the Cundii images which is not against the direction of the Siidhana. Cund5 is said irl thc SEdhana to 1-e seated o n a Satt\*aparyaAkao r a seat spread on a 'Sattva' tvhich usually means a man or an animal. This particular bronze glves the indication that SsttvaparyaAka is a scat that is placed on a man lying on his back. CurjJii
1s

popular both in Tibet

'

and China

?.

Faces-Three

Arms-Six

She has heen described in the Dharmakosasahgraha in the following words : "Graham'it~kztrimulihH L ~ e t a ~ i t a r a sadbhujl kt~ dakse dharmacakrarnudrii-vajra-Qar8; vHme kamala-cH~8 ; sahasradalapadme vajrlsan'a".
..-- . . -

1. Gordon

. -- --. . -- .. : ITL, p 74 ; Getty : GNB, pp. 129, 130.

Dharmakosasahgraha. fol. 44A.

-

2. Clark : TLP, 11, pp. 285. 222, 284.

EMANATIONS O F VAIROCANA

225

"GrahamBtykB has three faces of white, yellow and red colour, and six-arms, displaying the Dharmacakra mudr'. (in the principal pair of hands) and carrying the Vajra and the arrow in the two right hands, and in the two left the lotus and the bow. She sits in the Vajrgsona on a lotus of a thousand petals". Fig. 165 illustrates a miniature painting in the possession Evans-Wentz '. of Dr.

1.

Getty :

GNB, illustrates a similar miniature on plate LXI, p. 474.

29

CHAPTER IX
EMANATIONS OF AMOGHASIDDHI There are several Buddhist deities emanating from the DhyHni Buddha Amoghasiddhi whose colour is green and whose distinctive signal is the Abhaya mudrii. Out of the deities emanating from the Dhyiini Buddha Amoghasiddhi only one is a male, while all others belong t o the female sex. The description of the only male deity, Vajriimrta by name, comes from the NispannayogPvali of AbhayHkara Gupta. The deities are described here one after another in the order of their importance.

I. VAJRAMRTA Colour-Green Faces-Three Arms-Six

Vajriimyta is the principal deity in the Vajrgmyta Maqdala of the Nispannayogiivali. He is described thus in the text : "$ri.~ajriimytab sattvaparyafiki priyafigu6yiimah sitaraktamiilasavyav~mamukhatrayo.. ..sadbhujah savajraghag~lbhujayugmPlihgitasvPbhapraj5ah savyiibhyiixi~ c a k r ~ sviimgbhyiim i pii6~hkusau vibhrlqah." NSP, p. 18. "Vajriimyta sits on a Sattvaparyanka and is green like the Priyahgu flower. He is three-faced, the right and left faces show the white and red colour. He is six-armed. The two principal hands holding the Vajra, and the Ghagt'i, embrace the PrajiiP of his own creation. The two other right hands carry the discus and the sword, and the two left show the noose and the goad." Vajrimrta is represented in China '.

Colour-Green Mudrii-Varada Sym bol-Utpala ' Companions-AAokakHnr~ and Ekajat'i. T'ir'i is the common name applied t o a large number of feminine deities in the Buddhist pantheon. In the SHdhanam'al~, J'ihguli, PargaQabari. Mah'aclnatlir'i, Ekajatli and many others are called THrBs,
1. Clark : TLP, 11, p

236.

EMANATIONS OF AMOGHASIDDHI

227

including Khadiravaqi, who is endowed with two hands, showing the Varada mudr'. in the right and the Utpala in the left. She can be recognized by the figures of the two attendant deities, Aiokakgnt'. MBrici and EkajayH. One SHdhana in the S'idhanam'al~contains a Dhy'ana which describes her form thus : "HaritHm Amoghasiddhimakurih varadotpaladh'iridaksiqav~makarH& Aiokak'int'i-M5ricy-EkajafPvYagraddivyakumarim dhy"av8"

...

Khadiravapl-THrH-SHdhanam"

SHdhanam~l~ p. , 176

"The worshipper should conceive himself as KhadiravagT-T'ir of green colour, who bears the image of Amoghasiddhi on her crown, and shows the Varada mudrg and the Utpala in the right and left hands respectively. T o the right and left of her appear ~ i o k a k P n t 2MBrici and Ekaja~g, and she appears a celestial virgin.. ..Thus meditating " She is commonly known as ~ ~ H r n E - ~ i Ii r E because of her green does not mention any particular Asana she colour, and as the S ~ d h a n a may be represented in any attitude, either sttting (Fig. 166) or standing (Fig. 167). A beautiful statuette in the Baroda Museum shows the goddess in the Lalita attitude (Ftg. 168) Images of k'hadirava~i TBrH are found in Tibet h n d Chlna

3.

MAHASR~ TARA

L.

Colour-Green Mudrii-Vy~khpiina

Arms-Two Companion-Four

Another delty emanating from the DhyPni Buddha AmoghasiJdhi of green colour is Mah'iSrI TPrH "Saviouress of Great Beauty". A single S ~ d h a n ain the SiidhanamHIii describes her form along with her four companion deities, such as EkajayZ, AiokakBntH MBricI, Arya-~iihguli and h4ah'imByGri. The SHdhana describes her form as follows : MahPkritPr~h candrgsanasthiim ~yPmavarg8rh dvibhujsm hastadvayens vy'.khy~namudrPdharPm ekavaktrsh sarvHlahkHrabhiisit~k p ~ r . & v a d ~ a ~ e n o t p a l a i o b hsuvargasimhHsanopari ~m ap'a6ray'adiiobhiifi nHnH-

p~sp~~okacampakan~ge~varap~rij~tak'adibhir~jit~fi-Amoghasiddhimu tinim. Sadhanamala, p. 244-245 ''Mahair; TPr'a sits on the seat of the moon, and is green in colour ; she is endowed with two hands which exhibits the VyBkhy'ina mudr'a. She is oneefaced and is adorned with ornaments. Two lotuses beautify
-. -

1. IBBS :p. 56, P 1 . XXI-XXII. 2. Getty :GNB, p. 125 3, Clark :TLP,11, p. 267.

228

BUDDHIST ICONOGRAPHY

her sides. She sits o n a golden throne furnished with beautiful cushions. She is decked in a variety of flowers like the ABoka, Campaka, NBgeivara and PBrijBtaka. She bzars on her crown a small figure of Amogha. siddhi." Later, the SBdhana gives a description of the four companion deities. Here EkajatB who is stationed apparently t o the left of the central deity, is of the following description : "EkajatZrh ardhaparyankopavii$irh nilavargiim kartrikapiiladharHh sakrodh'lrh 1ambodarHrh pifigalajatlvibhiisitgrh vylghracarmBmbaradharBrh." SBdhanamHlii, p. 245 'Ekajayl sits in the Ardhaparyanka, is blue in colour,holds the Kartri
( knife ) and the KapHla (skull), and is angry-looking with a protruding

belly. Her hair is of fiery red colour and matted, and she wears a garment made of t~ger-skin." In the corresponding right side appears Aiokakiintii who is described in the follow~ng words : Daksine pIrBvc AiokakHntIm p i t a v a r q ~ m ratnan~ukutinirh vajtlkokadhariik." SHclhanamZlii, p. 245. "Towards the right is A i o k a k ~ n who t ~ is yellow in colour, wears a crown of jewels, and carries the Vajra and the ALoka flower." The goddess Arya-~Hhgul;also appears o n the further left, hehind the figure of EkajatL, and is described here as follows : "Purnarviime Arya-~Bfigulirh &yBrnavar~iirh sarpavaradahast8rinrinrin' S'ldhanamZB, p. 245. "Further to the left there i s . A r y a - ~ ~ n ~ of u l igreen colour showing In her hands the snake and the Varda mudrii." In the extreme right there is another goddess called MahZmByGri. She is given the following form in the SBdhana : "Daksiqe M a h ~ r n Z y ~ r i r mayiirapicchavaradahastZrh". n SBdhanamBlB, p. 245. "In the right there is M a h ~ m ~ ~ i i r ~ s h o w the i npeacock's g feathers and the Varada mudrg." The manrra of the central deity Mahg8ri THrH is glven in the Sgdhana as :

"Ok TBre TuttHre Ture dhanaxh dade SvHhH".

The mantra evidently makes her a goddess of wealth, and as such the deity must have been worshipped by the THntric Buddhists. According t o a further statement she sits in the RBjalilH Asana o r the pose of princely ease.

EMANATIONS OF AMOGHASIDDHI

229

Only one statuette of the deity has been discovered so far. It is now in the Indian Museum, Calcutta ( Fig. 169 ). In conformity with the SHdhana the principal deity ~ a h P b r iTPrP is shown as one-faced and two-armed exhibiting the VyHkhy'ina o r the Dharmacakra mudrz. There are two night lotuses on either side. The principal deity sits in the R'ijalil'i pose on a lion-throne and bears o n her crown the miniature figure of Amoghasiddhi with the Abhaya mudr'i. T o her left is the fierce figure of EkajatP, sitting in the Ardhaparyanka attitude and holding the Kartri and the KapZIa in the two hands. She has a protruding belly, garment of tiger-skin, and she bears a wrathful demeanour which is clear o n the stone. T o her right similarly, sits A4okaklntii Mlrici who wears a bejewelled crown, and carries the Vajra and the Aboka flower according t o the direct~onof the Siidhana. towards the extreme left of The statuette also depicts Arya-~ii?lguli the deity and shows the snake and the Varada m u d 6 in accordance with the direction of the Siidhana. The statuette also includes the small figure of MalZimPyClri to the extreme right of the pr~ncipal goddess. She shows the peacock's feathers and the Varada mudrl. The Indian Museum image seems t o be the only image representing M a h ~ g r iTHrB where the sci~lpture does not deviate even a little from the description given in the SiJhanamllZ '.

.I

4.
MudrB-Varada

VASYA'TARA Sym bol-Lotus Colour-Green

Asana-~hadr'isana

Vabyatlrl, is also known by the name of Aryatzrii, and onIy one S ~ d h a n ain the Szdhanamlll is assigned to her. There is practically n o difference between her form and that of Khadiravaqi-T8rii in as much as both display the Varada m u d r l i n the right hand and carry the Utpala in the left. Both have green colour, and both bear the image of Amoghasiddhi o n their crowns. In the case of KhadiravaG-TBri, however, n o mention is made regarding the attitude in which she should stand or sit, but here it is expressly mentioned that Vabyat5rii should be seated in the BhadrHsana, which resembles the European fashion of sitting with both legs dangling below
----.-----

1. For an article on the subject see Proceedings of the Third Oriental Conferenc?, Madras, p. 257 et. seq.-Identification of an Indian Museum Statuette. Besides this there are some miniature paintings depicting Mah~hritiir~.

230

BUDDHIST ICONOQRAPHY

This Asana, o; the attitude of sitting alone distinguishes Vaiyst'ar'a from other+ a ~ d i n a r y TLrBs carrying the Utpala in the left and exhibiting the Varada mudrz in the right. The other point of difference between Khadirava$-T8r8 and Vakyat'ir'i is, that the former is accompanied by the two goddesses, Aiokak'ant'. M'arici and Ekajat'a, whereas the latter is without companions. KhadiravaqT may sit o r stand in any attitude, but the S'adhana prescribes the Bhadr'asana only for Va Ayat~r'i. The accompanying sketch (Fig. 170) represents Vakyat'ar'i as she is pictured in Nepal, and its special importance lies in its depiction of the Bhadr'isana attitude in which the goddess sits I .
,

5. SADBHUJA

SITATARA

Colour-White Faces-Three

A s a n a - ~ r d h a ~ a ahka r~ Arms-Six
,

There are many S'adhanas for Sitatiiriis, o r the T'irEs of white colour hut in none of them are they mentioned as bearing the image of Amoghasiddhi on their crowns. It is only in this case that the image of the DhyHni Buddha is expressly mentioned. This White Tara is three-faced and six-armed, and the Dhy'ina describes her form in the following terms : "Sitat'ir'irh trimukhiirh 5adbhujEm pkanlladaksigetaramukhIm pratimukham trinetrE& varad8-ksasiitra-karadharadaksinatrikare utpalapadma-c'ipadharav'imap'agitrayiirh ardhaparyahkanisa~qiim candr'asmacandraprabh'irh jat8muku;asthit-Amoghasiddhirhpa5camuqdavibhb+itamastakHri1 ardha~andrak~takekhar'irh nPn'ilahkPradhar'i& dviragavarsiikytim as;aAmak8namadhyasthitiixb.. vicintya." "The worshipper should conceive himself as SitatBrH, who is threefaced, and six-armed. Her right face is yellow and the left blue in colour, and the faces are endowed with three eyes each. Her three right hands show the Varada mudr8, the rosary and the arrow, and the three left carry the Utpala, the lotus and the bow. She sits in the Ardhaparyalika attitude, sits on and shines like the moon, and bears the effigy of Amoghasiddhi on her crown of matted hair. Her head is embellished by five severed heads and the crescent moon. She is decked in many ornaments, is twice eight years old, and resides in the midst of the eight cremation grounds. Thus meditating ..." The accompanying sketch (Fig. 171) shows how she is represented in Nepal. It tallies in all respects with the description given in the -- .- . - -1. For the

S~dhana, see S~dhanamiil& p. 178.

EMANATIONS OF AMOGHASIDDHI

231

Siidhana, except that here she is represented in Vajraparyahka instead of Ardhaparyahka as required by the Siidhana. She is known to the Chinese collection at Peiping I ,

Arms-Four

Colour-Green

Dhanada-THrH is one of the four-armed varieties of Tiirl. The special features of this goddess are that she rides an animal, and like Vajratiirii, is surrounded by eight goddesses, originating from the eight syllables of the famous mantra " O h TBre TuttHre Ture Sviihii". The symbols that are held in her four hands are also different from all other varieties of four-armed Tiirii. The DhyHna describing her form runs as follow : "Tiir8.Bhagavatifi HtmHnarh bhlvayet ; candrikanaprabh'arh saumyZx5 sattvaparyahkasth"a, haritahyiirnii~k ekavadanzrh dvilocanzm caturbhujf 1 5 aksasiitravaradotpalapustakadharH& vicitravastr8lahk'iravat i k . . .Locaniidibhir-devibhir-abhisikt~r5 ltmPnHm Amoghasiddhimukutarh dhyZy8t." "The worshipper should conceive himself as goddess Dhanada TgrZ, who is seated on and has the radidnce of the moon, is benign in appearance, slts on an animal, has green complexion, one face, two eyes, and four arms showing the rosary, the Varada pose, the Utpala and the book. She wears variegated ornaments and garments ...The worshipper should further conceive himself as receiving homage from the goddesses, Locan5 and others, and as bearing the image of Amoghasiddhi on the crown." Fig. 172 Images of Dhanada TBr'i are found in Tibet %and China illustrates a Nepalese drawing.

Colour-White MudrH-Utpala

Arms-Four Mudrii

SitatHrH, as the name implies, is a Tkii of white variety with one face and four arms. She is accompanied by two goddesses M'arici and ~ a h i i m i i ~ ~ It r i may . be remembered that Khadiravaqi also is accomI EkajatH ; but the difierence is that Khadiravaqi panied by M ~ r i c and
1. Clark : TLP, 11, p. 282 2. Getty : GNB, p. 123. 3. Clark :TLP, 11, p. 283

232

BUDDHIST ICONOGRAPHY

is two-armed whereas SitatHrH is four-armed. The Dhyiina contained in the only SHdhana for her worship in the SHdhanamHl~ describes her form in the following terms : "Tlr~bha~avatTrh Sukl~k trinetr'iih caturbhujgrh Paiica-Tathzgatamukutirh nHn5lahkHrfrh, bhujadvayena utpalamudrzrh dadhiin861, daka~gabhujena cint'imaqiratnasarhyuktavaradHm, sarvasattviiniim 'aifrh paripiirayantirh, v'amenotpalama5jarirh vibhrgqiirh dhyf yiit. TasyH daksinapiir6ve M'iricik pit'ih candr'isanfrh niliimbar'irin dvibhujlm ; vHmena raktiiiokapallavadhar~rh, daksiqena sitaciimaradhar'irh ; raktaka5cukPbharaq'im. Vfmapiirkve Mah'imiiyErirh priyangu6ylmfrh dvibhujzrh ; v'imena mayiirapicchadharHk, daksiqena cimaradharzm, evam vicintya ..." SHdhanamdH, p. 215. "The worshipper should visualise himself as the goddess (Sits)T'irB of white complexion, with three eyes and four arms. She bears the images of the five Dhyiini Buddhas on her crown, is decked in s Utpala mudrz with the first pair of hands, many ornaments, e x h ~ h i t the displays the Varada mudrl along with the Cint'imaqi jewel in the second right, and carries the Utpala bud in the second left, and fulfils the prayers of all beings. 'To her right is MHGcT who is yellow i n complexion, sits on the moon, is clad in blue garments, is two-armed, and carries the bough with red Akoka flowers in the left hand and the Ciimara in the right. She wears a red jacket and ornaments. T o her left is Mah~mfyiiririof green colour, like the Priy ahgu fruit, who is two-armed and carries the peacock's feathers in the left hand and the C'imara in the right. Thus meditating...". Images of Sitat'ar'a ar? found in Tibet
I'

' and China

2.

8. PAREJAS ABA RI

Colour-Green Faces-Three Asana-praty flidha, Vfhana-Diseases (in human form)

One form of Pargaiabari of yellow colour has already been discussed along with the female emanations of the Dhy'ani Buddha Aksobhya. But here her complexion is green probably because the DhyHni Buddha Amoghasiddhi, from whom she is said t o emanate, is of that colour. The Mantra calls her 'Pi6Hci' and also 'Sarvam'aripra6amaniy o r "the destroyer of all diseases and epidemics". She is almost identical
1 Getty : GNB p. 122. 2. Clark : TLP, 11, pp 189, 2 16.

EMANATIONS OF AMOGHASIDDHI

23 3

with the form that has been described previously, except that here her colour is green and she bears the image of Amoghasiddhi on her crown, instead of that of Aksobhya. She carries the same weapons as the previous one, but the expressions of their faces are lVery different, there a pleasant beaming smile, here an angry laugh. As the i in East Bengal both bearing two specimens of P a r ~ a l a b a r discovered the image of Amoghasiddhi on the crown, it is necessary to quote the Dhy'ana in this case aIso, for a comparison of the details with the images reproduced here : "Parqakabarih h a r i t ~ m trimukhzh trinetrzh sadhhujzrh kysqakukladaksiqav'am'anan8h vajra-paraku-iaradaksiqakaratra* kiirmuka-patracchat's-sapZlatarjanivImakaratray 51%sakrodhahasiti'inanzh navayauvanavat i h sapatram~lZvyZghracarmanivasanZrhi~allambodar11i-1Cirdhvasahyatakeiim adho akesarogami'iripadgkr~nt~h Amoghasiddhimuku~h SZJ hanamiil~, p. 308. HtmHnah jhafiti n ~ ~ p i i d y .." a "The worshipper should conceive himself as Par~a6abari, who has a green complexion, three-faces, three eyes, and six arms. Her right and left faces are of blue and white colour respectively. She carries in her three right hands the Vajra, the P a r a h and the arrow, and in her three left, the bow, the cluster of leaves and the Tarjaniplka. Her faces show an angry laugh. She is in the prime of youth, is decked in tigerskin and a garment of leaves, has a shghtly protruding belly, and hair tied up above. She tramples under her feet various diseases and pestilences, and hears the image of Amoghasiddhi or] the crown Thus meditating.. " . The two images of Pargaiabari (Figs. 173 and 174) have been dlscovered by Mr. N. K. Bhattasali '. These two images f o l l o ~the ~ S ~ d h a n amost accurately in all details ; the angry laugh has heen correctly depicred in the three faces, and the belly slightly protrudes. T o the right and left are two divinities, Hayagriva, the Hindu god of Fever, and SitalZ, the H ~ n d u goddess of small-pox, and they are represented in the images as flying in opposite directions t o escape the wrath of Par?aiabaG. The prostrate figures under the feet are the Diseases and Pestilences, in human shape. The figure under the right leg, apparently, is a man attacked with small-pox, as we can judge from the circular marks all over his body ; the other figure under the left foot, is probably attacked with some fatal disease. Both the images of Parqakabari are decidedly very f i n e specimens of the Bengal school of art. -- -- . - . - . .- -- .- . - - .--- 1. Bhattaeali :IBBS, p. 58f. Plate XXIII.

30

234

BUDDHIST ICONOGRAPHY

ParqaAabari is represented in Tibet

' and China '.

Colour-Green Arms-Six

Faces-Three Asana-Ardhaparyanka

MahBmlyEri is another goddess of the PaEcarakgii group, and is In the same wdy as the other members of the affiliated to Amoghas~ddhi group are affiliated t o one o r another of the Dhygni Buddhas, She is diiferent in form when worshipped in the PaZcarakSii Maqdala, which will be described later. When she bears the image of Amoghasiddhi on the crown she is three-faced and six-armed, but she may have another form wit11 one face, two arms and yellow complexion, in which case she mill hold peacock's feathers in the right: hand and display the Varada mudrii in the left. The three-faced and SIX-armedform of MahiimByEr? has been described in the SldhanamHlZ as follows : " M a h i i m ~ ~ i J r iharitavarl?Bh h trimukh'i15 ,s3dbhujZh pratimukha* trinetr'irh kygr;laSukladakgiqetra\vadan~rh ; dak+ir;latrihastesu yathiikrama15 muyGrapiccha-bZ?a-varadamudr~l~ ; tarh'i vBmatrihaste6u ratnacchr;ic~potsarigastl~akala6~h ; vicitriibharapBrh, ;rng8raras8rh, navayauvaniirh, canJrHsane candraFrabhZ\vatitin ardhaparyahkini& Amoghasiddimukutih bhiivayet ZtmBnari~". SEdhanamZl5, p. 400. "The worshipper should visualise himself as MahSmByEri, who has a preen complesion, six arms, and three faces, each endowed with three eyes. Her right and left faces are of blue and white colour respectively. She shows in her three right hallds the peacock's feathers, the arrow and the Varada mudrii, and similarly, in the three left hands the jewel, the bow, and the water-vessel on the lap. She is decked in wonderful ornaments, displays the sentiment of passionate love, is youthful, has her seat on, and the radiance of the moon, sits in the Ardhaparyanka attitude, and bears the image of Amoghasiddhi o n the crown". MahSm'iyuri is popular in Tibet :; and China .I and her images are found in these countries. She i s said to null~fy the effect of snakepoison.
1. Gordon: ITL,p. 71 ; Getty : GNB, p. 134, 135. L. Clark : TLP, 11, pp. 207, 287 two-lrmcd, 287.

3. Gordon : ITL,p, 74 ; Getty : GNB, p. 136. 4. Clark : TLP, 11, pp. 206, 275.

EMANATIONS OF AMOGHASIDDHI

lo.

VAJRASRNKHALA
Faces-Three Asma-~allta

Colour-Green Arms-Eight Symbol-Chain

Three Sgdhanab in the SiiclllanamBIP are devoted t o the worship of VajrakThkhalZi. Her colour is green, and as she emanates from Amoghasiddi she bears the image of that Dhyiini Buddha on the crown. "!&nkhala" means a chain, and as the goddess carries a chain, marked with a Vajra, she is called Vayru$hkha15. The chain, therefore, is her characterlstlc sign and shoulJ he paid particular attention to, in Identifying her images, if ever, thev come to light. She may he compared with VajrasphotZi another chain-bearing deity. O n e of thc I?h?Enas describes her form in the following manner : "Harit'irb trimukh'irh as;abhujZi~il; prathamamukhari~ isaddh~sarasad~; dak+inaril kapilafi kapil~locanarhca ; v5mam rakturh bh~kuyidaril~triikuriilam ; daksinesu catul>karesu abhaya-vajra-~yrikha1a3~ari~d1~aiii~i~ ; viimacatuhkaraih r u d h i r a p G r p a k a p & - t a r J a i ~ ~ - p ~ ~ a - c P ; alalitlkar Qep~sanasth5ril,m5rjjiiracarmottariyii1i1, A n ~ o g h a s ~ d J l ~ i b l ~ G ~ i t o t d h v a pihgalakesiim vicintya. ..

"The worsh~pper should visui111be hlinself as ( V a j r a i y ~ k h a l l ) of green comp!exion, w ~ t h three faccs arid e ~ g h tarms. Her tirst face is r ~ g h face t is of brown colour with b t o ~ i leIpcs, and the gently smil~ng, left 1s of red coloi~r and appears teiiible with contortions of the Erows a n d bare fangs. She s1lon.s in the four right harids the Abhaya pose, the Vajra, the VaJra;rnkhala and the arrow, and in the four left, the Kap'ila full o f blood, the Tarjani, the noose and the bow. She slts In the Lalita attitude, has a scarf of cat's skin, and her brown hair rises upwards and is decorated with the image of Amoghasrddhi. 'Thus meditating - ". Vajrabyhkhall may, accorslirlg t o the S'idhnnas, have another form with three faces and SIX arms, l n whlch case she carrles the Vajra, the Vajrairnkhala and the arrow 111 the three right hands ; and the Tarjani, the noose and the bow in the three left hands. The illustraii~n(Fig. 175) shows this form of the goddess as drawn by the native CitrakPras of Nepal. She is represenred in China 2 .
~

. . . . -. . -- - 1. Siidhana No. 207 in the S~dhanamZlZ.p. 413. . , 2. Clark : TLP, 1 1 , pp. 19t., 3 1 1.
-

~.

.,.-

BUDDHIST ICONOGRAPHY

Colour-Blue Arms-Twelve

Faces-Six Asana-Praty'ilidha

The name of Vajrag~ndh'iriis already mentioned in connection with the Mandala of the eight-armed Kurukull'a, an emanation of Amitzbha. In this Mandala it is definitely said that Vajrag'indh'iri should hear the image of his sire Amoghasiddhi on her crown. She is thus included in the family of Amoghasiddhi. Vajrag'indh'ari is one of the terrible goddesses endowed with six faces and twelve arms. A short S'idhana in the S'idhanamgl'i describes her form as follows : "Vajrag'andh'iri k~sr;lH sagmukhi d v ~ d a i a b h u j tirdhvapihgalakeii ~ pratyiil';dhapadH dahstriikar'ilavadan'a pratimukharh trinetr'a. Daksipabhujel~u yath'ikramah vajra vajraghaqt'i-khadga-triSiila-biina-cakr'igi ; viimasadbhujesu khafv'ang ~rikuia-dhanuh-paraiu-pisa-h~ttarjan~ah ; prathamamukhah kysqah, aparZqi rnukhgni paiicavarq'ani viivapadmasiiry8sanZ ceri' '. SZdhanamiiIii, pp. 403-404. "V~jrag'indh'iri is blue in colour, six-faced and twelve-armed with brown hair rising upwards. She stands in the Praty'alidha attitude, and her faces look terrible with bare fangs and three eyes. She carries in her six right hands 1. the Vajra, 2. the hell marked with n Vajra, 3. the sword, 4. the trident, 5. the arrow, and 6. the discus, and in the six left hands 1. the Khalv'ihqa, 2. the goad, 3. the bow, 4. the ParaSu, 5. the noose and 6. the Tarjani against the chest. Her first face is blue, and the other five faces show five different colour. She rests on the sun supported by a double lotus". The DhZraqi quoted in the SgdhanamZlZ gives her the epithets of Yogin; and BhFsmabhagini, and she I S Eelieved to be the consort of the Yaksa general, Cal;ldavajrap'aniby name. Statuettes of this goddess are found in China

I. Clnrk x TLP, IL pp. 196,290.

CHAPTEK
EMANATIONS OF RATNASAMBHAVA I. GODS
Ratnasambhava is comparatively unimportant in the pantheon of the Northern Buddhists, as is evident from the small number of deities that emanate from him. It has already been pointed out that jambhala and Vasudhiirii were known long before the DhyPni Buddhas were ushered into existence and it appears, therefore, that Jambhala has heen assigned to Ratnasambhava at a late period. Jamhhala is connected with wealth and is said to distribute gems, jewels and riches t o his devotees. Again Ratnasambhava means 'Jewel-born' and whom might Jambhala, the god of wealth, call his sire if not the Dhyiini Buddha born of jewels ? If one o r two forms of Jambhala emanate from Ratnasambhava, it may be reasonably expected that at least one or two forms of his consort, Vasudh'irii,should also issue from the same source. Inspite of all this, the Buddhists were divided in their o p l n ~ o nas t o the sire of Jambhala, the followers of the ALsobhya cult holding him as originating from Aksobhya. MahBpratisarP, another of his emanations, belongs t o the PdEcaraks', group, and affxliates herself to Ratnasambhava In the same way as the other member8 of the group affiliate themselves t o one or another of the five Dhy'in~ Buddhas. Ratnasambhava is distinguished from the other DhyBni Buddhas by his yellow colour and the Varada mudrg he displays wtth his right hand. The male deities that emanate from Ratnasamhhn\fa are Jambhala and Ucchu~rna-Jambhala,the latter being regarded as a terrible form of Jambhala.

1. JAMBHALA
Several of Jambhala's forms are noticed in the Siidhanamiilii, which states that the god may emanate either from Aksobhya, o r from Ratnasambhava.a-r-T 1 h-&+8een c h a i k L The characteristic feature of Jambhala emanating from Ratnasambhava is that h e carries the mongoose in his right hand and the citron in the left. T h e mongoose is supposed to be the receptacle of all gems and jewels, and when Jambhala presses the t w o sides of the mongoose it vomits the treasures within. It is this mongoose which

238

BUDDHIST ICONOGR Apt l Y

makes it easy t o identify Jambhala images. As an emanation of Ratnasambhava h e may either be represented alone. o r in the embrace of his Sakti in yab-yum. In the Siidhanarniilii only three Dhyiinas describe him as single.
r 1 t h e moon under which When represented in yab-yum, he slts o there is a double lotus of eight petals. I-It. wearb all sorts of ornaments, belly. He his complexion is golden yellow and 1 1 ~ - 1 1 1 5 J carries the citron and the mongoose in t l ~ ztight and left hands res~ in yab-yum with pectively, wears a garland of yellow lotus, S L remains Vasudhzrii. The eight petals of the l 0 t ~ h beat J r e occupied by the eight Yaksas, t o wit, Miipibhadra, P'irpabhad~rr, _" ..--.-l)tr;lnada, -..-. . - Vaihravana, . .. Celim --.(~ l i Civikundal:. , Sukhendra - w h o are identical In all -L . ,. --aiX-6rrt:;lrJ . .-. respects with the principal figure. Each 'I'~l\?uIS accompanied by a Sakti with whom he remains in t.ah-yun~11, ttle yume way as Jarnhhala remains with VasudhBrP, and the names ot these right Y a k ~ i ~ i are s : C~trakiili, Dattii, SudattB, -. , -. Aryw% S u ~ ~ $ , _ b j s @and ~ ~Sarasvat!. i The Yaksiys are identical In form with \. .ihilJh.jitii, who is yellow in complexion, carries the ears of corn and ~ I I O W ~the Varada mudrii in her two hands.
I -

When single, Jambhala is o f golderl ionlplcy;ion and carries the mongoose in the left hand and the citron 111 ti,.= rlght. The illustration (Flg. 176) shows a stone image from Nepal u l ~ t h i was m the possession of the late Parldit Siddhiharsa. Here the god I* represented as sitting in the Lalita attitude. Two other specimeua i k1.a. 177 and 178) from Vikrampur'. in EastcrnBengal, depict the ruJ 111 the same attitude, and they are some of the finest productsot the He11<31 art of medieval times. There is another form o f Jambhala whicil is two-armed, carrles tke citron and the mongoose in his two hax~ds dn,i rramples upon two semldivine beings SaBkharnu~;lda anid P a J r n . ~ m u Ja ~~ ily name, apparently in the Alidha attitude
I

:.

(a) JAMBHALA ( YJ b-]'urn) Colour-White Arms-Suc Jambhala in yab-yum has another form wlth three faces, slx arms and white colour. According t o the Sldhana his t a o faces t o the light and left are red and blue respectively. Jambhala s ~ t s in the Vajrapar~ahka attitude, and embraces his PrajliH Vasudhiira o t his own creatlon with - . -. . . - - ... . . . .. . --1. Bhrttasali : IBBS, p. 34, P1. XI. 2. S6dhana No. 287 in tho SHdhanam~lH,p. 5b4
-

Faces- 'Three

EMANATIONS OF RATNqSAMBHAVA

239

the two principal hands. In the two remaining right hands he carries the red Vajra and t h e sword, and in the two remaining left hands he c In all other respects he is identical holds the emerald and ~ h lotus. with the forms described prc\.lously l . Images of Jambhala arc tound in Tibet "nd China '. Fig, 179 illustrates a Nepalese drawlllr: ot the deity in yab-yum. j

2. LKc:HUSMA JAMBHALA
Asana-~rat~~lidha Appearance-Terrible \ ' % I iana-Kuvera This Ucchusma Jambhala I S den tical in form u~ith the one already discussed under the emanaric\li> of Aksobhya. IHere aIso Ucchu,sma stands in the PratyBlidhii attltudr with his left leg stretched forward on the forehead of Kuverd \\ hlle the right tramples upon his two legs. He is terrlble t o behold, \vitL protruding belly, hare fangs and the c hulLibthe Kapiila full of blood against his snakes for oriwtnents. H three eyes The left chest In the right hand and loo1\s eagerly at it 1~1th hand as usual holds the molisc~rlae. Ucchusma Jambhala is r,~rcl\ represented and hts Images are not known except the one d t harnattilalrcady described under the emarlations of Aksobhya. 'Th~s uuiqile image shows all the characteristic ~ l the Siidhanas. Thc figure shows features of the god as o l ~ r d ~ nierom his consort VasudhSr3 111 tllc Icir, but the effigy of neither Aksohhya n o r Ratnasambhava can be scc.11o n hrs head. 1 It is AmitHhha who 1s there. Nevertheless, this i b thr nnl) hgure known t o students of iconography, as represeAting Ucchusrna ]ambl~ala. [Jamhhala in his fierce form of Ucchusma o r Dlmbha is not known either in Tibet o r in Chlnd. 1

11.

GODDESSES

Several Buddhist goddcshcs cmanate f r o m the DhyPnl Buddha liatnasambhava with the yellou c o l o u ~and the Varada mudrg as his recogL' c ~rC the * Katnakula or the collectton of nition symbol. He ~ T ~ S I w deities w ~ t h the jewel as their tdmlly symbol, and the yellow colour as their family colour. All d e l t l ~ swhich are not specifically mentioned as ernanatlolls of a particuidr -- , - -- ._.. _ I)h\iini'-~udci'ha-can- be-..assigned t-Q the -. --. ~ -m .,-_ n Buddha . i datnasambhdva, 6r;jiiXd?l;at they have y e l ~ d wcolour. On this the undrrnotrd Jeitiis are brought under Ratnasambhava, and described o n e ditcr another.

"

1.

SH~ KO. G 297 ~ in the Sidhandrn;li,'p.

-. ----

--

581

2. Getty : GNB, p. 159 3. Clark : TLP, IT, pp. 203 , (six-armed), P. 310

BUDDHIST ICONOGRAPHY

. , .

..

Colour-Golden

Yellow Faces-Fou r Arms-Eight

contained in t h e Vajratiirz According t o a definite statement Mapdala of the Nispannayog'ivali, the Dhy'ini Buddha Ratnasambhava is the spiritual sire of Vajratiir'i. She is four-faced and eight-armed and her description is as under : "Bhagavati Vajrat'irii suvarqavarpz . hem~hha-iubhra-nila-lohitam'ila-savya-paicimottra-caturvaktrz astabhuj'i savyair-vajrarh p'i&a& iaram Qankharh ca vibhrati viimaih pitotpalam ciipam ankuiarh tarjanim ca." NSP, p. 38 "Goddess VajratIr'a is of golden yellow colour.. She is four-faced. The principal face is golden in colour, the right is white, the one behind is blue and the left red. She has eight arms. In her four right hands she shows the Vajra, the noose, the arrow and the conch. In the four left she has the yellow night lotus, the bow, the goad, and the raised Tarjani." Vajratiirii is a popular deity in Buddhism and her images are found almost everywhere in India. She is popular also in Nepal. In the Chinese collection of statuettes a t Pelping an image of Vajrat'ir'i is found under the title of Astabhujii VajratZrii '. Here, at least one very peculiar image of Vajrat'rii may be noted. It is in the Indian Museum, Calcutta. The Indian Museum bronze of Vajratiir'a is in the form of a lotus, and represents the complete Mapdala with all the attendant deities s. It is so constructed that it can be opened and closed at will. The petals are eight in number, and each bears the image of an attendant deity. The Dhyiina describing her form and explsining this particular image is as under : in the SZdhanan~iilE Mztrmaqdalamadhyasthiim Eriidevirh vibhiivayet I Astabhuj'irh caturvaktriiri~ sarvZlahk'irabhEsitHm 11 Kanakavarpanibhiih bhavyzh kum'arilak~aqojjva1Pm I Paiicabuddhamukutifi vajrasiiryLbhisekaj'irh I1 NavayauvanallvaqyZ calatkanakakuqdalii I Vii~a~admasam~sTniif raktaprabhZvibhiisitHm i I1 Vajra-@a-tath'i-hankha-~accharod~atailaksi~~rh 1 Vajrlhkuiotpaladhanustarjani-v'amadhZri~i& I Vajraparyhkayogena s ~ d h a y e bhuvanatrayarh t I1 SHdhanamiiIH, p. 179
..---..-

'

I . NSP : p. 33 Vajratfirzyiib kule~oaRatnedah 2. Clark :TLP, 11, p. 210 3. See also Bhattasali : IBBS, ~ p 45f. . pl. XV, XVI, XVII.

EMANATIONS OF RATNASAMBHAVA

241

"The worshipper should conceive himself as VajratBrS, who is in the midst of the circle of the Eight Mothers, is eight-armed, four-faced, and decked in all ornaments. Her complexion is like the colour of gold, and she is graceful and resplendent with the auspicious marks of a v~rgin ; she bears the images of the five Dhyzni Buddhas on her crown, and is born of the water of consecration of the Vajra and the sun ; she is effulgent in her blooming youth, has swaying earrings, sits on the double lotus, and radiates red-hued light ; she carries in her right hands the Vajra, the noose, the conch and the swift arrow, and in the left the VajrBhkuQa,the Utpala, the bow and the Tarjani. Thus conceiving her as sltting in the Vnjraparyahka attitude ( the worshipper) may conquer the three worlds." The SEdhana further descr~besthe deit~es constituting the Maqdala. In the four cardinal points there should be four &oddecseson the four petals of the lotus on which Vajratiirg sits. 1. PuspatBrB (East) "Piirveqa PGspatErlm tu sitavarqiih manoramHrh I OIhkBr'iksaranispapq51-h pu~pad~makarHkuIBrii I Dv1bhujP15 eekvaktr85ca sarviil?Al\^araDhiis1t5ri1'' I1 "On the east 1s PuspatSrB, who I S white and winsome, 1s born of the of flowers, 1s two-armed, one-faced syllable 'Om', catries the and decktd in all ornaments.

2. DhEpatErE (South)
"Daksipe DhG~atgrZrh tu krsqavarqiirb surGp~nim 1 Dh~~aBEkh~karav~a sarvZlahk~rabhii~tt~Ih" ~r~ri7 I1 O n the south 1s DhGpatiirB. who is ot blue colour, attractive, carrles the Dhiipa ( ~ n c e n s eh)t ~ c kand is decked in all orname~its."

3. D'ipatEr~(West)
"Paicime Dipatgr~iica d i p ! asyikiirBkuli I Pltavar~iirhmahEhhLislrb calatkanakakun?alEm" yellow complexion, profusely otnamented and has
1 1
1s

On the west is Dipatiirii, who carries the torch in her hands,

ear-rings

of

swaying.

4. G a n d h a t ~ r l (North)
"Uttare Gandhatlr'arb tu gandha4ahkhakariik~~15rhI Raktavarganibhiifi devirh bhlvayet garbhamapdale" I1

On the north is GdndhatHr'i, whd carries in her hands the conch o f scents, and has red complexion 31

242

BUDDHIST ICONOGRAPHY
I

All these (goddesses) should be situated in the inner circle." further says that the following Guardians of the Gates The S~idhana should also be meditated upon as around the principal goddess, but apparently not in the same circle with the four described above.

5. Vajriihkuki (East)
"Piirvadviire Vajr'ahkuBirh ekavaktriim dvibhujzm vajriinkuiotpalahastlm vikrtavadaniim krsqavarq8h". "On the eastern gate there IS Vajrlhkuii who is one-faced and two-armed. She carries in her two hands the goad marked with a Vajra and the night lotus. She has a distorted face and is blue in colour." 6 . VajrapHii (South) "Ddksiqadviire Vajrapziik pitavarqiim vikrtiinaniim ekavaktrgm dvibhujBm ~ajra~lkahastiim". "On the southern gate there is Vajrapiiii of yellow colour. She has one distorted face. She carrles in her two hands the noose marked with a Vajrs".

7. Vajrasphofl (West)
"Paicimndv~re Vajrasphorim raktavarqlm ekavaktrHrh dvibhujsm vik~tavadan3ri-ivajrasphotahastiim". "On the western gate there is VajrasphoG of red colour. She has ont: distorted face. In her two hands she carries the chain marked w ~ t h a Vajra". 8. Vajraghag!ii (North) "UttaradvHre VajrdghaqrHm hvetavargiim ekavaktrzm dvibhujsm vikrtavadaniim vajraghantiihastiimJ'. "On the northern gate there is Vajraghagrg of white colour. She has one distorted face. In her two hands she carries the bell marked with a Vajra". 9. U$gisavijayii (Above) Goddess U&$avijayii occupies the upper regions,

10. Sumbh'l (Below) Goddess Sumbhii occupies the lower reigons. All these goddesses stand on the orb of the sun in the Alidha attitude with the right leg stretched forward. They are radiant like the Sungod and are surrounded with a fiery halo. They are decked in ornaments of snakes.

EMANATIONS OF RATNASAMBHAVA

243

These goddesses originate from the ten different letters of the E r e Tuttlre Ture SvHhE", consisting mantra of Vajrat'irii, which is "01% of ten syllables. Each syllable brings forth a goddess, and these goddesses are said t o be the embodiments of the ten P'iramitls of the Mahly'ina School. The following are some of the instances in which the mantra of Vajrat'irl might be applied with success. Let a knot be tied at the end of a cloth over which the mantra has been recited seven times, and its wearer can go even to the most inaccessible regions of the VinJhya mountains without being molested. Tigers, thieves, crocodiles, lions, snakes, elephants, buffaloes, bears, bulls and the like will flee o r even be destroyed, at the mere recital of the name of the goddess. If one hundred and eight lotuses are offered into the fire with this mantra, it will be enough t a subdue any woman horn of man. The feather of a crow over which this mantra has been recited thirty-two times, if kept concealezl within the house of an enemy, will destroy it mysteriously in the course of a week. There is n o need to multiply instances. It is enough to say that VajratlrH is sure t o bring success t o her worshipper in anything he may undertake, and that is the reason why she is so popular among the Vajrayznists. Fig. 180 illustrates the Indian Museum image of Vajratlrl enclosed within a lotus, surrounded by all the ten deities of the VajratgrP M a e dala. Fig. 181 is the Orissa image of VajratHr5 illustrated in N.N. Vasu's Mayurbhanj Archaeological Survey. Fig. 182 is the image of VajratPrP discovered at the Sarasvatisthan close t o the Svayambhu Temple in Nepal. Fig. 183 illustrates the Peiping statuette of Puspatlr3, one of the attendants of VajratErl.

Varieties-1.

Three-Faced, Tcn-Armed 2. Four-Faced, Eight-Armed

MahHprat~sarE is the principal goddess in the Pa5caraksg group, and her worship is widely prevalent amongst the THntric Buddhists. She is represented either singly o r in a Magdala in the company of four other Pa5caraksB deities. She is generally yellow when worshipped of the five independently, and white when worshipped in the M a ~ d a l a goddesses. She may be represented with four faces and eight arms, or with three faces and ten arms, in aicordance with the S'idhanas, but in actual representations she may have three faces and eight arms. The
1. See also Bhrttasali : IBBS, p. 61 and PI. XXIV

244

BUDDHIST ICONOGRAPHY

form with three faces and eight arms, is said 10 bear the image of Ratnasambhava on the crown, and the other yellow form may also be assigned t o this DhyBni Buddha. The SHdhana describes the former in the following terms : "Mahlpratisafi pita t r ~ m u k h ipratimukham trinayang d a k a b h u j ~ k~~q3sitaclaksi~etaravadanH daks1r;lapahcabhujesu yath8kramah khadgavajra-biir;la-varada-hydayaA~);~hastasthacchatr~qi tat1;I ~Brnapaiicabbujesu c~~a-dhvajn-ratnaccha~-~ara~u-~ahk11iih Ratnasaml.havamukuti kysqakaiTcukaraktottariyz ca ardhapar~ahka-lalitPk:sepB divygbharagavastrabhfisitii ceti." SBdhanamHlii, F. 4010402. "MnhiipratisarB has yellow complex~on,three faces, each with three eyes, and ten arms ; her right and left faces are of blue and white colour respectively. She carries in hcr five light hands the sword the Vajra, the arrow, the Varada mudrii and the parasol held against her chest, and her five left hands similarly hold the bow, the banner, the jewel, the Parabu and the conch. She bears the image of Ratnasambhava o n the crown, has a blue jacket and a red scarf, sits o n the Ardhaparyanka in the Lallta attitude, and wears celestial ornaments and garments". The form with four faces and eight arms is described under the five Rakaii deities. But there is another form which is worshipped independently, and which is almost identical with the preceeding one, except that here she is endowed with four faces and eight arms. The principal face is yellow, the right white, the left red, and the face behind blue. She carries in her four right hands the sword, the Cakra, the Trigtila and the arrow, and in the four left the ParaQu,the bow, the noose and the Vajra. Two photographs (Figs. 184, 185) represent this form of the goddess, and these tally with the Siidhana in all other respects except that they have only three faces instead of four. The goddess is popular in Tibet

'

and China

'.

Colour-Yellow Arms-Two

Face-One Symbol-Ears of Corn

Vasudhsrii is the consort of Jambhala and bears the image of either Aksobhya o r Ratnasambhava o n her crown. Several SHdhanas in the SBdhanamBlii describe her form which is invariably two-armed. As - --1. Gordon : ITL, p. 76
2. Clark : TLP, 11, pp, 289 (two-armed)

EMANATIONS OF RATNASAMBHAVA

295

none of the SHdhanas mentions the Asana, she may be repiesented in any attitude, standing or s i t t i n g . w h e is rich1 y decked in ornaments and is invariably accompanied by her attendants. Her complexion is always yellow, and she carries In her left hand the ears of corn wlth the vessel that showers gems, while the right hand exhibits the Varada mudrz. The short Sldhana describing her is as follows : Pita- am-k~ra~aripatlh dvibhujaikamukhih p i t ~ mnavayau~anTbharapavastravibhlisitlm dhlnyamai?jarinHn5ratnavar~arnPgaghafa\~Hmahastlrh d a k s l ~ e n a varadlrb anekasakhijana-pariv~t~h vi8vapadmacarld~'isanasthl& Ratnasambhavamuhu~ini h... nispHdya". Siidhanamllii, p. 422-3. "The worshipper should cc;nceive himself as ( V a s u d l ~ l r l ) who origlnates from the yellow germ syllable 'Vam'. She 1s two-armed, onefaced, of yellow complexion, is in the prime ot ~ o u t h and is decked in all sorts of ornaments and garments. She carries in her left hand the ears of corn on a vessel showering gems, while the right exhibits the Varada mudrs. ) She is surrounded by many lady friends, rests on the moon over the double lotus, and bears the image oi Katnasambhava on the crown...". Images of VasudhPrZ are not generally met w ~ t hin sculpture. She accompanies Ucchusma in the unique Sarnath image already rrftrre d to. The other image from Sarnath is mutilated beyond recognltlon. In both cases, however, she 1s represented standmg.) Fig. 186 illustrates a Nepalese drawing of the goddess. \~asudhHrHis sometimes represented as one-faced and six-armed, and as sitting in the Lalita attirude. In the three right hands she exh~bits the NamaskZra m u d d , the Varada mudrii and the ears of corn. The first left hand has the book, the second the ears of corn, and the third on the lap carries the vessel containing jewels. Her hair rises upwards in the shape of a flame, she is beautifully decked in ornaments and her expression is truly peaceful. I Fig. 187 represents this variety of the goddess and is a fine specimen of Newari art. Fig. 188 illustrates a beautiful bronze image of Vasudhiirl in the Baroda museum. Images of VasudhHrl are found in Tibet ' but not in China.

6.

APARAJITA

Colour-Yellow Identification Mark-Trampling upon GapeSa Mudr'a-Capeyadlna (Slapping) The name of AparHjitP occurs in the Dhylna for Agabhuj'. Kurukullii already quoted and translated. There she is said t o bear the
Gordon : ITL, p. 72 ; Getty : GNB, p. 13 1.

246

BUDDHIST ICONOGRAPHY

image of Ratnasambhava o n her crown, and t o carry in her four hands the staff, the goad, the bell and the noose.

1 Apariijitz is an interesting Buddhist goddess. She tramples upon GaqeSa, and one of her hands is raised in the attitude of dealing a slap, while her parasol, according t o the Siidhana, is held by important I-Iindu gods. A very short S'adhana is devoted t o her worship, and the DhyBna contained in the Siidhana descr~bes the form of Apariijit'i thus : "AparHjitii p j t ~ dvibhujaikamukhi n ~ n ~ r a t n o p a k o b h iGaqapatisat~ mPkrPntB capetadHniibhinayadaksiqakarB,g~hitap~datarjanikah$a~asthitaviimabhujz atibhayahkarakarHlaraudramukhT akesamiiranirdalan'i Brahmfididu~~araudradevatiiparikarocchritacchatr ceti." SBdhanamBlH, p. 403. "AparBjrtH is yellow In complexion, two-armed, one-faced, is decked in various gems, and tramples upon Gaqcka. Her right hand is raised, displaying the act of dealing a slap, while the left carries the noose round the raised index finger against her chest. Her face is awful, terrible and ferocious. She is the destroyer of all wicked beings, and her parasol is raised over her head by the host of wicked and ferocious gods, BrahmB and others".
In the SHdhana one epithet of the goddess deserves special notice. It is Sanapatisami2k~Bntii " W h o tramples upon Gaqapati". The root 'krah' t o 'trample'. On word 'EkrHnta' is derived from the orig~nal the strength of this eplthet of the goddess the Nzlandii fragment (Fig. 189) showing only the lower half of the full image is identified with that of Apar'ijit'i. In it, the figure t o the right of the principal goddess a p p y s t o he Indra and the rod held by him seems t o he the handle of t h e parasol required t o be held over h t r head by the gods beginning with BrahmB. The upper part of the NHlandB image is unfortunately IQS:., Had it been complete, it would have been possible t o find the Capetad'ina mudrg in the right hand of the goddess and the noose with the raised index finger in The left, and a parasol over her head in continuation of the broken handle. This identification was confirmed when subsequently the Indian Museum image (Fig. 193) was discovered. This image is only slightly mutilated but is complete, and resembles the NBland'i fragment in the lower portion, while the whole image follows with precision, the directions given i n the SBdhana quoted above. This new discovery leaves n o room for doubt regarding the identification.
-

- . .- 1, Clark : TL.P, 1 1 , pp. 208, 290.

?-

ApnrZjit'i is known in China

--- . .
.-

--

'. \

-----

EMANATIONS OF RATNASAMBHAVA

7. VAJRAYOGIN~ (I) HEADLESS FORM

Colour-Yellow Asana- Alidha Companions-Two Arms-Two Symbols-Kartri and severed head Vajrayogini is another of the important and popular goddesses who does not seem t o bear the image of any of the Dhylni Buddhas o n the crown. Four Sldhanas describe her forms, which are three in number and conform t o two distinct types, very d~fferentform each other. In one case, she has n o head o n her shoulder, hut carries it in her hand, and in another, she has her head intact. The former form is identical in appearance with the Hindu goddess Cchinnamastz belongtng t o the group of ten Mahiividyls. It is therefore posslble to concldde that this Buddhist goddess was borrowed and incorporated wholly Into their pantheon by the Hindus. She 1s always accompanied by t h e two Yoginis o n either side of her, who are called Vajrava~rocani and VajraSldhana describing her headless form is as follows : The vargani.
ta-svamastaka-viimahastasthitiih

"BhaytHrikZri~VajraYoglnTrh...pi:avar~iirh svayameva svakartrl-kartidaksigahastakartrisahitiirh, iirdhvavistrtaviimabilhurh, adhonamitadaksignbzhum, v ~ s a h 6 i i n ~ % h praszritadak, s1papiidZ1-h sankucitaviimapgdiirh, bhiivayet. KavandhiinnihsytyWkdhPrii svamukhe pravi6ati, apare ubhayoh p ~ r 6 v a ~ o ~ 1 n ~ o r - m u pravikati khe iti bhzvayet. V~rnadaksigap~r6vayoh 6yzmavarr;la-Vajravarqani-pit'dvarqa-\7ajravairocanyau vlmadaksi~ahastakartrisahite, daky~aviimahastakarpparae sahite, pras~ritaviimap~daprasPritadaksipapHJesahkucitetarapzde muktakekyau bhiivayet Ubhayoh parkvayoh, ubhayor-yoginyor.madhye antarikse atibhayiikularh Qma6~narh bhzvayet." SZdhanamiilH, p. 452-453. "The worshipper should conceive himself as BhattiirikB Vajrayogini

...o f yellow colour, who carries in her left hand her own head severed
by herself with her own Kartri held in her right hand. Her left hand is raised upwards while the right is placed below. She is nude, and her right leg is stretched while the left is bent down. He (the worshipper) should also meditate o n the streams of blood issuing from the severed body as falling into the mouth of the severed head a a d into the mouths of the two Yoginis o n either side of her. He (the worshipper) should also conceive the two Yoginis t o the left and right (of the principal god ess), the green Vajravargani and the yellow Vajravairocani, both of whom carry the Kartri in their left and

248

BUDDHlST ICONOGRAPHY

right hands respectively, and the cup made of a skull in the right and left hands respectively. Their left and right legs respectively are stretched forward, while the other legs are bent, and they have dishevelled hair. O n all sides, tetween the two Yoginis and in the firmament there is the awful cremation ground". (11) RED FORM Colour-Red V'ihana- Corpse Symbols-l'ajra and KapZla Asana-Alidha T h e Red form is n o less terrible than the one described above. She is surrounded o n all sides by the terrible burning grounds. She stands In the Alidha attitude, on the o r b of the sun, is in the prime of youth, and has red complexion. She rides the corpse, is nude, has three eyes. red 2nd round, contorted brows, protruding belly and tongue, and is endowed with the six auspicious s j mhols. She carries the left hand and the Vajra in the right, while the Khatthe Kap'ila i r ~ vBhga hangs from her left shoulder. This form of Vajrayogini is similar in many respects t o the forms of both Nair'itmB and Vajrav'ir'ihi, s o much so, indeed, that a confusion IS likely t o arise in the identification of their images. If an image shows the dancing attitude in Ardhaparyarika, it may he identified as Nairztms or VajraviirZhi, but if it shows the Al'idha attitude, it may have t o be identified as Vajrayoginis The excrescence near the right ear a r ~ d the corpse lying o n its chest is peculiar only t o Vajravgr'ihi ; while the absence of the excrescence and the corpse lying on its back point t o NalrHtmB. T h e Alidha attitude IS peculiar only t o Vajrayogin'l. (111) YELLOW FORM Colour-Yellow Arms-Two Symbols-Kartri and Kapgla She may :11so have a Yellow form, when according t o the S'idhana, she will carry the Kartri a r d the KapBla, but in other respects will be identical wrth the o n e just described Another SHdhana adds the information that the KapHla should be filled u-it11the blood of the Devas (gods) and the Asuras (demons) and that t h e hand carrying the Kartri may show the Tarjani also Vajrayogini is one of the consorts of Heruka, who remains with her in yab-yum, and their union is the subject of the celebrated HerukaTantra. T h e temple of Vajrayogin'i at SZhku (Fig. 191) In Nepal does not contain an image of any of these varieties of Vajrayogini. It contains the image of UgratHiP, more popularly known as MahHcina-TB~z, which is believed to have been carried over there by Bengali priests

EMANATIONS OF RATNASAMBHAVA

219

from a place of the same name in the District of Dacca, about A. D. 1350, when the Muhammadans led their victorious armles over Eastern Bengal. Images of Vajrayogini are found in Tibet

'.

8.

PRASANNATARA

Colour-Yellow Faces-Eigh t Arms - Sixteen Prasannatiirg is mentioned twice in the SiidhanamPlI, once as a companion of AstabhujI KurukullP and once again as a principal deity in the SPdhana. As a companion of KurukullI she is red, but her indepen. dent form shows the vellow colour. Thus in the absence of more definite information, she has t o be assigned to the fam~ly of the Dhy Pni Buddha Ratnasambhava o t yellow colour. The Szdhana devoted to her independent foim gives her the epithets of Amrtamukhi and Ampalocan5 and there is n o doubt that except for the face o n the top all her seven faces are represented as having charmingly sweet expression. But she is not benign and peaceful. She is fearful like VidyujjvSlPkariili, a form of Ekajatz. The DhyPna describes her form in the following terms :

~rdhva~ihgalakeiiiri7 ~Hrdraiat~rdhamupdamII~krtah~r~h. PratyZlIdhapadopetSm jagattraqiim rnahiibaliiri~ I Vicitravastranepathysm hasantim naval auvanEh I I Pradhlnamukham pitam daksiqam dvitiyam nilam, tytiyam kyiimam caturtham gaganaiYj.mafi, vHme kundasannibhari~,dvitiyam raktafi, tFtiyam gaganasyiimak iirdhv'isyam ddhiimravarqPbham mahgghorarh viliafotkafarh ; daksipa-karesu khadga-utpala-bara:va3ra-ahkuia-dapdaekartriabhayadhariim ; vlmabhujesu sap~iararjani-kap~la-dhanuh.l,hatviingavajrapda-Brahmabirah-ratnakaladharari ; vi~vapaJmacandrasthiim siiryyaprabh~vibhiisitiih : vZmapiidena Indram, daksipapiidena Upend r a h , pi?idadvayamadhye Rudram BrahmHqah cZkramya sth~tiim, sarvl~ara~avin~6ani bhlvayet. I.h PrasannatHrB-SId h a n a m SiidhanamZlH, p. 241. "The worshipper should conceive himself as (Prasannatiirii) who is of golden complexion, of terrible appearance, bestows prosperity, is three-eyed, eight-faced and sixteen-armed. Her brown hair rises upwards and her necklace is made of half-a-hundred heads wet wirh
--

. -

1. Gordon : TLP, p. 81.

32

250

BUDDHIST ICONOGRAPHY

blood. She emancipates the universe and is terrible to behold. She stands in the Praty'alidha attitude, has smiling faces, is in the fulness of youth and her garments are of variegated colour. Her first face is yellow, the second t o the right is blue, the third green, and the fourth blue like the sky ; the face t o the left is white like the Kunda flower, the second red, and the third blue like the sky ; the face on the top is of the colour of smoke, terrible in appearance, distorted and disfigured. In her eight right hands are : 1. the KharvEhga, 2. the Uptala, 3. the arrow, 4. thevajra, 5. theAnkuba, 6. the staff, 7. the Kartri and 8. the Abhaya pose ; and in the left 1. the noose with the Tarjani, 2. the Kap'ila, 3. the bow, 4. the Khafv'afiga, 5 . the Vajra, 6 . the noose, 7. the head of BrahmE, and 8. the vessel of gems. She stands on the moon over the double lotus, is radiant with the glow of the sun, tramples under her left foot Indra, under the right Upendra, and presses Rudra and Brahm'i between the two, and destroys the veils of ignorance".

Fig. 192 illustrates a Nepalese drawing of the goddess which tallies with the S'idhana in major details.

CHAPTER
COLLECTIVE DEITIES It has been pointed o u t earlier that the Buddhists, in the medieval age started an unrelenting process of deification by turning all objects, cosmic principles, literature, letters of the alphabet, the directions and even the desires into gods and goddesses, with forms, colour, poses of sitting, and weapons. In this manner the ten directions, eight kinds of head-dress, the different kinds o f protection, the dances, musical instruments, components of the door, four kinds of light, important animals, and various other things were all deified with form, colour and weapons. In this chapter these collective deities will be briefly described.

I. TEN GODS OF DIRECTION

The process of deification was applied in VajrayHna t o the four East and West, and the four intermecardinal directions, North, South,diate corners, such as VZyu, Agni, ~ & n a and Nairytn. With the t o p h d the bottom the quarters numbered ten, and thus the Buddhist Tantras added ten gods of the quarters to the already numerous gods in their pantheon. The deities of the ten quarters are not, however, the monopoly of the Buddhists, and it is believed that the Buddhists were indebted t o the Hindus for the deification of the quarters. Amongst the H ~ n d u sthe eight Dikpslas are commonly found in the PurZvas and TZntric works. The Dikpllas are supposed t o guard the ten quarters, and are said t o be the presiding deities of these directions, o r in other words, they are regarded as the embodiments of these quarters in the form of deities. The Buddhists improved upon the original ideas of the Hindus and showed in an artistic style their origln in an Assembly of the Faithful where' the Highest Lord sits in difffrent SamHdhis (meditations), and the ra;s issuing o u t of his body =&dense themselves first into syllables which give rise t o the different Guardians of the Gates This process of deification is described in the first chapter of the GuhyasamPja a resume of which is already given in this book in the very first chapter. These deities of the ten quarters are frequently mentioned in the Szdhanas. In the Maqdalas of the Ni?pannayog~valithey are invariably

252

BUDDHIST ICONOGRAPHY

present and their places are accurately stated. They are always collectively mentioned in the Mapdalas o r Circles of deities where the directions play an important part. Their chief function is t o remove all sorts of obstacles for the protection of Dharma. The ten deities of the quarters are described differently in the different M a ~ d a l a sin the Nispannayog~vali,and they are sometimes represented along with their Saktis often in close embrace. They are often violent in appearance, and although it is not possible here to deal with all their forms, it is not reaqonable to omit a reference to them in the present state of our knowledge of the Buddhist pantheon. T h e ten deities are, therefore, described here one after another in their recognized order, with the relevant passages from the Nispannayogiivali describing their f o r m

Colour-Blue Faces -Three

Arms-SIX Direction--East

Yarn~ntaka presides over the East and 1s one of the popular deities of the Buddhist pantheon H t is also known as Yam'ari who is often endowed with two forms known as Krsga-YamHri and Rakta-YamPri. Some of his forms and Ssdhanas have alredy been dealt with in an earlier chapter. Independant Tantras are also ascribed to his worship. As a guardian of the Eastern quarter Yamgntaka is described in the MaEjuvajra Magdala of the Nispannayog'avali, along with his nine other colleagues. He is described there as : "Tatra piirvasygm HrByBxh Yam'antakah kysqah kppasitaraktamukhah kysgavajramudgara-khadjia-magi-kamaladh'ayi". NSP, p. 1 "On the Eastern spoke of the wheel there is Yamzntaka of blue colour. His three faces have blue, white and red colour. He holds in his four hands the hammer marked with the blue Vajra, the sword, the jewel and the lotus."
0

Yam'intaka is sixearmed like all other Krodha deities of the quarters. All the Krodha deities including YamIntaka embrace their Saktis with their two principal hands. In the Vajrahiihk'ira Magdala his second name is given as Vajradapda. His images are found i n China ' as also in Tibet a.
-- ----.1. Clark : TLP, 11, pp. 52, 73 2. Gordon : ITL, p. 90 ; Getty : ONB, p. l6S

- - --

COLLECTIVE DEITIES

Clour-- White Arms-Six

Faces-Three Direction- South

The second deity in the series is PrajSntaka who presides over the Southern direction. He is described in the same Mandala as : "DaksiqasyHh PrajEHntakah sitah [sita] k~sqaraktamukho VajrZAkitasitadaqd~simaqipadmadhHri." NSP, p. 2 "In the South, there is Prajiisntaka, who is white in colour having three faces of white, blue and red colour, In his four hands he shows the white staff marked with a Vajra, the sword, the jewel and the lotus." The two other hands hold the Sakti. In the VairahiiitkHra Mandala his second name is given as Vajraku~dali. His images are found in China '. 3. PADMANTAKA Colour-Red Faces-Three Arms-Six Direction-West The third Lord of the quarters is PaJmHntaka who is described in the Nispannayog5vali with the following words : " P a ~ c i r n ~ ~Padmzntako ~rb raktah raktanilasit~s~o raktapadmzsimaqicakradh~ri" NSP, p. 2 "Padmgntaka is in the West and 1s red in colour with three faces of red, blue and white colour. He holds the red lotus, the sword, the jewel and the discus." The two principal hands hold the ~ a k t iin embrace. In the Vajrahiihklra Maqdala he is known by the name of Vajro~qisa. His images are found in China Y .

4.

VIGHNANTAKA
Faces-Three Direction--North

Colour-Green Arms-Six

The fourth deity in the series is VighnZntaka who is already wellknown and an account of whom appears in an earliar chapter of this book. Vighniintaka as the lord of the North appears in the Nispannayog ~ v a las i follows : "Uttarasy'irh Vighn'intako haritah haritasitaraktamukhah kar'ilavajNSP,p. 2 r'asima~ipaJmadh~ri." - .-- - - .
1. Clark :TLP, 11, p. 59 2. For his statuette in China as Vajrogpipa, ace Clark : TLP, 11, pp. 65,49.

254

BUDDHIST ICONOORAPHY

"Vighniintaka is in the North and is green in colodr. His three faces show green, white and red colour. He holds the fearful Vajra, the sword, the jewel and the lotus." The principal hands embrace the Sakti as usual. In the VajrahiinkC ra Magdala his second name is Analiirka. His images are found in China l . 5. TAKKIRAJA Colour-Blue Faces-Three Arms-Six Direction- Agni
I

Takkiriija as the guardian of the Agni corner is very frequently refeired to in the Nispannayogiivali. He is described as : "Agnepyiirh Takkiriijo nilah nilasitarakt~syoniladagdakhadgamapyabjadhiiri." NSP, p. 2 "Takkirzja is in the Agni corner and is blue in colour. His three faces are blue, white and red. He holds the blue staff, the sword, the jewel and the lotus." T h e two principal hands hold the Sakti as usual. In the Vajrahcfikgra Magdala his name is Vajrayaksa. In the Dharmadh'ituvagi6vara Maqdala he is VajrajvBlBnal'irka. His images are found in China 2.

6. N~LADANDA. .
Colour-Blue Arms-Six Faces-Th tee Direction-Nairyta

The sixth deity in the series is Niladapda who is the presiding deity of the Nairrta corner. His form is described as : "Nairrtyiim Niladaqdah kysqah kysqasitaraktiisyo niladal?dakhadga. magyabjadhiiri." NSP, p. 2. "In the Nairrta corner appears Nilada?da who is of blue colour having three faces of blue, white and red colour. He holds the blue staff,the sword, the jewel and the lotus." The two principal hands hold the Sakti. In the VajrahiihkHra Magdala his name is VajrakHla. But in the Dharmadhiituv~gi6vara Magdala his name is Herukavajra. His images are found in China 8. 1. Clark : TLP, 11, pp. 217,311 2. Clark :TLP, 11, p. 303 (as Takkir~ja) pp. 66, 145, 269 (as Vajrayaksi).
3. Clark :TLP, 11, p. 49 (8s ~ " I a d a ~ 4 a ) and ; p 75 (as ~ a j r a k i l a ) ,

COLLECTIVE DEITlES

Colour-Blue Arms-Six

Faces-Three Direction-VHyu

The seventh deity in the series is MahIbala, who is the presiding deity of the intermediate corner of VHyu. His form is described in the NispannayogHvali in the following words : "VByavyHrh Mahgbalah krsgah k~~gasitaraktamukhah tri~iiliisimagikamaladh~ri." NSP, p. 2 "In the VHyu corner appears Mahiibala of blue colour with three faces of blue, white and red colour. He holds the Tribula, the sword, the jewel and the lotus." As usual, with the principal hands he holds the Sakti. In the VajrahEhkPra Mahdala he is given the name of MahHkgla. But Ma~dala he is known as Paramgbva. His in the Dharrnadh~tuv'i~ibvara images are found in China '.

8. ACALA
Colour-Blue Arms-Six Faces-Three ~irection-TbHna

Acala is the eighth deity in the series, and is regarded as the presiding deity of the IQHna corner. His form is several times described in the Nigpannayog~vali. It is probable that this deity is the same as Acala who is known as Candarosaga and is described already in an earlier chapter. The description of his form is given below
:

"AibHny~xb Acalo nilakekarah nilasitaraktf syah khadgavajramaqipadmadh5ri." NSP, p. 2

"In the k n a corner there is Acala with blue complexion. His three faces are blue, white and red. He holds the sword, the Vajra, the jewel and the lotus." In the two principal hands he holds the 6akti in embrace. In the Vajrahghk'ara Mapdala he is given the name of Vajrabhi~aga, but in the Dharmadh'ituv'igiSvara Maqdala his name is Trailokyavij,aya. H i s 'images are found in China 2.
.
*

1. Clark : TLP, 11, pp. 49, 217 (aMahibala) p. 75 (aa Mahlkalavajra) 2. Clark : TLP, 11, p. 116 (as Trailokyavijaya)

BUDDHIST ICONOGRAPHY

Colour-Yellow Arms-Six

9. USN~SA .
6 .

Faces-Three Direction-Up

The ninth deity in this series is Usqlsa who is also known as Usgisacakravart;, and presides over the sky above. His form is described'thus in the Nispannayog5val'l : ''Ordhve Usprsacakarvarti pitah pitanilatakt^asyah pjtacakrakhadgarna?ipadmadhiiri." NSP, p. 2 "In the upper region there is Usgisacakravarti of yellow colour. His three faces are yellow, blue and red. He holds the yellow discus, the sword, the jewel and the lotus." His two principal hands hold the Sakti as usual. found in China ' . His images are

lo. SUMBHARAJA Colour-Blue Faces-Three arm^-SIX Direction-Down

T h e tenth deity in this series, is SumbharSja who is the embodiment HIS form is descrited in the MaEjuvajramandala as follows :
of the Nether regions.

"Adhah Sumbhariijo nilah nilasitaraktHsyo vajrakhadgamagikamalabhyt." NSP, p. 2 "Below is SumbharHja who is blue in colour. His three faces are s hands the Vajra, the sword, blue, white an3 red. He holds in h ~ four thc jewel and the lotus." With the two principal hands he holds the Sakti in embrace. In the VajrahiinkHra Mandala he is known by the name of VajrapHt5la. He is riot represented rn the Chinese collection.

11. SIX GODDESSES O F DIRECTION

C

Just as there are ten gods of the quarters for all the Mandalas of - . principal gods, even so there are six goddesses presiding over the six quarters, with different names and different weapons in their hands, An account of these goddesses is not only interesting but also very important for the purpose of identifying deities of the Buddhist pantheon. Their names and weapons are recorded in the Mandala of Vajrat s r l in the Nispannayoglvali (p. 38) as also in the VajratErHsiidhanafi (p'. 185)in the S5dhanamHlZ. If PuspH, DhGp'a, dip^ and Gandhii are added, the number will be ten for the directions.
.~ -. .
~

- --

.-

- --

.-- - -.

-- -

1.

Clark :TLP,11, p. 76

(Vikrampur, Dacca)

33

Fig. 105 Lokaniitha (Ma hobu)

Fig. 104 Khasarpaqa (Indian Muvetim)

Fig. 106 Lokanstha (Baroda Museum)

Fig. 107 Lokangtha

(Sarnath)

Fig. 129 Haygriva ( Peiping)

Fig. 130 Ucchusma-Jambhala

(Samath)

Fig. 131 VighnPntaka (Batoda Museum)

Fig. 118 Nsiri?itmH

(Ittd~anMuseum)

Pig. 152 A s ~ a b h u j aM~irici (Indian A4 r~seurn )

Fig. 156 us<&avijay~ (Indian Museum)

iz

nil

2 $8

Icd a

2G 0
0 % .-

; f

-a E C 3 3 %

Icd

2
ti!

u=r
2

ss

Fig. 166 K h a d i r a v a ~ TBrZ i

(Muhobu)

'5 5
.5
Cd

'E

C L 2

a,' X I .

.- .

Fig. 173 Par?aSabari (Vajrayogini,Vikrampur)

Fig. 177 Jambhala (Vikrampur, Dacca)

Fig. 184 Mah~pratisarH

Fig. 185 Mahzpratisarl

(Dacca Sahitya Pari~at)

(Dacca Musetim)

Fig. 186 Vasudhiirii (Ne~alese Drawing)

I."

u cd

COLLECTIVE DEITIES

Colour-'W Arms-Two

hite

Face-One Direction-East

Sy mbol-Goad
The first goddess in the serles is Vajriihkuhi who is the presiding deity of the Eastern direction. Her form is as follows : "PCrvadviire VajrfihkuSi ( Q u k l ~ kukl~nku~Hhkasav~aklrrS". ) NSP, p. 38. "On the Eastern gate is Vajrfihku& white in colour holding in her right hand the white Goad". T h e left hand shows like the rest the ra~sedindex finger. H t r images are found in China ' 2. V A J R A P A $ ~

Colour-Y ellow Arms-Two

Sym bol-Noose

Face - One Direction-South

The second goddess in the series is Vajrapiihi who is the p ~ c s i d i n ~ : deity of the Southern quarter. Her form is as follou~s "Daksiqe VajrapSSi pit5 p ~ A a b h r t - s a v ~ a p ~ g i p a l l a v ~ " . NSP, p. 38.

"In the South 1s Vajrapiibi, yellow in colour holding hand the Noose".

it,

the right

She shows the raised index finger in the left hand. Her image is found In China '. One of the Chinese statuettes is illustrated In Fig. 193. 3. VAJRASPHOTA Colour-Red Arms-Two Face-One Direction-West

The third goddess In the series is Vajrasphotg as the presiding deity of the Western direction. Her form is given as under : "PaScime Vajrasphotii raktz vajrasphotiirika~av~akarii" NSP, p. 38.
.
..

-. -

. . . . -.

. -

.-

-.

. ..

--- - -

1. Clark : TLP, 1 1 . p. 64 2. Clark : 'TLP, 11, p. 64

38

298

BUDDHIST ICONOORAPHY

"In the West, there is Vajrasphor'i, red in colour, holding in her right hand the Chain marked with a Vajra". The left hand as usual displays the raised index finger. There are statuettes of this deity in China '. One of the Chinese statuettes is illustrated in Fig. 194.

Colour-Green Arms-Two Sym bol-Bell

Face- One Direction-North

who is the embodiment The fourth deity in the series is Vajraghaqt~, of the Northern direction and is described as follows : "Uttare Vajraghaqtz iyiirn'i vajraghaq~Ihkadaksiqabhuj5". NSP, p. 38 "In the North there is Vajraghaq~B, green in colour, holding in her right hand the Bell". The left hand of the goddess displays as usual the ralsed index finger. A statuette of this goddess occurs m the Chinese collection '.

Colour- White Arms--Two

Face-One Direction-Up

The fifth goddess in the series is Uspisavijay'. who is the presiding deity of the Upper region. Her form is described thus : "Grddhve Usgisavijayii h k l 5 cakrabh~tsavyabhujii".

NSP, p. 38
"In the upper region there is goddess Usgisavijay~i,white in colour, holding the Discus in her right handJJ. The left hand of the goddess displays as usual the raised index finger.

A statuette of this deity occurs in China

I. Clerk : TLP, 11, pp. 64, 163. 2. Clark : TLP, 11, p. 286. 3. Clark : TLP, I1 p. 65.

S.

COLLECTIVE DEITIES

Colour-Blue Arms-Two S ymbol-Noose

Face-One Direction-Down of Snake

The sixth and the last goddess in the series is SumbhZ who is the presiding deity of the Nether region. Her form 1s described as under : "Adhah SumbhZ nil5 savyena nTigapii$adharZ"

NSY, p. 38
"Below is Sumhhg blue in colour, holding In her left hand the Nocse made of a snake". the raised Index finger. She IS not Her left hand as usual d~splays represented in the Chinese collection. 111. EIGHT U S GODS .N .~ .S A In Vajrayzna there is a class of gods going under the generic name of Usqisas. T h e word U+pisa means 'the crown' hut the delties have nothing t o d o with the crown. They are usually placed like the gods of Direction, in the four principal directions and the four intermediate corners. These eight U+qi+agods seem t o be an estenslon of the four Dhygni Buddhas, and they show their characteristic symbols and mudriis. They are nevertheless popular in Tsntric works, and their statues are found in China. Hence it 1s necessary t o make a passing refer~nce t o these Usqi+a gods Pr~efly,for wlthout an account of these this chapter is likely t o be incomplete. Below is given a description of these special deities in the same order as they appear In the Durpatiparihodhana Maqdala of the NlspannayogZvali. The LTkni+a deities like all other deities of the Maqdala are two-armed and one-faced. They wear rich dress and ornaments, and a bejewelled crown. Tiley sit o n human beings.

Colour-White Sym bol-Bhiisparia Direction-East The first deity I n this U+qisa series of gods is Vajrosqisa and his form is described thus : "PtirvHte Vajrosqi+ah Suklo Bh'lsparSamudrah". NSP, p. 66

300

BUDDHIST ICONOGRAPHY

"On the Eastern spoke there is VajrosgIsa of white colour. He shows the Bhtispar6a (Earth-touching) mudrl". A statue of this god is found in the Chinese collection '. Fig. 195 illustrates this Chinese statuette.

Colour- Blue Symbol-Varada Direction-South The second deity in the Usqisa series of gods is Ratnosgisa arid his form is described as under : "DaksigHre Ratnos~;liso 610 Varadamudrayitnvitah". LSP, p. 66. "On the Southern spoke there I S Ratnosqisa who is blue in colour and shows the Varada mudrz". His statuette IS not found in the Chinese collection.

Symbol-Dhyzna Colour-Red Direction-West The third deity in the series of eight tJsgisa gods is called Padmo&$?a and his form is described as under : " P a Q c i m ~ rPadmosqIso e rakto D h y i i n a m ~ d r a ~ ~ n v i t a h " NSP, p. 66 "On the Western spoke there is Padmosqisa who is red in colour and shows the Dhygna mudrl". He is not represented in the Chinese collection.

Colour-Green Symbol-Abhaya Direction-North T h e fourth deity in the series of eight Usqisa gods is called ViSvos9I$a and his form is descrrbed as under : "Uttar'are Viivosgiso harito Abhayapradah" NSP, p. 66. . --- - - . -- -

1. Clark : TLP, 11, p. 65

COLLECTIVE DEITIES

"On the Northern spoke there is Vi&vos$sa who is green in colour and shows the Abhaya rnudrii". He is not represented in the Chinese collection.

5. TEJOSNISA .. .
Colour -Whitish red Direction-Agni Sy mbol-Sun

The fifth deity in the series of the eight U s ~ i s a gods is called Tejos$,lilsa, and his form is described as under : .'AgneyZre Tejosgisah sicaraktamiSravarqdh sGtyabhyddaksigapH~ih ka~isthav'amakarah". NSP, p. 66 "On the spoke in the Agni corner there is Tejos~isaof whitish red colour. In his right hand he holds the disc of the sun while the left rests on the hip". A statuette of his is found in the Ch~nese collection under the title of T e j o r ~ i ~ u s g i s '. a Colour-Reddish blue
Sym bol--CintErnaqi Banner

The sixth deity in the series of eight Usnisa gods 1s called Dhvajosgi?a, and his form is described in the following words : "NairytyPre Dhvajosqiso raktamikrakys~ah Cintiima~idhvajadharah kar8hhyHA" NSP, p. 66 "On the spoke in the Nair~ta corner there 1s Dhvajos~isawho is reddish blue in colour. He holds in his two hands the CintHmaqi banner" He is not represented in the Chinese collection.

7. T~KSNOSN~SA . .. .
Colour-Sky-green Symbol-Sword and Book Direction - VZiyu The seventh deity in the series of eight Usgisa gods is called Tiksno.. $$$a, and his form is described in the following words : "VHyavyZre Tiksgospi$o nabhahQyiimodaksiqapzqinii kyp~gam vibhrBgo vHmena pustakam." NSP, p. 66 -.--- -.--.--1. Clark : TLP, XI, p. 158

--

302

BUDDHIST ICONOGRAPHY

"On the spoke in the Vsyu corner there is Tikgqogqita of sky-green colour. H e holds in the right hand the sword and in the left hand a manuscript."
His statuette is found in the Chinese collection
l.

Colour-White

Direction-IQgna

- Symbol--Parasol

T h e eighth and the last deity in the series of eight Usgisa gods is called Chhatros~&a, and his form is described thus : "fS5n5re Chhatrospiso Qubhrobhujiibhyzrh chhatrarh vibhrggah.

NSP, p. 66
"On the spoke in the k i n a corner there is Chhatros~;lisa who is of white colour, and holds in hls two hands the Chhatra (parasol). He is not represented In the C h ~ n e s e collection. IV. FIVE PROTECTRESSES T h e five p r o t e c t r e s s e s e . Rak@ deities as they are called in TPntric works, are popular and well-known amongst the MahiiyBna Buddhists, particularly- of Nepal. A manuscript copy of the PaEcaraksii describing the five Rak+l de~tles,their worship o n different occar is t o be found in almost every Buddhist housesions and t h e ~ powers, hold in Nepal. Such manuscripts are often very artistically written and they bear miniature pictures of not only the five RaksB deities but also of other Buddhist deities such as the DhyPni Buddhas and their Saktis. That their worship was much In vogue is evident from the fact that their images either in stone o r in metal are met with in almost all monasteries. The miniatures reproduced here are from a manuscript of Paiicaraksii in the possession of Dr. Evans Wentz. The reason why the five Raksii deities are popular is t o be found in the SHdhanamHlZ According t o this authority the five Raksii deities, when worshipped, grant long life. They protect kingdoms, villages and meadows. They protect men from evil spirits, diseases and famines, and from all possible dangers that may befall manklnd. The PaiTcaraksP is recited in all variet~es of domestic difficulties, such as, illnesses, adversities, loss of wealth, cattle, etc. All the five deities are worshipped either singly o r collectively in a Magdala. A description of the PaEcarakgii M a ~ d a l aoccurs both in the SPdhanamHlH and the Nigpannayog~vali. In both MahHpratisarii

-- - - - - .

-..

1. Clark : TLP, 11, p. 131

COLLECTIVE DEITIES

303

is the central o r the principal deity while the four others occupy the four cardinal directions. Below is given a description of the five Raksl deities as it appears in the Nispannayoglvali.

Colour-Yellow

Faces-Four

Arms-Twelve Symbol-Jewel The place of Mahzpratisarii is in the centre of the Maqdala, and her form is described in the Nispannayogiivali in the following words : "Mahiipratisar'i pit'ibharaktaprabhHmaqdaliicaturmukhii, miilamukharh pitam, savyark sitarh, pafcimarh nilark, viimarh raktark. Daksiqe ratnncchat~cakra-vajra-Bara-khadga-varadamudrgh. V'amair-vajrarh p ~ Q a m triBiilarh dhanuh Bahkham ca bibhratiti dviidaiabhuj~. Caityii1ahkytaQiraskti vajraparyahkiisinii". NSP, p. 42 "Mah'ipratisarii has a yellowish red halo and is four-faced. The first face is yellow, the right is white, the face behind is blue and the left is of red colour. In her six right hands she holds : 1. the jewel, 2. the discus, 3. the Vajra, 4. the arrow, 5. the sword and 6. the Varada mudr8. In the six left hands she displays : 1. the Vajra. 2. the noose, 3. the trident, 4. the bow, 5. the axe and 6. the conch. Thus the deity is twelve-armed. Her head is beautified with a Caitya, and she sits Sn the Vajraparyahka attitude". The form described in the S8dhanamtilii is somewhat different. In this work she has only eight arms instead of twelve. Fig. 196 illustrates a miniature of MahHpratisarZ in the collection of Dr. Evanb Wentz. She is also popular in Tibet ' and her statuette occurs in the Chinese collection of Peiping 2,

Colour-White Arms-Ten

Faces-Four Symbol-Discus

Mahiis'ihasrapramardani is the second deity in the group of five RaksP deities and she is assigned to the eastern direction. Her form is described in the NispannayogHvali in the following words : "PJrvasylk di4i Mah~s'ahasrapramardanivi6viimbhojacandre lalitiiksepega nisaqqz kuklz candraprabhiimaqdall caturmukhi. MJlam sitarh, savyarh krsqam, prsthah pitarin, v'imam haritah. Savyabhujaih padmasthZgiiracakra15 varadah ahkuhah biiqarh kyplgaizica. Vgmairvajrah NSP, p. 42. tarjanirh p'ikarh dhanuh p84aiziceti dahabhuj'i."
--

---

1. For a Tibetan specimen see Gordon : ITL,p. 76. 2. Clark : TLP, 11, pp. 190, 216, 276 aa Pratisari.

304

BUDDHIST ICONOGRAPHY

"In the East there is Mah5f~hasrapramardanisitting i n the Lalita attitude on the o r b of the moon placed o n a double lotus. She is white in colour, has a halo of the white moon and is four-faced. Her principal face is of white colour, the right blue, the face behind is yellow and the left is of green colour. In her five right hands she shows 1. the eight-spoked wheel on a lotus, 2. the Varada m u d ~ b , 3. the goad, 4. the arrow and 5. the sword. In her five left hands she exhibits 1 the Vajra, 2. the raised index finger (Tarjani), 3. the noose 4. the bow and 5 , the noose Thus she is ten-armed". Here The SHdhanamHl~describes her form somewhat differently the deity has only eight arms instead of ten. Her images are widely known in Nepal, and in Tibet and China her statuettes are iound '. Fig. 197 illustrates a minieture in the collection of Dr. Ebans Wentz

3. ~ ~ A H A M A N T R A N U S A R [ N ~
Colour-Blue Arms-Twelve Faces-Three Spm bol-Vajra

The form of this third RaksH deity is described in the N i ~ p a n n a ~ o g~valrl in the following words : "DaksigasyB& viSviimhhojasiirye siiryaprahhl ~ a h ~ r n a ~ ? t r t r ' i n u s ~ r $ vajraparyanhini k~?x$i A;sr;lasitarakta-miila.avyavlmamukhi. DvHdababhujii. SavyetarBbhyZm dharmacakramudriirh bibhriiql aparBbhyBh san~^adhimudrEm. Aparair-daksiqair-vajra-bHqa-varad-Zbhayamudr'ih. Vgmais-tarjanipii6arh &pa& ratnacchafik padmiinkitakala6am ca".

NSP, p. 42.
"In the South on the o r b of the sun over a double lotus there is Mahiimantr'inus~riqiwith the halo of the sun. She sits in the Vajrapargahka attitude and is blue in colour Her princ~pal face is blue, the right is white and the left is red. She is twelve-armed. With one pair of hands she displays the 2 . Dharmacakra mudrl. With another pair of hands she exhibits the 4. Sam'idhi m u d r l , In the remaining four r ~ g h hands t she shows 5. the Vajra, 6 . the arrow, 7. the Varada and El. the Ahhala mudr'is. The remaining four left hands exhibit 9. the Tarjani with the noose, 10. the bow, 11 the jewel and 12. the jar marked with a lotus". Like the other deities of the Paiicaraksii group M a h ~ m a n t r ~ n u s ~ r i g i is also widely represented. She was probably known in China under

1.

For Tibetan specimens, see Gordon : ITL p. 76 ; Getty : GNB. p. 138.

COLLECTIVE DEITIES

305

the title of Mantr'inudh'iriqi '. Fig. 198 illustrates a miniature of the goddess in the collection of Dr. Evans Wentz. Here as well as in the SldhanamHlH the goddess is twelve-armed. 2. Colour-Red Arms-Eight Faces-Thl ee Symbol-Lotus

The fourth deity i n the series of fire Raksa goddesses is named as Mahskitavati t o whom the western direction is assigned. Her form is described in the Nispannayogiivali thus : "Pa$cim~yiirh vikviibjasiirye ardhaparyahkanisaq~ii siiryaprabhl MahHQitavatf raktii rakta-sita-kysqamiilasavyetaravaktrH. Astabhujii. Savya~h sapadmlbhayah, Qaram, vajram, khadgam. VHmais-tarjanip~Barh, ciipam, ratnadhvajam, hydi pustaka* ca bibhrati". NSP, p. 42 "In the West o n the o r b of the sun o n a double lotus there is MahiiQitavatisitting in the Ardhaparyahka attitude with the halo of of the sun. She is red in colour, and her faces show the red, the w h ~ t e and the blue colour in the first, the right and the left faces respectively. She is eight-armed. In the four right hands she displays 1. the lotus with the Abhaya mudrii, 2. the arrow, 3. the Vajra and 4. the sword. In the four left hands she shows 1. the noose with the Tarjani, 2. the bow, 3. the jewel banner and 4. the manuscript against the chest". In the Siidlnanamiilii she is six-armed and green in colour. She 1s widely represented in Buddhist countries. Under the title of Sitavati she is known t o the Chinese collection at Peiping % Fig. 199 is an illustration of her miniature In the collection of Dr. Evans Wentz ,'.

5.
Colour-Green Arms-Eight

MAHAMAYDRI
Faces-Three Symbol-Mendicant on Bowl

M a h ~ m ~ y Eis r ithe fifth and the last deity of the Paiicarak~ii Maqdala of the Nis~ann~ogiivali.Her form is described In the following words : "Uttarasyiim viiv'ibjacandre candraprabhii sattvaparyahki MahHmHy'Iri haritii harita-k~sna-b~kla-m'ilasavyetaraval;tr~. Astabhujii. Savyairmayiirapiccha* b'iqam varadarh khadgah ca. Viimaih piitropari bhikaurh ciiparh utsahgastharatnaccha@varsighara& vikvavajraratnlhkaNSP, p. 42 dhvajafi ca bibhriipii."
1. Clark : TLP, 1 1 , pp. 205.275. , 2. For a Tibetan specimen, see Gordon : ITL, p. 76. 3. Clark : TLP, 1 1 , pp. 206, 275. 4 For a Tibetan specimen, see Gordon : ITL,p. 76

39

306

BUDDHIST ICONOGRAPHY

"In the North o n the o r b of the moon o n a double lotus, with the halo of the moon and sitting o n a man, there is MahHmHyiirl. She is green in colour, and her three faces show the green, the white and the blue colour in the first, the right and the left faces respectively. She is eight-armed. In the four right hands she holds 1. the jewel, 2. the arrow, 3. the Varada mudr'. and 4. t h e sword. In the four left hands she shows 1. the medicant o n the bowl, 2. the bow, 3. the jar on the lap showering jewels, and 4. the banner marked with the double Vajra and the jewel". Thedescription of the goddess in the SPdhanamBlH is somewhat different. Here she is endowed with the yellow colour. But in both places she is eight-armed. Like the other Raks'i deities MahZm~~Cir!is widely represented. She is known in Tibet and in the Chinese collection at Peiping Y Fig. 203 illustrates a miniature in the collection of Dr. Evans Wentz. According to a statement in the Nispannayog~valTany one of the five Rak@ deities may become a leader in the Maqdala and occupy the central position. All the other deitles in that case will become her subordinate companions. V.

TARAS OF FIVE COLOUR

/

Strictly speaking, only those deities can be called THrHs to whom the mantra : Orh TZre Tutt'ire Ture Sv'ih'i is assigned. In the simplest form TPr% carry the night lotus in the left hand and exhibit the Varada mudrH in the right. Some of them bear the miniature image of Amoghasiddhi on their crowns, but others may not have any effigy of the Dhygni Buddha. It is therefore difficult t o identify their images, particularly in stone where n o definite colour can be seen. Special attention should therefore be paid not only t o the particular pose in which the different T'irBs sit hut also t o their companions in order t o arrive at a correct identification. In this section an attempt will be made t o indicate the characteristic features of the numerous TBriis described in the SHdhanas for the purpose of differentiation. In the TPntric works there are so many different varieties of TPrZ that it is physically impossible t o classify them correctIy without reference t o their peculiar colour. All TSir'is are therefore brought together under one head in this section. From the colour of the different THrBs it will be possihle t o refer them t o their respective Kulas o r families presided over by the five DhyHni Buddhas.
--

--

.-

--

- -

1 . For Tlbetans specimen, see ITL, pp. 74, 76 ; Getty : GNB,pp. 137-138 2. Clark : TLP, 11, pp. 206, 275.

COLLECTIVE DEITIES

A. GREEN

TARA]

TZr'i shows the Varada mudr' in the right 11and and 1. Khad~ravapI the night lotus in the left. She can be identified by the presence of Ahokak'ant~M g r G and EkajatZ.

2. VaByatHra has as her characteristic feature the Rhadr~sana or the European fashion of sitting. It may be noticed however that she is described as single and as such 1s not accompanied by any god o r goddess.
3. Aryat3rs. The characteristic ieature of thls form ot' Tar5 1s that she sits in the Ardhaparyanka attitude and like VaSyat5rl 1s entirely alone.

4. Mahattari TZrZ may be distinguished hy the Vairaparyahka

attitude in whrch she sits, and also by the fact of. her being represented without any companion wliatsoever (Fig. 210).

5. Varada T z r l sits in the Ardhaparyanka a t t ~ t u d elike Aryiat~rii but she can be easily recognised by the presence ot four goddesses AkokakPntii Miirici, MahHmii) 6 6 , EkaiarL and Janguli. (cf. MahiiSri T'arH),
6. DurgottZriqf TPrl has green complexion, the lotus for her seat, and garments of wliite colour ; she has four arms and she f hands the noose and the goad and displays in carries in the hrst pair o the second the lotus and the Varada mudrii.

7. Dhanada THrH carries the book and the rosary in the first pair of hands, whlle the second pair carrles objects similar t o those held by Durgcttiinqi. She has a n animal for her Viihana, is accompdnied by eight goddesses originating from the eight syllables of her mantra and bears the Image of Amoghas~ddhi on the crown.
8. j'anguli emanates from Aksohhya and may have three different colour, yellow, white and green. When green, she is fourarmed, and carries the TriBiila, the peacock's feathers and a snake in three hands and exhibits the Abhaya mudr'a in the fourth.
when green, emanates from Amoghasiddhi and when yellow from Aksobhya, and as such, both of her forms have already been described. She is generally three-faced and six-armed but may in rare cases, have four arms also. The peculiarity of the green variety is that all the three fac'es depict irritated smile (sakrodhahasit'ananlrh).
-- - . - - -~~. 1. Getty : GNB, p. 123 gives a list of Tarns of green colour.

9. ParnaSabari

308

BUDDHIST ICONOGRAPHY

B. WHITE

TARA

I. A~famah'ibhayaTiirii. The distinguishing feature of this form

of T'ir'i is that she sits i n the Ardhaparyahka attitude and is surrounded by ten goddesses originating from the ten syllables of the T'ir'i mantra : O h THre TuttHre Ture SvHhH. These ten deities are identical in appearance with the principal deity.

2. MytyuvaEcana TiirH. T h e distinctive feature of this form of

TPrH is that she hears a wheel o n her chest. She is absolutely unattended and sits in the Vajraparyahka attitude.

3. Caturbhuja-SitatHrH. Her form has already heen described as an emanation of the Dhvzni Buddha Amoghasiddhi. She has four arms and exhibits in the first pair of hands the Utpala n ~ u d r s ,and t h e lotus, and the Varada pose in the second. She may be recognized and MHrIci. by the presence of two goddesses, MahHmiiy~ri

4. Sadbhuja-SitatIrii. As she bears the image of Amoghasiddhi on the crown, her form has already been described. She is three-faced and six-armed and has n o companions.
5. Vi6vamHtH. She has been described in the SHdhanamBlH as one-faced, with the white complexion of the moon, white garments and a white serpent as her Vghana. She carries the white lotus in the left hand and exhibits the Abhaya pose in the right. She has not been described as bearing any image of her sire.
6 . KurukullH as an emanation of Amitgbha of red colour generally assumes the red colour, but when two-armed, she has, according t o the SHdhanamHlH the white colour. She carries the rosary and the howl of lotus, and her Viihana is an animal.

7. Jiihyli as an emanation of Aksobhya ought t o be of blue colour, but according t o the SHdhanamHlH she may have three colour, white yellow o r green. When white she is one-faced and four-armed, plays on the Vi?H with the first pair of hands, and shows the white serpent and the Abhaya pose in the second.
C. YELLOW

TARA "

-. 1. Getty : GNB,p. 122 gives a list of TiirSs of white colour. 2. Getty : GNB, p. 124 gives a list of Taras of yellow colour.

1. VajratHr'i. She is yellow, has four faces and eight arms and hears the image of the Dhy'ini Buddha Ratnasambhava o n her crown. Forms of Vajrat'irH have been described previously. She is accompanied by ten goddesses when worshipped in the Maqdala.

COLLECTIVE DEITIES

309

2. J51iguli. The yellow variety of JEhguli has three faces and six arms and bears the image of the DhyHni Buddha Aksobhya o n her crown. This form has already been described.
When yellow Parqababari is an emanation of Aksobhya, has three faces and six arms, and a pleasant smile instead of an irritated expression o n her faces. This form of Parpaiabari has also been described under the female emanations of kksobhya.

3. Parpababari.

4. Bhykuyi is yellow and emanates from Amitiibha. She is onefaced and four-armed, shows the Varada mudrg and the rosary in the d i the Kamandalu in the two two right hands and carries the T r ~ d a ~and left.

D. BLUE

TARA '

1. Ekajayl. She may have several forms with blue colour, and she bears the image of her sire Aksobhya o n her crown in all cases. All her forms have been described previously along with the other emanatlons of the DhyIni Buddha Aksobhya including the terrible form which ~li blue colour, with twelve faces goes by the name of V i d y u j j v ~ l ~ k a rof and twenty-four arms.

2. Mahikina Tsrii. She also bears rhe image of Asobhya on her crown, and has already been described as one of the female emanations of that Dhyzni Buddha. She is called MahHcina TBrH because she is bel~eved t o have come from Mahiicina, the place where she was originally worshipped. She is the subject of the MahHcinaltrama-Tantra, and has been incorporated wholly into the Hindu THntric pantheon.

E. RED

TARA "

There are not many Red TZr5.s in the SHdhandmHlH, K u r u k u l l ~ being the only one belonging to the red variety. As she bears the image of AmitHbha on the crown, she inherits from him as his emanation, her red complexion. KurukullH may also bear the image of the five DhyHni Buddhas on her crown, but that will make n o difference as t o the colour of her complexion. She will be white when two-armed, and red when All her forms have been described four, six or eight-arme.3 previously. The eight deities of the Gauri group of goddesses are extremely popular in Vajraygna and are found described in several places both in the S'idhanamgl'i as well as in the Nispannayog~vali. These goddesses
. -

1. Getty: GNB, p. 125 gives a list of Teras of blue colour. 2 . Getty : GNB, p. 126 gives a list of TiirSs of red colour

310

BUDDHIST ICONOGRAPHY

are represented also in the Chinese collection of statuettes in the city of Peiping. Although it 1s not necessary t o describe their different forms extensively, it is however desirable that at least one form should be recorded here t o stimulate interest In their iconography and identification. Below is therefore glven the description of the eight deities of the Gauri group in the same order as it appears in the PaEcadgka Mapdala of the Nispannayog8vali. All the deities are violent in character with fearful appearance and ornaments, and garlands of heads. They dance in Praty51idha and show the r a ~ s e d index finger with clasped fist against the chest, as the common gesture.

1. GAUR!
Colour-White Arms-Two
Sym bol-Goad

The first in the series is Gauti. Her form is described in the Paficadaka Mapdala where the Gauri group of deities surround the principal 1s as under : god Vajradiika. Gauri's descr~ption .'GaurT sit5 s n ~ ~ e n ~ h k u ~ ~ d h 5 r 1 ~ ~ " "Gauri is white and holds ln her r ~ g h hand t the goad". In the left hand she shows the Tarjani agalnst the chest w h ~ c h1s the common gesture. Three statuettes of thls goddess are found in the Chinese collection at Peiping I .

NSP, p. 75

2.

CAURI

Colour-Yellow Arms-Two Sy m hol-Noose 'The second goddess in the Cauri group 1s Cauri whose form is described in the Paiicadiika Maqdala as follows : "Cauri pit3 p8Badharii" NSP, p. 75 "Cauri is yellow in colour and holds in her right hand the noose". She shows the raised index finger in the left like all other deities of this group. Only one statuette of this goddess is found in China
2.

3.

VETALI

Colour-Red Arms-Two Symbol-Chain The third goddess of the Gauri group is Vet51; whose form is described in the Paficadiika Mandala in the following words : NSP, p. 75 " V e t ~ l iraktH bhuj'ibhy'ih sphotabh;t."

-.--- -

-- -

-- -

-~

. .

1. Clark : TLP,11, pp. 72, 92, 105 2. Clark : TLP,11, p. 92.

COLLECTIVE DElTlES

31 1

" V e t ~ l ;is red in colour and holds in her two hands the chain." A statuette of this goddess under the name of Vajravet~iliis found in the Chinese collection a t Peiping I . Fig. 202 illustrates this Chinese statuette. 4. GHASMAR~ Colour-Green Arms-Two Symbol-Bell The fourth goddess of the Gauri group is Ghasmari whose form is described in the PaiicadBka Maqdala as follows : "Ghasmari haritii vajraghaqtHdharZ7' NSP, p. 75 "Ghasmari is green in colour and holds in her right hand the bell marked with a Vajra." The left shows the common gesture of Tarjani. Two statuettes of this obscure goddess are found in the Chinese One of the two statuettes is illustrated in Fig. 203. collection

'.

5.

PUKKASI

Colour-Blue Arms-Two Symbol-Bowl The fifth in the series of the Gauri group of goddesses is Pukkasi whose form is described in the PaiicadBka Maqdala in the following words : NSP, p. 75 "Yukkasi nil3 BodhicittaghatahastH." "Pukkasi is blue in colour and holds in the right hand the howl of Bodhi mind." The left shows the Tarjani against the chest as a colnmon gesture. Two statuettes of this obscure goddess occur in the Chinese collection : I . One of the two statuettes is Illustrated in Fig. 204.
6. SABAK~ Colour-White Arms-Two Sym bol-Meru The sixth goddess in the series of eight deities of the Gauri group is in the following words : described in the PaScadPka M a ~ d a l a "Sabari sitH MerudharZ" NSP, p. 75 "iabari is white incolour and holds in her right hand the Meru mountain." The left exhibits the common gesture, the TarjanI, Two statuettes of this goddess are found in the Chinese collection J. - --. - - -. .- . . - . -- .--1 , p. 62. 1. Clark : TLP, 1
~

--

2. Clark: TLP, 1 1 , pp 96, 100. 3. Cark : TLP,11, pp. 91, 100. 4, Clark : TLP, 11, pp. 92, 100.

BUDDHIST ICONOGRAPHY

7. CANDAL~
Colour-Blue Arms-Two Sym bol-Fire-pot The seventh deity among the eight goddesses of the Gauri group is known as CaqdHli and her form is described in the Paiicadska Magdala as follows : NSP, p. 75 "CaqdIli nil^ vahnikuqdabhTtU "CandHli is blue in colour, and holds a fire-pot in her right hand". The left shows the common gesture of Tarjani. Two statuettes of this goddess are to be found in the Chinese collection ' . 8. Q O M B ~ Colour-Mixed Arms-Two Symbol-Banner The eighth and the last goddess in the group of deities headed by Gauri is described thus In the PaiicadHka Mandala as an associate of VajradIka : "Dombi vikvavarn~nlahgdhvajapatgk~m dhatte". NSP, p. 75 "Dombi is of m ~ x e d colour and carries in h t r r ~ g h thand the high flag and banner ". The left hand displays the common gesture of the Tarjani against the chest. She is represented only once in the Chinese collection as Domhini :'. Fig. 205 illustrates this Chinese statuette.

VII. FOUR DANCE DEITIES, There are four deities in th5 group and they are homogenous in character. These are LHsyH, Miilii, Gitii, and NytyH, all required in the staging of a drama or in entertainments. All these four deities are popular in the VajrayZna pantheon and are described times without number both in the SPdhanamHlH as well as in the Nispannay~~gvali. In the Chinese collection at Peiping statuettes of these deities are found. Although it is not possible t o describe all their forms here, an endeavour will be made at least t o describe one typical form of each for the purpose of recognition. Below is given an account of the four goddesses headed by LHsyH in the same order as it occurs in the PaiTcadgka Maqdala of the Nigpannayogiivali. They are violent in character with garland of severed heads, and dance in PratyIlidha. They show the Tarjani against the chest as the common gesture. -- ~

1. Clark : TLP,11, pp. 96, 110. 2. Clark : TLP,11, p. 96.

COLLECTIVE DEITIES

Colour-Red

Arms-Two

Symbol-L'asyo dance The first deity of the L'asy'i group is L'isy'i who is described in the following words : "L'isyP rakt'i sagarvam 1Psy'ibhinayobhayabhuj':". NSP, p. 76 "1':sy'i is of red colour and with pride she arranges her two hands in the L'isya act". Two statuettes of L'isy': are found in the Chinese collection of the statuettes is illustrated in Fig. 206.
I.

One

Colour-Red Arms-Two S y m bol-Garland The second deity of this group is MBIZ who is descr~bed as follows : "MHIZ rakt': karZbhyZt5 ratnan~iiiZbh~t". NSP, p. 76 "Miil': is of red colour and holds in her two hands the garland of jewels". Three statuettes of this goddess under the slightly different name of Malys occur In the Chinese collection of images at Petplng 2 .

Colour-Redd~sh white Symbol-Indian

Arms-Two Gong

The third deity of this group is G l t ~ who is described in the PaEcad'ika M a ~ d a l a as under : "Git'i ra ktasit'i tchujiibh)':xb karhsike \ 'idayanti" NSP, p. 76. "GIt'i IS reddish white in colour, and with her two hands she is engaged in playing on the Indian gong (KahsT). Three statuettes of this goddess occur in the Chinese collection^. One of these three statuettes is illustrated in Fig. 207. -. . - -.- -- . 1. Clark : TLP,11, pp. 63, 145.
~

2. Clark : TLP,11, pp. 63, 103, 145. 3. Clurk : TLP, 11, pp. 63, 94. 146.

40

BUDDHIST ICONOGRAPHY

Colour- Mixed Arms-Two Symbol- Vajra The fourth and the last goddess in the LHsyg group is Ngy5 whose form is thus described in the Nispannayog'avali : "Nyty"ai6vavarr;l'a savajrabhuj'i bhygk nrtyanti", NSP, p. 76.

"NltyB is of variegated colour and she dances with her two hands holding the Vajra". Three statuettes of this goddess are noted in the Chinese collection1. One of the three statuettes is illustrated in Fig. 208. VI11. FOUR h4USICAL INSTRUMENTS There is a further group of goddesses representing the four musical instruments and are often mentioned In the Sgdhanas and Maqdalas as co~npanions of important deitles. When everything else is deified there 1s no reason why these musical instruments should not also be deified. These four Musical Instruments are named as V a k Q z (flute) Vig'a (violin), MukundH ((kettle-drum) and MurajH (drum) and we find them all deified with human form, colour, faces, hands and symbols. they are collectively described as nude, violent In the VajradHka Ma~dald in appearance, wearlng garlands of skulls and severed heads and dancing in PratyIlidha. They display the different instruments as their special symbols. They are described below in the same order In which they appear in the P,riicadHkd ivla~dala.

Colour-Red

Arms-Two

The first in the series of deities representing the musical instruments is called V a m h whose form is described in the following terms in the PaZcad'ada Magdala : "VamB'i rakts kar'ibhy'am dh~tavaridam v'adayanti". NSP, p. 76

"VamQs is red in calour. She holds the flute in her two hands and plays on it." She is not represented in the Chinese collec t'ion. 1. Clark : TLP, 11, pp. 64, 93, 143.

COLLECTIVE DEITIES

Colour-Yellow Symbol-Vigii

Arms-Two Instrument

'The second goddess representing musical instruments is called Vig'a, and her form is described in the following words : "Vigii pit^ vipiiv~danakaradva~ii." NSP, 76 "Vi@ is yellow in colour. With her two hands she plays o n the musical instrument, the V~QH." In the Chinese collection she is represented as goddess V i ~ I d h a r ~ which is the sdme as Viq5 '. This Chinese statuette is illustrated in Fig. 209.

3.

MUKUNDA
Arms-Two Instrument

Colour-White Symbol-Mukunda

The third goddess in this series is the goddess MukundI who plays o n the instrument called the Mukunda. Her form is described thus in the Nispannayogi%valj: " M u k u n d ~sit'. karzbhyiim Mukundarh v'idayanti." NSP, p. 76 "Mukundii is white in colour. She plays on the instrument called the Mukunda with her two hands". One statuette of Mukuncls is found in the Chinese collection utlder the name of Mukundadharii, who is the same as Mukundii < This Chinese statuette is illustrated in Fig 210.

Colour-Smoky Symbol-Muraja

Arms-Two Instrument

The fourth and the last deity in the series of goddesses of musical instruments is the godctess MurnjP whose principal symbol is the Muraja o n which she plays. Her form is described as under : "Murajii dhiimravargz murajaviidanaparabhujadvayH."

NSP, p. 76
"MurajP is of the colour of smoke, and she is engaged with her two hands in playing on the Muraja instrument." She is not represented in the ~ h i n e s ecollection.
~ -

-.

..

1. Clark : TLP, 1 1 , p. 107 2. Clerk : TLP, 11, p 107.

316

BUDDHIST ICONOGRAPHY

IX. FOUR DOOR GODDESSES

The door is an important item in household furniture, because of its power of giving protection against thieves and animals and unpleasant intruders. T h e door planks, the lock, the key, and the curtain, all the four are important articles, and thus these are all deified in VajrayBna. They are given human form, colour, faces, arms and symbols. They are found described in the Pascadiika Maqcjala of the NispannayogBvali. Collectively they are described as nude, dancing in PratYiilidha, with fearful appearance, and awe-inspiring ornaments. They are described below in the same order in which they are treated in the MaqcJala. They hold their special symbols appropriate to their cames.

Colour-White

Arms-'l

wo

Symbol- Lock The first in the list of door goddesses, is TPlikP. Her form is described as follows : " T a l i k ~sit5 tglik'lhastii" NSP, p. 77

"Tzlik'. is white in colour and holds in her rwo hands the TBlikP o r the Lock."

A statuette of this most obscure but interesting deity is found in the Chinese collection. In this collection her name is somewhat differently stated as Dv~ratPlakadharH'. Fig. 21 1 illustrates her statuette in China.
2. K U R C ~ Colour-Y ellow Arms-Two

Symbol-Key s The second goddess in this series is called Kuiici from the keys that she holds. Her form is described as under : "KuZci pit5 kuiicik iihasts".

NSP, p. 77

"Kuiici is yellow in colour and holds the Keys in her two hands."

A statuette of this goddess occurs in the Chinese collection under

the title KuEcik'ldharH.
2.
1. Clark :TLP, 11, p. 108. Clark :TLP,11, p. 108.

She is of the same description as above

-

2.

COLLECTIVE DEITIES

Colour-Red Arms-Two Symbol-Planks The third deity in the series of the four door goddesses is called Kap'aF. Her form is described as follows : "Kap'af'a raktii kap8tadhar'aV. NSP, p. i 7 "Kap'at'a is of red colour and holds in her two hands the Door Planks. "
A statuette of this goddess is found in the Chinese collection under the title of DvZradharB. The two are identical '. Fig, 212 illustrates her statuette found at Peiping.

Colour-Blue Arms-Two Sy m bol-Curtain The fourth and the last goddess in the series of four deities of the door is called by the name of Patadh'aril;;l. Her form is described in as under : the PaEcad'aka M a ~ g a l a "PafadhZripZ ky@ karZbhy'aA k'.?dapataA vibhrati." NSP, p. 77 "PayadhZri$ is blue in colour. curtain (K~gdapata). She holds in her two hands the

A statuette of this goddess occurs in China under the title of VitZ. nadhar'a where Vit'ana means a curtain. The two are identical '.

X. FOUR LIGHT G O D D E S S S

There are four goddesses of Light in the Vajray'ana pantheon. They are named as Stiryahastg, DZpii, Katnolkz and Taditkar'. and described in the PaZcadBka M a ~ d a l a of the Nispannayog~ivali. Collectively, they are conceived as nude, and as violent in appearance with garland of skulls and severed heads. They dance on a corpse in the Pratyiilidha attitude and hold their special marks of recognition in their hands. They are described below in the order in which they appear in the PaHcadHka Magdala.
-- -.

--------

- ----

Clark : TLP, 11, p, 108 2. Clark : TLP, 11. p. 108

1.

BUDDHIST ICONOGRAPHY

Colour-- White Arms-Two Symbol-Sun Siiryahastii is the first deity in the series of four goddesses of Light and her form is described in the following words : NSP, p. 76 "Siiryahastii sits siiryamapdaladhar3". "Siiryahastz is of white colour and she holds in her hands the disc of the Sun". One statuette of the goddess is found in the Chinese collection under the title of Siiryadharii. The two are identical '.

2.
Colour-Blue

DTPA
Arms-Two

Symbol- Light stick The second Light deity is called Dips, Her form is described as under: NSP, p. 76 6.D!pii nil5 dipayastibhrt." ''Dip5 is blue in colour and holds in her hands the light stick". A statuette of this goddess occurs it1 the Chinese collection. 'l. This Chinese statuette is illustrated in Fig. 213.

3. RATNOLKA Colour-Yellow Arms-two

Symbol-Jewel The thlrd in the series of four goddesses of Light is called RatnolkB. She is described as under : "Ratnolkii pit5 ratnadharz". NSP, p. 76 "Rltnolkl is yellow in colour and holds the jewel in her hands". She is represented in the Chinese collection under the name of UlkBdharS. This statuette is illustrated in Fig. 214.

4. TADITKARA
Colour-Green Arms-Two

The fourth and the last in the series of four goddesses of Light is called Taditkars (Lightening Bearer). Her form is described in the following words : NSP, p. 76 "Taditkar'i haritP vidyullatiidhar8".

- .- -- - --

---

-- -- -. - --

--

1. Clark :TLP, 11, p. 88. 2. Clark : TLP,11, pp. 67,90.

COLLECTIVE DEITIES

319

"Taditkar'a is green in colour and holds in her hands the creeperlike lightening".

A statuette of this goddess occurs in the Chinese collection under the title of Vidyuddharg. The image answers the description in all details T h e two are therefore identical

XI.

FOUR ANIMAL-FACED G O - D w
-/

There is a set of four very interesting deities described it1 the Nlspannayop5vali ; they all have animal faces and have several forms. They are given each a different direction in the Maqdala. T h e n names are : HayHsyB, SiikarHsyH, SvZnEsyH, and SirhhEsyH, accord~ngt o the animal face they bear. T o this number, in the KHlacakra Magdala, four more deities with birds fsces are added for the intermediate corners. These birds deities are named as KEklsy5 (crow-faced), GyJhrBsyH (vulture-faced), G a r u d ~ s y l(Garuda-faced) and UliikBsyB (owl-faced). All these are described in the text as violent in appearance, nude, dancing on a corpse, and wearing garlands of severed heads. They carry in their hands the Kartri (chopper) and the Kaplla (skull-cup). A KhafvZfiga (magic stick) hangs from their shoulders. They are sometimes two-armed and at others four-armed. When four armed, the four chief deities are represented like rhe goddesses of the V a j t ~ h k u 6 i group. With regard t o the face, it may be noted that the principal face is either human or of an animal. When ~t is human, the animal face is shown over the head o r on the crown. Normally, there are four goddesses in this group, but the series of goddesses found only in the KPlacakra Maqdala are without adequate description. The group of four goddesses of the NairBtm'i Maqdala is here described. It may he noted that their images are also popular in the Chinese collection of Peiping, although a few are available in India also.

'.

----

Colour- Whitish Blue

Arms-Two

Sym bol-Horse-face
The first in the series of goddesses with animal faces is Ha)5sy'a (horse-faced) and her form is described in the NairHtm'i Magdala in the following words : "Ptirvadv'ire Hay'asy'. sitanil'i"
1. Clark : TLP, 11, p. 88.

.
- -

NSP, p. 16
whitish-blue colour".

"On the Eastern gate there is Hay'asyl of --

---

320

BUDDHIST ICONOGRAPHY

Like all other deities of the group she displays in her two hands the Kartri and the KapBla. In the Hevajra M a ~ d a l a of the Nispannayog'ivali (p. 15) she is described as four-armed and four-faced and as similar in appearance t o Vajr~hkuii. She is not represented in the Chinese collectionu

Colour-Yellowish

Blue

Arms- Two

Sym bol-Sow-face The second i n the series of four goddesses with animal faces is kikarlsy~ (sow-faced) and her form is described in the NairHtmB Mandala thus : NSP, p. 16 "Daksine Siikar'isyii pitanilii".

"On the South there is SiikarPsjZ with yellowish-blue colour"

Like all other goddesses of the group, she also holds the Kartri in the right hand and the Kap'ila in the left.

She is also described as four-armed and four-faced, and a s similar in appearance t o Vajrap5ki ' .
She is not represented in the Chinese collection.

Colour-Reddish

Blue

Arms-Two

T h e third goddess in the series of four goddesses with animal faces (dog-faced) and is described in the Nalriitrnii Magdala is called Sviin~s~Ti as : "Pakcime ~vHnBsyB raktanil8" ' NSP, p. 16 "On the West there is
S ~ P I ~ of P ~ reddish-blue ~ H

colour"

Like all other goddesses of the group she holds the Kartri in the right hand and the KapHla in the left. In the Hevajra Magdala she is described as four-faced and four* armed and as similar in appearance t o VajrasphofB.
-

- She is
--

not represented in the Chinese collection.

--

--

-----

1. A remarkable specimen of the four-armed varlety of the goddess is illustrated in Gordon :ITL,p. 80 under the title of Vajrav~r~hi.

COLLECTIVE DEITIES

Colour-Reddish

Blue

Arms-Two

Sy mbol-Lion-face The fourth and the last deity in t h e series is called SihhHspSi (lionfaced) in the NairHtmH Mandala. Her form is described thus : "Uttare SihhHsyH raktanill" NSP, p. 16 "On the North there is SirhhHsyZ of reddish blue colour". Like all other deities of the group she also holds the Kartri in the right hand and the Kaplla in the left. She is described in the Hevajra Magcjlala as four-faced and fourarmed, and as similar in appearance to Vajragha~yii. Under the title of SirhhavaktrH she appears in the Chinese collection at Peiping '. She was also known in Tibet ? Figs. 215, 216 illustrate a very artistic specimen of SifihHsyii with human face with the face of the lion overhead. This image is in the collect~onof Dr. Moghe of Khar (Bombay).

XII. FOUR

DAKINI GROUP

-- --

Usually in this group of goddesses are included rhe names of Q~kinT LfimSi, Khagdarohg and Ilupipi who are widely mentioned m the Tiintric works of rituals. In the Sumhara Magdala of the Nispannayogiivali their names are ment~oned as companion deities of Sambara. Again, in the Satcakravarti Mandala they are mentioned as companion deities. But their forms are found described only in the SHdhanamH11. According t o this authority they are all alike in appearance holding identical symbols. Only in colour they d~ffer. In the VajravHrHhi Siidhana (No. 217) they are described as follows : "DSikini-LlmH-Khndaro11~-REp~qihkysqa-QySima-rakta-gaur~h. Etii ekavaktrgh caturbhujg vHme kap'ilakhafvSifigakafilahastEh daksiqe damarukartrikiil? rrinetrii muktakeBSi nagna Hlidhlsanasarhsthitl paiicamudriivibhiisitg bhzvayet." Siidhanam115 p. 425 " Q ~ k i n i ,LHmH, Kha:ldarohH and K t i p i ~are i of bluk, green, red and white colour respectively. They are one-faced and four-armed and carry in their left hands the KapHla-marked KhatvSihga and the KapSila, and in the two right the Damaru and the knife. They are three-eyed, have dishevelled hair, stand in the Alidha attitude and are decked in the five bone ornaments. Thus they are to be meditated upon".
~.

-.

. .-

1. Clark : TLP,11, p. 314. 2. Gordon: ITL, p. 80 illustrates a two-ermed image of the deity. Getty : GNB, pp. 140, 150.

See also

41

322

BUDDHIST ICONOGRAPHY

Two statuettes of D'ikini occur in the Chinese collection l . The names of three others d o not find mention in China. In Tibet, LTim'idiikini belongs t o this group, and a remarkable and perhaps unique statuette of the goddess from the W.B. Whitney collection in the Freer Gallery of Art is illustrated in the Iconogrphy of Tibetan Lamaism Fig. 217 illustrates the Chinese statuette of Diikini, and Fig. 218 is a Nepalese picture of Lzma D~kin;.

=.

1. Clmk :TLP, 11, p. 96, 110 2. Gordon : ITL, p. 81

CHAPTER
PHILOSOPHICAL DEITIES In the N i ~ ~ a n n a ~ o ~ Hof v aAbhyHkara li Gupta mention is made of a number of deities who are designated here, for the sake of convenience, as philosophical deities. In Buddhism, the Twelve PHramitiis are considered t o be the perfections of cardinal virtues which entitle one t o Buddhahood. They are deified in human form with colour, and weapons. Similar is the case with the others, such as the Twelve Vakitiis or spritual disciplines, the Twelve Bhiimis o r the successive spiritual spheres, the Twelve Dh~rir?;so r sacred chain of words, the Four Pratisarhvits o r the four branches of logical analysis. All these belong t o the realm of philosophy and abstract ideas and, therefore, they are brought together here under a separate chapter as a matter of logrcal necessity. These deities are rarely represented. Except probably PrajEiipZramitn and some of the Dhlriqi goddesses, others are not even known in art o r sculpture. But their statuettes are found in the Chinese collection at Peiping, and i t is therefore necessary t o indicate their forms from original Sanskrit texts so that the statuettes on the one hand and the Sanskrit texts on the other may mutually enlighten each other.

In Buddhism, importance is given to the Piiramitiis or perfections. These are certain cardinal human virtues carrled t o perfection in one birth. It is said that Lord Buddha in each of his previous births practised one or another of the vlrtues and carried it t o perfection, and because of that he obtained enlightenment in his last birth. These Pgramit'as are usually ten in number, but the Vajrayiinists raised the number to twelve. In VajrayZna the craze for deificatian led t o the conception of the Twelve Piiramits goddesses in human form, for the purpose of worship. One of the Piiram~tldeltles, Praj6iipiiramitH is the most important and popular in Buddhist countries. Prajciipiirainitii o r transacendental intuition was taught in the Prajiiapiiramitii scripture which is supposed t o have been resdued from the Nether regions by NHgZrjuna. In the Dharmadh'ituv~igikvaraMaqdala of the Niapannayog'ivali an account of the iconography o i rhe Twelve P'iramit'i deities is given,

324

BUDDHIST ICONOGRAPHY

and it is stated briefly here in the same order as found in the Maqdala. Such a description of all the PHramitH goddesses cannot be met with in any other published literature on Buddhism. The twelve deities collectively have their spiritual father in Ratnasambhava. They are widely represented in the Chinese collection at Peiping which seems t o have been profoundly influenced by India in general, and the NispannayogHvali in particular. These PHramitH deities are described in detail in the following sections.

Colour -Red Arms-Two Symbols-Moon on Lotus RatnapHramitH heads the list of the PHramit5 deities and is described as : "RatnapHrarnitB raktH padmasthacandramaqdaladharP" NSP, p. 56 "Ratnap'aramit'. is red in colour and holds the disc of the moon on a lotus in her hand." According t o a statement in the Mapdala all the deities are twoarmed, and they hold in the right hand the flag marked with the CintH. mani jewel, and in che left their special symbols. PrajEnpEramitii is an exception since she has two more hands. The passage is : "Dvlida6ap~ramit~dvibhujzh savyena CintHmagidhvaja* vsmena svasvacihnadharHh PrajEEpHramit'. tvadhikakaradvayii." NSP, p. 56 "The Twelve PPramitHs are two-armed and hold in the right hand the flag marked with the Cint'imaqi jewel, and in the left their own symbols. But PrajEHpPramit'. has two more hands." RatnapHramitH thus holds in the right hand the CintHmaqi flag and in the left the moon's disc on a lotus. She is not represented in the Chinese collection.

Colour-Whitish

Red

Arms-Two of Corn

Symbol-Ears

Diinap'aramitH is second in the series of Twelve PHramitP goddesses and has been described as : "D'anapPramitH s' araktavarqz nln- h'anyamaiTjarihastL." 't / @ . 4 NSP, p. 56

PHILOSOPHICAL DEITIES

325

iiDHnapHramitP is whitish red in colour and holds in her left hand various kinds of ears of corn." In the right she displays the Cinr'amani banner. in China '. Her statue is found

3.

SILAPARAMITA
Arms-Two Discus

Colour- White Symbol-Flowery

&1a'~5ramitl is the third in the series of Paramit5 goddesses and her form has been described thus : " S ~ ~ a ~ H r a ;vet5 m i t ~sapallavagaurakusumacakradharH".

NSP, p. 56
"$ilapHrarnit~ is white in colour and holds in her left hand the discus made of white flowers and leaves " The right hand holds the CintBmapi banner as usual. of this deity occurs in China l.

A statuette

4. KSANTIPARAMITA
Colour-Yellow Arms-Two Lotus Symbol-White

KsHntipiiramitH is the fourth in the series of PZramitE goddesses and her form has been described thus : "KsLntipZramitii pit^ sitHbjadharH " "KsHntipBramitH is of yellow colour and holds in her left hand the white lotus." Her right hand as usual holds the C i n t m a q i banner. this deity is to be found in China . I . A statue of

Colour-Green Symbol-Blue

Arms-Two Lotus

ViryapHramitH is the fifth PHramit5 goddess and her form has been described thus : "ViryapHramitH marakatavar~z nilotpaladhar~". NSP, p. 56 "ViryapHramitH is of the colour of emerald and holds in her left hand the blue lotus."
- ~

- - .

-.

--

I. Clark :TLP, 11, p. 120 2. Clark :TLP, 11, p. !20 . 120 3 . Clark : TLP, 11, p

326

BUDDHIST ICONOORAPHY

She holds the CintImagi banner as usual. A statue of this deity is found in China

'.

Colour-Sky

Colour

Arms-Two

Symbol-White Lotus The sixth PZiramitH goddess in the series is Dhy'inap'aramit'i whose form is described as under :

NSP, p. 56 "Dhylnap'iramit5 gagana6yHml sitiibjahast'i." "Dhyiinapiiramitl is of sky colour and holds in her left hand the white lotus "
The right hand as usual carries the Cintlmani banner. A statuette ot this goddess is found in China %. Fig. 219 illustrates this Chinese specimen.

Colour-Yellow Symbol-Manuscript

Arms-Four on Lotus

The seventh goddess in the series is the famous deity PrajiiEp'iramit'i. As the embodiment of the Praj?iSpHramitP literature, she has been dealt with in detail in a previous chapter. Here she will be described as an embodiment of transcendental intuition and as part of a collection of deities in a group. In the Nispannayog'ivali her form has been described as : "PrajZZpPramitH kamaniyakanakak~ntihpadmastha-PrajEzp'aramitJpustakadharii karadvayena dhrta-Dharmacakramudr'i'. NSP, p. 65. "PrajEHplramitH is of delightful yellow colour. In her left hand she holds the PrajE'ipHramit'i book o n lotus. The two principal hands display the Dharmacakra mudr'a". The right hand as usual holds the Chintzmapi banner. This goddess has been treated in a previous chapter, and her statues are found in several places. She is represented also in the Chinese collection at Peiping j. -1 Clark : TLP,11, p. 127.
2. Clark : TLP, 11, p. 127 3. Clark : TLP, 11, pp. 208, 290.

PHILOSOPHICAL DEITIES

Colour-Green Symbol-Vajra

Arms-Two on Lotus

The eighth goddess in the series is Up'ayap'aramitH who has been described in the NispannayogHvali thus : "Upiiyap'aramitI priya~gu6y'am~ pitapadmasthavajrabh~t." NSP, p. 16 "UpZyapHramit5 is green like the Priyahgu flower and holds in her left hand the Vajra on a yellow lotus". The right hand carries the CintHmaqi banner as usual. Her statue is found in China '

9.

PRANIDHANAPARAMI TA
Arms Two an Lotus.

Colour -Blue Symbol-Sword

PraqidhHnapiiramit is the ninth in the series of the PHramit5 group o f goddesses, and her form has been described as under : "Praqidhiinap'aramit'a nilotpa1avarr;l'a ni10tpalasthakhad~adharH". NSP, p. 56 "Pragidhlnap'aramit'i is of the colour of the blue lotus, and she holds in her left hand the sword on a blue lotus". The right hand as usual displays the C i n t I m a ~ banner. i Her statuette is found in China ? Fig. 220 illustrates this Chinese statuette. lo. BALAPARAMITA Colour-Red Arms-Two Sym bol-Manuscript Balap'aramitli is the tenth goddess of the PHramit5 group and her form has been described thus : "Balap'iramit'i rakt'a PrajiiHp5ramit'apustakadhar'a". NSP, p. 56 "Balap'iramit5 is red in colour and holds the book Praj'l5pHramitH in her left hand". The right hand as usual holds the Cinttmagi banner. Her statue is found in China $.
- . ----.

1 . p. 117. She i s kno nn here by the name of Up~yrkaudalya 1. Clark :TLP, 1 PPramitS. 2. Clark :TLP, 11, p. 1 17. 3. Clerk : TLP, !I, pp. 196.3 11.

BUDDHIST ICONOQRAPHY

Colour- White Sym bol-Bodhi

Arms-Two Tree

"JiTBnapiiramitP is the eleventh in the series of the PgramitP goddese ses, and her form has been described as : ' i t "JEiinapiiramitP iubhrii nPnHratnaphaliilankrta-Bodhik~ksadharB." NSP, p. 56 "JZiiniipHramiti is white in colour and holds i n her left hand the Bod111 tree which is adorned with various kinds of jewels and firuits"; The right hand displays the Cintimaqi ,banner as usual. A statue of this goddess is found in China ' . . ,-, .

,.,

Colour-Variegated Symbol-Vibvavdjra

Arms-Two on Lotus

VajrakarmapHramitii is the twelfth and the last of the group of Pirami~H goddesses and her form has heen described thus in the DharmadlGituv~gikvaraMacdala : "VajrakarmapiiramitE v i i v a v a r q ~ nilotpalastha-vikvavajradhar8". NSP, p. 56 "Vajrakarmap~ramitPis of vanegated colour and holds in her left hand the Vikvavajra (double thunderbolt) on a blue lotus". banner. The right hand as usual holds the CintZima~i

(11) TWELVE

VASITA

GODDESSES

The Valitis accordZg t o Buddhism, are the controls o r disciplines which lead to the spiritual rrgneratibn of its followers. The Vajrayinists recognized twelve VaQitPs, each with a special name and conceived them in the form of deities with heads. arms, weapons and special symbols. These Vaiitiis are collectiv;ly k k e n t o be the spintual daughters of the DhyHni Buddha AmitPbha. Below is given a goddesses in the same order i,n which description of the twelve V a k i t ~ they appear in the Dharmadh~tuvigikvara Maqdala of tfie Nispa&nayogiivali. The description of the Vaiitii goddesses is n o t found in the existing original literature and thus it is of unusual inter&&.' Their iconographic interest btcomes all t h e more attractive since in China there are statuettes in metal which correctly represent the VaQitii -. -- . - 1. Clark : TLP, 11, p. I t 1 . ,

PHILOSOPHICAL DEITlES

329

goddesses. Statues of these are not found anywhere in India, but their statuettes in the Chinese collection of Buddhist deities at Peiping are illustrated in the Two Lamaistic Pantheons of W. E. Clark.
1. AYURVASITA Colour-Whitish Red Arms-Two Symbol-Image of Buddha

The twelve VakitZ goddesses are described collectively as two-armed, holding in their right hands the lotus and in the left proudly bearing their special symbols. (cf. Dv~daka-vakitii dvibhujs daksi~eniimbhojabhrto viimena sagarvalin svasvacihnadhariih, op. cit p. 56). ?iyurvabit~ is the first goddess of the series and her form has been described thus : "AyurvaLit~ sitaraktavarg'd padmatHgama~;listhasamZdhimudraAmitByur-BuddhabimbadharE." NSP, p. 56 "Ayurvasit'd is whitish red in colour and holds in her left hand the image of the Buddha Amit'd~usin the SamEdhi mudr'd on the PadmarZgH jewel . The right hand displays the lotus as in a11 other VaiitE deities. Her statue is found in China ' .

2. CITTAVASITA Colour-White Arms-Two Sym bol-Vajra

The second goddess in the series is Cittavakit'd, who has been described as : "CittavaSitZ sitii raktapa5casiicikavajradharl" NSP, p. 56 "Cittavaiit~is white in colour and holds in her left hand the red Vajra with five thongs. The right hand as usual holds the lotus. Her image is found in China 2.

3.

PARISKARAVAS~TA

Colour-Yellow Arms-Two Symbol-CintHmagi Banner

The third in the series of Vakitii goddesses is Pariskgravakitii who is described in the Dharmadh~tuviigiivara Magdala in the following words : NSP, p. 56 "Parigk'irava$it~pits Cint'amagidhva jadharH".
---1. Clark ; TLP,11, p. 136 2 . Clark : TLP, 11, p. 136

42

330

BUDDHIST ICONOGRAPHY

"Pari~ktiravakit~ is yellow in colour and holds in her left hand the CintHmaqi banner". The right hand displays the lotus as usual. Her statuette is found in China l .

Colour-Green Arms-two Symbol-Viivavajra The fourth in the series of Vakitf goddesses is KarmavakitH who is described in the DharmadhZtuvZgiivara Magdala as under : NSP, p. 56 "Karmavakit~iharitii vibvavajradhar~" "KarmavaQit~is green in colour, and holds in her left hand the Viivavajra (double crossed thunderbolt). The right hand displays the lotus as usual. Her statuette is found in China 2.

Colour-Mixed Arms-Two Symbol-Creepers The iifth goddess in the Vabitii series is UpapattivabitZ who is described in the text as follows : "UPapattiva6itZi vi6vavarqH vividhavar~aj~tilat'ahastp." NSP, p. 56 "UpapattivaiitH is of variegated colour and holds in her left hand various kinds of creepers of variegated colour." The right hand displays the lotus as usual. Her statue is found Fig. 221 illustrates this Chinese specimen. in China

Colour-Green Arms-Two Symbol-Sun and Moon on Lotus The sixth goddess in the VaQitiiseries is Rddhivaiitii whose form is described as follows : "Rddhivakit5 nabhabky'imii padmastha-stiryacandra-maqdaladharH." - .--- -----NSP,p. 57 1. Clerk :TLP,11, p. 136
2. Clark :TLP, 11, p. 137
3. Clerk :TLP, 11, p. 133

PHILOSOPHICAL DEITIES

33 1

"Rddhivaiit'i is green as the sky and holds in her left hand the discs of the sun and the moon on a lotus. The right hand displays the lotus as usual. Her statue is found Fig. 222 illustrates this Chinese specimen. in China

'.

7.

ADHIMUKTIVASITA

Colour- White Arms-Two Symbol-Priy ahgu flower The seventh goddess in the same series is Adhimuktivahitii and her form is described in the text as follows : "Adhimuktivahitii m;qPlagaurl priyarigukusumamaZjarIdharP." NSP, p. 57 "Adhimuktivakit~is white like the stalk of a lotus, and holds in her left hand the buds of the flowers of Priyahgu." The right hand displays the lotus as usual. She is not represented m the Chinese collection.

8. PRANIDHANAVA~ITA Colour-Yellow Arms-Two Sym bol-Blue Lotus

The eighth goddess in the series is Pragidh~navahlt~ whose form is described in the following words : NSP, p. 57 PraQidhiinava&it5 pit5 nilotpala-ha st^." "PraqidhPnavahit~ is yellow in colour and holds in her left hand the blue lotus." The right hand displays the lotus as usual. Her statue is found in China ' 9. JG~WAVASITA Colour-Whltish Blue Arms-Two Symbol-Sword on Lotus JiiHnavaQitP is the ninth in the series of V a Q i tgoddesses ~ and her form is described in the text of Nigpannayog'avali as follows : "J'l'anava6it'a sit3 nilotpalasthakhadgadharH." NSP, p. 57 "Ji?~navahitP is whitish blue in colour and holds in her left hand the sword on a blue lotus." The right displays the lotus as usual. Her statue is found in China 3. - --- -- - -. - - . . .
1. Clark : TLP, 1 1 , p. 133 2. Clark : TLY, 11. p. 134 3. Clark : TLP, 11, p: 137

BUDDHIST ICONOORAPHY

Colour-White Symbol-Bowl

Arms-Two o n Lotus

The tenth goddess in the V a h series of goddesses is DharmavaSit'i whose form is described in the text as under : "Dharmava6itH sit5 rakta~argapadmasthabhadra~hatahastii." NSP, p. 57 "DharmavaSit5 is white in colour and holds in her left hand the Bhadraghata (auspicious bowl) on a lotus of red colour." T h e right hand displays the lotus -as usual. A statue of this goddess is found in China '.

I I. TATHATAVASITA Colour-White Arms-Two Symbol-Bunch of Jewels

The eleventh deity in the group of V a h goddesses is Tarhat5 whose form is described in the following terms : "Tathats bvets SvetaSubhr5mbhojabhyddak~igapagir-v~mena ratnamaiijaridhar'a". NSP, p 57 "Tathat5 is white in colour. She holds in her right hand the white lotus and in the left the bunch of jewels." Her statue is found in China 3.

Colour-Yellow Symbol-Discus

Arms-Two on Banner.

The twelfth and the last goddess in the series of Vakitii goddesses is BuddhabodhiprabhH, and her form is described in the Dharmadh~tuviigikvara M a ~ d a l a with the following words : "Buddhabodhiprabhii kanak'ibh'i sa~yenapItapadmastha~aEcas~cikavajradharii viimena Cintiima~;lidhvajopari cakradhar'i". NSP, p. 57 "Bucldhabodhiprabhii is of yellow colour. She holds in her right hand a Vajra with five thongs on a yellow lotus, and in the left the discus o n the C i n t i i m a ~ banner". i
1. Clark :TLP, 11, p. 137 2. Clark : TLP, 11, p. 107
~

.- . -

PHILOSOPHICAL DEITIES

333

1 1 1 1 1G V T G & 3
In Buddhism the Bhiimis are recognized as different spiritual spheres through which a Bodhisattva moves in his quest for Buddhahood and omniscience. They are recognized a s ten in number t o which the Vajray'ina added two t o make it twelve. As the Bodhisattva progresses ic spiritual path, he develops certain special qualities which entitle him to move towards the higher Bhiimis. They are arranged one upon another in a regular order with the last at the top which when reached, makes the Bodhisattva equal t o a Buddha and he attains omniscience. These Bhiimisor spiritual spheres also received the attention of Vajray'ina, and in n o time they were deified, and were given different forms. Statues were prepared and many of them were found represented in China. These twelve Bhiimis are now described in the same order as given i n the Dharmadh'.ruviigibvara Mapdala of the Nispannayogiivali, They are two-armed and hold in the right hand the Vajra and in the left (Dviidakal?hiimayo dvibhujl daksige their own weapons o r signs. vajradhiiripyo v'imena svasvacihnadharlh, p. 55).

Colour-Red Symbol-Red

Arms-Two Lotus

The first of the twelve heavens is the Adhimukticaryii Bhgmi and is : described in the following words in the Nispannayog~vali "Adhimukticaryiibhiimih padmarakts raktapadmadharii". NSP, p. 55 "Adhimukticary'. Bhiimi is of the colour of a red lotus, and holds in her left hand the red lotus". The right hand as usual holds the Vajra which is the common sign of all BhCimi goddesses. She is not represented in the Chinese collection at Peiping.

Colour-Red Arms-Two Sym bol-Jewel The second goddess in the series ' of Bhiimi deities is Pramuditg. Her form is described in the following words : "Pramudit'i rakt'i Cint'imaqibhyt". NSP, p. 55

33 4

BUDDHIST ICONOGRAPHY

"Pramudits is red in colour and holds in her left hand the Cintiimagi jewel". The right hand displays the Vajra which is the common sign. Her statue is found in the Chinese collection '.

Colour-- White Arms-Two Symbol-White Lotus The third goddess in the series of Bhiimi deities I S known as Vimal'i and hex form is described as under : NSP, p. 55 "VimalB Q u k lQukla-kamaladhar~". ~ "Vimal'i is white in colour and holds in her left hand the white lotus". The right holds the common symbol, the Vajra. Her statue is found in the Chinese collection >.

4.

PRABHAKARI

Colour-Red Arms-Two Symbol - Sun on Lotus The fourth goddess in the series of Bhiimi deities is PrabhHkari whose form is described in the following words : "Prabhgkari raktH ~iSra~ada~nasthasiiryamaqdaladharP

NSP, p. 55
"Pr'abh'ikari is red in colour and holds in her left hand the disc of the sun on a lotus". The right hand shows the Vajra or the common symbol. This goddess is represented in the Chinese collection of Peiping 3 .

Colour-Green Arms-Two Symbol-Blue Lotus The fifth goddess in the series of Bhiimi deities is called Arci9mati and her form is described in the Nispannayog'ivali as follows : "Arcigrnati marakatavarnii nilotpaladhar'a". NSP, p. 55
1. Clark : TLP,11, p 123 2. Clark : TLP,11, p. 123 3. Clerk : TLP, 11, p. 123

PHILOSOP.HICAL DEITIES

335

"Arcigmati is of the colour of an emerald and holds in her left hand the blue lotus". The right holds the colnmon symbol. She is not represented in the Chinese collection.

6. SIJDURJAYA
Colour-Yellow Arms-Two Symbol-Emerald The sixth goddess in the series of Bhiimi deities is called Sudurjay~ and her form is described as under : "SudurjayH pit5 utsaAgasthort'inapHgin5 marakatama~idharii". NSP, p. 55 "SudurjayH is yellow in colour and carries an emeraId on her open palm on the lap" The right holds the common symbol, the Vajra. She is not represented in the Chinese collection.

Colour-Yellow Arms-Two Symbol-Manuscript The seventh goddess in the series is called Ahhimukhi. She is described as follows : "Abhimukhi hemavargs padmopari PrajEBpHramit'lpustakadharl",

NSP,

p.

55

"Abhimukhi is of the colour of gold and holds on alotus the PrajEPp'iramit'. manuscript". The right hand displays the common symbol. A statuette of this goddess is found in China '.

Colour-Green Arms-Two Symbol-Double Vajra on Double Lotus.

The eighth in the series of Bhiimi goddesses is known by the name

of DiIrahgam'i and is described as follow7s :

"DBrahgamH gaganakyHmii visvapadmopari viivavajradhar'i".
pep---

NSP, p. 55

1.

Clark :TLP, 11, p. 121

336

BUDDHIST ICONOGRAPHY

"DtirahgamH is green like the sky and holds in her left hand the ViQvavajra(double thunderbolt) on a Vihvapadma (double conventional lotus). The right hand displays the common symbol. A statuette of this goddess is found in China I .

9. ACALA Colour- White Arms-Two Symbol-Vajra on Lotus

The name of the ninth goddess in the series of Bhiimi deities is Acalii whose form is described thus : "AcalZ haraccandr~bh~candrasthapaiicasiicikavajr'ifikitapahkajasya n'ala& sagarvak vibhrati". NSP, p. 52 "AcalE is of the colour of the moon in autumn, and holds with pride in her left hand the stalk of a lotus over which is placed the fivethonged Vajra on the disc of the moon". The right hand displays the common weapon, the Vajra. Her statue is found in China 2 .

lo. SAD HUM AT^

Colour-White Arms-Two Symbol-Sword on Lotus The tenth deity in the series of Bhtimi goddesses is S~dhumat?. Her form is described thus : "Sgdhumati sits IihadgBnkitotpaladharP" NSP, p. 55 "SZdhumat'l is white in colour and holds in her left hand the sword on a night lotus". The righr hand holds the common weapon, rhe Vajra. A statuette of this deity is found in China 3.

Colour-Blue Arms-Two Symbol-Manuscript The eleventh goddess in the series of Bhtimi deities is Dharmamegh'i whose form is described in the following words : "DharmameghH dharmameghaparikalita-Praj5iipHramit8pustakadhar8". NSP, p. 55 - - -- .- - -. --. 1 . Clark : TLP,11, p . 118 2. Clark : TLP,11, p . 118 3. C l a r k : TLP, 11, p. 118

PHILOSOPHICAL DEITIES

337

"Dharmameghii holds in her left hand the Prajiiiipiiramitz manuscript which is composed of the clouds of Dharma".

A statuette of this goddess is found in China this Chinese specimen.

Colour-Red Symbol-Image

'.

Fig. 223 illustrates

A tnis-Two of Amitiibha

The twelfth and the last in the series of Bhiimi goddesses is Samantaprabhg. Her form is as follows : "SamantaprabhZ rnadhylhniidityavar~ii padmopari samyaksambodhisiicaka-Amittibha-Buddha bim badharH". NSP, p. 56 "Samantaprabhi is of the colour of the s u n at noon, and holds in her left hand the image of AmitHbha Buddha which ind~catesPerfect Enlightenment ". The right hand displays the common symbol, the Vajra.

A statue of this goddess is found in China

'.

,lv,

krLzi
-----_.

The Dharmadhltuv~giSvara Ma~Ljlaladescribes another set of interesting deities, twelve in number, called t h e D h ~ r i q l s .InTgntric Buddhism, there is a class of literature which is known by the name of DhHragis, o r D h ~ r i g i s ,and in the Nepal Durbar Library there are collections of D h t i r a ~ lworks called H~haddh~ragisahgraha j . The DhHraQIs are mostly unmeaning strings of words which are required t o be kept in memory, s o that they may be repeated at will for the purpose of developing psyclilc powers. The Dhlraqis sometimes reveal traces of a language now unknown. Several Dhgraqis are recorded in the SHdhanamZ1H ? Nispannayogivali spells the word somewhat differently as Dhiirir?i and recognizes a group of Twelve Dhgriqis. In the process of deification these DhZrigls also became deities with form, colour and s are placed in the family of the symbols. The D h ~ r i 9 i collectively DhyHni Buddha Amoghasiddhi of green colour. When conceived in the form of deities, the D h ~ r i n i sare endowed with one face and two arms. They all hold in their right hand the double thunderbolt o r the Vikvavajra, while in the left they carry their
-- - 1. Clark : TLP, 11, p. 118. 2. Clark : TLP. 11. p. 118. 3. H. P. Snstri, Nepal Catalogue Vol. 11. p. 25 1 ff. 4. Sldhanas, Nos. 21, 23, 41, 116, 147, 150. 216, are all D h ~ r a ~ i s .

----

338

BUDDHIST

ICONOGRAPHY

own special symbols '. T h e form, colour, and special symbols of all the D h ~ r i n deities i are given below in the same order as it appears isvara. in the Nispannayog~vali under the Maqdala of Dharrnadhztm JHg"

Colour-Yellow Symbol-Ears

Arms-Two of Corn

The first in the series is Sumati whose form is described below : NSP, p. 57 "Sunlati pit^ dh~nyamaEjaGdhar8". "Sumati is yellow in colour and holds in her left hand the ears of corn". T h e right holds the common symbol, the Vibvavajra. She is not represented in the Chinese collect~on.

Colour-Red

Arms-Two

S y m b o l - C i n t ~ m a ~ iBanner

Tllc second deity in the series of D h ~ r l ~ goddesses i is Ratnolk7i whose form is described as under : '*Ratnoll\ii raktg CintBn~a~idh\.ajadharZ". NSI-', p. 5 7
"Ratnolks is red i n colour and in her left hand she holds the CintHma~i banner". In the right hand she holds the common weapon, the Viivavajra. She is not represented in the Chlnese collectlvn unlcss some of the deities like Katniigni or Ratnzrcis is a ~nistranslation in Sanskrit from Chinese ?. 3. U,SN'ISAVIJAYA Colour-White Symbol-Jar Arms-Two of Moonstones.

The third in the series of the D h ~ r i n i goddesses is Usr;lisavijay~ who 1s a popular deity in the Buddhist pantheon, and as such, has already been described in a previous chapter. As a D h ~ r i q igoddess, LJsl;lisavijayLi is described as : "Usgisavijayii sit5 candrak~ntamaqi-kaIdahast5". NSP, p. 57 "Llsgisavijayii rs white in colour and holds in her left hand a jar full of Moonstones".
--

-.

--

--

--

1. The relevant text is " D v f d 3 6 n d h ~ r i ~dvibhujfb ~o savyena vi8vavajraG v i b h r ~ ? ~ , vPmena sapnrvam svasvacihnabh~ah. NSP, p. 5 7 2. Clark : TLP, 11, pp. 245, 240.

PHILOSOPHICAL DEITIES
Her right hand displays the Viivavajra, as usual. the Chinese collection .

339

She is k n o u n t o

4.
Colour-Reddish

MART
White Arms-Two

Symbols-Needle and String The fourth deity in the D h ~ r i q series i of goddesses is h,lHri who is described in the following words : "MHri raktagauravar~l sasEtrasiicidharl." NSP, p. 57 "h4lri is reddish white in colour and holds in hcr left hand the needle with string." The right hand holds the common weapon, the Vigvavajra. M ~ r i is not represented in the Chinese collection.

5. P A R N A ~ A B A R ~
Colour-Green Sym bol-Peacock's Arms-Two Feathers

Parqakabnri is the fifth in the list of D h ~ r i deities ~i in the Nlspannayog~vali, and her form is described therein as follows : "Parpa6abari Qyamz mayErapicchadhar~". NSP, p. 57 "Parna&abarI is green in colour arid holds I r l her left hand the peacock's feathers." She is The right harid shouls the common weapon, the Vl;vavnjra popular in all Buddhist countries and several six-armed forms of her hare already been noted 2. The text of the D h ~ r i q is i given in the SHdhanamHIB ;. Parqaiabari images are found In Tibet and China " in fairly large numbers.

6.

JANGUL~
Arms-Two

Colour-White

Sy mhol-Flowers The sixth in the DhlriqT series of goddesses is the well-known deity JBhgulI whose iconogtnphy has been dealt with earlier. As a DhHriQi deity her form is as follows : NSP, p. 57 "J~nguliL u k l ~ vi~apu~pama5iaridhars."

-- - - - --- -. - -- . ~1. Clark : 'I LP, 11, p. 286 2. See Supra 3. Ssdhana No. 150, p 308. 4. A Tibetan specimen of the six-armed form is illustrated in Gordon : ITL, p. 71 ; A two-armed form is illustrated in Clark : TLP,11, p. 287, and in the same volume two six.armed specimens are shown on pp. 207, 287. See also Getty :'GNB, pp. 134, 135.

340

BUDDHIST ICONOGRAPHY

"J'ihguli is white in colour and holds in her left hand buds of poisonous flowers." Her right hand as usual holds the common weapon, the Vibvavajra. She is represented in the Chinese collection and her statuettes have been noted '. The text of the JHnguli DhHraqi is given in the SZdhanamHl'i 2 . J ~ n g u lDhlriqi i is said t o be effective against snake poison.

Colour-Green

Arms-Two

The seventh goddess in the series of twelve D h ~ r i ~ deities i is Anantamukh; whose form is described in the following words : "Anantamukhi ahast8". priyahguLyEmTi rakt~bjasth~kka~a-mahfnidhikalakNSP, p. 57

"Anantarnukhi is green as the PriyaAgu flower and holds in her left hand the jar full of inexhaustive treasures, on the red lotus." The right hand displays the common symbol, the V~hvavajra. She is not represented in the Chinese collection.

Colour- White Symbol-Rosary

Arms-Two with Kamaqdslu

The eighth deity in the series of twelve D h ~ r i ~ goddesses i is the antiqu~ty have already been well-known CundH whose iconography and dealt with in detail in an earlier chapter. As a Dh~riq'i goddess her form is described in the following words : "Cundii hukl'i ak~asiitr'ivalambitakama~daludhar'a".

NSP, p. 57

"CundH is white in colour and holds the rosary from which a Kamapdalu is suspended "
The right hand as usual shows the common weapon, the Vikvavajra. Cund'i is popular in the Chinese collection, and several of her statuettes are found there J. Cundz is also popular in Tibet '.
- -

. . -1. Clark : TLP, 11, pp. 204, 2 17 2. Ssdhana No. 118, p. 247 3. Clark : TLP, 11, pp. 222, 283,284 4. The CundH image in the collection of the late W. B. Whitney is illustrated in Gordon :ITL,pp. 74. I t is a four-armed image. See also Gettg : GNB,pp. 129, 130

PHILOSOPHICAL DEITIES

9. PRAJRAVARDHANI
Colour-White Arms-Two Symbol-Sword The ninth in the series of twelve Dhiirigi goddesses is PrajEiivardhan i whose form is described in the following text : "Prajiigvardhani sitii nll~tpalakhad~adhar'i". NSP, p. 57

"PrajiiEvardhani is white in colour and holds in her left hand the sword on a blue lotus". The right hand as usual displays the common weapon, the Vikvavajra. She is not represented in the Chinese collection.

Colour-Green

Arms-Two

The tenth in the series of twelve DhZripi goddesses is SarvakarmHvaragavikodhani whose form is described in the following words :
'Sarvakarm~varapavikodhani harits

dhar'i".

tristicikava~rHAka-sitakamalaNSP, p. 57

"Sarvakarm~varar;lavikodhan'i is green in colour and holds in her left hand the Vajra with three thongs on a lotus".

The right hand displays the common weapon, the Vibvavajra. She is not represented in the Chinese collection.

Colour-Red

Arms-Tw o

The eleventh deity in the series of twelve Dhf ri?i goddesses is Aksayajii8nakaragd5, whose form is described in the following words : "Aksayajiiiinakaragdii raktii ratnakara~dadharii,'' NSP, p. 57

"Aksayajiiiinakaragdii is of red colour and holds in her left hand the basket full of jewels." The right displays as usual the common weapon, the Vibvavajra. She is not represented in the Chinese collection.

BUDDHIST ICONQGRAPHY

Colour-Yellow

Arms-Two

Symbol-Trunk The twelfth and the last deity in the-series of twelve D h g r i ~goddesi ses is Sarvabuddhadharma-KosavatS whose form is described in the following text :

"Sarvabuddhadharmako~avatipit~ padrnasthangn'aratnapeSakadhar5." NSP, p. 57 "Sarvabuddhadharma-Kosavati is yellow in colour and holds in her left hand the trunk full of various kinds of jewels o n a lotus".
The right hand displays the common weapon, the Viiva\,ajra. She is not represented in the Chinese collection.

In Buddhism Four Pratisahvits are acknowledged as the branches of logical analysis, and these are named as Dharma (nature), Artba (analysis), Nirukti (etymological analysis) and PratibhEna (context). These abstract ideas also received the attenti011 of the Vajrab Hnists and were duly deified with human form, colour, weapon, and symbols. In a deified form these four Pratisalinvits are found described in the Dharmadh~tuv~giSvar M aa~dala o f the Nispanna),og~vali. These are described below with necessary details in the same order in which they appear i n the Maqdala.

Colour-Whitish

Red

Arms-Two and Noose

Symbol-Goad

The first in t h e series of Pratisalinuit deities is Dharma Pratisahvit whose form is described in the text as follows : "Purvadvgre Dharma-Pratisahvit sltarakt'i v a j r ~ h k u k a ~ ~ i a b h ~ d bhujadvayB". NSP, p. 57 "On the Eastern gate there is Dharma Pratisamvit of whitish red colour, holding in her two hands the goad and the noose marked with the thunderbolt".

A statue of this obscure Buddhist deity is found in the Chinese collection l .

. - -. . - 1. Clark ; TLP, 11, p. 134.

-

" A

PHILOSOPHICAL DEITIES

2. ARTHA PRATISA

WIT

Colour-Green Arms-Two Symbol-Noose The second goddess in the series of four P r a t i s a ~ v i tdeities is 4rtha Pratisahvit whose form is described thus in the text : "Daksiqe Arthapratisarbit marakatavarpz savyetarabhujll~hyZxb ratnap54ahhrtW. NSP, p. 57 "In the South, there is Artha Pratisamvit of the colour of an emerald and holding in her two hands the jewel and the noose. -4 statuette of this obscure Jeity is found in tlle Chinese collection '.

Colour-Red Arms-Two Sym bol-Chain T h e third in the series of four goddesses of the Pratisali~vit group is Nirukti Pratisaxbvit whose form is described ill the test as follows : "Pa.hrntt Nirukti-I'mtisa61vit raktl l ~ a d d h a p a d m ~ n t o ~ y h l i l ~ a l a bh~dbhuiadvayZ1'. NSP, p. 58 "In tlle West there is Nirkuti Pratitarhit of rcd colour, holding in her two hands the chain from which a lotus is suspended". A stztuette of this ohscure delty is found in the Chinese collection Fiq. 224 illustrates this Chinese speci~nrn. of Yeiping

'.

Colour-Green Arms-Two bgmbol-Bell The fourth and the last goddess in the series of Four Pratisahvit delties of the Buddhist pantheon is described in the DharmadhltuviiMandala in the following words : '.Uttare Pratibhgnapratisahvit ghanflvyagra karadvay 5". rnarakataBy~m8trisGc1A;va jrgrikitaNSP, p. 58

"On the North there is PratibhZ~laP r a t i s ~ f i v i t of the colour of an emerald (green), holding in her two hands a bell marlied with n Vajra with three thongs" A statuette of this extremely obscure deity is found in tile Chinese collection at Peiping +. Fig. 2 2 5 illustrates this Chinese statuette.
-.
.

- .

Clark: TLP, 11, p 134 2. Clark : TLP, TI, p. 134 3. Clark : TLP, 11, p. 135
1.

CHAPTER
HlNDU GODS IN VAJRAYANA It is not a fact that Hindu gods were unknown in the Buddhist pantheon or that the Buddhist pantheon wholly consisted of Buddhist gods. It is already well-known that several Hindu gods especially Sarasvati and G a ~ a p a t i were given independent forms as principal gods in the SPdhanas, besides a large number as companion deities or as Viihanas o r vehicles of important Buddhist deities. They were also given humiliating roles t o be trampled upon hy angry Buddhist gods. A perusal of the Nispannayog~vali and especially the Dharmadh~tuvH~Qvara Magdala will show what a large number of Hindu deities was incorporated in the Magdala, and how this large number was tackled intelligently and fitted into the scheme of the Buddhist Magdalas. How these Hindu gods were classified and how directions and colours were assigned t o them, and how they were put under a DhyPni Buddha family, represent a study interesting to the extreme. It is necessary t o make a brief reference t o this aspect of Buddhist Iconography. That these Hindu deities were fully converted t o Buddhist Faith is also evidenced by the fact that a large number of their statuettes is actually found in the purely Buddhist atmosphere of China in the Chinese collection of statuettes at Peiping. The collection although exists in China, its spirit is perfectly Indian, as image after image follows the description given either in the Nispannayog~valior in the SHdhanamiil'i. Several series of Hindu gods are found in the Buddhist pantheon and they are described below under appropriate heads with relevant quotations. Amongst the Hindu deities incorporated into the Buddhist pantheon, three deities appear t o be of great importance. These are MahHkPla the proto-type of Siva MahHdeva with the Tri6tila as the recognition symbol, Gaqapati the elephant-faced god, and Sarasvati the Goddess of Learning with her characteristic Vig'i. Separate S'idhanas are assigned t o all of them, and even independent shrines for them are not wanting in the Buddhist countries of the North. 1. MAHAKALA In the S'idhanam'ilii as well as in the Nispannayog~vali there are several descriptions of the ferocious Hindu god, Mahiik'ila. He has

HINDU GODS IN VAJRAYANA

345

been given a variety of forms in these two works. He may have one face with two, four o r six arms, or eight faces uith sixteen arms. He is one of the rnany terrible deities of the Buddhist pantheon with ornaments of snakes, canine teeth, protruding belly and garment of tiger-skin. The different forms of MahSkSla are descrltred be lo^ .

(1) TWO-ARMED
Colour-Blue Symbols-Kartri Arms-Two and KapHln

A t least six S ~ d h a n a s in the SBdhanamBlS describe the two-armed variety of Mah'ikHla. O n e among them is quoted here.

"Sri-~ahlkBlabha~~~raka dvibhulam h ekamuhhilri~ kysnavarnari~ trinayanam mahljjv8lam kartrikapaladhiiri~arhdaksinaviimabhuj'it.h)~m mur;ldam'il~la~kytorddh~~apihgalake~oFari paZcakapiiladhara61 darhstrsbhimabhaygnakarh bhfijahgBbharaqayajCopa\ritafi kharvariipari) sravadrudhiramukhafi ItmBna61 jhayiti nlsy'idya.. ". SBdhanamllii, p. 585. "The worshipper should concelre himself as 6ri Mahfikiila BhattSraka who is two-armed and one-faced and has blue colour. He is threeeyed, has fiery radiance, and carries the Kartri and the h-apsla in his right and left hands respectively. He bears five sLulls o n his hrown hair which rises up o n his head and is decorated with a chain o f severed heads. He looks terrible with hare fangs, and is decked in ornaments of serpents and a sacred thread made o u t of a snake. He is short and from his mouth trickles forth blood. Thus quickly meditating.. . ". Instead of the Kartri, MahlkBla carrles the TriiCiIa in his right hand in some cases. Images of Mah'ik'ila abound In Nepal and are found in large numbers in Buddhist temples, monasteries and even in the streets. Sometimes the head onlv 1s represented. Fig. 226 illustrates one of the finest specimens of Mahgk'ila Eeloniog to the collection of Pandit Siddhiharsa VajrPcBrya of Nepal. Here the god tramples upon two figures representing two human corpses as required by the SPdhana. He weilds the menacing Kartri in the right hand and the Kapsla full of are also found in abundance in blood in the left. Images of MahHk~la Tibet and China 2.
--. .. .
~

-. .

.. --

-- - - - -- --

---- --- - - - -

1. Gordon: ITL, p. 90 In which four images of Mahikela are represented. See also Getty : GNB, PI. XLIX where four more illustrations are available. 2. Clark: TLP, 11, pp. 101, 299, 301 and 75

44

BUDDHIST ICONOGRAPHY

(11) FOUR-ARMED

Colour-Blue

Arms-Four

Symbols-Kartri and Kapsla, Sword and Khapiifiga When four-armed he resembles the two-armed one in all details except in the number of arms and the symbols he displays in his hands. Here he carries the Kartri and the KapEla in the first o r the principal pair of hands,and the sword and the Khatvgriga in the second pair. (111) SIX-ARMED Colour-Blue Arms-Six Symbols-r. Kartri, Rosary, Damaru 1. Kap'ilg, h l a , Vajrapiisa When six-armed the form of MahZikHla resembles the two-armed variety already described, with the difference that here he has six arms carrying six different symbols. In his six hands he exhibits the Kartri, the rosary and the Darnaru in the right and the Kapala, the $tila and the Vajrap'iba in the left. (IV) SIXTEEN-ARMED Colour-Blue Faces-Eight Arms-Sixteen Legs-Four

When sixteen-armed, he is eight-faced and is represented in yaboyum Z in the embrace of his Sakti, and whpt is really strange, he is also fourlegged. The Siidhana describes his form in the following words : "Atm~narhBhagavantarh sodasabhuja-Mah~k~lah bhiivayet ; astavadanah caturvihiatinetrarh catuscarqam sodakabhujarh ; daksipakaraih kartri-vajra-gajacarma-mudgara-triQ'ila-, v'imakaraih raktap~r~akap'ila-gajacarma-ghaqf~-ahkuia-ivetac~mara-damaru-nara~iro dadhznam Qesabhujgbhy5m Pra jiiiilihgitah ; kharvakrapam hHh'ihihi. hehepcritamukharh mah'iraudrarh trikByHtmakarh paZca-Buddhamukutinah naramu~dam'il'ibharapahbhayaspiipi bhayahkarah". Siidhanamiilz, p. 598 "The worshipper should conceive himself as sixteen-armed Mah'ikHla with eight faces, twenty-four eyes, four legs, and sixteen arms. He carries in his (seven) right hands the Kartri, the Vajra, the elephanthide, the Mudgara, the TriiTila, the sword and the staff of Yama, and in the (seven) left hands the Kap'ila full of blood, elephant-hide, the bell,

HINDU GODS IN VAJRAYANA

347

the goad, the white chowrie, the Damaru and the human head. The two remaining hands are engaged in embracing the PrajZP. He is short and blue in complexion, utters laughing sounds, such as h'. h'a, hi hI, he he, and looks terribly fierce. He is the essence of the Three Kiiyas, bears the images of the five Dhyiini Buddhas on his crown, is decked in garlands of heads as ornaments, and is more awe-inspiring than Awe itself." The Sldhana further adds that MahlkHla should be surrounded by seven goddesses, three in the three cardinal points, (the fourth being occupied by his own Sakti) and the other four in the four corners. T o the East is MahBmiiyP, consort of Mahekvara, who stands in the Alidha attitude and rides a lion. She has four arms, of which the two left hands carry the Kapiila and the Damaru, and the two right the Kartri and the Mudgara. She is blue in complexion, has dishevelled hair, three eyes and protruding teeth. T o the South is Yamadiiti, who is of blue complexion and has four arms. She carries in her two right hands the staff of lotus stalk and the Kartri. and in her two left the bowl of blood and the fly-whisk. She stands in the Alidha attitude on a buffalo and has dishevelled hair. T o the West is Khladiiti, who carries in her two left hands the KapHla and the Cow's head and in the two right the Mudgara and the Trikiila. She stands in the Alidha attitude on a horse, has red complexion and dishevelled hair. All these deities are terrible in appearance, with protruding teeth and ornaments of serpents. The four corners are occupied by the following goddesses. Kglik'a in the SE corner is blue in complexion, has two arms carrying the KapHla and the Kartri, and stands on a corpse in the Alidha att~tude. CarcikH in the SW corner has red complexion, carries the Kartri and in all other respects. the Kaphla in her two hands and resembles K'al~kz Cagdehvari in the NW comer has yellow complexion, carries in her two hands the grass and the deer, and stands in the Alidha attitude on a corpse. Kulihehvari in the NE corner has white complexion, carries the Vajra and the staff, stands in the Alidha attitude on a corpse. These four deities are nude, and look terrible with bare fangs, three eyes and dishevelled hair. Surrounded by all these deities MahHkHla should be meditated upon as trampling upon Vajrabhairava in !he form of a corpse. MahlkZla is a ferocious god who is generally worshipped in the THntric rite of M'arapa and for the destruction of enemies. MahiikZla was also regarded as a terrible spirit, and was calculated to inspire awein

348

BUDDHIST ICONOGRAPHY

the minds of those Buddhists, who were not reverential to their Gurus, and did not care much for the Three Jewels. He is supposed t o eat these culprits raw, and the process of eating has been minutely described in almost all the SHdhanas. T h e S'idhanas generally contain the following verses in order t o show the terrible nature of MahHk'ala : AcHryye yah sad3 dvesi kupito Ratnatrayepi yah 1 AnekasattvavidhvarhsT Mah'akHlena kh'adyate 11 Cchedayet svHngam'a~s'ani pivedrudhiradh'arayii I Sirasi viniveSyaiva tilamztraiica k'arayet I1 S'adhanam~l'a, p. 586 "He who hates his preceptor, isadversely disposed to the Three Jewels, and destroys many animals is eaten u p raw by MahGkHla. He, (MahHkHla) cuts his flesh t o pieces, drinks his blood, and (after) entering into his head breaks it into small bits."

2.
Colour-Red

GANAPATI Arms-Twelve

V'ahana- M ouse A s a n a - ~ a n c i n ~in Ardhaparyanka Only one Sgdhana in t h e Siidhanam'ilH describes the form of Gaqa. pati. He is twelve-armed and one-faced and rides his favourite VPhana, the Mouse. The Dhy'ana describes him in the following terms : "Bhagavantarh Gaqapatih raktavarcah jat'amukutakiritinah sarv'abhara~abhiisitarh dv~daiabhujam lambodaraikavadanam ardhaparyankatzndavah trinetl-afi api ekadantam savyabhujesu kuthzra-Bara-ahkuiavajra-khadga-kilaiica ; vHmabhuje~u m@ala-&pa-khayv'ihga asrkkapzlaphatkaiica raktapadme miisikopari sthitah iti" SHdhanamHl'a, pp. 592-593 "The worshipper should concieve himself as god G a y p a t i of red complexion, bearing the JayHmukuta, decked in all ornaments, having twelve arms, a protruding belly and one face. H e stands in the Ardhaparyahka in a dancing attitude, is three-eyed and has one tusk He carries in his right hands the Kuih'ira, the arrow, the goad, the Vajra, the sword and the h a , and in his left the MByala, the bow, the Khay vHAga, the KapHla full of blood, the KapHla of dried meat and the Phatka. He rides the mouse o n a red lotus." Fig. 227 is an Indian image of the four-armed G a ~ a p a t iwhich is described later in this chapter. This image is in the possession of Dr. Moghe of Khar, Bombay. Fig. 228 is another image with twelve

arms in the possession of the Dowager Maharani Chimanabai Gaekwad of Baroda. Both the pieces are Buddhist in character. Gaqapati images are also noticed in China

' and in painted

banners

of Tibet.
3. GANAPATIHRDAYA
Asana-~ancing MudrPs-Abhaya Arms-Two and Varada

Like Gagapati himself Gapapatihrdayl who is in all probab~lityis his Sakti o r female counterpart, cannot he easily assigned to any particular DhyHni Buddha. Her form is described in the Dharmakosasahgraha of Amrtiinanda in the following words : "Gagapatih~dayHekamukhl dvibhujii varadg a b h a y ~ n~tyiisanii". Dharmakosasahgraha, Fol. 43 "Gagapatihyday'. is one-faced, two-armed, exhibits in her two hands the Varada and Abhaya poses, and shows the dancing attitude ". Fig. 229 illustrates a miniature in the possession of Dr. W. Y. EvansWentz.

4.

SARASVATI

Sarasvati is the name of an ancient river now filled u p by the sands of Rajputana on the banks of which the Vedic Aryans originally settled after their migration t o India. As the banks of the river were occupied by the Vedic Aryans who composed many hymns, and were the scene of many sacrifices, the river was, later on, in the PaurPnic age deified as the the Goddess of Learning. The Buddhists borrowed this Hindu goddess, incorporated her bodily into their pantheon in the TPntric age when she was equally popular with the Hindus and the Buddhists, and modified her form in various ways. The Buddhist Sarasvati may have one face with two arms, o r three faces and six arms. When two-armed, she has four different variations. As her worship is widely prevalent among the Buddhists owing to the belief that like Maiiju&i and PrajZPpiirarnitP, she confers wisdom, learning, intelligence, memory, etc. a comparatively large number of S'idhanas is assigned to her in the Sndhanamll'i.

Symbols-r.

Varada Mudr'. ; 1. Lotus. Colour-.White

She has white complexion, shows the Varada pose in the right hand
-.

- - -

..

-.

1. Clark : TLP, 11, p. 153

350

BUDDHIST ICONOGRAPHY

and carries the white lotus in the left. The Dhygna describes her form in the following terms : "Bhagavatirh Mah'isarasvatirh anuvicintayet iaradindukariik'ir'am sitakamalopari candramagdalasth'ah ; daksigakarega varHdHrh, vHmena san'ilasitasarojadharHrh smeramukhirh atikarugf may5x-k ivetacandanakusumavasanadhar'ih m u k t 8 h 8 r o p a ~ o b h i ~ a h ~ d an'in~ratniilahkiiravatlm y~rh dviidakavars~k~tirh muditakucamukuladanturorasta~irh sphuradanantagabhastivyCih'avabhHsita10katrayHh.~~ S ~ d h a n a m B lp. ~ , 329 "The worshipper should think himself as goddess Mah~sarasvati, who is resplendent like the autumn moon, rests on the moon over the white lotus, shows the Varada mudrz in her right hand,acd carries in the left the white lotus with its stem. She'has a smiling countenance, is extremely compassionate, wears garments decorated with white sandal flowers. Her bosom is decorated with the pearl-necklace, and she is decked in many ornaments ; she appears a maiden of twelve years, and her bosom is uneven with ha If-developed breasts like flower-buds ; she illumines the three worlds with the immeasurable light that radiates from her body." This is the general appearance of Sarasvatl, and all the other varieties, unless otherwise stated, are identical in appearance with the one just described. The distinctive feature of this goddess MahBsarasvati is that she shows like the ordinary T'irgs the Varada mudrH in the right hand and carries the lotus in the left (Fig. 230), and is surrounded by four deities identical in form with herself PrajCB is in front of her, MedhH t o her right, Smrti t o her left, and Mati in the west. These four divinities may also accompany other varieties of Sarasvati. As the Sadhana is silent about the particular Asana, she may be represented in any attitude, sitting or standing. SarasvatI is a popular goddess both in Tibet and China ' where she is widely represented.

Colour-White

S m boI-Viq8

Vajravig'i Sarasvati like Mah'isarasvati is also white in complexion, peaceful and benign in appearance. She is also two-armed but the distinguishing feature in her case is that she carries in her two hands the VIQH, a kind of stringed musical instrument, and plays upon it. She 1. Gordon, ITL,pp. 72, 88 ; Getty : GNB, pp. 127, 128
2. Clark : TLP,XI, pp. 173, 181

HINDU GODS IN VAJRAYANA

35 1

may also be represented as accompanied by the four divinities as in the previous case. Fig, 231 illustrates her statuette at Peiping. (111) VAJRASARADA Symbol-r. Lotus ; 1. Book According to the Dhy'ina in the SHdhanamHlH she rests upon a pure white lotus, and a crescent decorates her crown ; she is three-eyed and two-armed and carries the hook in the left hand and the lotus in the right. The accompanying illustration (Fig.232) shows how she is pictured by Nepalese artists. She may, however, be accompanied by the four attendants, PrajEH and others. As the Siidhana is silent about the Asana, she may have any attitude. The Nalanda image (Flg. 233) which has been identified as Kotiiri (?) is probably a stone representation of this goddess. V a j r a b r a d ~ here sits in Bhadr~sana, as d o her companions. All the figures in the group are mutilated, but at least one among them carries the Utpala and the book, in the right and left hands respectively.

(IV) AKYASARASVAT~ Symbol-PrajSHpHramitH on Lotus

Arya Sarasvati is another variation of Sarasvati, and is also designated Vajrasarasvatl, which seems to be the common name of Sarasvat; of the Vajrayznists. She appears a maiden of sixteen, is in the prime of youth, has white complexion, and carries In the left hand the stalk of a lotus on which rests the Praj5HpiiramitTi Book. The DhyZna is silent about the symbol carried in the r ~ g h hand, t which may o r may not remain empty. The Asana also is not mentioned which shows that she may be represented in any attitude.
Fig. 234 illustrates a Nepalese drawing of Arya-Sarasvati.

(V) VAJRASARASVAT~ Faces-Three Arms-Six Asana-Pratyiilid ha The name Vajrasarasvati is given t o this goddess in order to distinguish her from the other four varieties of Sarasvati, with four different names given in the S'idhanas. It has already been said that Sarasvati has a form with three faces and six arms. In all other respects her form is identical with that of Mah~sarasvati. The difference here is that her hair is brown and rises upwards, and she stands in the Pratyadha

352

BUDDHIST ICONOGRAPHY

attitude o n the red lotus. Three Siidhanas in the Siidhanamiilz are assigned t o her worship, and according t o these, she is red in colour, with the right and left faces of blue and white colour respectively. She carries in her three right hands the lotus o n which is the Prajc'ipiiramitii Book, the sword and the Kartri, and in the three left t h e KapPla of Brahmii, the jewel and the Cakra. Instead of the book o n lotus and Brahmakapiila she may also hold the lotus and theKapZla only. Fig 235 illustrates ii Nepalese drawing belonging to the latter variety.

5. THE EIGHT

DIKPALAS

The eight Dikpiilas o r the Lords of the Eight Quarters are described in the Dharmadhiit~vii~ihvara Magdala and other places in the Nispannayogzvali. They are the Lords o r rather the embodiments of the four principal directions and the four intermediate corners, and resemble the Yamzntaka group of deities of the Buddhists. Their forms are described below in the same order as they appear in the Dharmadhiituviigi~vara Mandala. Here only one typical form is given, although there are many more, e\.en with their female counterparts.

(I) INDRA
Colour-Y ellow Vehicle-Elephant Arms-Two Direction-East

The first in the series of Eight Hindu gods of direction is Indra who presides over the Eastern quarter. His form is described as follows : " A i r i i v a t i i r ~ ~ h aIndrah h pito vajrafi stanam ca dadhznah." NSP, p. 61 "Indra (of the east) rides o n the AirPvata elephant and is yellow in colour. H e holds in his two hands the Vajra and the breast of a woman.'' Under the name of 6akra he appears in the Chinese collection I . Fig. 236 illustrates his Peiping image. (11) YAMA Colour-Blue Arms-Two Vehicle-Buffalo Direction-South The second in the series of eiglit deities of direction is called Yama here as we11 as in Hindu scriptures. Yama is described in the following words : "Yiimy'axh Mahise Yamah krsgo yamada~da5~labhyt." NSP, p. 61 --- - - - - .
-

- - --

.. -

--

--

.-.

--

1.

Clark : TLP, 11, pp. 89, 178

lcd
; h rg

26
5 .*

1.5

=
a ,

0" . c U

Fig. 224 Nirukti Pratisahvit ( Peiping)

Fig. 225 Pratibhina Pratisamvit ( Fe iping )

Fig. 226 Mahlkiila ( Peiping)

HINDU GODS IN VAJRAYANA

361

"In the south, there is Yama riding on a Buffalo. He is blue in colour and holds in his two hands the staff of death and the h a " . Yama, the God of Death is fairly popular in Tibet where his images are found l . (111) VARUNA Colour-W hite Arms-Two Vehicle-Crocodile Direction-West The third in the series of gods of direction is Varuqa whose form is described in the text as follows : "VHruge makare Varugah Svetah saptaphano n~gap~iakankhabhyt." NSP, p. 61 "In the west there is Varuqa riding on a Crocodile. He is white in colour and has seven hoods. He holds in his two hands the noose of snake and the conch". under the title of His statuettes occur in the Chinese collectior~ Varuga (deva) 2. (IV) KUBERA Colour-Yellow Arms-Two Vehicle-Man Direction-North The fourth deity in this series is Kubera of the North and his form is described in the text as follows : "KauberyHrh nare Kuberah supitohkuBagad5dharah." NSP, p. 61 "In the north, there is Kubera riding on a man. He is of deep yellow colour and holds in his two hands the goad and the Gadii (mace)". Kubera is fairly well represented in Tibet $. (V) %ANA Colour- W hite Arms-Two ~irection-iQ5na Vehicle-Bull The fifth in the series of gods of direction is iS?ina the Lord of the k n a corner, and his form is described in the following words : AikHny5$ Vr~abh'iriidhah i61nah trif~laknp'ilapiiqi h jaygrdhacandra. dharab sarpayaj5opaviti nilakaqyhah." NSP, p. 61 -. . . . -. . . . . . - - - - - .-.1. See for instance Gordon :ITL, p. 90 ; also Getty : GNB, PI. XLVII,a and b. 2. Clark :TLP, 11, pp. 98, 178
3. See for instance Gordon : ITL, p. 90 also Cetty :GNB, plate LII, b

46

BUDDHIST ICONOGRAPHY

"In the f h a corner there is k i n a riding on a Bull. He is white in colour and holds in his two hands the TriBiila (trident) and the KapHla (skull-cup). On his matted hair appears the half-moon, on his body a sacred thread of serpent and his throat is blue." As I6Pna he is not represented in the Chinese collection. (VI) AGNI Colour-Red Arms-Two Vehicle-Goat Direction-Agni The sixth in the series of direction gods is Agni the. Lord of the Agni comer. His form is described thus : "AgneyyPm Cchsge'gnih raktah bruvakamaqdaludharah." NSP, p. 61 "In the Agni corner there is Agni riding on a Goat. He is red in colour and holds in his two hands the 6ruva (ladle) and the Kamaqjalu (water bowl)." As Agnideva his forms occur twice in the Chinese collection '. Fig. 237 illustrates one of the two statuettes from Peiping.
,

(VII) NAIRRTI Colour-Blue Arms-Two Direction-Nairrta corner Vehicle-Corpse The seventh direction god is called by the name of Nairrti who presides over the Naitrta corner. His form is described in the text as follows : "NairytyHrh R'iksas'idhipo Nairytih nilah 6ave khadgakherakabhyt." NSP, p. 61 "In the Naiqta corner there is the Lord of the Riiksasas (goblins) called Nairrti who is blue in colour and rides on a corpse. In his two hands he holds the sword and the Kheraka (stick)". He is not represented in the Chinese collection. (VIII) Colour-Blue Vehicle-Deer

VAYU
Arms-Two Direction-V'ayu.

The eighth and the last deity in the series of direction gods is called Vgyu the Lord of the VZyu corner. His form is described thus : "V'ayavy'atb mhge V'iyurnilo v'itapupdharah". NSP, p. 61 --- 1. Clark :TLP, 1 1 , pp. 87, 65

HINDU GODS IN VAJRAYANA

363

"In the V'ayu corner there is Viiyu riding on a Deer and blue in colour. In his two hands he shows the V'ataputa" (empty fold). Under V'iyudeva his statuette occurs in the Chinese collection l . Fig. 238 illustrates this image.

6 . TEN PRINCIPAL HINDU DEITIES In the BrahmH group there are ten deities. They are popular in India and their statuettes occur in the Chinese collection, Their appearance in the Buddhist pantheon is almost the same as we find them described in the Pur'i~as and T'intric works of the Hindus. The gods of the Brahm'i group are described with typical examples in the same order as they appear in the Dharmadh~tuv'i~i6vara Mapdala of the Nispannayog'avali. (I) BRAHMA Colour-Y ellow Arms-Four Vehicle- Swan The first among the ten gods of this list is Brahm'i. His form is given in the following text : "Hahse BrahmH pitakcaturbhujah aksasiitr'ihjabhyt-savyetar'abhyHIfi k~t'iiijalir-dagda-kamagdaludharay. NSP, p. 61 adon a Swan appears BrahmH of yellow colour with four arms. With the two principal hands carrying the rosary and the lotus, he displays the Aiijali (clasped hand) m u d r ~ ,and the two other hands carry the staff and the Kamagdalu". Three statuettes of his occur in the Chinese collection '. Fig. 238 illustrates one of the three.
(11) VISNU Arms- Four Vehicle-Garuda The second god in this series of ten principal gods of the Hindu pantheon is called Visgu. His form is described as under : "Garude Visgus-caturbhujah cakrasalikhabh~tsavyav'am'ibhy'im miirdhni k~t~iijalir~gad'ak~rngadharah". NSP, p. 61 "On a Garuda there is Visqu with four arms. With the two principal hands carrying the Cakra and the Sahkha he displays the Aiijali on his head. With the two others he holds the Gad5 (mace) and the bow". Two statuettes of Vi$gu occur in the Chinese coliection - -. - -- -. -- .I. Clark :TLP, 11, p. 181 2. Clark :TLP, 11, pp. 100, 156, 179 3. Clark :TLP,11, pp. 98, 156.

BUDDHIST ICONOGRAPHY

(111) MAHESVARA Colour-White Arms-Four Vehicle-Bull The third in this series of ten principal gods of the Hindus is MaheSvara. His form is described thus : "Vygabhe Mahedvarah sitah kaSikanak'ahkitajat'imuku;aQ+catur NSP, p. 62 bhujah Birasi kyt'a5jalis-trib~lakap'alabhyt". "Mahekvara sits on the Bull, and is white in colour. His crown of matted hair is beautified by the moon. He is four-armed. With the two principal hands he displays the Airjali over the head, and with the two others he carries the Triilila and the Kapgla". One statuette of MaheSvara occurs in the Chinese collection '. It is illustrated in Fig. 240. (IV) KARTTIKEYA Colour-Red Arms-Six Sy mbol-Hen Vehicle-Peacock The fourth god in this series is Kiirttikeya and his form is described as follows : "Maviire Kzrttikeyo raktah ~ a g m u k h a h savyiibhy8h Saktik vajram ca viimHbhyHh kukkuyah ca dadhHno dv'abhy861 kkytziljalih." NSP, p. 62 "KHrttikeya rides a Peacock, is red in colour, and has six faces. With the two right hands he holds the Sakti (javelin) and the Vajra and with the two left the hen. With two others he shows the Aiijali". One statuette of this deity is found in the Chinese collection 3.

(v) VARAHI
Colour-Blue Arms-Four Symbol-Fish Vehicle-Owl The fifth deity in this series is a goddess and is called here as V ~ r ~ h i . Her form is described as follows : " V g r ~ h i kygc'a pecak'ariidhii caturbhujii savyav'am'abhy'am rohitamatsyakapHladhar'a d v i i b h y ~ h kytiiiijalih". NSP, p. 62 "V~riihiis blue in colour. She rides on an Owl and is four-armed. In one pair of hands she shows the Rohita fish in the right and the KapiiIa in the left. Two others are clasped in Aiijali". Two statuettes of the deity are represented in the Chinese collection 3. --- - - . -1. Clark :TLP, 11, p. 156 2. Clark : TLP, 11, p. 157 3. Clark : TLP, 11, pp. 72, 176

HINDU GODS I N VAJRAYANA

(vr) CAMUNDA
Colour-Red Arms-Four Vehicle-Corpse The sixth deity in the series of Hindu gods is also a goddess and is known by the name of CHmugdZ. Her form is described as follows : "Pretopari CHmugdH raktii caturbhujz kartrikap'ilabhytsavyetar~ kytZEjali". NSP, p. 62 "Ciimugd~rides on a corpse and is of red colour. She is fourarmed. With the first pair of hands she holds the Kartri in the right and the Kapiila in the left. In the second she exhibits the Ai-ijali". One statuette of this goddess occurs in the Chinese collection

'.

(VII) BHRNG! Colour-Blue Arms-Four

The seventh deity in this series is Bhrhgj whose form is described in the Dharmadhiituviig;Bvara Magdala as follows : "Bhyng: kysnah kys~;lZksas'itrdkamagdaludharahkrtiiiijalih". NSP, p. 6 2 "Bhyhgi is blue in colour and he holds in the first pair of hands the blue rosary and the Kamavdalu. In the second pair the AEjali is shown". BhThgiis not represented in the Chinese collection. (VIII) GANAPATI Colour--White Arms-Four Symbol-Elephant-face Vehicle-Rat Gagapati is a popular deity in the Buddhist pant!leon. He is described several times in the Nispannayogiivali, and as already stated an independent Szdhana in the Szdhanamiilii is devoted t o his worship. In the Magdala of Dh~rmadhiituviigi6varahis description is as follows : Miigake Gagapatih sitah karivaktrah sarpayajiiopavitT caturbhujah savyiibhyiixb tri6iilaladdukau v8rniibhyHh parakumiilake dadhgnah. NSP, p. 62 "Gagapati rides on a Mouse and is white in colour. He has an elephant face and a snake forms his sacred thread. He is four-armed. In the two right hands he carries t h e Tri6LiIa and the Ladduka (sweet balls), and in the two left the ParaSu (axe) and the Miilaka (radish). -- - - --- .- --

1, Clark : TLP, IT, p. 176

366

BUbDHIST ICONOGRAPHY

In the Bhiitadlmara Maqdala, he is given four hands carrying the Miilaka and the Paraiu in the two right, and the TriiCla and the Kapiila in the two left I. One statuette of his is recorded in the Chinese collection illustrated in Fig. 241.
2.

It is

(IX)
Colour--Blue

MAHAKALA
Arms-Two

Symbol-Trident The ninth in this series of Hindu deities in the Buddhist pantheon is called Mahiik'ala who is popular both in the Siidhanam~lii as well as in the Nispannayog~vali. His form is described as follows : "Mahiik2lah kcsqas-triiiila-kap2labhyty'. NSP, p. 62 "Mahiikiila is blue in colour and carries the TriiCla and the Kapiila in his two hands". One statuette of his occurs in the Chinese collection S. His description in the Siidhanamzla is more detailed. The different forms of Mahzkzla have already been discussed in an earlier section in this very chapter.

Colour-Blue Symbol-Muraja

Arms-Two Vehicle-Mura ja

The tenth and the last in this series of Hindu gods is called Nandikeivara. His form is described thus in the Maqdala of Dharmadhztuv'agiivara : "Nandikekvarah kcsqah Muraj~riidho Murajavzdanaparah". NSP, p. 62 "Nandikeivara is blue in colour and sits on a Muraja drum and is engaged in playing on the Muraja". Two statuettes of this deity occur in the Chinese collection under the title Nandiivara (deva) which is the same as Nandikeivara

*.

1. NSP p. 72 2. Clark :TLP,11, p. 153 3. Clark :TLP,11, p. 101 4. Clark :TLP, 11, pp. 104, 153

HINDU GODS IN V A J R A Y ~ A

367

7. NINE PLANETS
From time immemorial people in India believed in the power of the planets either for evil or for good. That belief is still current. The Hindus, Buddhists and Jainas alike shared in this belief, and in all these three religious systems the planets were deified and they were given a form, weapon and colour. To compare the forms of the different planets in the three religious systems is itself an independent and stupendous study. It is not the purpose here to compare their forms, nor even to study their iconography extensively, but a passing and brief reference to the planets is what can and should be given. As the planets were deified in Buddhism also, their forms are stated below in the same order and in the same manner as they appear in the MagdaIa of Dharmadh~tuv~gi6vara of the Nispannayog~vali.

(I) ADITYA Colour-Red Arms-Two Symbol-Discs bf the Sun Vehicle-Chariot of Seven Horses Aditya or the Sun-god heads the list of the Nine Planets, and his form is described in the Nispannayog'avali as follows : "Saptaturagarathe Adityo rakto daksicahastena vHmena ca padmastha-stiryamagdaladharay. NSP, p. 62 "Aditya rides on a chariot drawn by seven horses. He is red in colour. Both in the right and in the left he holds the discs of the sun on lotuses". In the Chinese collection, one statuette of this planet occurs under the title of Siirya l . (11) CANDRA Colour-White Arms-Two Symbol-Discs of the Moon Vehicle-Swan
The second planet in this series is Candra or the Moon-god who is described thus in the text : "Harhse Candrah Qubhrah savyahastena vHmena ca kumudastha. candramqdalabhyt". NSP, p. 62 "Candra rides on a Swan, is white in colour and holds in his right and left hands the discs of the Moon on lotuses". As Candradeva this planet is popular in the Chinese collection 2,
1. Clark : TLP, II, p. 178 2. Clark :TLP. 1 1 , pp. 89, 182

BUDDHIST ICONOGRAPHY

Colour-Red Sym bol-Human head

Arms-Two Vehicle-Goat

The third in the series of Nine Planers is Mangala o r the War-Lord Mars whose form is described in the following words : "Chh'igale Maligalo raktah savyena kagiirafi v3mena MHnusaNSP, p, 62 muvdam bhaksag'abhinayena dadhHna h". "Mangala rides on a Goat. He is red in colour. In the right hand he holds the KartHra (cutter) and in the left a severed human head in the act of devouring". He is not found in the Chinese collection. (IV) BUDHA Colour-Yellow Symbol-Bow Arms-Two and Arrow

The fourth god in the series of Nine Planets, is Budha or Mercury and his form is described as under : "Padme Budhah pitah baradhanurdharah" NSY, p. 62 "On a lotus there is Budha who is yellow in colour and holds in his two hands the arrow and the bow". Budha is represented in the Chinese collection only once I .

(V) BRHASPATI
Colour-White Arms-Two Symbols-Rosary and Kamagdalu Vehicle-Frog or Skull The fifth god in the series of Nine Planets is Byhaspati o r Jupiter, His form is described in the text as under : "Bheke Kapiile vH Brhaspatir-gauro'ksastitrakamagdaludharah." NSP, p. 62 "On a Frog o r a skull there is B~haspati of white colour. He carries the rosary and the Kamagdalu in his two hands". Byhaspati is not represented in the Chinese collection of Peiping. 1. C l a r k : TLP, 11, p. 83

Fig. 233 Vajraiiirads

( Nalanda)

Fig. 234 Arya-Sarasvati

Fig. 235 Vajrasarasvati

Fig. 248 MTns

(Peiping)

Fig. 249 Khadiravaqi T5r5

(Dacca Museum)

Fig. 218 Liiml (Nepalese Paint ing)

HINDU GODS IN VAJRAYANA

Colour-White Arms-Two Symbol-Rosary and Kamaqdalu The sixth in the series of Nine Planets is Sukra or Venus whose form is described in the text as under : "Sukrah Quklah kamalastho'ksasiitra-kamapjalubhyt." NSP, p. 62 " ~ u k r ais white in colour. He sits on a lotus and holds in his two hands the rosary and the Kama~dalu." Sukra is not represented in the Chinese collection.

Colour-Blue Sym bol-Rod

Arms-Two Vehicle-Tortolse

The seventh deity in the series of Nine Planets, is Sani, Sanaiscara or Saturn. His form is described in the following words : "Kacchape Sanai~carah ky+r;lodacdadharah." NSP, p. 63 Sanai~cararides on a tortoise and is blue in colour. He holds the rod". Saturn is not represented in the Chinese collection. The selection of the slowest animal tortoise for the slowest of the planets, Saturn, is very significant.

Colour-Reddlsh Blue Arms-Two Symbol-Sun and Moon The eighth deity in this series ot Nine Planets, is the destructive deity R H ~ u .His form is as under : "RHhii raktakysqah siiryacandrabhyt-savyetara karah." NSP, p. 63 "R'ihu is reddish blue in colour, and he holds in his two hands the Sun and the Moon." As RHhudeva he occurs once in the Chinese collection. This Chinese statuette is illustrated in Fig. 242 .
1. Clark ; TLP, 11, p. 153
~ -.

--

--

BUDDHIST ICONOGRAPHY

(IX) KETU
Colour-Blue Arms-Two Symbol-Sword and Snake-noose The ninth and the last in the series of deities representing the Nine Planets is Ketu. He is described thus in the ~ h a r m a d h ~ t u v i ~ i 6 v a r a Mapdala : "Ketuh krsgah khadga-n'igap86adharar. NSP, p. 63 "Ketu is blue in colour and holds the sword and the noose of snake." Under the name Ketugrahadeva, he occurs once in the Chinese collection I . Fig. 243 illustrates this Chinese specimen.

8. BALABHADRA GROUP A set of four Hindu deities under the Balabhadra group is described fully in the Dharmadh'ituv~gi6varaMagdala of the NigpannayogEvalS. They include Balabhadra, Jayakara, Madhukara, and Vasanta, and in Hinduism, all these are the companions of the god KBmadeva, the deity of Desire.

(I) BALABHADRA
Colour- White Symbol-Plough Arms-Four Vehicle-Elephant

The first deity in this group is called Balabhadra who may be identified with BalarEma the brother of Krsga. These two pastoral deities of Hinduism broadly represented Agriculture and Dairying. Balabhadra is described as under : "KuEjare Balabhadrah sitah khadga-liihgaladharah," NSP, p. 63 "Balabhadra rides an elephant and is white in colour. He holds the sword and the plough." He is not t o be found in China.
(11) JAYAKARA

Colour-(White) Arms-Four Symbol-Garland Vehicle-Cuckoo Chariot The second deity of this group is called Jayakara whose form is described as under : "Kokilarathe Jayakarak-caturbhujah (sitah) savy'abhyam pugpam'allm bg~arn ca v'amgbhygm cagaka-dhanusi dadhlnah."

NSP,
1. CIark : TLP, 11, p. 99

p. 63

HINDU GODS I N VAJRAYANA

379

"Jayakara rides a chariot drawn by cuckoos ; he is (white in colour) and is four-armed. With the two right hands he carries the garland of flowers and the arrow and with the two left Casaka (wine-glass) and the bow". He is not represented in the Chinese collection. (111) MADHUKARA Arms -Four Colour-W hire Symbol-Makara Banner vehicle-Suka Chariot The third deity in this series of Hindu gods is Madhukara whose form is described as under : "Sukasyandane Madhukaro gaura.4-caturbhujah savy8bhyZri-I makaradhvajaiare vEmPbhy5ri-I casakac'apau vibharti". NSP, p. 63 "Madhukara rides a chariot drawn by Suka birds and is white in colour. He is four-armed, and holds in his two right hands the Makara banner and the arrow. With the two left hands he carries the wine-glass (Casaka) and rhe bow". (IV) VASANTA Colour--White Arms-Four Symbol--Wine-glass Vehicle-Monkey The fourth and the last in this series of four Hindu gods is Vasanta or the Spring-god. I-Iis form is described in the following words in the D h a r m a d h ~ t u v ~ ~ i 8 vMapdala ara : "Plavahge Vasantah sita.4-caturbhujah savy8bhylxii hZna-kyp8r;labhytvIm8bhyZm dhanui-ca~akadharah". NSP, p. 63 "Vasanta rides on a monkey and is white in colour. He is four-armed and in his two right hands he holds the arrow and the sword. With the two left he carries the bow and the wine-glass". None of these four deities is represented in the Chinese collection.

9. LORDS OF THE YAKSAS, KINNARAS, GANDHARVAS AND VIDYADHARAS In the Dharrnadh~tuv'a~i6vara Mapdala eight Lords of Yaksas are kings is important as it is not found described briefly. This list of Y a k ~ a elsewhere ; it is not possible also t o individualize them in their forms. The Yaksas are a semi-mythical class of beings who are supposed t o preside over treasures and shower wealth on mankind when propitiated. Kubera is said t o be the greatest among the Yakaas, who according t o the Hindus, lives in the North along with the Yaksa hordes. The name of his capital is said t o be Alak'ipuri adjacent t o Mount Kail'isa in the Himalayan region.

,380

BUDDHIST ICONOGRAPHY

(I) YAKSA KINGS

The names of the eight Yaksa kings are : 2. 1. PGr~abhadra 4. 3. Dhanada 6. 5. Civikugdal; 8. 7. Sukhendra MHqibhadra Vaikravaga Kelim'ill Calendra

They are all collectively described in the Magdala in one brief sentence : "~iirgabhidriida~oYaksldhip'ih bijaptiraphala-nakulabh~t-savyetarakar'ih". NSP, p. 63 "The Yaksa kings beginning with Pcrgabhadra hold in their hands the BTjapiira (citron) and the Nakula (mongoose) in the right and left hands respectively7'. In colour they differ. Piir~abhadra is Plue, Mzgibhadra is yellow, Dhanada is red, Vaiiravana is yellow, Civikundali is red, Kelim~liis green, Sukhendra and Calendra are yellow. The citron and the mongoose are the natural symbols of Jambhala the Buddhist god of wealth, and as such, he is of the Y a k ~ a group. Except Jambhala these Yaksas are rarely represented. In the Chinese collection there are two illustrations one under the title of Yak~adeva and another under Yaksa Ptirqabhadra I . They refer evidently to this group of deities. Besides them there is a series of statuettes which are designated with the general title of Mahiiyaksasen'idhipatis. They carry the citron and the mongoose. Allied t o the Yaksas are the Kinnaras, Gandharvas, and Vidy'idharas. They are all semi-mythical beings next t o gods, who have power t o confer benefit when propitiated. Some information about their kings is found in the DharrnadhltuvZigikvara Magdala of the Nispannayo~ v a l I . Their forms are described below in the order in which it is found.

(TI) KINNARA KING

The Kinnara king is not named here but his form is given in the following words : "Kinnarar'ijendro raktagauro ~ i ~ ' i v ' i d a n a ~ a r a h " NSP,p. 63 "The Kinnara king is reddish white in colour and is engaged in playing on the musical instrument called the Vigii". - - --. -- . -- - -. -- - ---

1.

Clark : TLP,11, pp. 102, 313

HINDU GODS IN VAJRAYANA

381

(111) GANDHARVA KING The Gandharva king is known by the name of Paiicakikha and his form is described as follows : "PancaBikho Gandharvariijendrah pIto ~ I g i i mviidayati". NSP, p. 63 "P'iiicaBikha the king of the Gandharvas is yellow in colour and he plays on the VTgz instrument". (IV)

VIDYADHARA KING

The king of the VidyHdharas is named as SarvHrthasiddha and his form is described as below : "Sarviirthasiddho Vidygdharariijendro gaurah k u s u m a m i i l ~ h a s t a ~ ~ . NSP, p. 63 "Sarv'arthssiddha the king of the Vidyiidharas is white in colour and holds in his two hands the garland of flowers".
10. TWENTY-EIGHT CONSTELLATIONS

The Zodiac is divided into 27 or 28 constellations o r Naksattras. These are called the Lunar Mansions. These Lunar Mansions are believed to exercise great influence on human beings and their affairs. They are constantly bringing good o r bad effects and are supposed t o be great store-houses of power. It is no wonder, therefore, that in Buddhism these Naksattras should be deified with colour, faces and hands. The Nakslttras are described collectively in the Dharmadh'ituviigisvara M a ~ d a l aof the Nispannayog'avali. In this M a ~ d a l athe Naksattras are given one face and two arms, which are clasped against the chest in the AEjali mudr8. In calour, however, they differ. The Naksattras have the following features in common : "A6viny~dayo devya6ca ratnakaCcukipar?dh'an'ahkyt~iijalayah". NSP, p. 65 "The deities beginning with ABvini are decked in bejeweIled jackets and they all show the AEjali mudrii". They differ in colour. Their distinctive colour is given below in the order in which it is found in the Mandala :

1. Akvini-White 3. Kyttik'i-Green

2. Bharaqi-Green

4. Rohigi-Reddish White
6. Ard6-yellow 8. Pusy'a-Green 10. Maghg-Yellow

5. Mrgabirs-Blue 7. Punarvasu-Yellow
9. AQlesii-white

BUDDHIST ICONOGRAPHY

11. ~ ~ r v S i ~ h ~ l ~ u n i - G r e e12. n Uttar'aphdguni-Green as Priyahgu 13. Hast'i-White 15. SviitT-Yellow 17. AnurPdhH-Green 19. M5lZ-Yellow 21. Uttar'is'idh'i-White 23. Dhanisthz-Blue 25. Piirvabhf drapadgGreen 28. Abhijit-Green 27. R.evatT-White
11. TIME DEITIES (I) MONTHS Another set of interesting Hindu deities is described in the Kglacakra Maqdala as Lords of theTwelve Months of the Hindu Calendar. As they are rarely represented, it is not necessary to deal with them in detail. Only a brief and passing reference is all that is necessary here. There are altogether twelve months having twelve deities and their names are given below in the same order as it is given in the KSilacakra Magdala : 1. Caitra-Nair~ti 2. Vaibkha-V~yu 3. Ph'ilguna-Yama 4. Jyais~ha-Agni 5. &'idha-Sagmukha 6. Pausa-Kubera 7. ~ ~ v i n a - L k r a 8. Ksrttika-Brahmii 9. M~rgakirsa-Rudra 10. SrPvaga-~amudra 11. Bh~drapada-GaqeQa 12. M'agha-Visqu These twelve gods, at least most of them, are described previously. Maqdala are somewhat different. Hete But the forms in the K~lacakra they are all accompanied with their Saktis, mostly four-armed and have their distinctive vehicles.
(11) DATES

The Tithis or the distances between the sun and the moon are also deified, but these cannot be properly determined in the absence of definite iconographic information. Some of these Tithis (dates) are found represented in the Chinese collection at Peiping '. Figs. 224 and 245 illustrate the NavamI and DaSamI Tithis. I. Sea for instance Clark : TLP, 1 1 , p. 84 where the Tithis, Saptami, Astarni,
Navami and Dadam? ~ t illustrated. b

HINDU OODS IN VAJRAYANA

383

(111) ZODIACAL SIGNS Besides these, there are the Twelve Signs of the Zodiac, named in the Hindu books on Astrology as Mesa, V~sabha, Mithuna, Karka, Sirhha, Kany'a, TUB, VrScika, Dhanu, Makara, Kumbha and Mina. It has not been possible to trace any Sanskrit text from Buddhist Tgntric literature which mentions the Dhy'ina o r even a tolerable description of these Signs of the Zodiac. But the R'ikis are long believed in India t o be the store-houses of mystic power, and it is but natural t o expect that these Twelve Signs should he deified with colour, form, weapons and the rest. It is also natural that these deities should be assigned t o one o r another of the families of the Dhy'ani Buddhas so that they may be fitted into the Buddhist pantheon. When more literature on the subject is published, only then it will be possible t o find descriptive texts. It is however desirable at this stage t o refer t o the excellent statuettes of the different Signs of the Zodiac that have heen discovered in China and illustrated by Professor Clarke in his Two Lamaistic Pantheons, Vol. 11, ' . Figs. 246, 247 and 248 illustrate the three Signs, Tul'i, Kumbha and Mina. (IV) SEASONS The seasons of the year were likewise deified and were given form, colour, weapons, and were affiliated t o one o r another of the Dhy'ini Buddhas. Descriptions of seasons are also not available in the Buddhist T'antric literature, but their images and statuettes have been discovered both in Tibet %nd China '.

Devi, p. 101 for Tuls Devi. 1. See for instant&, Clark :TLP,11, p. 102 for Kany~ p. 87 for Kumbha Deva, and p. 86 for Makara Deva.
I

2 & 3. For instance, Gordon :ITL, g. 82 where goddesses for ,Vasanta, Sarad and Hemanta seasons are illustrated. Also Clark :TLP. 11, p. 308 for Sarad and, Hemanta and p. 307 for Vasanta and Varsir seasons.

C H A P T E R XIV
CONCLUSION The foregoing is an account of the iconography of Buddhist gods and goddesses as reconstructed from Sanskrit texts of the Buddhist TPntric literature. The study confines itself t o the iconography of gods and goddesses only, excluding all other favourite themes of the Buddhists carved on stone o r painting, such as the scenes from Buddha's life, the JHtaka stories, the AvadInas and others, representations of which, are available from Bharhut, Sanchi, Amaravati, Gandhara o r even the cave temples of Ajanta. This book does not refer t o them nor makes an attempt to identify them by hunting out the original Sanskrit texts which are illustrated on stone in the form of stories. It is a practical handbook for the guidance of Museologists who have t o handle large number of images of gods and goddesses with strange faces, weapons and poses. It is a work giving indications as t o how such images should be studied, analyzed, and finally identified with the help of original Sanskrit texts such as are quoted in this book at every place. An image is nothing hut a symbol, and it is the business of the studenrs of iconography to find out how the image was made, by whom it was made, and what philosophical and culturaI background was necessary for the production of such an image. In this work, therefore, problems such as these have been treated and enough information is given in order to understand a Buddhist image from different view-points. The scope of this work thus is limited, and i t does not claim t o unravel the mystery of all stones on which something is carved. But within the limited scope, it has enough information of the highest practical value t o the students of iconograghy, and this value is enhanced by the inclusion of photographs of excellent sculptures, bronzes and original Nepalese drawings procured with difficulty and at high cost. The Buddhist pantheon as such did not exist before cir. 300 A. D. which is the approximate time of the composition of the famous THntric work the Guhyasam~ja. The pantheon got a good start from the theory of the five DhyHni Buddhas, the embodiment of the five cosmic forces, Riipa, Vedanz, SaxhjEa, Sarhsk~raand VijElna. The pantheon further got a fillip from the theory of the Kulas (families) of the DhyHni Buddhas and their Saktis or female counterparts. The DhyHni Buddhas thus became the Kuleias o r progenitors o r heads of

CONCLUSION

385

families, and the families are seen multiplying until they become overwhelming in number. Andalong with numerical strength, the excellent and meritorious artists went on producirig such wonderful specimens of images which were backed by the religious inspiration of the most transcedental type. The pantheon became extremely attractive, and all including the Hindus and Jainas started building their pantheons and adding to their gods and goddesses. In the meantime other Buddhist countries like Tibet, China, Japan and the rest were struck by the wealth of gods and sculptures of the most bewildering variety, and started constructing their own pantheons according to their own national and cultural genius. The pantheon of the Buddhists created in India thus became world property, although Buddhism as a religion vanished from India the land of its birth long long ago. The teachings of the Guhyasamsja remained dormant for some 300 years, and was handed down secretly from Gurus t o disciples, but later, when it became popular, gradually the process of deification rapidly grew with newer and newer gods and goddesses. Each image received and absorbed cultural currents and cross-currents, and as a living organism took newer and newer forms according t o time and according t o space. It has now become so unwieldy and its ramifications have been so intricate and vast, that i t has become a highly specialized study requiring experts to handle the gods and goddesses of Buddhism. The study is fascinating t o the extreme, and the interest in the subject is bound to grow with the lapse of time and with the publication of the original MSS on the subject, such as the VajrZvali, Kriygsamuccaya, the original Tantras like the KPlacakra Tantra, Heruka and Hevajra Tantras, Vajrayogini and Vajravgrghi Tantras, vast in number and voluminous in extent. Let us hope that India will take care of these priceless original manuscripts, preserve them in good libraries, and gradually through publications make them available t o the world of Buddhists comprising a third of the population of the globe. Just at the present moment however, for unravelling the mysteries of the Buddhist images of gods and goddesses, there are only two books of outstanding value. These are the SBdhanam11~ and the Ni$pannayogBvali both published in the Cjaekwad's Oriental Series for the first time. The SHdhanamHlB was composed in A. D. 1165 since the earliest manuscript of the work bears a date in the Newari era which is equivalent to 1165 A. D. Nispannayog~vali was written by the famous Buddhist author and nlystic Mah~pagdita Abhay~kara Gupta whose time is co-eval with that of the PEla king REmap'ilB who flourished in A. D. 1084-1130. Both these works were written at a time when 49

386

BUDDHIST ICONOGRAPHY

the psychic phase of Buddhism reached its very zenith, before being destroyed by the sword of Islam. Both the SHdhanamHB and the Nispannayog'ivali therefore record faithfully the highest development of the psychic phase of Buddhism in the 12th century. The SHdhanas in the Slidhanamlilli were composed by men distinguished in the mediaeval age as great THntric authors. The Dhyhas contained in the S'idhanas laid down the essential features of different gods, and the sculptors and artists prepared images with the help of these general directions. The DhyHnas left much scope for the exercise of imagination on the part of the sculptors, and the products of their chisels were also very greatly influenced by the spirit of the age in which they flourished, as well as by the geographical situation in which they worked. The ornaments, dress and even facial expressions of the images reflected local conditions to a great extent, while the particular T'intric rites in which the images were used had also a modifying influence. It has been pointed out several times that the most important factor in the identification of images is the miniature figure of the DhyHni Buddha on their crowns. When, however, the parental DhyPni Buddha is not present, other marks of identification have to be sought for. Moreover, difficulties may arise even when the Dhy'ani Buddhas are present. In cases where all the DhyBni Buddhas are present on the aureole, the Buddha right on the top of the head is to be taken as the parental Dhy'ani Buddha. The standing figure of Khadirava?? THrH in the Indian Museum, Calcutta or the Vikrampur figures of Parqaiabari are the cases in point. They are both emanations of Amoghasiddhi, whose effigy appears right above the heads of the goddesses. The figures of all the other four Dhylini Buddhas are not required either by the SHdhana or for identification. Their presence can only be explained by the fact that in all kinds of worship the five Dhyzni Buddhas are the first t o be invoked. Sometimes, however, the Dhylni Buddhas appear on the image for artistic reasons only, as for instance, in the case of the Dacca Museum image of Arapacana MaZjuirI. The Java figure of Arapacana is surrounded by four companions, identical in appearance with himself, but in the Dacca Museum image there are four Dhy'ini Buddhas in addition, on the aureole although the central position just above the head of the principal deity is occupied by one of the attendants of Arapacana. The DhyIni Buddhas, here are not required by the SHdhana and are, therefore, more ornamental than otherwise. But the most serious difficulty arises when instead of the Dhyfni Buddha prescribed by the Ssdhana some other DhyHni Buddha appears

CONCLUSION

387

on the crown of any figure. For instance, the Sarnatl~ image of Ucchugrna Jambhala should have shown in accordance with the SHdhana the figures either of Akaobhya or Ratnasambhava on its crown, but the effigy of Arnit'ibha is shown instead. Again, when a reference is made to the Lucknow figure of MHrici, who according t o the SPdhana should have shown the figure of Vairocana on her crown, shows Amitlbha instead. Again the Indian Museum image of U$&avijay'i shows the figure of her parental DhyTini Buddha as Aksobhya instead of her own sire Vairocana. True reasons for these discrepancies can hardly be given at this state of our knowledge. The most reasonable suggestion seems t o be that the original texts are not still known in their entirety. It must be remembered that the SHdhanam'ilH and the Nispannayog~valiare not the only texts produced in Vajray'ina. It is quite likely that new S'idhanas will be forthcoming when further material is published. It is difficult, however, t o believe that a new S'idhana for either M'irici or Us$;avijay'i will be available. In the S'idhanam'il'i itself a large number of SHdhanas is published, but nowhere there is any mention of any other parental Buddha than Vairocana. Thus the possibility of discovering further SHdhanas prescribing parental Buddhas other than Vairocana seems t o be remote. Another alternative suggestion presupposes the existence of 41fferent cults according as one o r another of the Dhyiini Buddhas is believed to be the principal or the Adi-~uddha'. The Buddhists of Nepal even now are divided into so many different cults, some regarding Amit'ibha as the Adi-~uddha, and others acknowledging either Vairocana or Aksobhya as the Adi-Buddha. Now though the S~dhanas prescribe the figure of .the Dhy'ini Buddha Vairocana for both M'irici and Usqigavijay'i, the followers of the Amitiibha cult are at liberty to assign them t o that Buddha whom they consider to be the h d i - ~ u d d h a . Similarly, Ucchu~ma Jambhala being regarded as the offspring gf Amit'abha, is made to bear an image of that Dhy'ini Buddha on his crown in the Sarnath figure already alluded to. It is not necessary to multiply instances. This is the only reasonable explanation it is possible t o offer at the present state of our knowledge. In identifying Buddhist images the student of iconography should guard himself against taking unnecessary figures in the image for principal ones, o r necessary figures for. unnecessary ones. A full-fledged
1. The theory of Adi-Buddha originat* in the Flanda monastery about the beginning of the 10th century and was accepted first in the Kdacakrayzna. a later form of VejrayPna. See Csoma de Koroe : The Origin o f the Theory of Adz-Buddha in J . A. S. B., V o l . I1 (1833), p. 57f. See also Bhattacbaryya : Buddhut Iconography in JBORS, March, 1923.

388

BUDDHIST ICONOGRAPHY

Buddhist icon shows in the first place, the principal god, an e5gy of his sire on his crown, and the Dhylini Buddhas o n the aureole. The icon may further show miniature figures of the companions of the principal god, some worshippers, mythical figures and the three, seven, o r sixteen jewels o r sacred objects of Buddhism. The figure of Vajrasattva seems t o be a favourite decoration with the artists. He appears on many Buddhist images and is perhaps conceived as a sort of general guardian of Buddhism and Buddhist worship. For purposes of identification the principal figure, the figure of the Dhylini Buddha on the top, and the companions are the indispensable parts of the image. When, again, a reference is made to the Dacca Museum image of Arapacana MaFijubri in which besides the four companions there are present four Dhyiini Ruddhas Vairocana, Ak~obhya, Amitiibha and Ratnasambhava, two mythical figures supporting the lotus seat, and two worshippers t o the extreme left of the pedestal. All these figures are redundant for the purpose of identification, and their absence in the Java figure of Arapacana in n o wise affects it. But if, for instance, the companions are confused with the worshippers the identification must be regarded as incorrect. The figures flanking Vajrgsana, for instance, are clearly Maitreya and Avalokitebvara according t o the Siidhana, but if they are described as worshippers, as has been done previously, the identification of the whole image becomes vitiated. Another difficulty in identification arises when the letters of the Mantra of the god are deified and appear on the image. This is found in the case of VajratPrZ who is surrounded by ten goddesses TZre T u t t ~ r e who originate from the ten syllables of the Mantra "01% Ture Sv'ah'i". It has also been pointed out previously how from the five letters of the name of Arapacana MaEjuiri originated the five deities Candraprabha, Jiilinlprabha, Kebini, and Upakebini, and the principal deity MaSjuh-i. The Dacca image of Khadiravapi TZrH (Fig. 249) is a remarkable instance of the deification of the Tiir'i Mantra. The main figure in atcordance with the Siidhana carries the Utpala in the left hand and shows the Varada mudrii in the right, and she is flanked on either side by AiokakiintZ and Ekajat'i. But on the aureole there are eight female figures identical in appearance with the principal figure. They obviously represent none but the eight syllables of the T'irg Mantra ' ' O ~ Tiire Tutt'ire Ture", the two others, Uq&avijayii and Sumbh'i, being omitted. Sometimes in the images of Buddhist gods and goddesses we notice the presence of Gapeia, who is regarded by the Hindus as "Siddhidiit'a" or the Bestower of Perfection or success in T'lntric rites.

CONCLUSION

389

The Buddhists as a proof of their aversion to the followers of the Brahmanical faith, made their gods trample upon Gageia. Thus in the Indian Museum images of Par~ababar;and AparPjit'i, and in the Baroda Museum image of Vighnzntaka, etc., the deities have been represented under their feet. In the two Vikrampur images as trampling G a ~ e l a Parqabbari and in the Dacca Sahitya Parisat image of Mah'ipratisar'i, of Gageba appears below the lotus seat lying prostrate on the ground crushed under the weight of Buddhist deities. Thus did the Buddhists manifest their animosity against the Hindu god, Gageia, giving him the epithet of Vighna o r Obstacle. Their animosity may be further illustrated by the following features of the SPdhanas. The four Hindu gods, B r a h m ~Visqu, , Siva and Indra have been designated uniformly as the four Maras o r Wicked Beings, and several Buddhist gods have been described as trampling them under their feet. The S'idhanas of Prasanna-TPr'i, VajrajjvPl'inalHrka, Vid y u j j v ' i l ~ k a r ~and l ~ , the like, are instances in point. Trailokyavijaya has been represented as trampling upon the prostrate forms of Siva and Gau ti ; NPr'iyapa has been made a V'ihana o r vehicle by HarihariharivPhana. Poor Brahm'i has been most severely handled by the Buddhists. The severed head of Brahmii is a favourite trophy in the hands of Buddhist deities According t o Hindu traditions, BrahmI should be very old with grey beard, and four heads, and the Buddhist deities mercilessly hold the heads by the matted hair and flourish them in their hands. This is how the Buddhists attempted t o exhibit the superiority of their gods over those of the Brahmanical faith. It is a matter of satisfaction, however, that the Hindus never disgraced any gods belonging t o the alien faith in this manner. O n the contrary, they placed Buddha among the ten Avatiras of Vispu. In this connection it may be pointed out that in the Kdacakra Tantra a work of the 10th century A. D. there is evidence that an attempt was made by the Buddhists t o unite with the Hindus under the common banner of the god KHlacakra 'The Circle of Time', against the cultural penetration of the Mlecchas. The later history showed, however, that the attempt proved futile.

A deep spiritual significance is attached t o the colour, weapons, and the Asanas of Buddhist gods who are either represented singly o r in yab-yum. The conception of yab-yum images, however, is much more complicated than the single ones.
It has been stated in the S'idhanam~ili that a single deity may take any colour according t o the particular TSntric rite in which he is invoked. For instance, in the hntikavidhi o r propitiatory rite the god takes the white o r the yellow colour. In Paus$ikavidhi o r protective rite the

390

BUDDHIST ICONOGRAPHY

yellow colour is taken by the deity. Similarly, in VaSyavidhi (bewitching) and Akarsaga (attraction) he may take yellow, green o r red colour. In Uc@ana (total destruction) and in M'iraga (killing) the god is in ' generally blue. It may be pointed out here that the word ' K ~ q ~ a the SiidhanamiilG always signifies the blue colour, and not black. Buddhist gods are rarely black, not because the Buddhists had no perception of the black colour, but because there seems to have been some prejudice against using the black colour in the paintings of gods. It may further be pointed out that whenever a deity gets the blue colour his appearance becomes terrible with protruding teeth and tongue, garland of severed heads, ornaments of snakes and the garment of tiger-skin. With regard to colour it may be remembered that their stock number is ukually five corresponding to the five cosmic elements. Thus according to authoritative books, the element of Water is white in colour, Earth is yellow, Fire is red, Ether is green, and Air is blue. Of these the two colours white and yellow representing Water and Earth are benign, and the other colours red, green and blue are clearly malefic. The earthy and watery gods are peaceful, while the gods of the other three elements are fearful in character. Blue seems to be the most violent of all. The Asanas have likewise a spiritual significance. The Vajraparyahka attitude signifies meditation andintrospection, the Ardhaparyahka shows serenity, the Alidha heroism, the PratyHlidha destruction and disgust, and the dancing in Ardhaparayanka displays wrath and horror. A reference may be made here to the yab-yum representations. The Tibetan yab means 'the honourable father' and yum likewise signifies the 'honourable mother'. Therefore, the word yab-yum means the honourable father in the company of the honourable mother. A yab-yum image has a deep spiritual significance. It signifies that the god, the embodiment of Siinya is perfect, having attained Karug'i and therefore the highest state of Nirv'iva. The conception of Shnya in Vajraylna took the concrete shape of a god and a goddess. &nya took the shape of Heruka when a male god, and became known as NairHtml when a goddess. That Siinya took the form of a deity does not seem strange in Vajray'ina, where we find conceptions, such as Sahgha, Dharma, Prajillp'iramit'i, the twelve Para. mitiis, and the five Skandhas deified in the Buddhist pantheon. Thus the conception of &nya in the form of a god or a goddess is perfectly in keeping with the tradition of the VajrayTina system. When the Bodhl Mind attains Nirviiaa it merges in ,f3tinya and there remains in eternal bliss and happiness. And when Siinya was made a goddess, it was

CONCLUSION

391

easily understood, how eternal bliss and happiness was possible after the attainment of NirvHga. The yab-yum figures, representing h n y a in the form of Heruka in the embrace of h n y a in the form of NairHtm'a, were held up before the mass as ideals, and they readily attracted them and helped them in their conception of a bright and definite spiritual prospect. Buddhists of the VajrayHna consider h n y a as the Ultimate Reality, and they believe that the host of gods and goddesses, including the Dhylni Buddhas, are k n y a in essence. The innumerable gods and 5oddesses of the Vajraysna pantheon are all manifestations of SOnya. The gods have n o real existence, the images have n o real existence, and therefore, it may be positively asserted that a true VajrayPnist never worshipped an image or god. Naturally, since these, paintings, images, o r even the deities themselves have no real or independent existence, they are merely manifestations in a veriety of forms of the One, Undifferentiated $iinya. But it cannot be denied that these images were very useful, since the forms they presented, in accordance with the Dhy'anas, t o the gaze of the worshippers undoubtedly heIped the latter to visualise the deities with whom they were asked t o identify themselves. As they had n o real existence, these deities had t o be attracted to the mind-sky from unknown regions in the firmament by the luminous rays of light issuing from the Bijamantras uttered by the worshipper. The $iinya takes the form of a divinity in accordance with the germ-syllable uttered, and exists only as a positive idea in the mind of the worshipper who identifies himself with that transformation of $iinya. The question may be raised as t o the necessity of a veriety of gods and goddesses when one k n y a would have been sufficient. In answer t o this a number of things have t o be considered. It may be remembered that $iinya, which was identified with Compassion by the Vajray'anists was conceived as manifesting itself in diferent forms in accordance with the different functions it had t o discharge. For instance, if any disease is t o be cured, 6iinya takes the form of Sirhhan'ida ; when it is a question of snake-bite, Siinya becomes ]'ahgull ; when destruction of the wicked is needed, Siinya takes the form of Mah'ak'ila ; when again, diseases and pestilences are t o be prevented, k n y a is conceived as parpbabar; ;for success in love-affairs, 6tinya is invoked in the form of KurukullZi ; and when forcible submission is required in love-affairs, $cnya becomes VajrHnahga, and when finally, Buddhahood is wanted by the worshipper, he should conceive himself as Heruka. From the above it appears that the conception of the multitude of Buddhist deities

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BUDDHIST ICONOGRAPHY

emerges from the one grand conception of &nya in accordance with the various functions it is supposed to discharge, as a mark of compassion towards the Buddhists. Secondly, the number of gods and goddesses increases when h n Y a manifests in different forms the nine "Rasas" or dramatic sentiments. For instance, &nya will be Khadirsvagi or Lokangtha when benign (Karupa), MHrici' when Heroic (Vira), Vighnzntaka, Heruka o r MahHkzla when awe-inpiring (Bhaya), AparHjitB when wrathful (Raudra), VajracarcikH in its moments of disgust and loathsomeness (Bibhatsa), Praj'nHpHranlitL when peaceful ( h n t a ) , and so on. Thirdly, the number of deities increases a s objects such as the Three Jewels ; philosophical conceptions such as the Psramitgs, Bhiimis or Pratisarhvits ; literature such the Praj5Hpgramit'i, the DaQabhCmika SHstra, the Dh'arigs and the like ; desires such as for eating, drinking, sleeping and the rest ; the directions such as the north, south, east and west ; the musical instruments such as the flute, the violin, and the drum ; and other innumberable ideas and objects, are required t o be worshipped in the forms of gods and goddesses, By these and various other ways the number of deities in the Buddhist pantheon increased phenomenally. As all these deities centre round the one grand conception of h n y a so also the host of weapons revolve round the o r e grand conception of Bodhicitta o r the Will t o Enlightenment. As these weapons are required t o discharge different functions, the Bodhicitta resolves itself into so many different forms of weapons '. For instance, when the darkness of ignorance is to be dispelled Bodhicitta becomes a sword by which the veil of ignorance is cut asunder. The sword is also to be used to destroy the MHra hordes who disturb the worshippers. Bodhicitta becomes the A ~ k u Q(goad) a when the hearts of the wicked are t o be pierced. It is conceived as a noose when the Mzra hordes are to be securely bound. It becomes a needle and a thread when the eyes of the wicked have t o be sewn up. Bodhicitta becomes a Kartri (knife) when the wicked have t o be chopped. It is a Bhigdip'ila (javelin) when MHras have t o be attacked from a distance, and a how and an arrow if the distance be greater.
1. Compare the statement in the Jii~nasiddhi of Indrabhliti in the Two Vajrayiiw Works IGOS). pp. 60, 81 ~odhiciaak bhaved ~ a j r a m PrajEi Ghapt: vidhiyate I Cakram.ajSnacched~tca Ratnantu durlabh~dapi I1 Bhavad~~air-aliptatv~t janarh tat Padam-vcpate I Khadgab kle~iirisamcched~t utpala& plavan~ttatah 11

CONCLUSION

393

The M u d r ~ also s are nothing but the manifestations of the Bodhicitta. If protection is needed, Bodhicitta is conceived as the Abhaya mudr'i ; if boon is desired it becomes Varada ; when instructiorl in Buddhist Law is required it becomes Dharmacakra, and so on. T h e Bodhicitta. o r the Will t o Enlightenment, is that state of Mind which has already acquired the potentiality of dissolving itszlf in u 4-n y a . As a matter of fact, Siinya o r Nirolqa would be unattainable without the help of the Bodhicitta, which like Siinya exists only in the mind. T h e Bodhi mind leads the aspiring soul into the very presence, so t o speak, of Siinya ; it ultimately merges and loses itself c o m p l r t e l ~ in Siinya. The gods of the Buddhist pantheon are conceived as ,carrying the Bodhicitta in their hands, both being of the nature of Siinva It is with the help of this Bodhicitta that a god is supposed t o confer Buddhahood o r success in TBntric rite upon his worshipper. T h e yab-yum conception of deities is still more sublime. The god Heruka, the embodiment of Siinya, carrying weapons the embodiments of Bodhicitta also of the nature of Stinya, is embraced by Nair'itrnP, whose essence is Siinya, carrying weapons also of the nature of Siinya. Thus the Infinite with the Infinite commingles. In Involution, the Many become One. This is the highest state-the Anup'idhiSesaNirvgna. Krto vah sarvasattvBrthah siddhir-dattg yathgnugz I Gacchadhvaxb Buddhavisayafi punarPgamanHya Muh I1
I

"Gods, I bid Ye farewell ! Ye have fulfilled the desires of all beings. Ye have conferred the desired success. Go Ye t o the region of the Buddhas. Return Ye once again, Muh".

APPENDIX
108 FORMS OF AVALOKITE~VARA
(In the Machhandar Vahal, Kathmandu, Nepal) 1. Hayagriva Lokeivara. The god sits in the Vajraparyahka attitude on a lotus. He has four hands, out of which the two principal ones exhibit the Vy'ikhy'ina pose. The second pair holds the rosary in the right hand and the lotus in the left. He is accompanied by six other gods and a dragon.

2. Mojagh'aEjabala (?) Lokeivar'i. He stands in the Samabhanga

attitude on a lotus, with his two hands showing the Abhaya mudrii in the right and the noose in the left.

3. H'il'ahala LokeSvara. He sits in the Lalita attitude on a lotus with his Sakti on the lap. He has three faces and six arms. The face above represent probably the head of the Dhy'ani Buddha, whose effigy he should bear on his crown. In his three right hands he shows the sword, the rosary and the Varada pose. In the three left hands he carries the lotus, the nopse and the Utpala. The hand holding the noosepasses round the Sakti in the act of embracing. The Sakti exhibits the Varada mudrg in the right hand and the Abhaya in the left.

4. Hariharihariviihana LokeSvara. Lowermost is the snake, on it

is the lion, over the lion is Garuda, N'arzyaga rides Garuda, and on his shoulder sits Lokeivara. The Garuda has two hands in the AEjali mudrz. Nlr'iyaqa has four hands, of which the first pair is engaged in forming the Aiijali against the chest ; while the second pair has the Cakra in the right hand and the Gad'i in the left. Lokeivara sits in Vajraparyahka and has six arms ; the right hands show the rosary, the Cakra and the Varada pose, while the three left carry the Tridagdi, the noose and the Utpala.

5. M'iyiij'ilakrama Lokebvara. He has five faces and twelve arms. The head on the top probably represents Amit'ibha. He stands' in the Alidha attitude, and wears the tiger-skin and the garland of heads, but his faces do not present a fearful appearance. The six right hands carry the Tridagdl, the Khatv'ihga, the jewel, the Khadga, the Vajra and the rosary, and the six left show the noose, the Kap'ila, the Utpala, tbe fruit, the Cakra and the lotus.

AFPENDIX

395

6. Sadak~ar? Lokeivara. He sits in the Vajraparyahka attitude. He has four arms and one face. The principal pair of hands is joined against the chest in forming the Aiijali. The second pair carries the rosary in the right and the lotus in the left. 7. Anandgdi Loke6vara. He stands in the Samabhahga attitude, and cames the lotus, the stem of which he holds in his right hand, while the left displays the Varada pose. 8. VaiYiidhikiira Lokeivara. He sits in the Vajraparyahka attitude and carries the bowl in his two hands arranged in the Samiidhi mudr'i. 9. Potapiida Lokeivara. He sits in the Vajraparyahka attitude, and has four arms. The two principal hands exhibit the Aajali against the chest, while the other pair holds the rosary in the right and the noose in the left. 10. Kamagdalu Lokekvara. He stands in the Samabhahga attitude, and is endowed with six arms. His two principal hands are engaged in drawing the bow t o its full length. The other four hands carry the Vajra and the Cakra in the two right and the Ghavyii and the Kama~dalu in the two left. 11. Varadlyaka Lokeivara. He is one-faced and six-armed and stands on a lotus. The two principal hands join against his chest in forming the AiTjali. He shows also the rosary and the Varada pose in the two right hands, and the book and a mudrii (probably Karaga ? ) in the two left. 12. JatHmukuta Lokehvara. He is four-armed and one-faced, the head on the top representing the head of ~ m i t ' i b h i The two right hands show the rosary and the Varada pose, while the two left hold the lotus and the water-pot. He is represented in a standing attitude. 13. Sukh'ivati Lokeivara. He is one-faced, and six-armed, and sits o n a lotus in the Lalita attitude. The first pair of hands exhibits the Dharmacakra mudr8, the second pair carries the rosary and the book, and the third pair shows the Varada mudrii in the right and the waterpot in the left. 14. Pretasanarpqa Lokeikara. He is one-faced and six-armed and stands on a lptus. In his threee right hands he displays the rosary, the jewel and the Varada mudrf, while t h e three left carry the Tridagdi and the book and exhibit the Varada mudr8. 15. Mly'ajtilakramakrodha Lokeivara. He presents a very fierce appearance with five faces terrible with protruding teeth, and eyes rolling ik anger. His hair rises upwards like flames of fire. He stands in the Praty~lidhaattitude and wears the tiger-skin. He has twelve arms,

396

BUDDHIST ICONOGRAPHY

of which the six right carry the sword, the Vnjra, the goad, the noose, the Trisiila and the arrow, and the six left hold the shield, the Cakra, the jewel, the deer-skin, the Kap'ala and the Tarjani with the noose. 16. Sugatisandariana LokeBvara. He is one-faced and six-armed and stands on a lotus. In his three right hands he carries the rosary and exhibits the Varada and Abhaya poses. The three left have the Tridapdi, the Utpala and the water-pot.

17. Nilakantha LokeBvara. He is one-faced and two-armed, and sits on a lotus in the Vajraparyanka attitude. He carries the bowl of gems in his two hands arranged in the Sam'adhi mudrl.
18. LokanLtha Rakt'aryyLvalokiteBvara. He is one-faced and twoarmed and sits in the Lalita attitude on a lotus The right hand displays the Varada mudr'a while the left holds the stem of d lotus on his lap.

19 Trilokasandarsana LokeSvara. He also is one-faced and twoarmed and sits in the Vajraparyahka attitude on a lotus. His right hand is raised against the chest with outstreched fir~gers and palm turned inwards. The other hand exhibits exactly the same pose (Karapa ?) as displayed by one of the left hands of Varadzyaka LokeBvara. 20. SirhhanHtha LokeBvara. He is one-faced and four-armed and sits in Bhadrzsana, or inthe European fashion, on araised seat placed on the lotus. In his two right hands he carries the sword and the jewel, while the two left hold the book and the noose.

21. Khasarpaga Lokeivara. He is one-faced and two armed and sits in the Lalita attitude on a lotus. His right hand exhibits the Varada pose and the left is raised against the chest, holding the stem of a lotus.
22. Ma~ipadmaLokeivara. He is one-faced and four-armed and sits in the Vajraparyahka attitude on a lotus. His two principal hands are joined against his chest forming the Aajali and the other pair holds the rosary in the right hand and the lotus in the left. He is identical in form with No. 6 described above.

23. Vajradharma Lokeivara. He is one-faced and two-armed and sits in the Vajraparyahka attitude on a lotus. The right hand displays the Abhaya pose and the left on the lap holds the stem of the Utpaia.

24. Pupala Lokeivara. He is one-faced and four-armed and sits in the Vajraparyahka attitude on a lotus. One of his two right hands carries the rosary while the other exhibits the Abhaya pose. One of the two left carries the book and the other displays a mudrii with the index and little fingers pointing outwards (Karaqa 1).

APPENDIX

397

25. Ucnauti (?) Lokeivara He is one-faced and six-armed and sits i n Bhadriisana o n the raised seat of a latus. His three r ~ g h hands t exhibit the rosary, the Vajra and the Abhaya pase, while the three left carry the KapPla, the noose and the water-pot.

26. Vrsx$icana Lokeivara. He is one-faced and six-armed and sits

i n the Lalita attitude on a lotus. The three right hands display the Utpala, the arrow and the Varada pose, while the three left show the book, the bow and the Abhayn pose.

27. Brahmadaqda Lokeivara. He is one-f~ced and four-armed, C sits in the Lslita attitude on a lotus, and is accompanied by his Sakti who sits o n his lap. His two right hands show the Tridaqdi and the Varada pose, while the two left show the Ratnakalaia (vessel containing jewels) and a mudrg with the index and llttle fingers polnting outwards The h k t i displays the Varada pose in the right hand and the Abhayn in the lett. 28. AcBta ( ? ) Lokeivara. He is one-faced and six-armed, and sits i n the ialita attitude o n a lotus. His three right hands show the sword, the arrow and the Varada pose, while his three left hold the Kartri and the bow rind d ~ s p l a y the Abhaya pose. 29. MahHvajrasattva L3keivara. He is one-faced and eight-armed, and sits in the Vajraparyanka attitude o n a lotus. His four right hands exhibit the sword, the rosary, the Cskra and the Abhaya pose, while his four left hold the noose, the T r i d a ~ d ithe , conch and the bowl of gems o n his lap. 30. 'Jihvahana Lokeivara. He is one-faced and six-armed and sits in the Vajraparyanka attitude o n a lotus. His three right hands hold the sword, the arrow, and the Cakra, while his three left show the noose, the bow and the Abhaya pose. 31. 6iikyabuddha Lokehvara. He is one-faced and four-armed, and is represented as standing o n a lotus. His two right hands hold the arrow and the Kha~vHhga, while his two left show the bow and the Tarjani. 32. SHntPsi Lokehvara. He is one-faced and six-armed and stands o n a lotus. His two principal hands are joined against his chest in forming the Dharmacakra mudr'i. The other four hands show the rosary and the Varada pose in the right, and the book and the Abhaya mudr'i in the left. 33. Yamadaqda Lokebvara. He is one-faced and six-armed, and sits in the Lalita attitude o n a lotus. His three right hands hold the sword, the lotus and the Vajra, while his three left display the fruit, the bowl of gems and an unspecified mudrH ( K a r a ~ a ?).

398

BUDDHIST ICONUQRAPHY

34. Vajros&a Lokeivara. He is one-faced and six-armed, and is represented as standing on a lotus. His three right hands show the rosary, the Tridaqdi and the Abhaya pose, and his three left the book, the noose and the Varada pose. 35. Vajrahuntika (?) Lokeivara. He is one-faced and twelve-armed and stands in Ardhaparyahka in a dancing attitude on a lotus. He holds the Utpala in all his twelve hands.
36. JiiBnadhBtu Lokeivara. He is one-faced and eight-armed and stands on a lotus. Two of his hands are joined against his chest in forming the A5jali m u d 6 ; the second pair exhibits what is called the Ksepa~a m u d 6 The remaining hands hold the rosary and the Tridapdi in the right and the book and the noose in the left.
37. K~rapdavyiiha Lokedvara. He is one-faced and two-armed and sits in the Vajraparyahka attitude on a lotus. He holds the Vajra in his right hand and the book against his chest in the left.

38. SarvanivarapaviskamOhi Lokeivara. He is one-faced and twoarmed and sits in the Vajraparyanka attitude on a lotus. His right hand holds by its stem a lotus on which there is a sword, and his left hand holds the Vajra against his chest. 39. S a r ~ a i o k a t a r n o n i r ~ h Lokeivara. ~ta He is oneifaced and fourarmed and sits in the Vajraparyafika attitude on a lotus. Each of his two principal hands exhibits the Abhaya pose against his chest, while the other two hands hold the rosary in the right and the Utpala in the left. 40. PratibhHnakakiita Lokedvara. He is one-faced and four-armed and sits in the Vajrgparyahka attitude on a lotus. He holds the noose against the chest with his right hand and the bowl of gems in his left.

41. Am~taprabha Lokekvara. He also is one-faced and two-armed and sits in the Vajraparyahka attitude on a lotus. He holds the double Vajra on his lap with his right hand, and the lotus on a water-vessel in his left. 42. J'aliniprabha Lokeivara. H e also is one-faced and two-armed and sits in the Vajtaparyahka attitude on a lotus. He holds the sword on a lotus in his right hand and the stem of a lotus against his chest with his left. 43. Candraprabha Lokeivara. He also is one-faced and twooarmed and sits in the Vajraparyahka attitude on a lotus. Re exhibits the Vitarka mudrii with. his right hand and holds the stem of a lotus against the chestwith his Bfti -

44. Avalokita LokeSvara. He also is one-faced and two-armed and sits in the same attitude on a lotus. He wields the sword in his right hand and holds the stem of a lotus against the chest with his left. 45. Vajragarbha Lokeivara. He also has the same number of hands and faces as No. 44. He holds the Vajra in his right hand and the stem of a lotus in his left. 46. Szgaramati Lokeivara. He is in all respecrs identical with No. 44 except that he holds the double Vajra in his right hand. 47. Ratnap'iqi LokeSvara. He also is identical with No. 44 in all respects, except that he holds the sword in his left hand and displays the Varada mudrz with his right. 48. GaganagaEja Lokeivara. He also is identical with No. 44 in a11 respects except that he exhibits the Vitarka m u d 6 in his right hand and the book in his left. 49. Ak'iiagarbha Lokekvara. He also is identical with No. 44 in all respects, except that here the god exhibits the Varada pose in the right hand and the stem of a lotus in the left.

50. Ksitigarbha Lokeivara. He also is identical with No. 44 except that here the god carries a tray of gems in his right hand and displays the Varada mudrH in his left. 51. Aksayamati Lokeivara. He also is identical with No. 44, except that he holds the rosary in his right hand and the lotus on a water-vessel against the chest with his left. 52. Systik'intZ Lokeivara. He is one-faced and two-armed and stands on a lotus. He dispIays the Varada pose with his right hand, while his empty left hand rests near his navel. A large number of four.armed gods issue from various parts of his body, while Amit'ibha appears over his head. 53. Samantabhadra Lokeivara. He is one-faced and two-armed and sits in the Vajraparyahka attitude on a lotus. He exhibits the Varada pose with his right hand, and holds the stem of a lotus against the chest with his left. 54. Mah'isahastabhuja Lokeivara. In all respects he is identical with No. 53, with this difference that here the god wields the sword i n his right hand and displays the Varada m u d 6 with his left.
55. Mah~ramaklrtiLokeivara. . He is chree.faced and six-armed and stands on a lotus. He holds the fruit, the Utpala and. the' conch in his three right hands, and displays the bow, the whip an.&the Namas. '.f, mudrH in his three left. *

400

BUDDHIST ICONOGRAPHY

56. Mah'iSarikhaniitha LokeBvara. He is identical in all respects with N o 55, except that he bears different symbols. Here the , t h e two Vajras in his three right god shows the Namaskiira m u d r ~ and hands, while his three left hold the noose, the arrow and the GhagtH.
57. MahHsahasrasiiryya LokeSvara. He is eleven-faced and eightarmed and stands o n a lotus. Each of his two principal hands exhibits the Ahhaya pose against his chest. The remaining hands show the rosary, the Cakra and the Varada pose in the three right hands and the Utpala, the bow charged with an arrow, and the vessel in the three left. This form of Lokeivara is very popular in Tibet. 58. MHhgratnakula LokeSvara. He is three-faced and six-armed and stands o n a lotus. The head o n the t o p represents AmitBbha. He carries the sword, the Utpala and the rosary in his three right hands and the book, the lotus and the Utpala in the three left.

59. Mahgpatala Lokegvara. H e is three-faced and six-armed and stands on a lotus. He holds in his three right hacds the Vajra, the ViSvavajra and the Utpala, and in his three left, the banner, the GhagyH and the Kamapdalu.
60. MahiimaEjudatta Lokekvara. In all other respects h e is simllar t o No. 59. But he carries the Ghaptz, the sword, and the Ratnapallava in his three right hands, and the Vajra, the GhagtB and the Utpala in his three leit.
61. Mahzcandrabimba Loke4vara. He is th~ee-faced and six-armed and stands on a lotus. He holds the arrow, the Utpala and the fruit in his three right hands, and the bow, the Vajra and the Cakra in his three left. The head o n the t o p probably represents AmitBbha.

62 MahZis'iryyabimba LokeBvara. H e is identical in all respects with No. 61, except that here the god carries two Vajras and the Cakra in his three right hands, and two Utpalas and the bowl of gems in his three left.
63. MahH-Abhayaphalada LokeSvara. He also is similar in form t o No. 61, except that he holds the Vajra, the sword and the Utpala in his three right hands, and two GhaglBs, and the book in his three left.
64 Mah'a-Abhayakari Lokeivara. He also is similar in form to No. 61, but the symbols in his hands are different. Here the god holds the book against the chest with his two principal hands, the Vajra and the rosary in his right, and the Ghagtg and the Tridapdi in his left.

Fig. 1(A) Hayagriva Lokeivara

Fig. 2(A) Mojaghaiijabala LokeBvara

Fig. 3(A) HHlHhala LokeBvara

Fig. 4(A) Hariharihari Viihana Lokekvara

51

Fig. 5(A) Mi?yEjHlakrama Lokeivara

Fig. 6(A) $add ksari LokeSvara

Fig. 73A)
'Anand~diLokefivara

Fig. 8 ( A )

Vagy~dhik~ra Lokefivara

Fig. 9(A)

P o t a p ~ d aLokeSvarn

Fig. 10(A) Kamaqdalu Lokekvara

Fig. 11(A) Varad'iyaka LokeSvara

Fig. 12(A) Jatiimukuta Loke6vara

Fig. 13(A) Sukh~vatiLokeivara

Fig. 14(A) Pretasantarpa~aLokekvara

Fig. 15(A) MlyHj'llakramakrodha-Lokeivara

Fig. 16(A) Sugatisandarkana Lokeivara

Fig. 17(A) Nilakagha Lokekvara

Fig. 18(A) LokangthaRakt5ryylvalokite6vara

Fig. 19(A) Trilokasandariana LokeSvara

Fig. 20(A)

Fig. 2 1 (A) Khasarpaqa Lokeivara

Fig 22(A) svara Mapipadma Lokel

Fig, 23(A) Vajradharma Lokehvara

Fig. 24(A) Pupala (?) Lokekvara

Fig. 25(A) Utnauti (?) Lokeivara

Fig. 26(A) Vysqiicana Lokeivara

Fig. 27(A) Brahmadagda LokeBvara

Fig, 28(A) Ac'ata Lokesvara (?)

Fig. 29(A) Mahiivajrasattva Lokeivara

Fig. 30(A) Vigvahana Lokebvara

Fig. 31(A) $'ikyabuddha Lokekvara

Fig. 32(A) Sgnt'asi Lokesvara

Fig. 33(A) Yamada~daLokeAvara

Fig. 34(A) Vajro?qisa Lokeivara

Fig. 35(A) Vajrahuntika Lokeivara

Fig. 36(A) JiiHnadhZtu Lokekvara

Fig. 37(A) K~raqdavyChaLokeivara

Fig. 38(A) SarvanivaracaViskambhi Lokeivara

Fig. 39(A) Sarvaiokata monirghata Lokesvara

Fig. 40(A) Pratibh'anakakiita Lokeivara

Fig. 41(A)

Amrtaprabha Lokeivara

Fig. 42(A) Jiilinlprabha LokeSvara

Fig, 43(A) Cadraptabha LokeSvara

Fig. 44(A) Avalokita LokeSvara

Fig. 45(A) Vajragarbha Lokeevara

Fig. 46(A) SHgaramati Lokeevara

Fig. 47(A) RatnapB~iLokeSvara

Fig. 48(A) Gaganagaiija Lokeivara

Fig. 49(A) Aktiiagarbha Lokeivara

Fig. 50(A) K~itigarbhaLokesvara

Fig. 51(A) Akgayamati Lokeivara

Fig. 52(A) S~$tikEnt~i LokeSvara

Fig. 53(A) Samantabhadra Lokekvara

Fig. 54(A) Mah'lsahasrabhuja Lokeivara

Fig. %(A) Ma h~ratnakirtiLokeSvara

Pig. 56(A) Mah~kahkhan'atha LokeBvara

Fig. 57(A) Mah'sahasrasliryya Lokeivara

Fig. 58(A) MahPratnakula Lokekvara

Fig. 59(A) Mah'apatala Lokegvara

Fig. 60(A) Mah'amaiijudatta Lokeivara

Fig. 61(A) Mah~candrabimbaLokehara

Fig. 62(A) Mah~s'uryyabimba Lokeivara

Fig. 63(A)

Mah'i-Abhayaphalada Lokeivara

Fig. 64(A) Mahs-Abhayal;ari LokeSvara

Fig. 65(A) MahHmajiijubhiita LokeSvara

Fig. 66(A)
Mah~vi&va&uddha Lokeivara

Fig. 67(A) MahavajradhHtu LokeQvara

Fig. 68(A) Mah~vajradh~k Lokekvara

53

Fig. 69(A) MahHvajrapBqi LokeSvara

Fig. 70(A)

MahHvajranHtha Lokeivara

Fig. 71(A) Amoghapiiia Lokesvara

Fig. 72(A) Devadevat'. LokeSvara

Fig. 73(A) PiqdapZ tra Lokedlara

'

Fig. 74(A) Slrthaviiha Lokedvara

Fig. 75(A) Ratnadala LokeSvara

Fig. 76(A) Visgup'i~iLokesvara

Fig. 77(A) Kamalacandra Lokeivara

Fig. 78(A) Vajrakhaqda Lokehvara

Fig. 79(A) Acalaketu Lokehvara

Fig. 80(A) S i r i ~ a f iLokeSvara

Fig. 81(A) Dharmacakra LokeSvara

Fig. 82(A) Hariv'dhana Lokeivara

Fig. 83(A) Sarasiri Lokeivara

Fig. 84(A) Harihara Lokeivara

Fig. 85(A)

SihhanZda Lokekvara

Fig. 86(A) Vibvavajra LokeBvara

Fig. 87(A)

Amit'abha Lokeivara

Fig. 88(A) Vajrasattvadhgtu Lokeivara

Fig. 89(A) Vikvahhiita Lokeivara

Fig. 90(A) Dharmadhztu LokeSvara

Fig, 91(A) Vajradh'itu LokeQvara

Fig. 92(A) hkyabuddha LokeSvara

Fig. 93(A) Cittadhstu Lokekvara

Fig. 94(A) CintZmagi Lokekvara

Fig. 95(A) S~ntamatiLokekvara

Fig. 96(A)
MaEjun'atha Lokeivara

Fig. 97(A) Vig~ucakraLokeSvara

Fig. 98(A) Kyt'aiTjali Lokesvara

Fig. 99(A) Visguk'int~~okeQvara

Fig. 100(A) Va jrasmta LokeSvara

Fig. 101(A) Sahkhanf tha Lokekvara

Fig. 102(A) Vidyzpati Lokesvara

Fig. 103(A) Nityan'atha LokeSvara

Fig, 104(A) Padmap'agi Lokehvara

Fig. 105(A) VajrapBpi Lokeevara

Fig. 106(A) MahBsthiimapr5pta Lokeivara

Fig. 107(A) Va jranztha LokeSvara

Fig. 108(A) ~rfmad-Ary~valokite4vara

428

BUDDHIST ICONOGRAPHY

65. Mah'imasjubhfita LokeQvara. He also is similar to No. 61, with this difference that here the god carries the sword, the Vajra and the Kamagdalu in his three right hands, and the rosary, the Utpala and the bell in his three left.

66. Mahlvibva6uddha Lokebvara. He is four-faced and eight-armed

and stands o n a lotus. He carries in his four right hands the sword, the flag, the Vajra and the goad, while the four left have the Ghaqt'i, the conch, the Utpala and the lotus. 67. Mah'ivajradh'itu Lokehvara. He is identical with No. 66 in all respects but the symbols differ. Here the god carries the Vajra, the bow, the TriQiilaand the sword in his four right hands, and the Ghagtii, the arrow, the Kamagdalu and the noose in his four left. 68. Mah'ivajradhrk LokeQvara, He also is identical in form with No. 66, with this difference that here the god carries the sword, the Vajra, the bow, and the Asikuhain his four right hands, and the Utpala, the Ghagr'i, the arrow and the noose in his four left.

69. MahTvajrapHgi LokeSvara. He also is identical with No. 66, except that here the god carries the sword, the goad, the GadP, and the rosary in his four right hands and the Cakra, the noose, the Utpala and the book in his four left.

70. Mah'ivajran'itha Lokebvara. He is three-faced and eight-armed, and stands on a lotus. He holds the rosary and the noose and displays the Abhaya and Varada poses in his four right hands. The three left shows the book, the Tridagdi and the lotus, while the empty fourth rests near the navel. 71. Amoghap'iia LokeQvara. He is four-faced and eight-armed and stands on a lotus. He carries in his four right hands the Vajra, the sword, the goad and the bow, while the four left carry the GhagtB, the Ridaqdi, the noose and the arrow.

72. Devadevat'i LokeQvara. He is similar to No. 71, with this difference that here the god carries the Vajra, the bow, the TriQlila and the sword in his four right hands, and the bell, the arrow, the jewel ( I ) and the noose in his left. 73. Piqdaptitra LokeQvara. He is one-faced and two-armed and stands on a lotus. He holds the PigdapTtra (the bowl) in his two hands near the navel. 74. Slrthav'iha Lokebvara. He is similar t o No. 73 in all respects, except that here the god displays the Varada mudr5 in his right hand, and carries the Pigdap'atra (the bowl) in his left.

APPENDIX

4 29

75. Ratnadala Lokeivara. He also is similar to No. 73, in all respects except that here he displays the Varada pose in his right hand, while his empty left touches his left shoulder. 76. Vi~qup'agi Lokekvara He again is similar in form to No. 73, except that here he carries the Tribiila in his right hand and a lotus bud in his left. 77. Kamalacandra Lokekvara. He also is similar to No. 73, except that here he displays the Vitarka mudrH in his two hands. 78. Vajrakhaqda Lokeivara. He also is similar to No. 73 in all respects, except that here the god holds the lotus bud in his right hand and the b3ok against his chest with the left. 79. Acalaketu Lokebvara. He also is similar to No. 73. But he displays the Abhaya mudr'i in the right hand and the Pigdap'atra (the bowl) in the left. A chowrie rests against his right shoulder.
80. $iriSar'i (?) LokeBvara. He also is similar to No. 73 in all respects, except that here he wields the sword in his right hand and holds the noose in his left. 81. Dharmacakra Lokehvara. He again is similar t o No. 73, except that here he carries the Vajra in his right hand and the axe in his left.

82. Harivzhana Lokebvara, He also is identical with No. 73, with the difference that here the god carries the Kamaqdalu in his right hand and the chowrie in his left. 83. Sarasiri (?) Lokebvara. He also is identical with No. 73. The difference is that here the god holds the Tri6iila in his right hand and the lotus in his left. 84. Harihara LokeSvara. He is identical with No. 73 except that here he displays the VyPkhy'ana mudr'i with his two hands against the chest. 85. Simhan'ida Lokeivara. Similar t o No. 73, but here th; god holds the chowrie against his shoulder with his right hand while the empty left rests near his navel.

86. Vibvavajra Lokebvara. He also is similar t o No. 73 with the difference, that here the god displays the Varada pose with his right hand and holds a snake in his left.
87. Amit'abha Lokebvara. Similar t o No. 73, except that here the god holds the chowrie in his right hand and the wheel in his left.

88. Vrjrasattvadh'atu Lokeivara. Similar to No. 73, except that here he holds the Cakra in his right hand and the conch in his left.

430

BUDDHIST ICONOGRAPHY

89. Vibvabh'iita Lokekvara. Similar t o No. 73 in form, but here he holds the rosary in his right hand and the lotus in his left.
90. Dharmadh'atu Lokebvara. Identical with No. 73 in form, but here the god holds in his two hands the water-pot near his navel. 91. Vajradh'itu Loke6vara. Identical with No. 73 except that here the god displays the Varada mudr'a in his right hand and holds the lotus in his left.

92. !kkyabuddha Lokekvara. Also similar t o No. 73, except that he carries the Vajra in his right hand while his empty left is held near the navel. 93. Cittadh'atu Loke6vara. Similar t o No. 73 except that he holds the image of a Jina (probably Amit'ibha) in his right hand and displays the Abhaya pose with his left. 94. Cint'amagi LokeSvara. Also similar t o No. 73, except that here he carries the Caitya in his right hand while the empty left is held near his navel. 95. i'intamati Lokebvara. Similar t o No. 73, with the difference that he exhibits the Varada pose with his right hand and holds the bough of a tree in his left. 96. Mazjun'itha LokeSvara. Also similar t o No. 73, but here the god holds the rosary in his right hand and the book against his chest with his left. 97. Visqucakra Lokekvara. Similar t o No. 73, except that here he holds the Cakra in his right hand and the Gad'a in his left.
98. Kyt'aiijali Lokebvara. Similar t o No. 73 except that here the god exhibits the Azjali against his chest with his two hands.

99. VisqukBntL Lokekvara. He again is identical with No. 73 in all respects, except that here the god displays the Varada mudrii with his right hand and the book against his chest in his left.
100. Vajrasnra Lokekvara. Identical with No. 73, the difference lies in the fact that here the god carries the chowrie in his right hand and the lotus in his left.

101. Salikhan~tha LokeSvara. Similar t o No. 73, with the difierence that here the god holds the conch against his chest with his .right hand and the lotus in his left.
102: Vidy'ipati Lokekvara. Also similar t o No. 73, except that here the god shows the empty right hand against his chest while his left holds the lotus. The chowrie hangs from his right shoulder.

APPENDIX

43 1

103. Nityan'itha Lokekvara. He is identical with No. 73, with the difference that here the god holds the rosary in his right hand over the book held in his left. 104. Padmap'agi Lokekvara. He also is similar in form to No. 73, with the difference that here the god displays the Varada pose with his right hand and holds the stem of a lotus in his left. 105. Vajrap'aqi Lokekvara. He again is identical with No. 73, in all respects except that here the god holds the Vajta on his head with his right hand, while the empty left is held near the navel. The attitude in which he stands is also different. He shows the dancing attitude in Ardhaparyahka. 106. Mah'isth'amapr'apta Lokeivara. He is similar in all respects to Padmap'agi Loke6vara (No. 104). 107. Vajrangtha LokeQvara. Identical with No. 105, Vajrap'lgi Lokeivara, with the only difference that here the god holds the lotus in his left hand. 108. 6r1mad'ir~'avalokitekvara. He is one-faced and two-armed and stands on a lotus. He holds the Vajra in his right hand which rests against his chest while his left holds the stem of a lotus near thelnavel.

GLOSSARY
Abhaya mudrii, or the gesture of protection. The hand showing this mudr'a should be slightly elevated and bent with the palm turned outward, the fingers being outstretched and elevated. This mudr3i should be distinguished from the Varada mudr'. in which case the hand is stretched downwards with the fingers, instead of being elevated, pointed downwards ; and also, from the Capetad'ana mudrii, which shows the right hand menacingly extended upwards, just as is done in dealing a slap. Akgam'il'a or M ~ l a ,is the string of beads such as is carried by the Roman Catholic priests. The beads consist of a kind of dried fruit, called in Sanskrit, Rudr'akga. It may be made with other material also, such as crystals, etc. Alidha, a particular Asana, o r attitude of legs, in all respects similar to the attitude adopted in drawing the bow charged with an arrow. The right leg is outstretched while the left is slightly bent. This attitude should be distinguished from the Praty~lidha attitude in which case the left leg is outstretched while the right is slightly bent and placed behind. AEjali, name of a mudrg, also known as the Sarvarajendra mudr'a, or the Sampu!iiEjali. It is the mudr'. in which the two hands are clasped against the chest, palm to palm, both of which are extended upward with all fingers erect o r slightly bent. This is the characteristic mudr'. of Sadakgari Lokeevara and is also exhibited by Niimasahgiti. Ahkusa, elephant goad. See the weapon, for instance, in the image of Parpa$abari. When the goad is surmounted by a Vajra, it is called Va jriirikuia. AnuvyaEjanas, see Lakgagas. Ardhaparyahka, also called Mah'ariijalll~, is a particular Asana of sitting. Both the legs are on the same pedestal ;one of the knee is raised while the other is bent in the usual position of a Buddha. This Asana should be distinguished from the Lalit'asana in which case one of the legs is pendant, while the other is bent in the usual position of a Buddha. When both the legs are pendant, the attitude is called Bhadriisana.

GLOSSARY

433

Asana, the word in Sanskrit may mean a seat, a mystic o r any attitude exhibited in the lower limbs. The word Padm'asana means the seat of lotus. Similarly, Sirhh'isana means the lion-throne o r the seat of a lion, The word Sukh'asana means any easy attitude of sitting. It may be the ParyankHsana, Lalitssana or the Ardhaparyank'asana. In fact, in the Siidhanamiil'i, the word SukhHsana has not been used in a technical sense. When used in a technical sense Asana is of various kinds, such as the Paryahk'asana, Vajraparyahk'asana, Lalit'isana, Ardhaparyairk'asana, Bhadriisana, Alidh~sana,Pratyiilidh'isana or the Nii!y'asana, a variety of Ardhapary anka. AQoka, the absence of sorrow ; but the word is always used t o designate a particular kind of tree which blossoms forth red flowers. From time immemorial, this tree is regarded as sacred in India. It is believed that kicks at the tree by chaste women cause it t o blossom. BBqa, see Sara. Bhiimisparga, also called Bh~misparSanaor the Bhiisparia, is the name of a mudr'i. The right hand exhibiting this mudr'i has the palm turned inward and the fingers outstretched, with the tips touching the ground. This mudr'a should be distinguished from the Varada mudrg in which case tips do not touch the ground and the palm instead of being turned inward is turned outward. The deity showing the Bhiisparka mudr'i must sit in the Vajraparyanka attitude. BhGtas, a class of mischievous spirits or hobgoblins who, without any provocation whatever, are supposed t o injure men and destroy them mysteriously. Bija, means a 'seed'. In Tantra it signifies the Germ-Syllable which takes the form of a deity in the course of meditation. Bijapura, citron, a characteristic symbol of Jambhala. Brahmakap'ila, o r the Brahmabrah, is the severed head of Brahm'i who is crgdited with four faces with grey beards in all of them and the crown of matted hair. The Buddhist gods, carrying triumphantly the severed head of Brahm'a, display the aversion of the Buddhists towards the Hindus, as well as, the superiority of their gods to the gods of the alien faith.
I

Brahmamukha, the face of ~ r a h m containing i four feces. The Brahe mamukha is super-imposed on the head of Param'iSva. 55

434

BUDDHIST LCONOGRAPHY

Brahmabirah see Brahmakap'ila. Caitya, or the Stiipa, which represents the Buddhist Universe, is the Buddhist sanctuary, sometimes square and sometimes round, with spires o r steps on the capital. Each spire or step represents a heaven, t h e uppermost portion being a point which is supposed t o be the highest peak of Mount Sumeru, a mythical mountain, whence the Bodhicitta loses itself in $iinpa. O n the four sides of the Caitya the figures of the Dhy'ini Buddhas appear. Vairocana is sometimes present. The corners areoccupied by the figures of the Divine Buddhabaktis o r their symbolic representations in the form of Yantras. The Caitya may show further, in the four cardinal points, the Caturmah'ar'ajikas or the Great Rulers of the Quarters, namely, VaiBravaga, Viriipgksa, Virtdhaka and Dhytar'agra. See Stiipa. Cakra, Wheel o r disc. It is the characteristic symbol of the Hindu God Visnu or Kysga. C'amara, Chowrie or the fly-whisk consisting of the tail of a Yak. C'ipa, also called Dhanus, is the bow. . It is generally carried in the left hand. With the bow and the arrow M'irici inflicts pain t o the MBras o r wicked beings. Cagaka, Wine-glass. Caturmudr'a-See Sagmudr'a. Chindmagi-the gem that satisfies all desires. The jewel is sometimes represented in the form of a small round object and sometimes in the shape of a flame. D ~ k i n isame , as Sakti. See Sakti. Damaru, small drum, such as is carried by the Hindu god Siva. Dagda, the staff o t the mace carried by Hayagriva. It cannot b e translated as the magic wand, as the Khatv'ihga serves that purpose. When the staff issurmounted .hy a Vajra, it is called Vairadagda. D h ~ r a pa i r D h P r i ~ imeaningless , conglomeration of syllables, occasion.ally containing one o r two intelligible words, used as a charm . or prayer. There are Dh'aragi-Sahgrahas or collections of DhHra$s i; the Nepal- Library, with. an astonishingly large number of . Dh~ra$s devoted t o different deities. The hit: giyen:b the Nepal Catalogue Vol. 11. App. p. 225, et sqq. may.ly.c~nstilted.
+

Dharmakkra, ar.Yyiikhy,Sna r n u d r l ~ i that s gesture - - of - . hads..exhibited . . _ __. _ __ by Lord Buddha while preaoking,.bis first serplon -..at .. Sarnath. This pose is depicted variously but the most artistic and correct LA

GLOSSARY

435

representation of this mudrii is t o be found in the celebrated PrajiTZipLramitZ image from Java. See Getty :GNB, p. 187. Dhanus, same as C'ipa. See Cfpa. DhEpa, incense stick, which when burns, emits fragrance. Dhy'ina, meditation ; it refers generally t o that portion of the Siidhana in which instruction is given as t o the description of the deity with whom the worshipper is to identify himself. Dhy'ina, o r Sam'idhi mudr'a ; the position of hands while in meditation. The hands with palm upwards lie one upon the other on the lap with all fingers stretched. This is the characteristic mudrf of Amitfbha. Dhy'in'asana, or Vajraparyahk'asana, o r Vajr'isana, is the meditative pose, the two legs being firmly locked with both the soles apparent, the characteristic sitting attitude of the Dhy'ani Buddhas. Sometimes a small thunderbolt, shown on the seat of the god, indicates the meditative attitude. Dhy'inPsana should be distinguished from the ParyaAka attitude in which case the legs are placed one upon the other with both the soles invisible. Dipa, lamp, the sacred lamp fed with ghee. Gad'a, mace. Garuda, mythical bird supposed to be the destroyer of all serpents. The Hindus regard him as the Vzhana of Visqu. Garuda is represented as a huge bird with a human body, two wings and sharp beaks, generally with hands clasped against the chest. Ghaqt'a, bell ; when the bell is surmounted by a Vajra, it is called Vajraghaqt'a, which is a symbol of Vajrasattva. jatfmukuya, the crown of matted hair. The hair is tied up above the head in such a way as t o resemble a crown o r a tiara. KalaSa, is the ordinary water-vessel of metal or earth. It is different from the Kamaqdalu or Ku~dik'a,which is smaller in size and is provided with a projecting pipe for discharging water. Kamaqdalu, see KalaSa KapHla, either (i) severed head of a man, o r (ii) the cup made of a skull, o r (iii) a bowl. The skull cup is of two kinds ; when it is filled with blood it is called Asykkap'ila, and when with human flesh it is called M'arhsakaplla. The deities are supposed t o partake of the blood o r the flesh carried in these cups. K a r a ~ a mudr'i. , Any hand showing this mudrH is outstretched with the index and the little fingers erect, while the thumb presses the two remaining fingers against the palm of the hand.

436

BUDDHIST ICONOGRAPHY

Karppara, same as KapHla. See KapHla. Kartri, o r Karttari signifies a small knife ; sometimes the edge of it is uneven like the edge of a saw. It is called Vajrakartri when surmounted with a Vajra. Khadga, sword. The sword in the hand of MaiijuSri is called the Prajii'ikhadga o r the Sword of Wisdom, which is believed to destroy the darkness of ignorance by the luminous rays issuing out of it. Kha~viinga, magic wand ; the stick is generally surmounted either by Vajra o r the KapBla, o r the TriStila o r the banner, o r all of them. In any case, for a KhatvBfiga the skulls are necessary and it will be so called even if nothing else is present. Ksepaga, the mudrz of sprinkling, exhibited by Niimasahgiti. The two hands are joined palm t o palm with fingers all stretched, the tips of which are turned downwards and enter into a vessel containing nectar. KugdikH, same as Kamagdalu. See KalaQa. Laksagas, auspicious marks ;the thirty-two specialmarks of the Buddha, enumerated in Dharmasafigraha attributed t o NPgHrjuna. The Lakaaqas are also enumerated in Getty :GNB, p. 190. Another class of minor marks is called Anuvyaiijanas, eighty in number, also enumerated in the Dharmasangraha. MHlH, same as AksamHlg. See AksamBlB. Magdala, the magic circle, containing mystic figures and diagrams, and figures of gods and goddesses constituting the Ma~dala. In the Nispannayog"aal1 Tantra, KriyHsamuccaya and the Vajrgvali-niimamagdalopHyik'a there are descriptions of a great number of dtities constituting the circle. Magi, same as CintHmagi ; see Cint'ama~i. Mantra, mystic syllables sometimes containing a few intelligible words, but shorter than the DhBragL. The Mantras are believed t o be a contracted form of the DhHragis and are meant for the mass to obtain an easy salvation, by simply muttering them. In many instances, the Mantra gives the name of the divinity o r his attri* butes, and these are most important in determining the names of different gods when the Colophons of Siidhanas are not enough. Mayiira, peacock ,and Mayiirapiccha signifies feathers of a peacock. Mudgara, hammer ; it may also mean a staff o r a mace.

GLOSSARY

437

Mudt'a, mystic pose of hand o r hands. Some of the Mudr'is can be shown by one hand, such as the Varada, Abhaya, Namask'ara, etc. others requi?e both the hands such as the AZjali, Dharmacakra, there are descriptions of and many others. In the S'idhanam'al~ an overwhelming number of Mudr'is. But it is very difficult to comprehend them unless actually explained by the priests. Miisala, pestle N'igas, serpents. They have the character of water-spirits and are believed t o dwell in the springs, lakes and tanks, and have the power t o bring o r withhold rains. But if they are roused to anger, they hurl down rocks from the mountain tops and destroy fair cities. The gods of the SHdhanam'alB are fond of ornaments of eight lords of snakes. NakulI, mongoose ; the characteristic animal of Jambhala. The mongoose is believed t o be the receptacle of all gems and when the God of Wealth presses the animal, it vomits forth all the riches. Namask'ara, the mudr'a assumed by the Bodhisattvas, when paying homage t o the Buddhas or Tath'igatas, or by the minor deities t o the principal one. The hand, slightly bent, is raised above in a line with the shoulder with fingers outstretched or slightly bent with the palm turned upwards. Niipura, anklet ; small bells are attached to the ornament so that when the leg moves, it chimes melodiously. Padma, lotus, which may be of any colour except blue. The blue lotus is designated by the word Utpala or Nilotpala. In Tlntric works the Padma is the day lotus, while Utpala stands for the night lotus. It is regarded as especially sacred by all classes of Indians. See Getry : GNB, p. 192. When the lotus shows petals in both the upper and lower directions i t is called the Viivapadma o r the double lotus. Padma indicates purity of descent. ParaSu, axe. Paryahka, see DhyPn'isana. R i a , noose or lasso ; when a Vajra is attached at the end of it, it is called the Vajrapgba o r the adamantine noose. The noose is required t o bind the host of the MPras and all other wicked beings. P'itra, begging bowl o r bowl generally found in the images of the five Dhy'ani Buddhas and of Buddha $iikyasi&ha. Sometimes the Kap'ala is used in the S'adhanamiil'a t o designate a bowl (See Kap'ila). Getty records a Buddhist legend to show how a E t r a came in the possession of the Buddha. Getty : GNB, p. 193.

438

BUDDHIST ICONOGRAPHY

Prajs'., see Sakti. Preta or M ~ t a k a o r Sava, always means a corpse or ghost in Indian Buddhist Iconography. Pustaka, book in the form of a Manuscript which represents the Praj?iHp'.ramitH o r the Book of Transcendental Knowledge. NHgBrjuna is said t o have restored the Scripture from the nether regions. The book is carried by several Buddhist gods, notably, Praj~iipHramitii, Maiijusri, Sarasvati and Cundz. Ratna, jewel. The word Triratna signifies the three Jewels, Buddha, Dharma and Sarigha. Similarly, there are different groups of jewels, such as the seven jewels o r the sixteen jewels. For the enumeration of the seven jewels, see Getty : GNB, p. 194. See also CintHmagi. S'adhana, procedure of worship for the invocation of Buddhist gods, and not 'charm' as translated by C. Bendall. The S'idhanamHl'. or the Siidhanasamuccaya is a collection of 312 SHdhanas. Sakti, o r Prajiia, Vidy'i, SvHbh'. PrajilP o r Sv'ibha-Vidyii, the female counterpart of a Bodhisattva. All goddesses are regarded as female counterparts of one o r another of the Bodhisattvas. The Saktis are either represented singly o r in yab-yum, i. e. in the actual embrace of the god t o whom she is affiliated as a Sakti. This female counterpart is called 'SvHbhH' (own light, being the principal god's own creation). She sometirrles carries the same weapons as are carried by the principal god. Samsdhi, meditation ; the deepest form of abstract meditation. For a description of the Sam'adhi mudrg see DhyHnamudr'.. Sahkha, conch-shell ; it is especially given as a symbol t o the gods as the sound viabrated through a shell penetrates far and wide. The conch-shell seems t o have been extensively used in wars by ancient Indians. Saqmudr'., the six-mudriis ; the meaning of this mudr'. is quite different from the mudrH meaning mystic gestures. It has been translated as auspicious ornaments or symbols. The six ornaments are enumerated in the following verse in the SHdhanamPl'. : ''Kaqthik'i rucakarh ratnamekhalarh bhasmasctrakah I Say vai psrarnitii etZi mudrlrcpega yojit'ih" I1 "The torque, the bracelet, the jewel, the girdle, the ashes and the sacred thread are ascribed to the gods in the form of mudtits (ornaments), which represent the six PlramitZs".

GLOSSARY

43 9

These ornaments or symbols are generally of human bones, the Khapliga being the sacred thread. When one of the six is absent they are called Pazcamudr'a, and Caturmudr'a, when tbo. Sara, o r the BHga, is the arrow. It is generally carried in the right hand, while the corresponding left shows the Dhanus. Sava, see Preta. Siddhas, or Siddhapurusas are saints who have already attained Siddhi or perfection in a TPntric rite, and have acquired sup--normal powers. Two groups of Siddhas are generally recognized, one consisting of nine and another of eighty-four. They were famous in the mediaeval age for their magical powers and prodigious deeds. Most of them hailed from the East. Sirinha, lion. The word Sirhhzsana means the lion-seat or the lionthrone, but does not designate a special attitude of sitting such as the VajrHsana, ArdhaparyaAkHsana, and so forth. See Asana. &hkhal~,chain, also called the VajraBrAkhalZi, (which is the characteristic symbol of Vajraiyhkhal~), when the chain is surmounted by a Vajra. Stiipa see Caitya. Slici, mudrz used generally in the act of dancing, though it is to be seen in other cases also. All the fingers are stretched with the tips joining at the end, so as t o resemble a needle (Siici). Siinya, translated as 'Void' in the absence a f a suitable and more expressive word. It signifies a state of the mind after Nirv'ica, about which neither existence, nor non-existence, nor a combination of the two, nor a negation of the two can be predicated. This h n y a in VajrayBna is identified with Compassion which transforms itself in the form of divinities, of the nature of Siinya, for the welfare and happiness of men. In Vajrayzna k n y a is the Prime Cause of all manifestation. Siiryya. the sun or the disc of the sun which is held in one of her hands by Mlrici and which is the seat of many Buddhist gods and goddesses. Rghu is said t o devour the sun and the moon. S ~ a b h ' PrajZH, i see S ~ k t i . Tarjani, mudr'. ; the pose of the raised index finger in a menacing attitude. In the hand showing this mudr'a, the index finger only is raised while the other fingers are locked up in the fist. If7a PHia o r noose appears round the index finger it is called Tarjanip ~ 6 a . The word Vajratarjani signifiestht Vajta .held in the fist . ..-> while the index is raised in a menacing attitude. . . .
. ) ,

440

BUDDHIST ICONOGRAPHY

Tarjanipsa, see Tarjani. Tarpaqa, mudrH of doing homage t o the Departed Fathers ; the rnudrs of N~imasafigiti. Any arm showing this gesture is bent and is raised upward in a line with the shoulder. The palm of the hand is rurned inward with fingers slightly bent and pointed towards the shoulder. Tathiigatas, the Buddhas who have attained the highest state of perfection according t o the Buddhists. In the S'idhanam'ilii, the word is invariably used in the plural number with reference to the five Dhyiini Buddhas, but does not even signify Vajrasattva or Vajradhara. The Buddhas are innumerable and have a hierarcy among them, the different orders being Pratyeka, $riivaka, SamyakSambuddha, Jina, Arhat, Tath'igata, and the like. Trailokya, pertaining t o the three worlds : the divine, the rerrestrial and the infernal. Trikiila, trident. The Hindu god giva is believed to carry the trident, and hence it is popular among the Tantra symbols as,most of the Tantras are in the form of a dialogue between Siva and P'irvari. Utpala, see Padma. V'ihana, the vehicle or the mounr of gods ; the mount may be any animal including men, demons and corpses. Sometimes even the gods of an alien faith serve as Vghanas. Vajra, thunderbolt. When two thunderbolts are crossed, it is called a ViBva-vajra, or a double Vajra. In Buddhist Tantra the word generally designates $iinya or Void, which cannot be cut, cannot be destroyed, but which destroys all evils.
\la jrada~da, see Dagda.

Vajraghagf'i, see Ghagfii. Vajrahiihkiira, mudr8. The wrists are crossed at the chest with two hands holding the Vajra and the bell, both of which are turned inwards. But if the two symbols and the hands are turned outward the mudr'i will he called the Trailokyavijaya mudrs. Vajrakartri, see Kartri. Vajr'ahkuia, see Ahkuia. Vajraparyalika, see Dhyzn'isana. Vajrai~hkhalt, see Srhkha13. Vajratarjanl, see Tarjani,

GLOSSARY

44 1

Varada, mudrg, the gesture of hands shown by gods while conferring boons. The hand showing this gesture is pendant with its palm outward and fingers all stretched. Sometimes a jewel is seen stamped on the hand showing the mudrz when it is known as the Ratnasahyukta-Varada, that is, the gift-bestowing attitude together with a jewel. The Mahoba figure of Khadiravagi is an example of this kind. Viivapadma, the double conventional lotus. See Padma. Viivavajra, the double conventional Vajra. See Vajra. Vitarka, mudrH assumed in discussion. This m u d 6 is altogether unknown in the SiidhanamiilH and seems t o be a later development. It is, nevertheless, shown by a number of forms of AvalokiteBvara treated of in the Appendix all of which are more or less influenced by Tibetan art and iconography. This mudrii is represented with the right arm bent, all fingers erect except either the index 01. the ring finger which touches the thumb so as t o resemble a ring. The hand is extended forward with the palm outward. Vydchy'ana, mudrz, see Dharmacakra. Yab-yum, is a Tibetan word consisting of two particles yab and yum. The word 'Yab' in T ~ b e t a nmeans the 'honourable father' and 'yum' means the 'honourable mother'. The combined word, therefore, means the father in the company of the mother, o r in her embrace. For the spiritual significance of the conccption of yab-yum, see Conclusion. Yak~as, are mis-shapen dwarfs who guard the treasures of the Northern mountains and their chief is Kubera, the God of Wealth. They are usually malignant in disposition and they occasionally feed on human flesh But the benign influence of Buddha's teaching makes them forego their cruel habits.

INDEX O F WORDS
A
Abhay~kara Gupta, 3. 4, 47, 82, 155 Abhtdhanottara Tantra, 4 Abhimukhi Bhtimi, 335, colour 335, symbol 335, d h y ~ n a 335, described 335, images 335 Acala 154, 155, colour 255, direction 255, dhysna 255, described 255, Sakti 255, images 255 Acala Bhtimi, 336, colour 336, symbol 336, dhyana 336, described 336, images 336 Acalaketu Lokeivara, described 429 Arala Valrapii~i,155 Aclata (7) Lokeivara, described 397 Adamantine sow, 21 7 Adherence t o the Path, 20 Adhikiirin, equipments of, 24 Adhimukt~cary~ Bhiirri 333, colour 333, symbol 333, dhysna 333, described 333, images 333 AdhimuktivaQit~, 331, colour 33 1, symbol 33 1, dhysnn 33 1, described 3 3 1, images 33 1 Adibuddha, 42, 43, manifestation of, 101, cult of, 44 Adibuddha. Uhysni Buddhas as, 387. different cults with different, 387 Adibuddha, temple over the flame of, 10Of. Adibuddha theory, time and place of Introduction 387n Aditya, 367, colour 367, symbol 367, viihana 367, dhyana 367, described 367, images 367 Adibuddhay%na, 187 Adi9ana, 187 Advaya, 30 Advqavajra, 9,48 Advayava~rasahgraha.25 Agni, 362, colour 362, vihana 362, direction 362, dhyana 362, described 362 images 362 Ahafikkra, 27, 30 Ajan~a, 5, 39 Ajaya, 160, direction 160, form 160 Akanischa heaven, 34 Akarsana rite, 166 Ak~Ba~arbha Bodh~sattva, 85, colour 85, symbol 85, dhyiina 86, descr~bcd86, images 86, forms 86 Akni'agarbha Lokesvara, described 399 AksayajEiianakaraqcja Dhiriqi, 34 1, colour 341, symbol 341, dhyiina 341, descrrbcd 341 Aksayamati Bodhisattva, 84, colour 84, symbol 84, dhysna 84 described 84, images 85 Aksayamati Lokedvaro, 39; Aksobhya r)hyBn~Buddha, 51, colour 51, viihana 51, mudrii 51, symbol 51, dhysna 51, described 51, images 51, in stiipa 5 I, directior. 5 1, family 51, forms 52, lord of the East 52 ;eight-armed fortn 52, dhygne 52, described 52 ; origin of 45, as a Tathtigata, 34, 35, in the Hindu pantheon 191, on the crown of Hindu Tiira 191, gods emanatlng from 154f, goddesses emanating from 189f. Alaktipuri, Kubera's capital 379 Alchemy, 8 Amr~vat;,5 Amitabha, 14, 34, 49, dhyiina 49, symbol 49, viihana 49, mudrs 49 described 49, images 50, origin of. 45, sire of Avalokitedvara 124, gods emanatiug from 145f, goddesses emanating from 147f. Amitabha Lokedvara, described 429 Amitaprabha (also Amytaprabha), 90f, colour 90, symbol 90, dhylna 91, described 91, images 91 AmitPyus, 35 Amtriiyus Siitra. 14. 15, 100. Amoghadar& Boddhisattva, 97. colour 97, symbol 97. dhyiina 97. described 98,

444

BUDDHIST ICc
Arya.Ma?ijubrImGlakalpa, 100 Arya-M~ricI,2 10, symbols 2 10, described 210 e AryatiirH, 229, name of ~ a d ~ a t i i r229, ssdhana 229, described 22, green 307, special features 307 Arya.Sarasvati, 351, symbol 351, described 351, images 351 Arya.Vajraviiriih?, 219, four-armed 219, described 219, symbol 219 Asanas, significance of 389, 390, sentiments in 390 Asafiga, 8, 12, 13, 41, 197, deified 35, initiated by Maitreya 80 Ascetic, 25 Asiatic Society's Library, 4 Aiokakiintii M ~ r i c i ,227, as a minor deity 227, as companion 228, described 209, 228, dhynna 209, 228, images 209, 229, viihana 209, colour 209 Adoka bough, 209 Assam, 6 As;abhuja Kurukullg 245,249, companions of 249, colour 150, mudra 150, sadhana 150, dhyiina 150, described 151, images 151 A~tabhujaMlric?, 211, colour 211, residence 21 1, described 211, attendants 211, images 212 Agtamahiibhaya Ta-rli, 308, white 308, special features 308 Agrabhujapita M~rici.210 Asfabhuja Vairatzirl, 240, name of Vajrat%i in Peiping 240, see Vajratiir: Astrology, 8 Astronomy, 8 Aivaghosa, deified 35

images 98 ~ m o g h a ~ Lokehara, ~$a described 428 Amoghasiddhi Dhyani Buddha, 22, 55f. colour 55, mudra 55, v ~ h a n a 55, symbol 55, dhyiina 55-6, described 56, images 56, direction 56, place in stiipa 56, origin of, 45, emanations of 226 AmytalocanH, 249 Amytamukhi, 249 Amrtiinanda, 2, 3, 142, 205, 206 Amrtaprabha Lokeivara, described 398 Annl~rka, 254 Ananda, 79, 191 Anandiidi Lokeivara, described 395 Anahga, 187, Hindu god of love 1 15 Anairgavnjra, 12. 35 ~nantamukh; ~ h ~ r i $ 340, , colour 340, symbol 340, dhyana 340, described 340. Ananta, snake, 148 Animal-faced deities, 3 19, general description 319, deification of animals 319, special features 319 Animosity against Hindu gods, 389 Aiijali mudrs, 129, 207, of Sudhanakumsra 129 Anupama Raksita, 20 Anusmyti, 26 Apargjita, 183 AparXjitL, 151, 222, colour 151, described 151, direction 151, see also BitiitapatrB ApariijitL Apariijitla, 24.55 colour 245, mudrl 245, dhyana 246, described 246, images 39, 246, Niilands fragment 246, Indian Museum image 246 Appearances, 28 Arapacana, 12Of. name explained 120, colour 120, companions 120, symbol8 120, described 120, images 120, origin of 121, images 39, 121, 121n Arcismati Bhiimi, 334, colour 334, symbol 334, dhyiina 334, doscribed 334, images 335 Artha Pratisaqvit, 343, colour 343, symbol 343, dhyiina 343, described 343, imsges 343 Arolik, 45 Ampa, 207 Arya-Jiihguli, 228, as companion, 228, dhy~na 228, described 228, images 229

Atida Dipirkara, 16 Avalokita Bodhisattva 143 Avalokita Lokeivara, described 399 Avalokiteivara 11, 14, 30, 34, 35, 38, 49, origin of 143, ruler of Bhadrakalpa 124, his sire A m i t ~ b h a 125, character 124, special qualities 124, sadhanas 124, forms in the Siidhanamirl~ 124, (108) forms in Nepal 6n. 88, 124, 144, discovery of 108 forme 125, images 125. Avalokite~varr Bodhisattva, 88f, colour 88, symbol 88, dhyHna 88, described

INDEX OF WORDS 83, imager 89 Ayurvaditii, 329, colour 329, symbol 329, dhyilna 329, described 329, images 329 B Balabhadra, 378, pastoral deity 378, colour 378, symbol 378, vshana 378, dhyiina 378, described 378 Balabhadra Group, 378, deities of the, 378, their nature 378 Balapiirarnirii, 327, colour 327, symbol 327, d h y ~ n a327, described 327, images 327 Banerji, R. D. 39 Bendall, 35n dengal 5, 6, school of art 38, 39 Bewitching, rite of, 115 Bhadrakalpa, ruler of 49, 124 Bhadrapala Bodhisattva, 96, colour 96, symbol 96, dhygna 96, forms 96, dee. crlbed 97, images 97 Bhadrasana 229 Bhairava, 161, 162, as viihana 218 Bharhut. 5, 31 Bhatgaon, monasteries n, 41 Bhattasali (Dr. Nalini Kanta), 1, 16, 39, 130, 156, 223,233 Bhimr, 160, direction 160, form 160 Bhimadardanii 160, direction 160, form 160 Bhisrnabhagini, 236 Bhota 193 BhykuG, 128, 129, 135,147, 152, colour 129 135, 152, symbol 129, 135, 152, des. cribed 129, 135, 152 slidhana 152, Dhy~. na 152, forms 152, images 153, yellow 309, special features 309 ~ h ~ h g365, i , colour 365, dhyiina 365, described 365 Bhiimis, ten, 28 Bhiimi deities, twelve 333, meaning 333, definition 333, description 333, images 333 Bhiiri?:, 135, colour 135, symbol 135, described 135 BhZitadirmara 182, mudrr, 182, s~dhana 182, dhytina 182, described 182-3, sire 183, images 183, cult of 183 BhiitaGmara VajrapS~i,183 Bhuvaneivari 117n Bihar 6 Bimba (icon+circle), 26 Birbhum 38 Blue colour, significance of, 154 Bodhi 21 Bodh~caryyiivariira 5 Bodhicitta, 25, 27, nature of, 393 Bodhi knowledge 11 Bodhi mind, 28, 29, 30, charged with Karu?~ 31 Bodhisattva, 11, 20, 27, 28, meaning of 82, class of deities 82, female counterparts (12, independent group 82, in Nispannayogilvari 112, three sets of 16 deities 82, lists of, 82, with DhyHni Buddha forms 99, companions of Lokaniitha 130, group of eight 98 Bodhisattva. Padmapiini, 49 Bodhisattvayana 8 Bodhnath, stGpa of 32 (also Buuddh) Borobudur temple 39 Brahm~ 27, 250, as Miira 159, 195, colour 363, viihana 363, dhyana 363, described 363, images 363, parasol bearer 246, severed head of 162 Bturinravaivarca Puriipa 18 Brahmada~da Lokedvara, doscribcd 397 Brahmananda 190 Brahmas, Four, 21 Brhaspsti, 368, colour, 368, symbol 368, vkhana 368, d h y ~ n a 368, described 369 Bronzes 5 Bronze of Vajratiira 240, in the form of a lotus 240 Buddha 20, as god 32, first image of 5, images of 31, 32 Buddha's life, scenes from 5 Buddha Sfikyasimha 48 Buddhas 20 Buddhahood 8,29 Buddhadrkid 163, 218, Sakti of MahamZyH 164, described 161 BuddhakapBla, 159, colour 159, hakti 159, s ~ d h a n a 159, d h y ~ n a 159, described 160, mandala of, 160, images 160 B~ddhabodhi~rabh~Vahitii 332, colour 332, symbol 332, dhyilna 332, described 332 Buddhism, destruction of 39 Buddhist esoterism 10 Buddhist god of love 115

446

BUDDHIST IC( Cauri, 310, colour 310, symbol 310, dhyiina 3 10, described 3 10, images 3 10 Cave Temples of Western India, 39 Chariot of MtiGd, 2 11 Chhinnamasts 1, 17, 247, Hindu goddess 247, same as Vajrayogin'l 247 Chhatrospi9a, 302, colour 302, symbol 302, direction 302, dhyBna 302, described 302, images 302 Chinese, 1 Chlromancy, R Chittagong 39 C i n t s m a ~Datta, i author, 123 Cindmapi family, 32, 45 Cintiima~i Lokegvara, described 430 Citraksras (of Nepal), 7 Citresena 159, described 160, image 160 Cittadhstu Lokeivara, described, 430 Cittavadlta, 329, colour 329, symbol 329, dhytina 329, described 329, images 329 CzttavtSuddhaprakarqa 47 Clark, (Professor Walter Eugene), 3 Collective Deities, 251, their nature 251 Colour, significance of 389,connectionwith elements 390, malefic and benefic 390 Comilla 33 Companiohs, three of Mark;, 213, unnamed 213, described 213. colour 213, form 213 Compassion (Karunii), 2 1 Confession of sins, 20 Constellations, twenty-eight, 381, deified 381, named 381f, described 381f Coomaraswamy (Dr. A. K.) 1, 31 Csoma de Koros (Alexander), 43 Cults, Buddhist, 387 Cu~lda 35, 220, spelling of the name 220, deified D h s r i ~ i 220, mantra of 220, colour 151, 219, symbol 219, 223, sire 219f, forms 219, as a minor deity 221, 222, place in the mapdala, 222, as consort of Takkirtija 222, dhyina 221, 222, forms 222 ;twenty-SIX armed 222. described 151, 221, 223, symbole 223, m u d r ~223, miniature 223, temple in Patcikerz 223, antiquity, 221, s ~ d h a n a 221, images 221, 223, 224, Baroda image 224, symbols 224; Bodh-Gaga image 224

Buddhist Iconography 384, scope 384, purpose 384, value 384 Buddhist monasteries 4 Buddhist pantheon 384, in GuhyasamBja 384, first deifications 384, Kulas and Saktis 384 Buddhist Tantra 9 Buddhist universe 48 Budha (planet), 368, colour 368, symbol 368, dhyfina 368, described 368, images 368 Buffalo head 166 Buffalo riihana 166, 167, 163 C Ca~tya t.0, 21 1, 215, residence of Mtirici 21 1, residence of Usnisavijay~ 21 5, special symbol of Maitreya 80 Cakra (discus) as family synlbol 54 Caktasarnbara Tantra 217 Calcutta, Indlan Museum at, 6, 38,; Ciimu&i 365, colour 365, v ~ h a n a365, dhyiina 365, described 365, images 365 Candtili 312, colour 312, symbol 312, dhyzna 312, describod 312, images 312 Ca?darosana 154, 155, 255, colour 154, names 154, siidhana 154, dhysna 154, 155, symbols 154, Sakti 155, worship 155 Images 155 Candamah~rosaqi~ see C a ~ d a r o p p a Candanlahii~osupa Tantra 4, 155 Capdavajrapiiqi 236 Capdeivnrl, companion of Mahtik~la, 347, colour 347, symbol 347, direction 347, described 347 Candra (planet), 367, colour 367, symbol 367, viihana 367, dhyiina 367, described 367, images 367 Candraprabha Bodhisattva, 89, 120, 121, colour 89, symbol 89, dhyiina 89, 90 described 89, 90, images 90 Candraprabha Lokeivara, described, 398 Capetadiina mudrk 245 Carcika, companion of Mahiiksla, 347, colour 347, symbol 347, direction 347, described 347 Caturbhuja SitatZir~ (white), 308, special features 308 Catur-Mah'iriiiikas, 35

INDEX OF WORDS Cundti D h ~ r i ~ 220, i 221. 340, colour 340, 340, described 340, symbol 340, d h y ~ n a images 340 Cund~ manrra 221 Cunde murirs 223n

44.7

D h i r a ~ i(also Dhiirin'l) 10, general description 33811, in ssdhrnas, 337n, of Avalokites'vara 29, Vajragiindh~ri 236, Dhzrinis, twelve, 337, their number 337, deification 337, nature 337, description 337, character 220, power 220, enuD merated 220, names of 220, sire of Dacca, 0 , museum 33, 156 220 Dskini, 218, described 218,321, form 321, dhyana 321, lmages 321, 322, Vajra, Dharme 10, 20, goddebs 32, Hindu 6 Dharmacakra Lokeivora, described 429 2 17 ?%kin: group, four, 321, general descrip Dharmacakra MaiiJus'ri 1 IBn tlon 321, list of deities, 321, appear. Dharmadhiitu Lokedvara, dcscrihed 430 Dharmadhatu Vegiivara 103, colour 103, ance 321, form 321, images 321 described 103f, dhyiina 103, forms 103f, Damara mudri 183 lmages 104, mandala 104, called MaiijuDsnap~ramitzi 324, colour 324, symbol 324, ghosa 104, principal deity of the mavdhy~na 324, described 325, images 325 dalu 104 Dance deities, four. 312, them nature 312, Dharmiikara 101 their descript~on,312, their images 312 210 DaBabhujasita M ~ r i c i , 213, colour 213, Dharmaka~a sadhana 213, described 213, three Dharmakirti, 12 Dh~lr~nakogasaiagiuha 2, 205, 206, Sukhav~cti attendants 213 Lokes'vara described 142 Duiubharrltka-Satla, 28 Dates or Tithis, 382, deified 382, Images Dharmameghii Bhfimi 336, colour 336, symbol 336, dhyzna 336, described 337, 382 images 337 Death, god of, 166 Dharma Pratisrmvit 342, colour 342, Deification, process of 355, specialised dhy~na 342, symbol 342, described 342, study j85, epidemic of 31, of books images 342 220 Deit~es, number of 34, forms of 47, in- Dhatma Vas'lt~33.2, colour 332, symbol 332, dhyzna 332, described 332, images crease in number 392, objects as 392, 332 literature as 392, philosophical concepts Dhiipa 25b, and others in Lokanstha Manas 392, abstract ideas as 392, desires ah dala 131 392, interchange of, 1 Deitv, evolution of 25, nature of 24, Dhii~ataru 24 1, d h v ~ n a 241, described 24 1 visualisation of 24, the mantra person 201, forms 201, images 29, realisation of 27, single 30, conden- Dhvaj~grakeyiirii 201, form ( 1 ) described 202, three-faced sation of words, 30, manifestation of 201, colour 201, d h y ~ n a201 ; foitn Siinya 391, n o real existence 391, only (11) described 202, four-faced 202 ; an idea 391, h n y a i n essence 391, images 202 Siinga manifests as 391 Dhvajogr;l'lga301, colour 301, symbol 301, Dependent origination 25 direction 301, dhytina 301, described Devadevatii LokeBvara, described 428 301, images 301 Devaputra Miira 159 Dhygna 21, 26, essential features 386, deviDhanada 179 ations from 386, modified under local Dhanada Tim, 231, colour 231, vlhana conditions 386 231, companions 231, mantra 231, dhyana 231, described 231, images 231 DhyiinapkramitB 326, colour 326, symbol 326, dhyana 326, described 326, images green 307, special features 307 326 Dhiira~B 26

448

BUDDHIST ICONOGRAPHY 193, s~dhanas 193, dhyiina 193, described 193, blue 309, special features 309, images 194, 229, forms of 194, two-armed described 194, four-armed described 194, eight-armed described 194, as a minor deity 227, as companion 228, d h y ~ n a 228, described 228 Ellora 5, 39, cave temples at, 77 Epidemics 196 Evans-Wentz (Dr. W. Y.). 50, 205, 215, 225 Excavations 5 Excrescence, of Vajrav~riihi 21 7 Extraordinary worship 21 F Fa-Hien 35, ment~ons MaiijuQd 100 Fever, Hindu god of, 233 Fire.flies, sign of 26 First image of Buddha 5 Five cosmic elements 32 Five DhYiini Buddhas 11, 15, 32, 38, 42, names 47, colour 47, symbols 47, mudriis 47 Fivc families of deities, 47 Five Kulas 32 Five M u d r ~ s48 Five primordial cosmic forces 48 Five senses 47 Five Skandhns (elements), 32, 48 Flame of fire (Adlbuddha), 43 Foucher (Professor A.) 1, 2, 5, 31 Four MSras 195 Four ~ i y h a (facred s spots), 15 Four Pratisamvits (logical analysis), 342 Freer Gallery of art, 221n Friendship (maid), 21 Future Buddha 93

D h y ~ nBodhisattvas, i illustrations of, 51n D h ~ ~Buddhas ni 44. 48, origin 45, product of Tantric siidhana 35 Dikp~las, eight 352, their nature 352, their number 352, Hindu lords of quarters 25 1 Diksh~t, Mr. K. N 126 Dimbha, another name of Ucchusma 179, 239 Dinajpur 38 Dip%256, 318, colour 318, symbol 318, dhy~na 318, described 318, images 318 D i p a t ~ r 241, l dhyiina 241, described 241 Direction, Ten gods of 25 1, their nature 251, general features 251, in Tiintric litelature 251, their forms 252f; six goddesses of 256, their nature 256, special features 256, their forms 297f; Hindu gods of, 25 1 Disciples, qualifications of 94 Diseases in human form 233 Divination 6 Divine Bodhisattvas 47 Dogmas 8 Dogmatic Form of Avalokitelvara (?) 207 Dombi 312, colour 312, symbol 312, dhy~na 3 12, described 312 images 31 2 Door goddesses, four 3 16, dedication 316, characteristics 3 16, description 316f Dragons 54 DiirahgamH BhCimi, 335, colour 335, symbol 335, dhyina 335, described 336, images 336 Durbar Library, Nepal 3 , 4 D~rgati~ariiodhana78. later name of Buddha 76, colour 78, mudrs 78, dhyana 78, described 78, images 76 D u r g o t t ~ r i TlrH, ~i 307, green 307, special features 307 Durjaya 160, direction 160, form 160 Dv~radhari 3 17 Dviratglakadharii 316 D r e p fam~ly 32, 45 Dvegnrati, queen of Akpobhya 46

G
Qaekwad's Orsental Senrs, 2, 3, 19 Gaganagaiija Bodhisattva, 35, 86, symbol 86, d h y ~ n a 86, deauibed 86,87 images 87 ; in S~dhanarnslii 87, in the L o k a n ~ rha ssdhna 131, colour 131, described 131 Gaganagaiija Loke6vara, described 399 Gaqapati, 348, 365, symbol 348 365, v-&na 348,365, dhyana 348, 365, described 348 365, forms 366, trampled by Apara. jite 246

E
Earliest s ~ d h a n a 35 Ekagrats (concentration), 26 Ekajays 151, direction 151, colour 151, described 151, mantra of 29, power of

INDEX O F WORDS
Gavapatihrday~ 349, symbol 349, dhyina Qrdhrnsya 3 19 Grunwedel, Professor Albert, 1 349, described 349, images 349 Qryphons 54 Ganapati Sistri, 14 Gandhahasti Bodhisattva 95, colour 95, Gurdians of gates. four 154 symbol 95, dhysna 95, described 95, Quhyasam5,a, 10, (also Srlsamaja), 12, 1311, 15, 15n,24, 25, Zjn, 26, 32, 34. 41, 45, images 96 53, 73, 100, 251, Cundi in 221, teachGandhara School of Art, 5, 32, 35 ings of 385, dormant for 300 years, Ganeia 197, as Viphna 197, figure of 180, 385 trampled 197, presence of 388-9, humiliating role 389, often trampled under Qlchyastddhi, 12 CJutyk~ra~aauyiiha, 124 feet, 389 ; see Gapapati Gandha 256 I1 Gandllatirii 241, d h y ~ n a 241, described Hiilnhala (Lokeivara), 132, colour 132, companion 132, sidhana 132, images 241 G mdharva king 381, his name 381, des. 132-133, dhygna 132, described 133, cribed 381 Sakti described 133, Lokeivara deecribGandharvas, lords of, 379 ed 394 Garuda vHhana 136 Handwritten MSS, 5 Hara 212 Garudisyi 319 GPC~ style H 14 Hari 212, meaning of the word, 136 Gauti, Hindu goddess 184 Harihara Lokeivara, described 429 Gauri 310, colour 310, symbol 310, dhyana Harihariharivihana 136,.colour 136, speci310, described 310, images 3 10 al vihana 136, images in Nepal 136, Gauri group, eight 309, listed 309, describ. dhyina 136, described 136, Images 137, ed 309f Lokeivara, described 394 G a u r i t i r ~151, 222, colour 151, described Hiriti 3 5 Hariviihana LokeLvara, described 429 151 Gautama 77 Hathayoga 8, 24,26 Hayagriva 128, 129, 185, colour 129, des. Gaya 38, 35 Germ-syllabic (Bija) 25 cribed 129, symbol 129 ; another form: Getty, Miss Alice 1, 166, 207, 209 colour 165, forms 165, sidhana 165, Ghat$ipin~ Bodhisattva 76, colour 76, dhyiina 165, described 165, image 165 ; Symbol 76, image 76, described 76 ascompanion of Lokanjitha 131, des. Ghasmari 311, colour 311, symbol 311, cribed 131, symbol 131, m u d r ~ 131 dhyina 31 1. described 31 1, images 31 1 Hayagrha (Hindu) 233, god of fever 233, image 233 Ghoracandi, 163, colour 163, described Hayagriva Lokeivara, described 394 163 Gitn 313, colour 313, symbol 313, dhyina Hayiisyi 319, colour 319, symbol 319, dhyjrna 319, described 319 313, described 313, images 313 Heruka 6, 39, 154, 155. 159, 208, 248, Godhead 23 colour 155, symbol 155, sidhana 155, God-realisation 17, 25 Gods, male and female, 390, Heruka and forms 155, worship 156, dhyina 156, described 156, images 156, male form Nairstmn 390 of 6ii1-1~~ 390 Graeco Buddhists of Gandhara 31 Grahamitgka 224, m u d r ~ 224, d h y ~ n a Heruki 163, colour 163, described 163 224, symbols 225, described 225, images , Heruka Tantra 4, 155, 217, 248 Herukavajra 254 225

450

BUDDHIST ICONOGRAPHY Indra 1, 35, 186, Miira 195, colour 352. vahana 352, direction 352, dhyana 352. described 352, images 352, as vilhiina 250 IndrabhGti 12, 16, 35, Siddhscitrya 150 I n d r ~ p i186 InBnite Spirit 25 Interchange of deities 1 Involution, process of 31 frsylrati, queen of Rstnrsarnbhavn 46 i b n a 361, colour 361, viihana 361, directibn 361, d h y ~ n a 361, descr~bed 362 I-Tsing 12, 35, mentions Ma~judri 100

Hevajra 154, 163, forms of 157, two-armed (i) 157, colour 157, PrajAB 157, dhyPna 157, described 157, s ~ d h a n a 157; four-armed (11) 157, colour 157, dhyana 157, Prajii~157, described 157, 15?, siidhana 158, ; srx-armed (rit) 158, colour 158, PrajAP 158, dhyana 158, described 158 ; stxreen-armed: (ru) 158, colour 158, PrajEH 158, d h y ~ n a 158, described 159, v ~ h a n a 159, symbols 159. images 159 Hevujra Tantra, 4 Hjaay%na8 Hinay~nists 11 Hindus and Buddhists 187 Hinduizing, method of 190 Hindu pantheon 19 Hindus 1 Hindu gods 158, 344, their parental Dhyini Buddha 344, position in the Mandala 344, their Kulas 344, humil~ated 389, trampled under feet 389, animosity against 389, auperiority over 389 Hindu gods in Vajragiina 344f, names 344, number 344, nature 344, status 344, important deities 344 Hirangagarbha 2 12 History of Nepal of Wright, 5 1 Hiuen Thsang 12, 80, mentions Maiijuis 100 Hodgson, B. 2 Holy books 5 Horoscopy 8 Horse-neck 165

I
Icon 25, 385, details 388, composition 388, presence of Dhyani Buddhas 388, essential features 388, non-essential features 388 Identification 30. of images 386, Dhyani Buddhas important 386, difficultirs in way of, 386, necessary figures 387, unnecersary figures 387. discrepancies in 387, solution of problems 387 lllusaations (of Peiping statuettes) 4 Indian Museum, Calcutta, 2 Indifference (Upekgi). 21 Indoneeit 39

Jagsddala 6, 41 Jainas 1 Jgliniprabha Bodhisattvn 90, colour 90, symbol 90, d h y ~ n a90 described 90, images 90 Jilinikum~ra 121 J~lini~rabh Lokeivara, a described 398 Jambhala 17, 35, 202, 244, a Yaksa 178, symbol 237, recognition 237, forms 237f ; stngle 238, images 238, described 238, variety 178, antiquity 178, sire 178, image 39, 178, siidhana 178, dhyiina 178, described 178, Yab-yum 238, colour 238, symbol 238, Prajaii 238, described 238, companion 238 ; Map. dala 238, described 239, imagea 239 Jabguli 1, Dhiirini deity 220 ; form (r) 191. colour 191, symbol 191, sadhana 191, dhy~na 191, origin 191, forms of 191, power 191, described 192, images 191 ; form (11) 192, colour 192, mudrH 192, symbol 192, described 192 ; form (irr) 192, viihana 192, colour 192, sadhana 192, dhysna 192, described 192 ; white 308, special features 308 ;green 307, special features 307 ; yellow 309, special features 309 ;in Hindu Tantras 193 Jiibguli Dhiiriqi 339, colour 339, symbol 339, dhyina 339, described 3391 images 340 Japanese 1 Jar of consecration 91 Jiitaka stories, scener from 5 Ja$iimuku$a Lokedvara, described 395

INDEX OF WORDS
Java 5, image of krajGparsmiti% found in 198 Javanese Art 3 9 Jaya 160, direotion 160, form 160 a Jayakara la6, 378, cOlOur 378* d h ~ H n3781 described 379 Jayatirn 151, colour 151, described 151 Jewel family of Ratnasambhava 48 Jinajik 45 Jivatman 27 ~iii%na@kini, Sakti of Yogsmbara 186, 204, colour 204, dhy%na204, described 204, images 204, M a ~ d a l a 204 Jiiinadh~tuLokeivara, descr~bed 398 Jiianaketu Bodhisattva 96, colour 96, 96* dhyana described 96* images 96 Jiisna~aramlts3289 colour 328* 328, slhygna 328, described 3289 images 328 J i i ~ n a ~ r a d f pSamadhi a, 45 Jiianasiddhi 12, 16, JB~navaiita 331 colour 33 1, symbol 331, dhyina 331, described 331, images 331 Joyousness (Muditii), 21
96p

~ , ~ 199, ~colour~ 199, . mudrii 199, symbol 199, described 199, differentiated 199, images 199 Kapiilin: 160, direction 160, form 160 Kapsta 317, colour 31 7, symbol 317, dhya. na 317, described 317, images 317 K~~~~~ 165
Kiira~davyiiha 5, 11, 124, 143, siidhana from 126 Karandavyiiha Lokelvara, described 398 Karin; 160, direction 160, form 160 K~~~~ family 56 Karmakuli (Amoghasiddhl), 49 Karmavalita 330, colour 330. symbol 330, dhyana 330, described 330, images 330 Kar~atiri 151. 222 colour 151, described
151

K~rtt,kcya, 364, colour 364, v ~ h a n a364, svmbol 364, dhyhna 364, described 364, lmages 364

Karuni (compassion), 9, 28, 30, 43 Kasia 3 R K ~ {~ ~ ~ ~ ~ ~ ~ ~ d ~ 76, d, 80 h t ~ ~ l Kalhe Simbhu, stiipa of, 32 Kathmandu, monasteries in, 7, 41 Kaulas 46 K Kauheri 160, direction 160, form 160 KailBsa, mount 379 Kern(H.) 12, 31n k'eilni 12@,121 K~k~sy 3 19 a Kglacakre, 186, colour 186, form 187, Ketu 378, colour 378, symbol 378, dhyiina dhyina 187, described 187f, images 378, described 378, images 378 188, blue colour 188, an attempt at ~ h a d i r ~ v aT n ii r ~ 226, colour 226, symbol unification 389 226, companions 226, described 227, images 227, also called 6 y ~ m i i t ~ r227, ii Kiilacakra Tantta 42, 187 Ksladiiti 347, companion of M a h i k ~ l a 347, green 307, special features 307, images 39 colour 347, symbol 347, direction 347, described 347 Khagarbha (aatne as Akidaparbha) 86. dhyiina 86, in the Lokaniitha Mandala Kiilaritrr 161, 162, 218 Kslihrada 10 1 131, colour 131, symbol 131, described Kaliks, companion of MahSkila, 347, 131 colour 347, symbols 347, direction 347, KhnqdarohH 21 8, described 2 18, another farm 321, d h y ~ n a321, described 321 described 347 Kamadeva, as viihana 149 Khasarpa~a 128, sadhana 128, colour 128, symbol 128, companions 128, differenti. Ksmakhya 16, 17 atod 128, d h y ~ n a12Rf, imagea 39, 130, Kamalacandra Lokebvara, described 429 Kamaladila 15 described 129 Khasarpapa Lokelvara, described 396 Kama~dalu 152, symbol of 3h;kuti I29 Khiching 6 Kamapdalu Lokabvara, described 395 Kinnara king 360, dhyana 380, described Knmini 160, direction 160, form 160 380, symbol 380 Kanakamuni, Mortal Buddha 76

452

BUDDHIST ICONOORAPHY

Kinnaras, lords of, 379 308, special featwen 308 Kleea Miira (Vip~u)159 Kurukulla mountain 149 Knowledge, essence of 23 Kva V a h ~(Pattan, l Nepal) 137, 138, images KO$bar (sword-cut) 101 of Rakta-Lokebvara in 137 Krakucchanda, Mortal Buddha 76 Krodha deities 252 L Krp~acaryya, Tantric author 152 Kysqenanda Agamaviigiia 190 Lakpml 1 K~pnayamtiri 167 177, 252 varieties 167, Lakpmihkar~, daughter of Indrabhzti, 150 sadhanas 167, forms 167 ; fonn li) two- Lalitapattan (also h t a n ) , monasteries in, armed 168, colour 168, symbol 168, 41 d h y ~ n a168, described 168 ; form ( 1 1 ) LgmL 218, 321, form 321, dhyana 321, desfour-armed 168, colour 168, companion cribed 218, 321, images 321, 322 168, dhyiina 168, described 168, 177 ; Lamaist pantheon 3 form (rrr) six-armed 177, sadhana 177, Lasya 313, colour 313, symbol 313, dhran8 dhyiina 177, described 177f, images 313, described 313, images 313 L~ght (sign) 26 178 Kftaiijali ~okeivara, described 430 Light goddesses, four, 3 17, definition of Kriyiisamuccaya 4 light 317, general character 317, appearKCIHntipsramits 325, colour 325, symbol ance 317 325, dh~tina 325. described 325, images Locans, Buddhaeakti 54, colour 54. symbol 325 54, family 54, 6akti of Vairocana 54, Ksepana mud15 207 dhyana 55, described 55, images 55 Kpitigarbha 35, Bodhisattva 65, colour 85, Lokanatha 130, colour 130, symbol 130, symbol 85, dhyana 850 described 85s mudra 130, siidhana 130, dhysna 130, image8 85, in the Lokanntha Mandala described 130, Mandala 130, companions 130, Asana in images 132, images 131, colour 131, symbole 131, dencribad 131 131, differentiated 128 Kgitigarbha Lokeivara, described 399 Lokan~tha ~ a k t ~ r ~ ~ ~ v a l o k i t e ddes. vara, Kubera 35, the greatest Yak* 379, colour cribed 396 361, v ~ h a n a 361, direction 361, dhysna Lokeivara, form with eleven heads, 12511, 361, described 361, images 361, vahana Bodhisattva 78, companion of Vajraof Ucchugma 239 sana 78, dhyfna 77, deecribed 78, Kukkur'lpPda, Mah~siddha 163 images 78 Kukkufapiida, mount 80 Lokottara 31 Kuliicara 47 Lord Buddha 8. 191 Kulas (families) 11, 42,46, five 44 Lords of familiee (Kulebas) 32 Kuleba 32, 42 Lotus family, of Amitabha 48 Kulika (snake) 148 Lotus, symbol of ~mitiibha48, Pspdara KulJedvari, companion of Mahskala 347s Padmap&@48 colour 347, symbol 347, direction 347 Luipi (Siddhlcaryya), 12 described 347 K U ~ F C316, ~ colour 316, symbol 316, dhygna M 316, described 316, image8 316 Machhandar Vahal, Kathmandu 6, 124, Ku'iicik8dharH 3 16 144 K u r k i i r 5,35,38 Kurukul~~ 16, 147, 236, varieties 147, Madana (also Anafigah Hindu god of love 115 function 147, images 147, mantra 147 ; & 309, apeda) features 309 ; white Madhukara 186,379, colour 379, symbol

INDEX O F WORDS
379. vshana 379, dhyiina 379, described 379 Madhyamaka 8, 9 Magadha 5, school of art 35, 38 Magical practices 9, and Buddha 9, 10

453

163, siidhana 163, dhyiina 16j, dcscribed 163, images 165 , as companion of Mahiikiila 347, colour 347, weapons 347, direction 347, described 347 Mah~rnii~iirj 234, R a k p ~ goddess 234, Mahe-Abhayakarj Lokedvara, described colour 234, dhyiina 234, described 234, images 234 ; another form 305. colour 400 Mahii-Abhayaphalada Lokedvara, described 305, symbol 305, dhyiina 305, described 400 306, forms 306, images 306, as comMahsbala 145, colour 145, ssdhana 145, panion 228, 231, 232, dhyiina 228, 232, dhy~na 145, described 145, images 145 ; described 228, 232, images 229 another form 255, colour 255. direction Mahiipadma (snake) 148 Lokedvara, deccribed 400 255, dhygna 255, described 255, 4akti Mah3pat~la 255, imagcv 255 Mahspratissrn 243, RaksH goddess 243, Mah&ca~d;rrosana 154 ; see Candaropa~a forms of 243, colour 303, symbol Mah~candrabimba Lokedvara, described 303. d h y ~ n a 303, described 303, images 403 303 ; another form 244, dhyHna 244, Miih~cina189 described 244, images 39, 244 Mah~pratyafigir~ (also Pratyafigira), 200, Muhiicina Tantra 190 Mahiicina TPr& 1, 248, vshana 189, sldhasiidhana 200, dhyiina 200, described 201, images 201 na 189, dhyiina 189, origin 189, descr~bed190, compared with Hindu riirii Mah~rSjal~lii Maiijuid 116, 117n 190, images 191, blue 309, special Mah~ratnakirti Lokeivara, described 399 features 309 Mahiiratnakula Lokedvara, described 400 Mahiideva 191 Mnhiisndhana 25 Mahsknla 255, 347, nature 347, function Mahiisahasrabhuja Lokeivara, described 347, forms 345 ; form (i) two-armed. 399 Rakpii 345, colour 345, symbols 345, dhyiina Mah~siihasra~ramardar~i217, 345, described 345, images 345; form ( n ) goddess 217, sndhana 216, colour 216, four-armed 346, colour 346, described dhyiina 216, described 217, images 217 ; 346 ; form ( I ~ I six-armed ) 346, colour another form 303, colour 303, symbol 346, symbols 346, described 346 ; form 303, dhyiina 303, described 303, images (tu) sixteen armed 346, colour 346, sym303 bols 346, dhyiina 346, described 346, Mahiisahasrasiiryya Lokedvara, described 400 companions 347 ; H ~ n d ugod 344f, colour 366, symbol 366, dhyiina 366, Mahasanghikas 13, 14, 143 described 366, images 366 Mah~dahkhanitha Lokedvara, described MahiikZlavajrs, image 25511 400 Mahiimaiijubhfita Lokedvara, described Mah~sarasvati 349, colour 349, symbol 428 349, dhyiina 349, described 350, come Mahrmaiijudatta l oke$vara, described panions 350, images 350 400 Mah~siddha,Kukkudpiida 163 M~hiimentr~r.usiiri~i 200, Rakpii goddess, Mahiisiddhaa 12, 19, 35, 41, 137 200, colour 200, sire 200, dhyiina 200, Mahsditavati 147, Rak@ goddess 153, described 200, images 200. another form colour 153, s ~ d h a n a153, dhyPna 153, in Maqdala 304, colour 304, symbol . described 153, images 153, ano-her 304, d h y ~ n a 304, described 304, images form 305, colour 305, symbol 305, dhy~na 305, described 305, forms 305, 304 MahHmPyH 164, described 164, Maq+la of images 305 164, d h p ~ n a 164, colour 163, P r a m Mah~dri THra 39, 227. colour 227, m u d r ~

454

BUDDHIST ICONOORAPHY
313 MiilyH see MHlH Mamaki 52, family 52, consort of A k p bhya 52, dhyiina 52, described 52, images 52 Manasii 1, 193, (Hindu goddess) Mandalas 2, 3, 9 Mahgala (planet) 368, colour 368, symbol 368, vehana 368, d h y ~ n a 368, described 368 Ma~idhata125. described 126 Maqipadma Lokeivara, described 396 Maiijughosa 35, 113, Hindu 6, form o f Maiijudri 104, colour 104, m u d r ~ 104, symbol 104, viihana 104, images 113, dhynna 113. described 113. srana 113, sire 113 ; in the Lokanatha ssdhana 131, colour 131, symbols 131, described 131 Maiijukumnra 119, c o l o r ~ 119, rnhana 1 19, dhyiina 120, described 120, images 120 Maiijuniitha Lokeivara, described 430 Maiilupattana 101 MaiijuSG 35, 38, 43, god of learning 95, 117n, 166, 178, place in the pantheon 100, worship of 100. time of introduction 100, details of life 100, exploits 100f, images 100, an engineer and architect 101, spir~tual sire 102, kula or family 102, siidhanas of 102, vnrious forms 102, simplest form 102, companions 102, images 95, 102, with Hindu gods 102 Maiijudri Bodhisatma 94, colour 94, symbols 94, d h y ~ n a 94. described 94 MaiijuiG hill (Nepal) 100

227, companions 227, s~dhana227. dhyiina 227, described 227, images 229, miniatures 229, images of companions 229, companions described 228, mantra of 228, Riijalil~iisana 220, goddess of wealth 228, green 307 Mahiisthiimapriipta Bodhisattva 89, colour 89, symbol 89, dhyiina 89, described 89, images 89 Mah~sth%rrrapr~pta Lokeivare, described 431 Mahesukha theory 9,11 MahEsGryyabimba Lokegvara, described 400 Mahnttar; TTPrii 307, green 307, special features 307 Mahdvajradhgtu Lokeivara, described 428 Mal~~vajrrdhrk Lokeivara, described 428 Mahsvnjranetha Lokebvara, described 428 Mahiivalrap~pi ~okedvara, described 428 Mahiiva~rasattvaLokeivara, described 397 Mahiiva\tu Auadiina 143 Mahiividyfi yoddenses, ten 189 Mahavigvabuddha Lokedvera, described 428 M~hkyiina 8, two kinds 9, deities in 31 MahAyHna scripture (fiujiiiii>aramlt?i)197 MahiiysnasCtra 15 MahZyiinasittiiiluitkara 8 Mahiuy~nists11 Mahiiya6~ 160, direction 160, form 160 Maheiuara ( M ~ r a ) 159, 364, coIour 364, as viihana 364, dhysna 364 described 364. images 364 Mahoha (Mahotsarapura), 132 Mahodadhi 160, direction 160, form 160 Maitreya 13, 35, 38, 77, as Future Buddha 80, described 80, colour 80. symbol 80. stiipa on the crown 80, image in Udysna Y O , heads the list of Bodhisattvas $ 2 , Roddhisattva form 93, colour 93, symbol 93, dhyiina 94, described 94, images 94, companian of Vajriisana 78, dhyiina 77, described 78, images 78 , as a minor god 80, dhyina 81, described 81, images 81 ; in the Lokaniitha Mandala 1 3 I , colour 131, syn~bol 131, described 131 M ~ l a(also Miilyii) 313, colour313, symbol 313, dhyrna 313, described 313, images

Maiiluvajra (came as Vairocana) 219 ;three distinct forms 118f; form ( I ) 118, colour 118, dhygna 118 described 118, images 119 ;form (1,) 119, colour 119, dhygna 119, drscribed 119 ; form (111) 119, colour 119, dhyHne 112, described 119, images 119 Maiijuvara 117, colout 117, mudrri 117, symbol 117, vahana 117, d h y ~ n a117, described 117, companions 117, images 39 117, 118 Mantras 2, 28, power of 29, repetition of

INDEX O F WORDS
19, letters deified 388, examples of dei394 fication 388, of Vajratiire 243, appli- Momentary consciousnefis 28 cation of 243 Monastery, Buddhist 16, 41 Mantranaya 9, Mongoose 247, significance 237 Manriinusiirit$ see M a h B m a n t r ~ n u s ~ r i ~ i Months, twelve 262, deified 399, them 304 names 3R2, their deities 382 Mantraputuse 27, 28, Mortal Bodhisattvas 79 Mantraiiistra 9, Mortal Buddhas 76, marks 76, qualities 76, Mantraytine 14, 15 their Rodhl tree 76, described 77.images Miiras, four 159, named 159, 195 of 77, attitude6 77, wlth ,M~itreya77 MaricikH (sign) 26 Mortal BudJhadaktls 79, enumerated 79, M ~ r i c 16, i 35, 38, 217, time of invocation nemod 79 207, connection with the sun-god 207, Mrtyu Miira (Malledvara) 159 chariot of pigs 207, forms 208. siidhana Mrtyuvaiicana THrH 308, whit2 308 special 208, nttendanrs 208, images 208, 209 features 308 A srabhuja images 21 2, as a 'ompanion Mudlta (Joyousness), 21 231f, dhyiina 232, described 232, corn. M u d r ~ 9, s significance of 393 pared with V a j r a v ~ r ~ 208, h i 217, Ma?. Mukundg 315, colour 315, symbol 315, dala 209 dhyiina 315, described 315 images 315 ~Hr~ci~icu 210, v H other names 210, sadha, Mukundadharii 315 na 210, dhysna 210, described 210, com- Mulaghop Vihara 15 position of image 210, described 211 MurajH 315, colour 315, symbol 315, desM ~ r i~ h ~ r i n 339, i colour 399, symbols cribed 315 399, dhyana 399, described 339 Musee Gu~met 4 ~ a r i 160, ~ i direction 160, form 163 Museums of Eastern India 6 Mar,pa 6 Musical instruments, four 314, delfied 3 14, Mathura school of art 5, 32, 35, description 3 14 Mati 350 Mysticism 8 Matsyendraniitha 6 ~~~ade dream v i , of 31 MayiijZiiila Tancra 139, 152, M ~ ~ ~ j ~ l a k r139, a m acolour 139, s~dhana Nsgakebara, flower 94, symbol of M~itreya 139, d h y ~ n a 139, symbols 139, described 94 Niigiirjuna 12, 35, rescued Prajiiiipiramita 139, images 139 MHyZjjdakrama ~okeivara, dtscribed 395 197, 220, deified 35, Sidhhapurga 193 M~y?tjj~lakrama K~rukullii151, colour 151, Nlgas 35, 197 sPdhane 151, mudra 152, images 152, NairatmH 204, meaning of the word 204, described 152 female form of S i i ~ ~ 390, a conso:t Mayurbhanj 6 of Heruka 217, viitrana 203, colour 203, MlyGd see M a h ~ m ~ ~ i i r i 203, d h y ~ n a 203, character 203, s~dhana MedhP 350 described 203, imagee 39, 204, direction Medicine 8 160, form 160, and Vajravarahi 203, Meritorious deeds, result of 21 and Vajragogini 248 Mila-ras-pa 6 Noirrti, 362, colour 362, vHhana 362, direcMiniature paintings 5 tion 362, dhyana 362, described 362 Mixed Sanskrit 14 Nakpattras, twenty-eight, 381, their number, Miecchas 187 381f, dcecribed 381f, their colour 381f, Moha family 32, 45 general deecription 381f Moharati, queen of Vairocana 46 Nalandl 5, 6, 35, 41, 43, monastery 4 2 Mojagh~iijabala (7) Lokebvara, described museum at 38, images 38, Adibuddha

456

BUDDHIST ICONOGRAPHY Omniscience 28, 29 Origin of Yama and Yam~ntaka166 Orissa 5, 39 Ostiiraki 1t0, direction 160, form 160

theory originated a t 387n NHmasangiti 206, colour 206, literature 206, Buddha o r a Bodhisattva 206, images 207, dhyiinil 207, described 207, and Maiijudr'i 206 Namasahgiti Maiijuiri 115, colour 115, siidhana 115, sire 115, described 115, dh)~na 115f, described 116, images 116 and N~massngiti 206 Nanda, half brother of the Buddha 31 Nandikcdvara 366, colour 366, symbol 366, dhpana 366, viihana 366, described 366, images 366 Naropa 6 N~thrr Yogin 6 Navagrahas 2 13 Nepal 5,6, 7, 39 Nepelese art 39 Nepal Valley, originally a lake 101 Needle 210 Niladan+ 254, colour 254, direction 254, dhy~na 254, described 254, 6akti 254, images 254 Nilaknnfha, orlgin of 140, colout 140, mbdrl 140, syrnbol 140, companion 140, sldhana 140, dhyzna 140, described 140, imsges 14 1, and Vajrr~rega141 Nilakantha Lokedvara, described 396 Nirnittr s (signs) 26 Nine Dharmns, of Nepal 12 Nirukti Pratisanivlt 343, colour 343, symbol 343, dhyBna 343, descrtbed 343, images 343 Nirviipa 8, 11 N i g p ~ n n a t l r l151, colour 15 1, described 151, 222 N~~pannayog~vali 3, 4,47, HZ. 385. importance 385, date 385, CundH in 221 Nityaniitha Lokeivara, described 431 N~tyii 3 14, coloar 314, symbol 314, dhyiina 314, described 314, images 314

Objectr, external, 29 Odrntapuri 5.35, 41, V i h ~ r a 38 Odiyana Lokebvara 137, same as RaktaLokeivara 137 OQigfina Pnndit I80 OdiyBna Vajr~cHryya181

Padma (snake) 148 Padmadekid 164, colour 164, direcrion 164, described 164 Padmakuli 49 Padmamunda 238 Padmanartteivara 133, varieties 133f ; folrn (1) eighteen-armed 133, siidhana 133, images 133, symbols 133, attitude 133, dhysna 133, described 134, companions 134, form (u) two-armed 134, colour 134, mudrii 134, symbol 134. vlhana 134, sldhana 134, dhyiina 134, described 134. M~qdalrr of 135, companions 135, images 135; form (ill) eight armed 135, sadhana 135, dhyzna 135, descr~bed 135 Padmantaka 180, 253, colour 253, direction 253, dhynna 253, described 253, imnges 253, iakti 253 Padmsntnk~t(western gate) 46 Padmapsni 35, 51, 88, colour 5 1, symbol 5 1, family 51, described 5 1, images 5 1 Padmaplni Lokeivara, described 43 1 Padmnsambhava (Guru) 6 Padmavajra 12 Padmav~sini 135, colour 135, symbol 135, described 135 Padmospisa 300, colour 300, symbol 300, direction 300, dhyiina 300, described 300, imrges 300 Pala period 19 Paticavakgi 5 Paiicarak~S group 216, 234.302 ~a3cadikhs381, name of the Gandhnwa king, 381, dhyiina 381, described 381, symbol 381 PBndars (Buddhadakti) 124, family 50, Dhyrini Buddha 50, symbol 50, colour 50, d h y ~ n a 50, described 50, ;images 50 ~ a ~ + r a v n s i n50, i 6akti 134 Pantheon 32,41, Buddhirt 385, numerical strength 385, artistic representation 385 popularity 385, in Buddhist couetriee

INDEX O F WORDS
385, in other religions 385, world pro. perty 385 Paramiidva 185, 255, siidhana 185, dhyfina 185, v ~ h a n a 185, meaning of 185, described 186, images 186, horse-head 186 Paramatman 27 PHramitHnaya 9 Paramitiis, ten 243, twelve 324, common features 324, general description 323, qualities deified 323, their nature 323, their images 324 Parental Dhyiini Buddha 34, 47, 49 Pariskxra Vaditii 329, colour 329, symbol 329, dhyana 329, described 329, images 329 ~ a r n a i a b a r 17, i D h ~ r i n ideity 220, images 196, power 196, 39, colour 196, vtih~na dhyiina 196, described 196, image 197 ; another form 232, colour 232, v ~ h a n a 232, mantra 232, called Pis'hd 232, dhyana 233, described 233, images 233-4 ,as Dhiirlni 339, colour 339. symbol 339, dhyfina 339, described 339, images 339 ; green 307, special features 307 ; yellow 309, special features 300 PHrvatI 1 P a t a d h a r ~3 ~17, i colour 3 17, symbol 3 17, dhyana 317, described 317, images 31 7 Patna 6, museum at 38 Pattan (also Piitan and Lalitaptitan) 6 Pattikera, remains of Lalmai hill 223 Pauglika rite 166 Peiping 3 Pestilences, in human form 233 Philosoph~cal deities, 323, deification of abstract ideas 323 and philosophical concepts 323, their nature 323, their image0 323 Philosophy 8 Phenomenal world, inherent purity of 21 Pigs, seven for M d c i 21 1 PiPdapitra Lokebvara, described 428 Piliici, epithet of Parpa$abari 196 Pita.Prajii~piirarnitii 198, colour 198. mudrii 198, symbol 198, described 198, imager 198 Planrts, nine 367, deified 367, their influence 367, their form8 367 Poison, blue pill of, 140, of Nilakanfha 140 Potalaka 129 Potaprda Lokedrara, described 395 Powera of the mind 18 Prabhiikaraklrti, Tentric author 154 Prabhiikari BhGmi 334, colour 334, symbol 334, dhynna 334, described 334, images 334 Pradipatzir~ 222, colour 15 1, described 151 Prsjiii (Sakti) 11, (knowledge) 26, 43, 168, 350, trampled 21 1, of Raktayamiiri 167, colour 167, described 167 Prajiisdh~k45 Prajiisntaka 180, 253, colour 253, direction 253, d h y ~ n a 253, described 253, Itnuyes 253, 5akti 253 Praifisntak~t (of south gate), 46 PrajiiHpHramlra 1, 5, 10, 32, 43, ortgin 197, worship 197, siidhana 197, forms 197, images 197 ; ut~oihrrform 326, colour 326, symbol 326, dhyana 326, described 326, images 326 ; Cundn described in 221 Prajii~vardhani 341, colour 341, symbol 341, dhyana 341, described 341 Pramudita BhGmi 333, colour 333, sy111bo1 333, dhyana 333, described 334, images 334 Priinabindu 26 PrZqlyEma 26 Prapldhana Paramit% 327, colour 327, symbol 327, dhyiina 327, described 327, images 327 Pranidhiina V a b i t ~ 331, colour 331, symbol 331, dhyrna 331, described 331, Images 331 PrasannatarH 151, 222, colour 151, describ. 151 ; anothes form 249, colour 249, forms 249, sadhana 249, dhytina 249, described 249f, symbols 250, images 250 Pratibhsnaknfa 91, colour 91, rymbol 91, dhyana 91, desoribed 91, images 92 PratibhiinakGfa Lokebvara, described 398 Pratibhana Pratiaamvit 343, colour 343, symbol 343, deecribed 343, imager 343 Pratibhasa (revelation) 26 PratisarH, see Mahapratiearii 303 Pratisamvits, four 342, meaning 342, deification 342, declcription 342, eource 342

58

458

BUDDHIST ICONOQRAPHY

166, worship 166 rites 166, origin of PratyHhHra 26 166, dhysna 167, described 167, images PratyekabuddhayHna 8 167 Pratyekae 20 R ~ i i s twelve , (Twelve Signs of the Zodiac), Pratyekayiina 9 383, deified 383, named 383, images Prayer 2 1 383, nature 383 Preceptor 29 Rati 186 Pretasantarpa~a Lokcivara, described 395 Pretasantarpita 141, colour 141, s ~ d h a n a RatnadSkinI 164, colour 164, direction 164, describcd 164 141, dhyana 141, described 142, images Ratnadala Lokeivara, described 429 142 45 Principal Hindu deities, ten 363, their Ratnadh~k Ratnaketu (same as Ratnasambhava) 45, nature 3b3, their popularity 363 origin qf, 45 Priti (pleasure) 26, 186 Ratnakula 73 ~ri~adar$a 160, n ~ direction ItO, form 160 Ratnakuli (Ratnasambhava) 49 Process of evolution 30 Ratnapgni Bodhisattva 74, colour 74, Prognosis 8 Protectresses, five 302, Rake< deities 302, symbol 74 family 74, sire 74, images 74 ; another form 8 7, colour 87, symbol their nature 302, their images 302, their 87, dhyana 87, described 87, images 87 popular~ty332, their worship 302 Ratnapsqi Lokebvara, described 399 psychic culture 18 Ratnapsrarnits 324, colour 324. uymbol Psychic exerci,es 2, 8, 17, 24 324, dhyiins 324, described 324, images Psych~c power 17 Publication, of original MSS, 385 324 pukka$ 311, colour 311, symbol 311, Ratnasambhava DhyBni Buddha 73, colour 73, mud15 73, vshana 73, symbol 73, dhyana 311, describcd 311, images family 73, dhylna 73, described 73, 311 forms 74. images 74, gods emanating Pupala Lokcdvara, dcscnbed 396 from 2375 t,heir enumeration 237, their Purandara 2 12 nature 237 ; goddesses emanating from Ptir~agiri16, 17 239, enumerated 239, their nature 239 Pugpa 256 Ratnolks 318, colour 318, symbol 318, PuspatirH 241, dhyana 241, descrtbed 241 dhyiina 318, described 318, images 318 R Katnolkii D h s r i ~ i 3 3 8colour , 338, symbol Rbga family 32 338, dhyana 338, described 338 Rsg~rati,queen of Amitabha 46 Rnhu 207, 211, as vahana 149 ; colour Ratnosqisa 300, colour 300, symbol 300, direction 300, d h y ~ n a 300, described 377, symbol 377, dhylna 377, described 300, images 300 377, images 377 Ravicandra 14 Rajshatr~ 6, 38, museum at 38 Rddhivadit~ 330, colour 330 symbol 330, Riijayoga 26 dhyrna 330, described 331, images 331 Rakhnldas (Banerji), 1 R a k e deities, five 302, central 303, second Religion 8 Restraint of wrong deeds 20 303, third 304, fourth 305, fifth 305 Rakta-Lokebvara, 139, forms of, 139 ; Royal Asiatic Society of Bengal3 form ( 1 ) four-armed 138, colour 138, Kudra 187, vShana 250 symbol 138, sldhana 138, dhyiina 138, Riipa (form) Skandba, 42 described 138, companion 138, images Riipa heavens 31 138 ; form ( a t ) two-armed 138, colour RiipiG 218, described 218, form 321. 238, symbol 138. mudrr 138, siidhana dhygna 321, described 321, direction 138, d h y ~ n a 138, described 139 160, form 160 Raktayamnri 166, 252, colour 166, sadhana Rurrian Academy of Sciencee 4

INDEX O F WORDS
described 83, images 84 , in the Lokanittha Mandala 131,colour 131,symbol 131* described 131 $abed 31 1, colour 31 1, symbol 31 1, dhysna Samanrabhadra Lokedvara, described 399 31 1,described 31 1, images 31 1 Stimiinpa sevi 25 6abarips, (Mahssiddha) 35 S~miidramZ ed : Karandamha 11 Sa$akgari group, 127 Sadakpri Lokeivara 6, 38, 125, colour Samafata l6 125, mudrg 125, symbols 125, compa. Samayu 3 1 s 45 nlone 125,forms 125, &,,ana 125, des. h n b a r a IbOf,varieties 160f, colour 160, viihana 100, symbols 160. Prajfiii 160, cribed 126, 395,images 126, 39 Sadaksari Mahavidyii 125, forms of 126, dhyana ssdhana l 6 l ~ described described 126 161. forms of 161 , another fvrtn 161, colour 161, 4akti 161 d h y ~ n a 162, Sadbhuja Jambhala 179n described 162,images 162, 162n ~adbhuja Jambhalavajra 179n SambararHja hddha lbZn ~ a d b h u j S~tatHrH e 230, colour 230, d h y ~ n a 230, described 230, images 230, siidhana SambhOgakHya210 Sa"bOdhi 21 230 ; white 308,special features 308 Siidhana 2, 18, 24, 25.27, contpnts of 19f, SamjirH(name) 42 of 23, literature 3j, Samksipta Mxrici 210, 211, colour 211, residence 21 1, described 21 1, attenposed by eminent lantrics, 386, essen. dants 21 1 tial parts of 386

42 S&clhanamala2, 3, 16, 19, 20, its impor. Sanch~ 5, 31 tance 385, its date 385 Sadgha 20 and rules of disc~pline 13, as Siidhanasamuccay~l 2, 19 god 32 Ssdhumati Bhiimi 336, colour 336, symbol 366, dhyHna 366, described 336, images Safigfti 12, 13, 15, 45, literature 14 6ani (planet). 377,colour 377,sylnbol 377. 336 vihana 377 dh)Pna 377,described 377 Sadhus 18 Siigaramati Bodhisattva 87, colour 87, Sadkhamu~da 238 symbol 87, dhyina 87, described 58, gadkhanstha LokeQvara,described 430 images 88 Sadkhapnla (snake) 148 Slhku (tn Nepal) 248 Siigaramati Lokeivara, described 399 S&asrapramardani see Mahasiihasrapra. Sanny5slns l8 mardanl h n t a m a t i Lokt4vara, described 430 hntirrakslta 9, 15, 28, 41 Sahet-Mahet 38 Srintasi LokeQvara,dsecrlbcd 397 Sakra (Mtira) 159 hntideva 35, r e f c ~ t so Cunda 220 Sakti 9
&ikpa Bodhisattva 35 kiikya ~ u d d b a 35 $skyabuddha Lokesvara, described 397, SHntikavidhi 166 Saptiikgar 162,PtajEB 162,mantra 162,des. cribed 162fs sadhana 163, forms o f 163 Saptadatika Hayagriva 146, colour 146, spnrbol 146, cipecial feature 146.sfidhana 146,d h y ~ n a146,described 146, images

430

hrkyasimha (Mortal Buddha) 76 Samxdhi 26,visualisation 26 Samantsprabhi Bh6mi 337, colour 337, I47 Kalpa symbol 337, dhysna 337, described 337, Saraha (Siddhsciiryya) 12,16,35, 137 images 337 (?)LOkeQvara* described 429 Samantabhadra Bodhisattva 55, family 55, ' SarasvaJ 1 , 349, river deified 349, nature symbol 55, dwribcd 55, images 55, 3491 l~oddem of learning 3491 forms of heads a liet of Bodh~sattvas82, colour 349 83, symbol 83, forms 83, dhysna 83,8f

460

BUDDHIST ICONOGRAPHY
dhyiina 325. described 325, imapa 325 Simbhu (Svagambhunath) 6 SimhanHda 35, 127, colour 127, viihana 127, lsana 127, symbols 127, images 127, dhyiina 127, described 127, images 127f, 39 Simhaniida Lokeivara, 117n, described 429 Simhannda Lokedvara, described 396 Simhiisyii 321, colour 321, symbol 321, dhyana 321, described 321, images 321 Simhav~kridita 35 Sirihaqta 16, 17 Strisarii (?)Lokebvara, described 429 S i t a l ~233, , Hindu goddess of small-pox 233, represented 233 Sita-PrajSpBramitti 197, colour 197, symbols 197, stidhana 197, d h y ~ n a 198, described 198 Sititapatrii AparHjitH 215, colour 215, sii. dhana 215, dhyiina 216, described 216, different from ApatiijitH 216, images 216 Sitatarii, Caturbhuja 23 1, 308, colour 231, mudrii 231, companions 231 dhyiina 232, described 232, images 232 , ,$adbhuja 308 Gitavad, see Mahd'ltavati 15311. 305 Siva 184 (Msra) 195, vtihana of Vajrahcfi. kiira 181, and N i l a k a ~ ~ h 140 a Sixteen Boddhisattvas 4 Skandhas 11, cosmic elements 42, ( M ~ r a ) BrahmS 159 Small-pox, Hindu goddess of 233, repre. sented 233 Sraoke (sigu) 26 Smrti 350 Snake poison 340, Jiihguli Dh'Hrigi ctSective against 340 Snake vihana 192 Sounds, gross forms of 47 Source books on Buddhiem 4 Srlvakas 20 $rsvakay8na 8, 9 6d 186 $ r i m a d ~ ~ ~ v a l o k i t e ~ vdescribed ara, 431 hrivasumukh~ 203 $r~vasundharH203 &hkhala 235, meaning of 235 S~gikantii Lokebvara, described 399 Stael Holstein 3

Saranath (also Sarnath) 5, 6, 35, muscum at 38 Siirthaviiha LokeSvara, described 428 Sarvabuddhadharmako(mvat'l 342, colour 342, symbol 342, dhyiina 342, described 342 Sar~akarrniivara~avi6odhad Dhiirini 341, colour 341, symbol 341, dhyiina 341, dcscribed 341 ~aivanivara~avi~kambhi 92f, colour 92, symbol 92, dhysna 93, described 93, images 93 ~arvanivara~avi~kambhi Lokes'vara, described 398 SatviipHyaiijaha 97, colour 97, symbol 97, dhyiina 97, dcscribed 97, images 97 Sarviirthasiddha 381, name of the Vidyii. dhara king 381, colour 381, dhysna, 381, described 381, symbol 381 Satvas'ok~tamonirghltamati 92, colour 92. symbol 92, dhyiina 92, described 92, images 92 Sar~adokstamonic~h~tamati Lokelvara,des. cribed 3 98 SarvHstivBda 9 Siilvatn 209, same as Vaitocana 209 Sa~vatavajrn, Tanttic author 190 Sattvaparyafika, meaning of 224 Sautriintika 8, 9 Schools of philosophy (Buddhist) 8 Science 8 Seaeons, six 383, deified 383, images 383n Sects, of Tontrics 44 Sekanirgaya 9 Sev'H 25 Siddhae 2, 18, 34, classes of 18, Mild 19, Middling 19, Best 18 Siddhiicgryya, Indrabhiiti 150 Siddhaikavlra 113. colour 113, mudrg 113, symbol 113, dhyana 113, described 113, sire 113, mandala 114, companions 114, images 114, compared to Loka. nztha 114 Siddhis 18, 19, 24, eight 18, thirty-four 18 Siddhiharfa VajriicHryya 345 hkh'i, Mortal Buddha 76 Sikjiisamuccaya 35, Cund~ in 221 Slla 21 ~ ~ a p ~ r r h l325, i t i icolout 325, symbol 325,

INDEX OF WORDS
Staff 129, symbol of Hayagriva 129 Sthaviras 13 Sthiracakra 122, colour 122, mudrs 122, symbol 122, companion 122, described 122, images 122 String 2 t 0 Strongholds of Tiintric learning 5 Stiipa, the Buddhist Universe 32, 48, resi. dence of Vairocana 53 .$ubh; 160, direction 160, form 160 Subhagii 160, direction 160, form 160 $ubhamekhal~160, direction 160, form 160 ~ ~ c i m u 135, d r ~of dancing 134 Sudhanakumxra 118, 128, 129, described 129, colour 129, symbol 129 Sudurjayz Bhiimi 335, colour 335, symbol 335, dhgiina 335, described 335, images
335

461

Sugatas 20 ~u~atfsandarsana 141, colour 141, siidhana 141, dhysna 141, described 141, imrtqes
141

~u~atisandareana Lokebvara, described 396 hikar2syii 320, colour 320, symbol 320, dhyiina 320, described 320 Sukha (happiness) 26 31 Sukhiivat'l heaven 34, 49 Sukh~vati Lokeevara 142, colour 142, companions 142, dhyiina 142, described T 142, images 142 ; another form 395, described 395 Taditkarii 318, colour 318, symbol 318, Sukhavati Vynha 14, 34, 100, 143, dhyana 318, described 319, images 319 Sukla Kurukullii 148, colour 148, symbols Takkiriija 254, colour 254, direction 254, 148, viihana 148, sHdhana 148, dhysna dhyiina 254, described 254, !$&ti 254, 148, described 148, wears ornaments of images 254, Cunds, consort of 222 snakes 148 Takgaka (snake) 148 kukra (planet) 377, C O ~ O U T 377, symbol Tdikii 316, colour 316, symbol 316, dhynna 377, d h y ~ n a 377, described 377 316, described 316, images 316 Tamralipti 39 ~ u m ~ l i 160, n i direction 160, form 160 Sumati Dhiirini 338, colour 338, d h y ~ n a Tandava dance 44, 164 Tangyur 19, 20 338, described 338 SumbhH 242, direction 242, colour 299, Tantras 8, 9, 17, 24, 26, 34, original 13, 14 llpmbol 299, dhyiina 299, described Tanrrarahayu 190 299, images 299 Tantrasiira 190 Sumbhar~ja 256, colour 256, direction 256, THntric Buddhism, images of 38 . nintric literature 8 &*na 256- described 256, Qakti 256 THntric period 2, 4 Sumedhar, deified 35 SundarH 160, d i c t i o n 160, form 160 TPntric philosophy 2 sundad 160, direction 160, form 160 Tiintrics, powers of 18 h a p a 10, 11, 17,25,27, 28, 42, meaning THntric pnotices 10, 24

of 22, various functions 392, various forms 392, as Nine Rasas (sentiments) 392, different mnnifestationr 391, takes various forms 391. Heruka, male form of, 320, Nair~tmii, female form of 390, and Nairiitm~204 , Siinyatl 30, of all phenomena 22, qualities of 11 giinyaviida 8, 9, 11 Supernormal powers 23 Superstition 8 SuraksiFi 160, direction 169, form 160 Surntigarna Bodhisnttva 98, colour 98, symbol 98, dhyiina 98, described 98, images 98 Siiryadhar~ 319 Siiryahast~318, colour 318, syn>bol 318, dhyana 318, described 318, Images 318 Siiryaprabhii 120 SvnbhH Praizi 167 9viniisyh 320, colour 320, symbol 320, dhylna 320, described 320 Svayambhlin~tha, stiipa of 32 Svayambhii P u r a v , 43, 100, contains an account of ~ a i i j u i r ? 103f Symbols of the Buddha 31, worship of

462

BUDDHIST ICONOGRAPHY
Trayastrlm$a heaven 31 Trida~cji 152, TrilokesandardanaLoke6vara,described396 Tripitaka 185 Trisamayariija 35 Tusita heaven, abode of Maitreya 80 Twelve Bhiimis 4,333 Twelve Piiramitls 4, 323 Twelve Vaiires 4, 328 Two Lamarsirc Pantheons 3

GbhayavarShmnana (Mntici), 212, recognitian mark 212, described 212, s ~ d h a n a 212, colour 212, residence 212 T5rPnHth 12 Ucchugma Jambhala 38, 245, image of 180, T i i r i ~(same i as Tiira) 56 ~ ~ ~ Kuruku,l~ ~ d 149, b colour h ~ 149, ~ ~vghena 239, described 239, Sarnath Image 239 vihann 149, ssdhana 149, described 149, Uddtyt%na 16, 149, same as village Vajraimages 149 Tarpaqta m u h a 207 TathBgatas, path of the 20 Tnthagatakuli (Viatocana) 49 Tathagatn M n n d a ! a 45 VahitS 332, colour 332, 332, dhydna 332, described 332, images 332 Tattvaratniivoli 9 Tdti a.airgraha 9, 28 Tej~~t$~ 301, u colour 301, symbol 301, diraction 301, dhySna 301, 30 1, imagcs 30 1 Theories, four 9 worship of 32, refuge in 20 Three Jrwel~, Ti bet (Bhote ) 193 Tibatan I T'iksnos&a 301, colour 301, symbol 301, directton 301, dhyana 301, described 303, images 303 Time. essence of 23 Time deities, 382, months deified 382, d ~ r e deified s 382, seasons deified 383, 20di~cal Signs deified 383 Tithis (dates) 382, defied 382, images 382 Trailokyiiksepa 157 TreiIokyav~:hulikara 16, 137, colour 137, symbol 3 dhyiinu 137, described 137, ssdhanas 137, images of 137 Treilokyavijaya 255, same as Vajrahiihks~ srdhalls 184, dhy& ra 182, v ~ h a n t184, na 184, described I&>, images 185 ; mudrii 182, 182n, 152 17 Ud+yHna Kurukullii 149, colour 149, vlhana 149, described 149, images 149;place of origin 149 Uddij lna Lokedvara, 137, same as Rakta. LOkeevara 137 Uddi~iinaMiirici 214, described 214 Ugmtsra 119, 248 Ulkadharii 3 19 "lGkBsyS 319 Unlverse 23, goddess identitied with 23 University Library, Cambridge 4 Upakehini 120, 121 Upapatci V a e i t ~330, colour 330, symbol 330, dhyiina 330, described 330, images 330 Upasadhana 25 Uplye (means) 25, 26, trampled 21 u~~~~~~~~~~~~ 327, Eolour 327, symbol 327, dhyiina 327, described 327, images 327 Upek~ (indifference), 21 Upendra 250, as viihana 250 Us&a 256, colour 256, direction 256, dhyiina 256, described 256, &ti 256, images 256 UsniYagods, eight 299f, general character 299, appearance 299, sources 299 Us$!llgavijsy~ 214. colour 214, recognition 214. residence 214, image 214, caitya o n head 215, ridhana 215, dhpiina 215, described 215, image8 2 15 ;another fmm 298, colour 298, direction 242, 298,

Tantrism 12, godhead in 23, place of origin 15 Tars 1 ~ 1 720,23,38, , 128, colour 129, described 129, symbol 129 ; anorhcr form 135, colour 135, symbol 135, described of Lokanatha 131, des 135, compai~ion cribed 131, hymbol 131, mudrs 131, epithet of 226 ; Buddha(Fakti 56, colour 56, symbol 56, family 56, dhynna 56, described 56, Hindu 189, 190 Tnres 307f. of blue colour 309, of Green colour 307, of Red colour 309, of White colour 308. of Yullow colour 308

INDEX OF WORDS
dhyiina 298, described 298 images 298 Usqipvijayii D h ~ r i p 215, i 220, 338, colour 338, symbol 338, dhyina 238, described 338, images 338 Utnauti ( I ) Lokeivara, described 397 Utpala Mudrn 22 Uttama sevii 25, 26 U Vahal (Nepal) 5 l n

463

V a d ~ l2 i 11, colour 2 11, described 21 1 Vedlrii! 122, viihana 122, m u d r ~ 122, described 122, dhytina 133, images 123 V ~ ~ i b v a r116, a colour 116, vlhana 116, symbol 116, popularity 116, dhysna 116, described 116, images 117 V~h~~rthabhah 8g a Vaibhlsika 8, 9 Vazpulyasiitras 14 Vairocana 45, origin 45, Dhyani Buddha 53, colour 53, mudre 53, viihana 53, symbol 53, dhyiina 53, described 53 ; eight-armedform 54, d h y ~ n a 54, described 54, images 54 ; emanations of 206f ~aibravana 35 Vajra 17, 43, same as h n y a 10, qualities of 11 Vajrabhairava 347, viihuna of Mahiikala 347 Vajrabhiiskari 163, colour 163, described 163 Vajrabhlsano 255 Vajracarcikii 199, colour 199, v ~ h a n a199, peculiar feature 199, siidhana 199. dhytina 159, described 199, images 200 VajriicPryyas 34 Vajradtikini 163, colour 163f, described 163f, direction 163f Vajradapda 952 Vajradhara 42, 43, forms of 44, dhyiina 44, described 44, and Vajrahiihk~ra 181, images 43f Vajradharma 125, 139, 142, colour 142, symbol 142, ssdhana 142, described 143, images 143, as sire of 142. d h y ~ n a lnkanstha 130 Vajradharma Lokedvara, deadbed 396 Vajradh~tu Buddha 54, same as Vairocana 54

Vajradhgtu Lokeivara, described 430 Vajradhiitu Mnqdala 99; o n Boddhisattvas 99 VajradhiitvIbvarI 217, Buddhaiakti 74, embodime~t of highest truth 74, colour 74, symbol 74, family 74, images 74 Vajradhtitvidvarf Mnrici 214, forms 214, s ~ d h a n a214, descrxbed 21 4, symbols 214 Vajradhrk 45 Vtljra family, of Aksobhya 48, 154 Vajragtindhsrl 151, direction 151, colour 151, desct )bed 15 1 ; another form 236, colour 236, dhyiina 236 described 236 symbols 230, dh2rini 236, images 236 Vajragarbha Bodhisattva 88, colour 88, symbol 88, dhyiinn 88 described RX, images 88 described 399 Vajragarbha Lokebvar~, ValraghantH 242, d h y ~ n a242, described 242, direction 242 ; ailother form 298, colour 298, direction 298, symbol 298, dhysna 298, described 298, images 298 Vnjraghonl 2 17 VnjrahEhkBra 182, form (1) two-armed, 181, sylnbols 181, mudre 181, vahana 181, sadhana 181, dhyena 181, images lb2, rides on Bhairava 182 ; form (I[) six182, armed 182, same as Trail~k~avijayu described 182, imnges 182, compared with Vajradhara 181 Vajrahiinkiira Mudrs 181, 182n, 184 Vajrahuntikn (?)Lokedvara, described 398 VajrajvPl6nalZrka 183, 254, sadhana 183, dhyiina 183, described 184, viihana la4 Vajrakarrnapiiramite 328, colour 328, symbol328, dhygna 328, described 328, images 328 Vajrakha~da Lokedvare, described 429 Vajrakula 254 Vajrakuli (Aksobhya) 49 Vajraku~dal? 253 VajrHmyta 226, colour 226, dhyiina 226, described 226, images 226, ~ a b - ~ u 226 rn .VajriInahga (Buddhist god of love). 114, colour 114, described 114, worship 114, dhgHna 114, imager 115 Vajraniitha Lokedvara, dcscribcd 43 1 ~ajrabku6 242,320, dhyl~na 242, describtd

464

BUDDHIST I C ( 235, described 235, forms 235, images 235, consort of Heruka 217 Vajrasrgfa Lokedvara, described 430 Vajratiirii 240, sire 240, dhyiina 240, des. cribed 240, popularity 240, images 240, Indian Museum image 240, Mandala 241, companions 241, siidhana 241, mantra 242 images of 243, yellow 308, special feamres 308, mandala 240, origin of ten goddesses 243 Vajravairocani 218, dhyiina 247, described 247 VajriivaIi niirna Mo&lopiiyaka 4 Vajravtir~hS 160, hakti of Sambara 161. 162, h k t i of Saptzkgara 162, colour 163, described 163 another form 218, companions 218, colour 218, symbol siidhana 218, dhyiina 218, described218, mantra 208, special feature 217 connection with Heruka 217, compared with Maricy 208, 217, compared with Nairiitm% 203, compared with ~ a j r a ~ o g i n i 248 Vajrav~iriihi Tantra 4, 208 Vajrav~rnani247, dhyiina 247, described 2 47 Vajravet~l; 151, direction 15 1, colour 151, described 151, 214 Vajravidiiraei 205, dhytina 205, described 205, images 205 VaJravi9a Sarasvati 350, colour 350, symbol 350, images 350 Vajrayaksa 254 Vajrayiina 2, 7, 8, 9, 11, 14, 31, 34, Buddhism 38, Pantheon 38, Buddhists 2, origin of 12, and Yogzciira 10, Hindu gods In 344 Vajra~anists14 Vajreyogini 1, 16, 17, 149, consort of Heruka 217 forms of 247 ; form ( i ) headless 247, dhyiina 247, described 247 companions 247 ; form (ir) red 248, colour 248, v ~ h a n asymbols 248, dencribed 248, compared with NairHtmii ann Vajrav~rahi 248 ; form ( t i i ) yellow 248, colour 248, symbol 248, described 248, consort of Heruka 248, imager 249, temple 248 Vajrapogin'l 137, name of a village in Vikrampur 137, identified as U d d y ~ n a137

242, direction 242 ; another form 297, colour 297, direction 297, symbol 297, dhyiina 297, described 297, images 297, in the Lokaniitha Mavdala 131 Vajrap~qi 43, family 53, sire 53, symbol 53, images 53 ; as Boddhisattva 98, colour 98, symbol 98, dhygna 98, described 98, images 99 ; in the Lokaniitha M a ~ d a l a 131, colour 131, symbols 131, described 131 Vajrapani ~okeivara, described 431 Vajrapaiijara 90 Vajrapiibi 242, 320, dhysna 242, described 242, direction 242 ; another form 297, colour 297, direction 297, symbol 297, dhyiina 297, described 297, images 297 Vajrapstiila 256, another name of Surrbha Vajrarsga family (same as Riiga) 45 Vajrrriiga 102, form of ~ a i i l u b r i 102, colour 102, mudrii 102, names of 102, dhysna 103, described 103, images 103 and Nilakan~ha compared I41 Vajrarati 46, queen of Amoghasiddhi 46 Vajraraudri 163, colour 163, described 163 Vajrssana 38. Buddha 77. later form of Gautama 77, dhysna 77, described 77, images 78 Vajrabiirad~35 1. symbols 351, described 35 1, images 35 1, companions 35 1 Vajrasarasvati 35 1, described 35 1, stidhana 352, colour 352, symbols 352, images 352 Vajrasattva 17, 38, 43, 48, Sixth Dhyiini Buddha 74 priest of the Five Dhylni Buddhas 74, shrines of 75, forms of 75, dhyHna 75, described 75, images 75, worship in secret 75, single form 75, yab.yum form 75, hakti 75 Vajrasattvadh~tu Lokedvara, described 429 Vajrasattviitmikii 75, Sakti of Vajrasattva 75, colour 76, symbol 76, form 76, described 76, images 76 Vajrasphota 297f, 320, colour 297, direction 297, symbol 297, dhyiina 297, described 298, images 298 Vajrasphoti 242, dhyiina 242, described 242, direction 242 Vajrad@halt 235, wlour 235, symbol 235, s'8dhana 235, dhyiina 235, described 235, symbol 235, sadhna 235, dhyiina

INDEX OF WORDS

465

Vajrosnip 299, colour 299, symbol 299, Vedans (sensation) 42 direction 299, dhyhna 299, described Veil of ignorance 30 V e t ~ l310, j colour 310, symbol 310, d h y ~ 300, images 300, statuette 25 3, 253n na 310, described 310, images 31 1 Vajroscisa Lokedvara 398 Vibrations (sound) 25, of word and letter Vnk 6 29 ~ a k i a314, colour 314, symbol 314, Viciira (thinking) 26 dhgnna 314, described 314 Vldya 24, embodiment of 220 Vahga 16 Vahgiya Sshitya Parisat 122, museum at 38 VtdyTldhnmpl:aks 14 Varada THrH 337, green 307, special fea- Vidyiidhara king 38 1 Vidr%dharos,lords of 37" tures 307 V~dyapatl LokeXvara, descnbed 430 Varadayaka Lokes'vara, described 395 Var~hamukhi 21 1, colour 21 1, described VidyujJ\,alakrlr51i144, colour 194, viihana 194, symbols 194, dhyiina lq4f, deccrih21 1 ed 195f V ~ r ~ 364, h i colour 364, symbol 364, vihana 364, dhysna 364, described 364, Vighnas 197, meaning of 180, obsrnclename given to Gal& 369 images 364 Vighnlntaka I F @ , siidhana 180, dhytinn 180, Varali 21 1, colour 21 1, dcscribed 21 1 origln 180, described 181, images 1HI : Varttali 21 1, colour 21 1, described 2 11 ui~orher 10rm 253f, colour 2L3,direction Varttafi group 213 253, dhy.,no 25.3, c~ebcribed 254, Aakti Varuna 361, colour 361, viihana 361, direc254, ~rrlages25.1 tion 361, dhyiina 361, described 361, Vighniintahyt, (of the southern pate) 46 images 361 Vasanta 186, 279, colour 379, symbol 379, V~jiiiinn1I . conbciousness 42 Vljiianavlda 8, '), 10, 1 1. vahana 379, dhyana 379, described 379 n form 160 Vai'it~ goddesses, twelve 328, their natuie Vikiilarntri 160, d ~ r e c t ~ o160, 328, general description 328, their Vlkrampur 16, 3 8 , 137 Vtkramabila 6,41, monastery 3 forms 328, their images 329 L'ilokini 135, colour 135, syml~ol 135, dcrVesubandhu 12 crxbed 135 Vasudhiird 38, colour 244, symbol 244, siillhana 202, 244, dhyiina 245, described V111ldli Lhtimi 334. colour 334, eymbol 334, d h y ~ n a 334, described 334, itnages 245, Images 245, forms 245, another form 202, colour 202, symbol 202, nntlqulty 3 34 202, dhyana 202, deecribed 202f, com- V~inaluprabhu187 ViSi 315, colour 315, aymbol 315, dhp&na panions 203, images 39, 203 315, describeJ 3 15, Images 31 5 Vasuki (snake) 140, 148 Vqadharii 3 15 Vasumatis'd 203 Vlpaiyi (Mortal Buddha) 76 Vasudri 203 V~riibana126, attltude of Sadaksarl h4ahp VasyiidbikPra Lokes'vara, described 395 vidya 126 Vaiyatiir~ 230, ditferented 230, Images 230, Asana 229, symbol 229, colour 229 ; Virman (Citraksra) 7 Viryapsramitl 325, colour 325, symbol 325, green 307, special features 307 dhyana 325, described 325, imnges 326 VaSya Vajravarahi 219, symbols 219, v5hana 219, purposes 219, described Visahari 193, (Hindu) 193 Vipkambhin 93, short name of Saravaniva. 2 19, images 21 9 ranavigkambhin 93, in the Lokrh~tha Vtiyu 362, colour 362, viihana 362, direcMandala 131, colour 131, symbols 131 tion 362, dhynna 362, described 363, described 131 images 363

466

BUDDHIST ICONOGRAPHY
Yakginis 238, eight, enumerated 238 Yama 35, origin of 166, form 352, colour 352, vshana 352, direction 352, dhyana 352, described 361, images 361 Yamiintaka 6, 117,118,166, 167,180, colour 252, direction 252, dhyiina 252, described 252, Sakti 252, images 252 Yam~ntakavajrn167 Ya1nHntakT.t46, (of the east gate) 46 Yamadanda Lokeivara, described 397 Yarnadiit'l 347, companion of Mahiikda 347, colour 347, symbol 347, direction 347. described 347 Yamiiri 252 (another name of YamHntaka) YHnas 8, three 9 Yasodharii 79 Yoga 8, 9. 17, 24, and its six limbs 26 Yogticiira 8, 9, 28 Yogiimbara 186, colour 186, variety 186, kakti 186, dhyHna 180, described 186, images 186, sire 186 Yorins 18 Yogini 236, epithet of Vajragiindhtid 236 Yoyinis 247, companions of VajrayoginI

Visnu 363, vehana 363, described 363, images 363, Mtira 159, 195, as vtihana 136 Visnucakra ~okebvara, described 430 Vignukiintii Lokedvara, described 430 V i g v p i i ~ ~okchvara, i described 429 Vibvabbii (Mortal Buddha) 76 Vibvabh~ta Lokedvara, described 430 ~idvadiikini164, colour 164, direct~on161, described 164 described 397 Viivahana ~okesvarn, Vibvamit~308, white 308, special features 308 Vi$vapadmti 135, colour 135, symbol 135, described 135 V i i ~ a ~ a d m e ~ v135, a r i colour 135, symbol 135, decribed 135 Vibvap~vi Bodhisattva 73, colour 73, sire 73, family 73, described 73, images 73 Vikvavajra 135, colour 135, symbol 135, described 135 Vibvavajra Lokedvara, described 429 Vibvosnisa 300, colour 300, ~ymbol300, direction 300, d h y ~ n a300, described 301. images 301 Vit~nadhar 31 ~7 Vitarka (cogitation) 26 Vogel (J Prl.) 35n VpgHcana (7) Lokebvara, described 397

247
Y o g ~ n i J ~Tantra lii 4

Yuan Chwang 35, see Hiuen Thsang Yugaraddha (yab-yum) 217 Yun-gar's attack on monastery 217

Waddell (Mr. L. A.), 1 Walter Eugene Clark, Professor 3 Weapons 392, therr significance, 392, varity of 392, expression of Bodhicitta 392, ex~lanations of 391, meanings of 392 Whitney (Mr. W. B.) 221 Will to Enlightenment 25

Zodiacal Signs (R~dis)383, number 383, deified 383, images 383.

Yab-yum 43, form of the dei? 30, meaning and significatrce 391, 393, Siinya commingled with K a r u n ~390, infinite meets with the infinite 393 Yaksas 35, eight, enumerated 238, lords of 379, kings, eight 380, their names 380, their symbols 380, their descriptions 380

INDEX OF ILLUSTRATIONS
A Acalaketu Lokeivara (Fig 79-A), eye copy of painting in the Machhai~darVahal, Kathmandu, 420, described 429 AcPta (?)Lokeivara (Fig 28-A), eye copy ofpainting In the Machhandar Vahal, Kathmandu, 407, described 397 Adibuddha Vajradhara (Fig 12), Nepalese painting in a full-page picture 57, described 43 Agni (Fig 237), metal statuette in the Palace Temple at Peiping 371. described 362 Ak~dagnrbha (Fig 52), Nepalese drawlng, 70, described 86 Ak~dagarbha Lokedvara (Fig 49-A) eye copy of painting in the Machhandal Vahal, Kathmandu 413, described 399 Aksayamati, Nepalese drawing, 69, des. cribed 8 5 Aksayamatl (Fig 50), metal statuette in the Palace Temple at Peiping. 70, described
85

Nepalese miniature in the collection of Dr. W. Y. Evans-Wen.: 64, descrrbed

5o
Amoghasiddhi Dhyanl Buddha (Fig 34) Nepalese sculpture from a roadside stGpa at Kathmandu 64, descrlbed 56 Amoghadard~n(Fig 72) Nepalese drawing 109, descrlbed 98 ~ n l o p h a ~ ~ Lokc&vara $a (Flg 71-A) eye copy of palntlng i n the Machhandar Vahal, Kathnrandu, 418, Jescrlbed 428 Amrtaprabha Loke&vari~ (Fig 41-A) eye copy of parntlog In the M.tc11handnr Vahal, Kathniandu 41 1, dcscrrbed 398 Anandiidl Lokeivara (Fy7-A) eye copy of painting in the M'1chh:andar Vahal, Kathmandu, 402. desclibed 395 Apitrallts (Plg 1HL)), louer half o i a mutilated sculpture discovered nt Nalanda 291, described 21b AparEjita (Fig 190) full 1nl:tgc in stone in the Indian Museum 292, descrlbed 246 Arapacana (Flq 92) Buroda Museum metal statuerte, 172, described 121 Arapacana (Flg 891, full-p.~ge ~llustratlon of a sculpture in the Dacca Museum 171, described 120 Arapacann (Fig YO), Javanese sculpture now in the Berlin Museum 172, descrlbed
121

Ak~ayamati LokrLvara (Fig 51-A), eye copy of painting in the Machhandar Vahal, Kathmandu 413, described 399 Aksobhya D h y ~ n Buddha i (Fig 22) Nepalese miniature in the collectron of Dr. W . Y. Evans-Wentz, 60, described
52

Aksobhya Dhyiini Buddha (Fig 23) Nepa.* lese sculpture from a roadside stiipa at Kathmandu, 61, described 52 Amit~bha Dhyiini Buddha (Fig 19), Nepalese miniature in the collection of Cr. W. Y. Evans-Wentz 60, described 50 Amitabha ~ o k e i v a r a (Fig 87-A), eye copy o f painting in the Machhandar Vahal, Kathmandu 422, described 429 Amitaprabha (Fig 61), Nepalese drawing 105, described 9 1 ~moghasiddhi D h y b i Buddha (Fig 33),

Arapacana (Fig 91), Nepalese metal statuette 172, described 121 Xtya-satasvat; (Flg 234), Nepalese drawing of the goddess 370, described 35 1 Agtabhula M ~ r i r i(Fig 152) artistic piece in the Indian Museum in a full-page ,illustration 275, described 212 ' Asfabhuja M ~ r i c(Fig i 153), Indian Museurn sculpture 276, described 212 Agpbhuja M ~ r i c i (big 1541, Luchow Museum sculprure 276, described 212

468

BUDDHIST ICONOGRAPHY of the deity in Yab-yum, 266, described 160 Buddhist Triad (Figs 9, 10, 11) see Triad, Buddhlst

Avalokita Lokeiv~ra[Fig 44-A), eye copy of painting in the Machhandar Vahal, Kathmandu 41 1 , desrribed 399 ~valokiteivara (Fig 57), Nepalese drawing, 72, described 89

Baudh (Fig 7) a famous stiipa in Nepal, 37, described 32 Bhadrapela (Fig 69), Nepa!ese drawing 108, described 97 Bh~kuG (Fig 123), statuette In metal in the Palace Temple at Peiplng 265, described 153 Bodh~ Tree (Fig 2), Lord Buddha'o symbol from the gateway at San~hi,33, des. cribed 31 Brahma (Fig 239) metal statuette of the deity ridlng the swan vehicle in the Palace Temple at Peiping 372, described 363 Brahmadanda Lokedvara (Fig 27-A) eye copy of painting in the Machhandar Vahal, Ktithmandu 407, described 397 Buddha (Fig 10) Nepalese metal statuette showing Lord Buddha in the Bhbpar6a mridrH in the collection of Pandit Siddhiharbha Vajracaryya, 40, described 32 Buddha in d~fferentmudriis (Fig 17) panel showing four figures of Lord Buddha in four different mudras in the NiilandH Museum 59, described 48 Buddha in different mudriis (Fig 18) running panel show~ng Lord Buddha in different mudras, from Java 59, described 48 Buddha's Footprints (Fig 4) on a Bharhut bas.relief preserved in the Indian Museum 36, described 3 1 Buddha's Headvdress (Fig 3) or hairlock(?) as it appears on Bharhut bas-relief preserved in the Indian Museum 36, des. cribed 3 1 Buddhakaplla (Fig 127) Baroda Museum metal statuette without the 611kti 266, described 160 Buddhakapala (Fig 126) Nepalese drawing

Caqdarosaqa (Fig 124) Nepalese drawing depicting the deity in Yab-yum 265, described 155 Candraprabha (Fig 59) Nepalese drawing 105. describud 90 Candraprabha Lokebvarn (Fig 43-A) eye copy of painting in the Machhandsr Vahal, Kathmandu 411, described 398 Cintiimaqi Lokcdvara (Fig 94-A) eye copy of painting in the Machhandar Vahal, Kathmandu 424, described 430 Cittadhatu Lokeivara (Fig 93-A) rye c o ~ y of painting in the Mac-hhandar Vahal, Kathmandu, 424, described 430 Cundii fig 163) Baroda Museum statuette of the sixteen-armed deity, 280, des. cribed 223f Cunda (Fig 164) sculpture of the deity in the Hindu monastery at Bodh Gaya 280, described 224 painting of the Cunda (Fig 163) min~ature slxteen armed variety in MS No. Add 1643 (PrajiiiipSrarnitB)in the University Library, Cambridge 280, described 223 Cundx (Fig 161) fine statuette of the four armed variety in the collection of the late Mr. W. B. Whitney of New York 297, described 221

<?akin: (Fig 217) metal statuette in the Palace Temple at Peiping 357, described 322 Dababhujasita Ma& (Fig 155) Nepalese drawing of the ten-armed goddess 2 78, described 213 Da6amI Tithi (Fig 245) metal statuette in the Palace Temple at Peiping 374, dcs. cribed 382 Devadevat~ Lokedvara (Fig 72-A) eye copy of painting in the Machhandar Vohal,

INDEX OF ILLUSTRATIONS
Kathmandu 418, described 428 Dhanada Tars (Fig 172) Nepalese drawing of the iour-armed deity 284, described 231 Dharmacakrn Lokedvara (Fig 81-A) e) c copy o f painting in the Machhtlndar Vahal, Kathmandu 421, described 429 Dharmadhatu Lokedvara (Fig 90-A) eye copy of paint~ngIn the Machhandar Vahal, Kathmandu 423, described 430 Dharmamegha (Fig 223) metal statuette of the BhEmi goddess In the Palace 'Temple at Peipinrr 358, described 330 DhvajagrakeyGril (Fig 147) Nepalesv drawing of the four-armed goddess 274, descrl bed 202 Dhyana Paramitii (Ftg 21 9) metal statuette in the Palare Temple at Peiping 357, described 326 Di11a (Fig 213) metal statuetle in the Palace Temple a t Peiping 355, descr~bcd318 Dombi (Fig 205) metal statuette i n the Palace Temple at Pe~ptng353, descrtbed 312 Dream. Miiyii's, see M3yZ's Dream

469

Ganapati, four-armed (Fig 227) metal image of the god in a dancing attitude in the collection of Ijr. MoFhe of Khar (Bombay), 360, described 348 Caqapati (Fig 241) tr~etal statuct te showing the deity with the Rat vehicle in the Palace Terrlple st Peiliing 372, described 365 G a p a p a t i t ~ y d a (Fig ~ ~ 220) Nepalese miniature in the collecc~on of Dr. W. Y. Evans-Went; 360, describcd 349 Gandhahasti (Fig 67) Nep,llese drawing 107 descrtbed 96 Ghasmarl (Fly 203) metal statuette In the ut l'eiping 296, described Palace l e ~ n p l e 311 Ciita (Fig 207) metal statuette in the Palace Temple at Peiping 353, descrtbed 31 3 Graharnatyka (Fig 165) Nepalese miniature in the collect~on of Dr. W. Y Evallb. Went; 282, described 225

Ekajatii (Fig 138) stone figure as companion Tiirii i in the Indian of ~ h a d i r a v a ~ Museum 270, dcscrtbed 194 Ekajata (Fig 139) Nepalese drawing 270, described 194

Footprints, Buddha's see Buddha's Foot.

prints Four-armed Gavagati, see Gapapati

Gaganagaiija (Fig 53) Nepalese drawing 71, described 87 Gaganagaiija Lokekvara (Fig 48-A) eye copy of painting in the Machhandar Vahal, Kathmandu 412, deacribed 399 G a ~ a p a t i(Fig 228) twelve-armed metal figure in the collection of the Dowager Maharani Chimanbai Gaekwad of Baroda 360, described 348

Halahala (Flg 109) full-size btone ttrlage in a tnonas:ery at Kathniandu 260, described 132 Hiilahala Lokes'vara (Fig 3 - A ) eye copy of palnting in the Machl~andar Vahr~l, Kathmandu 401 Harihara Lokes'vara (Ftg 84.A) eye copy of painting in the Machhandar Vahal, Kathmandu 421, describcd 429 Hariharihariv~hana (Fig 113) Ncpalese drawing of the deity riding on Vi?nu, Garuda and Lion 261, described 137 Hariharihariviihann Lokcdvara (Ftg 4.A) eye copy of painting in the Machhan. dar Vahal, Kathmandu 401, described 3 94 HarivHhana Lokedvara (Fig 82-A) eye copy of pail~tiugin the Machhandar Vahal. Kathmandu 421, described 429 Hayagriva (Fig 128) Nepalese dt awing showing the horee-neck on the head, 266, described 165 Hayagriva (Fig 129) metal statuette in the Palace Temple at I'eiping 267, described

165
HayagrEva Lokegvara (Fig) 1-A eye copy of painting in the Machhandar Vahal,

470

BUDDHIST ICONOGRAPHY Kamandalu Lokeivara (Fig 10-A) eye copy of painting in the Machhandar Vabal, Kathmandu 403, described 395 Kapiip (Fig 212) metal statuette in the Palace Temple at Peiping 355, described 317 KHra~davyiiha Lokedvara (Fig 37-A) eye copy of painting in the Machhandar Vahal410, described 398 Kathe Simbhu (Fig 1) medium ~ i z e dstiipa in Kathmandu, 37, described 32 Ketu (Fig 243) metal statuette of the planet in the Palace Temple at Peiping 373, descr~bed 378 Khadiravani TiirH (Fig 16b) beautiful bronze in the Baroda Museum without companions 282, described 227 Khadiravani THra (Fig 249) unique sculpture showlng the etght deities o f the THra mantra in the Dacca Museum, 375 described 388 K h a d ~ r a v aTiirh ~ i (Fig 167) Indian Museum sculpture with AbokakHntii and EkajarH 282, desctibcd 227 Khadirav,i~l Tsr8 (Fig 163) artlstic specimen discovered at Malioba and now deposited in the Provincial Museum at Lucknow 281, described 227 Khasarpaqa (Fig 103) dincovered in tile Pargana Vikrampur, Dacca in a full page reproduction 257, described 130 Khasarpapa (Fig 104) Indian Museum sculpture 259, described 130 Khasarpaqa Lokeivara (Fig 21-A) eye copy of painting in the Machhandar Vahal, Kathmandu 406, described 396 Krtsiijali Lokeivara (Flg 98-A) eye copy o f painting in the Machhandar Vahal, Kathmandu 425, described 430 Kytigarbha (Fig 51) Nepalese drawing of the Bodhisattva 70, described 85 Kgitigorbha Lokdvara (Fig 50-A) eye copy of painting in the Machhandar Vahal. Kathmandu, 413, described 399 Kumbha (Fig 247) metal statuette of the Sign of the Zodiac in the Palace Temple . atPeiping 374, described 383 Kurukulln (Fig 121) Nepalese drawing of the deity showing the bow and arrow of

Kathmandu 401, described 394 Head-dress, Buddha's see Buddha's Headdress Heruka (Fig 125) Dacca Mueeum sculpture 265, doscribed 156 1 Indra (Fig 236) metal statue in the Palace Temple at Peiping 37 1, described 352

J
Jaliniprabha (Fig 60), Nepalese drawing 105, described 90 Jiliniprabha Lokcdvara (Fig 42-A) eye copy of painting in the Machhandar Vahal, Kathmandu 411, deecribed 398 Jambhala (Flg 176) fine Nepal statuette in stone in the possession of Pandit Siddhiharsha Vajracaryya 286, described 238 Jam t~hall (Fig 177) full page reproduction of an artistic specimen discovered at a roadside shed near Rampal in VikramFur 287, descrihed 238 Jnmbl~ala (Fig 178) smull statuette in .stone discovered at a road-side shed near Rampal In Vikrampur 288, descr~bed 238 Jambhala (Fig 179) Nepalese drawing of the yab-yum figure 2RR, described 239 Jahguli (Fig 137) Nepalese drawing 269. described 192 Jat~inukufa Lokesvara (Fig 12-A) eye copy of painting in the Machhandar Vahal, Kathmandu 403, described 395 Jiianddhiitu Lokedvara 1F1g 36-A) eye copy of painting in the Machhandar Vahal, Kathmandu 409, described 398 Jiiiinaketu (Fig 6R) Nepalese drawing 108, described 96
-

Kiilucakrn (Fig 134) Nepalese drawing showing thiv rare deity in yabeyum 268, described 188 Kamalacandra Lokeivara (Fig 77-A) eye copy of 'painting in the Machhandar Vahal, Kathmatrdu 420, described 429

INDEX O F I L L U S T R A T I O N S flowers 264, described 149 Kurukullii (Fig 122) metal statuette in the Palace Temple at Peiping 264, described
149

471

Mahiimaitjubhiita

Lokedvara

(Fig 65-A

eye copy of painting in the Machhandar Vahal, Kathmandu 417, described

428

Mah~maiijudatta Lokedvara (Fig 60.A) eye copy of painting in the Machhandar LHmH (Fig 218) Nepalese painting of the Vahal, Kathmandu 415, described 400 goddess in a full page illustration 376, Mahiimantriinus~ri~i (Fig 198) Nepalese described 322 mrniature in the colle~tiono f Dr. W. L ~ s y i(Fig 205) metal statuette in the Y. Evans-Wentz 294, described 305 Palace Temple at Peiping 353, described MahimiiyiirT (Fig 200) Nepalese miniature 313 in the collection of L h . W Y. EvansLocanii ~uddhadakti (Fig 31) Nepalese Wentz 295 described 305 miniature 63, described 55 MahLpHtlla Lokedvara (Fig 59-A) eyo copy Lokaniitha (Fig 106) Baroda Museum meof painting in the Machhandar Vehal, tal statuette 259, described 132 Kathmandu 41 5, described 400 Lokan~tha (Fig 105) Mahoba sculpture Mal~ii~ratisarfi (Fig 185) L3acca Museum now in the Lucknow Museum 258, des;mage of the eight-armed deity 290, cribed 132 described 244 Lokan~tha (Fig 108) ivory imago in a pri- Mahipratisara (Fig 184) sculpture of the vate collection in Kathmandu (Nepal) t ~ a 290, deity in the Dacca S ~ ~ h iParisat 260, described 132 described 244 Lokan~tha (Fig 107) Torso in the Sarnath Mahiipratisara (Fig 196) Nepalese miniaMuseum 259, described I07 ture in the collection of Dr. W. Y. Lokan~tha Rakt~ry~~valokites'vara (Fig Evans-Wentz 294. described 303 18-A) eye copy of painting in the Ma- ~ a h ~ r a t n a k iLokeivara rt~ (Fig 55-A) eye chhandar Vahal, Kathmandu 405, descopy of painting in the Macnhandar cribed 396 Vuhal, Kathmandu 414, described 399 Mahiratnakul~ LokeQvara (Fig 58-A) eye copy of painting in the Machhandar Vahal, Kathmanciu 4415, described 400 M a h s - ~ b h a ~ a k nLokekvara G (Fig 64.A) eye oopy of painting in the Machhandar Mahisrrhasrabhuja Lokedvara (Fig 54.A) eye copy of painting in the MachhanVahal, Kathmandu 416, described 400 dar Vahal, Kathmandu 414, described Mahii-Abbyaphalada Lokedvara (Fig 63-A) 399 eye copy of painting in the Machhan(Fig 197) Nepalese dar Vahal, Kathmandu 416, described ~ahasnhasra~ramardani miniature in the collection of Dr. W. 400 Y. Evans Wentz 294, described 304 Mahticandrabimba Lokedvara (Fig 61.A) eye copy of painting in the Machhandar Mahtisahasrasiiryya Lokelvata (Fig 57.A) eye copy of painting in the MachhanVahal, Kathmandu 416, described 400 dar Vahal, Kathmandu 415, described Mah~cina THrii (Fig 135) Nepalese drawing 400 of the goddess 269, described 191 Mabcina Tars (Fig 136) Nepalese drawing MahttQahkhan~thaLokedvara (Fig 56.A) eye copy of paintlng in the Machhanof the goddess 269, described 191 dar Vahal, Kathmandu 414, described Mahskiila (Fig 226) exceedingly fine 400 specimen of the two-armed form of (Fig 230) Nepalese drawing the violent god in stone in the collec- Mah~aarasvatI of the goddess 369, described 350 tion of Pandir Siddhiharsha Vajracaryya MahiiGtavad (Fig 199) Nepalese miniature of Nepal 359, deactibed 345

472

BUDDHIST ICONOGRAPHY
of painting in the Machhandar Vahal, Kathmandu 406, described 396 Maiijukumsra (Fig 88) Nepalese drawing 170, described 120 Maiijun%tha Lokebvara (Fig 96-A) eye copy of painting in the Machhandar Vahal, Kathmandu 424, described 430 MaiijuSr'l ( F i g66) Nepalese drawing 107, described 95 Maiijudri (Fig 74) Baroda Museum metal statuette with G a ~ a p a t and i V i g ~ u 110, described 102 Maiijuvara (Fig 83) Birbhum sculpture 169, described 117 Maiijuvara (Fig 84) Indian Museum sculpture 169, described 118 Maiiluvara (Fig 85) second lndian Museum sculpture 169, described 118 Maiijuvara (Fig 86) h'epalese metal statuette in the collection of Pandit Siddhiharsha 170, described 118 Maiijuvara (Fig 86) Nepalese metal statuette in the collection of Pandit Siddhiharsha 170, described 11R Maiijuvajra (Fig 87) Barode Museum metal statuette 170, described 119 M5yi1's Dream (Fig 1 ) bas-relief on the Bharhut roilings in the Indian Museum depicting the Buddha as White Elephant entering into the womb of M~yldev;83, described 31 M~y~jiilakramn Lokebvara (Fig 5A) eye copy of painting in the Machhandar Vahal, Kathmandu 402, described 394 Miiyfijiilakramakrodha Lokehvnra (Fig 15-A) eye copy of painting in the Machhandar V a h ~ l , Kathmandu 404, described 395 Mina (Fig 248) metal statuette of the Sign of the Zo ac i n the Palace Temdescribed 383 ple a t Peiping Mojagh~iija bala (?) Lokebvara (Fig 2-A) eye copy of painting in the Maohhandar Vahal, Kathmandu 401, described

to the collectioh of Dr. W. Y. Evans Wentz 295, described 305 MahdrI Tars (Fig 169) full-page reproduction of an artistic sculpture in the Indian Museum with the Dhyani Buddhas and the four companions 283, described 229 Mahssth~mapriipta(Fig 58) Nepalese draw ing of the Bodhisattva 72, described
89

Mah~sthlma~r~p Lokes'vara ta (Fig 106-A) eye copy of painting in the Machhandnr Vahal. Kathmandu 427, described
43 1

Mah~siirygabimba Lokebvara (Fig 62-A) eye copy of painting in the Machhandar Vahal, Kathmandu 416, described
400

Mahattarl THrS (Fig 201) beautiful Nepalese statuette in the coIlection of Pandit Siddhiharsha Vajracaryya of Nepal 295, described 307 Mahavajradh~tuLokrs'vara (Fig 67-A) eye copy of painting in the Machhandar Vahal, Kathmandu 417, described 428 Mahiivajradhrk LokeSvara (Fig 68-A) eye copy of painting in the Machhandar Vahal, Kathmandu 417, described 428 Mahiivajran~thaLokeirara (Fig 70-A) eye copy of puinting in thc Machhandar Vahal, Kathmandu 418, described 428 MahPvajrapHni LokeLvara (Fig 69-A) eye copy of painting in the Machhandar Vahal, Kathmandu 418, described 428 Mahrvajrasattva LokcSvara (Fig 29-A) eye copy of painting in the Machhandar Vahal, Kathmandu 408, described 397 ~ah~viivaiuddh Lokehvara a (Fig 66 A ) eye copy of painting in the Machhandar Vahal, Kathmandu 417, described 428 Mahes'vara (Fig 240) metal statuette with the Bull vehicle in rhe Palace Temple at Peip~ng 372, described 364 Maitreya (Fig 65) Nepalese drawing 107. described 94 394 Maitreya (Fig 47) Nepalese drawing 69, Mortal Buddhas, seven (Fig 45) with Maitreya in an Indian Museum eculpdeecribed 81 Mamaki Buddhaiakti (Fig 24) Nepaleee ture 69, described 77 drawing 61, described 52 Mudrss, Buddha in different see Buddha Magipadma Lokeivara (Fig 22.A) eye copy in different Mudriis

#A&

INDEX O F ILLUSTRATIONS Mukunda (Fig 210) metal statuette in the Palace Temple at Peiping 354, described 315

473

Nairitmii (Fig 148) Indian Museum sculpture, slightly mutilated 273. described 204 Nairiitmii (Fig 149) metal statuette with the lost Khatvanga in the Veiigiya Sahitya Parisat Museum 2 14, described 204 N~masahgiti (Fig 151) metal statuette of Nepal in the collectionof Pandit Siddhiharsha 151, described 207 N~masahgiti Maiijudri (Fig 79) Nepalese drawing 11 1, described 116 NiimasahGti Maiiludri (Fig. 80) metal statuette In the Palace Temple at Peiping 112, described 116 Navami Tithi (Fig 244) metal statuette of the Time deity in the Palace Temple at Peiping 373, descr~bed 382 Nilaka~yha (Fig. 116) Sarnatha Museum sculpture 262, described 141 hilakaptha Lokeivara (Fig. 17-A) eye copy of painting in the M~chhondar Vahal, Kathmandu 405, described 396 Nirukti Pratisamvit (Fig. 224) metal statuette in the Palace Temple at Peiping 359, described 343 Nitynnitha Lokcjvara (Fig 103.A) eye copy of painting in the Machhandar Vahal, Kathmandu 426, described 431 Nytyi (Fig- 208) metal statuette from tile Palace Temple at Peiping 354, described 3 14

Padmanarttadvara (Fig 112) Nepalese drawing in the company of the Sakti 261, described 135 Padmanarttedvara (Fig. 1 10) artistic sculpture at Sarasvatisthan near Simbhu in Nepal 260, described 133 Padmanarttedvara (Flg 111) metal statuette in the Palace Temple a t Peiping 261, described 134

Padmapspi Bodhlsattva (Fig. 21) full size bronze figure in a monastery a t Kathmandu 60, described 5 1 Padmapapi Lokedvara (Fig. 104-A) eye copy of painting in the Machhandar Vahal, Kathmandu 426, descrihed 431 Piindarii BuddhadaLti (Fig. 20) Nepalese miniature 60, described 50 Paramiidva (Fig. 132) Nepalese drawing showing the horse-head 268, described 186 Parqaiabari (Fig 140) sculpture in the In. dian Muaeum 270, doscribed 197 PaqaBabari (Fig. 173) full page reproduction of an artistic specimen at Vajrayogini in Vikrampur 285, described 233 Par~adabari(Fig 174) fine sculpture discovered in Vikrampur bv Dr. N K. Bhattasali 286, described 233 Pipdapiitra Lokeivara (Fig 73-A) eye copy of painting in the Machhandar Vahal, Kathmandu 419, described 428 Potapada (?) Lokeivara (Fig 9-A) eye copy of painting in the Machhandar Vahal, Kathmandu 403, described 395 Prajiiiipiramita (Fig 141) the most artistic sculpture from Java now in the Leiden Museum 271, described 198 FrSjiiiiparamit~ (Pig 142) Indian Muaeum sculpture 27 1, described 199 Pragidhtina Pgramitz (Fig 220) metal statuette in the Palace Temple at Peiping 357, described 327 Prasannatnrs (Fig 192) Nepalese drawing of the eight-headed and sixteen-armed deity 292, described 250 Pratibhsnakiita (Fig 62) Nepalese drawing of the Bodhhisattva 106, described 92 Pratibhhakiifa Lokedvara (Fig 40-A) eye in the Machhandar copy of pa~nting Vahal, Kathmandu 410, described 39d Pratibhsna Pratisamvit (Fig 225) metal statuette in the Palace Temple at Peiping 359, described 343 Pratyafigira see Mahlptstyatigi~ Pratya~girii (Fig 144) Nepalese drawing 272, described 201 Pratyahgira (Pip 145) Nepalese drawing

474

BUDDHIST ICONOGRAPHY
Ratnolkg (Fig 214) metal statuette in the the Palace Temple at Peiping 356, des. cribed 3 18

272, described 201 PratyaAgW (Fig 146) Nepalese image with innumerable heads & arms in a private collection in Nepal 272, described 201 Pretasantarpana Lokebvara (Fig 14-A) eye copy of painting in the Machhandar Vahal, Kathmandu 404 described 395 Pretasantarpita (Fig 118) Nepalese drawing of the deity stiowing two goblins 263, described 142 Pukkasi (Fig 204) metal statuette in the Palace Temple at Peiping 296, described 311 Pupala (?)Lokebvara (Fig 24-A) eye copy of painting in the Machhandar Vahal, Kathmandu 406, described 396 Pugpatiirti (Fig 183) metal statuette in the Palace Temple at Peiping 289, described 243

(Fig 242) metal statuette of the planet showing the Buffalo chartot, in the Palace Temple a t Peiping 373, described 377 ~akta.Lokedvara(Fig 115) metal statuette in the Palace Temple at Peiping 262, described 138 Ratnadala Lokebvara (Fig 75-A) eye ropy of painting in the Machhandar Vahal 419, described 429 Ratnaptini Bodhisattva (Fig 40) full size Nepalese bronze in a monastery at Kathmandu 66, described 74 Rddhi Vabitii (Fig 222) metal statuette in ' the Palace Temple at Peiping 358, described 330 RatnapBqi (Fig 54) Nepalese drawing 7 1, described 87 Ratnapsni Lokebvara (Fig 47-A) eye copy of painting in the Machhandar Vahal, Kathmandu 412, described 399 Ratnasambhava Dhyani Buddha (Fig 37) Nepaleae miniature in the collection of Dr. W. Y. Evans-Wentz 65, described 74 Ratnasambhaba Dhyiini Buddha (Fig 38) Nepalese sculpture from a road-side stupa at Kathmandu 65, described 74

R&u

Sadaksari group (Fig 96) Birbhum sculpture 174, descr~bed126 Sadaksar'l group (Fig 95) Indian Museum sculpture 173, described 126 Sadak~ari group (Fig 94) Sarnath Museum sculpture showing Manidhara and Sadaksari Mahiivid~a in full form 173, described 126 Sadaksar'l Lokebvara (Fig 97) Baroda Museum metal statuette 174, described 126 ~ a d a k ~ a Lokebvara rf (Fig 6-A) eye copy of painting in the Machhandar Vahal, Kathmandu 402, described 395 Sadaksari Mahiividy~ (Fig 98) Sarnath Museum sculpture 174, described 127 Sadbhuja Sltatsrii (Fig 171I Nepalese drawing 284. described 230 Sagaramati (Fig 55) Nepalese drawing 71, described 88 Siigaramati Lokedvara (Fig 46-A) eye copy of painting in thc Machhandar Vahal, Kathmandu 412, described 399 6iikyabuddha Lokebvara (Fig 31-A) eye copy of painting in the Machhnndar Vahal, Kathmandu 408, described 397 k~k~abuddha Lokebvara (Fig 92-A) eye copy of painting in the Machhandar Vahal, Kathmandu 423, described 430 Samantabhadra (Fig 48) Nepalese drawing 69, described 84 Samantabhadra Bodhisattva (Fig 32) a full size Nepalese bronze in a nionastery at Kathmandu 63, described 55 Samantabhadra Lokebvara (Fig 53-A) eye copy of painting in the Machhandar Vahal, Kathmandu 414. described 399 Sa5gha (Fig 11) Nepalese metal statuette of the four-armed deity in the collec. tion of Pandit Siddhiharsha 40, des. cribed 40 hfikhaniitha Lokebvara (Fig 101.A) eye copy of painting in the Machhandar VahaI, Kathmandu 426, described 430

INDEX O F ILLUSTRATiONS Stintamati Lokeivara (Fig 95-A) eye copy of painting in the Machhandar Vahal, Kathmandu 424, described 430 6antasi Lokedvara (Fig 32-A) eye copy o f panting i n the Macht~andar Vahal, Kathmandu 408, described 397 Sarasiri (?) Lokeivara (Fig 83-A) eye copy of painting in the Machhandar Vahal, Kathmandu 42 1, descr~bed429 S~rthav~ha LokeLvara (Fig 7 4 4 ) eye copy of palnting in the Machhandar Vahal, Kathmandu 419, described 428 Sarvanivara~avi~karnbhi (Fig 64) Nepalese drawing o f the Bodhisattva 106, described 93 Sarvanivartqaviskambhi Lokedvara (Fig 38-A) eye copy of painting tn the Machhandar Vahal, Kathmandu 410, described 398 Sarviip~~aiijaha (Fig 70) Nepalese drawing of the Bodhisattva 108, described 97 Sarvapayaiijaha (Fig 71 ) metal statuette in th13 Palace Temple a t Pelping 109, described 97 Sarv.~bokatamo:,ir~h~tamati (Fig 63) Nepalese drawing of t h e Rodklisattva 106, deecribed 92 Sarvai~knramonir~h~tamati L?keBvara (Flg the Ma39-A) eye copy of palnting i r ~ chhandar Vehal, Kathmandu 410, described 398 Seven Mortal Buddh.ls with Maitreya see blortal Buddhas, Seven Siddhatkavira (Fig 77) Sarnath Museum statue 111, described 114 Simbhu (Fig 6) the mnst fan~ounStupa in Nepal 37, descr~bed 32 Simhannda (Flg 9 9 full pare illustrahon o f the Mahoba image now In the Lucknow Museum 175, descr~bed127 Simhaniida (Fig 101) sculpture from Magadha 176, described 128 Simhaniida (Fig 100) Nepalese metal stamatte with a large size lion 176, described 128 Simhansda (Fig 102) Nepalese metal statuette 176. described 128 Simhaniida Lolceivara (Fig 85-A) eye copy o f painting in the Machhandar Vahal, K a t h m ~ n d u422, described 429 Simhantitha Lokedvara (Fig 20A) eye copy o f painting in the Machhandar Vahal, Kathmandu 405, described 396 Simhiisyii (Fig 215) unique mctal statuette tn the collection of Dr. Moghc of Khar Bombay 356, described 321 SimhSsyP (Fig 216) upper v i e r of the image showing t h e lion head in the collection o f Dr. Moghe o i Khar (Bombay1 356, described 321 Sirisarii (?) Lokehvara (Fig 80-A) eye copy of painting in the Machhandar Vahal, Kathmandu 420, described 429 Sitiitapatrs AparBjitl (Fig 158) Nepalese drawing of the SIX armed deity 278, described 216 Srimad-Ary~valokitedvara (Fig 108-A) eye copy of panting in the Machhandar Vehal, Kathmandu 427, described 431 Srstik~ntii ~okeivara (Fig 52 A ) eye copy o f painting in the Machhandar Vahal, Kathmandu 413, described 399 Sthiracakra (Fig 93) sculpture In the Vengiya Sahltya Parisat Calcutta 173, described 122 Stiipas (FIRS6, 7, 8)-three famous stupas of Nepal illustrated 37, described 32 Stiipa of Bauddh (Fig 7) in Nepal illustrated 37, described 32 Stiipd of Kiithc S ~ m b h u(big 8 ) in Nepal illustrated 37, described 32 StBpa of S ~ m b h u (l ig 6 )in Nepal illustrated 37, described 32 Sugatisandariana (Fig. 1 17) Nepalese drawing 262. described 141 Sugatisandardanii Lokeivara (Fig 16.A) eye copy of painting in the Machhandar Vahal, Kathmandu 404, descr~bcd 396 hukhsvati Lokeivara (Fig 119) one of the many sculptures of the deity found i n in Nepal 262, described 142 Sukhivati Lokeivara (Fig 13-A) eye copy o f painting in the Machhandar Vahal, Kathmandu 404, described 395 Surahgama (Fig 73) Nepalese drawing of the Bodhisattva 109, described 98 Symbol Worship (Figs. 3, 4, 5)--Three bas-reliefs from Bharhut Railings

4 76

BUDDHIST ICONOGRAPHY private collection 112, de~cribed117 Vairocana D h y ~ nBuddha i (Fig 28) Nepalese miniature in the collection of Dr. W. Y. Evans-Wentz 62, described 54 Vairocana Dhyiini Buddha (Fig 29) Nepalese bronze in the private collection in Kathmandu 62, described 54 Vairocana-Vajradhara (Fig 30) metal statuette in the Palace Temple at Peiping 63, described 54 Vajrac%rcik%(fig 143) Nepalese drawing showing her emaciated form 271, described 200 Vajrndhara-Adibuddha see Adibudda Vajradhara Vajradhara (Fig 13) Baroda Museum statuette showing his single form 58, des. cribed 44 Vtljradhara Yab-yum (Fig 14) 58, front view of a Nepalese metal statuette in the collection ot Pandit Siddhiharvha 58, descr~bed 43 Vajradhara Yab-yum (Fig 15) side view of a Nepalese metal statuette in the collection of Pandit Siddhlharsha 58, described 43 Vajradhara (Fig 16) six-armed statuette of the deity i n t h e Baroda Museum 58, described 43 Vajradharma (Fig 120) Nepalese drawing of the deity showing the Peacock vehicle 264, described 143 Vajradharma Lokeivara (Fig 23-A) eye copy of painting in the Machhandar Vahal, Kathmandu 406, described 396 Vajradhiitu-Vairocana (Fig 30) metal sta. tuette in the Palace Temple at Peiping 63, described 54 Vajradh~tu Lokebvara (Fig 91-A) eye copy of painting in the Palace Temple at Peiping 423, described 430 Vajradhtitvidvari Buddhadaktl (Fig 39) Nepalese miniature 66, described 74 Vajragarbha (Fig 56) Nepalese drawing of the Bodhisattva 72, described 88 Vajragarbha Lokeivara (Fig 45-A) eye copy of painting in the Machhandar Vahal, Kathmandu 412, described 399 Vajrahuntika (?) Lokeivara (Fig 3 5 4 )

preserved in the Indian Museum, Calcutta 36, described 31

TalikS (Fig 211) metal statuette in the Palace Temple at Peiping 355, described 316 Tar8 Buddhai~kti (Fig 35), Nepalese miniature 64, described 73 Trail~k~avaiahkara (Fig 114) tl statuette in the Palace Temple at Peiping 262, described 137 Triad, Buddhist (Figs 3, 10, 11) three metal stntuettes in the collection of Pandit Siddhiharsha 40, described 32 Trilokasandarinna Lokeivara (Fig 19-A) eye copy of painting in the Mnchhandar Vnhal, Kathmandu 405, described 396 T u l (Fig ~ 246) metal stntuette of the Sign of the Zodiac in the Palace Temple at Peiping 374, described 383

Ucchusma Jambhala (Fig 130) unique sculpture showing Ucchupma standing on Kubera and in the company of Vasudhsra, in the Sarnath Museum 267, described 180 Upapati V d i t s (Fig 221) metuI statuette in the Palace Temple at Peiping 358, described 330 Ug$savijay& (Fig 156) full page illustration of an artistic specimen in the Indian Museum 277, described 215 Ug~ipavijayS(Fig 157) Nepalese miniature in the collection of Dr. W. Y. EvansWentz 278, described 215 Utnauti (?) Lokeivara (Fig 25-A) eye copy of painting in the Machhandar Vahrl, Kathmandu 407, described 397

VagIQvara (Fig 81) an Indian Museum sculpture 112, described 1 17 Vifglivara (Fig 82) Nepalese bronze from a

INDEX OF ILLUSTRATIONS
eye copy of painting in the Machhandar Vahal. Kathmandu 409, described
398

477

Vajrakhanda Lokedvara (Fig 78-A) eye copy of painting in the Machhandar Vahal, Kathmandu 420, described 429 VajrHnaliga (Fig 78) Nepalese drawing 11 1, described 1 15 Vajraniitha LokeQvara (Ftg 107-A) eye copy of paint~ng in the Machhandar Vahal, Kathmandu 427, described 431 Vajrapii~i Bodhisattva (Fig 26), Indian Museum sculpture of the Bodhisattva 62, described 53 Vajra~iigiBodhisattva (Fig 27) sculpture in the Nalanda Museum 62, described
53

Siddhiharsha 67, described 75 Vajrasattva Yab-yum (Fig 44) side view of the Nepalese bronze in the collection of Pandit Siddhiharsha 67, described
75

Vajrasattvadhiitu Lokedvara (Fig 88-A) eye copy of prainting in the Machhandar Vahal, Kathmandu, 422, described 429 Vajrasphotii (Fig 194) metal sti~tuettein the Palace Ten~ple at Pelping 293, described 298 VajraQ~hkhal~ (Fig 175) Nepalese drawing of the six-armed deity 2N6, described
235

Vajrap~~ Bodhisattva i (Fig 25) full size Nepalese bronze i n a monastery at Kathnandu 61, described 53 Vajrapagi LokeSvara (Fig 105-A) eye copy of painting in the Mnchhandar Vahal. Kathmandu 427, described 431 Vajrapdi (Fig 193) metal statuette in the Palace Temple at Peiping 293, described
297

Vnjrar~ga(Fig 75) Baroda Museum metal stauette 110, described 103 Vajrariiga (Fig 76) Nepalese drawing 110, described 103 Vajriisana (Fig 46) Indian Museum sculpture showing the two companions Lokebvara and Maitreya illustrated 68, described 78 Vajras'aradii (Fig 232) Nepalese drawing 369, described 351 Vajrabrada (Fig 233) sculpture showing the central deity wirh her four companions in the Sarnath Museum 370, described 35 1 VajrasarasvatS iF J 235) ~ Nepalese drawing of the goddess 370, described 353 Vajrasattva (Fig 41) Nepalese sculpture in a monastery at Kathmandu 66, desct~bed

Vajrasrga Lokebvarn (Flg 100-A) eye copy of painting in the Machhandnr Vahal, Knthmandu 425 VajratHrS (Fig 182) sculpture at Snrasvatistan near Svayambhunath In Nepal 289, described 243 VajratErH (Fig 1 X 1) Orissa rculpture discovered in the State of h4ayurbhanj 289, described 243 Vajrata~ ii (Fig 180) Indiin Museum bronze in the form of n lotus wlth eight petals showing the principal deity in centre with eight co~npanions288, described
243

Vajraviir~hi (Fig 160) beautiful bronze statuette in the Barodu Museum 279. described 2 19 Vajrav~~.iihi(Fig 159) Nepalese drawing depicting the excrescence near the right ear 279, described 219 Vajravidaranl (Fig 150) Nepalese miniature in the collection of Dr. W. Y. EvansWentz 274, described 205 VajravinH Sarasvati (Fig 231) metal statuette in the Palace Temple at Peiping 369, described 350 Vajrayogini Temple s t Ssiiku (Fig 191) illustrated 292, described 248 Vajrosnjp (Fig 195) metal statuette in the Palace Temple at Peiping 293, described
300

75

Lokedvara ~ ~ ~ a(Fig 34-A) q e copy Vajrasattva (Fig 42) Baroda Museum bron. V a j r ~ ~ of painting in the Machhandar Vaha], ze illustrated 67, desctibed 75 Vajtasattva Yabvyum (Fig 43) ~ e ~ a l e s e Kathmandu 409, described 398 browe in the collection of Pandit Varad~yakaLokebvara (Fig 1l.A) eye copy

478

BUDDHIST

ICONOGRAPHY

described Vahal, Kathmandu 425, of painting in the Machhandar Vahal, 430 Katbrnandu 403, described 395 Vaeudhiirii (Fig 186) Nepalese drawing V i s q u p ~ q iLokes'vara (Fig 76-A) eye copy of painting in the Machhandar Vahal, of the deity with two arms 290, desKathmandu 419, described 429 cribed 245 Vasudhar~ (Fig 187) fine sculpture of the Vidvabhiita Lokedvara (Fig 89-A) eye copy of painting in the Machhandar Vahal, six armed form of the deity 291, desKathmandu 423, described 430 c r i b ~ d245 Vasudh~tii (Fig 188) metal statuette of the Vidvahana Lokedvara (Fig 30-A) eye copy of painting in the Machhandar Vahal, six armed form of the deity in the 397 Kathmandu 408, des~ribed Baroda Museum 291, described 245 Vady&dhik5ra Lokeivara (Fig 8-A) eye Vidvapiini Bodhisattva (Fig 36) full size Nepalese bronze in a monastery at copy of paint~ng in the Machhandar Kathmandu 65, described 73 Vahal, Kathmandu 402, described 395 Vaeyat~r3(Fig 170) Nepalese drawing 284, Vidvavajra Lokeivara (Fig 86-A) eye copy described 230 of painting in the Machhandar Vahal. Vzyu (Fig 238) a metal statuette in the Kathmandu 422, described 429 Palace Temple at Peiping 371, des- Vys@icana (?) Lokedvara (Fig 26-A) eye copy of painting in the Machhandar cribed 362 Vetali (Fig 202) matal statuette in the Vahal, Kathmandu 407, described Palace Temple at Peiping 296, described 397 W 311 Vidyiipati Lokedvara (Fig 102.A) eye copy of painting in the Machhandar Vahal Wheel-of-the-Law (Flg 5) symbol of Kathmandu 426, described 430 Lord Buddha appearing o n a bas-relief Vighnantaka (Fig 131 ) bronre statuette in on the Bharhut ra~lingin the Indian the Baroda Museum 267, described Museunr 36, described 31 181 Vini (Fig 209) metal statuette in the Palace Temple at Peiping 354, des. cribcd 315 Yamada~da ~okeivara (Fig 33-A) eye copy Vis~ucakraLokeivara (Fig 97-A) eye copy of painting in the Machhandar Vahal, of painting in the Machhandar Vahal, Kathmandu 409, described 397 Kathmandu 425, described 430 Yog~mhara (Fig 133) metal statuette in the Visnukiintii Lok~ivara (Fig 99-A) eye Palace Temple at Peiping depicting his copy of painting in the Machhandar yab-yum form 268, described 186