Classification of Buddhist Tantras
Classification of Buddhist Tantras
The Mantrayanic Buddhists identify nine yanas.1 2 3 4 They are: 1) Srdvaka-ydna, 2) Pratyekbuddha-ydna, 3) Bodhisativa-yana, 4) Kriyd-tantra-yana, 5) Cana-tantra-ydna, 6) Yoga-tantra-vdna, 7) Maha-yoga-lantra-ydna, 8) Anuttara-yoga-tantra-ydna and 9) Ati-yoga-tantra-ydna.l7J The last three yanas are collectively known as Anuitara tanira. The more commonly accepted division of Vajrayana is its division into four classes, viz., Kriya tantra, Carya tantra, Yoga tantra and Anuitara tantra.'75 Waddell designates Kriya and Cana as lower tantras (Tib. og-ma), and Yoga and Anuitara tantras as higher tantras (Tib. gon-ma). We shall now briefly comment on each of the four commonly accepted divisions of Vajrayana.
7.1 Kriya Tantra
According to Mkhas-grub-ije (1385-1438 A.D.), the Kriya tantra is meant for the sake of candidates who delight in outer action.5 These outer actions (bahya-kriyd) are such actions as bathing, cleaning etc.6 7 8 9 10 These help the sadhaka to purify his body, speech and mind. In the Kriya. tantra, the deity (yidam) is viewed as external to the sadhaka. The practice of Kriya tantra is believed to lead the practitioner to enlightenment in a span of sixteen lifetimes.170 Acarya Abhyakara teaches in the Vajrdvali-nama-mandala-sadhana that there are six kinds of initiations given to candidates of Kriya and Carya tantras. They are: the flower garland, the water, the diadem, the thunderbolt, the bell and the name. Of these, only the flower garland, the water and the diadem initiations are given in the Kriya tantra. Kriya tantra sadhana involves three methods of procedure (anust hand). They are: Meditation with
Muttering (japa), Meditation without Muttering and Accomplishment of Siddhi after Appropriate Service (seva). Susiddhikara and Dliyanottaraopatalakrama are considered important Kriya Tantras.
7.2 Carya Tantra
Cana (antra is directed at candidates who delight in practising outer action and inner yoga in equal measure.11 12 13 14 The term ‘Carya' means ‘conduct’ and it refers to the action to be performed in the ritual, and more importantly to the whole conduct of the performer while preparing for the action and carrying it out. Caryci (antra has four parts. The first part is the Initiation which is given for the sake of making one a fit receptacle for the intense contemplation of the path. The second part is the Purification of vows (sariivura) and Pledges {sanutya), which arc in common with those of the Kriya (antra. The third part is the Procedure of Preliminary Service (purva-sevaj1' Finally, the fourth part is the Manner of accomplishing siddhis after certain perfection is attained in the Service (seva).15 16 Here the sadhaka visualises the deity as external and superior to himself. The practice of Cana helps the sadhaka to familiarise himself with dharma. It is believed to enable him to achieve liberation in seven lifetimes. The chief of Cana tantras is Maha Vairocana-abhisambodhi-tantra. It is believed to have been preached by Vairocana, the Body of Complete Enjoyment (sarhbhoga-kdya) in the Akanistha Ghanavyuha. 17 It contains consecration and postures for meditation, as well as the rituals of symbol and diagram, all of which are for the realisation of one’s identity with the Buddha Vairocana.'
7.3 Yoga Tantra
The Yoga Tantra was revealed for the sake of subduing the candidates who delight in the yoga of inner samadhi.19 Here, ‘yoga’ means, union with the dharmadhatu by means of intense contemplation of a god. Here ritual and ‘conduct’ are subordinate to meditation. The student embarks on a journey from the external to the internal.20 The goal is profound concentration (samadhi) which is the gateway to personal liberation. Samadhi is attained by suppressing the wanderings of discursive thought and by fixing the mind one-pointedly on the object of meditation.21 All the four classes of tantras use some form of deity-yoga. In the Yoga tantra the practitioner imagines himself to be the form-body (rupakaya) of the Buddha.22 In this way the vulgar body, speech and mind, together with their conduct, are transmuted in to the Buddha’s Body, Speech, and Mind together with their marvellous Action.1,5 In Yoga tantra, the sadhaka visualises himself as the deity and merges the yidam with himself. The practitioner is believed to attain liberation in three life-times. Vajrasekhara, Sarva Tathagata-tattva samgraha and Sarvadurgat Iparifo-dhana Tantra are fundamental Yoga tantras. Yoga Tantra was prevalent in Indonesia, Japan and South India, I especially Kanchi and Nagapattanam.
The Anuttarayoga tantra is the incomparable tantra aimed at subduing the candidates who delight in inner-yoga. 109 There are four basic initiations conferred in Anuttarayoga tantras. These are namely, the Flask/Mastcr initiation (kalaSa/acarya), the Secret initiation (guhya), the Insight-knowledge initiation (prajna) and the Fourth initiation (caturtha or turfya-abhiseka).23 24 25 26 27 28 The steps of the path traced out in Anuttarayoga tantra are divided into two, viz., Steps of Production (utpatti-kruma) and Steps of Completion (nispanna-krania or sampanna-krama). The first is called the “path of maturation” in which “the forms of the male and female deities are visualised within their complete mandalas. Their forms, mandalas, symbols and seed-syllables are used to snare and purify the various arising manifestations of the personality. This step of purification is necessary to proceed to the next process of Completion."29 The Steps of Completion is called the “path of liberation". In it “the union of the two purified forms, mandalas and the seed-syllables of the deities of Wisdom and Means is performed."30 The whole process is indicated by the word ‘evam
The process of Generation is indicated by the letter V and the syllable ‘vam\ These two components of the word "cvanY represent the purified male and female, solar and lunar deities and their mandalas, the two principal concealed essences. The Process of Completion is indicated by the union of these two components and the formation of the word 4evam That is, the union of these two components symbolizes the union of the two deities of Wisdom and Means.
Anuttarayoga tantra is subdivided into three, viz., Mahayoga. Anuyoga and Atiyoga.32 The Mahdyoga tantra is also known as the Male tantra or Father tantra to which the Guhyasamaja tantra, belongs. Anuyoga is also known as Yogini tantra or Mother tantra. It includes the Cakrasamvara, Vajrabairava. Hevajra, Buddhakapdla, Mahdmdyd, Krsnayamdri, Caturyoginisarhputa, Mahdmudratitaka, Yoginisamcan’d, Dakarnava and the important Abhidhdnottara.33 The Mahdyoga and Anuyoga are called Father tantras and Mother tantras respectively because the former lays emphasis on the active realisation of the ideal of karund (updya) while the latter lays emphasis on the ideal of prajna or transcendental wisdom.34 Both Mahdyoga and Anuyoga are the preliminaries to the goal of Atiyoga. In Mahdyoga, the process of Generation is practised and the sadhaka attains clear vision and uninterrupted meditation. In Anuyoga the practices of energy control meditation leads to attainment of siddhis. In Atiyoga the mind is placed in a condition of spontaneous luminosity.35 The Atiyoga tantra is the ‘not-two’ or non-dual tantra to which the Kalacakra tantra belongs. “ Classifications of Anuttarayoga tantras attested by different tantras vary; however, most accept the three fold division of Anuttarayoga mentioned above.
The earliest Buddhist literature is in the form of the Buddhist Tripitaka, namely the Vinaya Pi taka, the [[Sutta Pitaka and the [[Abhidhamma Pitaka. While the Vinaya and the Sutta arc common to all schools, each school developed its own Abhidhamma. After the great schism in Buddhism at the Council of Vaishali (383 B.C), the Mahasanghikas developed their own Abhidharma literature.2-09 This served as a precedent for later inclusions to the Tripitakas. This tendency became very pronounced from the time of Nagarjuna when certain apocryphal treatises, which were promptly attributed to Sakyamuni, began to appear in the fold of Mahdyana literature; chief among these were the Prajnaparamita Sutras. Kanishka’s Council at Jalandhar about the first century A.D. adopted and legitimised this inflated version of the Buddhist canon, paving way to future incorporations in the form of tantric Sutras, Dharanis and Tantras. This section is meant only to introduce us to the different genre of Vajrayana literature in Sanskrit, namely, Sutra. Dharani. and Tantra, and is not meant to be an exhaustive catalogue of the same.
8.1 Sutra
The Sutras arc dialogues, which are the primary source for the Buddhist doctrine. The Dharma, recited by ananda and endorsed by the first Council, came to be known as the Sutra Pitaka. 39 However, already in the first century B.C., the need was felt for a full-scale restatement of the Dharma. For this purpose they rewrote the sutras, or wrote new sutras, sufficiently similar in content as well as in style, as to appear authentic, at the same time opening up new avenues of thought. These new sutras were thought of as spoken by the Buddha to a divine audience in different heavens, or to human audience, which failed to hand them down.40 The author of such sutras believed that he was inspired by a divine being revealing a sutra, which was preserved by the gods or the dragons, until a competent teacher or student was found. In this way, they claimed legitimacy for these later developments in the Buddhist Literature. Here we shall be concerned only with some of the tantric sutras of Vajrayana.
Tantric sutras are primarily magical formulas for worship or for protection from demons and diseases. They are not strong on philosophical doctrine though certain philosophical concepts lie scattered in them. Mahamayuri Sutra is one of such magic sutras. It is related to the Atandtiyasutta, a sacred book of Early Buddhism.41 Mdtangi Sutra is an important predecessor of Vajrayana magical formulas. Maniratna Sutra (available only in the Chinese version) is a spell to repel demons and diseases. Kara ncki-vyuha enumerates the great example of Avalokitesvara renouncing nirvdria in favour of helping the suffering humanity.-15 It is partly in verse and partly in prose, and explains the Avalokiteshvara mantra, Om Mani Padme Hum'. In the Maha-vaipulya-Mahayana-sutra {Marijusrimulakalpa)"Sakyamuni
gives Manjusri instruction on magic rites with mantras, mudras, man^alas etc. The culmination of the sutras is found in the compilation of the Mahavairocana and Vajra.ekhara Sutras.45 In these two sutras we find esoteric Buddhism in a systematised form. In the Mahavairocana Sutrat Mahavairocana is called Mahavira and his samadhi is elaborated in it; various syllables are enumerated and esoteric meanings arc ascribed to each of them. From the philosophical point of view, the central theme of the sutra is the Bodhi-mind. The Vajraiekhara Sutra, which is believed to have been composed by Nagabodhi in South India, contains the fivefold meditation to achieve the body of Mahavairocana. It also describes the ‘the thirty-seven Devuta-utpatti ’ as well as the Four methods of Abhiseka.46 47 There are several versions, smaller and larger, of this sutra, which are not dealt with here. The Mahavairocana and Vajrasekhara Sutras are considered tantras in the Tibetan tradition due to their distinctively tantric features.
8.2 DharanI
The sutras, which were composed in about the fourth century A.D., manifested a new trend by their use of DharanI fan utterance usually mystical in nature). 48 49 The word 1dharanf literally means, ‘that by which something is sustained or upheld’ (dharyate anaya iti). They are mystic syllables, which sustain the religious life of man. Dharanis have their origin in the Sutras. The ordinary followers of Buddhism could not follow the aphoristic statements of the Dharma. Hence it was necessary to shrink the sutras into dharanis which the ordinary believer could easily commit to memory and recite them with faith.*21 Such fervent recourse to the dharanls was believed to confer immense benefit on the practitioner.
One important characteristic of the dharani and the mantra is its meaninglessness. Vasubandhu says in his Bodhisattva-bhumi that this absolute meaninglessness is the real significance of the mantras. A sadliaka who meditates constantly on the meaninglessness of the mantras will gradually be led to a state of mind where it will be very easy for him to meditate on the ultimate nature of the dharmas as absolutely meaningless. In this way, dharma-funyata is realised.50 Thus Mantras help the sadliaka in realising the nature of the universe as absolute void. The four kinds of dharanis of the bodhisattva, which the Bodhisattva-bhumi mentions, viz., Dharma-dharani, Arllia-dhavani Mantra dharani, and the Dharani, for the attainment of forbearance of the Bodhisattva (Bodhisattva ksanti-lahhaya ca dharani). have this aim in view.
Dharanis may also be divided into four classes depending on the type of deity with whom they are affiliated."4 From a religious point of view, dharanis were considered the relics of the dharmakaya of the Tathagata 53 and were often enshrined within stupas and icons. Dharanis were sought more for their mundane potential than for their philosophical propensities. They were believed to be powerful protection against disease, death, demons, and hell as well as ensure better re-birth.54 This explains the immense popularity that dharanls enjoyed among the Vajrayanists.
8.3 Tantra
Tantras differ from the tantric sutras in many ways. The tantric sutras were considered buddhavacana and were not associated with human authors but the tantras were brought to light and handed down by human authors. Many of the profound yoga and anuttarayoga tantras were separately obtained by the different siddhacaryas,55 56 and began to appear in composition about the middle of the seventh century A.D. They elaborate the philosophy and tantric theoretical assumptions contained in the tantric sutras and lay down precise instructions on the praxis. From the number of commentaries written, it appears that the Guhyasamaja Tantra, the Sri cakrasamvara tantra and the Hevajra Tantra are the most important Buddhist Tantras.
The Guhyasamaja Tantra, a Father Tantra of the Anuttarayoga class, is one of the earliest Buddhist tantras * and exercised considerable influence on later tantras and on Buddhist esoterism as a whole.57 It is in this tantra. for the first time, that we have the conception of the five Dhyani Buddhas as well as the five female deities. The central theme is the development of bodhicitta and the realisation of the ultimate emptiness of all entities. The text follows closely the doctrine of void as expounded by Nagarjuna.58 59 60 As regards the authorship and date of composition of the [[Guhyasamaja [tantra]]. there arc different opinions. Benoytosh Bhattacharyya holds that it was written by Asanga in third century A.D., but Alex Wayman is of the opinion that the text is of the fourth century A.D. probably authored by Indrabhuti the Great, who is not to be confused with the later King Indrabhuti.*
Srf-cakrasariwara- Tantra, is a Mother Tantra belonging to the highly developed subdivision of Anuttarayoga tantras called Amtyoga. It is the first Buddhist Tantra to be published, and the first to be translated into any European language. It is believed to have been composed by “Yeshcs-Sengc. a priest of gNas-rNying” at the "Monastery of Shakya on the 25lh of the l" Summer month of the Earth-Tiger year” *'2 The text details the Philosophy, ritual and rites of the ahhiycka. sadhana. and the mandala of Sariivara with sixty-two deities, which is one of the richest and most complex mandalas. This text reveals the syncretic tendencies within Vajraydna of incorporating Hindu deities and transforming them completely in their symbolism.61 The central deity is the four-faced, twelve-armed Sambara (Samvara or Heruka) embraced by his Prajna. Vajravarahi.
The Hevajra Tantra, which is one of the three most important Buddhist tantras, will be dealt with in detail in chapter two of this work. One of the less important tantras is the Mafijusri-mula-kalpa, which describes itself as Maha-vaipulya-mahaydna-sutra. It carries forth the spirit of Man tray an a, as it is essentially a manual of magic in which the Sakyamuni instructs Manjusrl with magic rites, mantras, mudras and mandalas.63 The text contains both Kriya and Caryd elements. Warder places it in the early eighth century A.D.64 It is vast in extent and could not have been the work of a single period. Some of its parts could even be earlier than eighth century. It includes a substantial history of Buddhism down to the beginning of the Pala dynasty in the eighth century.
In Canda-marosana-tantra there is a quaint mixture of Buddhist Philosophy and Vajrayana practices. In chapter XVI there is the exposition of the Pralityasumutpada on the lines of Mahaydna doctrine as well as the enumeration of the cult of Yoginis such as Mohavajrl, Pisunavajri, Rajavajri etc. The female deities are presented in sexual union with their male counterparts. Sexual union is presented as essential for the attainment of the Six Perfections. In one passage Bhagavati asks, ‘
Lord, can the dwelling of Canfa-mciharosutui be attained without a woman, or is that not possible?’ The Lord said, ‘That is not possible, O Goddess. Enlightenment is attained by means of bliss, and there is no bliss without a woman.
The Mahakala Tantra and the SariJvarodaya Tantra have strong Saivaite flavour. The former caters to such mundane benefits as finding hidden treasures, gaining a kingdom, and obtaining a desired wife, and other magical rites.230 Mahakala is a deity of terrifying appearance, invoked in terrible rites, quite contrary to the notion of karuna so dear to the Vajrayanists.66 67 68 The Satimirodaya tantra is more Saivaite than Buddhist. It recommends the Lingo cult and the worship of Saivaite gods.69 In the Kalacakra tantra of Pito, we see liberal borrowings from Vaishnavism and Saivism. The central deity of the Kalachakra mandala, Lord Kalacakra, is surrounded by Hindu gods as guardians of the cardinal points.70 The Guhya Siddhi of Padmavajra is remarkable for its use of Tantric code language (sandhydbhdsd). Tson-kha-pa states that it establishes the niddna of the Guhyasamaja and teaches the stages of the path. The Pancakrama, also an extract from the Guhyasamaja, as the name itself suggests.
explains the five stages towards the final possession of the highest yoga (yuganaddha).71 The Jndnasiddhi of Indrabhuti, the king of Uddiyana, is another work based on the Guhyasamaja. ~72 It states that Buddhahood should be realised through conceiving all things as the self.
Tantras were followed by a series of commentaries, as the texts required further exposition on account of their enigmatic expressions. There were commentaries on the Guhyasamaja Tantra by Nagarjuna (the tantric), Candrakirti and Anand Garba. The Hevajra Tantra was commented on by Saroruha, Krsnacarya I, Bhadrapada, Dharmakirti II, Vajragarbha and Tankadasa. Krsnacarya II, Bhadrapada and Java Bhadra wrote commentaries on the [[Cakrasamvara Tantra.
Another important section of Vajrayana literature is the anthologies of poetry, which highlight the quest for enlightenment in many and manifold imagery. These were composed mostly in Apabhramsa (a vernacular probably spoken in Magadha as well as further west). They were collectively called Doha and Charyapada poems, and attributed to a galaxy of Siddhas like Saraha, Kambala, Krsnacarya, Tailapada, Luyipada, Bhasuka and others.75 In addition to these we have specific tantric texts as well as works of a general nature such as the Ni spann ayogava and the Sadiumamala 249 which supplement our knowledge of the theory and praxis of Vajrayana. Space does not permit us to be more elaborate on the Vajrayanic literature.
The Blue Annals composed by the well known scholar and translator Gos lo-tsa-ba-gZon-nu-dpal (1392-1481 A.D.) is the main source of information on all later historical compilations in the ‘Land of Snows’ as well as on the development of schools of Tibetan Buddhism. Due to lack of space we do not enter into the discussion on the development of Vajrayana Literature in Tibet where alone Buddhist tantras were safeguarded and practised even up to the present day.
9. Tantric Language and Literary Style
Tantra has devised some unique forms of communication. It employs a tantric system of language called sandhyabhdsa in its composition There is some controversy about the correct form of the term and its translation 50. Candrakirti in his Pradipodyotanu. a commentary on the Guhyasamaja Tantra, defines sandhya bhasha as, “vi&staruci-sattvdnarii dharmatuttva-prakasanum/ virttddhdldpayogena vat tat sandhydy(sic\)abhasitam: By the use of this technique 78 79 80 the intended meaning is conveyed through coded formulas.81 Hence terms and phrases belonging to this class are not to be understood in the literal sense.82 The actual meaning is generally elucidated by the commentary. It is the language of communication between the Guru and the disciples as well as the circle of initiates.83 84 85 In the Hevajra Tantra we have a list of terms and their corresponding tantric codes. The sadhaka is duty-bound to communicate using the tantric code language lest grave dangers befall him.
Sandhydbhdp5 is only the direct, vocal, method of communication but there are other modes of secret communication as well. Choma, the Secret Sign Language, is widely used in the Ganachakra (the Circle of Initiates) and other gatherings. This consists of secret hand-sign language used in the Assembly of the Initiates to express realisation. As the emphasis is on direct personal experience of the Innate (sahaja), doctrinal expositions have no place in such assemblies. Words and concepts would only confuse the unripened disciples and hinder their concentration.86 Hence natural language is replaced by an artificial sign language.
Other non-verbal modes of communication arc also used as in ‘purification by Smile, by Gaze, by Embrace and by Sexual Union*.Songs and Dance are also employed in the gatherings of the Initiates. Through dance the disciple attunes himself to the form of the deity to be emanated. Song is the recitation of the mantra By the employment of these modes of communication the theories, practices, and experiences of the processes are taught and directly experienced.
Tantric texts reveal a unique literary style. Probably, the first and most prominent characteristic of the literary style of the tantras is the paradoxical nature of the description of their doctrines. Second, the profuse use of symbolism especially in expressing the various positive categories of the doctrine. Third, the concluding statement that often expresses, cither in brief or in detail, a feeling or experience of peace and happiness, more often than not, in the form of a magical formula. David Kalupahana points out that the structure of tantric discourses follows the four distinct stages of the Buddha’s method of language and communication, namely ‘pointing out’ (sandasseti), ‘creating an agitation’ (samuttejeti), ‘appeasing the mind’ (sampahatmeti) and ‘converting’ (samadapeti).90 We shall see in the next chapter that the discourses in the Hevajra Tantra too follow a similar structure. The unique language, literary style, and structure of discourse that these texts employ make them a distinct literary genre, the knowledge of which is essential to understand and interpret tantric texts.
10. Vajrayana Masters: The Siddha caryas
Vajrayana theory and praxis were handed down through a lineage of tantric masters known as the Siddhas. Tradition speaks of the Eighty-four Siddhas who brought about the flowering of the tantric tradition from the eighth to the twelfth century.203 They were persons, who, following the path laid down by Vajrayana. attained direct realisation of the Buddha’s teachings and guided innumerable disciples towards the same. The claims of Mahayana were not repudiated by the Siddhas. Some, in fact, combined scholarship in Mahayana with Vajrayana pursuits. However, a large number preferred tantric praxis to the study of Buddhist texts. The Siddhas came from a wide variety of backgrounds. The Siddha lineage claims great Mahayana philosophers like Nagarjuna and Asanga as well as Santaraksita and Shantideva. Though the most famous of the Siddhas were monks the majority were laymen and lay women. Most of them were of lowly origin and worked in rather menial positions. In the spirit of sunyata that all phenomenal distinctions arc essence-less, they ignored the restrictions of caste, the idea of purity and impurity and of proper and improper living. The Siddha is one who possesses Siddhis. Siddhis arc of two types, mundane and transmundane. The latter is considered the highest Siddhi, which is enlightenment. It is more properly called the Mahamudra Accomplishment.
Conclusion
Vajrayana, which is a system of esoteric theory and praxis, is the product of orthodox as well as heterodox elements. Vajrayana doctrine is founded largely on Mahayanic ideals, and to some extend also on Sankhya, Yoga, and Vedantic philosophy. But its praxis borrows liberally even from unorthodox practices, such as witchcraft, sorcery, shamanism, occultism, magic, and the like. The goal of tantrism, as seen from a large number of Sutras, Dharanis and Tantras, is both mundane and transmundane. On the one hand, it caters to the lofty ideal of the non-dual (advaya) experience of the Ultimate Reality, and on the other, pursues such mundane benefits as siddhis. Thus Vajrayana serves as an interface between Buddhist speculation and praxis.
1
Hach Ytina is further divided into four parts or stages, namely, the View (dfsfi) the Meditation (dliyfiita), the Practice (caiya) and the Fruit (jdudu).
2
Kazi Dawa-Samdup, cd.. &f-Cakra&iiinvra-Timtra. (First published: Calcutta: Thacker, Spink & Co., 1919; Reprinted: New Delhi: Aditya Prakashan, 1987) Sec introduction, pp.63-64.
3
S.B. Dasgupta. ITB, p.63, see fn.3
4
Austine Waddell, Buddhism and Lamaism of Tibet, p. 164.
5
F.D. Lessing & Alex Wayman, Transs., Introduction to the Buddhist Tantric Systems (Delhi: Motilal Banarsidass Publishers Pvt.Ltd., 1998), p. 219.
6
Manjushri Mula Kalpa has great deal of kriya elements; which are designed to honour the compassionate bodhisattvas and other beings such as the AvalokiteShvara and the series of Tarts.
7
T.D. Bhutia, Beyond Eternity through Mysticism (Darjeeling: Doma Dorji Lhadcn. 1994), p.227.
8
For details on Kriyfi tantra Initiations, see F.D. Lessing & Alex Wayman .Transs., Introduction to the Buddhist Tantric Systems, pp. 141-155
9
For details sec Ibid., pp. 159-203.
10
A.K. Warder. Indian Buddhism, p.493.
11
F.D. Lessing & Alex Wayman .Transs.. Introduction to the Buddlusl Tun trie Systems, p.219.
12
A.K. Warder, Indian Buddhism, p. 494.
13
In addition to the three Kriya tantra initiations (ahhtyeka) mentioned earlier, the Caryd tantra initiations include those of the thunderbolt, bell and name.
14
This has two phases namely, yoga with images and yoga without images. The former is the yoga of the deity not governed by voidness. The latter is theyogn of the deity governed by voidness.
15
For details sec F.D. Lessing & Alex Wayman. Transs.. Introduction to the Buddhist Tantric Systems, pp.207-213
16
T.D. Bhutia. Beyond Eternity through Mysticism, p.227.
17
F.D. Lessing & Alex Wayman, Transs., Introduction to the Buddhist Tantric Systems, p.205.
18
A.K. Warder, Indian Buddhism, p.495.
19
F.D. Lessing & Alex Wayman, Transs., Introduction to the Buddhist Tantric Systems, p.219.
20
A.K. Warder, Indian Buddhism, p.495.
21
For details see F.D. Lessing & Alex Wayman, Transs., Introduction to the Buddhist Tantric Systems, p.215-249.
22
Jeffrey Hopkins, "Tantric Buddhism: Enhancement or
Degeneration from the viewpoint of Tibetan perspective" (Essay on-line, accessed on 19 April 2004) available from
http://kaladarshan.arts.ohio-statc.cdu/exhib/sama/%2A Essays/SP92.051 Hcvaj.html; Internet.
23
F.D. Lessing & Alex Wayman.Transs.. Introduction to the Buddhist Tantric Systems, p.241.
24
T.D. Bhutia. Beyond Eternity through Mysticism, p.228.
25
The whole teaching of San-durgati parisodhana Tantra (Elimination of all Evil destines) is geared towards procuring a better rebirth for the dead and a better life for those who arc living. Tadeusz Skorupski, The Sarva Durgati Parisodhana Tantra-Elimination of all Evil Destinies (Delhi: Motilal Banarsidass, 1983), p.vii.
26
Lokesh Chandra, "Borobudur as a Monument of Esoteric Buddhism" in JTAS vol.xxvii, no.4 (1985), p.23.
27
F.D. Lessing & Alex Wayman, Transs., Introduction to the Buddhist Tantric Systems, p.219.
28
For details see Ibid., pp.311-325.
29
HT (F). p. xx.
30
HT (F). p. xx. Farrow and Menon speak of three steps (kramas) viz.. Generation (utpatti-krama) Completion (utpanna-krama), and Perfection (mspanr.a-krama), while Alex Wayman and David Snellgrove speak only of the first two kramas. They consider the nispamui-krama as another name for the step of Completion. But according to Farrow and Menon, at the stage of Completion the absolute nature is not fully manifest. Only in the process of Perfection through the Mahamudra Accomplishment the full realisation of the Absolute Voidness of all natures is realised. But the thud step seems to be superfluous and is not recognised by other scholars. The present study also recognises only the first two steps, namely Generation and Completion.
31
HT (F). pp.xxn-xxiii. Farrow and Menon mention the phrase 'want may a' as indicating the three steps in their scheme. According to them the word 'maya' indicates the third step, namely ’the process of Perfection’.
32
The Sambarodaya, the Vajrapanjara. the Buddha Kapda and other Anuttarayoga Tantra, make a basic division of the Anuttarayoga tantra into (mahd)yoga tantra and Yogini tantra. The Kalacakra and others make a basic division of the Anuttarayoga tantra into Upaya tantra and Prajnatantra. The Vajrahfilaydlumkdra and others speak of the Ddka tantra and Ddkipi tantra. (Malid) yoga tantra, Updya tantra and Ddka tantra are synonymous. Similarly Yogini tantra, Prajna tantra and Ddkini tantra are synonymous. See F.D. Lessing & Alex Wayman, Transs., Introduction to the Buddhist Tantric Systems, p.251.
33
A.K. Warder, Indian Buddhism, p.496.
34
Biswanatha Banerjee ed.. Sri-Kalachakra Tantra-Raja. p.iv.
35
T.D. Bhutia, Beyond Eternity through Mysticism, p.229.
36
“The classifications set by Bu-ston and Tson-kha-pa differ in details from the tluee subdivisions of the anuttara-yoga, propounded by Jayapandita Blo-bzan-hphrin-las (A.D. 1642-): 1. Neither Father nor Mother Tantras (Tson-kha-pa does not admit this subdivision) 2. Mother tantras 3. Father tantras." see classification of tantras in Kazi Dawa-Samdup, ed., Cakmsitiiln’tira-Tantra, ed.. pp.7-8.
37
The Mahayana Abhidharma Sanskrit literature may be divided into two broad groups: I. The works belonging to the Madhyamika school of Nagarjuna. 2. the works belonging to the Yogdcdra-Vijhdnavdda school of Asartga and Vasubandhu.
38
Sutra is defined as "svalpdkfaram asarhdigdharit sdravat vifvatomukham astobhamam anavadyarit ca sutra tit sutravido vidu/t"
39
The Sutra Pifaka was arranged into five flganias (traditions) -Dirgha dgama. Madhyama dgama. Samynkta dgama. Ekottara dgama. and Ksudraka dgama. The SthaviravAda call them Nikayas (collections). Sec A.K. Warder, Indian Buddhism. p.202.
40
Ibid., p.354.
41
Hajimc Nakamura, Indian Buddhism, p.317.
42
Ibid., p 3IS.
43
Benoytosh Bhattacharyya. 1BE, p.29.
44
\tariju 'Tinuilukalpa was first edited by Mm.T. Ganapati Sflstri in Trivandrum Sanskrit Scries, No.LXX, LXXVI and LXXXIV, i.e., in three pans published in 1920. 1922 and 1925 respectively. This sinru contains material on astronomy, astrology, geography, geophysics, history of the Buddhist Church, and prominent kings, all put in a jumbled form. It contains innumerable mantras for the benefit of the sddhaku. The text has been edited and published by P.L. Vaidya. as the second part of Mahayana Sfitra-Saritgarha. Sec Introduction, P.L. Vaidya cd., MahAyAnastitrasariigraha, Part II, (Darbhanga: The Mithila Institute, 1964).
45
Hajimc Nakamura, Indian Buddhism, p.319.
46
Ibid., pp. 322-323.
47
Ibid., p.324.
48
Ratnaketu-dluSrapf, the first sutra in a collection of sutras entitled Maliasannipdta, contains a dhdrapl It is for the most part unintelligible, consisting of repeated syllables (guru. guru, mum, iimru. liili. Iitli, ha'.a, hula, and so on) sprinkled with occasional words like ‘great compassion* etc. A large number of texts of this period and later periods exhibit this new trend. A.K. Warder, Indian Buddhism, pp.485-486.
49
The Astasahasrika Praj ndpdramitd was shortened to the form of tiatasloka Praj ndpdramitd of one hundred stanzas. Later it was still shortened to Prajitdpdramitd H/xlaya Sillra. This was further abridged to a Praj/idpdramitd Dhdrapi. of a few unintelligible words which ultimately gave rise to the mantra of Prajnaparamita. It was believed that the recital of even the mantra would bring the benefit of the complete Prajnaparamita. From die Praj Mpinamitd mantra evolved the bga-mantra 'Pram'. See Benoytosh Bhattacharyya, IBE, pp.30-31. The bija-mantras are mono-syllabic mantras symbolising some particular god or goddess. Thus 'a' represents Vairocana, 'ya' Aksobhya, 'ra' Ratnasambhava. 'ba' Amitabha and 'la' Amoghasiddhi. "Hum' is the bija-mantra of Vajra-sattva. S.B. Dasgupta, ITB, p.57.
50
S.B. Dasgupta, ITB, p.59.
51
By the recitation of the Dharma-dharani the follower attains memory (snifti), perfect knowledge (Prajrkl) and spiritual strength (bala). By Artha-dharani the correct significance (artha) of the Dharmas is revealed to the follower in a spontaneous way. The Mantra-dharani enables one to attain perfection. By the last type, the ultimate immutable nature of the Dharmas is revealed to the reciter. Sec Shashibhusan Dasgupta, ORC, p.21. Sec also Nalinakslia Dutt, ed. Bodhisattvabhumi (Patna: K.P. Jayaswal Research Institute, 1966) p. 185.
52
The four kinds of Dharanis are, viz.. Vidya- utterances associated with female deities; Mantra - utterances associated with male deities: Hrxiaya - utterances of the wrathful deities; and Upahnya - utterances of the male and female messengers and servants of deities. F.D. Lessing & Alex Wayman. transs.. Introduction to the Buddhist Tantric Systems, pp. 116-118.
53
.Ibid , p.107.
54
The Pa/icarakfu (The Five Protective Spells) is a collection of five Dharanis, viz., Mahd-pratisard, for protection against sin, disease and other evils; Mahd-sdhasra-pramardmi - for protection against evil spirits; Mahdmdyuri contains a number of magic sutras; Mahfi-sitavall for protection against hostile planets, wild animals and poisonous insects; Mahdraksa-mantranusarinl for protection against diseases. See Hajime Nakamura, Indian Buddhism, p 317. Again, the five dharanis of Usnisa-vijaya are believed to piotect the follower as well as remove karmic hindrances which bring about rebirth in an evil destiny. See F.D. Lessing & Alex Wayman. transs.. Introduction to the Buddhist Tantric Systems, p.U5. Ganapati-dhdraniis for gaining wealth, the performance of magical acts of controlling sentient beings and destroying demons. Sec Ibid., p. 123. Dharanis, were at times more elaborate as to include the rite of building stupas, manufacturing tile Buddhas, making offerings, niarnjalas etc.
55
Tara»ath5 gives a list of important tantras and their compilers. Saralia obtained the Biiddhaokpala-tantra. Lui-pa obtained the Yoginisancarya, Lva-va-p3 and Saroruha obtained the Hevajra, Krsnacarya obtained the Samputa-tilaka, Lalitavajra obtained the three parts of Krsm-yanion, Gambhiravajra obtained the Vajrdmpu, Kukuripa obtained the Mahadya, Pito-pa obtained the Kalacakra. See, Debiprasad Chattopadhyaya, ed., Lama Champa & Alaka Chattopadhyaya. transs.. TArandthd ‘.v Histoiy of Buddhism in Indio (Delhi: Motilal Banarsidass Publishers, 1990) p.343.
56
Bcnoytosh Bhattacharyya believes that Manjusri Kayakalpa is earlier than the Guhyasamaja and was written probably in the second century A.D or even earlier. According to him the latter was composed by Asanga in the 3rd century. Asanga is believed to have composed also a sddhnno of Praj/kipdruniild where he made a definite reference to the five Dhyani Btuhllms and their consorts. See Bcnoytosh Bhattacharyya. IBE, p.62. The Guliyasinndjn is also known as Taditigaiaguhyaka or Asfudasaputola signifying its eighteen chapters. See S. Bagchi, ed.. Guhyasamaja Tantra, p.ii.
57
The Guhyasamaja has been translated into Chinese. Tibetan and other languages of the different Buddhist count! les which show s its wide subscription. It is also an oft-quoted tantra, an authority recognised by Indrabhuti in his Jnana Siddhi and Advayavajra in his Advayavajra Samgraha and commented on by several faultic masters. S. Bagchi ed.. Guhyasamaja Tantra, p ii.
58
Ibid., p.vi.
59
Alex Wayman. The Buddhist Tantras: Light on hub-Tibetan Esoteric (Delhi: Motilal Banarsidass Publishers Pvt. Ltd.. 1996). p.19.
60
Kazi Dawa-Samdup, ed.. Sri-Cakratin ara- Tantra. p. 155.
61
Ibid., p.10.
62
Kazi Dawa-Samdup, ed., £rt-Cakrasamvara-Tantra, p.10.
63
Maurice Wintemitz, MIL. vol.l/., pp.382-383.
64
A.K. Warder, Indian Buddhism, p.491.
65
Ibid., p.494.
66
Maurice Wintemitz, HIL, wl.ll., p.383.
67
Ibid., p.385.
68
V/e have a verse in the Sddhanamdld "dedrye yah sadd dvesf kupito ratnatrayeapi vah /
anekasattvavidhwms/ Afahdkdlena khddyate "ft Sddhanamdid p.586. (One who is persistently a hater of the preceptor and is adversely disposed towards the three jewels - Buddha. Dharma. Saitgha - and immolated many animals, is eaten up alive by Mah3k£la).
69
Maurice Wintemitz, HIL. will., p.385.
70
Biswanath Banerjee. cd.. &f-Kalacakra Tantra. sec Introduction, pp.x-xiv.
71
Maurice Wintemitz, HIL, vol.II., pp.381-382.
72
Alex Wayman, Yoga of the Guhyasamdjatantra: The Arcane Lore of Forty verses (Delhi: Motilal Banarsidass, 1977: Reprint 1999) pp-90-91.
73
"bodhicittam idam vajram sarva-buddhatvam atmanah/
tasmat sarvStma-yogena sarva-buddhatvam apnutc" Jndnasiddhi Ch.XV. See Samdhong Rinpoche and Vrajvallabh Dwivedi, eds. Guhyddi-A f/asiddhi Sadgraha, p.144 .
74
For further details see A.K. Warder, Indian Buddhism, pp.491-492.
75
Ibid., p.493.
76
NispannayogdvalT of Abhayakaragupta. is a remarkable work containing twenty-six Mandalas in twenty-six chapters. All these mandalas describe innumerable deities of the Buddhist pantheon. Its treatment of the images and deities is more varied and extensive than that of the Sddhanantdla. See Benoytosh Bhattacharyya. ed.. Nis pannayogdvali. p.12.
77
The SddlumanuJUl. (or Sddhana-samuccnya) also edited by Benoytosh Bhattacharyya. contains 312 Sddhanas. It is of great importance from the point of view of Buddhist iconography. Some of the S&dhanas are anonymous while the authors of some others are mentioned. They belong to the period between the seventh and the eleventh century A.D. "The work reveals much information on Tantric tradition, its philosophy and psychic exercises, and also of the Tantric authors, siddhas. mantras, mandalas and various other matters of historical and cultural interest." See N.N. Bhattacharyya. History of the Tantric Religion. p.64.
78
There are two opinions on the correct form of this word. Some scholars like Snellgrove, Lama Govinda, Pandit Haraprasad Shastri. Farrow and Mcnon hold'that the term is ‘sundhydbhasd\ while others like Eliadc, Agchananda Bharati. Shahidullah, V. Bhattacharya, and P.C. Bagchi consider that the more probable reading is 'sandhdhhdsd'. The £a tap i taka Tibetan-Sanskrit Dictionary gives both 'sandhd'and *sandhyd’ as the Sanskrit originals for the Tibetan equivalent of sandhydblitifti (Idem por dgons re b<ad pa ni). The term has been variously rendered into English. Sandhydbhdsd has been translated as,' twilight language’, ‘enigmatic language', ‘mystery’, ‘hidden sayings’ etc. Agehananda Bharati prefers Eliade's translation of Sandhdbhdfd as. ‘langage intcnlionnel' (intentional language). For details see Agehananda Bharati, The Tantric Tradition, pp. 164-180; Vidhushekhara Bhattacharya, "SandhAbha$a" The Indian Historical Quarterly (IHQ), vol.IV, cd., N.N.Law (Delhi: Caxton Publications, 1926; Reprint 1985) pp.287-296.1 use the term sandhydbhdsd. since both 'Sundhd' and 'Sandhyd are acknowledged by the Tibetan -Sanskrit Dictionary, and both the translators of the Hevajra Tantra (Snellgrove & harrow and Mcnon) use the term sandhydbhdsd and not sandhdhhdsd
79
It is not certain whether this Candrakirti is the Candrakirti of
(Prasangika) Madhyamika fame.
80
There is some confusion with regard to the reading of the term ’sandhyayabhasitam'. Chintaharan Chakravarti while using the devanagari script writes it as sandhydvabhddtam (p.3), while in transliteration records it as 'sandhdyabhdptam (p.31). He writes, “The term 'sandhydya bhdsa’ has been also read as sundhd. santlhdva. sandhydbhdy}.“ See Chintaharan Chakravarti. ed.
Guhyasamdj<itantra-pradif>odyotana/ikb-su/kofAydkhyd (Patna:
Kashi Prasud Jayswal Research Institute, 1984) ch.l, p.3 & p.31. The above passage is translated as, “whichever one reveals a truth of nature of sentient beings having superior zeal, and by the method of ambiguous discourse (viruddhdldpa) - that one is expressed in the manner of samdhi." As found in "Tantric Songs and Twilight Language,” in EBT, vol. 2, p.462.
81
According to Mircea Eliade, Sandhdbhasa has the dual purpose to
camouflage the doctrine against the non-initiate as well as to project the yogi into the 'paradoxical situation' indispensable for his spiritual training. See Agehananda Bharati, The Tantric Tradition, pp.172-173. *
82
HT(F) 11:3:53-54.
83
HT(F). p.xxxviii.
84
HT(F) 11:3:56-60.
85
HT(F) 11:3:66-67.
86
HT (F). pp.xxxviii-xxxix.
87
HT(F) 11:3:11. These actions express llic affection between the deities of Wisdom and Means at the different consecrations. 11T(F). Yo^uruinuuu’iUi, pp. 183-184.
88
For details sec HT (F), pp.xxxviii - xLi.
89
David J. Kalupahana, A History of Buddhist Philosophy, pp.221222.
90
Ibid., p.225.
91
For the biography of the eighty-four siddhas, See James B. Robinson, trans., Buddha's Lions: The Lives of the Eighty-Four Siddhas. CaturaSM-siddha-pravflti by Abluiyadatta.
