Chaturmukha Mahakala of the Sakya Tradition
In the Sakya Tradition this form of Mahakala cannot be shown to those that do not have the initiation. Unfortunately for Sakya other traditions have adopted this same practice and have loosened the restrictions. There are also numerous paintings and sculpture in museums and private collections around the world. This particular painting is very likely to be the earliest known painting of Chaturmukha Mahakala yet seen. Identifying the last of the lineage figures places the composition in the late 15th century.
- (See the Himalayan Art Resources website for more on this early painting of Chaturmukha, the Chaturmukha Main Page and Brahmanarupa Outline Page).
Mahakala, Chaturmukha (Four-faced Great Black One) associated with the Guhyasamaja Tantra along with the Twenty-five and Fifty Chapter Mahakala Tantras. This form of Chaturmukha with the side faces white and red in colour identifies this iconographic form as belonging to the 'Accomplishment' category from the Five Categories of Chaturmukha.
The painting was created by the Gelug Tradition of Tibetan Buddhism. The subject and the lineage is Sakya up until it was incorporated into the Gelug Tradition. Within the Gelug Tradition it is a minor protector deity however within the Sakya Tradition it remains the 2nd of the two principal Mahakala protector deities - after Panjarnata Mahakala.
Lineage: Vajradhara, Nagarjuna, Balimtapa, Buddhajnana, Marmedze Zangpo, Shrideva, Drime Bepa, Ratnavajra, Ratnakirti, Risula Dakini, Nyen Lotsawa, Lama Nam Ka'upa, Sachen Kunga Nyingpo, Sonam Tsemo, Dragpa Gyaltsen, Sakya Pandita and Chogyal Pagpa. etc.
This list of names from the Sakya lineage corresponds with the figures and names written in the top register. Due to the abrasions and losses on the painting only three other names can be read, Tsongkhapa, Gyaltsab and Kedrubje. The last two names belong to two important students of Tsongkhapa.
At the upper left is the meditational deity Manjuvajra Guhyasamaja. Chaturmukha Mahakala is the special protector deity associated with Manjuvajra Guhyasamaja. At the upper right side is the meditational deity Ekavira Vajrabhairava. This meditational deity was also special for the teacher Tsongkhapa.
The painting contains five forms of Chaturmukha. The name Chaturmukha means 'four faces.'
The five forms are known as
- [1] Approximation,
- [2] Accomplishment,
- [3] Performing Activities, the
- [4] Four Families (or activities) and
- [5] Demon Faces.
The large central image of the painting depicts the Accomplishment Chaturmukha identifiable by the white and red faces on each side of the central face. Slightly to the right of the head of the central figure is a smaller Approximation Chaturmukha identifiable by the two green faces on the right and left. Immediately to the right of the trident staff is Demon Faces Chaturmukha identified by the wrathful blue face, the elephant face, the buffalo face and the lion face. At the bottom center and bottom left are two more forms of the deity likely to be the Performing Activities Chaturmukha at the bottom center and then the Four Families Chaturmukha at the left.
To the lower left of the large central Chaturmukha are two female attendant figures, black Dombini and red Rakshasi. On the right side are yellow Singhali and green Chandali.
Descending at the middle left are the Sakya protectors Panjarnata Mahakala, Shri Devi and the five figures known as the Putra Mising Nga. Descending at the middle right are four retinue figures belonging to the Demon Faces Chaturmukha.
At the bottom right is the protector deity Yama Dharmaraja - related to the meditational deity Vajrabhairava. Next to him is the wealth deity Yellow Jambhala. On the bottom left side, next to Chaturmukka, is Black Jambhala.
At this time, this is the earliest known Tibetan painting of Chaturmukha Mahakala. Based on the lineage and the last two figures one of which is Khedrubje Geleg Palzang [1385-1438], it is reasonable to assume that the painting was created at some point after his passing before the lineage became longer with the addition of later lineage teachers. A date of mid to late 15th century is perfectly reasonable based on the lineage figures and identifiable names.
