The Indian Buddhist Iconography

Number of Sadhanas from the manuscripts of Sadhanamala, and he was surprised to find that the images tallied most remarkably with the descriptions given in the unpublished text of the Tantric manuscript. Again, the images and sculptures

supplied interesting details such as were not available in the Sadhana. Thus the Sadhana and the image mutually enlightened each other. Professor Foucher's second volume embodies a critical, although partial, study of the Sadhanamala and

it was this book that first emphasized the necessity of referring to a Sadhana in order to make or justify any single identification of a Buddhist image. When the present author was studying at the feet of the illus- trious savant,

Professor Foucher, at the Indian Museum, Calcutta, he was advised to edit and study the different recensions of the Sadhanamala before proceeding with the delicate art of identification of Buddhist deities.

j The Sadhanamala is thus the most valuable_jm^i^ Buddhist iconograph^aot 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 published in two volumes as Nos. 26 and 41 of the Qaekwad's Oriental Series with an elaborate introduction dealing with the text and

the various problems raised therein. The edition of the Sadhanamala comprises^ contains^dscrij>tions of i^umerQus_Buddhist deities* All new Sadhanas found in a different collection called the Sadhanasamuccaya have been carefully incorporated in their appropriate places in the present edition, which may very well

represent a Vade Mecum of the Sadhana literature of the Buddhists. The Sadhanamala not only gives valuable details regarding the deities, b^^jJtud^ historical

perio4r the Tantric philosophy, and its psychic exercises, and on authors, Siddhas, Mantras, Mandalas,and magic as prevalent among the Buddhists. The special .form of Buddhism which developed in the Tantric period is called the Vajrayana, and the Sadhanamala throws a

great deal of light on this obscure path of Buddhism which was current in India from the 7th to the 13th century A.D. TKe Sadhanamala does not however exhaust the material for the study of Indian Buddhist Iconography, One of the

Sadhanamala Mss. is dated ir the Newari Era 285 corresponding to A.D. 1165, and there- fore, 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 Dharmakosasangraha of Amrtananda who was the Residency Pandit when B. Hodgson was the

Resident of Nepal. A manuscript of this work is preserved in the Durbar Library of Nepal, and there is also a copy of the original, preserved in the Royal Asiatic Society of Bengal in the Government Collection. Amrtananda's work is not published.

Besides Amrtananda's work there are others more ancient and capable of supplying much iconographic material. One such work is the Nispannayogavali of Mahapandita Abhayakara Gupta of the Vikramashila monastery who flourished during the

reign of the Pala King Rama- pafa ( A.D. 1084-1130 ). This valuable work is now published in the Qaekwad's Oriental Series as No. 109 with an elaborate introduction and a full summary of its contents

The Nispannayogavali is a work on Mandalas and is remarkable for its richness of information and brevity. It contains in all 26 Mandalas in twenty-six chapters, some short, some long. All these Mandalas describe innumerable deities of

the Tantra cult. A large number pf these descriptions is absolutely original, Tiighly interesting and informative. Many 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 to be found anywhere in printed literature. The Nispannayogavali thus presents a unique, original, useful and most valuable information which constitutes our most authentic material for the study

of the images and deities belonging to the Buddhist pantheon. Nispannayogavali outbeats Sadhanamala since the material presented here is more varied, more extensive and more prolific.

What service this Nispannayogavali can render to Buddhism may be illustrated by a reference to the several hundreds of images of Buddhist deities discovered in the Forbidden City of Peiping in Manchuiia. In July 1926 Stael Holstem the

Russian archaeologist received permission to visit a number of Lama temples situated in Beijing which seem to have been neglected for a long time. In the upper storey of one of these temples he found a collection of bronze statuettes

constituting a Lamaist Pantheon which had consisted originally of 787 figures. These figures along wuh a series of photographs from three manuscripts written in Chinese were studied "by the famous American Professor Walter Eugene Clark,

Wales Professor of Sanskrit in the Harvard University, and he published this rich material in two sumptuous volumes, entitled, the Two Lamai&ic Pantheons in the Harvard Yenching Institute Monograph Series in the year 1937. The first

volume contains an introduction, bibliography and indexes of deities in Sanskrit, Tibetan and Chinese. The second volume contains illustrations of innumerable 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 Nispannayogavall with their full iconographic descriptions. Thus the

Nispannayogavall provides the much needed descriptive texts which served as a basis for the artists to prepare the statuettes found in China. Since this book Nispannayogavall gives full iconographic descriptions of most of these deities

it is not unreasonable to suppose that the Nispannayogavall 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 to such obscure deities as the Sixteen Boddhisattvas, the Twelve Paramitas, the Twelve Vasitas, the Twelve Bhumis, the Four Pratisamvits, etc. which are described accurately in the Manjuvajra

Mandala of the Nispannayogavall. It is simply imposible to prepare images of these deities without the help of descriptions as given by Abhayakaragupta. The volume of information given in the Nispannayogavall of Abhayakara-gupta is so great that an independent book is required to deal with them exhaustively.

Besides the above mentioned Nispannayogavall, there are numerous Tantric texts which furnish considerable material for the study of Buddhist iconography of the Tantric 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, Candamaharosana Tantra, Vajravarahi Tantra, Kriyasamuccaya, Vajravali nama Mandalopayika, Yoginijala Tantra Abhidhanottra Tantra and many others The list of such original Tantras furnishing valuable information on Buddhist deities can by no 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 to 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 to 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 tx>day there are lakhs of handwritten manuscripts in India in private houses, and no effort is being made to collect or preserve them. Thus these valuable source books of Indian history and culture are allowed to 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. The different recensions of the Prajnaparamita and Pancaraksa bear miniature paintings on them. Illuminated manuscripts of the Karandavyuha and Bodhicaryavatara are also not unknown. The Pancaraksa manuscripts are to be found almost in every Buddhist house in Nepal, they bear different sets of miniatures, and are calculated to serve many household purposes. Holy

books are illuminated with miniatures in order that they may be 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 iconography is represented by sculptures, bronzes, metal images and miniatures. The earlier phases of Buddhism are more or less free from the. representations of gods and

goddesses. But scenes from Buddha's life, and Jataka stories were given preference in the earlier Buddhism. Such scenes and stories are found represented in stone at Sanchi, Bharhut, Amaravati and also in the Gandhara school. According

to Professor Foucher the first image of the Buddha was fashioned in the Gandhara school of art.(*) Sculptures of Bodhisattvas and Hindu gods are not rare in this school. The sculpture remains at Amaravati are contemporaneous with 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 Tantric age. The paintings at Ajanta 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 atten- tion of great scholars, but images

belonging to the Tantric and post- Tantric periods and profoundly influenced by the Tantras have not been so fortunate. The excavations at Sarnath, Nalanda, Kurkihar have brought to light a large number of images of Buddhist gods and

goddesses belonging to the Tantra school, and it may be reasonably expected that the old strongholds of Tantric learning such as Odantapuri, Vikramaslla, Nalanda, Sarnath and Jagaddala monasteries will prove no less fruitful in 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 to the Tantric cult. That Bengal in the pre-Muhammadan period was practically Buddhist is made obvious by the fact that the worship of Dharma and Manjughosa still prevails there, and that numerous Buddhist sculptures are, being constantly discovered throughout the length and breadth of the province. It is needless to add that the Buddhist images discovered in Bengal, Bihar and Assam are mostly the product of the Tantric 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 iconography, and in Nepal Buddhism can be studied as a living religion. Some of the Buddhist monasteries at Pattan are so rich in images that they can be said to constitute small museums by themselves. The stupa of Bodh- nath alone contains no less than a hundred and eight sculptures executed in a neat manner. Occasional images of Guru Padmasambhava in the peculiar Tibetan technique and costume bespeak the Tibetan character of the temple. Forty-seven images in this famous temple are represented in Yab-yum and the rest are single. About ten of th< single images depict the Siddhas of Tibet such as Mila-ras-pa, Mar-pa, Padmasambhava, Naropa and others. Although Tibetan in character the temple contains nevertheless some of the purely Indian gods of the Vajrayana pantheon, such as Sadaksarl Lokesvara, Vak, Heruka, Yamantaka and a few others. An old Tibetan tradition declares that in the matter of art Bengal comes first, 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 Stupa itself and in the surroundings. At the Maccharidar Vahal or the temple of Matsyendranatha the great Natha Yogin, there can be found 108 different forms of Avalokitesvara painted on a running panel in colour.

1 Images and forms of deities that are not available in India are to be found in plenty in the Buddhist monasteries in Nepal. Anywhere in Nepal round a central stupa tiers of small chapels rising from the ground to the top are found to contain first class artistic specimens of Buddhist gods and goddesses. In monasteries which are run by courteous and learned Tantric monks one can find quite a number of images, sculptures, bronzes, paintings and illuminated manuscripts.

It is possible to 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 Citrakaras 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 to have a phenomenal memory with regard to the iconographic details such as the number of faces and hands, the pose, the symbols, the weapons and the parental Dhyani Buddha.

They prepare such drawings in the presence of the customer without ever referring to 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 Citrakara named Virman are repro- duced 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, sculptures, bronzes, drawings, miniatures, and the gods and goddesses represented by these, together with the literature explaining them, all belong to the Tantric mode of thought and culture. They are brought together under the comprehensive term of Vajrayana or the "Adamantine Vehicle". It leads therefore to a consideration of that form of Budhhism which is well known as Vajrayana,

Vajrayana Mysticism

Both the Hindus and the Buddhists were alike prolific writers on the Tantras and the literature extant on them is wonderfully extensive. One of the reasons why the word Tantra cannot be defined is that the 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. Tantric literature contributes a great deal to such sciences

as astronomy, astrology, medicine, alchemy, chiromancy, horoscopy, divi^ nation, prognosis, Yoga and Hathayoga. The Tantra is an admixture of religion, 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 contribu^ tion to world culture. A literature of this kind is not found in the history and civilization of any other country in the world.

To understand the rise of Vajrayana it is necessary to go back to the original teachings of the Buddha. Lord Buddha prescribed Yanas in the beginning, namely, the Sravakayana ancL the buddhayana. The Srtvakas were to near IFom a Buddha but they had to wait till the advent of another Buddha for their emancipation. In the meanwhile the Sravakas could teach, but they could neither attain Nirvana themselves nor help others to attain it. The Pratyekas were eminent men ;

they could attain Nirvana by their own efforts, without the help of a Buddha but they could not impart Nirvana to others. Buddhism continued in this state till the rise of the Mahayana pro- perly called, the Bodhisattvayana.\ The Mahayanists dismissed the previous Yanas with the contemptuous epithet of Hinayana. They claimed that they could not only attain Nirvana, nay even Buddhahood, with their own unaided efforts, but could also help others to attain these ideals. The distinction between Mahayana and Hinayana is graphically described in the earliest work, the Mahayanasutralankara, attributed to the famous Buddhist sage Asanga.

Thus there were three Yanas in Buddhism about 300 A. D. which may approximatelv be taken as the time of Asahga. But against these three Yanas there were four schools of philosophy in Buddhism, namely, the Sarvastivada (Sautrantika), the

Vahyarthabhaiiga (Vai* bhasika), the Vijnanavada (Yogacara), and the r Sunyavada (Madhyamaka). How these four systems of philosophy were distributed amongst the three Yanas is one of the vital questions of Buddhism. The Tattvaratna vail of Advayavajra (12th century A. D.) answers this question in a praiseworthy manner.

According to this authority "Three are the Yanas, Sravakayana, Pratyekayana and Mahayana. There are four theories; Vaibhasika, Sautrantika, Yogacara and Madhyamaka. Sravakayana and Pratyekayana are explained by the theories of the Vaibhasikas.

Mahayana is of two kinds : Paramitanaya and Mantranaya. Paramitanaya is explained by the theories either of Sautrantika, Yogacara or Madhyamaka. Mantranaya is explained by the theories of Yogacara and Madhyamaka only". l

Thus^ Mantranaya comilieuges with the most abstruse theories of Sunyavada and Vijnanavada. Advayavajra in one place says, "Mantranaya is very abstruse. It concerns men who seek emancipation by deep and solemn methods. It is also very

extensive owing to the understanding of such theories as the four symbolic representations. Therefore, the author is not fit to explain it". - Advayavajra cites for his authority a statement which says that the Mantrasastra transcends all other Sastras, because though the Sastras have the same common object there is no fear of ignorance here. The means are many and the end not difficult of attainment by men whose senses are sharpened to the highest degree.

Advayavajra in his Sekanirnaya accepts the Mahasukha theory, dilates upon the various stages of the Mahasukha which according to him is not possible of attainment with- out the Sakti the embodiment of Karuna. :?

It is hardly necessary now to state that the Buddhism of the Lord Buddha found entirely different expressions as time passed from century to century, so much so, that even if Buddha is reborn, he will not be able to recognize Vajrayana or the Buddhist Tantra as his own handi* craft. Though the Buddha was antagonistic to all sorts of sacrifices, sorcery, necromancy or magic, he nevertheless is credited by some later authorities with having given instructions on Madras,

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 Nirvana preached by him. * India in Buddha's time w^s such that any religion which dared forbid all kinds of magical practices, could hardly be popular. A clever organiser as the Buddha was, he did not fail to notice the importance of incorporating magical practices in his religion to make it popular from all points of view. The Tantras and Mantras were all there in the time of the Buddha, but unfortunately, we do not possess any connected account of them except a few works on the Dharanis in which the Chinese were interested in the beginning of the Christian era.

These Dharanis 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 Prajnaparamita with all the paraphernalia of worship such as are

found in the Tantras. Then follow the different recensions of the [[Prajnaparami]ta, its sutra, hrdayasutra, its Dharam and Mantra the recitation of all of which confers the benefit of reading the whole of the Prajnaparamita scripture. This

is a very old work and was translated into Chinese in the second century. A. D. The Manjusrimulakalpa appears to be a pro- duct of the same period and is full of deities, mudras, mandalas and Tantric practices, which became systematized in the Guhyasamaja Tantra in circa 300 A. D.

The Buddhist Tantras belong undoubtedly to Mahayana although it is quite possible to infer the presence of magical practices amongst the followers of the early Buddhism. l The Tantras were a development of the Yogacara which was inspired

by the Sunyavada of the Madhyamakas. Vajrayana marks a step in advance even of the Yogacara thought.

The Mahayana in the opinion of the Vajrayanists is coextensive with what they called Dharma which they considered as eternal and to which was given a more important place in later Buddhism, than was assigned to the Buddha himself. The

Vajrayanists refer to Sunya in all their writings, but this is not the Sunya of the Madhyamakas about which neither existence nor non-existence nor a combination of the two nor a negation of the two can be predicatedj To the Madhyamakas

both the subject and the object are Sunya in essence ; there is no reality either of the mind or of the external world. Obviously, this is a position which was not agreeable to the Vajrayanists because to them a positive aspect in the

Sunya is absolutely necessary. The Yogacara or the Vijnanavada goes a little further and the view of Vijnanavada as formulated by the school is that when emancipation is obtained it does not become Sunya, but turn into eternal

consciousness. Vajrayana, on the other hand, 'is characterized as the 'Path which leads to perfect enlightenment* or what they call in Sanskrit 'Ar&ttara Samyak Sambodhi'. Vajrayana literally means the adamantine path or vehicle, but its

technical meaning is the 'Sunya Vehicle' where unya is used in a special sense to represent Vajra. It is said,

"Sunyata 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 Mahayanists differ from the Hinayanists who are keen on obtaining liberation for themselves by their own efforts. The Mahayanists, on the other hand, do not care for their 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 to renounce their comforts, merits and even their right to salvation. The ideal of a Mahayanist finds expression in the

Karandavyuha where the ideal Bodhisattva Avalokitesvara is represented as refusing his well earned Nirvana until all beings of the world were in possession of the Bodhi knowledge and obtained freedom from worldly miseries. -

This then may be considered to be the goal of every Bodhisattva, which can be reached by following the tenets either of Sunyavada or of Vijnanavada. The Madhyamaka theory postulated a transcendental state but the Yogacara added the element of Vijriana 'consciousness' to Sunya. The Bodhi mind is a chain of Vijnana which is changing every moment, the Vijnana of the previous moment giving rise to the Vijriana of the succeeding moment with the same memory the same conformations and same qualities, and this process goes on till Vijnana attains liberation.

Now, this is the sort of emancipation to which the Vijnanavadins led their followers. In this Nirvana, as is already pointed out, there are two elements, Sunya and Vijnana. The Vajrayana which is a direct outcome of the Yogacara school introduced a new element or the element of Mahasukha 'eternal bliss' to their conception of liberation. The evolution of Buddhism became complete and found full expression in Vajrayana.

Vajrayana introduced many innovations of a revolutionary character. It introduced, for instance, the theory of the five Dhyani Buddhas as embodiments of the five Skandhas or cosmic elements and formulated the theory of the Kulas or families of the five Dhyani Buddhas from which deities emerge according to need. It introduced the worship of the Prajna or Sakti in Buddhism for the first time, and a host of other things including a large number of gods and goddesses, their Sadhanas for the purpose of visualisation, Mantras, Tantras, Yantras, Mudras, Mandates, mystic realizations and psychic exercises of the most subtle character.

It is not possible to trace the origin of Vajrayana without referring to the Tibetan authorities and ancient Tantric authors Taranatha is reported to have said l that Tantrism existed from very early times and was transmitted in a secret

manner from the time of Asanga down to the time of Dharmaklrti. Asanga who was a brother of Vasubandhu (280-360 A, D.) must have flourished circa 300 A. D. and Dharmaklrti who is not mentioned by the Chinese traveller Hiuen Thsang but is referred to with great respect by I-Tsing very probably belonged to a period between 625-675 A. D. Thus it can be seen that during a long period of nearly three hundred years Tantrism was handed down from Gurus to disciples in an occult

manner, before its followers could be numerically strong enough to preach their secret doctrines in public. It seems, therefore, reasonable that the Mahasiddhas such as Saraha, Nagarjuna, Luipa, Padmavajra, Anahgavajra, Indrabhuti 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 to follow their tenets, doctrines and practices. Their endeavours combined

with their unique personal achievements must have converted a considerable number of people to Vajrayana faith.

It is rather difficult to point out the source of information from which Taranath drew his inspiration, but a perusal of such Tantric works as the Guhyasiddhi of Padmavajra and the Jnanasiddhi of Indrabhuti makes it possible to infer

that it was the Guhyasamaja which was regarded as the most ancient and the most authoritative work of the Tantra school. Padmavajra not only advocates the cause of Tantric Buddhism but also gives a succinct digest of the work which he

calls Sri-Samaja or the 'Venerable Samaja' in his treatise which is still unpub- lished. Indrabhuti in his Jnanasiddhi acknowledges the Guhyasamaja as the work of highest authority, and gives a summary of some chap- ters and the topics

dealt with in this work. There is thus hardly any doubt that the Guhyasamaja is the original Sahglti which introduced for the first time the tenets of Vajrayana into Buddhism. It is believed to have been introduced in an Assembly of the

Faithful by Lord Buddha who is here called Sarva-Tathagata-Kaya-Vak-Citta. The Guhyasamaja is written in the form of a Sangiti and is considered highly authoritative even now amongst the Vajrayanists, and is regarded as one of the Nine Dharmas of Nepal. This is evidently the first work of Vajrayana, and Asanga quite conceivably may have had something to do with it, as it is commonly 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. l

It cannot be denied that in the very beginnings of Buddhism and even when Mahayana sprang up in later times a very strict discipline was enjoined on the followers of the faith. On the monks the rules were very strictly put into

operation. For instance, they must not have any- thing to do 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 Sahgha 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 Sangha 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 Mahasahghikas 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 salvation only in leading a natural life went on devising plans to modify their faith according to

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 or hindrance. These Tantras are in the form of Sahgltis and

are said to 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 Sahgltis were very powerful agencies in the introduction of innovations, because Buddhism will not be prepared to 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 reason of the great popularity of the Sahglti literature. The original Tantras of Buddhism are written in the Safiglti form wherein are in- culcated doctrines which are diametrically opposed to the original teachings of the Buddha. Easy methods leading to happiness in this world were held out in this literature, easy paths leading to salvation were shown ; great parade was made of the merits accruing from the repetitions of the Mantras, Dharams, 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 conse- quence gradually slackened down one after another, and ultimately when the Vajrayanists gained in power the secret doctrines no longer remained secret, but were openly preached and practised to the great annoyance of the orthodoxy.

In order to increase the popularity of Vajrayana the followers inclu- ded in it every conceivable tenets, dogmas, rites and practices that were calculated to attract more adherents. Thus the leading tenets of Mantrayana along with

Mantras, Mandalas, Mudras, gods and goddesses were included in Vajrayana. The earliest work of this class is said to be the Vidyadharapitaka which has been characterised by Hiuen Thsang as belonging to the canonical literature of the

Mahasanghikas. But this work is not available in original Sanskrit, and it is not possible to say anything with regard to the contents of the text. But with regard to another work the Manjusrimulakalpa the circumstances are different.

This extensive work is published in the Trivandrum Sanskrit Series in three volumes. The text forms a part of the ancient Vaipulyasutras of Mahayana and is decidedly the earliest work of Mantrayana at present available. It is written in

the Sangiti style in prose and in verse, and in an archaic style closely resembling the Gatha 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 Mulaghosa Vihara. 1 The Manjusrimulakalpa deals with the formulae

and practices which lead both to meterial prosperity and spiritual regeneration, and belongs to the early centuries A. D. but decidedly after the time of the composition of the Amitayus Sutra or the Sukhavati Vyuha which ushered in the

conception of Amitabha and Avalokitesvara for the first time in Mahayana. The Amitayus Sutra 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. 2

The Manjusrimulakalpa in that case would only be about a hundred years later than the Amitayus Sutra. If the Guhyasamaja is accepted as the very first work of the Vajrayana school it must be admitted that much time must have elapsed

between the age of the Manjusrimulakalpa and that of the Guhyasamaja which is put down in circa 300 A. D. l

The beginning of the Sangiti in the Manjusrimulakalpa is in the orthodox style as opposed to the Tantric style which is decidedly later, and where Bhagavan is introduced in the company of a large number of women instead of an assembly of

pious and devout Bodhisattvas only as in the earlier Sahgltis. The doctrine of the five Dhyani Buddhas or even their names, Mudras, Mantras, families, Saktis, colour and direc- tion are all absent in the Manjusrimulakalpa. Moreover, the

Mantras and Mudras which were later systematized in the Vajrayana work of Guhyasamaja are found scattered in the body of the text of the Manjusrlmulakalpa in a disorganised manner. The Mantras of some of the Dhyani Buddhas are indeed

to be found in the Manjusrimulakalpa although not exactly in the same meaning and form as in the later Guhyasamaja. The Manjusrimulakalpa further apeaks of Mantrayana but it does not refer to Vajrayana which is mentioned for the first

time in the Guhyasamaja the Tantra of Secret Communion. Under the circumstances it is possible to call the Manjusrimulakalpa as one of the earliest Mahayana Sutra works on which perhaps is based the outward foundation of the Vajrayana

system. Yet one who willread this work carefully will not fail to notice that it is a product behind which there is a history of development of several centuries. And probably, if ever one can go to the root of Mantrayana one will have

to voice the opinion of antaraksita and Kamalaslla that instruction on Tantras, Mudras and Mandalas were delivered by the Buddha for the benefit of such followers as would care more for their material prosperity than spiritual.

Vajrayana 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 to this circumstance

Vajrayana 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. Vajrayana catered to all tastes with equal

efficiency, and it had some- thing useful for everybody. Its universal popularity became an esta- blished fact.

It is difficult to say from what exact locality Tantrism took its origin. In the Sadhanamala are mentioned the four Pithas or sacred spots of the Vajrayanists, namely, Kamakhya, Sirihatta, Purnagiri and Uddiyana. The Tibetan authorities are of opinion that the Tantric Buddhism originated from Uddiyana, The location of Uddiyana thus is important for the history of the Buddhist Tantric literature.

Uddiyana is mentioned in the Sadhanamala rather frequently. The earliest manuscript of the Sadhanamala is dated in the Newari Era 285 which is equivalent to A. D. 1165. In this work Uddiyana is connected with the Sadhana of Kurukulla, Trailokyavasamkara, Marici and Vajrayogim. The Sadhanamala also connects Uddiyana with such Tantric authors as Saraha. The Jnanasiddhi of Indrabhuti is stated in the last colophon as having started from Uddiyana (Odiyana).

Uddiyana being one of the four Pithas sacred to Vajrayogim should be at least near Kamakhya (Kamarupa), and Sirihatta (Sylhet) in Assam and it is not unusual to think that all these four Pithas received their sanctity from temples dedicated to Vajrayogim. Thus Uddiyana has to be located in Eastern and Assam area.

In the mediaeval period when Tantras flourished, Vanga and Samatata were the two important centres of culture in Bengal. Vahga included the present Dacca, Faridpur and Backerganj districts, while Samatata 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 Brahma- nical images of the Tantric type discovered in the whole of

this region. Numerous old inscriptions, remains of old buildings, coins and terra- cottas found in these regions, confirm the conclusion that from the Vanga-Samatata area radiated different streams of culture to the rest of Eastern India. l

In this Vahga'Samatata region one of the most important places is the Pargana Vikrampur in the Dacca district. Anyone acquainted with the ancient inscriptions of Bengal will be able to appreciate the import- ance of Yikrampur 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. Atisa Dlpahkara, famous in Tibetan history as a great scholar and master of

Tantric lore, is said to belong to 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-populated village which is now known by the rather extraordinary name of

Vajrayogini.

Round about this village numerous Vajrayana images have been discovered, and among them may be noticed images of Jambhala, Parnasaban, Vajrasattva and Tara. The term * Vajra' in Vajrayogim is also a familiar Buddhist word.

Vajra is equivalent to Sunya.

Vajrayogini is a Buddhist deity which the Hindus borrowed in the form of Chhinna- masta. Thus the name of the village appears to 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 out that the temples dedicated to Vajrayogini could only be expected at four places, Kamakhya, Sirihatta, Purnagiri and Uddiyana. Out of these Kamakhya and Sirihatta (Sylhet) still retain their original

names. Purnagiri which signifies a hill is not identified yet with certainty. But it is possible to spot the fourth place which is connected with Vajrayogini. Thus it becomes evident that the present village Vajrayogini was originally

known as Uddiyana but as the deity Vrjrayogim became more popular later, the original name gradually disappeared giving place to the name of the deity. Tantrism of the Buddhists therefore originated here in Uddiyana-Vajrayogim, and thence was transmited to the rest of India. l

One of the chief topics dealt with in Vajrayana 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 Sadhanas a collection of which is published in the Sadhanamala already referred to. To appreciate Buddhist iconography, therefore, a reference to the Sadhana process of god-realisation is necessary. This process is described in the next section.

The Psychic Process of Sadhana

The Tahtrics 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 un- doubtedly 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 pre- eminently the most influential and popular. The followers of these schools, particularly the latter, wanted to achieve through spiritual or psychic power everything that could be achieved in the material sphere. To-day for quick travel the material world presents to us railways, aeroplanes and steamers, but the Tantrics claimed that by spiritual culture weight of the body can be so reduced that it can fly over space to any distance within the shortest possible time. To-day for informa- tion about kinsmen in

distant lands people send letters, wires and cables, but the Tantrics claim that by intense meditation alone they can visualize what is happening in other parts of the world, either by a projec- tion 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 pro- vides telephones and wireless instruments but the Tantrics 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 suffers from disease the material world provides doctors, medicines, injections and so forth, but to a Tantric 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 Tantrics 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 mate- rial sphere can be achieved

in the psychic sphere. This tendency even in the present day is a dominating factor in Indian life, and no one should wonder seeing people running after Sadhus and Sannyasins lea- ving aside modern scientific men in many of their

difficulties. Occasionally, stories are told of miraculous powers of ascetics over the elements of nature or of their power of curing diseases for which apparently no recognised system of scientific medicine has discovered a cure.

There are many such Yogins even now in India moving about in jungles, cities, caves and mountains, possessing wonderful and miraculous powers.

The Tantrics who were the advocates of psychic culture, by persistent efforts through mental exercises, used to 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 Sadhana. In the Yogasutra 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 Purana mentions thirty-four kinds of Siddhis including the eight already mentioned in the Yogasutra.

The Siddhas or those who attain supernormal powers are considered to 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 to say, as soon as a desire arises in his mind it is instantly fulfilled.

The Middling variety of Siddhas is able to 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 to bewitch people, per* form miracles, remove diseases by glance or touch, extract poison, obtain erudition in scriptures, renounce all worldly enjoyments, prac- tise Yoga in all its subdivisions, show compassion to 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 Mahasiddhas 'Great Magicians' and in India their number was recognized as eighty- four. Most of these Mahasiddhas flourished during the Pala Period of Indian history (8th to 12th centuries A.D.) and were famous because of their uncanny and prodigious feats.

The Sadhana or the process prescribed for attaining the different Siddhis forms the bulk of the Tantric literature of both the Buddhists and the Hindus. Thousands of Sadhanas 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 Tantric manuscript, cart loads of which are even to*day to be found in public and private collections, describes the Sadhanas through which Siddhis are possible of attainment. The Buddhists had a special literature called the Sadhanas and they were always written in Sanskrit by many of the well known Tantric authors and the Mahasiddhas. This literature is now almost lost in original Sanskrit, but fortunately for us some collections of Sadhanas are still extant. These collections were given the names of Sadhanamala and Sadhanasamuccaya, and a critical edition of all available Sadhanas

in these two collections is already published in two volumes in the Qaekwad's Oriental Series as Nos. 26 and 41. The publication of these Sadhanas has revealed a number of hitherto unknown and important facts. The Sadhanas 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 Sadhanas contain the description of a large number of Buddhist deities it becomes possible

to differentiate them from the deities of the Hindu and Jain faiths, and to determine the purpose for which they were made and what they stood for.

The Sadhanas being most important for the study of Buddhist iconography it is necessary to give a general idea of the contents of the Sdhana or the detailed process through which spiritual eminence or Siddhi is obtained. For this purpose a summarised translation of an elaborate Sadhana in the Sadhanamala is given here. But before proceeding to translate the Sadhana it may be emphasized that it is a purely psychic process for the

realisation and visualisation of the deity with whom the worshipper is asked to identify himself. The Sadhana 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 Sadhanas a specimen is here selected which is published as Sadhana No. 98 in the Sadhanamala of the printed edition, for the realisation of the goddess Tara, composed by Sthavira Anupama Raksita who was

a well-known Tantric author and who flourished before 1165 and whose works, five in number, are preserved in translation in the Tibetan Tangyur. The contents of this Sadhana is given below.

"The worshipper after leaving the bed in the morning should wash his feet and face and after purifying himself should go to 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 -A- and on it think on the form of a beautiful blue lotus. On the filament of the lotus he should meditate on another moon the

yellow germ syllable Tarn as destroying the darkness of ignorance, illuminating innumerable worlds of the ten quarters, and bringing from the firmament innumerable Buddhas 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 following words ; 'Whatever sinful deeds I have done, caused to be done, or consented to be done, in this endless cycle of creation, everything I confees'.

"Thereafter, meditating on the restraint of wrong deeds he should give his assent to the meritorious deeds of others with the following Mantra ; 'I assent to the virtuous deeds of the Sugatas, Pratyekas, Sravakas, 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 Sangha so

long as. the Bodhi essence subsists'.

'Thereafter the adherence to the path of the Tathagatas should be made with the Mantra : 'By me shall be followed the path indicated by the Tanthagatas and naught else',

'Then a prayer should be uttered with the Mantra : The gods and the Tathagatas 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 his meritorious 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 to gain at the end the

final Sambodhi'.

" After having finished the seven kinds of extraordinary worship the deities should be dismissed with the formula : -Om Ah Muh- or with the following words : Thou movest now according to Thy will, being besmeared with the sandal paste of

Silas (conduct), wearing the garments of the Dhyana (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 to save all beings from misery and from causes that lead to 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 Samsara is what is called Compassion. Or it is the desire to save all beings suffering from the three evils from the sea of Samsara.

"Mudita 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 to materialize. Or 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 Upeksa ? It is the doing of great welfare to all beings, good or bad, by overcoming adverse requests and obstacles. Or it is the desire that comes of its own accord to do good to all beings without the least

craving for any return, love or hatred. Or it is the indifference towards the eight human institutions of gain or loss, fame or notoriety, praise or blame, pleasure or 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 to be pure by nature. This natural

purity of all phenomena should be established by the formula : Om svabhavasuddhah sarvadharmah svabhavasuddho'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 Sunyata of all phenomena should be meditated upon. Here ounya 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 Sunyata should be established by the formula Orh Sunyatajnanavajrasvabhavatmyako'ham .

"Then as previously stated, the worshipper should meditate on his heart the goddess Aryatara who originates from the yellow germ-syllable Tam placed on the orb of the moon with the deer on its lap.

"The worshipper should meditate on goddess Aryatara 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 Dhyani 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 Bhagavatl should be drawn out from within by the spreading rays that illumine the three worlds, the rays that issue forth from

the yellow germ syllable Tam 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 Mudra or 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 stret- ched. This is called the Utpala Mudra or the signal of the night lotus*

"With this Mudra 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 non- duality of the two should be

meditated upon. Then the rays issuing forth from the yellow germ syllable Tarn placed on the spotless moon will appear to 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 Sunya.

"Engaging himself in doing good to the world, the worshipper should meditate on the form of goddess Tara 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 to meditate thus should mutter the Mantra which in this case is Om Tare Tuttare Ture Svaha . This is the lord of all Mantras, is endowed with great powers, and is saluted, worshipped and

revered by all Tathagatas.

"After having finished his meditation on the form of Tara he should think the world as identical withe th goddess and should move about 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 to 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 to attain comes to him like a plum on the palm of his hand."

The above is a summary of the contents of a Sadhana devoted to a single goddess, Tara, and there are hundreds of such Sadhanas for other gods and goddesses. But the important point to be noted in this connection is that the gods have no

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 Sadhaka who by means of the Sadhana undergoes a detailed

mental exercise for the development of his spiritual or psychic powers.

The discussion in this section leads to a consideration of godhead in Tantrism in order that the deities treated in this work may be studied in their true perspective,

4. Godhead in Buddhism.

I 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 Sadhana and Siddhi, and the conception of godhead therefore is an essentially spiritual or psychic matter. {.

The Sadhana is concerned with the process for worshipping a parti" cular 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 to deep

sleep is brought about. In this state of deep sleep the ascetic communes with the Infinite Spirit or the inexhaustible store-house of energy, which is supposed to be the highest creative prin- ciple behind the world structure. By this

communion the ascetic draws forth energy from that inexhaustible store-house and becomes powerful himself. This process of the realisation of the Infinite Spirit is what is called Sadhana. 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 psychic exercises. It therefore stands lo reason that the Tantra is a science or a Vidya requiring competent pre- ceptors and efficient

disciples. Like all other sciences the Tantra is not also open to all and the sundry, but only for those who are initiated into the mysteries of the science, and are competent to follow the pres- cribed practices with patience and zeal.

These are the right type of disciples for Tantric practices, and may be called the Adhikarins or rightful persons. In many Tantric works long chapters are devoted to the qualifications of the preceptors *and disciples and there are also

rules for their respective competence to give or receive initiation.

The Adhikarin must 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 to have a great deal

more equipment than is necessary for persuing any other Vidya known to 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 nece- ssary for him is that he should be proficient in the art of Yoga and Hathayoga without which it is not possible to proceed with any Sadhana worth the name or with any difficult Tantric 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 Guhyasamaja which may be called the Bible of the Tantric Buddhists. A perusal of the book makes it clear that when the Bodhicitta or the Will to Enlightenment mingles with Sunya or the Infinite Spirit in the highest state of meditation the mind-sky is filled with innumerable visions and

scenes, until at la?t, like sparks the individual visualises letters or germ syllables, which gradually assume the shape of deities, first indistinct, then changing into perfect, glorious and living forms, the embodiment of the Infinite

Sunya. They appear in bright, effulgent, gorgeous and divine beauty in form, ornaments and dress. Violent deities in like manner appear before him in the most violent form con- ceivable, in an awe-inspiring 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 but become instrumental in bestowing on the ascetic more and more spiritual and psychic powers.

I The process of the evolution of the deity is described in Tantric works, where clear-cut statements are made on the origin of the deities and their gradual evolution from the germ syllable. In the Advayavajra- sahgraha, for instance,

it is said : f

f "The form of the deity is an explosion of the Sunya. It is by nature non-existent. Whenever there is an explosion it must be Sunya in essence." 1 I

| In another place in the same book it is declared : /

I" From the right perception of Sunyata 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

origination."-' j

The equipment necessary for persons competent to worship and realize deities, and the nature of the evolution of the deities have already been indicated. Now it is necessary to state the views of the Guhyas- amaja regarding the

principles of god-realisation, and the various expe- riences through which the Sadhaka has to pass before the deity is realised and visualised. The Guhyasamaja 3 calls this process Upaya (means) which is recognised as of four kinds,

Seva, Upasadhana, Sadha- na and Mahasadhana. Seva (worship) is again sub-divided into two, namely, Samanya (ordinary) and Uttama (excellent). Of these two, the Samanya Seva consists of four Vajras : first, the conception of Sunyata ;

second, its transformation into the germ-syllable ; third, its evolution in the form of a deity, and the fourth, the external representation of the deity.

In the UttamaSeva (excellent worship) Yoga with its six limbs should be employed. These six limbs are : Pratyahara, Dhyana, Pranayama, Dharana, Anusmrti and Samadhi.. Pratyahara (control) is here descri- bed as the process by which the

ten sense-organs are controlled. Dhyana (meditation) is explained as the conception of the five desired objects through the five Dhyani Buddhas, namely, Vairocana, Ratnasambhava, Amitabha, Amoghasiddhi and Aksobhya. This Dhyana is again

sub- divided into five kinds : Vitarka (cogitation), Vicara (thinking), Priti (pleasure), Sukha (happiness), and Ekagrata (concentration).

Pranayama (breath control) is the control of the breathing process by which breath which is of the nature of the five Bhutas (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.

Dharana (meditation) is the meditation of one's own Mantra on the heart, and the placing of it on the Pranabindu (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 Maricika (mirage), the second is that of smoke, the third is of fire-flies, the fourth is of light, and the fifth of constant light like a cloudless sky.

Anusmrti (memory) is the constant meditation of the object for which the psychic exercise is undertaken, and by this Pratibhasa (revela- tion) takes place. After commingling the two elements Prajna (know- ledge) and Upaya (means) the

whole objective world should be concei- ved 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 Samadhi (visualisation).

For the purpose of visualisation it is necessary that the process should be continued for six months and this is done according to the Guhyas- amaja 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 Hathayoga. By this Yoga the ascetic

most certainly attains the know- ledge of the deity.

The above incidentally shows what part is played by Rajayoga 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 to follow the more advanced science of the Tantra which obviously, is not meant for ordinary people. 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), Jivatman (individual soul) while the Infinite or the Universal soul is variously known as Sunya Brahma and Paramatman. When

they combine in the state of the highest meditation and concentration, an artificial condition akin to deep sleep is brought about, and the deity appears in the mind sky in flashes and sparks. The nature of the Jivatman being finite, it

is not possible to realise the Infinite in its entirety, that is to say, the result of the mystic experience of the Jivatman also remains finite. And as the object for which the worshipper sits in meditation is different in differ- ent

cases the deity visualised also becomes different. It is the Bhavana (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 illimitable 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 realise the deity in the easiest and most efficient manner.

The Infinite Energy is frilnva in Vajrayana^jmd this Sunya is invoked by the worshippers of different classes with different desires and differ^ ent degrees otjnental development. As Sunya isinvoked in for thou- sandandjane purposes, it

manifests itself in thousand and jane^jwayj^ in thousand and onejorms, and it is precisely in this manner that the numbeFof deitiesin the Buddhist pantheon increased to an enormous extentT^TKe psychic exercise prescribed in the case of

different deities is different in the Sadhanas. The Sadhanas become less or more difficult according to the mental capacity of the worshippers, who are generally 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 to the degree of psychic progress.

In the realisation of the deity, there are thus three elements, the worshipper, the deity and their connecd9D_Q_Jsientity. These are fiamed ifr~Tfi5~TanirIc works as the Bodhicitta, the Mantrapurusa (Mantra body) and the Ahamkara

(identity). The worshipper is called the Bodhisattva (Bodhi essence), and , his mind is known as the Bodhicitta (Will to Enlightenment). The deity is the embodiment of the cluster of letters contained in a Mantra which are dynamized by exces- sive concentration and repetition. The sacred words or letters set up strong vibrations and

ultimately condense themselves in the form of deities and this is called the Mantrapurusa (Mantra body) or Mantra person. But before the Mantra person is visualised there must always be a complete identity between the Bodhiciita and the

Mantrapurusa. The subject is both interesting and important for the study of gods and goddesses, and therefore merits a detailed treatment.

The Vajrayana conception of the Bodhi mind appears to be the same as advocated in Yogacara, an idea of which can be gained by a reference to the Tattvasahgraha of Santaraksita. The Bodhi mind is like a conti- nuous stream of

consciousness which changes every moment^ 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 or an end,

operating in unison with the all powerful act-force leads it either to degradation or to emancipation according as the actions 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. To purify this chain of consciousness is the sole aim of the Bodhisattva, but so long as impurities are not removed, it will be subject to a series of

transmigrations either in the world of gods or men, or 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 Bhumis, and stays in them only so long as it is not qualified to ascend to a higher sphere.

The number of Bhumis are recognized generally as ten and the Sutra which describes them is called the Dasabhumika Sutra. The Bodhi mind obtains emancipation, or in other words when it crosses the ten Bhumis mentioned above, it is

rewarded with moniscience. These Bhumis are not meant for the Hinayanists but were exclusively designed for the Mahayanists who are the real Bodhisattvas. No Buddhist will be called a Bodhisattva who has no compassion for suffering

humanity or who will not be prepared to sacrifice his all for the benefit of others, The Vajrayanist concep- tion is the same, and it defines Bodhi mind as one where Sunya and Karuna (compassion) work in unison. In the eye of a

Vajrayanist the external world has much the same significance as it appears in Yogacara. The 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 to mere appearances, in the same way as magic and dream are considered to be appearances. Therefore, the Vajrayanists hold that external objects have no greater reality than magic, mirage, shadow or dream, and their reality cannot be proved by reason.

The Mantras or mystic syllables constitute the backbone of Vajrayana worship, and are of illimitable varieties. The Mantras are mostly unmeaning words but they sometimes reveal the influence of some unknown language. The Vajrayanists

maintain that the Mantras are endowed with great powers. "What is there impossible" they say, "For the Mantras to perform if they are applied according to rules ?" It is also said that through repeated mutterings of the MantrdS such

power is generated that it can astonish the whole world. The Mantra has power even to confer Buddhahood or omniscience. The merits that accrue from the repetitions of the Mantra of Mahakala are so numerous that all the Buddhas taken

together cannot count them even if they were to count without celadon for a number of days and nights. By the DharanI of Avalokitesvara even an ass can memorize three hundred verses. The Mantra of Ekajata is said tQ be so powerful that

the moment it is uttered a man becomes free from danger, he is always followed by good iortune and his enemies are all destroyed. The repetition of the rnantra is however to be done with the greatest care, for instance, it should not be

muttered too quickly nor too slowly. The mind at the time of repetition should be concentrated on 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 or

tired.

Thus it can be seen that the Vajrayanists believed that the Mantras were endowed with dynamic power. Their power consisted in the arrangement of the syllables, the purity of which is to be guarded with the greatest care. The Mantra is

required to 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 conti- nuously so as to visualize the Mantra person or the deity sacred to the

Mantra. The letters of the Mantra can only be dynamized by conti- nual repetition by day and at night until the deity is visualized. When the Mantra becomes powerful the vibrations let loose by the Bodhi mind react on the universal Sunya

which explodes in consequence in the divine form of the deity and appears before his mind sky. Accor* ding 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 or letter vibrations, and by continuous practice anyone can visualise the deity. The Mantra idea is not only logically correct but also philosophically profound.

The relation between the caller and the calling deity is one of identi- fication. It is called Ahamkara or the identity of the Bodhi mind with the deity, the manifestation of Sunya or the ultimate reality, The identity is established

with the Mantra "I am the goddess and the goddess is in me". The worshipper should conceive himself as the deity with the same complexion, form and limbs as described in the Sadhana 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 Sunya and the deity is a manifestation of Sunya and, therefore, both have the

same origin. But to realise that the two are the same requires perfect knowledge. Continuous meditation and austerities enable the worshipper to shed the veil of ignorance which makes one thing appear as two. The Bodhi mind is further

called Karuna (compassion) and the ultimate reality as Sunyata, and when the two commingle, it is called Advaya or 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 Sunya and becomes one with it. To symbolize

this principle Vajrayana brought in the conception of the Yab-yum form of deities in which the deity appears locked in close embrace with his Sakti or the female coun- terpart. 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 Sunya and the female principle is the Bodhi mind, or the first is the ultimate reality and the female is Karuna (compassion). The Bodhi mind can become

ultimate reality through the one principle of Karuna. This Karuna is symbolized in the form of Avalokitesvara, the great com- passionate Bodhisattva who sacrificed his Nirvana in order to serve his fellowmen.

From the foregoing even a casual observer" can find that theVajrayan- ists formulated the principle that behind the creation there is arTinSomj- tablewill which multiplies in the formof words and gradually con- densethemselves in the

form of the_dejtj^ The iemale counterpart is a further grossenirig process.* T&JSLJS the creative process, grossening process andAe process of evolution.) This process can only be stopped by the princijpIeTof Karuna Tcompassion) which

gradually leads the Bodhi mind to soar higher and higher, and to become finer and thinner before it merges in unya. According jo Vajrayana, therefore, the reverse process of involution starts only when the Bodhi mind is sur* charged with Karuna or compassion.

5. The Pantheon.

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 Hinayana or Primitive Buddhism there was no pantheon to which worship was

offered by any Buddhist. But in Mahay an a a large number of deities was included and later, in its more advanced form of Vajrayana this pantheon became surprisingly large with deities of every description. \ Virtually, there was an

epedemic of deification in which every philosophical dogma, ritualistic literature, abs^ tract 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 Tantric Buddhism or Vajrayana. There are certain indications that Buddhism had no pantheon before Tantrism was well established. In very early

days Buddhism recognised thirty- three gods of the Hindus who were the residents of the Trayastrimsa Heaven which is one of the Rupa heavens. Buddha did not believe in gods or worship, and in the Saundarananda Kavya of Asvaghosa we find

Buddha discouraging his half-brother Nanda to 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. Buddha was deified in Mahayana which considered him to be Lokottara or superhuman. } In Buddnist art also Jbfruddha images are not met with in the earlier schools such as J3anchi 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 celebrate3 French archaeologist Professor A. Foucher. 2 In Bharhut and Sanchi scenes connected with the life of the Buddha, such

as the dream of his mother Mayadev! (fig. 1), and the symbols of Buddha like the Bodhi Tree, his head-dress his foot-prints (figs, 2, 3,4, 5), and the rest used to be freely represented, but his actual likeness was regarded as too scared

to admit of representation. Dr. Coomaraswamy on the other hand has shown that the Mathura school of sculpture can have an equally strong claim to antiquity and probably for carving out the first image of Buddha. These are great

authorities and it is not possible here to examine their theories in detail. For the present work it is immaterial whether the claim for carving out the first image of Buddha is established in favour ofjsither Gandhara QjlMathura. It is enough to know that there are many images of Buddha in these two 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 Stupa which is regarded as the embodiment of the

Buddhis^lJmv^ with all the heavens as conceived in Buddhism The stupas received worship even in the life-time of theBy^Ih^^and continued throughout the centuries after his Mahaparinirvana J Such stupas are found in abun- dance in the

Buddhist countries, and a few celebrated stupas in Nepal are illustrated here in (Figs. 6, 7, 8) They are the Stupas of the Svayambhunatha (twlgo-Simbhu), the Bodhnath and Kathe Simbhu. Besides the Stupas, the Three Jewels of Buddhism,known by the names of the Rutjflha, Dharma and Sangha were conceived in the form of deities a ri (Twors hip wa s" freely offered to them by the Buddhists in both symbolic and human forms The images of the Holy Triad as obtained in Nepal are here illustrated. (Figs. 9, 10, 11). Out of the three, one Dharma is a goddess.

Later, a number of gods and goddesses are described in the Manjusrimulakalpa which is believed to be an earlier work than the Guhyasamaja which is dated circa A. D, 300 ] Again in the Prajna- paramita 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 Guhvasamaja that the idea of a pantheon, rationally

classified, is properly and systematically crystallised. _JHeje for the first time are found the descriptions of the five Dhyani Buddhas, tngi_ rnantras, their Mandalas^ and their baktis or remale^gjnitprparti These Dhyani Buddhas

represent the five Skandhas or 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 Kulesas or Lords of Families. In the Guhyasamaja it is said :

"The five Kulas (families) are the Dvesa (hatred), Moha (delusion), Raga (attachment), Cintamani (Wishing Gem), and Samaya, (convention) which conduce to the attainment of all desires and emancipation." -

The emanations or offsprings of these Dhyani 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 were represented in art, they were required to show their origin by holding on their heads the miniature figure of their parental Dhyani 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 to three, four, six, and eight heads. They were given different colours, different expressions and different companions according as they were worshipped in the different Tantric rites and according as they were required to discharge different functions, from curing a disease to 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 Guhyasamaja or the Tantra of Secret Communion which is perhaps the first book inculcating Vajrayana philosophy of Mahasukha is a product of circa 300'A.D. which is the time of Asanga. Quite naturally the Tantra could not get

publicity as the public mind was not prepared to receive the revolutionary innovations introduced in it. Thus thf Tonfra wj*nt into private hands and was handed down through an unbroken cbnin r>f Hums ^nrl disciples for thr^ hnndtw] y

pQrg 1>r> the most secret manner possible. It obtained publicity through the teachings and mystic songs of the Buddhist Vajracaryyas or Siddhas in about the middle of the 7th century. It is for this reason that references to the pantheon

in the general Buddhistic literature are not n^T"wi^ nor the accounts of the

Chinese travellers show much acquaintance with the pantheon, when they came to India to 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 do not pertain to the well classified pantheon referred to above. In the Sukhayativyha \yjrfch was translated into Chinese between A. D. 148*170 the name of Amitabha appears for the first time as the presiding deity of the

Sukhavati or thc_Akanistha heaven where he is believed to have brought forth Avalokitesyara into existence.* It should be remembered that in fKe Vajrayana works also this heaven has been characterized as the abode of all gods and

goddesses. In the smaller recension of the Sukhavati Vyuha which was translated into Chinese between A. D. 417 mention is made of two more gods namely Aksobhya as a Tathagata and Manjushri _as a^Bodhisattva^ Fa-Hien (A. D. 394-414) mentions the names of Manjushri ; Avaloktesvara, and the future Buddha Maitreya, while Yuan Cbwang (629-645 A. D.) refers to the names of Avalokitesvara, Harlti,

Ksitigarbha, Maitreya, Manjusn, Padmapani, Vaisravana, Sakya Buddha, akya Bodhisattva, and Yama together with such deified saints as Asvaghosa, Nagarjuna, Asahga, Sumedhas and others. I-Tsing (671-695 A.D.) mentions the names of

Avalokitesvara, Amitayus, Hariti, the Catur-Mahafajikas, Maitreya, Manjusri and Yama besides several others. Santideva (695-730 A.D.) in his oiksasamuccaya mentions the names of Aksobhya as a Tathagata, Gaganaganja as a Bodhisattva,

Simhavikridita as a Tathagata, Cunda, Trisamayaraja, Marici, Simhanada, Manjughosa and many others. ] After Santideva the Tantra of the Buddhists got wide publicity, and the Tantric works written after his time all referred to the

pantheon and described numerous gods, especially the Dhyani Buddhas a definite product of Tantric Buddhism. The Sadhana literatuie which describes the forms of gods and goddesses and lays down the procedure for worshipping them was

developed by the Mahasiddhas or great magi- cians like Saraha, Nagarjuna, Sabaripa, Anahgavajra, Indrabhuti and others, although it is very probable that the earliest Sadhana was composed by Asanga who flourished in circa 300 A.D. In the

Sadhana attributed to Asanga the Dhyani 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 was not well developed before the Tantras got wide publicity injiboutjthe middle of the 7th

century AT)i InTKe Gandhara school, for instance, Jbesides the Buddha images, there are images of Jambhala Kubera, Indra, Maitreya, Haritl and several unidentified Bodhisattva images. In the Mathura school which was either

contemporaneous or somewhat later than the Gandhara school there are numerous Buddha and Bodhisattva images along with those of Kubera, the Yaksas and Nagas. The Mathura school extended to the early Gupta period 2 and here also later

Buddhist images of Tantric flavour are not met with. Not even the images of Avalokitesvara, Manjusri are to be found in this school. The case of the later Magadha school however, is otherwise. The Magadha school included the images found

in Sarnath, Nalanda, Odantapuri, Kurkihar, Gaya and other ancient sites in Bihar. The most flourishing period of the Magadha school

was contemporaneous with the reign of the Pala 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 school aj to be found a ^definite evidence of the

existence of a well classified pantKeoirTas conceive3"lrrVajrayana Buddhism. In most of the images there are figures of five Dhyani Buddhas on the halo round the head of the principal deity, as also others with miniature figures of

Dhyani Buddhas on the crown to 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 Vajrasana being flanked by Avalokitesvara and Maitreya on two sides. In the Magadha school therefore Buddha lost his original importance and became similar to the Dhyani Buddha Aksobhya as is evident from the

numerous Sadhanas dedicated to the worship of Vajrasana Buddha with the earth touching signal. The Bodhisattva images are also not so stereotyped as they are found either in Gandhara or in Mathura. The Magadha school is characterised by

its wide variety of images of gods and goddesses and this will be apparent to any visitor who visits the museums at Sarnath, Nalanda, Patna, or even at Calcutta, and takes a round in the extensive ruins of the Odantapuri Vihara (Modern

Bihar) on the Bakhtiyarpur Bihar Light Railway. The same is the case with the ruins of Gaya, Kurkihar, Sahet-Mahet and Kasia. At Sarnath, the contents of the museum are rich with such interesting and symbolic images as Sadaksari

Lokesvara, Ucchusma Jambhala, Manjusri, Tara, Vasudhara, Marlci, all the Five Dhyani Buddhas, Vajrasattva the sixth Dhyani Buddha and numerous others belonging to the Vajrayana pantheon. Nalanda 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. Many 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 Comilla. In this school many interesting and unique specimens of images belonging to Tantric Buddhism are met with. From the above it becomes clear that the artists were acquainted with the

descriptions of deities as given in the Sadhana literature, because the images and the Dhyanas as given in the Sadhana coincide most remarkably. In this school

are to be found such images as Heruka, Vasudhara, Jambhala, Arapa- cana, Khasarpana, Parnasabari, Simhanada, Manjuvara, Aparajita, Mahapratisara, Nairatma, Sadaksan Lokesvara, Mahasri Tara, Khadi- ravani Tara along with many others too

numerous to mention. Scholars desirous of having more information on the subject are recommended to 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 on the subject is R. D. Banerji's Eastern Indian School of Mediceval Sculpture, published by the Archaeological 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 to 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 or 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 Tantric deities such as Manjusrl, Tara, Khasarpana, Jambhala, Prajnaparamita and others. The Javanese art seems to 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 Vajrayana pantheon As Vajrayana was mainly a product of Bengal it is probable that colonists carried their art and religion to

Java and Indonesia by the sea route, probably from the sea^port atTamralipti or from Chittagong and Orissa. The Prajnaparamita image produced in the Javanese school has been acclaimed as one of the finest specimens of eastern art,

ancient or modern.

After the destruction of Buddhism 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 to Nepal which is protected on all sides by the

mighty walls of the Himalayan mountains, and took refuge in that country, and thus kept the torch of 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 not be preserved in Nepal, although earlier specimens of really good art are not at all wanting in the Nepal school. The followers of Vajrayana who went to Nepal in order to make sure of their existence

converted a good many Newars of the land to Buddhism and carved out innumerable images of gods and goddesses in stone, metal or wood, so much so, that a student of iconography is overwhelmed at their wealth and variety. It is however

curious to 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 immedia^ tely after the Muhammadan

conquest by the refugees fleeing from Eastern India.

The cumulative evidence of art, history, and literature leads one to 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 Guhyasamaja which for the first time inculcated the doctrine of the five Dhyani Buddhas and their

families, was composed in secret and transmitted in an occult manner for about three hundred years. This is one of the many reasons why neither the Guhyasamaja Tantra nor the Dhyani Buddhas nor the varied pantheon of Vajrayana could be

widely known. It is only in the Sadhana of Asahga as included in the Sadhanamala a definite reference to the five Dhyani Buddhas and their families is to be met with, and for that reason it is not improbable to connect Asahga with the

introduction of the very Guhyasamaja Tantra itself. The subsequent writers only got a glimpse of what filtered through the secret but very popular mystic organisations. After the 7th century secrecy was no longer necessary, as the

principles of Vajrayana were then fully established and widely spread through the teachings and mystic songs of the Siddhas and Mahasiddhas. The beautiful images produced by the priests and artists made the teachings doubly attrac- tive.

Great men came forward to advocate the cause of Vajrayana. Chairs for the study and teaching of Tantras were founded in the different and famous centres of learning such as Nalanda, Odantapuri, Vikramaslla and Jagaddala. Eminent scholars

like Santaraksita worked as professors of Tantra in the world famous university of Nalanda.

DHYANI AND MORTAL BUDDHAS.

The pantheon of the Northern Buddhists revolves round the theory of the five Dhyani Buddhas. The Buddhists believe that the world is composed of five cosmic elements or Skandhas. The five Skandhas are Rupa (form), Vedana^ (sensation),

SamjnS (name), Sahskara (conformation) and Vijnana (consciousness). These elements are eternal cosmic forces and are without a beginning or an end. These cosmic forces are deified in Vajrayana as the five Dhyani Buddhas. In the course of

time they were regarded as the five primordial gods responsible for this diversified creation, and thus Vajrayana took a polytheistic form, although polytheism can hardly apply to a system which considers ounya as the One, Indivisible

and Ultimate Reality. But so long as form could not be given to Sunya as an anthropomorphic deity, the system of five Dhyani Buddhas certainly had the flavour of polytheism. The priests and the Vajrayana 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 to 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 Dhyani Buddha becomes the Kulesa or the primordial lord, all other groups taking their origin from him* Another grand conception of the

Vajrayana Buddhism is the theory of the highest god Yajra^hair a > a J?Q, ..ffd JggL jjjkuddha, the primordial monotheistic god who is the embodiment ofSunya to whom even the Dhyani Buddhas owe their origin. The theory originated in the

Nalanda monastery in about the 10th century. l Thereafter, a large number of images of Vajradhara must have been made in the different schools of art. The special Tantra dedicated to Adibuddha is the Kalacakra Tantra which appears to be

the original Tantra in which the doctrine of Adibuddha was for the first time inculcated. The Kalacakra Tantra thus is a product of the 10th century. Vajradhara was particularly popular in Nepal and Tibet where numerous images

1. The idea of an Adibuddha originated in the Nalanda Monastery in the beginning of the 10th Century A.D. See JASB, Vol. II ( 1833 ) pp. 57 ff. Also Vajradhara Vs. Vajrasattva in JBORS, Vol. IX, pp. 114fF.

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 Nalanda according to him in the

beginning of the 10th century, and no mention of the Adibuddha cult is made by any writer prior to this time. Homage is paid to Adibuddha in the shape of a flame of fire which the priests consider as eternal, selPbbrn

~ancT~self*existent. It is said in tHe~~Svayambhti Purana that Adibuddha first manifested himself in Nepal in the form of a flame of fire, and ManjusrI erected a temple over it in order to preserve the flame. This ancient temple is known

as the Svayambhu Caitya.

The conception of Vajradhara presupposes Adibuddha and, there- fore, is later than the first half of the 10th century. Vajrasattva, being a regular development of the Bodhisattva Vajrapani emanating from the Dhyani Buddha Aksobhya, is a

little earlier, although the conception of Vajradhara and Vajrasattva are sometimes inextricably mixed up. In Vajrayana, Adibuddha is regarded as the highest deity of the Buddhist pantheon, the originator even of the five Dhyani 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 Vajra' paryahka 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 Ghanta (bell) in the left, the two hands being crossed against the chest in what is known as the Vajrahuhkara Mudra

(Fig 12). The Vajra (thunderbolt) here is the symbol for the ultimate reality called Sunya while the bell represnts Prajna or wisdom the sounds of which travel far and wide. Sometimes the symbols are shown on a lotus on either side, the

Vajra being on the right and the Ghanta in the left (Fig 13). In Yab-yum, his form remains the same as when single except that here he is locked in close embrace by his Sakti^or the female counterpart whose name according to Getty is

Prajnaparamita. The Sakti is somewhat smaller lri"sizerTs richly dressed and bedecked in ornarpents, carrying the Kartri (knife) and the Kapala (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, the JCapala stands for oneness absolute, while the double form Yab^yum represents that the distinction between duality and non^duality is unreal, and the two mix themselves into one

as salt mixes in water. The_deitv^ Vajiradhara is an embodiment ofthe Jhdghest. ^reality, , Sunya, ^jljLJE^SlP^rai^ta represents Karuna (compassion) and in close embrace they turn jntp one Sunya in which Karuna merges, and the duality

ceases.

Vajradhara

Vajradhara is described in Buddhist Tantric works and he has several forms. An important description in the Nispannayogavali is given below. This particular form of Vajradhara is three- faced and six-armed.

Vajradhara.

Colour Reddish White. Faces Three.

Arms Six. . Pose Tandava Dance.

Vajradhara is the principal deity in the Vajrasattva Mandala in the Nispannayogavali. He is described thus :

"Kutagaragarbhe Vajradharah. . .isadraktanu-viddhasitavarnah. . .trimu- kho mla-raktasavyetaravaktrah. . . sadbhujo vajra-ghantavirajitabhuja-

bhyam alingitasvabhaprajna savyakarabhy am krpanankusavarau

vamabhyam kapalapasabhrt ardhaparyahkena navanatyarasais-

tandavl." NSP. p. 8.

"In the innermost chamber of the Mandala 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 Ghanta he

embraces the Prajria. The two other right hands show the excellent sword and the Ankusa. In the two remaining left hands, he carries the Kapala and the noose. He stands in the Ardhaparyahka and dances the Tandava dance exhibiting 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 or the first creative principle. When the theory of Adibuddha was fully established the Buddhists seem to 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 Dhyani Buddhas as the Adibuddha, some acknowledged Vajrasattva as the Adibuddha. Many others were content to regard the

Boddhisattva such as Samantabhadra or Vajrapani as the Adibuddha. Thus the cult of Adibuddha was widely distributed amongst the different 'schools, which gave rise to as many different sects amongst the Tantric Buddhists.

Vajradhara or the Adibuddha is supposed to be the originator of the five Dhyani Buddhas, the progenitors of the five Kulas or families of Buddhist gods and goddesses. Next to Vajradhara the Phyani^jBu.ddhas or the Tathagatas are

important in Buddhist iconography and, therefore, requires treatment in detail. The Guhyasamaja Tantra (Tantra of Secret Communion) was the first to reveal their existence in a Sahglti (holy assembly) which is supposed to introduce new ideas into Buddhism.

In the Guhyasamaja l the Dhyani Buddhas are given a Mantra, a col- our, aSakti^a direction, and a guardian of the gate. As these Dhyani Buddhas are of primary importance in Buddhist iconography, it is nece- ssary to deal with their

origin in some detail here. The Guhyasamaja opens in a grandiloquent style with the description of a monster assem- bly of gods, Tathagatas, Bodhisattvas, Saktis, and various other divine beings. The Tathagatas present in the Assembly

requested the Lord Bodhicittavajra to define the Tathagatamandala or the magic circle of the five Dhyani Buddhas and in response to their request, the Lord sat in a special Samadhi (meditation) called the Jnanapradipa (lamp of know-

ledge), 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 (Mudra).

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 Vairocana with the Dharmacakra Mudra

and was placed in his front in the East.

Next with a third Samadhi (meditation) the Lord became resonant with the word RATNDHRK the principal mantra of the Cintamani family and soon became condensed in the human form of Ratnaketu with his favourite signal of Varada (gift

bestowing) and was placed to the south of the Lord.

The Lord thereupon took a fourth Samadhi and became resonant with the sacred sound of AROLIK, which is the principal mantra of the Vajraraga family. The vibrations soon grossened themselves in the human form of Amitabha with the signal

of Dhyana (meditation) and was placed behind the Lord in the west.

Next, the Lord assumed another Samadhi 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 was placed by the Lord in the north.

Then the Lord sat in a series of special Samadhis, five in number, and became resonant with five different mantras. The vibrations in like

Guhyasamaja, chapter 1 is entirely devoted to the formation of the Dhyani Buddha mandala.

manner were condensed in the form of five goddesses as female counter- parts of the five Tathagatas already named and were placed in their appropriate positions.

Thus, the Lord in the first Samadhi 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 fRSYARATI which took the shape of a goddess and was placed in the southern direction as the queen of Ratnasambhava.

Next in another Samadhi 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 Amitabha.

Then in a further meditation the Lord became resonant with the sound VAJRARATI which took the concrete shape of a goddess and was placed in the northern direction as the queen of Amoghasiddhi.

When all the Tathagatas were associated with their female counter- parts 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 Mahavairocanavajra Samadhi and became resonant with the sound YAMANTAKRT. These sound vibrations soon assumed the concrete shape of a violent deity, fearful to the Tathagatas, 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 to the Vajra process, and was placed at the southern gate.

In a third Samadhi the Lord became vibrant with the sound PADMANTAKRT which soon took the form of a violent deity repre- senting the speech of the Tathagatas and was placed at the western gate.

Finally, the Lord sat in another Samadhi called the Kayavakcittavajra of the Tathagatas, and became vibrant with the sound VIGHNANTA- KRT which soon took the shape of a violent deity representing the body, speech and the mind of the

Tathagatas, and was placed at the northern gate.

The above account as recorded in the Guhyasamaja Tantra marks the beginning of the theory of the five Dhyani Buddbas, their counter- parts, their mantras and the guardian of the gates. \ The five Dhyani Buddhas ar* *hp Corner stones of

Buddhist Iconography on which the whole edifice of the Buddhist pantheon is crecte^ The five Dhyani Buddhas are the progenitors of the five Kulas orramilies of deities, and the community worshipping them were known as the Kaulas, and the

process of worship was called Kulacara or family conduct. These Dhyani Buddhas further split 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. I

The five Dhyani Buddhas who are the embodiments of the five Skan- dhas or primordial elements are the progenitors of the five families of deities constituting the whole of the Buddhist pantheon. The emanated deities of these Dhyani Buddhas, as a rule, hold the miniature figure of the parental Dhyani Buddha on their heads and are usually of the same colour as that of the Dhyani Buddha and are placed in the same direc- tion as is assigned to their sires. This very

plan is followed most scru- pulously in almost all the Mandalas or magic circles as described in the remarkable work, Nispannayogavali of Mahapandita Abhayakara Gupta. '

The names, colours and the symbols of the five Dhyani Buddhas are stated briefly in the following verse occuring in the Sadhanamala :

Jino Vairocano khyato Ratnasambhava eva ca Amitabhamoghasiddhiraksobhyasca prakirtitah Varna amisam sitah plto rakto haritamecakau Bodhyahgl Varado Dhyanam Mudra Abhaya-Bhusprsau.

"The Jinas (victorious ones) are Vairocana, Ratnasambhava, Amita* bha, Amoghasiddhi and Aksobhya. Their colours are white, yellow, red, green and blue, and they exhibit the Bodhyahgl (teaching), Varada (boon), Dhyana (meditation), Abhaya

(protection), and Bhusparsa (earth-touching) attitudes of hands respectively/'

iThe Dhyani Buddhas are a peculiar kind of Buddhas who are not required to 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. To create is the work of their emanations, the Divine Bodhisattvas. As has been said already, the Dhyani Buddhas are five in number to which a sixth Vajrasattva is sometimes added. The Guhyasamaja Tantra makes it clear that all the five Dhyani Buddhas 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 Dhyani Buddhas might have

owed their origin to the theory of the eternity of the five senses, seems to be borne out by a passage in the Cittavisuddhiprakarana l of the Tantric Aryadeva. I

But it may also be possible that the five Mudras which Buddha Sakya- simha 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

Dhy an i Buddhas (Figs 17, 18). Advayavajra who flourished in the llth century, has written in one of his short works that the five Dhyani Buddhas took their origin from the theory of the eternity of the five Skandhas (elements), that is

to say, that the Dhyani Buddhas represented the five primordial cosmic forces which are responsible for creation. Vajrasattva, the sixth Dhyani Buddha, who is generally regarded as the priest of the five Dhyani Buddhas and is usually

represented with the priestly symbols, the Vajra and the Ghanta, is an embodiment of the five Skandhas collectively, and un- doubtedly a later addition to the pantheon of the Northern Buddhists. The Dhyani 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 to 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 Dhyani Buddhas are generally represented on the four sides of a Stupa which is the symbol of the Buddhist Universe, facing the foi!r cardinal points. Vairocana is the deity of the inner shrine and is, therefore, generally

unrepresented. But exceptions to this lule are by no means rare. He is occasionally assigned a place between Ratnsam* bhava in the south and Aksobhya in the East. Independent shrines are also dedicated to each of the Buddhas. .

The five Dhyani Buddhas are given each a special recognition symbol and a colour. The symbols are extremely important for the purpose of iconographical studies, because the female counterparts and the wrings of the DhySni-Bddhas

invariably display these symbols in orderto sKow^theit^ origin/ 1'fius Amitabha is given the Lotus as the recognition symbol.^ His Sakti Pandara and his Bodhisatta Padmpajii must exhibit the Lotus symbol in order to show that they are

the emanations of Amitabha. Similarly, all the other Dhyani Buddhas also have their own symbols and the name of the family is generally fixed from these symbols ; for instance, Amitabha is the progenitor of the Lotus family, Aksobhya is

the leader of the Vajra family, Ratnasambhava is the embodiment of the Jewel family, and so forth.

The Advayavajrasangraha gave special epithets to the Dhyani Buddhas to indicate their families, although these special epithets are not known from any other source. According to this authority, Amitabha is Padmakuli, Aksobhya is

Vajrakuli, Vairocana is Tathagatakull, Ratna- sambhava is Ratnakuli and Amoghasiddhi is Karmakuli. The 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 Dhyani Buddhas is important. Each Dhyani Buddha has a special colour and this colour is required to be shown by all originating from each, Sometimes in classifying Buddhist deities there is no other

sure indication of the parental Dhyani Buddha except the colour. On the ground of colour alone, and in the absence of positive mention of the parental Dhyani Buddhas, several deities have been classified in this book in this manner.

A detailed description of the Dhyani 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 Tantric works have been incorporated to indicate the source of information wherever possible.]

AMITABHA. , ,

Colour- Red Vehicle Peacock /

Mudra Samadhi Symbol Lotus

| By far the most ancient among the Dhyani Buddhas is Amitabha who is said to reside in the Sukhavati heaven in peaceful meditation. He presides over the current Kalpa (cycle) which is Bhadrakalpa. As a Dhyani Buddha he does not create.

It is his Bodhisattva Padmapani, also known as Ayalokitesvara, who is responsible for creation. The form of Amitabha is described in the Pancakara section of the Advayavajrasamgraha thus : J

"Pascimadale Ravimandalopari rakta-Hnhkarasambhuto raktavarno Amitabhah padmacihnah samadhimudradharah samjnaskandhasvabhavo ragasarirah sukratmakah padmakull pratyaveksanajnanalaksano gris^ marturupaha mlarasasarlrah tavargatma

V'On the western petal on the disc of the sun there is Amitabha of red colour originating from the red syllable Hnh. | He has a lotus as his sign and he exhibits the Samadhi Mudra in his two hands. He is of the nature of the cosmic

element of Samjna (name), is an embodi* ment of attachment and belongs to the Lotus family. He stands for the vital fluid, and is endowed with the Pratyaveksana (looking after) 7

knowledge. He represents the summer 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 Stupa, he always faces the West and the Nepalese Buddhists regard him as the fourth Dhyani Buddha. His two hands with palm open lie on his lap, one upon the other forming the Dhyana or the meditative mudra. His

colour is red and his Vahana 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 Dhyani Buddha is reproduced in Fig. 19. Besides the two-armed form

various other forms are known of this and other Dhyani Buddhas. It may be remembered here that all the five miniatures reproduced here belong to the collection of Dr. Evans* Wentz.

Amitabha images are found in abundance in Tibet 1 and in China 2 [

PANDARA

I ' Colour Red Symbol Lotus

| Pandara is also called Pandaravasini. According to a Dhyana in the Advayavajrasahgraha she belongs to the Lotus family which is also the family of the Dhyani Buddha Amitabha. Pandara thus is the"~spiritual consort of Amitabha. \Her

form and nature are des* cribed as under : |

"Vayavyam candramandalopari Parhkarabljasambhuta Pandarava* sini rakta raktavarna padmacihna tejodhatusvarupa padmakula ragarakta." ADV. p. 43.

"In the Vayu corner on the orb of the moon there is Panda- ravasini originating from the ( red ) germ syllable Parh. I 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 to the Lotus family and is full of attachment."

Images and paintings of this goddess are rare. She is however known in Nepal in paintings, and some of her sfejuettes are found in China A Fig 20 illustrates a Nepalese drawing of the goddess. ^

Pandara is represented in Tibet 3 and China 4 . The illus" trations of drawings of all the five Buddhasaktis, Pandara and others are reproduced from Wright's Hutory of Nepal, Plate VI. These drawings are made by Nepalese painters.

PADMAPANI=

Colour Red Symbol Lotus '(

I Padmapani is the Bodhisattva attached to the Padma ( lotus ) family which is presided over by the Dhyani Buddha Amitabha whose spiritual consort is Pandara or Pandaravasim. The Lotus is the symbol of this family and the colour assigned

to this family is red. The Bodhisattva Padmapani begets the red colour and a full*blown lotus as his symbol. Padmapani is fairly well represen- ted in the Buddhist countries of the North including Tibet l and China./ One of his images is

illustrated in Fig. 21 2 .

2. AKSOBHYA.

Colour Blue Mudra Bhusparsa

Vehicle Elephant Symbol Vajra

Next in importance and antiquity is the Dhyani Buddha Aksobhya whcTlsHnientioned as a Tathagata in the smaller recension of the Amitayus Sutra which was translated into Chinese between A. D, 384 and 417. Aksobhya is regarded as the

Second Dhyani Buddha by the Nepalese Buddhists. His description appears almost everywhere in Tantric literature. The Paficakara section of the Advayavajrasangraha perhaps gives the best description thus :

^Suryamandalastha-nlla-Humkaranispanno dvibhuja ekamukho Bhu-

sparsamudradharo vajraparyankl vijnanaskandhasvabhavah

vajrakuli sisiramadhyahnakatusruti'akasasabda-cavargo Aksobhya-

viuddhah". ADV. p. 40-41.

| Aksobhya originates from the blue syllable Hum which is placed on the orb of the sun. He is two-armed and one-faced, exhibits the Bhusparsa (earth-touching) mudrf and sits in the Vajraparyanka (adama"ntineleat) pose. He represents the

primordial cosmic element of Vijnana ( consciousness ). He is the embodiment of the Vajra family and represents the winter season, noon-time, pungent taste, faculty of hearing, the element of Ether and Sound and the Ca (palatal) group of

letters".- J

\Images, sculptures, statuettes and paintings of Aksobhya of this description are to be met with everywhere in Buddhist countries especially of the North. When represented in the Stupa he always

1. Getty : GNB. pp t 61, 62

2. This and other illustrations of the five Dhyani Bodhisattvas are in full- size bronzes. All these are to be found in the U Vahal in Nepal.

faces the East. His left hand rests on the lap while the right Crests on the~nght knee with the tips of the fingers touching the ground with palm drawn inwardly. JffisJVahana is a pair of elephants and his recognition symbol is the Vajra

or the thunderbolt.

Various other forms of Aksobhya are found in Tantric works,

some four^armed, some six-armed, some standing and some sitting,

some single and some in Yab-yumj| Some two-armed specimens are

reproduced here (Figs. 22, 23).

, /He is popular in Tibet 1 and China

(ii)

Colour Blue Arms Eight

Aksobhya is the principal deity in the Aksobhya Mandala according to Pindlkrama in the Nispannayogavall. He is described thus :

"Aksobhyah krsno raudrah sitaraktasavyetaramukhah savyakaraih kulacakrapadmani vamair-ghanta-Cintamani-khadgan vibhranah svabha- parsavajralingitah". NSP. p. 5!

| "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 Cintamani jewel and the sword. With the two principal hands he embraces the Prajna Sparsavajra by name", j

MAMAKI

1 Colour Blue Symbol Vajra

According to a Dhyana in the Advayavajrasafigraha, Mamaki belongs to the Vajra family and thus she is the spiritual consort of the Dhyani Buddha Aksobhya, the embodiment of the Vajrakula. |The description is given below : f

Nairrtyarh candramandalopari krsna-Mam-karabijasambuta Ma- maki krsnavarna krsnavajracihna abdhatusvabhava Vajrakula dve* sarakta"! ADV. p. 4!

"On the orb of the Moon in the Nairrta corner there is Mamaki originating from the blue germ syllable Mam. \ She is blue in colour and has the blue Vajra as her recogntion symbol. She is the embodi- ment of the element of Water and she

belongs to the Vajra family. She is full of enmity", f

Mamaki is very rarely represented. There are Nepalese drawings of this goddess J of which one specimen is reproduced here (Fig 24). She is known in Tibet and China.f

1. Gordon : ITL, p. 104 ; Getty : GKB, pp. 36, 37.

2. Clark: TLP, II, pp. 126, 129, 138, 244.

VAJRAPANL

Colour Blue Symbol Vajra

I The Bodhisattva Vajrapani with the Vajra symbol is the spiritual son of the Dhyani Buddha Aksobhya who is the progenitor of the Vajra family. His spiritual mother is Mamakl. Vajrapani, when represented, either stands or sits and

carries usually^ lotus on which is placed the family symbol of Vajra. Sometimes he holds the Vajra against the chest in one of his hands/ Some images of his are illus- trated here (Figs. 25, 26, 27).

He is known and widely represented in Tibet l and China 2 J

VAIROCANA

Colour White Mudra Dharmacakra

Vahana Dragon Symbol Discus

f Vairocana is mentioned along with the other Dhyani Buddhas in the Guhysamaja which is dated circa 300 A.D. He is regarded as the oldest^ ^^ t ' le ^ rst Dhyani Buddha by the Nepalese Buddhists and His place is in the sanctum of the

Stupa where he is the master of the whole temple and its contents. Naturally, therefore, he cannot be represented outside the Stupa, but exception to this rule is frequently met with in the important stupas of Nepal where he is assigned

a place between Aksobhya in the East and Ratnasambhava in the South. His form is frequently described in Tantric works, but the description occuring in the Pancakara section of the Advayavajrasahgraha is full. It is given below : |

"Purvadale candramandalopari Omkarajah Suklavarna*Vairocanah suklacakracihnah Bodhyahgl-mudradharah rupaskandhasvabhavah mohasvarupo vitavisuddhah tathagatakuli adarsatvena pratisthitah Hemantartuvisuddhah madhurarasasarlrah Kavargavyapl

prabhatasan- dhyatmakyasvabhavah". ADV. p. 41

Vj'Vairocana originates from the white syllable Om 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 Bodhyafigl mudra and represents the

cosmic element of Rupa (Form). He is of the nature of Moha (delusion) and is without bad companions, he is the embodiment of the Tathagata family, and is established as an embodiment of Adarsa (ideal) knowledge. He represents the Hemanta

season, the sweet taste, the Ka (guttural) group of letters, and the mornings and evenings of the day". \

1. Getty : GNB. p. 51

2* Clark : TLP. II. pp. 8, 11, 56, 197, 201.

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 Vahana is a pair of Dragons or gryphons and his recognition symbol is shown

to be the Cakra or the Disc.

Instead of two, he may have many arms, and such descriptions are also met with in the Nispannayogavall./ Some of his two-armed images are reproduced here (Figs 28, 29). / His images are found in Tibet l and China a /

( ii )

Colour White Faces Four

Arms Eight

When Vairocana is four-faced and eight-armed he is called Vajra- dhatu and in this form he is described in the Vajradharu Mandala of the Nispannayogavall with the following words :

"Vairocano vajraparyankena nisannah subhrah sita-pita-rakta- harita^caturvaktro astabhujah savyavamabhyam dhrtasavajrabodhyangi- mudro* parabhyam dhrtadhyanamudro daksinabhyam aksamalasara- dharo vamabhyarh cakracapabhrt". NSP. p. 44-

"Vairocana is seated in Vajraparyahka and is white in colour. His four faces show white, yellow, red and green colours. I He is eight- armed. With the two principal hands holding the Vajra he exhibits the Bodhyahgl or the Dharmacakra

mudra. With the second pair of hands he shows the Dhyana mudra. The two remaining right hands hold the rosary and the airow, and with the two remaining left he carries the discus and the bow". |

Vajradhatu Buddha is mentioned in the Chinese collection 1 . The Chinese figure corresponds with the description given here and is illustrated in Fig 30.

LOCANA.

Colour White Arms Two

Symbol Discus

The Dhyani Buddhas are a]J associated with their Sakti or female counterpart and an offspring or Bpdhisattva. They fall into a separate group of five or six if Vajra$attva is added. Locana belongs to the Tathagata family to which the

Dhyani Buddha Vairocana also belongs. Thus Locana is the, Sakti or the female counterpart of the Dhyani Buddha Vairocana, f A short Dhyan^ in the Advayavajrasahgraha describes her form thus ; [

"Agneyakonadale candramandalopari sukla-Lom-karaja suklavarna Locana cakra-cihna prthvidhatusvarupa Tathagatakulodbhava mo* harakta". ADV. p. 42

"On the disc of the moon on the petal in the Agni corner there is Locaria originating from the white germ syllable Lom. J She is white. in colour, bears the recognition symbol of the discus, and is the embodi- "1*1 em of t h e

cosimc~eIenSnF"bT Earth. She belongs to the Tathagata fanuTy^anHTs steeped in delusion".

Paintings and sculptures of this goddess are rare, | A Nepalese draw- ing of the goddess is reproduced here in Fig. 31 Locana is represented in Tibet. *

SAMANTABHADRA

Colour White Symbol Cakra

I The Dhy ani Buddhas are the progenitors of the different families and they have each a spiritual consort and spiritual son. These spiri- tual 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 to the Dhayani Buddha Vairocana with the Cakra symbol. He belongs to the Tathagata Kula. When represented,! he

either stands erect or sits in different sitting attitudes, such as Dhyana, Lalita or Bhadra poses on a full-blown lotus. He usually holds the stem of a lotus on which the family symbol, the Cakra, is shown.

Samantabhadra is known in Tibet 2 and China ;i and is frequently represented in the Buddhist countries of the North. | One of his images is illustrated here in Fig. 32.

4. AMOGHASIDDHI.

Colour Green Mudra Abhaya

Vahana Garuda Symbol Visvavajra

VThe Nepalese Buddhists consider him to be the Fifth Dhyani Buddha in order. His left hand lies open on the lap and the right exhibits the Abhaya ( protection ) mudra. His form is des- cribed in many places in Tantric works I but the one

appearing in the Advayavajrasahgraha appears to be the best and i$ quoted below : t

"Uttaradale suryamandalopari syama-Kham-karajah syamavarno- 'moghasiddhih visva-vajracihnabhayamudradharah Samskaraskandha-

avabhavo Varsarturupah [Karmakull] pisitap(s?)ahtiktarastmakah pavargavisuddhah ardharatrasvabhavah." ADV. p. 41-42

"Amoghasiddhi originates from the green syllable Kharh placed on the orb of the sun on the northern petal of the lotus, and is of green colour. /His recognition symbol is the Visvavajra or

the double thunderbolt. He exhibits the Abhaya ( protection ) mudra and represents the cosmic element of Samskara ( confor- ritotion ). He is the embodiment of the rainy season and is a demon by nature ; [ he belongs to the Karma family

] and he represents 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 Vahana is a pair of Garudas and his recognition symbol is the Visvavajra 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 Dhyani 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 a f

TARA.

Colour Green Symbol Utpala

| Tara also called Tarim according to a Dhyana found in the PancSkara section of the Advayavajrasahgraha belongs to the Karma family to which evidently the Dhyani Buddha Amogha- siddhi is also associated. The green colour of Tara also

suggest: that she is the spiritual consort of Amoghasiddhi of green colour Her form and nature are given in the following passage :

"Atsanyarh candramandalopari kanakasyama-Tarh karaparinata TarinI syamavarna syamamlotpalacihna vayudhatusvarupa Karmakula Irsyarakta." ADV. p. 43.

"In the Isana corner on the orb of the moon there is TSrim originating from the germ syllable Tarn of golden green colour Her recognitipn_ symbol is a green night lotus. She is the embodiment of the element of Air/ SKe belongs to family

and is full of jealousy." 1

The same remarks apply to her images and paintings which are rare in India* One specimen of her images is illustrated here (Fig. 35 ), In Tibet 1 and China 2 she is widely known.

VISVAPANI

Colour Green Symbol Visvavajra. i

Visvapani, as the name indicates, is the holder of the Visvavajra or the double thunderbolt which is the symbol of the Dhyani Buddha Amoghasiddhi, whose spiritual consort is Tar a or Tarim. They all belong to what is called the Karmakula

to which the green colour is assigned. Visvapani thus is green in colour and shows the Visvavajra on a lotus. When represented, he may. stand erect or sit in different sitting postures. His images are sometimes found, and one specimen is

illustrated here ( Fig 36 ). Visvapani is known in Tibet r>

RATNASAMBHAVA.

Colour Yellow Mudra Varada

Vahana Lion Symbol Jewel !

I The Nepalese Buddhists regard him as the Third Dh>uni Buddha in order, and the earliest mention of his name may be found in the Guhyasamaja which is believed to have been composed circa 300 A.D. He is the progenitor of the Ratnakula,

and is described widely in the Buddhist Tantric works. Out of all descriptions the one given in the Pancakara section of the Advayavajrasahgraha is perhaps the besty Here Ratnasambhava is described as under : J

"Daksinadale suryamandalopari TranVkarajah pitavarno Ratnasam- bhavo ratnacihnavaradamudradharo vedanasvabhava'piiunasanrah rak- tatmako ratnakull samatajnanavan vasantarturupo lavanasanrah Tavar- gavyap! trtlyacaturtliapraharatmakah".

ADV, p. 41.

^"Ratnasambhava originates from the yellow syllable Train placed on the orb of the sun on the southern petal./ He is yellow in cqlour* his recognitiqn symbol is the jewel and he exhibits the Varada (gift" bSstnwing) Mudra. He represents

the cosmic element of VedanS (sensation) and is the embodiment of slander (pisuna). He presides over the blood in the human system, and belongs to the Ratna (jewel) family of deities. He possesses the knowledge of Samata (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", \

1. Getty : GNB, p. 127 2 Clark: TLP, II, pp. 60, 107, 171.

3. Getty: GNB, p. 10 i 10

When represented, his colour is yellow* and he alwayvS faces the South. His left hand rests on the lap with "opeiTpalm, and the TTgBt 'exhibits the Varada Mudra or the gift bestowing attitude. His Vahana is a pair of lions, and

theTCTOgnition symbol is the Jewel (Ratnacchata),

He may have more arms than two and in such forms he is described in^lhe Nispannaybgavali. ~Such forms alre also represented iti art."f"Some oT"his two-armed forms are only illustrated here (Figs 37, 38), \ He is widely known and

represented in Tibet 1 and China -./

VAJRADHATVI&VARI

J Colour Yellow Symbol Jewel

/ Vajradhatvisvarl, according to a statement in the Advayavajrasam* graha is the deity of the centre surrounded by the four Buddhasaktis, bocana, Tara, Pandara, and MamakL She is said to be the embodi- ment of the highest truth in

Mahayana Buddhism which is named differently as Tathata, Sunyata, Frajnaparamita and so forth :t . Vajradhatvisvan thus can be taken as the spiritual consort of Ratna- sambhava only, with the yellow colour and the jewel as symbol.

Images and paintings of this deity are still rarer than those of the other Buddhasaktis. / One of her Nepalese paintings is illustrated here (Fig 39). / She is known in Tibet *./

RATNAPANI

Colour Yellow Symbol Jewel

Ratnapani, as the name signifies, belongs to the Ratnakula which is presided over by the Dhyani Buddha Ratnasambhava, whose spiritual consort is Vajradhatvisvan. Ratnapani is of the same nature as the Dhyani Buddha and when represented,

he either stands erect, or sits in different sitting postures. He

stalk of a lotus on which appears the" Kula symbol hefe~thne Jewel (Ratnacchata). He is represented sparingly in the BuddTiist Countries of "the North, and a metal image of his found in Nepal is illustrated here (Fig 40). Ratnapani is

known and represented in Tibet 5 .

VAJRASATTVA.

Colour White Symbols Vajra and Ghanta

( Vajrasattva, the Sixth Dhyani Buddha, is regarded by the Nepal Buddhists as the priest of the Five Dhyani Buddhas. He is not repre-

sented in the Stupa like the other Dhyani Buddhas, but independent shrines are dedicated to his worship. His worship is always performed in secret and is not open to those who are not initiated into the mys- teries of Vajrayana.

Vajrasattva is represented in two forms, single and Yub-yum.

The notable feature of this Dhyani Buddha is that he wears all ornaments, rich dress and a crown instead of the poor dress of the other Dhyani Buddhas consisting of three rags (tricivara). Thus Vajrasattva appears more to be a

Bodhisattva than a Dhyani Buddha.

He sits cross-legged in the meditative pose like the other Dhyani Buddhas, and exhibits no special Mudra. He carries the Vajra in his right hand with palm upwards against the chest and the Ghanta (Bell) in the left hand resting against

the left thigh. His form is repeatedly described in Tantric works. jThe description given in the Advaya- vajrasafigraha is typical and is quoted below :

"Vajrasattvastu Hurhkarajanma suklo dvibhuja ekavaktro vajra- vajraghantadharo Kasayarasasanrah saradrtuvisuddho Yaralavadyatma- kah ardharatratah prabhatakalaparyanto Dharmadhatuparanama",

ADV, p. 41.

"Vajrasattva originates from the syllable HUM and is white in colour. He is two-armed and one-faced and holds in his two hands the Vajra and Vajra-marked Ghanta. |He represents the as- tringent taste, the Autumn season, the letters of

the alphabet ya, ra, la, and va, and the part of the night from midnight to day-break. His second name is Dharmadhatu". \

I When represented singly, he is exhibited before the public. The Yab"yum form is generally kept" secret. When represented in Yab- yumV'he is closely associated with his Sakti who is generally known as Vajrasattvatmika. He carries the

Vajra and the Ghanta in the same manner as when single, but the Sakti holds the Kartri in the right hand and the Kapala in the left (Figs. 41, 42). *

He 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 Dhyani Buddhas is anomalous. Vajrasattva is widely represented in Tibet l and China f

VAJRASATTVATMIKA

Colour White Symbol Kartri and Kapala

Arms Two

/ As all the Dhyani Buddhas have a Sakti each attached to them, even so the Sixth Dhyani Buddha Vajrasattva also can claim a Sakti. Vajrasattvatmika thus is the spiritual consort of the Sixth Dhyani Buddha Vajrasattva. Hejr Dhyana is

rarely found, in.. Tan- trie literature, but her form can Tie seen from the images where she is in close embrace with Vajrasattva in Yab-yum. In such cases she carries the Kartri in the right hand and Kapala in the left. /

GHANTAPANI

Colour White Symbol Ghanta

The Sixth Dhyani Buddha Vajrasattva and his consort Vajrasa- ttvatmika claim Ghantapani as their Bodhisattva. The recognition symbol of this Bodhisattva is the Ghanta or the Bell Like his spiritual sire he must be white in colour.

Ghantapani is rarely represented, and his images are very rare in Buddhist countries.

MORTAL BUDDHAS

Both the Mahayanists and the Hmayanists hold that a Buddha is one who is endowed with the thirty-two major and eighty mi- nor auspicious marks known as "external characteristics" as enu- merated in the Dharmasarhgraha, attributed to

Nagarjuna. He must have in addition, three kinds of mental characteristics, namely, the ten Balas or forces, eighteen Avenika Dharmas or peculiar proper- ties, and the four Vaisaradyas or points of self-confidence or assurance.

The Hmayanists, even in their earlier stages, recognised four bygone Buddhas, each having a peculiar Bodhi tree. Mahayanists also give several lists, though not systematically and thirtyjjwp different names have been recovered. The last

seven Jathagatas are well known, and are designated by the Mahyani* sts aT^MTOtlsi or^ Mortal Buddhas. These are, Vipasyin, Sikhi, Visvabhu, Krakucchanda, Kanakamuni, Kasyapa and Sakyasimha. The historicity of these Buddhas is still

uncertain excepting of course that of the last, but there are good grounds for thinking that Kanakamuni and Krakucchanda really w^re^ historical personages*

Attempts have been made to establish a fantastic connection between the last five Mortal Buddhas and the five Dhyani Buddhas and their Bodhisattvas by holding that the Divine Bodhisattvas

discharge their duties of creation through the agency of the five portal Buddhas. The theory may be current in Tibet ; it may ingeniously establish a new connection and may find strong support from scholars, but it is against all Tantric traditions of India.

When represented, the last seven Mortal Buddhas appear all alike ; I they are of one colour and one form, usually sitting cross-legged, with the right hand disposed in the Bhumigparsa

touching attitude)", which is^the MudrOpeculiar to Aksobhya and as^a matter ot t'act, it is not possible to identify a sculpture of the latter unless it is coloured or if no 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. 1

Sometimes they are represented as standing, in which case they appear under a distinguishing Bodhi Tree and with a distinguish- ing Mudra. 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.

VAJRASANA

Gautama, the last of the group of the seven Mortal Buddhas, is widely represented both in sculptures and in paintings. His images date from a period anterior to the birth of Christ and the fascination of Indian sculptors for Buddha

images seems never to 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 influ- ence of Buddhism,

Images of Buddha, therefore, are an indepen- dent study by themselves.

The Sadhanamala furnishes us with several descriptions of Buddha Vajrasana sitting in the Vajraparyahka attitude, with his right hand displaying the Bhumisparsa pose. The Dhyana, as given in one of the Sadhana is quoted below :

"Savyakarena Bhusparsamudram utsahgasthitavasavyahastam kiisaya- vastravagunthanam mlagauraraktasyamacatur-Maropari visva-padmavaj- rSvasthitarh santam laksanavyanjanenanvitagatram. Tasya Bhagavato daksine Maitreya^Bodhisattvam gauram

dvibhujarh jatamukutinam savyakarena camararatnadharinam avasavyena nagakesarapuspacchata^ dharinam, Tatha vamato Lokesvarram suklam daksinakarena cama-

1* Colossal images of the Seven Mortal Buddhas representing them with the Bhu- mi^parla mudra appear in one of cave temples at Ellora. Fergusson and Burgess: Cave Templet of India, p. 383.

"The worshipper should meditate himself as (Vajrasana) who dis* plays the Bhusparsa Mudra 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 Maras 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 Jatamukuta (crown of matted hair), and carries the chowrie-Jewel in the right hand, and the Nagakesara flower in the left.

"Similarly, to the left of the principal God is Lokesvara of white complexion, carrying in his right hand the chowrie and the lotus in the left.

'These two gods should be meditated upon as looking towards the face of the (principal) god

"Here ends the Sadhana for Vajrasana"

Images of this divinity are found in overwhelming numbers in almost all Buddhist centres in India. The Indian Museum image (Fig. 46) is an example of this form of Gautama.

Buddha Sakyasirhha was conceived in another form which was called by the name of Durgatiparisodhana. This particular form of Sakya*- simha is described in the Nispannayogavali of Abhayakara Gupta.

DURGATIPARISODHANA.

Colour Yellow Face One Arms Two Mudra Dharamacakra

Sakyasimha, the embodiment of Mahavairocana, is the principal deity in the Durgatiparisodhana Mandala of the Nispannayogavali. He has been described in a short sentence :

"Cakrasya vedyam visvasarojasthasimhopari snoakyasirhhoBhagavan Mahavairocanah suvarnavarno dhrtadharmacakramudrah,

"NSP, p. 66.

"On the centre of the wheel on a lion placed on a double lotus sits the god Sri Sakyasimha, the embodiment of Mahavairocana of golden yellow colour, dispalying in his two hands the Dharmacakra Mudra".

Nepalese paintings of the deity are available, but sculptures are hot recorded anywhere, , ^

Like the Dhyani Buddhas, the Mortal Buddhas have also their res- pective Buddhasaktis through whom they obtained the seven Mortal Bodhisattvas. The Buddhasaktis are :

1. Vipasyanti

4. Kakudvatl

2. SikhimalinI

5. Kanthamalini

3. Visvadhara

6. Mahidhara

7. Yasodhara

Representation of these are not met with anywhere in India. Only one Statuette of the last Yasodhara is found in China * .

MORTAL BODHISATTVAS

They were brought into existence by their respective Mortal Buddhas and their Saktis. They are :

1. Mahamati

4 Sakamangala

2. Ratnadhara

5. Kanakaraja

3. Akasaganj

6. Dharmadhara

7. Ananda

The names of Yasodhara and Ananda are familiar names, the former being the name of Sakyasimha's wife and the latter that of his favourite disciple.

The relation between the Mortal Buddhas, their Buddhasaktis and the Bodhisattvas may be thus shown in a tabular form :

Ananda N*^,.^-

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. Asahga is said to 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 Hinayanists and the Mahayanists and his images can be traced from the Gandhara School down to the present time/

Hiuen Tsang records the existence of Maitreya in Udyana (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 Padmapani mainly by the figure of a small Caitya which he bears on his crown. Getty

remarks that in Indian sculpture he shows in his hands the usual Dharmacakramu- dra ; 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 represen- ted seated as a Buddha, with legs either interlocked or dangling down. His colour is yellow, and his images sometimes bear the figures of the five Dhyani Buddhas, on the aureole behind. The small

Caitya on the crown of Maitreya is said to refer to the belief that a Stupa in the mount Kukkutapada near Bodh-Gaya covers a spot where Kasyapa Buddha is lying. When Maitreya would descend to earth he would go direct to the spot, which

would open by magic, and receive from Kasyapa the garments of a Buddha.

The Sadhanamala 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 accompa- nies others, he generally carries the chowrie in

the right hand and the Nagakesara flower in the left. The Sadhana describing the procedure of his worship has Dhyana :

Pita* MamYkaraparina tarn visvakamalasthitam trimukham

caturbhujarh krsnasukladaksinavamamukham suvarnagauram sattvaparyahkinam vyakhyanamudradharakaradvayam aparadaksi* navamabhujabhyam varadapuspitanagakesaramanjarldharam

nanalahka radharam atmanam Maitreyarupam aiambya

"The worshipper should meditate himself as Maitreya who ori- ginates from the yellow germ syllable "Maim". He is three-faced three-eyed, and four-armed. His right and left faces respectively are of blue and white colour. His complexion

is yellow like that of gold. He sits in the Paryanka attitude on an animal His two hands are engaged in exhibiting the Vyakhyana Mudra and he shows in his other right and left hands the Varada Mudra and a full-blown Nagakesara flower

with its branches He is decked in many ornaments. Meditating thus ..

This is the Sadhana for Maitreya.

A Nepalese drawing (Fig. 47) represents 'this form of Maitreya which follows the Dhyana in all .details except the vehicle. Maitreya is popular in Tibet 1 and his images are found in abundance in China 1 ',

THE BODHISATTVAS

I The term Bodhisattva consists of two words Bodhi (enlightenrrent) and Sattva (essence) and they represent a class of deities who derive their origin from the five Dhyani Buddhas representing the five primor- dial elements. The

Bodhisattvas 'thus connote all the ryale deities of the Buddhist pantheon, while their female counterparts are known by the generic name of Saktis. These Saktis should be distinguished from the Buddhasaktis who are fhe queens of the five Dhyani Buddhas-. The Bodhisattvas are sometimes represented in the company ot their Saktis who are seated either beside them or on their laps or in close embrace. Although all the male deities of the Buddhist pantheon can be called the

Bodhisattvas, they are ncveitheless separated in icono- graphic studies as an independent group. Thus, in the Nispannayogavali, three distinct groups of sixteen Bodhisattvas are mentioned and it is necessary to refer to them here along

with their iconography as found in this excellent book. Amongst the Bodhisattvas, Avalokitesvara ai^Maniyin are the chief and have wide popularity not only in this country, but also in other Buddhist countries such as Tibet, China and

Japan.! As the images of Avalokitesvara and Manjusri are found in <rlt~ these countries in large numbers and in a wide variety of forms they require obviously a separate treatment in subsequent chapters. The Nispannayogavall of

Mahapandita Abhayakara Gupta men- tions altogether ihree sets 1 of sixteen Bodhisattvas. Some names occur in one or two or all the three lists, which when analysed, give an account of twenty-five Bodhisattvas in all. These three lists

are headed in one by Samantabhadra and in two others by Maitreya, the Future Buddha. Images of many of these Bodhisa- ttvas are found in India, but their number is the largest in China as would be seen in the Two Lamaistic Pantheons by

Walter Eugene Clark. The three lists as given by Abhayakara Gupta are stated below for facility of comparison, before the Bodhisattvas are actually described with the help of the Dlvyanas.

List No. 1 Samantabhadra, Aksavamati, Ksirigarbha, Akasagarbha, Ganganaganja, Ratnapani, Sagaramati, Vajragarbha, Avalokitesvara, Mahasthamaprapta, Chandraprabha, Jalimprabha, Amitaprabha, Pra- tibhankuta, Sarvasokatamonirghatamati,

List No. 2

Sarvasokatamonirghatamati,

Sarvanivaranaviskambhin.

List No. 3

Maitreya,

Amoghadarsin,

Apayanjaha-Saivapayanjaha,

Sarvasokatamonirghatamati,

Samantabhadra.

Colour Yellow and Blue Symbol Jewel

/ The Bodhisattva Samantabhadra (Universal Goodness) is important as the leader of the sixteen Bodhisattvas and thus is not a whit less important than the Future Buddha Maitreya who is at the head of the two other lists of Bodhisattvas.

Samantabhadra 's popularity is further exemplified by frequent mention of his name in the Nispanna* yogavali. Samantabhadra is popular both in Tibet and China where his images are frequent and numerous.

/ He is described several times in the Nispannayogavall 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 Dharmadhatuvagisvara Mandala Samantabhadra is described as follows :

Samantebhadrah pltahsavyenavarado vamena utpalakhadgadharah.

' Samantabhadra is yellow in colour, shows the Varada (boon) in the right Rand and holds on the left the sword on lotus." / | In the Durgatiparisodhana Mandala he is described as :/

Samantabhadrah suvarnavarno ratnamanjaribhrddaksinapanih katisthavamamustih. NSP, p. 67.

"Samantabhadra is of golden colour, holds a bunch of jewels in the right hand", while the left rests on the hip,',' f

I Once again Samantabhadra is described in the Kalacakra Mandala. There he is described as : /

Samantabhadrah nllah savyairvajrakartriparasun vamah>ghanta> kapala*Brahmasirarhsi dadhanah. Brahmasirahsthane, utpalam va* Dharmavajrasamapanno'yam. NSP, p. 85.

Samantabhadra is blue in colour and holds in his three right hands the Vajra, the Kartri and the Para su, and in the three left hands the

1. For a full description see Hetty : GNB, p. 47, f.

Ghanta, the Kapala and the severed head of Brahma. Sometimes the head of Brahma is replaced by the Utpala. He is embraced by his consort Dharmavajra/' I

1 Although images of Samantabhadra are not rare in India, the bulk of his images are to be met with in China, At least five images of the Bodhisattva are found in Peiping alone. l \ Fig. 48 is a Nepalese drawing of the deity.

I Samantabhadra is popular in the Sadhanamala, although only one description of his is available. In the Lokanatha Sadhana he is described as : /

Samantabhadrah pitabho ratnotpalavarapradah

Sadhanamala, p. 49

"Samantabhadra is of yellowish colour, holds the jewel on a lotus and exhibits the Varada Mudra in his two hands." /

AKSAYAMATI

\: Colour Yellow Symbol Sword or Jar

IThe second Bodhisattva is Aksayamati (Indestructible mind) and his name is widely known in the Buddhist ritualistic literature. Aksa- yamati is described thrice in the Nispannayogavall.^

In the Manjuvajra Mandala Aksayamati is described as :

Aksayamatih suvarnavarno vamamustim hrdyavasthapya savyena varadamudrah. NSP, p. 50.

/ Aksyamati is of golden complexion, and shows the clenched left hand against the chest, and exhibits the Varada mudra in the right/' I

/ In the Dharmadhatuvagisvara Mandala, he is described somewhat differently as :/

Aksayamatih pitah savyena khadgam vamenaabhayakamalam bibharti. NSP, p 58.

/ "Aksayamati is yellow in colour and flourishes the sword in the right hand, while he exhibits in the left hand the Abhaya rnudra and the Kamala." j

I A third description of this Bodhisattva occurs* in the Durgati- parisodhana Mandala and he is described in the following words : Aksayamatih sito h^stabhyarh jnanamrtakalasadharl

/ "Aksayamati is white in colour and with his two hands holds the bowl containing the nectar of knowledge." /

( A Chinese statuette 1 depicts him in the form of the Dhyani Buddha Amoghasiddhi with the right hand raised against the chest in the Abhayamudra and the left resting on the lap. | Fig. 49 is a Nepalese drawing of the deity. Fig. 50

illustrates a Chinese specimen.

KSITIGARBHA

Colour Yellow or Green Symbol Kalpa Tree on Jar

The third Bodhisattva Ksitigarbha (matrix of the earth) is rarely represented. He is described twice in the Nispannayogavali. In one, he is identical with his sire Vairocana with the Cakra symbol. In another, Ksitigarbha is described in

the following words :

Ksitigarbhah pito daksinena krtabhusparso vamenabjastha*kalpa' drumadharah. ' NSP, p. 58.

"Ksitigarbha is yellow in colour, shows the earth -touching mudra in the right hand, and a lotus with the wish-giving tree (kalpavrksa) in the left."

Ksitigarbha is illustrated four times in the Peiping collection in different forms. y He is also found in Tibet. 1 Fig. 51 is a Nepalese drawing of the deity.

Under Lokanatha Sadhana in the Sadhanamala a further des- cription occurs of the Bodhisattva Ksitigarbha. Here he is des- cribed in verse as :

Ksitigarbhah syamavarnah kalasam cabhayaiii tatha.

Sadhanamala, p. 49.

"Ksitigarbha is of green colour, and shows in his two hands the jar and the Abhaya mudra/'

AKASAGARBHA

Colour Green Symbol Jewel

The Bodhisattva Akasagarbha (essence of ether) is also known by the name of Khagarbha, the words "Kha" and "Akasa" sig- nify the same thing "Sky" Akasagarbha is the Bodhisattva who lives in the womb of the sky.

Akasagarbha is described in the Dharmadhatuvagisvara Mandala of the Nispannayogavali. His form is depicted in the following words :

Akasagarbhah syamah savyena sarvaratnavarsl \amena ciritamani- bbrt. NSP, p 58.

"Akasagarbha is green in complexion, with the right hands he showers all kind of jewels and with the left, he holds the Cintamani (wish-giving) jewel."

Altogether four illustrations of Akasagarbha appear in the two Lamaistic Pantheons. In China, he is represented in three distinct forms. 1 Two statuettes show the lotus in the right hand and the Varada mudra in the left. The third is

three-faced and Mx-armed while the fourth shows the jewel in the right hand and the Varada mudra with the jewel in the left. Fig. 52 is a Ncpalcse drawing of the deity.

Akasagarbha is recognized by his second name of Khagarbba in the Sa llrmmala and under the Lokanatha Sadhana his form is described as follows :

Khagarlho nabhahsyamabho cintamanivarapradah.

"Khagarbha is green as the sky, holds the Cintamani jewel in' one hand and exhibits the Varada mudra in the other."

GAGANAGANJA

Colour Yellow or Red Symbol Kalpa Tree

/ The Bodhtsattva Gaganaganja is described four times in the Nispannayogavall. His colour is yellow showing his affiliation to Ratnasambhavh of yellow colour with the Varada mudra and the jewel. In the Manjuvajra Mandala he is described

as:/

Gaganaganjah suvarnavarno vame vajramustim garvena katyam nyasya daksinam gagane bhramayan. NSP, p. 50*

/ "Gaganaganja is of golden yellow colour. In the left he holds the Vajra with in clenched hand which is proudly placed on the hip, while the right is flourished upwards in the sky." *

/ The Dharmadhatuvagisvara Mandala describes him with the follow- ing words ; '

Gaganaganjah pirah savyena Cintamanibhrd-vamena bhadraghata- valambitakalpavrksam dadhanab. NSP, p. 58.

I "Gaganaganja is yellow and shows the Cintamani jewel in the right hand. In the left, he holds the auspicious bowl from which is suspended a Kalpa (wish-giving) tree." I

/ A third description of Gaganaganja occurs in the Durgatipari* sodhani Mandala. There his form is as under: /

Gaganagnnjah sitapitah savyena padmasthadharmaganjadhanilh katisthdvamahastah. NSP, p. 67

I "Gaganaganja is whitish yellow in complexion. He holds the Dharmaganja on lotus in the right hand, while his left hand rests on the hip/ /

/ Ga^anaganja is also represented in the same form as his sire Ratna- sambhiua of yellow colour. In the Two Larnaistic Pantheons Gagana- gnnja occurs only once and he is of the same form as his sire Ratnasam' bhava,) Fig. 53 is a

Nepalese drawing of the Bodhisattva.

I Bodhisattva Gaganaganja is not unknown to the SaJhanamala. In the Loknatha Sadhana, a iJhort description of the deity is available. It runs as follows : (

Gaganaganja of red colour, holds the blue lotus and exhibits the Varda rnudra in his two hands." I

RATNAPAN1

ColourGreen Symbol Jewel or the Moon

The Bodhisattva Ratnapani (Jewel bearer) is described only once in the Dharmadhatuvaglsvara Mandala of the Nispannayogavall. Here he is described as :

Ratanapanih syamo daksinapanina ratnam vamenabjastha-candra- mandalam bibhranh. NSP, p> 58,

"Ratnapani is green in colour, holds the jewel in the right hand, and the disc of the moon on lotus in the left hand/'

He is the Bodhisattva of the Dhyani Buddha RatnasamHrava and as such, he is sometimes represented in Nepal and Tibet His image is not found in the Chinese collection. Fig. 54 is a Nepalese drawing of the Bodhisttva.

SAGARAMATI

Colour White Symbol Sea Wave or Conch

Bodhisattva Sagaramati ( ocean mind ) is twice described in the Nispannayogavali. In the Manjuvajra Mandala, he is described as: Sagaramatih sito hastadvayaprasaritah sarvahgulibhistaran^abhinayi

"Sagaramati is white in colour with both hands outstretched and the fingers displaying the sea-waves. "

In the Dharmadhatuvagisvara Mandala he is once again described as :

Sagaramatih sitah savyena samkhamvamena vajrakhadgam dadhanah.

"Sagaramati 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 Sagaramati.

VAJRAGARBHA

Colour Blue or Bluish White Symbol juMbdonuiiuKa Scripture

' The Bodhisattva Vajragarbha (matrix of Thunderbolt) is described twice in the NispannayogavalL In the Dharmadhatuvagisvara Mandala he is described as : I

Vajragarbho mlotpaladalavarno daksmena vajram vamena dasabhii' mikapustakadharah. 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 book called the Dasabhumika." | In the Durgatiparisodhana Mandala Vajragarbha's form is depicted thus :

'

"Vajragarbha is of bluish white colour and holds the blue lotus in the right hand while the clenched left rests on the hip." *

His images are rare, and he is not represented in the Chinese collec- tion. Fig. 56 is a Nepalese drawing of Vajragarbha.

AVALOKITESVARA

(Colour White Symbol Lotus

The Bodhisattva Avalokitesvara (The Watchful Lord) also called Padmapani (Lotus bearer) is the spiritual son of^ the Dhyani Buddha Amitabha. He is one of the most popular Bodhisattvas <pf the Buddhist Pantheon having as many as 108

different forms. A separate chapter is devoted to this Bodhisattva in this work. Here only his special form that occurs in the Nispannayogavali in the list of Sixteen Bodhisattvas will be referred to. *

Avalokitesvara is described in the Dharmadhatuvagisvara Mandala as: Avalokitesvarah subhrah savyena varado vamena sarojadharah.

"Avalokitesvara is white in colour ; he displays the Varada mudra in the right hand and in his left, he holds the lotus,"

Avalokitesvara is four times illustrated in the Two Lamaistic Pantheons ] Fig. 57 is a Nepalese drawing of Avalokitesvara,

MAHASTHAMAPRAPTA

Colour White or Yellow Symbol Six Lotuses or Sword

The Bodhisattva Mahasthamaprapta (one who has obtained great

strength) is described twice in the Nispannayogavali. In the Manjuvajra-

Mandala he is described us :

Mahasthamapraptah sito vamena sat-vikasitapadmadhari savyena varadah. NSP, p. 50.

"Mahasthamaprapta is white in colour and holds in his left hand a

bunch of six full-blown lotuses, while the right displays the Varada

mudra."

In the Dharmadhatuvaglsvara Mandala, he is once again described

with the following words :

Mahasthamapraptah pltah savyena khadgam vamena padmam dadhanah. NSP. p. 58

Mahasthamaprapta is yellow in colour. He holds the sword in the

right hand, and the lotus in the left/'

In the Chinese collection, Mahasthamaprapta occurs^ only once 1 '.

Fij?. 58 is a Nepalese drawing of Mahasthamaprapta.

CANDRAPRABHA

r White Symbol Moon on Lotus

I Bodhisattva Candraprabha (Light of the Moon) is described thrice in the NispannayogavalL In the Manjuvajra Mandala he is described as : Candraprabhah candravamo vamenotpalastha'candramandaladharl daksinena varadah NSP. p. 50.

,' "Candraprabha is of white colour like the moon. He holds in his left hand the disc of the moon on a lotus, and displays the Varada mudra in his right. "f

\ Candraprabha is described in the Dharmadhatuvaglsvara Mandala in the following words : \

Candraprabhah subhrah savyena vajracakram vamena padmastha^ candramandalam dhatte. NSP. p. 58.

In the Durgatiparisodhana Mandala he is described differently as follows : I

Candraprabhah subhrah savyena padmasthacandrabimbam bibhri' nah katisthavamamustih. NSP. p. 67

I "Candraprabha is white in colour. He holds the moon on a lotus in the tight hand while the clenched left rests on the hip." 1

Thus the recognition symbol of Candraprabha is the moon on lotus. In the Chinese collection Candraprabha occurs only once 1 . Fig, 59 is a Nepalese drawing of Candraprabha

JALINTPRABHA

Colours-Red Symbol Sun*disc

The Bodhisattva Jaliniprabha (Light of the Sun) is also known by the name of Suryaprabha and he is described three times in the Nispan^ nayogavali. In the Manjuvajra Mandala he is described as : ]

Jaliniprabho rakto vamenotpalastha-suryamandaladhari savyena varadah, NSP. p. 50.

i "Jaliniprabha is of red colour. He holds the disc of the sun on a lotus in the left hand while the right displays the Varada mudrS.,

I Jalimprabha is again described in the Dharmadhatuvaglsvara Mandala as : 1

Jalimprabhah sitaraktah savyenasirh vamenabjasthasuryarh'

1 ' Jalimprabha 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 Durgatiparisodhana Mandala he is described further as :J Jalimprabho raktah savyena

vajrapanjararh bibhranah katisthavam- amustih. NSP. p. 67,

| *'Jaliniprabha ^s red in colour. He holds the Vajrapanjara (Vajra marked cage) in the right hand while the clenched left rests on the hip.)' H The symbol of Jaliniprabha is the disc of the sun and his red colour suggests that he is the

spiritual son of the Dhyani Buddha Amitabha. In the Chinese collection he is represented as Amitabha 2 J Fig. 60 is a Nepalese drawing of Jalimprabha.

AMITAPRABHA

Colour White or Red Symbol Jar

' The Bodhisattva Amitaprabha ( Boundless Light) also spelt as Amrtaprabha (Light of Nectar) is described t^jice in the Nispannayoga-

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 Amitabha when he is red in colour, f

j In the Durgatiparisodhana Mandala, Amrtaprabha is described as : I Amrtaprabhah subhrah mukutoparyamrtakalasabhrtsavyakarah katis* thavamamustih. NSP. p. 67.

t "Amrtaprabha is white 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 Manjuvajra Mandala he is once again described as :< Amitaprabhah raktah hastadvayena abhisekakalasadharl,

NSP. p. 50.

| " Amitaprabha is of red colour and holds in his two hands the jar required in the bath of initiation. '|

I In the Dharmadhatuvaglsvara Mandala a further description of the deity appears :l

Amitaprabhah sitah savyena visvapadmarh vamena- bjasthakalasam bibhranah. NSP. p. 59.

| "Amitaprabha it> 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.i

Fig. 61 is an illustration of a Nepalese drawing of Amitaprabha.

PRATIBHANAKUTA

Colour Green, Yellow or Red Symbol Whip

The Bodhisattva Pratibhanakuta is described thrice in the Nispanna^ yogavali. 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 Amoghasiddhi, Ratnasambhava and

Amitabha./ ( In the Manjuvajra Mandala he is described as : I

Pratibhanakutah syama utsangavamamustir-daksinena chotikapradah. . NSP. p. 50.

("Pratibhanakuta is of green colour. His clenched left hand is placed on the lap, while he flourishes the whip with the right hand."/ i His description in the Dharmadhatuvaglsvara Mandala is as follows ; Pratibhanakutah pito daksinena

chotikam vamena padmasthakrpanam dhatte. NSP, p. 59.

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

The Durgatiparisodhana Mandala describes his form with the follo- wing words : f

Pratibhanakuto raktah savyenabjasthamukutadharl katisthavamamustih. NSP, p. 67.

' "Pratibhanakuta 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."/

He is not represented in the Chinese collection, nor his images are found in India. Fig. 62 is a Nepalese drawing of Pratibhanakuta,

SARVASOKATAMONIRGHATAMATI

Colour Whitish Yellow. Yellow or Red Symbol Staff

I' This Bodhisattva who destroys all sorrows and inertia is described thrice in the Nispannayogavali He is given twice the yellow colour or the colour of gold or whitish yellow and once the red. Thus the Bodhi- sattva undoubtedly belongs

to the family of the Dhyani Buddha Ratna- sambhava, although red suggests Amitabha also. * d The Durgatiparisodhana Mandala describes him as :| Sarvasokatamonirghatamatih sitapltamisravarnah dandabhrtsavyakarah katisthavamamustih. NSP.

p. 66. I r< Sarvasokatamonirghatamati is of mixed white and yellow colour. With his right hand he holds the staff while his clenched left hand rests on the hip. 5 ' 1

I The Manjuvajra Mandala describes him with the following words): Sarvasokatamonirghatamatih kanakakantih hastadvayasamputena praharabhinayi. NSP. p. 50.

"Sarvasokatamonirghatamati is of golden complexion. With his two hands joined palm to palm, he displays the attitude of striking."! , | In the Dharmadhatuvagisvara Mandala his description is as undetfy Sarvasokatamonirghatamatih

kurhkumavarnah savyena pancasucikakulisam vamena saktim dadhanah. fel $P, p. 59.

| Sarvasokamonirghatamati is of the red colour of Kumkuma (vermillion). With his right hand he holds the Vajra with five thongs and with the left, the Sakti ( javelin )J t

In the Chinese collection, this Bodhisattva is illustrated twice as Tamodghatamati and as Sokanirghatamati 1 . Fig. 63 illustrates a Nepalese drawing of Sarvasokatamonirghatamati.

SARVANIVARANAVISKAMBHIN

Colour White or Blue Symbol Sword and Book of all sins. Two independent forms of this Bodhisattva are described in the Nispannayogavall. His colour is either blue or white and thus he is the spiritual son of Aksobhya in one psychic school and of Vatrocana in another.

The Manjuvajra Mandala describes him as :

"Sarvanivaranaviskambhl is of either blue or white colour. With the left hand he displays the Bhusparsa (earth-touching) mudra ; with the thumb\ind the index finger joined together in the clenched right hand he displays the act of

pacification."

In the Dharmadhatuvagisvara Mandala he is described in the follow- ing words :

"Sarvanivaranaviskambhl 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 1 . He is popular also in Tibet-* Fig. 64 is a Nepalese drawing of the Bodhisattva.

This Bodhisattva under his shorter name Viskambhin appears also in the Sadhanamala. In the Lokanathasadhana his description is as under :

" Viskambhin is of the colour of ash, and holds the excellent jewel and the Varada mudra in his two hands." /

MAITREYA

Colour Golden Yellow Symbol Nagakesara Flower

] The Bodhisattva Maitreya who is supposed to be waiting in the Tusita heaven in order to come down to earth as the Future Buddha is described several times in the Nispamiayogavali Maitreya heads the list of Bodhisattvas in the

Manjuvajra Mandala. Although he takes the form of his spiritual sires Vairocana and Aksobhya two of his independent forms are nevertheless available, /

Maitreyah suvarnavarno dvabhyam krtadharmadesanamudro varada- savyakaro vamena sapuspanagakesarapallavadharah. NSP. p. 50 ( "Maitreya is of golden colour. With the two principal hands he displays the Dharmacakra mudra. The other two

hands show the Varada mudra in the right and the twig of a Nagakesara with flower in the left."/ I In the Durgatiparisodhana Mandala his description is as under : /

Maitreyah pitah savyakarena nagakesarakusumarh vamena kundirh dadhanah. ' ' " NSP. p. 66.

I "Maitreya is yellow in colour. He holds in his right hand the flower of Nagakesara and with the left the mendicant bowl/'/

/ In the Chinese collection his statuettes occur at least six times and he is variously represented 1 . The Nagakessra 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. / In the Sadhanamala his description is simple : /

Maitreyah pitavarnasca nagapuspavarapradah. Sadhanamala, p. 49. ' "Maitreya is yellow in colour and shows the Naga flower and the Varada mudra/'/

MANJUSRI

Colour Golden Symbol Sword and Book

Like Avalokitesvara Manjusri is worshipped in all Buddhist coun^

tries and has a variety of forms. Manjusri has several names such

as Manjuvajra, Manjughosa, Dharmadhatuvagisvara and so forth.

His wide variety of forms, and his legendary origin deserve a separate

treatment in a later chapter.

As one of the sixteen Bodhisattvas Manjusri is taken as second

in the group headed by Maitreya. Manjusri does not find mention

in the list headed by Samantabhadta.

In the Manjuvajra Mandala Manjusri comes as a Bodhisattva in

the third circle of deities surrounding the principal god Manjuvajra

who is represented along with his Prajna or female counterpart.

According to Nispannayogavall, Manjusri should have the same for An

as the principal deity but he should have no Prajna,

Thus the form of Manjusri will be of the following description : Pltanllasuklasavyetaravaktrah sadbhujo daksinaih khadgavarada- banan vamaih prajnaparamitapustakanllabjadhanurhsi bibhranah.

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

"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 mudra and the arrow, and in the three left shows the Prajnaparamita book,

the blue lotus and the bow."

Next to Avalokitesvara, Manjusri 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 no

less than five different statuettes showing his great popularity in China 1 , Fig 66 illustrates a Nepalese drawing of the Bodhisattva,

Manjusri as one of the eight Bodhisattvas is recognised by the favourite name of Manjughosa (soft voice) and under this name he is described in the Lokanathasadhana of the Sadhanamala The text is :

Manjughosah kanakabhah khadgapustakadharakah*

"Manjughosa is of golden colour and he holds in his two hands the sword and the book.

GANDHAHASTI

Colour Green or Whitish Green

Symbol Elephant's Trunk or Conch

1 The Bodhisattva Gandhahasti is mentioned in the Nispannayogavali as belonging to the group of sixteen Bodhisattvas headed by Maitreya and is described in two independent forms. In one prominence is given to the word 'Hasti' and in the

other to 'Gandha'. ' t In the Manjuvajra Mandala he is described as follows : / Gandhastih syamo vamena kamalasthahastikaradhari savye varadah. NSP. p. 50.

/ Gandhahasti is green in colour and holds in the left hand the trunk of an elephant on a lotus. The right hand exhibits the Varada mudra." /

| In the Durgatiparisodhana Mandala on the other hand the Bodhisatt> va is described somewhat differently as -J

Gandhahastih sitasyamah savyena gandhasarhkhadharah katisthavamamustih. NSP, p. 66*

I "Gandhahasti is whitish green in colour. He holds in his right hand the conch containing sandal paste. The clenched left is placed on the hip." I

1 This Bodhisattva is represented only once in the Chinese collection. 1 His images are very rare. / Fig. 67 illustrates a Nepalese drawing of the Bodhisattva.

JNANAKETU

Colour ^llow or Blue Symbol -Flag with Cintamani jewel

I The Bodhisattva Jnanaketu is mentioned as one ol the sixteen

Bodhisattvas under the leadership of Maitreya. Two independent forms of his are described in the Nispannayogavall. / ( In the Manjuvajra Mandala he is described as : /

Jnanaketuh plto vamena cintamanidhvajadharl savyena varadah. NSP. p. 50.

I "Jnanaketu is yellow in colour. He holds in his right hand the flag marked with the Cintamani jewel. The left hand displays the Varada mudra " /

In the Durgatiparisodhana Mimdala he is described somewhat differ^ ently as : t

Jnanaketu nilah cintamanidhvajabhrddaksinapanih katisthavamamustih. . NSP. p. 67.

I **Jnanaketu is blue in colour. He hold& in his right hand the flag marked with the Cintamani jewel. The clenched left hand rests on the hip." /

I Jnanakaketu occurs only once in the Chinese collection, where his form is identical with his sire Ratnasambhava L '| Fig. 68 is a Nepalese drawing of the deity.

BHADRAPALA

Colour Red or White Symbol Jewel.

1

The name of Bhadrapala occurs in the second list of sixteen Bodhis- attvas headed by Maitreya. At least two independent forms of this Bodhisattva are to be found in the Nispannayogavall. / j i In the Manjuvajra Mandala his form is

described with the following

words : i

Bhadrapalo raktavarno vamena ratnabhrd^daksinena varadah." . " ' ' NSP. p. 50.

/ Bhadrapala is of red colour. He holds in his left hand the jewel,

while the right displays the Varada mudra." J I In the Durgatiparisodhana Mandala again he is described Vsomewhat

differently as : /

I "Bhadrapala is white in colour. He holds in his right hand the glistening jewel, while his clenched left hand rests on the hip " /

t Bhadrapala is represented only once in the Chinese collection and there his form is identical with that of his sire Amitabha */. Fig, 69 illustrates a Nepalese drawing of Bhadrapala,

H 22. SARVAPAYANJAHA. Colour White Symbol Act of removing sin or goad.

Bodhisattva Sarvapayanjaha (Remover of all miseries) is also known by his shorter name of Apayanjaha and is described twice in the Nispannayogavali in two independent forms. I

( In the Manjuvajramandala this interesting Bodhisattva is described as : /

v "Sarvapayanjaha is white in colour. With his two hands he displays the act of removing all sins." /

(.In the Durgatiparisodhanamandala he is described as Apayanjaha with the following words : /

L" Apayanjaha is of white colour. With both hands he carries the Ahkusa (goad)/' /

I He is represented twice in the Chinese collection. In one he is identical with his spiritual sire Aksobhya with the Bhusparsa mudra 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 identical with the act of removing sin | y . Fig. 70 is a Nepalese drawing of tjae deity. Fig. 71 illustrates his Chinese stautette. % S 23. AMOGHADARSIN <</

Colour Yellow Symbol Lotus

1 The name of Bodhisattva Amoghadarsin appears in the third list of sixteen Bodhisattvas headed by Maitreya in the Nispannayogavali. The Durgatiparisodhanamandala contains the only one description as available in the work.- There his

form is described in the following words : \

, AmoghadarsI pltah sanetrambhojabhrd*daksinakarah katisthavamamu^tih. NSP. p. 66,

' "Amoghadarsi is yellow in colour. In his right hand he holds the lotus with its central core, while the clenched left rests on the hip."/

Amoghadarsin's statuette occurs thrice in the Chinese collection 1 . Fig. 72 is a Nepalese drawing of Bodhisattva Amoghadarsin.

SURANGAMA.

Colour White Symbol Sword.

\ Surahgama's name occurs in the third list of the sixteen Bodhis* attvas headed by Maitreya. In the Nispannayogavali his name is referred to twice only and his single independent form is described in the Durgatiparisodhanamandala as

under : |

Surangamah subhrah savyena asidharah katisthavamamustih

V " Surangama 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 Surangama is represented only once, and that too in a different form l> . I Fig. 73 illustrates a Nepalese drawing of the Bodhisattva Surangama.

VAJRAPANL

Colour White Symbol Vajra.

The Bodhisattva Vajrapani although not included in the three lists of Bodhisattvas as available in the Nispannayogavali, is nevertheless important as one of the eight principal Bodhisattvas enumerated in the Sadhanamala in Sadhana No. 18

for Lokanatha. This list of eight Bodhisattvas is also headed by Maitreya and consists of :

1. Maitreya

5. Manjughosa

2. Ksitigarbha

6. Gaganaganja

3. Vajrapani

7. Viskambhin

4. Khagarbha

8. Samantabhadra

The description of Vajrapani also occurs under the Lokanathsadhana in the Sadhanamala. A half verse here describes Vajrapani :

Vajrapanisca suklabho vajrahasto varapradah.

"Vajrapani is of white colour, carries the Vajra in one hand and displays the Abhaya mudra in the other."

This Bodhisattva of the Dhyani Buddha Aksobhya is popular in China and at least five statuettes are noted in the Two Lamaistic Pantheons, Vol. II. l Tibetan specimens 2 of his image are also found.

This Chapter on the Bodhisattavas cannot be closed without a reference to a very important passage in the Nispannayoga- vali, where the Bodhisattvas are connected with their spiritual sires, whose forms they assume. In the

Vajradhatumandala 3 it is said that the four Bodhisattvas :

1. Maitreya

3. Sarvapayanjaha

2. Amoghadarsi

4 Sarvasokatamonirghatamati have the same form as that of the eastern Dhyani Buddha Aksobhya of blue colour.

The four Bodhisattvas :

1. Gandhahasti

3. Gaganaganja

2. Surahgama

4. Jnanaketu ^

have the same form as that of the southern Dhyani Buddha Ratnasam^ bhava of yellow colour.

The four: Bodhisattvas :

1. Amitaprabha

3. Bhadrapala

2. Chandraprabha

4. Jalimprabhs

have the same form as that of the western Dhyani Buddha Amitabha of red colour.

The four Bodhisattvas :

1. Vajragarbha

3. Pratibhanakuta

2. Aksayamati

4. Samantabhadra

have the same form as that of the northern Dhyani Buddha Amogha- siddhi 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 it noted, however, that the Central Dhyani Buddha Vairocana has no place in this classi- fication and none of the sixteen Bodhisattvas is affiliated to him* Nevertheless, the information as given in the Vajradhatumandala of the Nispannayogavali will be found to be of value in

identifying some of the Chinese statuettes where Bodhisattvas are given Dhyani Buddha forms.

BODHISATTVA MANJUSRI

There is no doubt that the place assigned to Manjusri in the Buddhist pantheon is one of the very highest. The MahSyanists consider him to be one of the greatest Bodhisattvas. They believe that the worship of Manjusrl can confer upon

them wisdom, re- tentive memory, intelligence and eloquence, and enables them to master many sacred scriptures. It is no 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 any con^ ception of him according to Tan trie rites, attained perfection only by muttering his numerous mantras.

It is difficult to fix the exact time when Manjusrl entered the pantheon of the Northern Buddhists. His images are not found in the Gandhara and Mathura schools of sculpture, and Asvaghosa, Nagarjuna, Aryadeva do not mention him in their

works. His name occurs for the first time in the Aryamanjusrimulakolpa which is obviously a pre'Guhyasamaja work, and then in the Guhyasamaja Tantra which is dated circa 300 A.D. In this work there are at least four 1 references to

Manjusrl and three- to Man- juvajra. His name also occurs in the Sukhavati Vyuha or the Amitayus Sutra in its smaller recension 8 which was translated into Chinese between A.D. 384 and 417. Subsequent Buddhist works however give many

references to Manjusrl, and in the accounts of foreign travellers like Fa-hien 1 , Hiuen-Thsang, I*Tsing, Manjusri also finds mention. His images are to be found in the sculptures of Sarnath, Magadha, Bengal, Nepal and other places.

Many details about Manjusri are to be found in the Svayambhu Parana, dealing with the glories of the Svayambhuksetra in Nepal. The Adibuddha manifested himself here in the shape of a flame of fire, and so it is called the

Svayambhuksettra ( place of the Self- Born ). This place is consecrated with a temple of Adibuddha, and close to it is the Manjusri Hill now known as the Sarasvatisthana. The information about Manjusrl as gleaned from the Svayambhu Purana is given below in brief.

4. There is a considerable difference of opinion with regard to the divinity of Manjusrl mentioned by Fa-Hien. Legge ; Travels of Fa-Hien, p^ 46

It is said therein that Manjusri hailed from China, where he was living on mount Pancasirsa (the Hill 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 Kalihrada in Nepal, he forthwith set out for that country along with a large number of his disciples, his

two wives and king Dharmakara, with the intention of paying homage to the deity. When he came to 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 at last succeeded in doing so, however, he cast about in his mind for some means of making the god accessible to all and he began a circuit of the lake. When he

reached the south- ern 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 as the Nepal

Valley. The waters of the Baghmatl flow down even to this day through that opening, which is still called *'Kot-bar" or "sword-cut".

Manjusri lost? no time in erecting a temple over the flame of fire and on a hillpck nearby he made his own abode, and also a Vihara (or monastery) still known as the Manjupattana, for his disciples. Lastly, he made Dharmakara the King of

Nepal. These and many other pious deeds are ascribed to Manjusri in the Svayambhu Purana. Putting everything in proper order, Manjusri returned home and soon attained the divine form of a Bodhisattva, leaving his mundane body behind >.

From above it appears that Manjusil was a great man who brought civilization to Nepal from China. He had apparently extraordinary engineering skill, and was a great architect. It is not definitely known when he came down to 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 Mahayanists 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 Manjusri, but there was a definite Indian tradition with regard to the conception

of Manjusn 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 to the families of the five Dhyani Buddhas, and as such, various attempts were made to assign ManjusrI to a particular Dhyani Buddha. Sometimes in the Sadhanas he is made an offspring of Amitabha of red colour, and sometimes of Aksobhya with the blue colour. Manjusri also shows several colours showing his allegiance to several Kulas or families* The human

origin of Manjusri seems to be responsible for this kind of confusion. ManjusrI seems to have been deified in the same manner as Asvaghosa, Nagarjuna, Aryadeva, Asanga and many others were regarded as Bodhisattvas in the time of Hiuen

Thsang.

Forty-one Sadhanas in the SadhanamSla are devoted to the worship of Majnusn, and in them are described several distinct forms of the Bodhisattva. In finding out the names of the different varieties of Manjusri special stress has been

laid on the mantras rather than on the colophons of the Sadhanas. It should always be 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 Manjusri are described in the following pages one by one having distinct iconographic peculiarities.

In his simplest form Manjusri carries the sword in his right hand and the Prajn5paramita manuscript in his left* In representations sometimes the two symbols are placed on lotuses. Sometimes he is accompanied only by Yamari, sometimes

only by his Sakti or female counterpart, sometimes by Sudhanakumara and Yamari and sometimes again by the four divinities, Jalimprabha (also called Suryya- prabha), Candraprabha, Kesini and Upakesini. Though the last four are required to

be present with Arapacana, they are nevertheless found in others also.

Under the general name of Manjusri several of his Chinese images are noticed by Clark in his Two Lamaistic Pantheons 1 . A remarkable specimen showing Manjusri in the company of two principal Hindu gods, Ganapati and Visnu is found in

the Baroda Museum (Fig. 74).

VAJRARAGA

Colour White Mudra Samadhi

Asana Vajraparyahka

Vajraraga Manjusri is also known by the two names of Vak and Amitabha Manjusri showing his allegiance to the Dhyani Buddha Amitabha of red colour. Vajraraga is one-faced and two-armed. His

two hands are joined on his lap forming what is called the Samadhi or the Dhyana mudra. In this respect he is identical with the Dhyani Buddha Amitabha whose effigy he bears on his tongue. He differs from the Dhyani Buddha in respect of

his ornaments and dress. Images of this form of Manjusri are not altogether rare in India or in the Buddhist countries of the North. The Sadhanamala describes his form in the following Dhyana :

Dvibhujaikamukharh sitarh vajraparyankopari samadhimudrahastarh asesakumarabharanabhusitarh pancaclrakarh Manjusrlbhattarakarh... nispadya . vajrajihvopari Buddharh Amitabharh vicintya.. Orh Vakye- darh namah iti japamantrah".

Sadhanamala, p. 129

'The worshipper should think himself as Manjusri Bhattaraka who is two-armed and one^faced and has white colour. His two hands are joined in forming the Samadhi mudra. He is decked in all princely ornaments, wears the five pieces of

monkish garments... thus meditating ...he should think of the figure of Buddha Amitabha on v the adamantine tongue.. /Orh Vakyedarh 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. Vajraraga is known in Tibet 1 and China 2 .

DHARMADHATU VAOI^VARA

Colour Reddish

White Face Four

Asana Lalita

Arms Eight

Stone or bronze images of Dharmadhatu Vagisvara are by no means common, but paintings are still made of him by the Citrakaras in Nepal. When represented he is white in colour with four faces, and eight arms, and he bears five jewels on

his diadem. He is clad in celestial garments and the leading sentiment displayed by him is one of Srhgara (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 Ghanta and the Vajra. He may also have another form, exhibiting the Dharmacakra mudra 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. The Dhyana describing the former is given below :

"...Astabhujarh caturmukharh mulamukharh raktagaurarh daksinarh kumkumarunarh pascimarh padmaraktarh, uttararh pltaraktarh, dvabhy- am hastabhyarh dhanurbanandhararh, aparabhyarh pasankusadhararh,

1. Gordon : ITL, p. 66 illustrates his statue under the general title of Manjusri. I. Clark i TLP, II, pp. 120, 227.

punaraparabhyamPrajnaparamitapustakakhadgadharam,tathaparabhyam ghantavajradharam maHaragasrngararasojjvalam lalitasanastham visva- padmacandre divyavastrabharanam Amitabhajatamukutinam...

"The worshipper should think himself as the god Dharmadhatu- Vagisvara 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 Prajnapara- mita manuscript and the sword in the third and the Ghanta and the Vajra in the fourth. He displays the sentiment of Srngara

(amour), and sits on the moon on a double lotus in the Lalita attitude. He is decked in celestial garments and ornaments and bears on his Jatamukuta (crown of matted hair) the effigy of Amitabha",

(ii)

Colour Golden Yellow Faces Four

Arms Eight

Manjughosa is the principal deity in the Dharamadhatuvagisvara Mandala of the Nispannayogavall. His form may be given briefly as follows :

"Manjughoso Vajraparyanki. . .suvarnavarnah pita-nlla-rakta-sita-

mula-savyapascimavamamukho astabhujo dvabhyam Dharmacakra- mudrah savyaih krpana-bana-vajrani vamaih prajnaparamitapustaka- capavajra-ghanta vibhranah". NSP. p. 54.

"Manjughosa sits in the Vajraparyanka 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 pricipal hands foe exhibits the Dharmacakra Mudra. The remaining right hands show the sword, the arrow and the Vajra, while the re- maining left carry the

Prajnaparamita manuscript the bow and the bell".

Three of his images are known to the Chinese collection of Peiping. 1 He is also found in Tibet 2

MANJUGHOSA.

Colour Golden Yellow. Mudra Vyakhyana

Vahana Lion Symbol Lotus in the left.

Four Sadhanas in the Sadhanamala describe this variety of Manjusri, which is known by the name of Manjughosa. When repre- sented, he closely resembles Manjuvara, with the difference that the

lotus here does not bear the book. It may also be pointed out that Manjughosa should have the lotus only in his left, but Manjuvara may have it on either side bearing the book. His complexion is golden yellow, he rides a lion, and is

decked in all sorts of ornaments. He is two-armed and displays the Vyakhyana mudra, and in his left there is the lotus. He is sometimes accompanied by Yamari in the left and Sudhanakumara in the right. The Dhyana as found in one of the

Sadhanas is given below :

"Manjughosarupam-atmanam pasyet simhastham kanakagauravarnarh sarvalankarabhusitam Vyakhyanamudravyagrakararh vamaparsve utpala* dharam Aksobhyamukutinam. Daksme Sudhanakumararh vame Yaman. takam pasyet... man tram japet Om Vagjsvara

Muh'* Sadhanamala p. 109

The worshipper should meditate himself as the deity Manjughosa who rides a lion, and is of golden yellow colour. He is decked in all ornaments, and his hands are engaged in forming the Vyakhyana (teaching) mudra. He displays the night lotus in his left, and bears the image of Aksobhya on his crown. On his right there is Sudhana^ kumara and on the left Yamantaka ... The Mantra Om Vaglsvara Muh should be muttered*'.

Some of the Sadhanas mention that he should sit in Lalitasana on the back of a lion while others are silent about the attitude or Asana. It is thus possible to conclude that he may sit in other attitudes also, such as the Vajraparyahka

or the Ardhaparyahka. His colour is generally yellow, but he may have the colour of Kunkuma as well.

SIDDHAIKAVfRA.

Colour White Mudra Varada

Symbol Lotus.

Four Sadhanas in the Sadhanamala describe the form of Siddhaika* vira and in one of these he is said to bear the image of the Dhyani 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 right displays the Varada mudra. The Dhyana in the Sadhanamala describes his form in the following words :

" Siddhaika viro Bhagavan candramandalasthah candropasrayah jagadudyotakan dvibhuja ekamukhah suklah vajraparyahki divyalan- karabhusitah pancavlrakasekharah.. vame nilotpaladharah daksine varadah.-.tato Bhagavato maulau Aksobhyam

devatyah pujarh kurvanti".

Sadhanamala, p. 140.

"God Siddhaikavira sits on the orb of the moon, is supported by the moon, and illumines the world. He is two-armed, one^faced and of white colour. He sits in the Vajraparyahka attitude, and is decked in celestial ornaments. His head is decorated with the effigies of the five Dhyani Buddhas....He carries the Utpala in the left hand and exhibits the Varada mudra in

the right. The goddesses pay homage to Aksobhya who is on the crown of the God",

In another Sadhana the description of the Mandala for Manjusri is given. The god in the form of Siddhaikavlra is painted red and is placed in the centre. He is accompanied by four deities, Jalimprabha, Candraprabha, Kasinl and Upaksinl.

These four deities more often accompany Arapacana, another from of Manjusri which will be described later, The Sadhanas are not generally explicit as to the Asana of the god. In Saranath his image is shown in a standing attitude (Fig,

A confusion is likely to arise between the forms of Loknanatha and Siddhaikavlra if they are both represented without companions and without the figure of the parental Dhyani Buddha on their crown, for both these deities have the same

symbol, the lotus and the same mudra, the Varada pose. In that case the image would most likely be identified as that of Lokanatha, who happens to be widely represented. Images of Siddhaikavlra, it may be added, are extremely rare.

VAJRANANGA.

Colour Yellow

Asana Pratyalidha. Hands Six or Four.

This form of Manjusri bearing the image of Aksobhya on the crown is known as Vajrananga, who is worshipped in the Tantric rite of Vasikarana, 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 Asoka bough with red flowers. In another Sadhana the Asoka bough is replaced by Kankelli flowers. He may have an alternative form with four hands, in which case the hands carrying the mirror and the Asoka

bough are dropped. The Dhyana describing the six-armed variety of Vajrananga is given below:

Vajranahganama Arya-Manjughosam pltavarnam sadbhujam mula* bhujabhyam akarnapuritaraktotpalakalikasarayukta-kusumadhanurdha- ram; daksinadvayena khadgadarpanabhrtarh vamayugalenendlvararakta- sokapallavadharam; Aksobhyadhisthita-

jatamukutinarh pratyalldha- padam sodasavarsakaram mahasrhgaramurtim pasyet".

"The worshipper should think himself as Arya-Mafijughosa in the form of Vajrananga with yellow complexion, and six arms. With the two principal hands he draws to the ear the bow of flowers charged with an arrow of a red lotus bud; the

two remaining right hands carry the sword and the mirror, while the two left hold the lotus and the Asoka bough with red flowers. He bears the image of Aksobhya on his Jatamukuta, stands in the Prat^alidha attitude, appears a youth of

sixteen years and displays the intense Srngara Rasa "

Vajrananga 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 to the Buddhist God of Love, and an account is given below of how he makes use of them.

It is said in the Sadhanamala 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 falU 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 Asoka bough, is frightening her with the sword, and subsequently he has only to confront her with the mirror by which she LS completely subjugated ] . Fig. 78 illustrates a Nepalese drawings of the deity.

NAMASANGm MANJUSRF

Colour Reddish white

Asana Vajraparyaiika

Faces Three Arms Four

This form of Manjusrl with the effigy of the Dhyani Buddha Aksobhya on the crown is known as Namasahglti Manjusrl, to whom only one Sadhana in the Sadhanamala is assigned In this Sadhana he is described as three-faced and four-armed, and

as bearing the image of Aksobhya on the crown. The first or 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 Dhyana describes him in the following terms :

"...Raktagauram padmacandropari vajrapar>afikanisannah ; pratha* mamukham raktaih, daksinam nifam, vame suklam iti trimukham, hastacatustayena yathayogam Prajnakhadgadhanurbanayoginam ratna-

kiritinamdvatrimsallaksananuvyanjanavirajitarh kumarabharanabhusitarh atmanam vibhavya tadanu sarva-Tathagatabhisekapurvakarh Akso- bhyamaulinarh atmanam vicintya . ... Sadhanamala p. 159*160

"The worshipper should meditate himself as Aryanamasangiti, who is reddish white in colour and sits in the Vajraparyahka attitude on the orb of the moon on a lotus. His principal face is red, the right blue and the left white and thus he

is three-faced In his four hands he carries the Prajna(paramita), 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. He appears a prince with princely ornaments Then the

worshipper after offering Abhiseka to all the Tathagatas, should further meditate himself as bearing the effigy of Aksobhya on the crown.' 1

Rare are the images of this form of Manjusri Fig. 79 illustrates a Nepalese drawing of the deity.

Namasangiti Manjusn is known in China 1 . Fig. 80 illustrates his statuette in China.

VAGlSVARA

Colour Red of Yellow Asana Ardhaparyanka

Vahana Lion Symbol Utpa la

Vaglsvara is the tutelary deity of the Nepalese Buddhists and is widely worshipped in Nepal. The fact that innumerable prayer- wheels in Nepalese temples bear, in monumental Newari characters, the mantra "Om Vaglsvara Muh" stands witness

to his popularity.

One of the Sadhanas describes him as red in colour with all princely ornaments, and as seated on a lion in the Ardhaparyanka 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 Maharajalila ManjusrI, and the Dhyana describing that form has already been quoted and translated by Professor Foucher. The red variety of Vaglsvara is described in the Dhyana thus :

"Pancavirakasekharam kumaram sarvabharanabhusitarh kuhkuma- runarh vamenotpalam daksinena Hlaya sthitarh sirhhasajiastharh atma* nam kumararupena cintayet...Om Vaglsvara Muh".

Sadhanamala, p. 105

'The worshipper should think himself as Vaglsvara whose head is beautified by the images of the five Dhyani Buddhas. He looks a prince, is decked in all ornaments, and has the complexion of Kunkuma. He carries the night lotus in his left

hand while the right is displayed artistically. He rides a lion and possesses princely

grace Orh Vaglsvara Muh.

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. Vaglsvara

statuettes are found in Tibet 1 .

MANJUVARA

Colour- Golden Yellow Mudra Dharmacakra

Asana Lalita or Ardhaparyanka Symbol Prajnaparamita on lotus

Two Sadhanas in the Sadhanamala are devoted to the worship of Manjuvara who is widely represented. He is yellow in colour, sits on the back of a lion, in the Lalita or the Ardhaparyanka attitude, and displays the sentiment of Srngara

(amour) lavishly. His two hands are joined against the chest in forming the Dharmacakra mudra which is the eternal symbol of instruction on the secrets of Dharma. He holds the stalk of one or two lotuses on which appears the

Prajnaparamita manuscript. The text of the Dhyana in one of the Sadhanas is givea below :

"Taptakancanabham pancavirakakumararh Dharmacakramudra- samyuktarh Prajnaparamitanvitotpaladharinarh simhastharh lalitakseparh sarvalankarabhusitarh...Orh Manjuvara Hum". Sadhanamala, p. 111.

"The worshipper should think himself as god Manjuvara of golden yellow colour with head decorated with the images of the five Dhyani Buddhas. His hands display the Dharmacakra mudra and he shows the blue lotus bearing the Prajnaparamita

manuscript. He rides a lion, sits thereon in the Lalita attitude and is decked in all ornaments... Orh Manjuvara Hum".

According to a second Sadhana Manjuvara should have the lotus in his left hand with the Prajnaparamita on it. He may sit in the Ardhaparyanka attitude and may be accompanied with the fierce god Yamantaka of blue colour, whose face

distorted with bare fangs is terrible to behold. Yamantaka carries the staff in one of his hands and touches the feet of Manjuvara with the other.

The image (Fig. 83) discovered at Bara in the district of Birbhum in Bengal 2 probably represents this form of Manjusn, with the miniature figures of the five Dhyani Buddhas over the head, and of the two divinities to the right and left of him. The figure to the right probably represents Sudhanakumara and the figure to the left is Yamantaka. The principal god here displays the Dharrnacakra mudra and from under his left armpit rises a

lotus which bears the Prajnaparamita manuscript as required by the Sadhana. The lotus to the right is added in order to maintain the balance with the lotus to the -left.

The lion vehicle of Manjuvara is sometimes absent, and in later images he may be found sitting in the Paryahka or any other attitude (Fig. 84). The lotus to the right which is not expressly required by the Sadhana sometimes bears the

book (Fig. 85), and sometimes the sword in order to preserve the balance in a better way (Fig. 86). One of the two Indian Museum images of Manjuvara has on either side of the god two feminine figures which no doubt represent the two

wives of Manjusri, Kesini and UpakesinL Manjuvara is well known in Tibet ]

MANJUVAJRA

Colour Red Faces Three

Arms Six Variety Yab-yum

The form of Manjusri called bv the name of Manjuvajra is some- what popular amongst the Tanrric Buddhists. Several of his forms are described both in the Sadhanamala and the Nispannayogavali of Abhayakara Gupta. In the Sadhanamala the

colour of his body including the principal face is red like Kunkuma, the right face is blue and the left white. He has six arms of which the principal pair is engaged in embracing his female counterpart. The remaining four hands carry

the sword, the arrow, the bow and the night lotus. He sits in Vajrasana or in the Vajraparyahka attitude on the orb of the moon supported by a lotus. The Dhyar.a is in verse and may be quoted as follows :

Kuhkumarunasanmurtir-nilasitatrayananah I Bhujadvayasamaslista"svabhavidyadharasyadhrk II Khadgabanabhujancapa^mlotpalaparigrahah I Visvadalabjacandrasthah vajrasanasasiprabhah II

"...His handsome body is red like Kunkuma and he is endowed with three faces of (Kunkuma) blue and white colour. He embraces his Svabha Prajna with two arms, of which one touches her face. He carries the Khadga, the arrow, the bow, and

the blue Utpala, sits on the moon on a double lotus in Vajrasana, and is radiant like the moon."

1. Gordon : ITL, p. 68 under the title of Dharmacakra Manjusri, Getty : GNB, pi. XXXV.

Manjuvajra is represented in Tibet }

(ii)

Colour Golden Yellow.

Faces Three

Arms Six.

Manjuvajra is the principal deity of the Manjuvajra Mandala in the Nispannayogavali. His form has been described thus :

"Shhhopari sattvaparyankanisanno Bhagavan Vairocanasvabhavo Manjuvajrah kamanlyakanakakantih... pita-mla-sukla'Savyetaravaktrah sadbhujo daksinaih khadgavaradabanan vamaih Prajnaparamitapustaka- nllabjadhanumsi vibhranah. NSP, p. 48.

"God Manjuvajra 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 six-armed. In the three right hands he holds the sword, the Varada mudra and

the arrow. In the three left likewise he carries the Prajnaparamita manuscript, the blue lotus and the bow."

Colour Red Arms Six

Manjuvajra is the principal deity in a second Mandala dedicated to Manjuvajra in the Nispannayogavali. Here he is identified with the Sixth Dhyani Buddha Vajrasattva. The Kulesa of this god is Aksobhya according to a definite statement

in the Mandala. He is described thus : "Bhagavan Vajrasattvo Manjuvajra-rupah kuhkumarunah krsna- sitasavyetaravadanah pradhanabhujabhyam svabha'prajnalihgitosisa- rendivaracapadharo"... NSP, p. 2.

"The god Vajrasattva in the form of Manjuvajra is red like vermi- llion. His right face is blue and the left white. With the two principal hands he embraces his Prajna ; in the others he carries the sword, the arrow the lotus and the

bow."

Under the name of Manjusri his different forms are to be found in the Chinese collection a . Fig. 8? illustrates an eight-armed Manjuvajra with the akti in the Baroda Museum. It is both remarkable and beautiful.

MANJUKUMARA

Colour Red Vahana Animal

Faces Three Arms Six

Only one Sadhana is assigned to this form of Manjusri in the Sadhanamala, which depicts him as three-faced and six- armed, riding

on an animal. In his three left hands he carries the Prajnaparamita, the Utpala and the bow while the three right show the sword, the arrow, and the Varada pose. The extract is given below :

^Manjukumararh trimukharh sadbhujarh kunkumarunarh mlasitada- ksinetaravadanarh sattvaparyankinarh Khadgabanavaradam daksinakaia- trayarh, Prajnaparamitapustakanilotpalacapavad-vamakaratrayam sasrn- garakumarabharananivasanadikam

nanapuspamahasobhaciratrayavira- jitarh Tathagataparamanu-parighatitarh atmanarh dhyatva..."

"The worshipper should think himself as god Manjukumara, who is three-faced and six-armed, of red Kuhkuma, colour. His right and left faces have (respectively) the blue and white colour. He is seated on an animaL His three right hands

hold the sword, the arrow and the Varada pose, while the three left carry the Prajnapara- mita, blue Utpala and the bow* He is decked in princely ornaments and dress as befitting the Srfxgara (amour) sentiment hre displays. He wears the

three rags of a mendicant, which are richly decorated with various kinds of flowers. His body is composed of the parti- cles of the Tathagatas Thus meditating..."

Manjukumara is not known either in sculptures or in ancient paintings. Fig. 88 illustrates a drawing from Nepal.

ARAPACANA

Colour White or red Asana Vajraparyanka

Companions Four Symbols Book and Sword

Eight Sadhanas in the Sadhanamala describe the form of this divinity, which is sometimes white and sometimes red. He sits always in the Vajraparyanka attitude, but when he sits on an animal he is called Prajnacakra. He is accompanied by

the four divinities, Kesini, Upakesini, Candraprabha and Suryaprabha, 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 Manjusri 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 1 the four Dhyani Buddhas, Vairocana, Ratnasambhava, Amitabha and Amoghasiddhi (besides the usual four companions)* are pictured on the aureole behind, the centre at the top being occupied

by one of the companion deities resembling the principal god. The Java figure (Fig. 90) belongs to this class and shows the four companions as required by the Sadhana 1 .

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 Sadyonu* bhava-Manjusrl. He 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 Vajraparyanka

attitude. He brandishes the sword in his right hand, while his left holds the Prajnaparamita book against his chest. Jalimkumara (or Suryaprabha) is in front of him, Candra^ prabha behind, Kesini to the right and UpakesinI to the left.

All these four divinities are replicas of the principal god. The Dhyana in one of the Sadhanas describes the principal god in the following terms :

' *. . .Khadgapustakadharinam akuncitapancaclram, raktavastrayuga- yutam srngaravesadharinam smitavikasitavadanam Sasankakantjtulya- sobharh visvadalakamalasthabaddhaparyahkam Sadyonubhavarapacan^ arupam atmanam-ikseta". Sadhanamala, p.

'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 Srfigara Rasa he displays.

His face is radiant with a smile, and is resplendent like the moon. He sits on a double lotus in the Vajraparyanka attitude..."

This Sadhana further adds that the principal god should originate from the first syllable "A", Jalimkumara from the syllable "R", Candraprabha from P", Kesim from "C" and UpakesinI from "N". Manjusri should be in the middle, Jalimkumara

in front, Candra^ prabha behind, Kesini to the right and UpakesinI to the left. All of them should have white colour and should be identical with the principal god in appearance.

Arapacana is popular in Tibet 2 and China \ In Tibet his sword in the right hand is replaced by the bell in a remarkable statuette.

1. First published and identified as Manjusri in Grunwedel : Buddhist Art in India, p. 199.

2. Gordon : ITL, p. 68. Getty : GNB, pi. XXXV illustrates a unique image with the Ghanta in the right hand instead of the sword. By the sound of the holy gong ignorance seems to disappear.

3. Clark : TLP, II, p. 199 illustrates an image of Arapacana under the title ofManjus'ri.

STHIRACAKRA.

Colour White Symbol Sword

Mudra Varada Companion Sakti

The Sadhana for the worship of Sthiracakra has one remarkable feature which distinguishes it from the other Sadhanas in the Sadhanamala, namely, that it does not give the Dhyana at a stretch, but the information about his form is

scattered through- out the Sadhana, which again, is in verse. From the information gleaned from the Sadhana about 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 princely ornaments and displays the sentiment of passionate love. He is accompanied by a Prajna, who is beautiful, displays the sentiment of passionate love and laughs

profusely.

Images of this form of Mafijusn are rarely met with. The Vahgiya Sahitya 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 on 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 Lalitasana on the moon over a lotus, and is accompanied by

his Sakti who according to Indian custom occupies a position to the left of her consort (Fig. 93) '.

Sthiracakra is represented in the Chinese Collection 2 .

VADIRAT

Asana Ardhaparyahka Vahana Tiger

Mudra Vyakhyana

This form of ManjusrI is rarely to be met with either in stone or in bronze. One Sadhana only is devoted to the worship of this divinity which shows that this form was not very popular amongst the Vajraya- nists. Vadirat is of medium

height, neither very short nor very tall, and appears a youth of sixteen years. He sits on the back of a tiger in

1. This image is described in the Hand book to the Scluptures in the Museum of the Vangiya Sahitya Panshad, p. 33.

the Ardhaparyafxka attitude with his left leg slightly raised. He wears all sorts of ornaments, and exhibits the Vyakhyana mudra. The Dhyana which is in verse, describes the form of Vadirat in the follow* ing terms :

Svaccham sodasavatsarakrtidharam sarddulaprsthasthitam Vyakhyavyakulapanipadmayugalam vamardhaparyankinam I Dlrgahm napi na capi kharvamasamam saundaryarasyasrayam Ratnasvarnamaniprakaravividhalankaramalakulam II

Sarimad-Vadirat-Sadhanarh samaptam. Krtiriyam Panditasri

Cintamani*Dattasya ". Sadhanamala, p. 98.

The worshipper should think himself as (Vadirat), who is hand-

some in appearance (lit. pure or 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 Vyakhyana mudra. His left leg is

slightly raised in the Ardhaparyahka attitude. He is neither tall, nor

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 Sadhana for Vadirat written by the author Sri Cintamani Datta."

Vadirat is represented in the Chinese Collection J .

BODHISATTVA AVALOKITESVARA

Avalokitesvara is famous in the Mahayana Pantheon as a Bodhisattva emanating from the Dhyani Buddha, Amitabha and his akti, Pandara. As Amitabha and Pandara are the presiding Dhyani Buddha and Buddhasakti of the present Kalpa (cycle),

namely, the Bhadrakalpa, Avalokitesvara is said to be the Bodhisattva who rules during the period between the disappearance of the Mortal Buddha, Sakyasimha, and the advent of the Future Buddha, Maitreya. The Gunakaranda- vyuha 3 gives

an account of his character, moral teachings and miracles and from it is learnt that he refused Nirvana, 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 Karandavyuha 2 characterises 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, to 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 to obtain salvation. For all these reasons

Avalokitesvara is characterised as the best of the Sangha, the Jewel of the Buddhist Church or Sahgharatna.

The Sadhanamala gives altogether thirty-eight Sadhanas which describe a variety of forms of Avalokitesvara. Some of these forms have already been described by M. Foucher in his Etude sur V Iconogra- phie Bouddhique de Vlnde, Vol II with

translations in French of the Sanskrit texts of the Sadhanas.

From the Sadhanamala and allied works it is possible to individualize at least fifteen different forms of Avalokitesvara. All these forms are described in the following pages one by one. These fifteen by no means exhaust the forms of

Avalokitesvara 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 Viharas of Kathmandu in Nepal, there are

paintings in many colours of one hundred and eight varieties of the Bodhisattva,

executed on the wooden panel surrounding the main temple on three sides. These paintings appear to 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 Tantric works, but as the overwhelming number of forms is likely to throw a flood of light on the iconography of

Avalokitesvara, a description of all these varieties is given with their respective illustrations in a separate Appen- dix at the end of this volume.

Out of the fifteen different forms of Avalokitesvara mentioned above fourteen bear the figure of Amitabha on the crown, thus clearly revealing their origin. The fifteenth, Vajradharma by name, is said to bear the figures of the five Dhyani Buddhas on his crown.

Images of Avalokitesvara are found abundantly in India and Nepal. Out of these the typical one* are described in their appro- priate places. Such images are popular both in Tibet ] as well as in China 2 .

SADAKSARI-LOKESVARA

Colour White Arms Four

Mudra Anjali Symbols Rosary and lotus

Companions Manidhara and Sadaksarl Mahavidya

Four Sadhanas in the Sadhanamala are devoted to the worship of this form of Avalokitesvara, of which two describe him in a group of three. In a third he is accompanied by Sadaksari Mahavidya, and in the fourth he is single. In all these,

the form of Lokesvara is the same. Below is quoted the Dhyana of the Sadhany describing him in a group of three :-

"Atmanam Lokesvararuparh sarvalahkarabhusitarh suklavarnam vamatah padmadhararh daksinato'ksasutradharam aparabhyam hasta^ bhyarh hrdi samputanjalisthitarh dhyayat. Daksine Manidharam tatta* dvarnabhujanvitam padmantaroparistham. Vame

tathaiva aparapadma- stharh Sadaksarlrh Mahavidyarh". Sadhanamala, p. 27.

The worshipper should think himself as [Sadaksarl] Lokesvara who is decked in all sorts of ornaments, white in colour, and four* armed, carrying the lotus in the left hand and the rosary in the right.

L Gordon : ITL, p, 44 illustrates a Tibetan drawing of Lokelvara 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 places*

The other two hands are joined in forming the mudra of clasped hand against the chest. To his right is Manidhara, with the same colour and the same hands, sitting on another lotus. To the left is Sadaksari Mahavidya with identical form

sitting on another lotus".

The Dhyana of this god has been extracted from the Karandavyuha according to a statement in one of the colophons of the Sadhanas, The Mantra assigned to this form of Avalokitesvara is the famous "Orh Manipadme Hum" consisting of six

syllables which are here deified in the form of Sadaksari Mahavidya. When Lokesvara is associated with the Great Knowledge of the Six Syllables, he is called Sadaksari Lokesvara.

An artistic sculpture ( Fig. 94 ) depicting all the three deities of the Sadaksari group is preserved in the Sarnath Museum ] . In this group, Sadaksari Lokesvara is in the middle, the figure to the right is Manidhara and the female

figure to the left is Sadaksari MahSvidya. 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 Mandala, as prescribed in the

Karandavyuha 2 .

Another artistic but mutilated image of the Sadaksari group (Fig. 95) is now to be found in the Indian Museum, Calcutta. In this piece both Manidhara and Sadaksari Mahavidya are shown in the peculiar attitude of sitting known as

Virasana.

A third image (Fig. 96) found in the district of Birbhum by Mr, K. N. Dikshit* of the Archaeological Department is also of the Sadaksari group, although it is mutilated beyond recognition. The central figure depicting Sadaksari Lokesvara

has lost two hands bearing the rosary and the lotus, but the marks are still there on the stone. The two hands exhibiting the Anjali mudra hold also the jewel.

Images of Sadaksari Lokesvara 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 Bodhnath 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 Mahavidya, the goddess may have another form depicting her in Vlrasana with yellow colour and two hands. Her right hand remains

1 Sarnath Catalogue, No. B (e) 6. PI XIV (b;

2. Karandavyuha, p. 74*

3. A. S. I* Eastern Circle, Annual Report, 1920-21, p, 27 and illustrated in pi. 1(2).

BODHISATTVA AVALOKITESVARA * 127

empty, while the left holds the jewel. The Sarnath Museum image (Fig* 98) although mutilated, must represent this form of Sadaksari Mahavidya who can be readily recognised by the peculiar Asana which is uncommon in Buddhist iconography.

Another alternative is also prescribed in the Sadhanumala for all the three deities, and the Sadhana adds : Sometimes in the Sadhana of Sadaksan Mahavidya, Lokesvara holds also the lotus bearing the jewel and the book, Manidhara may

hold the jewel and the lotus but should be without the book. Sadaksan may hold the book and the lotus but should not have the jewel. 1

SIMHANADA.

Colour White

Asana Maharajalila Vahana Lion

Symbols (i)Sword on lotus, (n) Trisula entwined by a snake

Four Sadhanas also are devoted to the worship of Sirhhanada, who is regarded by the Mahayanists as the curer of all diseases. He is one of the most popular forms of the Bodhisattva Avalokitesvara, and his images are by no means rare in

India, At Patan in Nepal, all the more important monasteries have two images of Simhanada, either in stone or in bronze, on either side of the staircase leading to the sanctum. He appears in many forms only slightlv different from one

another. The four Sadhanas alike describe him as follows :

"Atmanarh Simhanada-Lokesvararuparh bhavayet, svetavarnarh trinetrarh jatamukutinarh nirbhusanarh vyaghracarmaprabhrtarh sirhha- sanastharh maharajalilarh candrasanarh candraprabharh bhavayet. Dak sine sitaphanivestitarh trisularh

svetarh, vame nanasugandhikusuma* paripuritapadmabhajanarh. Vamahastat uttharh padmopari jvala- tkhadgarh". Sadhanamala, p. 63.

'The worshipper should think himself as Simhanada Lokesvara of white complexion, with three eyes, and the jatamukuta (crown of matted hair). He is without ornaments, is clad in tiger-skin, and sits on a lion in the attitude of princely

ease. He is seated on the orb 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 is 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 Simhanada are by no means rare and are rather easy to identify because of clear-cut symbols. Fig. 99 is the famous image of Simhanada from Mahoba carrying a rosary 1 . Fig. 100 is a Nepalese statue at the gate of a monastery. Fig. 101 illustrates a sculpture from Magadha, while Fig. 102 is a small bronze of Simhanada with- out the lion, from Nepal.

Simhanada wears no ornaments and this feature of his images differentiates him from Manjusri when he is on the back of a lion.

Simhanada is popular both in Tibet 2 and in China 8 .

KHASARPANA

Colour White Symbol Lotus

Mudra Varada Asana Lalita or Ardhaparyahka

Companions Tara, Sudhanakumara, Bhrkuti, Hayagriva

Khasarpana is described in a number of Sadhanas in the Sadhana- mala, which fact points to his popularity. The peculiar feature of this god is that he is invariably accompanied by the four divinities Tara, Sudhanakumara, Bhrkuti and

Hayagriva. The principal figure is the same as Lokanatha, two-armed, and one faced, carrying the same symbol and exhibiting the same Mudra ; the difference lies in the fact that Lokanatha has only two companions, Tara and Hayagriva while

Khasarpana has two in addition, namely, Bhrkuti and Sudhana- kumara. He is of white complexion, and sits either in the Lalita or the Ardhaparyahka attitude. Below is given a somewhat lengthy Dhyana describing the god :

"Atmanam Bhagavantam dhyayat himakarakotikiranavadatarh deham, urdhvajatamakutam Amitabhasekharam visvanalinanisannam sasimandale, ardhaparyahkanisannarh sakalalankaradharavigraham smeramukham dvirastavarsadeslyam daksine varadakaram

vamakarena sanalakamaladharam , karavigalatpiyusadhat abhyavahararasikam tada^ dhah samaropitordhvamukham mahakuksim atikrsam atisitivainarh Sucimukham tarpayantam srimat-Potalakacalodaranivasinam karuna^ snigdhavilokanarh

srhgararasaparyupasitaih atisantam nanalaksanalah- krtarii. Tasya puratas-Tara daksinaparsve Sudhanakumarah.

Tatra Tara syama, vamakaravidhrtam sanalam utpalam daksina* karena vikasayanti nanalahkaravati abhinavayauvanodbhinnakucabhara. Sudhanakumarasca krtanjaliputah kanakavabhasidyutih, kumararu- padhari vamakaksavinyastapustakah

sakalalankaravan. Pascime Bhrkuti Hayagriva uttare.

Tatra Bhrkuti caturbhuja hemaprabha jatakalapini, vame tridandlka- mandaludharihasta daksine vandanabhinayaksasiitradharakara trinetra.

Hayagrivo raktavarnah kharvalambodarah urddhvajvalatpingalakesah bhujagayajnopavitl kayilatarasmasrusremparicitamukhamandalah rakta* vartulatrinetrah bhrkntikutilabhrukah vyaghracarmambarah danda- yudhah daksinakarena vandanabhinayi.

Ete sarva eva svanayakananapreritadrstayo yathasobham avasthitas* cintanlyah...

"The worshipper should think himself as the god (Khasarpana) from whose body radiate rays of a crore of moons* He wears the Jatamukuta (crown of matted hair), holds the image of Amitabha on his head, and sits on the moon over a double

lotus in the Ardhapary- afika attitude. He is decked in all sorts of ornaments, has a smiling face, is aged about twice eight years, exhibits the Varada pose in the right hand, and holds the lotus with a stem in the left. He is an expert

in distributing the stream of nectar that flows from his hand, and Sucimukha who stands below 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 Srngara (amour), is extremely peaceful and is endowed with various auspicious marks "Before him is Tara and to the right is Sudhanakumara "Here Tara is green. She causes to 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 to adolescence

"Sudhanakumara, again, has his two hands joined ( anjali ), is resplendent like gold, and has the appearance of a prince. He carries the book under his left arm-pit and is decked in all ornaments. "To the West of the god is Bhrkun and to

the North Hayagrlva "Here Bhrkutl has four arms, is resplendent like gold has matted hair, carries the staff with three horns and the Kamandalu in the two left hands. The two right show the mudra of bowing in one and the rosary in the

second. She has three eyes.

"Hayagriva is red in colour and is 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 distorted in a frown. He is clad in tiger-skin, has the staff as a weapon, and his right hand exhibits the act of bowing.

"All these deities should be meditated on as disposed in a befitting and artistic manner, with their eyes directed towards the face of the principal deity. Here ends the Sadhana for Khasarpana.'* 17

The finest image (Fig. 103) of Khasarpana was discovered by the late N. K. Bhattasali in the Pargana Vikrampur in Eastern Bengal *. 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 Khasarpana by means of the four companions to the right and the left of the principal god. Images of Khasarpana are found in Tibet 2 and China *.

LOKANATHA

Colour White Symbol Lotus

Mudra Varada

Four Sadhanas are devoted to the worship of the Lokanatha form of Avalokitesvara. He is single in three Sadhanas and only one Sadhana describes him as accompanied by Tara and Hayagriva. The same Sadhana adds further that Lokanatha should

be accom- panied also by the eight Bodhisattvas : Maitreya, Ksitigarbha, Vajrapaiji, Khagarbha, Viskambhin, Samantabhadra, Manjughosa, and Gagana- gafija, and by the four goddesses : Dhupa, Puspa, Gandha, and Dlpa, and by the four guardians of the gates : Vajrahkusi, Vajrapasi, Vajras- phota and Vajraghanta, In other words the Sadhana gives the constitution of the whole Mandala of Lokanatha. The principal god has two hands and carries the lotus in the left hand

and exhibits the Varada pose in the right, exactly like Khasarpana previously described. The Sadhana which is in verse is given below :

"Purvavat-kramayogena Lokanatham sasiprabharh I Hrihkaraksarasambhutam jatamukutamanditam II Vajradharmajatantahstham asesaroganasanam I Varadam daksine haste vame padmadharam tatha II Lalitaksepasamstham tu mahasaumyam prabhasvaram I

Varadotpalakara saumya Tara daksinatah sthita II Vandanadandahastastu Hayagrivo'tha vamatah I Raktavarno maharaudro vyaghracarmambarapriyah' 1 II

Sadhanamala, p. 49,

"Following the same procedure as before, the worshipper should think himself as Lokanatha, resplendent like the moon, as springing from the sacred syllable Hrih and wearing the Jatamukuta,

"He has within his matted hair the figure of the god, Vajradharma, is the destroyer of all diseases, exhibits the Varada tnudra in the right hand and carries the lotus in the left.

"He sits in the Lalita attitude, is peaceful and resplendent. To his right is Tara, who has a peaceful appearance, exhibits the Varada mudra and carries the lotus.

"To the left is Hayagnva, 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 Sadhana adds an account of the deities constituting the Lokanatha Mandala, including the Bodhisattvas and the gate- keepers. The relevant text is given below :

'Tadvaratakastadale padme Maitreyadirh ca vinyaset I Maitreyah pitavarnasca nagapuspavarapradah II Ksitigarbhah syamavarnah kalasarh cabhayarh tatha I Vajrapanisca suklabho vajrahasto varapradah II Khagarbho nabhahsyamabho cintamani-

varapradah I Manjughosah kanakabhah khadgapustakadharakah II Gaganaganjo raktavarno nilotpalavarapradah I Viskambhi tu ksaravarno ratnottamavarapradah II Samantabhadrah pitabhah ratnotpalavarapradah I Dhupadicaturddevi ca

Vajrankusyadidvaragah II Varnayudhe yathapurvarh mandalasyanusaratah I Evamvidhaih samayuktarh Lokanathsrh prabhavayet II".

(t On the eight petals of the lotus [on which the god sitsj should be placed the gods Maitreya and others. Maitreya is yellow in colour carries the Naga (kesara) flower and exhibits the Varada pose. Ksitigar- bha is of green colour,

carries the Kalasa and exhibits the Abhaya pose. Vajrapani is whitish in colour, carries the Vajra and exhibits the Abhaya mudra. Khagarbha has the colour of the blue sky, carries the Cintamani and exhibits the Varada mudra. Manjughosa

is of golden complexion and carries in his two hands the sword and the book. Gaganaganja is of red colour, carries the lotus and exhibits the Varada mudra. Viskambhin is ash-coloured, carries the excellent jewel and exhibits the Varada mudra. Samantabhadra is yellowish in complexion, carries the jewel on a lotus and exhibits the Varada mudra. The four goddesses Dhupa and others (accom- pany Lokanatha) and the (four goddesses) Vajrankusi and others guard the gates,

their colour and weapons being in accordance with the canons the Mandala. In this way Lokanatha should be meditated upon by the worshipper".

When represented, Lokanatha is generally alone and is occasion- ally accompanied by Tara and Hayapilva. In paintings of the com- plete Mandala alone all the companion deities are expected to be

present. Lokanatha may sit in three attitudes according to three different Sadhanas ; he may have the Lalita, the Paryanka or the Vajraparyahka attitude. Out of all images of Lokanatha so far discovered, the one from Mahoba is perhaps

the best and the most artistic (Fig. 105), There is a fine bronze of Lokanatha (Fig 106) in the Baroda Museum. The Sarnath image (Fig- 107) shows the miniature figure of Amitabha in the Samadhi mudra on the crown. The Nepal image is made

of pure ivory (Fig. 108). These last two represent Lokanatha in the standing attitude,

HALAHALA

Colour White Faces Three

Hands Six Companion Prajna

Three Sadhanas in the Sadhanamala are devoted to the worship of Halahala Lokesvara. Images of this divinity are rarely to be met with in India, but in Nepal there are some, though they do not strictly follow the Sadhana. The

distinguishing feature of Halahala is that he is generally accompanied by his Sakti or female energy whom he carries on his lap. The Sadhanas all enjoin the presence of the Sakti, but in a stone image from Nepal (Fig. 109), he is

represented alone. According to the Sadhana the god should be seated, but the image above referred to represents him in a standing attitude. The Dhyana contained in one of the Sadhanas is in verse and reads as follows :

"Hrlhkarabijanispannarh Halahalam mahakrpam I Trinetrarh trimukham caiva jatamukutamanditarh II Prathamasyam sitam niladaksinam vamalohitam I Sasankardhadharam murdhni kapalakrtasekharam II Jatantahsthajinam samyak sarvabharanabhusitam I

Sitaravindanirbhasam srngararasasundaram II Sadbhujam smeravaktram ca vyaghracarmambarapriyam I Varadam daksine panau dvitiye caksamalikam II Trtlye saranarttanam ca vame capadharaih tatha I Dvitiye sitapadmam ca trtlye stanameva ca II

Vamajanuna sitam Svabhadevlrh dadhanam. Vamena kamaladharam daksinena bhujena Bhagavadalifiganaparam kusumasobhitajatakalapam, Daksinaparsve sarpavestitam trisulam, vamaparsve padmasthakapalam nanasugandhikusumaih sampurnam,

raktapadmacandre Hlaksepasthi- tam vibhavayet Bhagavantam. M Sadhanamala, pp. 65-66.

"The worshipper should think himself as Halahala, the Great Com- passionate, originating from the sacred syllable Hrih, with three eyes, three faces and matted hair rising upwards in the shape of a crown. The first (or the principal)

face is white, the right blue and the left red. He bears on his head the crescent and the Kapala. The Jma Amitabha is within his matted hair and he is decked in all ornaments. He is resplendent like the white lotu.s and appears beautiful

by the sentiment of passionate love he displays. He has six arms, a smiling face and is fond of garments of tiger-skin. He displays the Varada mudra 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 third 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 Jata (matted hair) is decorated with flowers. To their right is the Trisula entwined by a snake, and on the left is the Kapala on the lotus, full of fragrant flowers. The god sits in the Lalita

attitude on the red lotus 1 '.

One image of Halahala is found in China ] .

PADMAN4RTTESVARA

(I) Eighteen Armed

Face - One Arms Eighteen

Asana Dancing in Ardhaparyahka Symbol Double lotus in all hands

Three Sadhanas in the Sadhanamala are devoted to the worship of this variant of Avalokitesvara, all entirely different and describing three widely different forms of the deity. It is, therefore, necessary that all the three Dhyanas

should be quoted and translated. There is no difficulty in taking the three to refer to Padmanarttesvara, because all doubt is set at rest by the fact that the Mantra, where mentioned, is in all cases the same, and that the Sadhanas

always designate him as Padmanarttesvara.

Images of Padmanarttesvara are rare in India. Fig. 110 illustrates one good example from Nepal. It follows the Dhyana given below :

'Tadmanarttesvaramnayena Arya-Avalokitesvara-Bhattarakarh atma- narh vibhavayet ekamukham astadasabhujarh ardhaparyahkinam Ami* tabhajatajutamandalam sarvakarair-visvapadmadharinam, yoginlvrnd- aparivrtam, daksinavamaparsvasthita-Tara-

Sudhana-Bhrkuti-Hayagrlvam divyalahkaravastrabhusanam ." Sadhanamala, p. 77.

"The worshipper should think himself as Bhattaraka Avalokitesvara in the form of Padmanarttesvara, who is one-faced and eighteen^armed. He stands in the Ardhaparyahka attitude, and on his Jatamukuta there is an effigy of Amitabha. 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 Tara, Sudhana, Bhrkuti and Hayagnva. He is decked in all kinds of divine ornaments and dress".

The Asana prescribed in the Sadhana is the Ardhaparyanka. This Asana may have two \arieties ; the ordinary, which is also called the Maharajalila, as in the cases of Vaglsvara and Simhanada, and the dan- cing variety, (ardhaparyankena

natyastha) as in the cases of Heruka, VajravSrahi and others. As the word 'narttesvara' means the "God of Dance 7 ' or the "God in a dancing attitude" the Asana of Pad man antes- vara may be taken as the dancing variety of Ardhaparyanka,

and this is borne out by the fact that the Nepal image illustrated in Fig. 110 shows the god in this particular attitude. This image hails from the Sarasvatl- sthana or the Manjusri Hill at Svayambhuksettra in Nepal. Though the god is

here represented with only two of the companion deities, yet the principal figure corresponds in all details, to the description given in the Sadhanamala.

One statuette of this god is found in China l . This Chinese statuette is illustrated in Fig. 111.

(II) Two-Armed

Colour Red Companion Sakti

Mudra Sue! Symbol Lotus

Vahana Animal

Another form of Padmanarttesvara is described in a second Sadhana. and the Dhyana contained therein runs -as follows :

"Padmanarttesvaram atmanam bhavayet sattvaparyankanisannarii dvibhujaikamukham raktam sakalalankaradharam Amitabhamukutam vamaparsve Pandaravasinlsamaslistam alinganabhinayasthitavamabhu' jena raktapadmadharam, narttanabhinayena

Sucimudraya vikasayada- paradaksinakaram...". Sadhanamala, p. 75.

'The worshipper should think himself as Padmanarttes\ 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 Amitabha on the crown and is

embraced by Pandaravasinl in the left. His left hand, which carries the lotus, is raised in the act of embracing ( the Sakti ), while the right shows the Sucimudra in the act of dancing... J \

The same Sadhana which contains the Dhyana quoted above, gives a description of the Mandala, 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 Vilokinl, white in colour and carrying the red lotus. The South is occupied by Tara of green colour, holding the Palasa and the lotus flowers. Bhurim is in the West, is yellow in complexion and carries the Cakra and the

blue lotus* Bhrkuti is in the North, with white colour holding the yellow lotus. In the North-East there is Padmavasini, who is yellow in colour and holds the red lotus. The South-East is occupied by Visvapadmesvari, who is sky-coloured

and holds the white lotus. The South* West is occupied by Visvapadma, who is white and carries the the black lotus. In the Norh-West there is Visvavajra of variegated colour holding the double lotus ] .

Fig. 112 illustrates a Nepalese drawing of the principal deity although it does not agree with the Sadhana in all details.

(Ill) Eight- Armed

Colour Red Arms Eight

Asana Dancing in Ardhaparyahka

One Sadhana in the Sadhanamala describes an eight-armed form of Padmanarttesvara. The Dhyana contained therein is given below :

"Namah Padmanarttesvaraya.

Tatra Visvapadmopari candre rakta-Hrihkaraparinatam Padmanar- ttesvaram raktavarnam ekamukham jatamukutinam trinetram, asta- bhujam sarvalankarabhusitam sarpayajnopavitam ardhaparyahkena tandavam. Prathamabhujadvayena nrtyabhinayam,

dvitiyadaksinabhu- jena hrdi vikasayantam sucimudram, vamabhujena raktapadmam sirasi dhrtam, trtlyabhujadvayena vajravaddandatrisuladharam, caturtha- bhujadvayena aksasutrakundikadharam, astadevlparivrram, evambhutarh Padmanattesvaram

Lokanatham bhavayet/' Sadhanamala, p. 76.

4 Salutation to Padmanarttesvara !

Here the worshipper should think himself as Padmanattesvara, on the moon over the double lotus, originating from the sacred syllable Hrlh. He is red in colour with one face, the Jatamukuta, three eyes and eight arms. He is decked in all

sorts of ornaments, wears the sacred thread of a snake, and dances in the Ardhaparyaftka attitude. The first pair of hands exhibits the dancing pose ; the second right shows the Sucimudra against the chest, the second left holds a red lotus over his head.; the third pair carries the staff and the Trisula, stamped with the Vajra ; while the fourth pair carries the

rosary and the water^pot. The principal god is surrounded by eight goddesses. In such a manner the god Padmanarttesvara Lokanatha should be meditated upon".

HARIHAR1HARIVAHANA

Colour White Arms Six

Vahana Sithha, Garuda and Visnu

The composition of the deity is so queer that great difficulty is experienced in recognizing the images of this form of Avalokitesvara, called by the peculiar name of Harihariharivahana. The Sadhana gives a description of the god, but is

practically silent as ro why such a special name is given to this particular variety of Lokesvara. India has not given uptil now any image of Harihariharivahana and it is rare even in Nepal. There is only one sculpture at

Svayambhuksettra and a bronze in one of the monasteries at Pattan, and both of them follow the Sadhana faithfully. The lion is lowermost, on it rides Garuda. On the back of Garuda, again, rides the Hindu god Visnu with the four symbols,

the conch, the discus, the mace and the lotus. On the shoulder of Visnu rides Lokesvara. The lion, the Garuda and the god Visnu, all have 'Hari' as their synonym and because the vehicle of Lokesvara is composed of three 'Hari's, the

principal god acquires the name of Harihariharivahana. Two Sadhanas in the Saclhanamala are devoted to the worship of this form of Arya Avalokitesvara and the Dhyana in one of them describes the god in the following terms :-

Harihanharivahanodbhavam Bhagavantarh Arya-Avalokitesvaram sarvangasuklam jatamukutinam santavesam daksinakarena Bhagavantarh Tathagatam saksinam kurvantam dvitl>ena aksamaladharinam trtlyena duhkuhakam lokam upadesayantam vamena

dandadharam dvitiyena krsnajinadharam trtlyena kamandaludharam simha*garuda-visnu- skandhasthitam atmanam dhyatva..."

"The worshipper should think himself as the Harihariharivahana form of god Avalokitesvara, white in all limbs, with the Jatamukuta (crown of matted hair) and clad in graceful garment?. He cites the Tathagata 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 deer-skin in the second and the Kamandalu in the third. He sits on the shoulder of Visnu below

whom there are Garuda and the lion. Thus meditating..."

In the drawing of Hariharharivahana illustrated in the Appendix there is a snake below the lion. The snake also has the synonym of 'Hari' in Sanskrit, and that is how a snake is added, although it is not required by the Sadhana. 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 drawing represents the principal god in all details. This deity is also known in China 1 .

TRAILOKYAVASANKARA

Colour Red Asana Vajraparyanka

This variety of Lokesvara is also known by the name of Uddivana or Oddiyana Lokesvara or Lokesvara as worshipped in Uddiyana which was, in the middle ages, a great centre ofTantric learnmg.lt has already been shown that there are good

grounds for identifying this Uddiyana with the village of Vajrayogini in the Pargana Vikrampur in the district of Dacca now in Eastern Pakistan. This form of Lokesvara does not seem to have been widely represented. There is a bronze

image of the god in the Kva Vahal at Pattan in Nepal, but it does not follow the Sadhana in all details. Two Sadhanas in the Sadhanamala are devoted to the worship of Trailokyavasahkara and the Dhyana contained in one of them is given

below :-

"Lokesvaiam sarvahgamaharagaraktarh ekamukham dvibhujam trinetram jatamukutamanditam vajrankitapasahkusahastam raktapadme vajraparyahkanisarmam div^abharanavastravibhusjtam atmanam vicintya". Sadhanamala, p. 80

"The worshipper should think himself as Lokesvara whose limbs are reddened b> the intense sentiment of passion, ar d who is one-faced, two-armed and three*eyed. He w r ears a crown of matted hair, and carries in his two hands the noose

and the goad stamped with the Vajra. He is seated on a red lotus in the Vajrapar>ahka attitude and is decked in celestial garments and ornaments. Thus meditating.. "

The Dhyana, it may be noticed, does not expressly mention the name of Trailokyavasankara which is given in the colophon. It further says that the Sadhana is composed by the great Tantric savant, Sarahapada, famous in the Middle Ages as

one of the eighty-four Mahasiddhas 'Great Mystics'. Two illustrations of this form of Avalokitesvara occur in the Two Lamaistic Pantheons of Clark 2 * Fig. 114 illustrates one of the statuettes in China.

RAKTAIOKESVARA

( I ) Four Armed

Colour Red Arms Four

Companions Tara and Bhrkuti

Two Sadhanas in the Sadhanamala are devoted to his worship, but the two Dhyanas describe two widely different forms of the god. It is necessary, therefore, to quote and translate both the Dhyanas. One of the Dhyanas describe him thus :

"Daksinottaraparsve Tara-Bhrkutidevidvayasahitam Arya^Avalo- kitesvara-Bhattarakarh raktavarnam raktama.yambaranulepanarh pasah- kusadhanurbanadharamcaturbhujam,.raktakusumavatasokataroradhastat avasthitam atmanarii vicintayet...

Rakta-Lokesvarasadhanam" Sadhanamala, p. 83

"The worshipper should think himself as Arya^Avalokitesvara, who is flanked in his right and left by the two goddesses Tara and Bhrkuti. He is red in colour, wears red garments and is besmeared with red unguents. He carries in his four

hands, the noose, the goad, the bow and the arrow., and stands under the Asoka tree, which has blossomed into red flowers. 1 '

The colophon of the Sadhana attributes to him the name of Rakta- Lokesvara and this name is given simply because his colour is red. Images of Rakta-Lokesvara are rare. A few can be seen in the Kva Vahal at Pattan in Nepal. Statuettes of

Rakta-Lokesvara are found in China under the title of Caturbhuja Avalokitesvara *. This Chinese statuette is illustrated in Fig. 115.

( II ) Two-Armed

Colour Red Symbol Lotus

Mudra Opening of the Petals

The second Sadhana in the Sadhanamala describes a two-armed form of the god Rakta-Lokesvara* This two-armed form is not met with either in painting or in stone. The Dhyana contained in the Sadhanamala describes this two-armed form in the

following words :

'Raktavarnam Amitabhagarbha jatamukutadharam vamakaragrhita- raktapadmam tacca daksinakarena vikasayantam vividhalankaravastra- vibhusitam...". Sadhanamala, p. 84

"The worshipper should think himself as Rakta-Lokesvara of red colour, having a Jatamukuta (crown of matted hair) bearing the effigy

of Amitabha. He carries the red lotus in the left hand, and opens its petals with the right and is decked in various ornaments and dress../'

A reference may here be made to the Dhyana of Vajradharma another variety of Lokesvara, equally unrepresented, whose form will be described later in this chapter. The forms of Rakta-Lokesvara and Vajradharma are almost identical with the

difference that the Sadhana enjoins for Vajradharma, the Vahana of a peacock.

MAYAjALAKRAMA

Faces Five Hands Twelve

Asana Pratyalidha Colour Blue

As the Sadhana for the worship of this particular form of Avalokit* esvara, occurs originally in the Mayajala Tantra, this peculiar name has been given to the deity. This is the only fierce form of Lokesvara known to the Indian

Buddhists, although fiercer forms are to be met with in the Tibetan Buddhist Iconography. The Dhyana given in the Sadhanamala describes him in the following terms :

"Bhagavantam Arya-Avalokitesvaram krsnavarnam pratyalldhasthaih suryamandalasthitarh pancamukham trinetram dvadasabhujarh sita- raktadaksinamukhadvayam tatha pitaharitavamamukhadvayam daksina" bhujaih damaru-khatvanga-ahkusa-

pasa"vajra'Saradhararh, vamabhujaih tarjam-kapala'raktakamala'mani'cakra-capadharam darhstrakaralasakal' avadanarh sanmudropetam sardramundamalalankrtasai Iram nagnam sarvahgasundafarh atmanam jhatiti pratyakalayya..."

"The worshipper should think himself as Arya^Avalokitesvara, whose colour is blue. He stands in the Pratyalidha attitude, on the orb of the sun. He is five^faced, three-eyed, twelve-armed, with the two right faces of white and red

colour, and two left of yellow and green colour. He carries in his right hands the L Damaru, 2. the Khatvanga, 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 Kapala,

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 Lokesvara occurs in the Two Lamaistic Pantheons of Clark l . His statue can be seen in Nepal at Svayambhuksettra. A Nepalese drawing of this form is illustrated in the Appendix.

1. Clark V TUMI, p. 267 VTao (talk)

NfLAKANTHA

Colour Yellow Asana Vajraparvahka. Mudra Samadht Symbol Bowl of Jewels Companions Two serpents on either side

One Sadhana only is devoted to the worship of this form of Lokes- vara, which is almost identical with that of Amitabha, his sire, whose image he bears on his head. Indeed, this mark of descent and the sacred thread he wears, constitute

the only points of difference between them. Amitabha being a Dhyani Buddha, has no father. Nilakantha, according to the Sadhana, is accompanied by two serpents. The Dhyana is given below

"Bhagavantam pitavarnam ardhacandrahkitajatamukutinam Amita- bhopalaksitasirahpradesam raktapadmoparisthitam ; krsnasaraharina- carmani vajraparyankinam samadhimudropari nanaratnaparipurnaka- paladharinam eneyacarmakrtayajnopavltinam,

vyaghracarmambara- dharam nirabharanam Nilakantham nilagutikavisistakantham ; parsva- dvaye parasparabhisambaddhapuccha'Samaniphanavisista-Bhagavadavalo- kanaparordhvamukhakrsnasarpadvayopalaksitam atmanam evarh vibhavayet-..

"The worshipper should think himself as the god Nilakantha, who is yellow in colour and whose Jatamukuta is adorned with the crescent and the effigy of Amitabha. He sits in the Vajraparyahka attitude on a red lotus, on which is spread

the skin of black deer. He exhibits the Samadhi mudra with his two hands carrying the Kapala (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 no 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 to have saved the world from destruction by swallowing the poison that issued from the mouth of Vasuki, the lord of serpents, while the gods

and demons were churning the ocean together. The poison, could it have entered Siva's stomach, would surely have destroyed him, but it remained in his throat, and as the colour of the poison is said to be blue, there is a blue spot in

the white throat of the god. That is the reason why the name Nilakantha (Blue- throat) has been given to Siva. As this particular form of Lokesvara has also the same name, it may well be that its origin was the Hindu god Siva Nilakantha.

A confusion is likely to arise in the identification of the images of Nilakantha and Vajraraga, a variety of Manjusrl, if rheir 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 Nilakantha. If the image bears princely ornaments and is richly clad, it must be identified as that of ManjusrL

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. 116) hails from the monastery at 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 l .

SUGATISANDARSANA

Colour White Arms Six

One short Sadhana in the Sadhanamala describes this form of Avalokitesvara. The Dhyana for Sugatisandarsana describes his form in the following words :

Sugatisandarsana-Lokesvara-Bhattarakam suklavarnarh sadbhujam varadabhayaksamaladharam daksme, vame padmakunditridandidharam ca ratnabharanabhusitarh vratasutradharinarh jatamukutarh padmopari candramandalasthitam saumyaruparh

bhavayet". Sadhanamala, p. 88

The worshipper should think himself as Bhattaraka Sugatisandarsana Lokesvara 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 Sugatisandarsana Lokesvara which agrees with the Sadhana in major details.

PRETASANTARPITA

Colour White Arms Six

Only one Sadhana in the Sadhanamala describes this form of Avalokitesvara. The Dhyana describing the form of Pretasantarpita is brief and is worded as follows :

"Jatamukutinarh sadbhujam prathamabhujadvayena varadau dvitlya- bhujadvayena ratnapustakau trtiyabhujadvayena aksamalatridandikam, sarvalankarabhusitarh vratasutradharinam saurnyamurtim, padmopari candramandale sthitam svetavarnarh

vibhavayet".

"The worshipper should think himself as Pretasantarpita Lokesvara who bears the Jatamukuta (crown of matted hair), is six^armed, exhibits in the first pair of hands the Varada poses r carries in the scond pair the jewel and the book, and

in the third pair holds the rosary and the Tridandi (staff with three horns). He is decked in all sorts of ornaments, wears the sacred thread, has a graceful appearance, stands on the orb of the moon on lotus, and is white in colour/'

SUKHAVATl LOKESVARA

Colour White Faces Three

Arms Six Asana Lalita

Companion Sakti

A description of the deity occurs in the Dharmakosasafigraha of Amrtananda. Nepal abounds in images of SukhavatI Lokesvaia both in stone and in bronze, though his images are not found in any other Buddhist country of the North. The

description above referred to runs as follows :

- Trimukhah svetavarnah sadbhujah dakse mudrah, saraksepa-japa- mala-varadani, vamesu dhanuh-kamala-Tarorusamarpanani lalitasanah kamalopari, Vajratara-Visvatara-Padmatarabhih parivrtah. Upari caityah.

SukhavatI Lokesvarah"

"Sukhavati Lokesvara is three-faced, white in colour, and six-armed. One of his right hands is in the act of shooting an arrow, the remain- ing two have the rosary and the Varada pose. In two of his left hands he carries the bow and the

lotus, and the third is placed on the thigh of Tara. He sits in Lalitasana on the lotus, and is surrounded by the goddesses Vajratara, Visvatara, Padmatara and the like. There is a Caitya on the top".

Fig. 119 illustrates a sculpture from Nepal representing the deity SukhavatI Lokesvara. Here the god is in the company of his Sakti but is without the other companions as prescribed.

VAJRADHARMA

Colour Reddish White

Vahana Peacock Symbol Lotus

One Sadhana in the Sadhanamala describes this form of Avalo* kitesvara. The distinguishing feature of this god is that he rides a peacock. The Sadhana in question is entirely in verse, and the

relevant portion containing the description of the form of Vajradharma is given below :

'Tarn sitarh raktavarnam tu padmaragasamadyutirh 1 Pancabuddhamukutadharam harsenotphullalocanarh II Vamato spardhaya nalam dhrtva sodasapatrakam I Padmam vikasayantanca hrdi daksinapanina II Mayuropari madhyasthe nisannam candramandale

I Sattvaparyankamabhujya sasrngararasotsavam II Caityantahsthamahakarma-kutagaraviharinam I Bhavayet Vajradharmagryam nityam Bodhim avapnuyat." II

'The worshipper should conceive himself as excellent Vajradharma, of reddish white complexion, bright as the Padmaraga gem, who bears the effigies of the Five Dhyani Buddhas on the crown. His eyes beam with delight ; and he holds with

pride the stem of a lotus with sixteen petals in his left hand and with the right causes it to blossom against his chest. He sits on the moon over lotus on the back of a peacock, enjoys his seat of the animal and displays the delightful

sentiment of amour. He moves in the sanctum of the Caitya, the place for great performances. He ( the worshipper ) certainly receives the Bodhi who meditates (upon him) in this manner."

Fig. 120 illustrates a Nepalese drawing of the deity. A statuette also occurs in the Chinese collection ] .

The conception of Avalokitesvara is as old as the third century B. C. He was first ushered into existence by the Mahasanghikas, about the time of Asoka, in their work, entitled, Mahavastu Avadana, where he has been characterised as the

"Bhagavan 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" 2 . This Avalokita Bodhisattva no doubt gave rise to the

concrete form of Avalokitesvara, even before the second century A. D. and his images can be traced from the Gupta period onwards. He first appears in the Sukhavati Vyuha 3 , and a passage in the Karandavyuha where he is said to manifest

in all possible forms of godhead for the sake of the ignorant and to bring salvation to

3. This work was first translated into Chinese between A.D. 1 48 and 1 70 while the smaller recension was translated into the same language between A.D. 384 and 417. Max Muller : Sukhavati Vyuha, introduction* pp. iii-iv.

mankind, accounts undoubtedly for the great number of his forms. As different people belonged to different faiths, this Compassionate Bodhisattva wa* obliged to assume the shape of all gods of all faiths, nay, even the shape of father

and mother. Avalokitesvara thus is given no less than 108 forms which are painted on the walls of the Macchandar Vahal atKuthmandu in Nepal with inscriptions for the purpose of identification. All these paintings have been copied out by

an expert Nepalese artist, and are illustrated in this book in an Appendix. To this a reference mav be made for the numerous forms of Avalokitesvara.

Besides Avalokitesvara and a few forms of Manjusn already des* cribed, only two male divinities in the Sadhanamala emanate from the Dhyani Buddha Amitabha. These are Mahabala and Saptasatika Hayagrlva. Their parental Dhyani Buddha, it

may be remembered, is distinguished by his red colour, the family symbol of lotus, and the Samadhi mudra he displays. His offsprings Mahabala and Hayagrlva belong, therefore, to the lotus family and should show the signs characteristic

of the family. They are studied below in the order of their importance.

MAHABALA

Colour Red

Asana Pratyalidha

Arms Four

Only one Sadhana in the Sadhanamala is devoted to the worship of Mahabala- a fierce emanation of the Dhyani Buddha Amitabha The Dhyana is given below :

"Mahabalarh ekamukharh caturbhujarh sarvangaraktam urdhva- pingalasarpavabaddhakesarh daksinabhujabhyarh sitadanda-sitacamara- dhararh vamabhujabhyarh vandanabhinaya-sapasatarjamkararh \yaghra- carmanivasanarh sarpabharanarh

pratyalldharh damstrakaralavadanam suryamandalaprabhumalinarh Amitabhamukutinarh dhyatva..."

'The worshipper should think himself as Mahabala with one face, four arms and red complexion. 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 mudra of bowing and the raised index finger. He is clad in tiger-skin, wears ornaments of snakes and stands in the Pratyalidha attitude His face looks terrible with bare fangs and he is bright like the orb of the sun. He holds the

effigy of Amitabha on the crown".

Two statuettes of Mahabala are known to the Chinese collection at Peiping l .

SAPTASATIKA HAYAGRIVA

Colour Red

Symbols Vajra and Danda

Special Feature Horse-head

I Hayagriva has several other forms and these will be described at their appropriate places. One of these forms is said to bear the effigy of Amitabha on its crown This particular form of Hayagriva, therefore, should refer to the

spiritual son of Amitabha with the red colour and the Samadhi mudra, The present Sadhana describing his form states in the colophon that it is restored from the Saptasatika Kalpa. This particular form of Hayagriva, therefore, is

designated as the Saptasatika Hayagriva. \The Dhyana contained in the Sadhana is given below :

"Raktavarnarh mahabhayanakarh trinetrarh kapilasmasruraudrarh brhadudararh damstrakaraimarh dantausthakapalamahnarh jatamuku- tinarh Amitabhasiraskarh, Dvitlyamukharh bhimabhayanakarh nilarh hayananarh hihikaranadinarh

Brahmandasikharakrantarh dvitlyena bhavagraparyantarh astanagopetarh kharvavamanakararh vyaghrcarma- nlvasanarh sarvalankarabhusitarh sakaladevasurarh tarjayantarh grhita- vajradandarh...vicintayet". Sadhanamala, p. 509*

V'The worshipper should conceive himself as (SaptasatikaJHayagnva) of red complexion, who is t erFi BIy a w e ^inspirTng , with three-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 his Jata and the figure of Amitabha. His second face is distorted like that of a horse, which is blue in colour and neighs incessantly. He tramples on the top 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 tiger- skin and decked in all ornaments. He threatens all the gods and Asuras, and holds the Vajra

and the staff (in his two hands)".

It may be noticed that the Dhyana 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 not seen as a rule. In such cases, the

Danda or the staff serves as the identification mark. From the Dhyana it also appears that he is two-armed and carries the Vajra and the Danda, the Vajra being generally held in the right hand, while

the Danda is carried in the left. About the name, however, the colophon is certain, and it asserts that this Sadhana has been restored from the Saptasatika Kalpa, that is to say, a ritual work consisting of letters that can make up seven

hundred verses in the Anuscubh metre.

Images of Hayagriva are found in Tibet J and China -.

The female divinities that emanate from the Dhyani Buddha Amitabha are three in number, the most important and popular among them being Kurukulla, to whose worship no less than fourteen Sadhanas are devoted in the Sadhanamala. Two

Sadhanas are devoted to Bhrkuti and one Sadhana only to Mahasitavati. who is also included in the list of the Pancaraksa deities or the Five Great Protectresses. These goddesses as a rule are not represented in stone or bronze ;

paintings, however, are made by the Nepalese artists even in modern times.

KURUKULLA

She is one-faced and may have two, four, six or eight arms. When she is six -armed, she bears the effigies of the five Dhyani Buddhas on her crown. When two-armed, she is called Sukla Kurukulla, and when she is four-armed she is called

by the names of Tarodbhava Kurukulla, Uddiyana Kurukulla, Hevajrakrama Kurukulla and Kalpokta Kurukulla.

Kurukulla is said to confer success in the Tantric rite of Vasikarana or the rite of enchanting men, women, ministers, even kings. Some of the Sadhanas contain many interesting methods of casting spells on different people. The mantra of

Kurukulla is

Hum Hnh Svaha". When this mantra is muttered ten thousand times, mi merilffe~~T?ewitched. Thirty thousand times would prove sufficient to subdue a minister, but the subjugation of a king requires no less than a lakh. She can even confer

on her devotees the power of subduing all ministers and kings.

Images of Kurukulla are found in Tibet ix and China 4 and she is very popular in these countries. The different forms of Kuiukulla as available in the Sadhanamala are dealt with in the following pages.

SUKLA KURUKULLA

Colour White

Symbols Rosary and the Bowl of Lotus

Vahana Animal

Asana Vajraparyahka

Only one Sadhana in the Sadhanamala states the method whereby she should be propitiated. The Dhyana contained therein is a long one and runs as follows :

"Atmanam Bhagavatlrh aksasutrotpalamrtakundim savyavasavya- panibhyam dadhanam, trinetram Padmadhrkpramukhaih sarva-Tatha- gataih Vmadisodasadevlbhir-abhisiktam Amitabha-virajitananapuspo- pasobhitajatamukutam srhgaradirasopetam,

kincit-savyapanipallava- sthaksasutramalokamanam, ksirambhodhisvetavarnabjastham-amrtafxko* pari sattvaparyahkasanastham, kahkana^keyura-kundala-nupuramukta- haradivyavastradivibhusitam nllanantabaddhakeslm piyusavarna-Vasu- kikrtaharam,

rakta-Taksakakitakarnograkundalam, durvasyama-Kar- kkotakakrtayajnopavltam, sukla-Padmanagendrakrtaharam, mrnalavar- na-Mahapadmakrtanupuram, pita-Sankhapalakrtakankanam, dhuma bhravat-Kulikakrtakeyuram, subhravarnam sravadamrtavigraharh

karu- nardracittam bhavayet.

Sukla-Kurukulla'Sadhanam". Sadhanamala, pp. 362-363

"The worshipper should think himself as the goddess (Kurukulla), 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)

Padmapani and others, by all the Tathagatas and the sixteen damsels beginning with Vina. She wears the Jatamukuta which is decorated with various flowers and the miniature figure of Amhabha. She displays the sentiment of passion- ate

love, and other sentiments, and turns slightly to 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 is

decked in bracelets, armlets, ear-rings, anklets, pearl-necklace, and is clad in celestial garments. Her hair is tied up by the serpent Ananta of blue colour, her necklace is formed by the milk-coloured Vasuki, and her prominent ear-

ornament (Kundala) by red Taksaka, her sacred thread is the green Karkkotaka, her girdle is the white Padma the lord of serpents, her Nupura (anklet) is the serpent Mahapadma of the colour of the lotus stalk, her bracelet is the yellow

Sahkhapala, her armlet is Kulika of the colour of smoky clouds. She is white in colour, and seems to diffuse nectar. She possesses a heart which is melting with compassion."

This lengthy description is sufficient to give one a vivid picture of the form of Sukla-Kurukulla, which has many features in common with the other varieties to be described briefly hereafter. It is not necessary to quote and translate

all the Dhyanas given in the Sadhana- mala, because that would only serve to increase the bulk of the book unnecessarily.

TARODBHAVA KURUKULLA

Colour Red Arms Four

Asana Vajraparyanka Vahana Kamadeva with wife on Rahu

Five Sadhanas differing but slightly from one another describe this form of Kurukulla designated as Tarodbhava Kuiukulla in the Sadhanas According to the information supplied by the Sadhanas, Tarodbhava is red in colour with red

garments, red ornaments and the seat of a red lotus. She has four arms. The two left hands show the Abhaya mudra and the arrow, and the two right carry the bow and the red lotus. She sits in the Vajraparyanka attitude and under the seat

appear Kamadeva and his wife riding on the demon Rahu. She has a red aureole behind her, she wears the effigy of Amitabha on the 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 to strike.

UDDIYANA KURUKULLA

Appearance Terrible Colour Red

Asana Ardhaparyahka Vahana Corpse

Arms Four

This form of Kurukulla is called in Sadhanas Uddiyana Kurukulla or Kurukulla as worshiped in Uddiyana (mod. Vajrajogini). This form of the goddess looks rather fierce, with the garland of heads, the five skulls on 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 to 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 Ardhaparyahka attitude on a corpse.

ASTABHUJA-KURUKULLA

Arms Eight

Colour Red

Asana Vairaparyahka Mudra Trailokyavijaya

As has already been pointed out, Kurukulla may have another form with eight arms which is described in the only Sadhana devoted to her worship. This Sadhana is attributted in the colophon to the great Siddhacaryya Indrabhuti, who

flourished about 700 A. D. and who had a daughter even more illustrious than himself, Laksmmkara by name, well-versed in the doctrines of both Vajrayana and Sahajayana. The goddess described in this Sadhana is not terrible like the six-

armed Mayajala Kurukulla or the four-armed Uddiyana Kurukulla, but is mild, youthful and compassionate The most important feature of the Sadhana us that it gives the description of a complete Mandala which comprises the principal goddess

and twelve surrounding divinities. For a better understanding of the form of this goddess and of the consti- tution of the Mandala, it is desirable that the Dhyana should be quoted in extenso and translated :

"Kurukullam Bhagavatim astabhujam raktavarnam raktastadala- padmasuryye Vajraparyankanisannarh kutagaramadh^anivasinirii pra- thamakaradvayena Trailokyavijayamudradharam, avasistadaksinakaraih ankusarh akarnapuritasaram varadamudram

dadhanam. parisistavama- bhujaih pasam capam utpalam dadhanam, sakalalankaravatlm bhavayet.

Purvadale Prasannataram, daks nadale Nispannataram, pascimadale Jayataram, uttaradale Karnataram, aisanadale Cundam, agneyadale Aparajitam, nairrtyadale Pradipataram, vayavyadale Gaurltarafica dhyayat. Etasca sarvah raktavarnah Panca-

Tathagatamukuta vajra paryahkanisanna daksinabhujabhyam varadamudra-akamapurita'Sara- dhara. vamabhujabhyam utpalacapadharah.

Purvadvare Vajra vetallrh lambodaram vikrtamukhim raktavarnam Aksobhyamukutam, daksinahastabhyarh tarjany-ankusadharam, vama* karabhyam vajraghantapasadharam

Daksinad\'are Aparajitam pltavarnam Ratnasambhavamukutam dak- sinahastabhyam dandahkusadharam, vamahastabhyam ghantapasa- dharam.

Pascimadvare Ekajatam krsnavarnam urdhvakesam lambodaram dantavastabdhaustham Amitabamukutam, daksmakarabhyam vajrahk- sadharam vamakarabhyam ghantapasadharam.

Uttaradvare VajragSndhanm kanakasyamarii Amoghasiddhimukutam vikrtamukhim lambodaram, daksinabhujabhyam khadgankusadharaih

"The worshipper should think himself as goddess Kurukulla, who is eight-armed, red in colour, sits in the Vajraparyahka attitude, on the orb of the sun over the lotus with eight petals and resides in the sanctum ; she displays the

Trailokyavijayamudra in her first pair of hands, and shows in the other right hands, ahkusa, 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 Prasannatara, on the south is Nispannatara, on the west Jayatara, on the north Karnatara ; on the north-east petal is Cunda, on the east Aparajita, on the south-west Pradlpatara, and on the north-west is Gauritara.

All these deities have red colour and the five Dhyani Buddhas on their crowns. They sit in the Vajraparyahka 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.

In the eastern gate is Vjijravetali, who has a protruding belly, distort- ted 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 Vajraghanta and

the noose.

In the southern gate is Aparajita, who is yellow in colour and has the effigy of Ratnasambhava on her crown ; she carries 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 Ekajata, 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 Amitabha 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 Vajragandhari, golden in complexion, who bears the image of Amoghasiddhi 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"

MAYAjALAKRAMA KURUKULLA

Asana Vajraparyanka Arms Six

ColourRed

Another form of Kurukulla is known as Mayajalakrama Kurukulla since the Sadhana describing it is said to have been restored from

the now lost Mayajala Tantra by the Tantric author Krsnacarya l . This form of Kurukulla is six-armed. In accordance with the Sadhana she sits in the Vajraparyafika attitude, on the sun over the red lotus of eight petals. She is red in

colour and is clad in red garments. She exhibits the Trailokyavijaya mudra in the first pair of hands, shows the Abhaya mudra and the sprout of a white Kunda flower in the second, and the rosary and the Kamandalu in the third. She bears

the images of the five Dhyani Buddhas on the crown, and sits on the back of the serpent Taksaka. She has another form with six arms, which is not expressly called the Mayajala Kurukulla, and is described in another Sadhana. According to

that Sadhana, she exhibits the Trailokyavijaya mudra in the first pair of hands, and carries Ankusa and the red lotus in the second pair, and the full- drawn bow charged with an arrow in the third. Images of Kurukulla are rare.

4. BHRKUTf

Colour Yellow Arms Four

Bhrkuti is another goddess emanating from the Dhyani Buddha, Amitabha of red colour. She is already familiar as a companion of Avalokitesvara as a minor goddess. When she accompanies Khasar- pana she is yellow in colour and four^armed.

She carries in her two left hands the Tridandi and the Kamandalu. One of the two right hands is raised in the attitude of bowing, while the other carries the rosary. Bhrkuti is also worshipped as a principal goddess, and two Sadhanas in

the Sadhanamala are devoted to her worship. She is described in the following words :

"Caturbhujaikamukhirh pltarh trinetrarh navayauvanarh Varada- ksasutradharadaksinakaram tridandikamandaludhaiavamakararh Amita- bhamudritam padmacandrasanastharh Bhagavatlrh dhyatva... Bhrkutisadhanarh.' 1 Sadhanamala, p 341.

"The goddess Bhrkuti should be conceived as four-armed, one- faced and yellow in colour, three-eyed and as blooming with youth. She shows the Varada mudra and the rosary in her two right hands, and carries the Tridandi and the Kamandalu

in the two left. Her crown is stamped with the effigy of Amitabha. She sits on the orb of the moon over a lotus. Thus meditating.,.."

Another Sadhana adds the information that she should be peaceful in appearance and should wear a crown of matted hair. Images of

1. Sadhana No. 181, Sadhanamala p. 372.

EMANATIONS OF AMITABHA 153

Bhrkuti are rare, but they are known in Tibet ] and China 2 . Fig. 123 illustrates one of the Peiping images.

5. MAHASITAVATl.

Colour- Red Arms Four

Asana Ardhaparyanka

All the five goddesses constituting the Pancaraksa group are said to emanate from one or another of the Dhyani Ruddhas. Mahasltavatl is affiliated to her parental Dhyani Buddha Amitabha. The short Sadhana describing her form is as

follows :

"Mahasita (sicsita) vati caturbhujaikamukhi rakta daksinabhujadvaye aksasutiavaradavati vamabhujadvaye vajrankusahrtpradesasthapustaka- van Jlrhbija Amitabhamukutl ardhaparyahkasthita nanalahkaravatl suryasanaprabha ceti 1 '.

Sadhanamala, p. 401 .

"Mahasitavati js four-armed, one-faced, and red in colour. She shows in her two right hands the rosary and the Varada pose, and in her two left hands the Vajra and the Book against the chest. She originates from the syllable 'Jim', bears

the effigy of Amitabha on the crown, sits in the Ardhaparyanka attitude, and is decked in various ornaments. She sits on the orb of the sun ynd glows like the sun".

Images of this goddess are found in Tibet " and China 4 .

1. Getty: GNB, pp, 124-125.

2. Clark: TLP, II, pp. 160 t 171, 288.

3. Getty : GNB, p, 139.

4. Clark : TLP, II. pp, 206 and 275 under the title of SttavatL 20

CHAPTER V

EMANATIONS OF AKSOBHYA I. GODS

The number of deities emanating from the Dhyani Buddha Akso- bhya is quite large, larger than that of the emanations of any other Dhyani Buddha. The blue colour of Aksobhya is associated with the terrible deities in the Sadhanamala and

with the gruesome rites in the Tantras, and the deities emanating from this Dhyani Buddha are generally of blue colour and terrible in character both in deed and in appearance. With the exception of Jambhala, the God of Wealth, all the

male emanations of Aksobhya have a terrible appear- ance 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 Dhyani 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 Sadhanas 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 of Aksobhya are described below one by one.

1. CANDAROSANA.

Colour Yellow Arms Two

Symbols Sword and Tarjanipasa

Candarosana is also called Mahacandarosana, Candamaharosana and Acala. Four Sadhanas are devoted to his worship and he is always represented in yab-yum. Prabhakarakirti is said to be the author of one of the Sadhanas the major portion of

which is ia verse. Another Dhyana describing the god runs as follows : .

"rI-Candamaharosanam Bhagavantam atasipuspasaftkasamLAcala- paranamanam dvft>htrjaih kekaraksaih damstravikliralamahaghoravada- nam ratnamaulinaih damstraniplditadharam mundamalasiraskam

EMANATIONS OF AKSOBHYA 155

araktacaksurdvayam daksine khadgadhararh tarjampasahrdayasthavama- kararh sitasarpayajnopavltarh vyaghracarmanivasanam nanaratnaviraci- tabharanarh bhumilagnavamacaranam isadunnatadaksinacaranam suryyaprabhamalinarh atrnanarh vicintya..

Aksobh^amukutinarh dhyayat." Sadhanamala, p. 172.

"The worshipper should think himself as Sri-Candamaharosana, whose colour is like that of the Atasi flower and whose second name is Acala. He is one-faced, two-armed and is squint-eyed. His face appears terrible with bare fangs. He wears

a jewelled head-dress, bites his lips and wears on his crown a garland of severed heads. His eyes are slightly red, and he carries the sword in his right hand and the noose round the raised index finger against the chest in the left. His

sacred thread consists of a white 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.. bears on his crown the effigy of Aksobhya. Thus

the god should be meditated upon".

It should be noticed that the Dhvana is silent about the Sakti in whose embrace the god should remain in yab-yum, but if the Buddhist priests are to be believed and if the testimony of the Nepalese Citrakaras has any value, it must be

assumed that Candaro* sana is always represented in yab-yum and should not be represented singly. Candarosana is the most important figure in the celebrated Candamaharosana Tantra dedicated to his worship. His worship is always performed

in secret and the god is kept secluded from public gaze. Even if there be a bronze image it is practically inacces- sible to any one except the initiated.

Fig. 124 illustrates a Nepalese drawing of the deity. As Acala and Acala-Vajrapani he is popular in Tibet ' .

2. HERUKA

Colour Blue Arms Two

Symbols Vajra and Kapala Variety Single

Heruka is one of the most popular deities of the Buddhist pantheon and a regular Tantra, the Heruka Tantra, is devoted to his worship. Heruka is worshipped singly as well as in yab-yum. When he is in yab-yum he is generally known as

Hevajra and in this form he is popular in Tibet, Many of his forms aie described in the Sadhana- mala in its numerous Sadhanas, arid the additional ones are derived from the Nispannayogavall of Abhayakara Gupta.

1. Getty: GNB, pp. 52 and 170. ~

156 -BUDDHIST ICONOGRAPHY

In the Sadhanamala the worship of Heruka is said to confer Buddhahood on his worshippers, and he is said to destroy all the Maras (mischievous beings) of the world* A Dhyana in verse in the Sadhanamala describes his form in the following

words ; Savastharfa ardhaparyahkam naracarmasuvasasam I Bhasmoddhulitagatranca sphuradvajranca daksinam II Calatpatakakhatvahgam vame raktakarotakam I Satardbamundamalabhih krtaharamanoramam II Isaddamstrakaralasyam raktanetrarii

vilasinam 1 Pihgorddhvakesam Aksobhyamukutam karnakundalam II AsthyabharanavSobham tu siralvpancakapalakam I Buddhatvadayinam dhyayat jaganmaranivaranarh II

Sadhanamala, p. 473.

'The worshipper should conceive himself as the god (Heruka) who stands on 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 Khatvahga with a flowing banner, like a sacred thread. He carries in his left hand the Kapala 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 rises upwards and forms into a crown which bears the effigy of Aksobhya. He wears a Kundala and is decked in ornaments of bones. His head is beautified by five skulls. He bestows Buddhahood

and protects the world from the Maras (wicked beings)' 5 .

In another Sadhana for the worship of this particular kind of Heruka the Khatvahga is 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 Khatvahga resembling the Vajra with one thong. The Sadhana does not mention the number of heads in the necklace, but says simply that they are strung with guts. His left leg rests on the double lotus (and not on the corpse) while the

right is placed on the left thigh in a dancing attitude.

The image ( Fig. 125 ) discovered by Mr. N. K. Bhattasali and deposited in the Dacca Museum, agrees in all details with the descrip- tion given above. Though the hands are broken it can yet be discerned that the right wielded the Vajra

and the left carried the Kapala against the chest. The attitude in which he stands is called the dancing attitude in Ardhaparyahka. His head-dress in decorated with five skulls and the effigy of Aksobhya. The Khatvahga has an overflowing

banner attached to it, and at the end of the banner small bells can be seen.

EMANATIONS OF AKSOBHYA 157

3. HEVAJRA.

In the Hevajra Mandala of the Nispannayogavall, Heruka ij> the principal deity, thus showing that their is only a very thin line of demarcation between the two, Heruka and Hevajra , When Heruka is accompanied with his Prajna, he begets

the name of Hevajra. In the Mandala no less than four distinct forms of Hevajra are described. In all these Hevajra is accompanied with his Sakti whose name differs according to the numbers of his hands.

( i ) Two-Armed

Colour Blue Face One

Arms Two Prajna Nairatma

When two-armed, Heruka gets the name of Trailokyaksepa and his form is described in the following words :

"Trailokyaksepah krsno Ardhaparyanki ..ekamukho Jvibhujo vajrahkitaraktapurnakapalabhrd-vamakarakrodita... Nairatma.. Vajrodd- andasavyabhujah." NSP, p. 14

4 'Trailokyaksepa (Heruka) is blue in colour and dances m the Ardhaparyahka attitude... He is one-faced and two-armed. With the left hand carrying the skull cup, full of blood and marked with a Vajra, he embraces his Prajna Nairatma...

The right holding the Vajra is raised*".

The same form is again described in the Sadhanamala which gives the additional information that the Sakti carries the Kartri in the right hand and the Kapala in the left ] .

(n) Four Armed,

Colour Blue Face One

Arms Four Prajna Vajravarahi

When four-armed, Hevajra shows all the characteristics of the two- armed variety with the difference that here the Prajna is known by the name of VajravSrahi. His description in the Nispannayogavall is short and is worded thus :

"Athava caturbhujo dvibhujavat. Aparabhujabhyam savabha-Vajra- varahisamalingita ityeva visesah". NSP, p. 14

"Or, he may be four-armed and appear similar to the two-armed form. In the two other hands he embraces his Sakti VajravarUhl of his own creation. This is the only difference".

1. Sadhanamala, p. 462*

In the Sadhanamala, one Sadhana is also devoted to the worship of this particular form of Hevajra. Here also Hevajra is four-armed and is embraced by his Sakti who is identical with him in all respects/ Hevajra carries in his four hands

the blue Vajra, the sword, the Khat> vahga and the jewel. The Khatvanga does not however hang from his shoulder but is carried in one of his hands.

(ill) Six-Armed

Colour Blue Face Three

Arms -Six Prajna Vajrasrnkhala

When Hevyjra is six-armed and in yab-yum his main form remains the same, with the difference that here he is three-faced and six-armed, carrying additional symbols. He is described thus :

"Athava Sadbhujah krsnah krsnasitaraktatrimukhah...Vamair-vajra' ghantam dhanuh kapalam ca dadhanah savyair-vajram banam trisulam ca vajravajraghantanvitahastabhyam svabha-Vajrasrhkhalamalihgitah. '

NSP. p. 14.

"Or, he (Hevajra) may be six-armed and blue in colour. The principal, the right and left faces show blue, white and red colour. In the three left hand& he holds the bell marked with a Vajra, the bow and the skull-cup. In the three right

hands he carries the Vajra, the arrow and the trident. He embraces with the two hands carrying the Vajra and the Ghanta the Prajna Vajrasrhkhalaj^f his own creation.

ColourVBlu

Arms Sixten Prajna Nairatma

Legs Hour

The fourth type of Hevajra according to Hevajra Mandala is sixteen- armed and is alike in appearance with the three other forms described before. The difference lies in his having eight faces and four legs ; with his four legs he

tramples 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 sodasabhujo Aksobhyamudrito Nairatmasama pannah. Kintvasya catvaro marah praguktasavasthane. Tatra Skandha- maro rupato Brahma pltah, Klesamaro Visnuh krsno, Mrtyumaro Mahesvarah subhro, Devaputramaro Sakrah gaurah.

Tesu Bhagavan dvabhyam Ardhaparyafikavan aparabhyam Alidhastha iti catuscaranah krsno astasyah. Mukhantu mulam krsnaifa hasat savyam suklam,

EMANATIONS OF AKSOBHYA , 159

vamam raktam, urddhvam vikatadamstram sesam krsnani. Daksina- bhujesu vajram khadgam banam cakram casakam trisulanvankusarh ca ; vamesu ghantam, padmam, dhanur-udyatakhatvahgam, kapalam, tarjanipasam ca." (NSP, pp. 14-15).

"Hevajra of the fourth* class is sixteen-armed and bears on his crown the effigy of the Dhyani Buddha Aksobhya. He embraces his Sakti Nairatma. Instead of the corpse under his legs as aforesaid, he has four Maras under his four legs. The

first is Skandha Mara in the form of Brahma of yellow colour, the second is Klesa Mara in the form of Visnu of blue colour, the third is Mrtyu Mara in the form of Mahesvara of white colour, and the fourth is Devaputra Mara in the form of

Sakra of white colour. On them the four-legged god stands with two legs arranged in Ardhaparyanka and two others in Alldha. 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 on the top of his head with distorted teeth. All other faces are blue in colour. In the right hands he carries 1, the Vajra, 2. the sword, 3. the arrow, 4- the discus, 5. the wine-glass, 6, the staff, 7. the

Tusula, and 8. the goad. In the left hands the holds 1. the bell, 2. the lotus, 3. the bow, 4. the raised Khatvahga, 5. the skull-cup, 6. the jewel, 7. the raised index finger and 8. the noose-..",

Hevajra is popular in Tibet ] and China -.

4. BUDDHAKAPALA

Arms Four Colour- Blue

Sakti Citrasena Asana Dancing in Ardhaparyanka

Only one Sadhana gives the description of this god, who is, in all probability, another form of Heruka. The Sadhana says that when Heruka is embraced by Citrasena he gets the name of Buddhakapala, He has one face and four arms, and his

hands hold the Khatvahga, the Kapala, the Kartri and the Damaru ; he is embraced by his Prajna, Citrasena, and remains in yab-yum. He is slightly different from the four-armed variety of Heruka as the following Dhyana in the Sadhana will

show :

"Mahaviro ghorasamharakarakah mlavarno mahavapuh asthyabhara- nam-afdhaparyahkanrtyastham mundamalavibhusitam mukute Akso* bhyadharinam ekavaktram caturbhujam, vame Khatvahgakapalam, daksine kartridamarukam Prajnalihgitam ; vame

Citrasena matta nagna muktakesi sarvabhayarahita devi."

lr -Getty * GNB, 142, 1431 " A Tibetan image is" illustrated in Gorden : ITL, p. 83. 2. TLP, II, p. 236.

Srimato Buddhakapalasya Sadhanam" Sadhanamala, pp. 501-502

"The worshipper should think himself as (Buddhakapala) who is a great hero, the supreme destroyer, of blue complexion and gigantic stature. He has ornaments of bones, stands in Ardhapa- ryahka in a dancing attitude, is decked in garlands

of heads, bears the effigy of Aksobhya on the crown, is one-faced and four- armed. He carries the Khatvanga and the Kapala in the left hands and the Kartri and the Damaru in the right, and is embra- ced in the left by the Prajna,

Citrasena by name, who is intoxi- cated, nude, and fearless, Thus meditating.. "

The same Sadhana later on gives the details of the Mandala, and goes on to say that Buddhakapala is surrounded by twenty - four goddesses arranged in three circles. The first circle has Sumalim (blue) in the east, Kapalim (yellow) in the

noith, Bhima (green) in the west and Duija>a (white) in the south. The next circle has Subhamekhala (east), Rupim (north), Jaya (west) and Kauven (south) , KaminI (north-east), Mahodadhi (north-west) Karim (south-west) and Marini

(south-east). The outermost circle has Bhimadarsana (east) Ajaya (north), Subha (west) OstarakI (south) , Suraksmi (north-east), Vikalaratri (north-west), Mahayasa (south-west) and Sundari (south-east). Besides these, there are the four guardians of gates : Sundara (east) Subhaga (north), Priya- dar&ana (west) and Nairatma (south). Excepting the four deities of the innermost circle, all the goddesses have blue colour two arms, one face, ornaments of bones, brown hair

rising upwards but no garlands of heads. They carry the Kapala in the left and the Kartri in the right, and dance in the Ardhaparyahka attitude*

Fig. 126 illustrates a Nepalese drawing of the principal god in the embrace of his Sakti Citrasena but without attendants. Buddhakapala is represented in the Chinese collection at Peiping l . He is also represented singly in a remarkable

statuette in the Baroda Museum. (Fig. 127).

5. SAMBARA

(i) Two-Armed

Colour Blue Asana- Alidha

Vahana Kalaratri Symbols Vajra and Ghanta Prajna Vajravarahi

One Sadhana only in the Sadhanamala describes the procedure for the worship of Sambara who is only another form of Hevajra- He is

1. TLP, II. pp. 103, 237,

EMANATIONS OF AKSOBHYA 161

two-armed and one-faced, and bears the effigy of Aksobhya on 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, upon KalaratrL The Dhyana is in verse and describes the god in the following terms :

"Lalatasthakapalani candrardham murdhni dharayet I Sanmudra-mundamall ca visvavajri trilocanah II Alidhapadavinyaso visvaksaravivartinim I Sabhairavam Kalaratrimarudho vyaghracarmabhrt II Aksobhyasekharah kubjo vajraghantajatanvitah 1

Viro'sau Vajravarahl vajrasrkpurnakapalabhrt II Khatvangamekhala rakta trmetra mundamalim I Pancamudra muktakesl digvastra Buddhasekhara II

Dvibhuja-Sambaropadesah samaptah "

Sadhanamala, p. 504

"The worshipper should think himself as Sambara with a string of skulls over his forehead and the crescent moon on the top. He wears the six auspicious ornaments and a necklace of heads. He shows the Visvavajra [on his head-dressj and is

three-eyed. He stands in the Alidha attitude and originates from a combination of all the letters of the alphabet. He trample** upon Bhairava and Kalaratri and is clad in tiger-skin. He shows the effigy of Aksobhya on his crown and is

blue in colour. He carries the Vajia and the Ghanta ; has matted hair, displays heroism and is embraced by his Sakti Vajravarahi holding the Vajra and the Kapala full of blood. Her girdle is the Khatvahga, her colour is red and she is

three-eyed, bhe wears a garland of severed heads, is endowed with the five auspicious symbols, has dishevelled hair and no garment. She shows the image of Buddha (Vairocana) on her crown."

Sambara has another form with four faces and twelve arnii> and in this form he is mentioned in the Nispann ay OE avail.

(ii) Twelve- Armed

Colour Blue Faces Four

Arms Twelve Sakti Vajravarahl

Sambara is the principal deity in the Sambara Mandala of the HispannayogavalL The Sakti of Sambara is Vajravarahl. Sambara thus

is only another form of the great god Heruka. Here he is four-faced and twelve^armed. The description is quoted below in brief :

- Bhagavan...BhairavakalaratryavalIdhacaranabhyam akrantah krsnah krsnaharitaraktapitapurvottaradi-caturmukhah...Dvadasabhujah savajra- vajraghantabhujayugmalingita-Vajravarahlko bhujabhyam...saraktaprasr> tagajacarmadharah tadaparaih

damaru-parasu-kartri-trisulani vibhrat, vamairwajrankitakhatvafiga-raktapuritakapalaih vajrapasam Brahmasi- rasca navanatyarasarasih." NSP, P. 26

"God (Sambara) ..stands in the Alidha posture on the prostrate forms of Bhairava and Kalaratri. He is blue in colour and his four faces on the east, south, west and north are blue, green, red and yellow in colour.. He is twelve-armed.

With the two principal hands carrying the Vajra and Vajra-marked bell, he embraces his Sakti Vajravarahi. 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. The four left hands show the Vajra-marked Khatvahga, the skull cup full of blood, the Vajra-marked noose and the the severed head of Brahma... He displays in full the nine dramatic

sentiments".

The parental Dhyani Buddha of Sambara is Aksobhya and that of Vajravarahi is Vairocana according to a statement contained in the aforesaid Mandala J .

Sambara is popular in Tibet 2 and China '.

6. SAPTAKSARA

Faces Three Arms Six

Asana Alidha Prajna Vajravarahi

This variety of Hevajra is called Saptaksara or 'seven-syllabled' because his Mantra consists of seven syllables. Like Dvibhuja-Sambara mentioned above, he is also embraced by Vajravarahi, who in all respects resembles her consort. Like

Sambara this god also tramples upon Kalaratri and holds the Visvavajra on the crown. He has also the crescent on his head, is endowed with the six suspicious symbols, and stands in the Alidha attitude on the orb of the sun* He has three

faces of blue, yellow and green colour and carries the Vajra, the Ghanta and the human skin in the three left hands and the Kapala the Khatvahga and the TrisQla in the three right.

1. MSP, p. 28.

2. Two images oi Sambara are illustrated in A, K. Gordon : ITL, pp. 83, 84. See also Getty : GNB, pp. 145. 150

3. As Sambararaja Buddha he is mentioned in Clark ; TLP, II, pp. 80 and 90.

EMANATIONS OF AKSOBHYA 163

The Sadhana further adds that on 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) Herukl, Vajravarahi, Ghoracandi, Yajra- bhaskan, Vajraraudri and

Vajradakinl. They have respectively blue, yellow, red, green, smoky and white colour. All of them ha\e dis- hevelled hair, fierce appearance, three eyes and the quarters as garments. They carry the resounding Damaru and the Ghanta in the

first pair of hands, and the human skin in the other pair. They stand on the orb of the sun placed on a corpse. Their head-dresses are decora- ted with rows of skulls, and they stand in the Alidha attitude.

In another Sadhana devoted to the worship of Saptaksara, a slight variation is noticed. In it, it is said that the god carries, in the first pair of hands, engaged in embracing the Prajna, the Vajra and the Ghanta ; m the second pair,

the human skin only, and in the third pair the Kapala and the Trisula. The Khatvunga hangs from his shoulder as usual. Vajravarahi is identical with the Prajna men* tioned before, with this difference that she should have in her second

pair of hands the bow and the arrow instead of the human skin.

1. MAHAMAYA

Colour Blue FacesFour

Arms Four Prajna Buddhdakinl

Mahamayahvayam devam caturmukham caturbhujarh I Ahke yasya tatha devi catasro diksu caparah M II

"The god called Mahamaya is four-faced and four-armed. He has on his lap a goddess and four others in the four cardinal directions.

Hevajra takes the name of Mahamaya when he is embraced by his Sakti BuddhadakinI and remains with her in yab-yum. This variety of Heruka, as the verse above indicates, has four faces and four arms and is accompanied by four goddesses in

the four cardinal points. Two Sadhanas (Nos. 239, 240) in the Sadhanamala are devoted to the worship of the deity, one of which is attributed to Kukkuripada celebrated as one of the eighty- four Mahasiddhas who flourished in early times.

Below is given a summary of the description of the Mandala of Mahamaya.

Mahamaya is terrible in appearance. His body is besmeared with ashes and his hair streams upwards in the shape of a flame of fire. He is 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 Kapala, the arrow, the Khatvahga, and the bow. He is endowed with five auspicious symbols, has a torque round the neck and bracelets on his wrists* He is clad in human

skin,

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 Ardhaparyanka in a dancing attitude. He is embraced by Buddhadakim, who is red,

carries the same weapons and has the same appearance and symbols as those of Mahamaya. Her four faces are red, yellow, white and green.

The four petals in the four cardinal directions of the lotus seat are occupied by the following goddesses, '

(1) VajradakinI in the east, who is blue in colour with four faces of blue, yellow, ,white and green colour, and carries the Khatvahga and the Ghanta in the two left hands and the Vajra and the Kapala in the two right.

(2) RatnadakinI of yellow colour is in the south, with four faces of yellow, blue, red and green colour. She carries the flag and the jackal in her two left hands and the Trisula and the jewel in her two right.

(3) Padmadakim in the west is of reddish white colour, has four faces of red, yellow, blue and green colour, and carries the bow and the Kapala in her two left hands arid* the arrow and the double lotus in the two right.

(4) Visvadakim in the north, of green colour, who has four faces of green, yellow, red and blue colour, and who carries the Pasa and the Kapala in her two left hands and the Khatvanga (or the sword) and the Damaru in the two right.

These four deities exhibit 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 their {persons.

In the Nispannayogavali, Mahamaya also finds mention and the description given therein is quoted below :

"Mahamayahva-Herukah krsno-'rkaprabho.. nilapkasvetaharita- mulasavyapascimavama-caturmukhah. . .savyabhujabhy am kapalasarau vamabhyam khatvahgadhanusi dadhanah...ardhaparyahkena tandavi."

NSP.p.*22.

4 *The form of Heruka called Mahamaya is blue in colour and resem- bles 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 Khatvanga and the bow... He dances the Tandava dance in Ardha* paryahka".

EMANATIONS OF AKSOBHYA 165

Mahamaya is known both in Tibet ] and in China '.

8. HAYAGRIVA

Colour Red Faces Three

Arms Eight Asana Lahta

Appearance Terrible.

[One form of Hayagrlva, as an emanation of Amitabha, has already been discussed in the previous chapter, but there is another form of the god that emanates from the Dhyani Buddha Aksobhya.J The Dhyana describing him runs as follows :

"Arya-Hayagrivarh raktavarnurh trimukharh astabhuiarh prati- mukharh trinetrarh nilasitadaksmetaravadanarh sarpabharanam lahtak- sepapadanyasarh sakrodhadrstmiriksanam, prathamamukharh smerarh lalajjihvarh, daksinamukharh

darhstravastabdhaustharh, vyaghracarmam- .vasanarh vajra-danda^karanamudra-sarodyatadaksinakaracatustayarh tar* janika-svakucagraha-padma-dhanurudyatavamakaracatustavarh Aksobh- yamaulinarh dhyayat/' Sadhanamala, p. 508.

[The worshipper should conceive himself as Arya-Hayagriva of red colour, with eight arms and three faces, each face with three eyes. His right and left faces are blue and white respectively and he has snakes for ornaments. His legs are

arranged in the Lahta attitude and he looks wrathful. His first face has a smiling appearance, the right has a protruding tongue and he bites his lips in his left. He is clad in tiger-skin and shows in his four right hands the Vajra, the

staff, the Karana pose and the raised arrow. Of the four left hands, one has the raised index finger, the second touches the breast and the two remain- ing ones hold the lotus and the bow. He bears the effigy of Aksobhya on his crown". I

Fig. 128 illustrates a Nepalese drawing of the deity. It vanes a little from the description given in the Sadhana, /The hand that ought to be touching his own breast displays a different mudra and the hand that ought to display the

raised index finger only has a noose round it. Nevertheless, the sketch is important as it shows a miniature head of a horse on the head, to show that he is really Hayagrlva "Horse-neck". The rare Karana pose shown in the picture is

noteworthy.

Hayagrlva is popular both in Tibet :i and in China 4 . Fig. 129 illus- trates a Chinese statuette of Hayagrlva.

1. A. K. Gordon : 1TL, p. 83 ; Getty : GNB, p. 144.

2. Clark : TLP,II, pp. 82, 237.

3. A. K. Gordon : ITL, pp. 90, 93. Sec also Getty : GNB, p 163

4. Clark : TJLP, II. pp. 59. 164, 172, 198.

9. RAKTAYAMARI

Colour Red Face One

Arms Two Variety YatvYum

Several Sadhanas in the Sadhanamala describe the manner in which the deity should be worshipped. In one of the Sadhanas, it \s said that the colour of the deity varies in accordance with the different functions he has to discharge. For

instance, in the Santikavi" dhi (rite of pacification) the deity is white and faces the east ; in Paustika rite he is yellow and faces the north ; in Vasyavidhi (rite of subdviing) he is red and faces the west, and in Akarsana

(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 to enchanting men and women and to forcibly subduing them and

bringing them to the worshipper. When Yamantaka^ is red he is called Raktayaman and when he is blue he is called Krsnayaman. Yamari or Yamantaka may either be worshipped alone or in conjunction with his Prajna. He should have the head of

a buffalo on his shoulders and should ride a buffalo. Getty l records a tradition current in Tibet which gives 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 he was to enter Nirvana. On the night of the forty-ninth year, eleventh month and twenty-ninth day two robbers entered the cave with a stolen

bull and slaughtered it there. But when they discovered the presence of an ascetic, a witness to their crime, beheaded him and lo ! his body assumed the ferocious form of Yama, and taking up the bull's head he set it up on his headless

shoulder. He then killed the two robbers and drank their blood fiom the cup made out of their skulls. In his fiery and insatiable thirst for victims he threatened to depopulate the whole of Tibet. The Tibetans appealed to their Tutelary deity, Manjusri, who thereupon, assumed the fierce form of Yamantaka and defeated Yama in a fearful struggle

Whatever might be the truth of the tradition, it sufficiently explains the presence of eulogies of Manjusri, in the Sadhanas for Yamantaka. It may be noted, however, that the Sadhanamala is absolutely silent about Yama, both as a

principal deity or as an opponent of Yamantaka. Yama is the god of Death amongst the Hindus. The Buddhists created a killer of Yama in Yamantaka and it must have been an achievement

I. Getty : GNiB, pp. 152-153.

EMANATIONS OF AKSOBHYA 167

then. Under the title of Yamantaka he is known in Tibet l . Under the title of Yamantakavajra he is found in China -.

Six Sadhanas are devoted to the worship of this variety of Yaman- taka. He is one*faced and two-armed and is embraced by the Prajna who is his own creation. The Dhyana describing ins form is as follows :

- Atmanarh Yamantakarh ekamukharh dvibhujarh pratyalidhapadarh raktaparipurnakapalavamakararh sardrapitamundankitasitadandadaksi- nakararh nagabharanavibhusanarh pihgalordhvakesarh vyaghracarmam- baradhararh Aksobhyamukutinam svabha-

Prajnahhgitam mahisopari visvadalakamalasuryastharh dhya> at. Bhagavatmca dvibhujaikamu- khirh, vicitrabharanarh alidhapadasthitarh maduvihvalarh skhalad- vyaghracarmamsukam Bhagavata sSaha samputayogena pratyalidhena- vasthitarh evaih

vicintya..."

Sadhanamala p. 530.

- The worshipper should tlnnk himself aj> Yamantaka, one-faced and two-armed, who stands in the Pratyiidha attitude, carries the Kapala full of blood in the left hand and the white staff surmounted by a yellow head still wet with blood,

in the right- He is decked in orna- ments of snakes and his brown iiair rises upwards. He weais gar- ments of tiger-skin, bears the image of Aksobhya on the crown, and is embraced by his Svabha Prajna. He stands on the orb of the sun

over the double lotus on the back of a buffalo. He (the worshipper) should also meditate upon the Bhagavati (Prajna) who is one-faced, two-armed, and has variegated ornaments. She stands in the Pratya- lidha attitude, is intoxicated with

wine, wears garments of tiger-skin which slips down her waist and remains in yab-yum with the god, both standing in the Pratyalldha attitude. Thus meditating... ".

10. KRSNAYAMAR1

Colovn Blue Varieties Four

Eight Sadhanas in the Sadhanamala describe his different forms. He may have one face and two arms, or three faces and four arms, or three or six faces and six arms. One six-armed variety is des- cribed also in the Nispannayogavali.

Krsnayamari is represented singly as well as in yab^yum. His different forms are dealt with one by one in the following sections.

1, Getty : GNB, p. 164.

2. Clark : TLP, II, pp. 52, 73.

(i) T wo*- Armed

Colour Blue Face One

Arms Two Variety Single

Symbol Staff

This twoarmcd form of Krsnayamari is without any companion. The Dhyana in the Sadhanamala describes his form thus :

"Yamarim vicintayet atmanam pratyalldhapadasthitam ekamukham dvibhujaifo nilavarnarh daksinakare vajrankitodyata-niladandam vama- kare tarjampasam hrdi, evambhutam Yamarim. visvadalakamalopari suryasthamahisarudham bhavayet/ Sadhanamala,

p. 547

"The worshipper should conceive himself as (Krsna) Yaman who stands in the Pratyalldha attitude, is one-faced, two-armed and of blue colour. He brandishes the staff marked with a Vajra with the right hand, and shows the raised index

finger with the noose against the chest in the left. In this form Yamari should be meditated upon as standing on the orb of the sun on a double lotus and as riding a buffalo/'

(ii) Four- Armed

Appeatance Terrible Variety Yab-yum

Faces- -Three Arms Four

Companion Prajna.

The form of Yamari with three faces and four arms looks terrible and awe-inspiring. He is represented in yab-yum, and the Dhyana describes his form in verse as follows :

'* ..Yamariratibhisanah 1

Kathoravarhikanthabhah savyasuklarunetarah II Krodhaparyahkayogena visvabjaravisamsthitah I Svabhavidyadharasvadarasayanamahasukhah II Kadarordhvajjvalatkesah pingabhrusmasrulocanah I Phamndravrndanepathyo mrnaladhavaladvijaih II

Mudgarasidharah savye vame rajivaratnadhrk" II

Sadhanamala, p. 544

4 'Yamari is terribly fierce, is of deep (blue) colour like that of the throat of a peacock, and his right and left faces are of white and red colour (respectively). He stands on the orb of the sun on a double lotus in an angry mood. He

enjoys the bliss of partaking the nectar from the lips of the Prajna of his own creation. His hair stands on 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 twice-born serpents who are white like stalks of lotuses. He carries in his right hands the Mudgara and the sword, and in his left the lotus and the jewel".

(iii) Six-Armed

Asana Alidha Faces Three or Six

Arms Six Variety Single

The form of Yamari with three faces and six arms, is fierce in appearance as the previous ones, and is single. He is three-faced, and all his faces show a protruding tongue, canine teeth, three eyes, and contorted brows. He has a big

belly, is short and dwarfish m appear- ance and wears a garment of tiger-skin. He carries the Vajra, the sword and the Musala in his three right hands and the goblin (Vetali) the axe and the lasso m his three left According to another

state- ment in the Sadhana, he carries the sword, the Mudgara and the Vajra in the three right hands and the Ghanta, the Vajrapasa and the Musala in the three left. The same Sadhana further says that though he is represented generally as

three-faced and six-armed, he may also have six faces and six legs, with the same weapons. The Dhyana for the worship of this six-faced and six-legged variety of Yamantaka runs as follows :

"Yamantakam kruddham urdhvakesarh krsnarh sanmukharh sad- bhujam satcaranam mahisarudham pratyahdhasthitaih naramundarun- dairvibhusicam atihhayanakakararh vyaj*hracarmamvasanam daksine khadga-mudgara-vajrani, vame ghanta-vajrapasa-

musalan dharayantam mukute Aksobhyam vibhavayct". Sadhanamala, p. 546

The worshipper should conceive himself as Yamantaka, with an angry mood whose hair rises upwards and who is six-faced, six-armed and six-legged. He rides a buffalo, stands in the Pratyalldha attitude, is embellished with severed human

heads, and has a very ferocious appearance. He is clad in garments of tiger-skin, carries in the three right hands the Khadga, the Mudgara and the Vajrd, and in the three left the Ghanta, the Vajrapaba and the Musala. He bears the effigy

of Aksobhya on the crown/*

Yaman of blue colour is the principal deity in the Yamari Mandala of the Nispannayogavali. Here his form is three-faced and six*armed like the one previously described. The description may be briefly given thus :

"Krsna-sita-rakta'mula-savya-vamavadanah sadbhujah kartrikapa- lancita-Sdvyetarakarabhyam svabhaprajnasarnalihgitah savyabhyam vajrasi vamabhyam cakrabje vibhranah". NSP, p. 36

23

"Yamari'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 Kapala he embraces the Prajna 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."

As Yamantakavajra he is known in China l and two statuettes of his are illustrated in Two Lamaistic Pantheons of Clark.

11. JAMBHALA

Faces Three Arms Six

Variety Yab-Yum

Jambhala has undoubtedly a greater antiquity behind him than that of the five Dhyani Buddhas. Jambhala again is a Yaksa and that indicates his non-Buddhist origin. This may be one of reasons why he could not be assigned to any one as

parental Dhyani Buddha. In other words Jambhala is similar to ManjusrI whose sire also could not be definitely determined. In the Sadhanamala the parental Dhyani Buddha of Jambhala is either Ratnasambhava or Aksobhya. Images of Jambhala

are to 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 Dhyana does not mention the colour, it can be presumed that his colour is blue which is the colour of the Dhyani 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 Dhyana in the Sadhanamala describes his six-armed form as follows :

"Jambhalarh trimukharh sadbhujarh Aksobhyajatamukutinarh daksi- natribhujaih matulunga-nkusa-banadharam prathamavamabhujaikena vama-parsvasthita-Prajnalingitam aparavamabhujabhyarh sapasanakuli- karmukudhararh atmanarh nispadya../'

Sadhanamala 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 Prajna 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. II, pp. 52, 73. For a Tibetan specimen see Gordon : ITL, p. 90

EMANATIONS OF AKSOBHYA 179

Jambhala is known in Tibet ] . Two statuettes of the six*armed Jambhala are to be found in the Chinese collection at Peiping -.

12. UCCHUSMA-JAMBHALA

Appearance Terrible VahanaKuvera vomitting jewels

Asana Pratyalidha

Ucchusma also called Dimbha, being a variety of Jambhala, bears also the imag^ of Aksobhya on his crown. He may however, have the image of Ratnasambhava instead, and as an emanation of Ratnasanv bhav a Jambhala will be described later.

Several Sadhanas are devoted to his worship, and the Dhyana describing him with the image of Aksobhya on his crown runs as follows :

"Atmanam Bhagavantam Ucchusmam pancavarsakumarakrtim kharvarh visvapadmastham candropari sarpabharanabhusitarh ratna-* mukutim muncad^ratnamukhapitahgasupta-Dhanadasya lalatam daksi- nena caranena caranadvyarh vamenakrantamurtim

pratvalidhapadam ; nagnarh urdhvalihgarh lambodaram ; hrdi daksinapanistharaktapur- nakapalabhimukhadrstim ; vamajahghasaktavamakarena ratnacchatod' garyyadhomukhanakullm aviddhadhollakarnadvayarh ardhendu (sekha- ram)

damstrakaralavadanam raktavarttulatrinetrarh krtabhrkuti lalatam pihgordhvakesarh Bhusparsamudra'nil'Aksobhyamunimastakarh... M

Sadhanamala, p. 577.

u The worshipper should meditate himself as the god Ucchusma, who appears a child of five years and is dwarfish. He stands on a double lotus on the moon, is decked in ornaments of snakes and has a jewelled headdress. He stands in the

Pratyalidha attitude and presses with his right leg the forehead of the sleeping Dhanada of yellow colour with his mouth vomitting out jewels. His left leg rests on the two legs (of Dhanada). He is nude, and his membrum virile is pointed

upwards. He has a protruding belly, and has his eyes fixed on the Kapala full of blood which he carries in his right hand against the chest. He holds in his left hand the mongoose vomitting out jewels, on his left thigh. His ears are

large and unpierced and he has a crescent on his crown. His face is distorted with bare fangs, and his three eyes are red and round. His brows are distorted, and his brown hair rises upwards. He bears on his crown the image of Aksobhya

of blue colour displaying the earth-touching attitude*'.

1. Getty : GNB, p 159.

2, Clark : TLP, II, p. 310 under the title of Sadbhuja Jambhala, and on p. 203 as Sadbhuja Jambhala vajra.

The Sarnath image (Fig. 130) illustrates this form of Jambhala standing on Dhanada or the Hindu god of wealth. Streaks of jewels may be noticed as coming out of Kuvera's mouth. The peculiar feature of this sculpture is that here Dimbha

is accompanied by his Sakti Vasudhara.

13. VIGHNANTAKA

Asana Pratyalidha Colour Blue

Symbols Tarjanlpasa and Vajra

Vighnantaka is closely associated with three other gods, Padmantaka, Yamantaka, and Prajnantaka, who are generally represented as guardians of the gates in the Mandala. Vigtmantaka is represented in various forms. The name is significant

as the word "Vighna" or "obstacle" refers to the Hindu god Ganesa. Only one short Sadhana in the Sadhanarnala describes his form in the following terms :

"Atmanarh pratyalldhapadasthitarh ekamukharh dvibhujarh nilava- rnarh varnakarena tarjanikapasam, daksinakarenodyatavajrarh bhayana- karh pihgalordhvakesam.

Vighnantakasadhanam. Sadhanarnala, pp. 558-559.

"The worshipger should conceive himself as (Vighnantaka) who stands in the Pratyalidha attitude, is one-faced, two-armed, and blue in colour. He carries in his left hand the Tajampasa, and wields the Vajra in the right. He is terrible in

appearance and his brown hair rises upwards. His seat is on the orb of the sun placed on a lotus".

This Sadhana is silent about the prostrate figure of Ganesa whom he tramples under his feet, thereby giving significance to his name as already indicated. It may be pointed out here that the god Ganesa, whom the Hindus consider to be the

remover of all obstacles, is regarded as the most dangerous obstacle by the Buddhists ! As to the origin of this god there runs a Nepalese legend that at a certain time an Odiyana Pandit was performing a Tantric rite on the bank of the

Baghmati river near Kathmandu in order to obtain Siddhi (perfection).

-Ganesa, it is said, being strongly opposed to the idea, began throwing dangerous obstacles in the way of the due performance of the rite. The Odiyana Pandit finding himself helpless, invoked the god Vighnan- taka, the destroyer of all

obstacles, and lo ! Vighnantaka appeared in a fierce and terrible form, armed with destructive weapons and gave hot chase to Ganesa, who was by this time, flying in terror, and in 'no time overcame the latter.

EMANATIONS OF AKSOBHYA 18 1

In the statuette illustrated in Fig. 131 it may be seen how Vighnantaka is trampling heavily on Ganesa and the latter, in order keep up the dignity of his godhead, exhibits the Abhaya pose even in his agony! The form in which Vighnantaka

is said to have appeared before the Odiyana Vajracaryya has six arms. He carries in his two principal hands the Kartn and the Kapala against the chest ; the rest carry the Damru and the goad in the right, and the Trisula and the noose

with the TarjanI in the left,

The original image is in the Baroda Museum collection. Vighnan- taka is known also to the Chinese collection at Peiping l .

14* VAJRAHUNKARA

(i) Two-Armed

Appearance Terrible Symbols Vajra and Ghanta

Mudra Vajrahuhkara Arms Two

Asana Pratyalidha Vahana Siva

Only one Sadhana in the Sadhanamala describes the form of the god Vajrahuhkara, who is so-called because his two hands carrying the Vajra and the Ghanta exhibit the Vajrahuhkara mudra. The Sadhana says that the god originates from the

sacred syllable 'Hum' which is irresistible like the Fire of Destruction, is blue in colour, and dazzlmgly bright. The Sadhana adds further :

"Tadutpannam maharaudrarh Vajra hunk ara-samjnak am I Attahasarh maharaudrarh ksepayantarh tridhatukarh II Ghantavajraprayogena mudrabaddhakaradvayarh I Pratyalldhapadenaiva Bhairavakrantabhlkararh" II

Sadhanamala, p. 506

The worshipper should conceive himself as the god Vajrahuhkara, who originates from that syllable (Hum) and is terribly fierce in appearance. He laughs horribly, is wrathful, und disturbs the three worlds. His two hands carrying the

Ghanta and the Vajra are locked in the Vajrahunkara mudra. He tramples upon Bhairava, in the Pratyalidha attitude, and inspires awe."

It may be pointed out that though Vajradhara also displays the Vajrahuhkara mudra and carries the Ghanta and the Vajra in exactly the same way as Vajrahuhkara 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 Vajrahuhkara stands in the Pratyalidha attitude, tramples upon Bhairava, a form of the Hindu god Siva, and has a terrible appearance. No connection can, therefore, be established between the two.

Vajrahunkara images are known to the Chinese collection at Peiping l although they are not generally found in India.

(ii) Six-armed

Colour Blue Faces Three

Arms Six

Vajrahunkara is the principal deity in the Vajrahunkara Mandala of the Nispannayogavali, and is identified with Trailokyavijaya, He is three-faced and six-armed. With his two principal hands arranged in the Trailokyavijaya L> mudra and

holding the Vajra and Ghanta he embraces the Prajna of his own 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 Khatvanga :>>

As Vajrahunkara and Trailokyavijaya he is known m China 4

15. BHUTADAMARA

Colour Black as collyrium Appearance Terrible

Arms Four Mudra Bhutadamara.

Three Sadhanas in the Sadhanamala describe the form of Bhutd- damara, who is terrible and awe-inspiring, with ornaments of snakes, canine teeth, and garlands of skulls. The Dhyana runs as follows : "Atmanarh pasyet raudram

jvalamalakulaprabham 1 Caturbhujam rrahakrodharh bhinnanjanasamaprabham II Daksine vajramullalya tarjayan vamapamna I Damstrakaralavadanam nagastakavibhusitam II Kapalairfalamukutam trailokyam api nasanam I Attahasam mahanadaih

trailokyadhisthitam prabhum II Pratyalldhasusamsthanam adityakotitejasam I Aparajitapadakrantam mudrabandhena tisthati II

Bhutadamara*sadhanarh." Sadhanamala, p. 521

(% The worshipper should conceive himself as (Bhutadamara) 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, Probably the fame as the Vajrahunkara mudra* For a description of this mudra see Gordon : ITL, p. 22

collyrium. He weilds the Vajra in the right hand and shows the Tarjam in a threatening attitude in the left. His face appears terrible with bare fangs and he is decked in ornaments of eight serpents. He has the garland of skulls on the

crown and is capable of destroying the three worlds. He stands firmly in the Pratyalidha attitude and is resplen- dent like myriads of suns. He tramples under his feet, the god Aparajita, and exhibits his special mudra/

From the Dhyana above quoted it will appear that the two principal hands of the god exhibit the Bhutadamara or the Damara mudra l while the other two carry the menacing Vajra in the right and the Tarjam in the left. The description of

this mudra appears in the same Sadhana.

Bhutadamara is the principal deity in the Bhutadamara Mandala of the Nispannayogavali. Hert he tramples upon the prostrate form of Aparajita, and is violent in appearance. He is four-armed. He wieids the Vajra in the right hand raised m

a menacing attitude. In the left he shows the Tarjam and the noose. With the two principal hands, he shows the Damara mudra -.

According to statement in the Nispannayogavali the spiritual father of Bhutadamara is Aksobhya (Atra cakresasya kuleso'ksobhyah, NSP.p. 74).

He is known in China under the name of Bhutadamara Vajrapani J .

16. VAJRAJVALANALARKA

Colour Blue Faces Four

Arms Eight Asana Alidha

Vahana Visnu and his wife.

Only one Sadhana in the Sadhanamala describes his form. He is four-faced, eight-armed, stands in the Alidha attitude, and tramples upon Visnu, who is accompanied by his wife. He is blue in colour and has a terrible appearance. The Dhyana

describes him in the following terms :

"Vajrajvalanalarkarh mlavarnam jvalamalakulaprabham caturmu- kham astabhujam srfxgara-vira-bibhatsa-karunanvitacaturmukham, ca- turbhir-daksinakarair-vajra-khadga-cakra-banadhararh caturvamakarair- ghanta-capa-pasa-

khatvahgasaktavicitrapatakadharam jvaladanalakapila- sikhakalapamatibhlsanamahahivalaya-kankana-katisutra-nupura-"kanthi^

1. For a description of this mudra see Gordon: ITL, p. 20 and for a picture, ibid, p. 62.

2. For further information on the subject, see Bhattacha^yya, B ; The Cult of Bhutadamara in the Proceedings of Patna Oriental Conference.

ka-kundala-mukutabharanam mahamayacakraracanacaturam sapatmkair Visnum-alidhapadena akramya avasthitam bhavayet."

"The worshipper should conceive himself as Vajrajvalanalarka of blue colour, whose person radiates fiery flames* He is four-faced and eight-armed, and his four-faces display the sentiments of love, heroisnij 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 Ghanta, the bow, the noose and the Khatvanga surmounted by a banner of varie- gated colour*-. His brown hair resembles a burning

flame and he is decked in ornaments of bracelet, armlet, girdle, nupura, torque, ear-ring and crown consisting of the (eight) great lords of the frightful ser- pents. He stands in the Alidha attitude and tramples upon Visnu with his

consort who are clever in enveloping everything with their great Maya (deception).

17. TRAILOKYAVIJAYA

Colour

Blue Faces Four

Arms Eight

Asana Pratyalidha

Vahana Gauri and Siva

Trailokyavijaya is also of blue 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 m the monastery of the Hindu Mohant at Bodh Gaya. The

Dhyana describes his form in the following words :

Trailokyavijaya-Bhattarakam rnlam caturmukham astabhujam ; prathamamukham krodhasrhgaram, daksmam raudram, vamarii bibhat- sarh, prstharh virarasam ; dvabhyam ghantavajranvitahastabhyam hrdi vajrahunkaramudradhararh ; daksinatrikaraih

khatvahgankusabana- dharam, vamatrikaraih capapasavajradharam ; pratyalidhena vama* padakranta-Mahesvaramastakam daksinapadavastabdha-Gaunstanayuga- lam ; Buddhasragdamamaladivicitrambaiabharanadhannam atmanam vicintya..." Sadhanamala,

"The worshipper should meditate himself as Trailokyavijaya Bhattaraka 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 Vajrahuhkara mudra with the two hands bearing the Ghanta and the Vajra against the chest. He carries in his three right hands the Khatvanga, the goad and the arrow, and in the three left the bow, the noose and the Vajra. He stands in the Pratyalldha attitude, tramples upon the head of Mahesvara 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 l and China -.

is. PARAMAVA

Faces Four Arms Eight

Legs Four Vahana Four gods and four

goddesses

It has already been said that Paramasva "Great Horse" is another form of Hayagrlva "Horse-Neck" as the word "asva" in Paramasva indicates. In the Sadhana it is said that he should have four faces, but in reality he has seven faces, for

one of his faces is said to be Brahmamukha, or the face of Brahma, 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 Dhyana contained in the Sadhanamala

is quoted below :

'Taramasvam raktam caturmukham astabhujam catuscarnam ; prathamamukham krodhasrhgararh trilocanam, daksinam raudram, vamam Brahmamukham murdhni lalitoddhulitosthamharitasvamukham ; ekena daksinatripatakadharakatena

visvavajrasahitenottisthabhinayam kurvantarh ; ekena vamakhetakahastena visvapadmam dharayantam ; pu- nardaksinatripatakakarena uttisthabhinayam kurvantam punarvamaka- rena saktim dharayantam ; punardaksinakarabhyam khadgam bananca,

avasistavamakarabhyarh dandam capanca dharayantam. Pratyalldhena daksinapadaikena Indramm Sriyanca akramya sthitam, dvitiyodaksi- nacaranena Ratim Pritinca vamaprathamapadena Indram Madhu- karanca, vamadvitlyapadena Jayakaram Vasantanca,

ityatmanam dhyayat..." Sadhanamala, pp. 510-511. -

"The worshipper should think himself as Paramasva, 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 Brahma, 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 (TripatakaJ and in one of his left hands carries the staff with the double

lotus. Another

1. Gordon J ITL, p. 60 ; See also Getty GNB, p.

2, Clark : TIP, II, pp. 116. 168.

24

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

Pratyalldha attitude, and tramples with one of his right legs upon Indram and Sri, and with the second Rati and Prlti ; 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 Paramasva. In the picture the horse-head is noteworthy, which also occurs in the case of another god, Hayagnva.

19. YOGAMBARA.

Colour Blue Faces Three Arms Six Variety Yab-Yum

oakti Jnanadakini

God Yogambara is the principal deity of the Yogambara Mandala or the Nispannayogavall. His form is there described in the following words :

"Simhopari visvambhojacandre ardhaparyarikanisanno Bhagavan Yogambarah krsnah krsna-sita-rakta-mulasavyavamamukhatrayah. . . sadbhujo vajravajraghantabhrdbhujabhyam krsnam suklam va Jnana- dakinim pltabhujangabhusanamalihgitah

savyabhyarh stanabanau vamabhyarh abjabhajanadhanusl dadhanah" NSP, p. 32.

"Yogambara 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 six^armed. In his two principal hands carrying

the Vajra and the Vajra-marked bell he embraces his Prajna Jnanadakini 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 Yogambara belongs to the family of the Dhyani Buddha Aksobhya. Yogambara is known in China '. His Chinese statuette is illustrated in Fig. 133.

20. KALACAKRA.

Colour Blue Faces Four

Arms Twenty-four

Kalacakra is the principal deity in the Kalacakra Mandala of the NispannayogavalL The famous Tantra of the Buddhists called the 1. Clark :TLP, II, pp. 239, 81, 103

EMANATIONS OF AKSOBHYA 187

Kalacakra Tantra introduces the cult of Kalacakra into Buddhism. Vimalaprabha is the commentary on the Kalacakra Tantra which is referred to in the Nispannayogavall. It is thus probable that the cult of Kalacakra came into vogue in the

10th century. According to the Kalacakra Tantra, the cult was given the name of Adibuddhayana or Adiyana. From the Vimalaprabha it is evident that by introducing the worship of Kalacakra, the circle of time, an attempt was made to bring

the warring communities of the Hindus and the Buddhists under the same banner, and unite them against the cultural penetration of the Mlechhas 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 Kalacakra as described in the Nispannayogavall is elaborate and somewhat grotesque. But it is necessary to give an idea of his form as briefly as possible. He is here described thus :

"Uttananahgarudrahrdayayoralidhena nrtyan Bhagavan Kalacakrah krsno.,..vyaghracarmambaradharo dvadasanetrascaturmukhah....trigrlvo bhagavan . satskandho'sau. . .dvadasabahurupabahutah prabhrti catur- vimsatisahasrah. Tatra daksinau dvau

bahu miau dvau raktau dvau suklau tatha vamau evam karascatvarah.-.savya vamasca...

Daksinesu karesu krsnesu vajra^khadga-trisula-kartrikah ; raktes- vagni*bana*vajr'5nkusah ; suklesu cakra^kunta-danda-parasavah.

Vamesu krsnesu ca vajra-ghantaphalake vikasitamukhakhatvahgaih raktapurna-kapalam ca ; raktesu kodandapasau maniratnaih pundarl- kam ca ; suklesu darpana'vajra'Srhkhala'Brahmasirasca.

NSP, pp. 83^84.

"God Kalacakra 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 Trisula and th^ Kartri. In the four hands of red colour are fyeld the Fire, the arrow, the Vajra and the Ahkusa. And .in the three white hands are shown the

discus, the knife, the rod, and the axe.

In the four left hands of blue colour are shown the Vajra-marked bell, the plate, the Khatvanga with the gaping mouth, and the Kapala 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 Brahma/'

Kalacakra is known to the Chipese collection and a presentation of his form is given in the Two Lamaistic Pantheons. Images or paintings pf Kalacakra are rarely found in India. He is popular in Tibet i as ,well as in China ~. Fig. 134

illustrates a Nepalese drawing of Kalacakra. The blue colopr of the god suggests that his spritual sire is Aksobhya.

1. Getty : GNB, p. 146. A full description and a fine picture are given in Gordon : ITL, pp . 84, 85.

2, Clark : TLP, II, pp. 49, 233*

CHAPTER VII

EMANATIONS OF AKSOBHYA (CONTINUED) II. GODDESSES

Compared to the other Dhyani Buddhas the number of goddesses emanating from the Dhyani Buddha Aksobhya is large. Some of the goddesses are well known and popular in the Buddhist countries of the north but many Sadhanas are not assigned

to them. It has already been pointed out that the emanations of this Dhyani 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 genuinely peaceful and benign deities such as Prajnaparamita and Vasudhara are exceptions to the rule. The goddesses emanating from the Dhyani Buddha Aksobhya are described below one by one.

/

1. MAHACINATARA ^

Asana Pratyalidha Appearance Terrible

Vahana Corpse Arms Four

Two Sadhanas are devoted to the worship of Mahacinatara or Tara of Mahacina (Great China) and two Dhyanas, one in prose and the other in verse describe one and the same form of the goddess. She is also known in Buddhist Tantric

literature as Ugratara, and the Vajrayogini temple at Sanku in Nepal, contains in the sanctum a figure of Ugratara. This Ugratara or Mahacinatara of the Buddhists has been incorpora^ ted in the Hindu pantheon under the name of Tara, and

is now regard- ed as one of the ten Mahavidya goddesses. The Dhyana in the Sadhanamala describes her form in the following verses :

"Pratyalldhapadarh ghoram mundamalapralambitam I Kharvalambodaram bhimam nilanirajarajitarh II Tryambakaikamukharh divyam ghorattahasabhasuram I Suprahrstam savarudham nagastakavibhusitam II Raktavarttutanetranca vyaghracarmavrtam katau

I Navayauvanasampannam pancamudravibhusitam II Lalajjihvam mahabhimam sadamstrotkatabhisanam I Khadgakartrikaram savye vamotpalakapaladharh II Pihgograikajatam dhyayat maulav-Aksobhyabhusitam II Mahacinatara- Sadhanam", Sadhanamala, p,

210

'The worshipper should conceive himself as (Mahacma-Tara) who stands in the Pratyalldha 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 on 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 Kapala in the two left. Her Jatamukuta of one coil is brown and fiery and bears the image of Aksobhya within it."

This is the Dhyana in the Sadhanamala, the earliest manuscript of which belongs to A. D. 1165. According to the colophon, the Sadhana for Mahaclnatara has been restored from the Mahacina-Tantra, which should therefore be earlier than the

earliest extant manuscript of the Sadhanamala. As the Sadhana in verse is attributed to Sasvata- vajra it is certain that the Dhyana, just quoted, was not in existence before Sasvatavajra. Now, in the Tararahasya of Brahmananda, who

flourished in the middle of the 16th century and in the Tantrasara of Krsnananda Agamavaglsa an almost identical Dhyana is stated descri- bing a goddess of the name of Tara :

"Pratyalidhapadam ghoram mundamalavibhusitam I Kharvam lambodanm bhimam vyaghracarmavrtam katau II Navayauvanasampannam pancamudravibhusitam I Chaturbhujam lolajihvam mahabhimam varapradam II Khadgakartrisamayukta-savyetarabhujadvayam I

Kapalotpalasamyuktasavyapaniyuganvitarh II Pingograikajatam dhyayenmaulav-Aksobhyabhusitam I Balarkamandalakaralocanatrayabhusitam II Jalaccitamadhyagatam ghoradamstram karalinim I Savesasmeravadanam stryalahkaravibhusitam II

Visvavyapakatoyantah svetapadmoparisthitam I Aksobhyadevlmurdhanyastrimurtirnagarupadhrk" II

Tantrasara, p 415 et sqq.

A comparison of the two Dhyanas will at once reveal how the original composition of Sasvatavajra has been modified in the Tantra- sara by a Hindu Tantric author. Some lines have' been added to the original Dhyana and all grammatical

errors are rectified. f This is evidently the recognized method of Hinduizing a Buddhist Tantric deity.

EMANATIONS OF AKSOBHYA (CONTINUED) 191

It is remarkable that the Hindus retained in their Dhyana the effigy of 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. More- over, 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 Tara.

Figs. 135, 136 illustrate the Buddhist form of Tara or Mahacmatara, 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 Tara is not a corpse

properly speaking, but it is the prostrate form of Mahadeva to whom she is attached as a Sakti.

2. jANGULf ,

Jahguli is widely worshipped amongst the Buddhists as a goddess who cures snake-bite and even prevents it. According to a Sahglti in the Sadhanamala she is as old as Buddha himself, and the secret of Jahguli and the mantra for her

worship are said to have been imparted to Ananda by Lord Buddha. Besides, the Sahglti, four Sadhanas des- cribe the procedure of her worship and give elaborate mantras for the extraction of poison from the body of the snake^bitten. These

four Sadhanas describe three entirely different forms of Jahguli, two with one face and four arms and one with three faces and six arms. Images of Jahguli are found in Tibet l and China -.

(i)

Colour White Symbol Snake, or Vina

Mudra Abhaya

In two Sadhanas Jahguli 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 Dhyanas she is described as follows :

"Atmanarh Arya*JahguIiruparh sarvasuklarh caturbhujarh ekamuk^ ham jatamukutinim suklam suklavasanottariyam sitaratnalahkara- bhusitarh suklasarpairvibhusitarh sattvaparyahke upavistarh mulabhuja- bhyarh vmarh vadayantlrh

dvitiyavamabhujena sirasarpadharimrh apara* daksinenabhayapradam candrarhsumalimrh dhyayat..."

Sadhanamala, p. 253*

1, Getty: GNB, p. 123

Z. Clark ; TLP, II, pp. 204, 217, 28 1

'The worshipper should meditate himself as Arya Janguli who is all white in complexion, four-armed, one-faced, wears the Jatamukuta and a white scarf. She is decked in white ornaments of gems and white serpents and rests on an animal.

She plays on the Vina with the two principal hands, carries the white snake in the second left and exhibits the Abhaya mudra with the second right, and is radiant like the moon."

In a second Sadhana she is said to exhibit the Varada mudra in the second right hand. Fig. 137 illustrates a Nepalese drawing of the two- armed form of Janguli.

(ii)

Colour Green Mudra Abhaya

Symbols Trisula, Peacock's feathers and Snake.

The second variety resembles the first in many respects, but the Sadhana ] does not mention the animal-seat or the particular Asana in which Janguli should stand or sit. The symbols also are different namely, the Trisula, peacock's

feathers and the snake. The mudra, however, is the same Abhaya mudra.

(iii)

Faces Three Arms Six

Vahana Snake Colour Yellow

The third variety of Jahguii has three faces and six arms. Two Sadhanas in the Sadhanamala, one in prose, and the other in verse, describe this form. The Dhyana contained in one of these runs as follows :

"Arya-Jahgulirh atmanam jhatiti nispadayet pltam, trimukham sadbhujarh nllasitadaksinetaravadanam kbadgavajrabanadaksinahasta- trayam satarjanipasavisapuspakarmukavamakaratrayam sphltapha- namandalasirahstham

sarvadivyavastrabharanabhusitam kurrari- laksanojjvalam Aksobhyakrantamastakam dhyatva..."

Sadhanamala, p. 248

"The worshipper should quickly conceive himself as Arya-JahgulI, who is yellow in colour, three-faced, and six-armed; Her faces to the right and left are blue and white. She carries the swordj the Vajra and the arrow in the three right

hands, and the Tarjani with the noose, the blue lotus and the bow in the three left hands; She rStfe : on 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. Sadhana No. 121, Sadhanamala p. 251.

EMANATIONS OF AKSOBHYA (CONTINUED) 193

The Hindu goddess Manasa or Visahari has a marked resemblance to the appearance of Janguli and some of the Dhyanas in the Hindu Tantric works for the goddess distinctly give her the epithet of "Jahgull".

3. EKAJATA.

Colour Blue Appearance Terrible

Attitude Pratyalldha

Ekajata is one of the most powerful goddesses in the Vajrayana pantheon. It is said in the Sadhanamala that if a person listens to her mantra but once, he is at once freed from all obstacles and is attended always with good fortune, his

enemies are destroyed and he becomes religiously inclined, even attaining the level of a Buddha. Four Sadhanas in the Sadhanamala dovoted to the worship of Ekajata, describe three different forms of the goddess. She may have one face

with two, four or eight arms.

The main features of the goddess aie given in one of the Sadhanas, the Colophon of which asserts that the Sadhana has been restored from Tibet ( Bhota ) by Arya Na^arjuna, who was famous in the mediaeval ages as one of the eighty-four

Siddhapu* rusas of India. The general description of the goddess given in the Sadhana is as follows :

"Krsnavarna matah sarvah vyaghra-carmavrtah katau I Ekavaktrah trinetrasca pihgordhvakesamurdhajSh II Kharva lambodara raudrah pratyalidhapadasthitah I Sarosakaralavaktra mundamalapralambitah II Kunapastha mahabhima Maulav-

Aksobhyabhusitah I Navayauvanasampannah ghoiattahasabhasvarah II Visvapadmopari suryye cintamyah prayatnatah" II

Sadhanamala p. 266.

"All these (three) forms (of Ekajata) 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

Pratyalldha 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 on the orb of the sun over the double lotus."

25

194

BUDDHIST ICONOGRAPHY

This general description oaly applies to the following three forms of Ekajata with one face and two, four or eight arms : 4 (i) When two-armed, she carries the Kartri and the Karota (skull-cup) in her two hands (Fig. 138).

(ii) When four-armed, Ekajata carries the arrow and the sword in the two right hands and the bow and the skull in the two left. In two other Sadhanas describing the four-armed variety, her appearance undergoes a slight modification. Here

she holds in the first pair of hands the Kapala 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 Parasu and the skull in the four left hands.

Images of Ekajata are found in almost all Buddhist countries of the North. She is known in Tibet l as well as in China L> .

"^ 4* VIDYUJJVALAKARALL Faces Twelve Arms Twenty-four

Colour Blue Asana -Pratyalldha

Vahana Indra, Brahma, Visnu and Siva

SYMBOLS :

Left

1. Bow 7. Wine-glass

2. Noose 8. Utpala

3. Tar jam 9. Bell

4. Banner 10. Parasu

Right

1. Khadga 7. Dart

2. Vajra

3. Cakra

4. Jewel

5. Ankusa

6. Arrow

8. Mudgara

9. Musala

10. Kartri

11. Damaru

12. Rosary

Another variety of Ekajata is

10.

5. Mace 11. Brahmasiras

6. Trisula 12. Kapala

known as Vidyujjvalakarali,

who is said to have originated from the sweat of Buddha. This form of Ekajata, with twelve faces and twenty-four arms, is rarely met with in sculptures either in stone or in bronze. The Dhyana is rather long and it describes the goddess

vividly thus :

"Dvadasamukham mahakrsnavarnam caturvimsatibhujam caturmar- asamakrantm svetakapalopari pratyalldhapadam mahapralayagnisa- maprabham vivrtasyam hahakaram lalajjihvam sarosam vikrtakoti* bhimabhrkutltatodbhrunetracaladvartulam bhayasyapi

bhayahkarlm

1. Gordon: ITL, p. 76, Getty: GNB, pp. 125-126

2. Clark: TLP, II. p. 284

EMANATIONS OF AKSOBHYA (CONTINUED) 195

kapalamSla sirasi bhusitam vyadairalafikrtam sanmudropetam pratha- mamukharh mahakrsnam tatha daksinamukhapancakam sitapitaharita- raktadhumravarnanca, vamamukhapancakam raktasitapitaharitasitarak- tanca, urdhvamukham dhumram vikrtam

kruddham, sarvamukhani damstrakaralavadanani, trinetrani, jvalitordhvapihgalakesani , sarosam kharvalambodarirh pmonnatapayodharam vyaghracarmanivasanam dak- sinadvadasabhujesu khadga-vajra-cakra-ratnacchat-ahkusa-sara-sakti'inu- dgara-

musala-kartri'damaru'aksamalikafica, vamadvadasabhujesu dha-

asirah-kapalanca.

Suprahrstam savarudham nagastakavi bhusitam I Navayauvanasampannarh hahattahasa-bhasuram II Pihgograikajatam dhyayat maulav-Aksobhya' bhusitam II

Iti Vidyujjvalakaralinamaikajatasadhanam "

Sadhanamala, p. 257

"The worshipper should conceive himself as (Vidyujjvalakarali) who has twelve faces, deep blue colour and twenty-four arms, she tramples upon the, four Maras (Brahma, Visnu, oiva and Indra), stands on white skulls in the Pratyalldha

attitude, is terrible like the Fire of Destruction, has a wide open mouth from which comes the sounds of 'ha' *ha'. She has protruding tongue, is wrath- ful, has eyes round and moving, and her forehead is distorted owing to the frequent

contortions of the brows. She is more awe- inspiring 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 on the top is of the colour of smoke, distorted

and displays anger. AH 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- 'the jewel, 5. the elephant*goad, 6. the arrow, 7. the dart, 8. the hammer, 9. the pestle, 10. the saw, 11. the drum and 12. the rosary ; and in

her twelve left hands she has 1. the bow, 2. the 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, 10..the axe, 11. the severed hea*d of BrahrtiS, 12. and the

skull. In an extremely happy

irtood she rides a corpse, is youthful, appears resplendent with terrible laugh, wears a Jatamukuta, which is brown and fiery and which bears the image of Aksobhya on it."

Here ends the Sadhaha for Vidyujjvalakarali, anocher form of Ekajata."

( 5. PARNASABARI.

Colour Yellow Fa ces T hree

Arms Six Vahana Vighnas

Asana Pratyalldha

The worship of Parnasabari, it is believed, is effective in pre- venting out-breaks of epidemics and in assuring safety to the terror- striken, The epithet Tisac? given in the mantra shows that she was regarded as one of the demi-gods,

half human, half divine. Two Sadhanas in the Sadhanamala 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 Smiles, and in

another she smiles but has an irritated expression ill the same. Curiously enough, the two images that have been discovered in Eastern Bengal, both have the effigies of Amoghasiddhi on the crown. The Dhyana describing Parnasabari of

yellow colour with the image of Aksobhya on her crown, runs as follows :

"Bhagavatim pltavarnam trimukharh trinetram sadbhujarfa prathama- mukham pitam, daksinam sitam vamam raktam, lalitahasinim sarva lankaradharam parnapicchikavasanam, navayauvanoddhataih plnarh... daksinabhujaih vajraparasusaradharimrh

vamabhujaih satarjanikapasa- parnapicchikadhanurdharimm puspavabaddhajatamukutastha-Akso- bhyadharimm suryyaprabhamandalinlm adho vighnan nipatya sita* padmacandrasane pratyalldhastham, hrdvamamustitarjanyadho vigh- naganan santarjya

daksinavajramustipraharabhinayam ..bhavayet.

Parnasabarl-Sadhanam" Sadhanamala, pp. 306-307.

- The worshipper should conceive himself as (Parnasabari) 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 gar- ment of leaves, is arrogant in her youthful blopm, is stout in appear- ance and carries in her right hands the Vajr?, the Parasu and the arrow, and in her left the Tarjam with the noose, the cluster -

of leaves and the bow. Her Jatamukuta is decorated with flowers and the image of Aksobhya ; she has the effulgence of the sun as her aureole, stands in

EMANATIONS OF AKSOBHYA (CONTINUED) 197

the Pratyalldha attitude on the moon over the white lotus, trampling under her feet the Vighnas. She threatens the host of (otherj 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 Ganesa, probably represents this form of Parnasabarl, as the word 'Vighna' in the Sadhanamala often refers to Ganesa. The above-mentioned

Sadhana, further states that Parnasabarl may have an alternative form with four arms and the image of Aksobhya on the crown, in which case she will carry the Vajra and the Parasu in 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 Parnasabari are also found in Tibet ! and in China ~.

PRAJNAPARAMITA

Prajnaparamita is the embodiment of the Mahayana Scripture of the same name which was, according to the Buddhist tradition, restored from the nether regions by Nagarjuna in the second century A. D. Buddha is said to have entrusted this

Book of Transcedental Knowledge to the care of the Nagas in the nether regions, as in his time people were not sufficiently intelligent to grasp the true meaning of the doc- trines it contained. The worship of Prajnaparamita was very

popular among the Buddhists, and Arya Asahga is credited to have composed one of the Sadhanas for her worship which is said to confer wisdom and erudition on her devotees Nine Sadhanas in the Sadhanamala describe the procedure of her

worship, and of these only two are assign- ed to the kula of the Dhyani Buddha Aksobhya. She too, like Manjusri, could not be assigned to any one of the Dhyani Buddhas because the Prajnaparamita scripture was chronologically earlier than

the Dhyani Buddhas. The two Sadhanas describe the white and the yellow forms of" the goddess. Images 8 of Prajnaparamita are found in Tibet 4 and China s

SITAPRAJNAPARAMITA

Colour White Asana Vajraparyahka

Symbols Lotus and Book

Only one Sadhana in the Sadhanamala describes the form of white Prajnaparamita with the image of Aksobhya on the crown. She is two* armed, one-faced, sits in the Vajraparyanka attitude on a white lotus, and carries the red lotus in the right hand and the Prajnaparamita Book in the left. She is decked in all sorts of ornaments, has a beautiful face and pleasant

expression, unlike other emanations of Aksobhya.

The Dhyana runs as follows : "Dvibhujam ekavadanam sitavarnam manoramam I Ardhacarcarakesanca svetambhoruhasarhsthitam II Padmam daksinahaste tu raktavarnam vibhavayet I Prajnaparamitam vame vajraparyahkasamsthitam II Sarvalahkarasampurnam bhavayennabhimandale I

Ankarajnanasambhutam paramanandakarinim II . Aksobhyamudrita ceyarh

Sukla*Prajnaparamita-Sadhanam'\

The worshipper should meditate on the navel the form of Sitapra-jnaparamita, as two-armed, one-faced, white in colour, and beautiful in appearance, with half curly hair, as sitting on the white lotus, carry- ing in her right hand the

red lotus, and the Prajnaparamita Book in her left. She sits in the Vajraparyahka attitude, and is decked in all sorts of ornaments. She originates from the knowledge of the letter *Am' and releases immense delight... This goddess is

stamped with the image of Aksobhya (on the crown)."

(ii) PlTAPRAJNAPARAMITA Colour Yellow Mudra Vyakhyana

Distinctive Mark Book on lotus to the left.

The yellow variety of Prajnaparamita with the effigy of Aksobhya is identical in form with the one described above, except with regard to the colour and the rnudra. She is yellow in complexion, bears the image of Aksobhya on her

Jatamukuta, wears celestial ornaments, and her two hands display the Vyakhyana attitude* On a lotus to her left rests the scripture Prajnaparamita 1 .

The celebrated image of Prajnaparamita (Fig. 141) of Java belongs to this variety, and tallies in all details with the description given in the Dhyana.

KANAKAPRAJNAPARAMiTA

Colour Golden

Mudra Dharmacakra

Asana Vajraparyanka

Symbol Book on lotus on two sides.

This form of Prajnaparamita is identical in all respects with one of the forms described previously. The difference lies in the fact that although she exhibits the Dharmacakra mudra with her two hands, there are two books on two lotuses

rising from under her two arm-pits. She is golden in colour l . The Java figure of Prajnaparamita illustra- ted previously has only one lotus bearing the book in her left, but the Indian Museum image (Fig. 142) with two lotuses on either

side, each bearing a manuscript, may definitely be identified with this variety of Prajnaparamita.

7. VAJRACARCIKA

Asana Dancing in Ardhaparyahka Arms Six

Colour Red Distinctive feature Emaciated body

Vahana Corpse Appearance Terrible

Only one Sadhana in the Sadhanamala describes the form of Vajracarcika and the Dhyana contained therein runs as follows :

"Vajracarcikam trinetrarh ekamukhim ardhaparyahkatandavam mrtakasanastharh, krsangim damstrotkatabhairavarh narasiroma- lavibhusitakanthadesam asthyabharanavibhusitam pancamudradharimm Aksobhyamukutinirh vyaghracarmanivasanam muktakesim

sadbhujam daksine vajrakhadgacakradharinlm vame kapalamanikamaladharam raktavarham karmanurupatah sukladivarnayuktanca dhyatva"

Sadhaiiamala, p. 395.

4 The worshipper should conceive himself as Vajracarcika, who is three^eyed and one^faced, dances in the Ardhaparyahka 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 Kapala, the jewel and the lotus. She is red in colour but changes to white and other colours in accordance with the different purposes for

which she is invoked. Thus meditating..."

r Sadhana No, 154, Sadhaaamala, pp. 313-314

The accompanying 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 vulture-like claws enhancing the fierceness of her appearance.

A statuette of this goddess is found in China } .

MAHAM ANTRANUSARINL

Colour Blue

Arms Four

Mudra Varada

The remarks made in the case of Mahasltavati, an emanation of Amitabha and one of the Pancaraksa goddesses, apply to the case of Mahamantranusarim also. This goddess is another of the Pancaraksa goddesses, and as her colour is blue, she

affiliates herself to the family of the Dhyani Buddha Aksobhya Only one short Sadhana des- cribes her form, and theDhyana contained therein is as follows :

"Mahamantranusarim caturbhujaikamukhi krsna daksinabhujadvaye vajravaradavati vamabhujadvaye parasupasavau Humkarabija Aksobhya- kintim suryyasanaprabha ceti"

Sadhanamala, p. 401.

1 'Mahamantranusarim is four-armed and one- faced, is blue in complexion, shows in her two right hands, the Vajra and the Varada mudra and in her two left the Parasu and the noose. She originates from the syllable "Hurh'\ bears the image

of Aksobhya on the crown, sits on and glows like the sun."

Images of this deity are known in Tibet * J and China *'.

MAHAPRATYANGIRA

Colour Blue

Arms Six

One short Sadhana only is assigned in the Sadhanamala to Maha-pratyafigira. The Dhyana describing her form is as follows :

'Mahapratyahgira krsna sadbhujaikamukha khadgankusavarada- daksinahasta raktapadmatrisula-hrdayasthasapasatarjamyuktavamahasta Humblja Aksobhyamukuta sarvalahkaravati rupayauvanasampanna".

"Mahapratyahgira is blue in colour, six-armed, and one-faced. She shows in her three right hands the sword, the goad, and the Varada mudra, and in her three left hands she holds the Tarjam with the noose against the chest, the red lotus

and the trident ; she originates from the syllable "Hum", 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 Mahapratyangira. They conform to the description given in the Sadhana. The ivory image from Nepal (Fig 146) with innumerable heads is also worshipped as Mahapratyangira.

This goddess is found also in China ! .

DHVAJAGRAKEYURA

Two Sadhanas in the Sadhanamala describe two widely different forms of Dhvajagrakeyura. In one the effigy of Aksobhya on the crown is expressly mentioned, but in the other, the Dhyani Buddha is absent. The weapons are also different, and

in one case she is three-faced and in the other four-faced. In all other respects, however, the forms are identical.

Images of Dhvajagrakeyura are found in China -.

(i) Three-Faced.

Colour Blue Faces Three

Arms Four Appearance Terrible

Asana Pratyalidha

The Dhyana describing Dhvajagrakeyura, with three faces and four arms and with the effigy of Aksobhya, runs as follows :

"Dhvajagrakeyura krsna trimukhl caturbhuja raktasyamadaksina^ vamamukhi khadgapasadharidaksinakaradva^ a vajrankitakhatvahgaca* kravamahastadvaya urdhvapifigalakesi suskapancamundalahkrtasiraska vyaghrajinavasana damstrakaralamukhl

pralambodari pratyalidhapada suryasanaprabha pltavastrakancukim Humbija Aksobhyamukuta."

"Dhvajagrakeyura is blue in colour, three-faced, and four-armed, with the right and left faces of red and green colour (respec- tively). She carries the sword and the noose in the two right hands, and the Khatvahga stamped with a Vajra and the Cakra in the two left, 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 the Pratyalidha attitude,

has her seat on and glows like the sun, wears yellow garments and jacket, originates from the syllable 'HunY and bears the image of Aksobhya on the crown".

(ii) Four Faced

Faces Four Arms Four

Colour Yellow

As already pointed out, Dhvajagrakeyura has another form, with four faces and four arms carrying the sword and the Cakra in the two right hands, and the Tarjanipasa and the Musala, marked with a Vajra, in the two left.

A Trisula 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.

VASUDHARA

Mudra Varada

Symbol Ears of Corn

Colour Yellow

Vasudhara figures in the pantheon of the Mahayana Buddhists as the consort of Jambhala, the Buddhist god of wealth. Only three Sadha- nas are devoted to her worship and in one of these only is she said to bear the image of Aksobhya. The

two others assign her to the Dhyani Buddha Ratnasambhava. It may be noticed, by the way, that Vasudhara is of a greater antiquity than the Dhyani Buddhas themselves. The Dhyana describing the goddess with the figure of Aksobhya on the crown runs as follows :

"Vasudharam Bhagavatim dhyayat, kanakavarnam sakalalankarava* tim dvirastavarsakrtim daksinakarena varadam, vamakarena dhanyama- njaridharam Aksobhyadharinim. Purato Bhagavatim Srivasundharam daksinato Vasusriyam pascimatah

Srivasumukhim, vamato Vasumati- sriyam ; etascadyaksarabijah svanayikasamanarupascintaniyah.

"The worshipper should conceive himself as the goddess Vasudhara of golden complexion and decked in all sorts of ornaments. She ap- pears a young girl of twice eight years, exhibits the Varada mudra in the right hand, carries the ears of corn in the left, and bears the_ imag< jof Aks^tmjon the crown) ." In front ofThe goH3ess should be con ceived SrlvasunBhara, in the right Vasusri, in the west Srivasumukhi, anc in the left Vasumatisn.

These four goddesses originate from the firs syllables of their names, and are identical in form with the principa goddess' '.

Images of Vasudhara are found in the Buddhist countries of th< North including Tibet l .

NAIRATMA

Asana Dancing in Ardhaparyahka

Colour Blue

Appearance Terrible

Vahana Corpse lying on its back.

Symbols Kartri and Kapala.

Two Sadhanas in the Sadhanamala describe her form, which is in many respects, similar to the form of Vajravarahi with the Kartri and the Kapala, the principal point of difference being the position of the corpse which forms their Vahana,

When it lies on its chest it is Vajra- varahl, but if it lies on its back the goddess is Nairatma. There are other distinguishing features also For instance, Vajravarahl being an emanation of Vairocana, should bear the image of Vairocana

on the crown ; while Nairatma, being an emanation of Aksobhya, should bear the image ot Aksobhya instead. Moreover, the excrescence near the the right eai of Vajravarahl must be absent in the case of Nairatma. In all other respects there

is a remarkable resemblance between the two. The Dhyana in one of the two Sadhanas describe the form of Nairatma in the following terms : p

"Savahrccandrasthardhaparyahkanatyasthitam Nairatmam krsnam ekamukham urdhvapiiigalakesam Aksobhyamukutmim damstrakaralay lalajjihvam, daksinena kartridharimm, vame kapalakhatvahgadharimm, raktavartulatrinetram pancamudravibhusanarii

The worshipper should conceive himself as Nairatma who stands in the Ardhaparyahka in a dancing attitude on the moon over the chest of a corpse. She is blue in colour, has brown hair rising upwards, and bears the image of Aksobhya on

her crown. Her face looks terrible with bare fangs and protruding tongue, and she carries the Kartri in the right hand and bears the Kapala and the Khatvahga in the left. Her tbi&e eyes are red and round, and she is endowed with the five auspicious symbols."

The word 'Nairatma' means 'no-soul* and is another name for Sunya, in which the Bodhisattva merges on the attainment of Nirvana. Gra- dually, the conception of Sunya took the form of a goddess in whose embrace the Bodhisattva is said to remain in eternal bliss and happi- ness, Nairatma gets the blue colour, because the colour of Sunya 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 to the description given in the Sadhana just quoted. Here the goddess, in accordance with the Dhyana, 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 radiate from her person, and her hair rise upwards in the shape of a flame. She is decked in the five auspicious symbols, the Kanthika (torque), Rucaka (bracelets), Ratna (jewels), Mekhala (girdle), and Bhasma (ashes) or the Sutra (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 Kapala is broken. The Khatvafiga, as usual, hangs from her left shoulder.

The Vangiya Sahitya Parishat bronze (Fig. 149) shows the above characteristics, but the Khatvafiga is lost. It is lost in the same way as small weapons in Nepalese and Tibetan bronzes are often found missing. Nairatma is popular in China

JNANADAKINL

Colour Blue

Faces Three

Arms Six

Kulesa Aksobhya

Jnanadakini is the principal deity of the Jnanadakim Mandala of the Nispannayogavali. She is described thus :

"Jnanadakim nilasya...savyam suklarh...vamam raktasrhgaraih... daksinabhujatraye urdhvikrtakhatvangam parasurh vajranca vamatraye ghantaraktapurnakapalakhadgah." NSP, p. 12

"Jnanadakini has a blue face.. .the right is white... the left is red and amorous... In the three right hands she carries the raised Khatvanga, the axe and the Vajra. In the three left there are the bell, the cup full of blood and the sword/'

VAJRAVIDARANi

Vajravidarani is described in the Dharmakosasangraha of Amiv tananda as follows :

"Vajravidarani pancamukhi dasabhuja ; dakse ankusa-khadga-sara- vajra-varada ; vame pasa-carma-dhanU'dhvaja'abhaya pratyalidhasana".

Dharmakosasahgraha Fol. 44A.

"Vajravidarani is five^faced, ten-armed, carries in the right hands the goad, the sword, the arrow, the Vajra, and the Varada mudra, and in the left the noose, the shield, the bow, the flag and the Abhaya pose. She stands in the Pratyalldha attitude".

According to the Sadhanamala all the deities that emanate from the the Dhyani Buddha Vairocana have generally the white colour or the colour assigned to Vairocana. Several goddesses have the images *of Vairocana on their crowns, thus

showing that they are all emanations of this particular Dhyani Buddha. Some of the deities are expressly stated in the Sadhanas to be "Vairocanakulodbhava" or "born of the family of Vairocana" The deities emanating from this Dhyani

Buddha are said to reside in the interior of the Caitya, since Vairocana, it may be remembered, is the lord of the sanctum of the temple or the Stupa. Among the deities emanating fiom Vairocana Marici seems to the first in importance and

popularity. She is even regarded as the consort of Vairocana. Vairocana is distinguished from the other Dhyani Buddhas by his white complexion and the Dharmacakra mudra he dis plays in his two hands.

NAMASANGITI

Colour White

Face One

Arms Twelve

Asana Vajraparyanka

Pandit Amrtananda's Dharmakosasahgraha gives the description of a most interesting god, named as Namasahgiti. This description enables the students of iconography to identify a large number of his images that he scattered throughout the

Nepal valley and other Buddhist countries. This deity should be distinguished from the Namasangiti Manjusri who has already been described as one of the varieties of the Bodhisattva Manjusri. Like the goddess Prajnaparamita who is the embodiment of the Prajnaparamita literature, Namasangiti also seems to be the deification of the Namasangiti literature of the Buddhists. Pandit Amrtananda characterises Namasangiti as a Buddha but from the description and the illustration it would appear that he is a Bodhisattva, The elaborate ornaments, the fierce symbol of Khatvanga as also other Bodhisattva symbols do not befit a Buddha. Although the parental Dhyani Buddha of Namasangiti is not expressly mentioned in the description of Amrtananda, he is brought here under Vairocana because of his white colour*

Images of Namasahglti are to be found in large numbers in Nepal either in stone or in bronze and he is popular also in Tibet and China. Getty 1 erroneously labels this deity as a "Dogmatic Form of Avaloki* tesvara" and the names given to

the various mudras exhibited by the deity are also inaccurate. The Dhyana as given in the Dharma* kosasangraha is quoted as follows :

"Namasangmnama (Bodhisattvah).

Ekavaktrah svetavarnah dhyananayanah smerananah Jatamukutadha- rah nanalahkaralankrtah sanmudralahkrtah dvadasabhujah prathama- bhyam savyadaksabhyarh hrdayapradese abhayamudradvayam, dvayabhyam mukutopari krtanjalimudram, daksatmyena

visvavajropari khadgam savyavamacaturthabhyam tarpanamudradvayam, savyavam- apancamabhyam patrasthamrtaksepanamudrarh sasthasavyavamabhyam sapatradhyanamudrarh vamatrtiyena savajrakhatvangam dadhanah, kamalopari vajrasanah."

Dharmakosasahgraha (A. S, B. MS.) FoL 91 u The (Bodhisattva) Namsangiti.

"He is one-faced, white in colour, has eyes (half-closed) in meditation, a smiling countenance, the Jatamukuta and various ornaments, is decked in the six auspicious ornaments, and twelve^armed. He exhibits in the first pair of right and

left hands the two Abhaya mudras against the chest ; and in the second pair the Arijali (clasped hand) mudra over the crown. The third right hand carries the sword on the double Vajra. The fourth pair exhibits the Tarpana mudras, the

fifth pair shows the mudra of sprinkling nectar from the vessel (Ksepana), and the sixth pair exhibits the SamaJhi mudra on which is the vessel (of nectar); the third left hand carries the Khatvahga 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 Khatvahga with the Vajra carried in the third pair of hands by the deity.

2. MARICf

MaricI 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 Aruna, who has no legs, but that of MaricI is either a goddess with no legs, or Rahu only the head without a body.

There is a theory that Marici and Vajravarahi are the same, but it cannot be supported ; for, whereas Vajravarahi is actively associated in yab-yum with her consort Heruka, or Samvara an emanation of Aksobhya, Marici invariably appears singly, and her consort is Vairocana himself, and not any"emanation of a Dhyani Buddha. Again, Heruka rides a corpse lying on its chest, and accordingly, such a Vahana has been given to Vajravarahi, but Marici is never known to tread upon a corpse, or even the prostrate body of a man. The images of Vajra- varahi always represent her as one-faced with an excrescence near the right ear, but Marici, even when represented as one* faced is not known to have any excrescence on her face. Vajravarahi according to the Dhyana, may have four arms, but Marici must have either two, eight, ten or twelve arms according to the Sadhana. Marici is always said to reside in the womb of a Caitya, whereas Vajravarahi, being an abbess, may reside anywhere.

The mantra for Vajravarahi is "Om Sarva-Buddhadakimye Vajravarnanlye hum hum phat phat svaha" or "Om Vajravetall hum phat".

Shantideva gives the Dharani for Marici but the Dharani never refers to her as Vajravarahi. The conception of Marici has a greater antiquity than the conception of either Vajravarahi or Heruka. The union of Heruka and Vajravarahi is the subject-matter of the Vajravarahi Tantra, but no Tantra is

assigned to Marici. Vajravarahi stands in the Ardhaparyahka in a dancing attitude on a corpse, but Marici stands almost always in the Alldha attitude and moves in a chariot, but she is never in the dancing attitude. Last but not the

least, Vajravarahi has been called a Dakini, that is, an abbess who had attained perfection, ( siddhi ) and had become a deified woman, but Marici is a goddess, first and last.

In view of these wide differences in form, character and accoutre- ments, the identity of the two goddesses Marici and Vajravarahi, can not be established. The only points of agreement between them are that both of them are emanations of

Vairocana, and both sometimes have two arms and two legs.

Sixteen Sadhanas in the Sadhanamala describe six distinct forms of Marici. She may have one, three, five or six faces and two, eight, ten or twelve arms. She is generally accompanied by her four attendants, Varttall, Vadall, Varall and

Varahamukhl. 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, to sew up the mouths and eyes of the wicked. Images of Marici are rather common

in India. In her two-armed form of Asokakanta she accompanies Khadiravani Tara; amongst other varieties of Marici, the form with three faces and

eight arms, is extensively met with in sculptures J . Images of Marici are found in Tibet L> and China *.

Goddess Marici is the principal deity in the Marici Mandala of the Nispannayogavali. The form described here is three-faced and six- armed. Sasvata or Vairocana is said to be the spiritual sire of Marici 4 .

Asokakanta

Vahana Pig Colour Yellow

Asana Standing Mudra Varada

Distinctive feature Left hand touching the Asoka bough

Ordinarily, Marici has two arms and one face. She is called A&oka* kanta when she holds the bough of an Asoka tree in the left hand and exhibits the Varada mudra in the right hand ; but she is called Arya-Marlci if she carries the needle

and the string in her two hands. The Dhyana describing the form of Asokakanta is stated below :

"Hemabhasukaraiudham taptakancanabhasvaram I Lilayordhvasthitarh candrabimbambhoruhasamsthitam II Asokavrksasakhagravilagnam vamapanina I Bibhratim varadakaradaksinakarapallavam II Diptaratnopasobhena maulina Buddhasekharaih I

Svetavastram namasyami Maricim abhayapradam" II

"I bow to Marici who rides the sow of golden colour, whose com* plexion 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 Asoka tree, and

displays the Varada pose in the right. She bears the image of the Dhyani Buddha (Vairocana) on the crown, is decorated with bright jewels, wears white garments and grants assu- rance of safety (to the world)".

An image of Asokakanta is referred to by Alice Getty 5 .

Arya*marlcf

Symbols Needle and String.

Arya-Markl is identical with Asokakanta except for the symbols she bears in her hands. As already stated, Asokakanta has the Asoka bough and the Varada pose, but Arya-MaricI carries the needle and the string l .

arlcfpicuva

Faces Three Arms Eight

Marlcipicuva is also called AstabhujapIta^Marici or Samksipta-MaricI. These two names denote two distinct varieties of Marici, although both are endowed with three faces and eight arms and carry similar weapons in their hands. One

Sadhana only is devoted to Marlcipicuva, 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 Ahkusa and the noose in another pair,

the bow and the arrow in the third pair, and the Vajra and the Asoka flower in the fourth pair. She has three faces, each displaying a mixture of three different sentiments (Rasa), The Dhyana in verse runs as follows :

u Srhgaravirasaddharsair-jambunadasamaprabham I Madhyendranllavarnasyam bhayablbhatsaraudrakaih II Karunadbhutasantaisca sphatikendvitarananarh I Trivimoksamukhaistryaksam dharmasambhoganirmitam II Pltabharanasadvastram

mayukhasukhavasinim I Sucyaksasyani sivantlm badhnantim mukhacaksusi II Hrdgalenkusapasabhyam bindhantim banakarmukaih I Vajrena dusthrdbhitvasokenasecanapararh II ... Prajnopayapadakrantam Mandril bhavayedvratl II

Maricipicuva'Sadhanarh". Sadhanamala pp. 297-298.

'The worshipper should conceive himself as Marlcipicuva who dis- plays the sentiments of Srngara, Vira, and Harsa in one of her faces, which is of the colour of Jambunada (gold). In the middle face which is of the colour of the

Indranlla gem, the sentiments of Bhaya, Bibhatsa, and Raudra are displayed ; and in the third face of crystal colour, the sentiments of Karuna, Adbhuta and oanta 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 Dharmakaya and Sambhogakaya. She is clad in garments of yellow colour and resides happily in the mass of rays. She sews up the eyes and the irouths of the wicked with the needle and secures them with the string. She strikes their hearts with the Ankusa, draws them by

the neck with the noose, pierces them with the bow and the arrow, and shatters their hearts to pieces with the Vajra, and then sprinkles water with the leaves of Asoka... She tramples under her feet Prajna and Upaya."

Astabhuja-Marici or Sarhksipta-Marici 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 Indra- nlla gem, displays wrath and looks terrible with bare

fangs and protru- ding lips. The third or the right face is of deep red colour, glows in heavenly splendour and displays the sentiment cf Santa. 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 Rahu, who devours the sun and the moon. She is sur- rounded by the four attendant goddesses, Varttali, Vadali, Varali and Varahamukhi.

(i) Varttali 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 Asoka in the two left hands and the Vajrahkusa and the needle in the right.

(ii) Vadali has many features in common with Varttali, but her colour is yellow and she carries the noose and the Vajra in the two left hands and Asoka and the needle in the right,

(iii) Varali is identical with Vadali, except that she holds the Vajra and the needle in the two right hands and the noose and the Asoka in the left.

(iv) Varahamukhi wears the same garments and the same orna- ments as Vadali and Varali, but her complexion is ruddy, and

- she carries the Vajra and the arrow in the two right hands and the Asoka and the bow in the left, -

It is very curious that almost all the images of Marlcl known so .far, belong "to this Variety. Iti actual images, a legless lady charioteer may sometimes :> be fnet with instead of Rahu, while spine * images retain the charioted * as'

well ' as Rahu. Two images of the eight-armed variety of Ttffcndu are in the Dacca Museum,- two

are in the Indian Museum ( Figs. 152, 153 ) Calcutta, and the one (Fig. 154) which is reproduced in many works of art, was discovered at Sarnath and is now deposited in the Lucknow Museum, while a sixth has been discovered in Orissa.

Besides these, several other images of MaricI 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 by the sculptors. A study of these images will show that though the sculptors generally follow the Sadhana in all details, yet they are not always so scrupulous in the case of the

four attendant goddesses who are sometimes two- armed, and sometimes, though four-armed, do not carry the symbols prescribed by the Sadhanamala.

Ubhayavarahanana=

Faces Three Arms Twelve

Asana Alidha Distinctive mark Two Sow*faces

She has been given this name because, unlike all other three-faced forms of MaricI, 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 ot love, while the two side ones are distorted sow- like. The face to the left is red, and is paid homage to by a deity carry- ing the Vajra and the Mudgara ; the face to the right has a reddish efful- gence 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 Tarjam against the chest, the Asoka bough, the Vajrah- kusa, the Kapala, the head of Brahma and the

vessel, and in the six right hands the needle, the Afikusa, the Bhindipala ( spear ), the sword, the Kartri and the Staff stamped with a Vajra. She bears the image of Vairocana on her crown, and tramples under her feet the Hindu gods,

such as Hari (Visnu), Hara (Siva), Hiranyagarbha (Brahma) and others* The guardians of the quarters all pay homage to this goddess.

It may be pointed out here that the Sadhana is reticent about the chariot, the seven sows that run it, and about the four attendant goddesses, Varttali, Vadali, Varali and Varahamukhl l .

Dasabhujasita-maricf

Faces Five Colour White

Arms Ten Legs - Four

Two Sadhanas in the Sadhanamala describe her form which is ten- armed, and white in colour. The most important feature of this variety is that she is endowed with four legs. She has five faces. The pnn* cipal 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 Trisikha (three tufts of hair) and the Jatamukuta. The five 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 Asoka bough, the noose with the Tarjam and the string. She rides a chariot drawn by seven pigs, and tramples under her feet the four Hindu gods Indra, Siva, Visnu and

Brahma. She bears the effigy of Vairocana on her crown,

The Sadhanas 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

Tarjam in the other.

The second goddess appears to the right of Marici , wears celestial ornaments, is ruddy in colour with one face mis-shapen like that of a sow.

The third goddess appears to the left of Marici. 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 Asoka bough in the left.

Below che seven pigs drawing the chariot are the Navagrahas or the Nine Planets, and various diseases and disasters in human shape lie flat on the ground l .

The Sadhanas do not give the names of the attendant deities, which are only three in number. It is possible that these three are the mem- bers of the Varttali group. Fig. 155 illustrates aNepalese drawing of this variety of Marici.

1. Sidhana No. 139 in the Sidhanamala, pp. 285-286.

Vajradhatstivari marici

Faces Six

Asana Alldha

Arms Twelve

Appearance Terrible

When six*faced and twelve-armed, MaricI is invoked in three different forms and under three different names:VajradhatvIsvari Marici. Uddiyana MaricI, and Vajravetali. These three forms are classed to^ gether here because of their marked

resefnblance. They differ however in minor details and in respect of the weapons they carry in their hands.

The features that are common to all the three may be summarised from the Sadhanas 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 on the top is mis-shapen like that of a sow, and is blue in colour. All the three are said to 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.

Vajradhatvlsvarl carries in her six right hands, 1. the sword, . 2. the Musala, 3. the arrow, 4. the goad, 5. the Vajra and 6. the Parasu, and in the six left 1. the noose, 2. the Kapala, 3. the Asoka bough, 4. the severed head of

Brahma, 5. the bow and 6. the Trisula,

Uddiyana MaricI holds the Cakra in one of her right hands, instead of the goad, and the Khatvanga-Kapala in one of the left hands instead of only the Kapala. Vajravetali in one of her right hands holds the crossed double thunderbolt

instead of the goad or the Cakra, and in one of the left the noose instead of the Kapala or the Khatvafiga- Kapala. All the other hands carry the same weapons in all the three cases \

Ushnishavijaya

Colour White Faces Three Arms Eight

Identification mark Buddha on lotus

Like Marici, Usmsavljaya is also said to bear the image of Vairo- cana <^ feet crown and to reside within the womb of a Caitya. She is one of the most-pqpular deities of the pantheon, and almost every temple in Nepal contains her image.

The most artistic specimen, however, belongs to the Indian Museum, Calcutta. A miniature Caitya' on the top of the image of Usmsavijaya signifies that she is an offspring of Vairocana who resides in the centre of the Caitya. It is not impro- bable that Usnlsavijaya is the deified form of the Dharim of the same name included in the

group of twelve Dharim goddesses. She may thus represent the deified form of the Usmsavijaya Dharim. Several Sadhanas describe her form and the Dhyana contained in one of these is given below :

"suklam trimukham trinetrarh navayauvanam nanalankaradharam astabhujam Bhagavatlm cintayet ; pitakrsnadaksinetaravadanam ; daksi- nacaturbhujaih visvavajra-*padmastha-'Buddha'bana'*varadamudradharam, vamacaturbhujaih capa-tarjanlpasa-

abhayahasta'purnakumbhah ; cait- yaguhagarbhasthitam, Vairocanamukutinirh nispadya..."

Usmsavijaya'Sadhanam." Sadhanamala, p. 394

'The worshipper should conceive himself as (Usmsavijaya} 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 Visvavajra. Buddha on lotus, the arrow and the Varada pose, and her four left hands show the bow, the noose with the Tarjani, the Abhaya pose and the well- filled 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 Usmsavijaya in the Indian Museum, Calcutta, agrees almost in all details with the description given in the Sadhana. The attitude in which she sits here is the Vajraparyafika attitude.

The other illustration (Fig. 157) is the reproduction of a painting contained in an illuminated manuscript of Pancaraksa in the possession of Dr. W. Y. Evans- Wentz. In it, the right hand which ought to have carried the Visvavajra or the

crossed thunderbolt, carries the jewel instead. In all other respects the painting follows the description of the Sadhana most accurately.

Images of this deity are also found in Tibet l and China 2 .

Sitatapatra Aparajita

Faces Three

Arms Six

Colour White

One Sadhana only is devoted to the worship of this deity. The

word "Vairocananayakam" In the Sadhiaiia shows that she also belongs to the 'family of the Dhyani Buddha Vairocana. She is mild in nature except for the eyes, which display anger* The Dhyana describes her form in the following manner :

"Sitatapatraparajitam Bhagavatim trimukham sadbhujarh, prati- mukhtm trinayanam, suklam nllarunadaksinavamamukhim, cakran* kusadhanurdharadaksinakaram sitavajrasarapasatarjamdharavamakaram sakrodhadrstikam sarvagrahavidhvamsinim

divyalankaravastravatim Vairocananayakam dhyatva..." Sadhanamala, p. 395

"The worshipper should conceive himself as goddess Sitatapatra Aparajita, who is three*faced, six armed, and has three eyes in each of her faces. She is of white colour. Her faces to 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 Tarjam. She has angry looks, destroys all sorts of e\il spirits (Grahas lit. Planets),

wears celestial ornaments and garments, and is led by Vairocana. Thus meditating...

This goddess is called Sitatapatra Aparajita "The Invincible Goddess with the White Parasol" and should be distinguished from the other Aparajita who has an entirely different form and is yellow in colour. Fig. 158 illustrates a

Nepalease drawing of the deity Sitatapatra Apatajita *,

As Sitatapatra this deity is known in Tibet 2 and China 3 .

Mahasahasrapramardani

Colour White

Arms Six

Mahasahasrapramardam is another goddess of the Pancaraksa group, and is assigned to Vairocana exactly in the same way as Mahasi- tavati and Mahamantranusarim are affiliated respectively to Amitabha and Aksobhya. Her form is different

from that in which she is worshipped in the Pancaraksa Mandala. Here the Dhyana describes her form in the following terms :

- MahasahasrapramardanIm atmanam dhyayat ; suklam ekamukhim sadbhujam ; daksinatribhujesu khadgabanavaradamudrah vamatri* bhujesu dhanuhpasaparasavah ; vicitralahkaradharam rupayauvana* srfigaravatim Vairocanakirltayuktam

padmacandrasanaprabham.

"The worshipper should conceive himself as Mahasahasrapramar- dani who is of white complexion, one-faced and 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 and the Parasu. She is decked in variegated ornaments, is young and beautiful, displays the sentiment of amour, bears the figure of Vairocana on her crown, sits on the moon over a lotus, and is radiant like the moon".

Images of this deity are found in Tibet ] and China ".

Vajravarahi

Asana Dancing in Ardhaparyahka Characteristic feature Excrescence near the right ear.

The union of Vajravarahl with Heruka is the cult of the celebrated Cakrasamvara Tantra. One of the Sadhanas gives her the epithet of "Sri' Herukadevasyagramahisi" or <l the first queen of the god Sn-Heruka". She is also called a Dakini

and in the Buddhist Tantra this signifies any Sakti with whom the Yuganaddha (yab->um) worship may be per- formed. It will not be out of place to mention here that Heruka is also associated with Vajrayogini and then union is the subject

ot the great Heruka Tanti a, but Vajravarahl differs considerably from Vajra- yogini in form. If Vajravarahl is the first queen ot Heruka, there is no reason to suppose that Vajrayogini may not be anothei. In fact, it has already been

shown that Heruka in yab-yum lotni used to be associated with other goddesses, such ys Nanatma and Vajiasrnkhala, as well. Vajravarahl is represented as nude and as displaying intense and passionate love.

The name Vajravarahi or Adamantine sow' is given to 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 likely that Getty's story about Yun-gar's attack on the abbess

and the monastery refers to Vajravarahl than to Marici; for while Mai ici has one face which may be distorted sow-like, Vajravarahl has a natural excrescence just near the right ear, which has gained for her the epithet 'Vajraghona' in

the Sadhanas, Another argument in favour of this is that, while Vajra- varahl is called a Dakini, and is associated with four other Dakmls, she may quite easily be an abbess, and therefore, a Siddha woman deified, and not a goddess. But

Marici is decidedly a goddess ; she is Vajra- dhatvlsvari and the consort of a Dhyani Buddha.

Several Sadhanas, both long and short, describe two distinct forms of Vajravarahl. who is also known as Buddhadakim and Vajravairo* cam. She is either two-armed or four-armed. Even when two-armed she may have several forms according to

weapons she carries in her two hands. In one Sadhana only is she said to emanate from the family of Vairocana, and bear the double Vajra on her head, but the others are silent as to her sire.

Images of this very popular goddess are found in Tibet 1 and China 2 .

VAJRAVARAHI

Colour Red [

(Appearance)] Nude

Arms Two

Asana Pratyalldha

Symbols Vajra-Tarjam and Kapala.

Several Sadhanas in the Sadhanamala describe two-armed forms of Vajravarahl. Below is quoted a Dhyana which gives a general idea of her form :

Atmanam Bhagavatlm Vajravarahim dadimakusumaprakhyam dvi- bhujarii daksinakarena vajratarjanikakararh vamena karotakhatvanga- dharam ekananarh trinetrarh muktakesam sanmudramudritam digam- bararfa pancajnanatmikam sahajanandasvabhavam,

pratyalldhapadakran- ta- Bhairava-Kalaratrikam sar dramundam alalahkrtagatr am sra vadrudhi- ram pibantim bhavayet. Sadhanamala, p. 425.

"The worshipper should think himself as goddess Vajravarahl 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 Kapala

and the Khatvahga. 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 know- ledge, and is the embodiment of the Sahaja pleasure. She

stands in the Pratyalidha attitude, tramples upon the gods Bhairava and Kalaratri, wears a garland of heads still wet with blood which she drinks/'

The Sadhana further adds that the four petals of the lotus on which she stands are occupied by the four goddesses Dakini, Larna, Khanda- roha and Rupini in the four cardinal directions 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 Khatvanga, the Kapala in the left hands and the Damaru and the Kartri in the two right hands.

Vasya-Vajravarahl

Symbols Kami and Kapala Asana Dancing in Ardhaparyahka

Vahana Corpse lying on back

This form of Vajravarahl is invoked in those rituals which are per* 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 Kapala like the previous one. The Khatvanga as usual hangs from her

left shoul- der just as it is seen in the Heruka and Nairatma images. She stands in the attitude of dancing in Ardhaparyanka on a corpse instead of showing the Pratyalidha as in the previous case l .

Arya-Vajravarahi

Appearance Terrible

Asana Alidha

Arms Four

The four-armed form of Vajravarahl is also similar to the forms mentioned before, and is called Arya-vajravarahl. The difference lies only in the attitude, number of arms, and the symbols carried in her hands. She carries in the two

right hands the Vajra and the goad, and in the two left the Kapala 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 Alldha attitude on the corpse, unlike the other forms of Vajravarahl. The Khatvahga hangs from her left shoulder as usual 2 .

Cunda

Colour White

Symbol Book on Lotus.

Face One

Arms Two, Four, Sixteen, Eighteen and Twenty'six.

According to a definite statement s contained in the Nispannayop a- vail under the Manjuvajra Mandala, Cunda is affiliated to the Dhyani

1. Sadhana No. 220 in the Sadhanamala p. 433.

2. Sadhana No. 224 in the Sadhanamala, pp. 437, 438.

3. Nispannayogavall, p. 52. Here Manjbvajia is the seme as Vairocara.

Buddha Vairocana, and thus Cunda is the spiritual daughter of Vairo- cana, and is required to be classed under the emanations of this very Dhyani Buddha.

The name of the deity is spelt variously as Cunda, Cundra, Candra, Canda, and Cundra. She is also called Cundavajri. The spelling of Cunda as adopted by Foucher appears to be correct since her mantra as given in the Sadhanamala : "Om

Gale Cule Cunde Svaha contains the word Cunda in the vocative as Cunde Under the circumstances the correct spelling and the name of the deity as Cunda may be taken as certain.

From the Sadhana it is not possible to ascertain the character of the deity or her origin. But from a reference in the Nispannayogavali J it appears probable that the deity Cunda is the embodiment of the Buddhist Dharini work called the

Cundadharinl to which a reference is made by Santideva. The Nispannayogavali acknowledges altogether twelve Dharini deities and gives their descriptions. These Dharims look ahke when represented and they are usually two-armed, holding

the Visvavajra in the right hand and their special symbols in the left.

The names of the twelve Dharims as given in the Nispannayogavali are these : 1. Sumati, 2. Ratnolka, 3. Usnisavijaya, 4- Marl 5. Parnasabari, 6, Jahgull 7. Anantamukhi 8. Cunda 9. Pra- jnavardhanl 10. Sarvakarmavaranavisodhani 11.

Aksayajfianakar- anda and 12. Sarvabuddhadharma-Kosavati. These Dharims are collectively assigned to the Dhyani Buddha Amoghasiddhi, and are des- cribed later in this book.

The Dharims are a peculiar kind of Buddhist literature which is supposed to generate great mystic power if repeated continually for a long time. They are short works mostly composed of meaningless sylla- bles, sometimes revealing traces

of a language now defunct. The deifi- cation of books is not unknown in Buddhism. The best example of this is the deity Prajnaparamita, who is the embodiment of the great Mahayana scripture, the Prajnaparamita, which is believed to have

been rescued from the nether regions by Nagarjuna the Pontiff.

Amongst the Dharini deities Usnisavijaya, Janguli, Parnasaban and Cunda are popular, and there are Sadhanas and images of these deities in art. But they represent nothing more than the respective Vidyas or mantras of which they are the

embodiments,

1. See the list of Dharini deities in the Dharmadhatu-Vagisvara Mandate, NSP, p. 57.

Cunda thus is the embodiment of the Cunda Dharim or the Cunda mantra. The Buddhists believe that when the Dharim is 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 or success. Once realized, the deity never leaves the worshipper and gives him everything that he desires.

With regard to the antiquity of Cunda in the Buddhist pantheon, it may be said that the very first mention of her name Candra which is considered to be the same as Cunda, appears in the Manjusrimulakalpa, the composition of which is

usually placed cir. 200 A. D. As Cunda- vajri, she finds mention in one of the earliest Tantric works, the Guhy- asamaja which was written most probably in the time of Asahga, cir. 300 A. D, Cunda is also mentioned in the Siksasamuccaya

of Santideva in the 7th century. Cunda images are found in illuminated Prajnapara- mita MSS of the llth century and several Sadhanas are dedicated to her in the Sadhanamala, the earliest MS of which bears a date which is equivalent to A.

D. 1165. Earlier, she is mentioned in the Nispannayo- gavall of Abhayakara Gupta (C 1130. A. D.j.

So far only three Sadhanas of Cunda are known, and they are all to be found in the printed edition of the Sadhanamala as Nos. 1 29, 130, and 131. There is a further description of the goddess in the same book where Cunda is included as a

minor deity in the Mandala of Astabhuja-Kurukulla. Three more descriptions are available in the NispannayogavalL

The three Sadhanas in the Sadhanamala describe the principal deity Cunda in one form only. She is four-armed, one-faced and of white complexion. The Dhyana is given below :

^Saraccandrabham caturbhujarh daksinena varadam, vame pustaka- nkitapadmadharam karadvaye patradharam sarvalankarabhusitam"

"She is of the colour of the autumn moon, and is four-armed. She shows the Varada mudra 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 Cunda (Fig. 161) of this description was in the collection of the late Mr. W. B. Whitney 1 of America. The illustra* tion is from a photograph kindly supplied by the owner.

The Sadhanamala also makes Cunda a c'ompanion deity of Astabhvr ja Kurukulla in Sadhana No. 174, p. 352. In the Isana corner of the Kurukulla Mandala on a lotus petal sits Cunda while the other petals are occupied by Prasannatara in the

east, Nispannatara in the south, Jayatara in the west, Karnatara in the north, Aparajita in the Agni corner, Pradipatara in the Nairrta corner and Gauritara in the Vayu corner, All the deities including Cunda look alike and are described

as follows :

"Etasca sarva raktavarnah pancatathagatamukuta vajraparyankanisa- nna daksinabhujabhyam varadamudra-akarnapuritasaradhara vamabhu- jabhyam utpala-capadharah." Sadhanamala, p, 352.

"All these deities are red in colour. They wear a crown with the figures of the five Dhyani Buddhas, and sit in the Vajraparyahka attitude, With the two right hands they show the Vaiada mudra and the arrow drawn to the ears. They carry

in their two left hands the blue lotus and the bow."

In the Nispannayogavali there are altogether three descriptions of Cunda. In the Kalacakra Mandala, Cunda is the consort of Takkiraja who is similar to Ratnasambhava in appearance The relevant passage is given below :

'Cunda sukla savyabhyam mudgara-kuntau vamabhyarh padma^dan^ dau vibhrana". NSP, p. 89

u Cunda 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 Danda (staff) "

Cunda is once again mentioned in the Dharamadhatuvaglsvara Mandala. In this Mandala her form is described in the following words :

"Cunda sukla aksasutravalambita^kamandaludhara"

"Cunda is white in colour. She carries in her two hands the rosary to which a Kamandalu is suspended. "

A third form of Cunda is described in the Nispannayogavali in the Manjuvajra Mandala. It is an elaborate description of Cunda who is here endowed with as many as twenty-six arms. The relevant extract is quoted below :

"Cunda candravarna sadvimsatibhuja pradhanabhyam hrdi mula- mudram daksinairabhayam khadgam ratnadama bljapuram sararh para- sum gadam mudgaram ahkusam vajram tripatakabhinayarh aksasutram ca ; vamaiscintSmanidhvajam padam kamandalum

pasarh capam saktim cakram khadgam tarjanam ghantam bhindipalam prajnaparamitapusta* karh ca vibhrati. NSP, p 49

"Cunda is moon*white in colour. She has twenty-six arms. With the two principal hands she exhibits the chief mudra l . In the remain- ing right hands she shows the 1. Abhaya mudra, 2. sword, 3. gar- land of jewels, 4. citron, 5. arrow,

6. axe, 7. club, 8. hammer, 9. goad, 10. thunderbolt, 11. Tripataka and 12* rosary. In the remaining left hands she shows the 1. flag marked with Cintamani jewel, 2. lotus, 3. Kamandalu, 4. noose, 5. bow, 6. javelin, 7. discus, 8. sword,

9. Tarjam (raised index finger), 10. bowl, 11. Bhindipala and 12. the Prajna- paramita Scripture".

Although images of Cunda with twenty^six arms are not available, there are several images of Cunda with sixteen arms. These can be identified with the help of a miniature painting of sixteen-armed Cunda (Fig. 162) available in the

manuscript No. Add 1643 of PrajnSparamita in the Cambridge University Library. This miniature bears a label in old Newari characters which reads as :

"Pattikere Cundavarabhavane Cunda"

"Cunda in the excellent temple of Cunda at Pattikera/

This inscription leaves no room for doubting the identification of the sixteen-armed image as that of Cunda. In this figure also the principal pair of hands exhibits against the chest the mudra which is called in the Sadhanaas the Mula

mudra which is akin if not equal to the Dharmacakra mudra. Foucher has given a description of the miniature of Cunda in his L'Iconographie Bouddhique, part I, p. 199. According to him the two principal hands exhibit the mudra of

teaching. The remaining seven right hands show the 1. Varada mudra, 2. thunderbolt, 3, discus, 4. club, 5. dagger, 6, (indistinct) and 1. 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 2 gives a slightly different description of the same miniature.

Thus it is apparent that there was an image of Cunda in the Cunda temple at Pattikera which is identified by Dr. Bhattasali with the remains on the Lalmai hills in Tippera in East Bengal The miniature of the Prajnaparamita manuscript

obviously depicts the sixteen-armed image of Cunda, 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 or polish

1. This mudra may be called the Cundamudra which is akin to the Dharmacakra mudra displayed by Vairocana.

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 on the prostrate figure. She is richly dressed and is decked in orna- ments 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 mudra which is akin to Dharmacakra The remaining seven right hands show downwards from

the top the L sword, 2. Damaru (kettle-drum), 3. knife, 4. (broken), 5. hammer, 6. garland of jewels, 7. Abhaya mudra. The remaining seven left hands show likewise the 1. discus, 2. bell, 3. noose, 4. dagger, 5. goad, 6. arrow ard 7,

Vara- da mudra. The deity is one-faced.

The Baroda Museum image has therefore to be identified with Cunda, although there is some minor variation. Similarly, the Bodh Gaya image found in the Hindu monastery (Fig. 164) has also to be identified with Cunda with sixteen arms. One

more stone image of Cunda is illustrated in the History of Bengal, Vol. I, pi. xxvi, 64. Here Cunda has eighteen arms instead of sixteen as in the miniature.

The special feature of the Baroda Museum image is its seat which is on the prostrate figure of a man. This kind of special seat is absent in all other images of Cunda so far discovered either in stone or in metal. But this seat appears

to be a special feature of the Cunda images which it, not against the direction of the Sadhana. Cunda is said in the Sadhana to be seated on a Sattvaparyahka or a seat spread on a 'Sattva' which usually means a man or an animaL This

particular bronze gives the indication that Sattvaparyahka is a seat that is placed on a man lying on his back.

Cunda is popular both in Tibet l and China -.

Grahamatrka

Faces Three

Arm s Six

Mudra Dharmacakra

Asana Vajraparyahka

She has been described in the Dharmakosasangraha in the following words :

"Grahamatrka trimukha svetapitarakta sadbhuja dakse dharmacakra- mudia-vajra*sara ; vame kamala'Capa ; sahasradalapadme vajrasana".

"Grahamatrka has three faces of white, yellow and red colour, and six-arms, displaying the Dharmacakra mudra (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 Vajrasona on a lotus of a thousand petals".

Fig. 165 illustrates a miniature painting in the possession of Dr. EvanS'Wentz l .

There are several Buddhist deities emanating from the Dhyani Buddha Amoghasiddhi whose colour is green and whose distinctive signal is the Abhaya mudrau Out of the deities emanating from the Dhyani Buddha Amoghasiddhi only one is a male,

while all others belong to the female sex. The description of the only male deity, Vajramrta by name, comes from the Nispannayogavall of Abhaya* kara Gupta. The deities are described here one after another in the order of their

importance,

Vajramrta

Colour Green

Faces Three

Arms Six

Vajramrta is the principal deity in the Vajramrta Mandala of the Nispannayogavall. He is described thus in the text :

"SriAfajramrtah sattvaparyanki priyangusyamah sitaraktamulasavya- vamamukhatrayo. . . . sadbhujah savajraghantabhujayugmalingitasvabha' prajnah savyabhyam cakrasi vamabhyam pasankusau vibhranah."

" Vajramrta sits on a Sattvaparyanka and is green like the Priyangu 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 Ghanta, embrace

the Prajna 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."

Vajramrta is represented in China l .

Khadiravamtara

Colour Green

Mudra Varada

Symbol Utpala *

Companions Asokakanta and Ekajata.

Tara is the common name applied to a large number of feminine deities in the Buddhist pantheon. In the Sadhanamala, Jahguli, Parna- saban. Mahaclnatara, Ekajata and many others are called Taras,

including Khadiravam, who is endowed with two hands, showing the Varada mudra in the right and the Utpala in the left. She can be recognized by the figures of the two attendant deities, Asokakanta Marlci and Ekajata. One Sadhana in the

Sadhanamala contains a Dhyana which describes her form thus :

"Haritam Amoghasiddhimakutim varadotpaladharidaksinavamaka- ram Asokakanta* Marlcy-Ekajatavyagradaksinavamadigbhagam divyaku* manm . . . dhy atva' *

"The worshipper should conceive himself as KhadiravanT'Tara of green colour, who bears the image of Amoghasiddhi on her crown, and shows the Varada mudra and the Utpala in the right and left hands respectively. To the right and left of

her appear Asokakanta Marlci and Ekajata, and she appears a celestial virgin... Thus meditating "

She is commonly known as Syama-Tara ] because of her green colour, and as the Sadhana does not mention any particular A.sana she may be represented in any attitude, either sitting (Fig. 166) or standing (Fig. 167). A beautiful statuette

in the Baroda Museum shows the goddess in the Lahta attitude (Fig. 168)

Images of Khadiravam Tara are found in Tibet - and China i>

Tara

Colour Green

Arms Two

Mudra Vyakhana

Companion Four

Another deity emanating from the Dhyani Buddha Amoghasiddhi of green colour is Mahasri Tara "Saviouress of Great Beauty". A single Sadhana in the Sadhanamala describes her form along with her four companion deities, such as Ekajata,

Asokakanta Marlci, Aryajangull and Mahamayurl. The Sadhana describes her form as follows :

Mahasritaram candrasanastham syamavarnarh dvibhujam hastadva* yena vyakhyanamudradharam ekavaktram sarvalahkarabhusitam pars^ vadvayenotpalasobham suvarnasimhasanopari apasrayadisobham nana*

puspSsokacampakanagesvaraparijatakadibhirajitarh-Amoghasiddhimuku* tinlm. * Sadhanamala, p. 244-245

"Mahasn Tara sits on the seat of the moon, and is green in colour ; she is endowed with two hands which exhibits the Vyakhyana mudra. She is one-faced and is adorned with ornaments. Two lotuses beautify her sides.

She sits on a golden throne furnished with beautiful cushions. She is decked in a variety of flowers like the Asoka, Campaka, Nagesvara and Parijataka. She bears on her crown a small figure of Amogha- siddhi."

Later, the Sadhana gives a description of the four companion deities. Here Ekajata who is stationed apparently to the left of the central deity, is of the following description :

"Ekajatarh ardhaparyahkopavistam nllavarnam kartrikapaladharam sakrodharh lambodaram pihgalajatavibhusitam vyaghracarmambaradha- ram." Sadhanamala, p. 245

'Ekajata sits in the Ardhaparyahka, is blue in colour, holds the Kartri ( knife ) and the Kapala (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 tiger-

skin."

In the corresponding right side appears Asokakanta who is described in the following words :

Daksine parsve Asoka kantarh pitavarnam ramamukutinim vajiaso- kadharam." Sadhanamala, p. 245.

"Towards the right is Asokakanta who is yellow in colour, wears a crown of jewels, and carries the Vajra and the Asoka flower."

The goddess Arya-JahgulI also appears on the further left, behind the figure of Ekajata, and is described here as follows :

"Purnarvame Arya-Jangullm syamavarnam sarpavaradahastam.

"Further to the left there is-Arya-Jahguli of green colour showing in her hands the snake and the Varda mudra."

In the extreme right there is another goddess called Mahamayurl. She is given the following form in the Sadhana :

"Daksine Mahamayurim mayurapicchavaradahastam".

"In the right there is Mahamayurl showing the peacock's feathers and the Varada mudra,*

The mantra of the central deity Mahasri Tara is given in the Sa- dhana as :

"Om Tare Tuttare Ture dhanam dade Svaha".

The mantra evidently makes her a goddess of wealth, and as such the deity must have been worshipped by the Tantric Buddhists, Accord- ing to a further statement she sits in the Rajalila Asana or the pose of princely ease.

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 Sadhana the principal deity Mahasn Tara is shown as one-faced and two*armed exhibiting the

Vyakhyana or the Dharmacakra mudrcu There are two night lotuses on either side. The principal deity sits in the Rajalila pose on a lion-throne and bears on her crown the miniature figure of Amoghasiddhi with the Abhaya mudra.

To her left is the fierce figure of Ekajata, sitting in the Ardhaparyan* ka attitude and holding the Kartri and the Kapala in the two hands. She has a protruding belly, garment of tiger-skin, and she bears a wrathful demeanour which is

clear on the stone.

To her right similarly, sits Asokakanta Marie! who wears a bejewelled crown, and carries the Vajra and the A soka flower according to the direction of the Sadhana*

The statuette also depicts Arya-Jahguli towards the extreme left of the deity and shows the snake and the Varada mudra in accordance with the direction of the Sadhana.

The statuette also includes the small figure of Mahamayuri to the extreme right of the principal goddess. She shows the peacock's feathers and the Varada mudra.

The Indian Museum image seems to be the only image representing Mahasn Tara where the sculpture does not deviate even a little from the description given in the Sa Jhanamala l .

Vasyatara

Asana; Bhadr asana

Sym bol; Lotus

Mudra; Varada

Colour; Green

Vasyatara, is also known by the name of Aryatara, and only one Sadhana in the Sadhanamala is assigned to her.

There is practically no difference between her form and that of Khadira- vam-Tara in as much as both display the Varada mudra in the right hand and carry the Utpala in the left.

Both have green colour, and both bear the image of Amoghasiddhi on their crowns.

In the case of Khadiravam-Tara, however, no mention is made regarding the attitude in which she should stand or sit, but here it is expressly mentioned that Vasyatara should be seated in the Bhadrasana, 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 Conference, Madras, p. 257 et. seq, Identification of an Indian Museum Statuette. Besides this there are some miniature paintings depicting Mahalrltara.

This Asana, or the attitude of sitting alone distinguishes Vasystara from othetf 6fdinary Taras carrying the Utpala in the left and exhibiting the Varada mudra in the right. The other point of difference between Khadiravam-Tara" and

Vasyatara is, that the former is accompanied by the two goddesses, Asokakanta Marici and Ekajata, whereas the latter is without companions. Khadiravam may sit or stand in any attitude, but the Sadhana prescribes the Bhadrasana only for

Vasyatara.

The accompanying sketch (Fig. 170) represents Vasyatara as she is pictured in Nepal, and its special importance lies in its depiction of the Bhadrasana attitude in which the goddess sits 1 .

Sadbhuja Sitatra

Colour White

Asana Ardhaparyahka

Faces Three

Arms Six

There are many Sadhanas for Sitataras, or the Taras of white colour but 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 Dhyani Buddha is expressly mentioned. This White Tara is three-faced and six*armed, and the Dhyana describes her form in the following terms :

"Sitatararh trimukharh sadbhujam pitamladaksinetaramukhim pra- timukham trinetram varada-ksasutra-saradharadaksinatrikaram utpala- padma'Capadharavamapanittayam ardhaparyankanisannarh candrasanaca~ ndraprabham jatamukutasthit-

Amoghasiddhiih pancamundavibhusitam- astakarii ardhacandrakrtasekhararh nanalankaradharam dvirastavarsakr* tirh astasmasanamadhyasthitam.. vicintya/ 5

"The worshipper should conceive himself as Sitatara, who is three- faced, 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 mudra, the rosary and the arrow, and the three left carry the Utpala, the lotus and the bow. She

sits in the Ardhaparyanka attitude, sits on and shines like the moon, and bears the effigy of Amo- ghasiddhi 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 I. For the Sadhana, see Sadhtnamala, p. 173.

Sadhana, except that here she is represented in Vajraparyahka instead of Ardhaparyanka as required by the Sadhana.

She is known to the Chinese collection at Peiping 2 ,

Dhanada-Tara

Arms Four

Colour Green

Dhanada-Tara is one of the four-armed varieties of Tara. The special features of this goddess are that she rides an animal, and like Vajratara, is surrounded by eight goddesses, originating from the eight syllables of the famous mantra

"Om Tare Tuttare Ture Svaha". The symbols that are held in her four hands are also different from all other varieties of four-armed Tara. The Dhyana describing her form runs as follow :

"Tara-Bhagavatim atmanath bhavayet ; candrasanaprabham saumyarh sattvaparyankasthaih, haritasyamam ekavadanam dvilocanam catur* bhujam aksasutravaradotpalapustakadharam vicitravastralankarava- tirh-Xocanadibhir-devibhlr-abhisiktam

atmanam Amoghasiddhimuku- tarn dhyayat."

Dhanada-Tara Sadhanam." Sadhanamala, p. 219,

'The worshipper should conceive himself as goddess Dhanada Tara, who is seated on and has the radiance of the moon, is benign in appear- ance, sits 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, Locana and others, and as bearing the image of Amoghasiddhi

on the crown/'

Images of Dhanada Tara are found in Tibet * and China 3 . Fig. 172 illustrates a Nepalese drawing.

Sitatara

Colour White

Arms Four

Mudra; Utpala Mudra

Sitatara, as the name implies, is a Tara of white variety with one face and four arms. She is accompanied by two goddesses Marici and Mahamayun. It may be remembered that Khadiravam also is accom- panied by Marici and Ekajata ; but the

difierence is that Khadiravam

is two-armed whereas Sitatara is four-armed. The Dhyana contained in the only Sadhana for her worship in the Sadhanamala describes her form in the following terms :

"Tarabhagavatlm suklam trinetram caturbhujam Panca'Tathagatamu- kutim nanalahkaram, bhujadvayena utpalamudram dadhanarh, daksma- bhujena cintamaniratnasamyuktavaradam, sarvasattvanam asam pari* purayantirh, vamenotpalamanjarim vibhranam

dhyayat.

Tasya daksinaparsve Mariclrh pitarh candrasanam nilambaram dvibhujam ; vamena raktasokapallavadharam, daksinena sitacamara' dharam ; raktakancukabharanam.

Vamaparsve Mahamayurim priyangusyamam dvibhujam ; vamena mayurapicchadharam, daksinena camaradharam, evam vicintya..."

'The worshipper should visualise himself as the goddess (Sita)- Tara of white complexion, with three eyes and four arms. She bears the images of the five Dhyani Buddhas on her crown, is decked in many ornaments, exhibits the Utpala mudra

with the first pair of hands, displays the Varada mudra along with the Cintamani 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 MancI who is yellow in complexion, sits on the moon, is clad in blue garments, is two^armed, and carries the bough with red Asoka flowers in the left hand and the Camara in the right. She wears a red jacket and ornaments.

To her left is Mahamayuri of green colour, like the Priyahgu fruit, who is two- armed and carries the peacock's feathers in the left hand and the Camara in the right. Thus meditating...".

Images of Sitatara ar^ found in Tibet 1 and China -.

Parnasabari

Colour Green Faces Three

Vahana - Diseases (in human form)

Asana Pratyalidha.

One form of Parnasabari of yellow colour has already been discuss- ed along with the female emanations of the Dhyani Buddha Aksobhya. But here her complexion is green probably because the Dhyani Buddha Amoghasiddhi, from whom she is said

to emanate, is of that colour. The Mantra calls her 'PisacP and also 'Sarvamariprasamani' or **the destroyer of all diseases and epidemics". She is almost identical 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 very different, there a pleasant beaming smile, here an angry laugh. As the two specimens of Parnasabari discovered in East Bengal both bearing the image of Amoghasiddhi on the crown, it is necessary to

quote the Dhyana in this case also, for a comparison of the details with the images reproduced here :

'Tarnasabarim haritam trimukham trinetram sadbhujam krsnasukla- daksinavamananam vajra-parasu-saradaksinakaratrayam karmuka-patrac* chata-sapasatarjanivamakaratrayam sakrodhahasitananamnavayauvanava- tim sapatramalavyaghracarmanivasanam

isallambodarlm urdhvasamya- takeslm adho asesarogamaripadakrantam Amoghasiddhimukutim atmanarh jhatiti mspadya .." Sadhanamala, p. 308.

'The worshipper should conceive himself as Parnasabari, 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 ri^ht hands the

Vajra, the Parasu and the arrow, and in her three left, the bow, the cluster of leaves and the Tarjanipasa. Her faces show an angry laugh. She is in the prime of youth, is decked in tiger* skin and a garment of leaves, has a slightly

protruding belly, and hair tied up above. She tramples under her feet various diseases and pestile- nces, and bears the image of Amoghasiddhi on the crown Thus meditating.. ".

The two images of Parnasabari (Figs. 173 and 174) have been dis- covered by Mr. N. K. Bhattasali ] . These two images follow the Sadhana most accurately in all details ; the angry laugh has been correctly depicted in the three faces, and

the belly slightly protrudes. To the right and left are two divinities, Hayagnva, the Hindu god of Fever, and Sitala, the Hindu goddess of small-pox, and they are represented in the images as flying in opposite directions to escape the

wrath of Parnasabari. 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 Parnasabari are decidedly very fine specimens of the Bengal school of art, Parnasabarl is represented in Tibet ] and China 2 .

Mahamayuri

Colour Green

Faces Three

Arms Six

Asana Ardhaparyahka

Mahamayun is another goddess of the Pancaraksa group, and is affiliated to Amoghasiddhi in the same way as the other members of the group are affiliated to one or another of the Dhyani Buddhas. She is different in form when worshipped in

the Pancaraksa Mandala, 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 with one face, two arms and yellow complexion, in which case she

will hold peacock's feathers in the rioht hand and display the Varada mudra in the left. The three-faced and six-armed form of Mahamayun has been described in the Sadhanamala as follows :

"Mahamayurim haritavarnam trimukham sndbhujarh pratimukham trinetram krsnasukladaksinetravadanam ; daksinatnhastesu yathakra* mam rnayurapiccha-bana-varadamudrah ; tatha vamatrihastesu ratnacch- tacapotsangasthakalasah ; vicitrabharanam,

srhgararasam, navayau* vanum, candrasane candraprabhavatim ardhaparyankimm Amoghasiddi- mukutirh bhavayet atmanam". Sadhanamala, p. 400.

"The worshipper should visualise himself as Mahamayun, who has a green complexion, six arms, and three faces, each endowed with three eyes. Her right and left faces are of blue and white colour respec- tively. She shows in her three

light hands the peacock's feathers, the arrow and the Varada mudra, 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 Ardhaparyahka attitude, and bears the image of Amoghasiddhi on the crown".

Mahamayun is popular in Tibet ' and China 4 and her images are found in these countries. She is said to nullify the effect of snake- poison.

10, VAJRARNKHALA

Colour Green Faces Three

Arms Eight Asana Lalita

Symbol Chain

Three Sadhana^ in the SaJhanamala are devoted to the worship of Vajrasrnkhala. Her colour is green, and as she emanates from Amo- ghasiddi she bears the image of that Dhyani Buddha on the crown. "Srnkhala' 1 means a chain, and as the

goddess carries a chain, marked with a Vajra, she is called Vajrasrnkhala. The chain, therefore, is her characteristic sign and should be paid particular attention to, in identi- fying her images, if ever, thev come ro light. She may be

compared with Vajrasphota another chain- bearing deity. One of the Dh>anas describes her form in the following manner :

"Haritarh trimukharh astabhujam; prathamamukham Isaddhasarasarh; daksmarh kapilarh kapilalocanarh ca ; vumarh raktarh bhrkutidarhstra- karalarh ; daksinesu catuhkaresu abhaya-vajra-srhkhala-saradhaiarii ; vamacatuhkaraih

rudhirapurnakapala-tarjani-pasa-capadharam ; lalitak- sepasanastharh, marjjaracarmottariyam, Amoghasiddhibhusitoidhva- pingalakesam vicmtya...

Vairasrhkhaia-Sadhanam/' Sadhanamala, p. 414.

"The worshipper should visualise himself as (Vajrasmkhala) of green compiexion, with three faces and eight arms. Her first face is gently smiling, right face is of brown colour with brown eyes, and the left is of red colour and appears

temble with contortions ot the brows and bare fangs. She shows in the four right hands the Abhaya pose, the Vajra, the Vajrasrhkhala and the arrow, and in the four left, the Kapala full of blood, the Tarjani, the noose and the bow. She

sits in the Lalita attitude, ha^ a scarf of cat's skin, and her brown hair rises upwards and is decorated with the image of Amoghasiddhi. Thus meditating .".

Vajrasrnkhala may, according to the Sadhanas, have another form l with three faces and six arms, in which case she carries the Vajra, the Vajra srhkhala and the arrow in the three right hands ; and the Tarjani, the noose and the bow in

the three left hands. The illustration (Fig. 175) shows this form of the goddess as drawn by the native Citrakaras of Nepal. She is represented in China -.

11. VAJRAGANDHARI

Colour Blue Faces Six

Arms Twelve Asana Pratyalidha

The name of Vajragandharl is already mentioned in connection with the Mandala of the eight-armed Kurukulla, an emanation of Amitabha. In this Mandala it is definitely said that Vajragandhan should bear the image of his sire Amoghasiddhi

on her crown. She is thus included in the family of Amoghasiddhi. Vajragandhan is one of the terrible goddesses endowed with six faces and twelve arms. A short Sadhana in the Sadhanamala describes her form as follows :

- Vajragandhari krsna sanmukhi dvadasabhuja urdhvapingalakesl pratyalldhapada darhstrakaralavadana pratimukham trinetra. Daksina* bhujesu yathakramam va]ra vajraghanta-khadga-trisula-bana*cakrani ; vamasadbhujesu khatvahg ahkusa'dhanuh-

parasu-pasa-hrttarjanyah ; prathamamukham krsnam, aparani mukhani pancavarnani visvapadma*- suryasana ceti". Sadhanamala, pp. 403*404.

Vajragandhari is blue in colour, six^faced and twelve-armed with brown hair rising upwards. She stands in the Pratyalidha attitude, and her faces look terrible with bare fangs and three eyes. She carries in her six right hands 1. the

Vajra, 2. the bell marked with a Vajra, 3. the sword, 4. the trident, 5. the arrow, and 6. the discus, and in the six left hands 1. the Khatvafiga, 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 Dharani quoted in the Sadhanamala gives her the epithets of YoginI and Bhismabhagini, and she is believed to be the consort of the Yaksa general, Candavajrapani by name.

Statuettes of this goddess are found in China l

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 Vasudhara were known long

before the Dhyani Buddhas were ushered into existence and it appears, therefore, that Jambhala has been assigned to Ratnasambhava at a late period. Jambhala is connected with wealth and is said to distribute gems, jewels and riches to

his devotees. Again Ratnasambhava means 'Jewel-born' and whom might Jambhala, the god of wealth, call his sire if not the Dhyani Buddha born of jewels ? If one or two forms of Jambhala emanate from Ratnasambhava, it may be reasonably

expected that at least one or two forms of his consort, Vasudhara, should also issue from the same source. Inspite of all this, the Buddhists were divided in their opinion as to the sire of Jambhala, the followers of the Aksobhya cult

holding him as originating from Aksobhya.

Mahapratisara, another of his emanations, belongs to the Pancaraksa group, and affiliates herself to Ratnasambhava in the same way as the other members of the group affiliate themselves to one or another of the five Dhyani Buddhas.

Ratnasambhava is distinguished from the other Dhyani Buddhas by his yellow colour and the Varada mudrahe displays with his right hand. The male deities that emanate from Ratnasambhava are Jambhala and Ucchusma-Jambhala, the latter being

regarded as a terrible form of Jambhala.

1. JAMBHALA

Several of Jambhala's forms are noticed in the Sadhanamala, which states that the god may emanate either from Aksobhya, or from Ratna- sambhava. The form that emanates from Akaobhya

de?cr 4 H^ The characteristic feature of Jambhala emanating from Ratnasambhava is that he carries the mongoose in his right hand and the citron in the left. The mongoose is supposed to be the receptacle of all gems and jewels, and when

Jambhala presses the two sides of the mongoose it vomits the treasures within* It is this mongoose which

makes it easy to identify Jambhala images. As an emanation of Ratna- sambhava he may either be represented alone, or in the embrace of his Sakti in yab^yum. In the Sadhanamalu only three Dhyanas describe him as single.

When represented in yab*yum, he sits on the moon under which there is a double lotus of eight petals. He wears all sorts of ornaments, his complexion is golden yellow and he hj,^ j protruding belly, He carries the citron and the mongoose

in the n^ht and left hands res- pectively, wears a garland of yellow lotus, a Lid remains in yab-yum with Vasudhara. The eight petals of the lotus seat Jte occupied by the eight Yaksas, to wit, Manibhadra, Purnabhadia^ Ohanada.

Vaisrayana T Keli- mall, Ciyikundali, Sukhendra an3~lSarendtj 'who are identical in all respects with the principal ""figure. Each Yaksa is accompanied by a Sakti with whom he remains in yab-yum in the vdme way as Jambhala remains with

Vasudhara, and the names oi tiK'se eight Yaksinis are : Citrakali, Datta, Sudgtta^^Ary^ SubhadriL. AJ.upta.r- Devi and Sarasvatl. The Yaksinis are identical in form with V jsuJhtha, who is yellow 7 in complexion, carries the ears of corn

and show^ rhe Varada mudra in her two hands.

When single, Jambhala is of golden complexion and carries the mongoose in the left hand and the citron in the nght. The illustration (Fig. 176) shows a stone image from Nepal w huh was in the possession of the late Pandit Siddhiharsa.

Here the god is represented as sitting in the Lalita attitude. Two other specimen* (Hys. 177 and 178) from Vikrampur 1 , in Eastern Bengal, depict the god in the same attitude* and they are some of the finest products of the IVn^al art

of medieval times.

There is another form of Jambhala whion is two-armed, carries the citron and the mongoose in his two hands jnJ tramples upon two semi- divine beings Sankhamunda and Padmamunda by name, apparently in the Alidha attitude -.

(a) JAMBHALA (Yab-Yum)

Colour White

Faces Three

Arms Six

Jambhala in yab-yum has another form with three faces, six arms and white colour. According to the Sadhana hus t\\o faces to the light and left are red and blue respectively, Jambhaia sits in the Vajraparyahka attitude, and embraces his

Prajfia Vasudhara ot his own creation with

1. Bhattasali : IBBS, p. 34, PI. XI.

2. Sadhana No. 287 in the Sadhanamala, p. 5b4

the two principal hands. In the two remaining right hands he carries the red Vajra and the sword, and in the two remaining left hands he holds the emerald and ihc lotus. In all other respects he is identical with the forms described

previously *.

Images of Jambhala arc found in Tibet- and China ; . Fig, 179 illustrates a Nepalese drawing ol the deity in yab^yum. w ^x"'

2. UCCHUSMA JAMBHALA

Asana Pratyahdhu Appearance Terrible

Yahana Kuvera

This Ucchusma Jambhala is identical in form with the one already discussed under the emanation of Aksobhya. | Here also Ucchusma stands in the Pratyahdha attitude with his left leg stretched forward on the forehead of Kuvera \\ hile the

right tramples upon his two legs. He is terrible to behold, with protruding belly, bare fangs and the snakes for ornaments. He holJ.s the Kapala full of blood against his chest in the right hand and looks eagerly at it with three eyes

The left hand as usual holds the mon^oos^e.

Ucchusma Jambhala is rareh represented and his images are not known except the one at barnaihjalready described under the emana- tions of Aksobhya. J This unique image shows all the characteristic features of the god as obtained trom the

Sadhanas. The tigure shows his consort Vasudhara in the left, but the effigy of neither Aksobhya nor Ratnasambhav 7 a can be seen on his head. I It is Amitabha who is there. Nevertheless, this is the onh h^ure known to students of

iconography, as representing Ucchusma Jambhala.

^Jambhala in his fierce form ol Ucchusma or Dimbha is not known either in Tibet or in China, |

Several Buddhist goddesses* emanate (rom the Dhyani Buddha Ratnasambhava with the yellow coloui and the Varada mudra as his recog* nition symbol. He preside*- over the Ratnakula or the collection of deities with the jewel at> their

family symbol, and the yellow colour as their family colour. ALL deities which are not specifically mentioned as emanations of a particular Dh^ ani Buddha can be_ assigned to, the Dhyani Buddha Ratnasanibhava, provi3e3 TKat they have

yellow colour. On this principle the undernotcd deities are brought under Ratnasam- bhava, and described one after another.

VAJRATARA

Colour Golden Yellow

Faces Four

Arms Eight

According to a definite statement l contained in the Vajratara Mandala of the Nispannayogavali, the Dhyani Buddha Ratnasambhava is the spiritual sire of Vajratara. She is four-faced and eight^armed and her description is as under :

"Bhagavati Vajratara suvarnavarna . hemabha'Subhra-nila^lohitamu* la^savya-pascimottra-caturvaktra astabhuja savyair-vajram pasam saram sankham ca vibhrati vamaih pitotpalam capam ankusam tarjanlrh ca."

NSP, p. 38

"Goddess Vajratara 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."

Vajratara 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 at Peiping an image of Vajratara is found under the title of Astabhuja

Vajratara 2 .

Here, at least one very peculiar image of Vajratara may be noted. It is in the Indian Museum, Calcutta. The Indian Museum bronze of Vajratara is in the form of a lotus, and represents the complete Man* dala with all the attendant deities

'*. 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 Dhyana describing her form in the Sadhanamala and explaining this particular image is

as under : Matrmandalamadhyastham Taradevim vibhavayet I Astabhujam caturvaktrarii sarvalankarabhusitarh II Kanakavarnanibham bhavyam kumarilaksanojjvalam I Pancabuddhamukutim vajrasuryabhisekajam II Navayauvanalavanyarh

calatkanakakundalam I Visvapadmasamasinarh raktaprabhavibhusitam II Va jra<-pasa~tatha-sahkha'Saccharody atadak sinam I Vajrahkusotpaladhanustarjanl'vamadharimih I Vajraparyhkayogena sadhayet bhuvanatrayam II

"The worshipper should conceive himself as Vajratara, 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 virgin ; she bears the images of the five Dhyani 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

ear- rings, 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 Vajrankusa, the Utpala, the bow and the Tarjanl. Thus conceiving

her as sitting in the Vajra paryahka attitude ( the wor- shipper) may conquer the three worlds-/'

The Sadhana further describes the deities constituting the Mandala. In the four cardinal points there should be four goddesses on the four petals of the lotus on which Vajratara sits,

1. Puspatara (East)

"Purvena Puspataram tu sitavarnam manoramam I Omkaraksaranispannarh puspadatnakarakularh I Dvibhujam ekavaktranca sarvai?fikarabhusitarii II

"On the east is Puspatara, who is white and winsome, is born of the syllable *Om', carries the garland of flowers, is two-armed, one-faced and decked in all ornaments.

2, Dhupatara (South)

"Daksme Dhupatararh tu krsnavarnam surupinim 1 Dhupasakhakaravyagram sarvalankarabhusitam II

On the south is Dhupatara, who is ot blue colour, attractive, carries the Dhupa (incenbe) &tick and i& decked in all ornaments."

3. Dipatara (West)

"Pascime Dipataranca dlpa\astik&rakuli I Pltavarnam mahabhusarh calatkanakakundalariT II

On the west is Dipatara, who carries the torch in her hands, is of yellow complexion, profusely ornamented and has ear-rings swaying.

4. Gandhatara (North)

Uttare Gandhataram tu gandhasahkhakarakulam I Raktavarnanibham devlm bhavayet garbhamandale" II

On the north is Gandhatara, who carries in her hands the conch of scents, and has red complexion 31

All these (goddesses) should be situated in the inner circle/'

The Sadhana further says that the following Guardians of the Gates should also be meditated upon as around the principal goddess, but apparently not in the same circle with the four described above.

5. VajrankusI (East)

"Purvadvare Vajrankusim ekavaktram dvibhujam vajrahkusotpalaha- stam vikrtavadanarh krsnavarnam".

"On the eastern gate there is Vajrankusi 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. Vajrapasi (South)

"Daksinadvare Vajrapasim pitavarnam vikrtananam ekavaktram dvi- bhujam vajrapasahastam.

u On the southern gate there is Vajrapasi of yellow colour. She has one distorted face. She carries in her two hands the noose marked with a Vajra".

7. Vajrasphotl(West)

"Pascimadvare Vajrasphotim raktavarnam ekavaktram dvibhujam vikrtavadanam vajrasphotahastarh".

"On the western gate there is Vajrasphotl of red colour. She has one distorted face. In her two hands she carries the chain marked with a Vajra".

8. Vajraghanta (North)

"Uttaradvare Vajraghantarh svetavarnam ekavaktram dvibhujam vik- rtavadanam vajraghantahastam.

"On the northern gate there is Vajraghanta of white colour. She has one distorted face. In her two hands she carries the bell marked with a Vajra".

9. Usmsavijaya (Above) Goddess Usmsavijaya occupies the upper regions*

10. Sumbha (Below)

Goddess Sumbha occupies the lower reigons.

All these goddesses stand on the orb of the sun in the Alldha attitu- de with the right leg stretched forward. They are radiant like the Sun- god and are surrounded with a fiery halo. They are decked in orna- ments of snakes.

These goddesses originate from the ten different letters of the mantra of Vajratara, which is "Om Tare Tuttare Ture Svaha", consisting of ten syllables. Each syllable brings forth a goddess, and these goddesses are said to be the

embodiments of the ten Paramitas of the Mahayana School.

The following are some of the instances in which the mantra of Vajratara 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 Vindhya mountains without being molested. Tigers, thieves, crocodiles, lions, snakes, elephants, buffaloes, bears, bulls and the like will flee or 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 to subdue any woman born of man. The feather of a crow over which this mantra has been recited thirty-two times, if kept concealed

within the house of an enemy, will destroy it mysteriously in the course of a week. There is no need to multiply instances. It is enough to say that Vajratara is sure to bring success to her worshipper in anything he may undertake, and

that is the reason why she is so popular among the Vajrayanists,

Fig. 180 illustrates the Indian Museum image of Vajratara enclosed within a lotus, surrounded by all the ten deities of the Vajratara Man- dala. Fig, 181 is the Orissa image of Vajratara illustrated in N.N. Vasu's Mayurbhanj

Archaeological Survey. Fig. 182 is the image of Vajratara discovered at the Sarasvatisthan close to the Svayambhu Temple in Nepal.

Fig. 183 illustrates the Peiping statuette of Puspataia, one of the attendants of Vajratara.

MAHAPRATISARA

Varieties 1.

Three-Faced,

Ten-Armed

2. Four-Faced,

Eight-Armed

Mahapratisara ! is the principal goddess in the Pancaraksa group, and her worship is widely prevalent amongst the Tantric Buddhists. She is represented either singly or in a Mandala in the company of four other Pancaraksa deities. She is

generally yellow when worshipped independently, and white when worshipped in the Mandala of the five goddesses. She may be represented with four faces and eight arms, or with three faces and ten arms, in accordance with the Sadhanas, but

in actual representations she may have three faces and eight arms. The

form with three faces and eight arms, is said to bear the image of Ratnasambhava on the crown, and the other yellow form may also be assigned to this Dhyani Buddha. The Sadhana describes the former in the following terms :

"Mahapratisara pita tnmukhi pratimukham trinayana dasabhuja krsnasitauaksinetaravadana daksmapancabhujesu yathakramam khadga- vajra'bana'varada'hrdayasayihasta&thacchatiani rath a vamapancabhujesu capa-dhvaja-ratnacchata-parasu-sankhah

Ratnasambhavamukuti krsna- kancukaraktottariya ca ardhaparyanka-lalitaksepa divyabharanavastra- bhusita ceti." Sadhanamala, p. 401-402.

"Mahapratisara has yellow complexion, three faces, each with three eyes, and ten arms ; her right and left faces are of blue and white colour respectively. She carries in her five light hands the sword the Vajra, the arrow, the Varada

mudra and the parasol held against her chest, and her five left hands similarly hold the bow, the banner, the jewel, the Parasu and the conch. She bears the image of Ratna- sambhava on the crown, has a blue jacket and a red scarf, sits

on the Ardhaparyahka in the Lalita attitude, and wears celestial ornaments and garments' '.

The form with four faces and eight arms is described under the five Raksa deities. But there is another form which is worshipped indepen- dently, and which is almost identical with the preceeding one, except that here she is endowed with

four faces and eight arms. The princi- pal 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 Trisula and the arrow, and in the four left the Parasu, the

bow, the noose and the Vajra.

Two photographs (Figs. 184, 185) represent this form of the goddess, and these tally with the Sadhana in all other respects except that they have only three faces instead of four.

The goddess is popular in Tibet l and China -.

VASUDHARA

Colour Yellow

Face One

Arms Two

Symbol Ears of Corn

\ Vasudhara is the consort of Jambhala and bears the image of either Aksobhya or Ratnasambhava on her crown. Several Sadhanas in the Sadhanamala describe her form which is invariably two-armed. As

none of the Sadhanas mentions the Asana, she may be represented in any attitude, standing or sitting, V"he is richl 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 with the vessel that showers gems, while the right hand exhibits the Varada mudra. The short Sadhana describing her is as follows :

'Tita^Vam-karaparinatarh dvibhujaikamukhirh pitam navayauvana^ bharanavastravibhusitarh dhanyamanjarmanaratnavarsamanaghata\'ama* hastarh daksinena varadam anekasakhijana'panvrtarh visvapadmacandia- sanastharh

Ratnasambhavamukutimm...nispadya.

"The worshipper should conceive himself as (Vasudbara) who ori' ginates from the yellow germ syllable 4 VanY. She is two^armed, one- faced, of yellow complexion, is in the prime ot >outh 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 mudra. J She is surrounded by many lady friends, rests on the moon over the double lotus, and bears the image ot

Ratnasambhava on the crown../'.

Images of Vasudhara are not generally met with in sculpture* She accompanies Ucchusma in the unique Sarnath image already referr- ed to. The other image from Sarnath is mutilated beyond recognition. In both cases, however, she is

represented standing.) Fig. 186 illustrates a Nepalese drawing of the goddess.

| Vasudhara is sometimes represented as one^ faced and six-armed, and as sitting in the Lalita attitude. In the three right hands she exhibits the Namaskara mudra, the Varada mudra 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. | Fig. 187

represents this variety of the goddess and is a fine specimen of Newan art. Fig. 188 illustrates a beautiful bronze image of Vasudhara in the Baroda museum. I Images of Vasudhara are found in Tibet * but not in China. \

APARAjITA

Colour Yellow

Identification Mark Trampling upon Ganesa Mudra Capetadana (Slapping)

The name of Aparajita occurs in the Dhyana for Astabhuja Kuru- kulla already quoted and translated. There she is said to bear the

Gordon : ITL, p. 72 ; Getty : GNB, p. 131.

image of Ratnasambhava on her crown, and to carry in her four hands the staff, the goad, the bell and the noose,

\ Aparajita is an interesting Buddhist goddess. She tramples upon Ganesa, and one of her hands is raised in the attitude of dealing a slap, while her parasol, according to the Sadhana, is held by important Hindu gods. A very short

Sadhana is devoted to her worship, and the Dhyana contained in the Sadhana describes the form of Aparajita thus :

"Aparajita pita dvibhujaikamukhl nanaratnopasobhita Ganapatisa- makranta capetadanabhinayadaksinakara, grhltapasatarjanikahfdayasthi- tavamabhuja atibhayahkarakaralaraudramukhl asesamaranirdalani

Brahmadidustaraudradevataparikarocchritacchatra ceti. "

"Aparajita is yellow in complexion, two^armed, one-faced, is decked in various gems, and tramples upon Ganesa. 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, Brahma and others".

In the Sadhana one epithet of the goddess deserves special notice. It is Qanapatisamakianid "Who tramples upon Ganapati". The word 'akranta' is derived from the original root 'kram' to 'trample'. On the strength of this epithet of the

goddess the Nalanda fragment (Fig. 189) showing only the lower half of the full image is identified with that of Aparajita. In it, the figure to the right of the principal goddess appeals to be Indra and the rod held bj him seems to be

the handle of the parasol required to be held over her head by the gods beginning with Brahma. The upper part of the Nalanda image is unfortunately lpst> Had it been complete, it would have been possible to find the Capetadana mudra in

the right hand of the goddess and the noose with the raised index finger in {he left, and a parasol over her head in conti- nuation 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 Nalanda fragment in the lower portion, while the whole image

follows with precision, the direc- tions given in the Sadhana quoted above. This new discovery leaves no room for doubt regarding the identification.

Aparajita is known in China *. \ 1, Clark : TLP, II, pp. 208, 290.

VAJRAYOGINf

HEADLESS FORM

Colour Yellow

Asana Alldha

Companions Two Arms Two Symbols Kartri and severed head

Vajrayogini is another of the important and popular goddesses who does not seem to bear the image of any of the Dhyani Buddhas on the crown. Four Sadhanas describe her forms, which are three in number and conform to two distinct types,

very different form each other. In one case, she has no head on her shoulder, but carries it in her hand, and in another, she has her head intact. The former form is identical in appearance with the Hindu goddess Cchinnamasta belonging

to the group of ten Mahavidyas. It is therefore possible to conclude that this Buddhist goddess was borrowed and incorporated wholly into their pantheon by the Hindus. She is always accompanied by the two Yogims on either side of her,

who are called Vajravairocani and Vajra- varnanl. The Sadhana describing her headless form is as follows :

"Bhartarikarh Vajrayogmlrh...puavarnam svayameva svakartri4carti- ta-svamastaka-vamahastasthitam daksinahastakartrisahitam, urdhvavis^ trtavamabahum, adhonamitadaksinabahum, vasahsunyam, prasantadak' sinapadam sahkucitavamapadam,

bhavayet, Kavandhannihsrtyasrkdha"' ra svamukhe pravisati, apare ubhayoh parsvayogmyor-mukhe pravisati iti bhavayet.

Vamadaksinaparsvayoh syamavarna-Vajravarnanl-pitavarna^Vajra- vairocanyau vamadaksinahastakartrisahite, daksinavamahastakarppara- sahite, prasaritavamapadaprasaritadaksinapade sankucitetarapade muk* takesyau bhavayet Ubhayoh parsvayoh,

ubhayor-yoginyor-madhye antarikse atibhayakulam smasanam bhavayet."

'The worshipper should conceive himself as Bhattarika Vajrayogini ...of 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 on the streams of blood issuing from the severed body as falling into the mouth of the severed head

and into the mouths of the two Yogims on either side of her.

He (the worshipper) should also, conceive the two Yoginis to the left and right (of the principal goddess), the green Vajravarnam and the yellow Vajravairocani, both of whom carry the Kartri in their left and right hands respectively,

and the cup made of a skull in the right and left hands respectively. Their left and right legs respectively are stret- ched forward, while the other legs are bent, and they have dishevelled hair. On all sides, between the two Yoginls

and in the firmament there is the awful cremation ground'*.

RED FORM

Colour Red

Vahana Corpse

Symbols Vajra and Kapala Asana Alldha

The Red form is no less terrible than the one described above. She is surrounded on all sides by the terrible burning grounds. She stands in the Alidha attitude, on the orb of the sun, is in the prime of youth, and has red complexion.

She rides the corpse, is nude, has three eyes, red and round, contorted brows, protruding belly and tongue, and is endowed with the six auspicious symbols. She carries the Kapala in the left hand and the Vajra in the right, while the

Khat- vanga hangs from her left shoulder. This form of Vajrayogini is similar in many respects to the forms of both Nairatma and Vajra* varahi, so much so, indeed, that a confusion is likely to arise in the identification of their

images. If an image shows the dancing attitude in Ardhaparyanka, it may be identified as Nairatma or Vajravarahi, but if it shows the Alidha attitude, it may have to be identified as Vajra* yogtni. The excrescence near the right ear arid

the corpse lying on its chest is peculiar only to Vajravarahl ; while the absence of the excres- cence and the corpse lying on its back point to Nairatma. The Alidha attitude is peculiar only to Vajrayogini.

ELLOW FORM

Colour Yellow

Arms Two

Symbols Kartri and Kapala

She may also have a Yellow form, when according to the Sadhana, she will carry the Kartri ard the Kapala, but in other respects will be identical with the one just described Another Sadhana adds the information that the Kapala should be

filled with the blood of the Devas (gods) and the Asuras (demons) and that the 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 Heruka* Tantra. The temple of Vajrayogini at Sanku (Fig. 191) in Nepal does not contain an image of any of

these varieties of Vajrayogini. It con* tains the image of Ugrataia, more popularly known as Mahaclna-Tara, which is believed to have been carried over there by Bengali priests

from a place of the same name in the District of Dacca, about A. D. 1350, when the Muhammadans led their victorious armies over Eastern Bengal*

Images of Vajrayogim are found in Tibet 1 .

PRASANNATARA

Colour Yellow

Faces Eight

Arms- Sixteen

Prasannatara is mentioned twice in the Sadhanamala, once as a com* panion of Astabhuja Kurukulla and once again as a principal deity in the Sadhana. As a companion of Kurukulla she is red, but her indepen* dent form shows the vellow

colour. Thus in the absence of more de- finite information, she has to be assigned to the family of the Dhyani Buddha Ratnasambhava of yellow colour. The Sadhana devoted to her independent foim gives her the epithets of Amrtamukhi and

Amrta- locana and there is no doubt that except for the face on the top all her seven faces are represented as having charmingly sweet expression. But she is not benign and peaceful. She is fearful like Vidyujjvalaka* rail, a form of

Ekajata. The Dhyana describes her form m the follow- ing terms :

"Hemavarnarh mahaghoram Taradevirh maharddhikam I Trinetram astavadanam bhujasodasabhusitam II

Ordhvapingalakesam sardrasatardhamundamalakrtaharam. Pratyalldhapadopetarii jagattranarh mahabalarii I Vicitravastranepathyarh hasantim navayauvanam II

Pradhanamukharh pitam daksinam dvitiyam nilarii, trtiyam syamam caturtham gaganasyamam, vame kundasannibhaih, dvitiyam raktam, trti* yamgaganasyamam urdhvasyam dhumravarnabham mahaghoram vikato- tkatam ; daksma-karesu khadga'Utpala-

sara-vajra"ankusa-danda-kartri' abhayadharam ; vamabhujesu sapasatarjanl-kapala'dhanuh-khatvahga' vajrapasa-Brahmasirah-ratnakalasadharam ; visvapadmacandrastham suryyaprabhavibhusitam : vamapadena Indtarh, daksinapadena Upen^ dram,

padadvayamadhye Rudram Brahmanam cakramya sthitam, sarva- varanavinasamm bhavayet.

"The worshipper should conceive himself as (Prasannatara) who is of golden complexion, of terrible appearance, bestows prosperity, is three*eyed, eight-faced and sixteen-aimed. Her broun hair rises upwards and her necklace is made of

half-a-hundred heads wet with blood. She emancipates the universe and is terrible to behold. She stands in the Pratyalldha attitude, has smiling faces, is in the fulness of youth and her garments are of variegated colour. Her first face is yellow, the second to the

right is blue, the third green, and the fourth blue like the sky ; the face to 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 Khatvanga, 2. the Uptala, 3. the arrow, 4. the Vajra, 5. the Ankusa, 6. the staff, 7. the Kartri and 8. the Abhaya pose ; and in the left 1. the noose with the

Tarjam, 2. the Kapala, 3. the bow, 4. the Khatvanga, 5. the Vajra, 6. the noose, 7. the head of Brahma, 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 Brahma between the two, and destroys the veils of ignorance".

It has been pointed out 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 of 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.

The process of deification was applied in Vajrayana to the four cardinal directions, North, South, JEast and West, and the four interme- diate corners, such as Vayu, Agni, Isana and Nairrta. With the top-Aid the bottom the quarters

numbered ten, and thus the Buddhist Tantras added ten gods of the quarters to the already numerous gods in their pan- theon. The deities of the ten quarters are not, however, the monopoly of the Buddhists, and it is believed that the

Buddhists were indebted to the Hindus for the deification of the quarters. Amongst the Hindus the eight Dikpalas are commonly found in the Puranas and Tantric works. The Dikpalas are supposed to guard the ten quarters, and are said to be

the presiding deities of these directions, or 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 origin in an Assembly of the Faithful where the Highest Lord sits in different Samadhis (meditations), and the rays issuing out of his

body Condense themselves first into syllables which give rise to the different Guardians of the Gates This process of deification is described in the first chapter of the Guhyasamaja 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 Sadhanas. In the Mandates of the Nispannayogavall they are invariably

present and their places are accurately stated. They are always collec- tively mentioned in the Mandalas or Circles of deities where the direc- tions play an important part. Their chief function is to remove all sorts of obstacles for

the protection of Dharma.

The ten deities of the quarters are described differently in the different Mandalas in the Nispannayogavali, 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 reasonable to omit a reference to them in the present state of our knowledge of the Buddhist pantheon. The ten deities are, therefore, described here one after

another in their recog- nized order, with the relevant passages from the Nispannayogavali des- cribing their forms

YAMANTAKA

Colour Blue

Arms Six

Faces Three

Direction East

Yamantaka presides over the East and is one of the popular deities of the Buddhist pantheon He is also known as Yamari who is often endowed with two forms known as Krsna- Yamari and Rakta- Yamari. Some of his forms and Sadhanas have

alredy been dealt with in an earlier chapter. Independant Tantras are also ascribed to his worship. As a guardian of the Eastern quarter Yamantaka is described in the Manjuvajra Mandala of the Nispannayogavali, along with his nine other

colleagues. He is described there as :

"Tatra purvasyam arayam Yamantakahkrsnah krsnasitaraktamukhah krsnavajramudgara-khadga-mani-kamaladhari". NSP, p. 1

"On the Eastern spoke of the wheel there is Yamantaka 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."

Yamantaka is six-armed like all other Krodha deities of the quarters. All the Krodha deities including Yamantaka embrace their Saktis with their two principal hands.

In the Vajrahufikara Mandala his second name is given as Vajra- danda. His images are found in China l as also in Tibet 2 .

PRAJNANTAKA

Clour White

Faces Three

Arms Six

Direction South

The second deity in the series is Prajnantaka who presides over the Southern direction. He is described in the same Mandala as :

"Daksinasyam Prajnantakah sitah [ska] krsnaraktamukho Vajrahki- tasitadandasimanipadmadhari/' NSP, p. 2

"In the South, there is Prajnantaka, who is white in colour having three faces of white > blue and red colour* In his four handb 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 Vajrahunkara Mandala his second name is given as Vajrakundali. His images are found in China '.

PADMANTAKA

Colour Red Faces Three Arms Six Direction West

The third Lord of the quarters is Padmantaka who is described in the Nispannayogavali with the following words :

"Pascimayam Padmantako raktah raktamlasitasyo raktapadmasima- nicakradhari" NSP, p. 2

"Padmantaka is in the West and is 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 Sakti in embrace. In the Vajra- huhkara Mandala he is known by the name of Vajrosmsa. His images are found in China y .

IGHNANTAKA

Colour Green

Faces Three

Arms Six

Direction North

The fourth deity in the series is Vighnantaka who is already well- known and an account of whom appears in an earliar chapter of this book. Vighnantaka as the lord of the North appears in the Nispannayo* gavall as follows :

"Uttarasyam Vighnantako haritah haritasitaraktamukhah karSlavaj* rasimanipadmadharl." NSP, p. 2

L Clark : TLP, II, p, 59

2. For his statuette in China as Vajro$ni?a, see Clark ; TLP, II, pp. 65* 49*

"Vighnantaka is in the North and is green in colour. 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 Vajrahuhka- ra Mandala his second name is Analarka. His images are found in China l .

AKKIRAJA

Colour Blue

Faces Three

Arms Six

Direction Agni

Takkiraja as the guardian of the Agni corner is very frequently referred to in the NispannayogavaK. He is described as :

"Agneyyam Takkirajo nilah mlasitaraktasyo mladandakhadgaman' yabjadhan." NSP, p. 2

'Takkiraja 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/'

The two principal hands hold the Sakti as usual.

In the Vajrahuhkara Mandala his name is Vajrayaksa. In the Dhar~ madhatuvaglsvara Mandala he is Vajrajvalanalarka. His images are found in China 2 .

NfLADANDA.

Colour Blue

Faces Three

Arms Six

Direction Nairrta

The sixth deity in the series is Niladanda who is the presiding deity of the Nairrta corner. His form is described as :

"Nairrtyam Niladandah krsnah krsnasitaraktasyo niladandakhadga* mariyabja'dhan." NSP, p. 2.

"In the Nairrta corner appears Niladanda 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 Vajrahuhkara Mandala his name is Vajrakala. But in the Dharmadhatuvaglsvara Mandala his name is Herukavajra. His images are found in China *.

MAHABALA

Colour Blue Faces Three

Arms Six Direction Vayu

The seventh deity in the series is Mahabala, who is the presiding deity of the intermediate corner of Vayu. His form is described in the Nispannayogavall in the following words :

"Vayavyam Mahabalah krsnah krsnasitaraktamukhah trisulasimanik' amaladhari." NSP, p. 2*

"In the Vayu corner appears Mahabala of blue colour with three faces of blue, white and red colour. He holds the Trisula, the sword, the jewel and the lotus. "

As usual, with the principal hands he holds the Sakti.

In the Vajrahuhkara Mandala he is given the name of Mahakala. But in the Dharmadhatuvagisvara Mandala he is known as Paramasva. His images are found in China 1 .

ACALA

Colour Blue

Faces Three

Arms Six

Direction Isana

Acala is the eighth deity in the series, and is regarded as the presid- ing deity of the Isana corner. His form is several times described in the Nispannayogavall. It is probable that this deity is the same as Acala who is known as

Candarosana and is described already in an earlier chapter.

The description of his form is given below :

"Aisanyam Acalo mlakekarah nilasitaraktasyah khadgavajramanipa- dmadhari." " * NSP, p. 2

"In the Isana 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 Sakti in embrace.

In the Vajrahuhkara Mandala he is given the name of Vajrabhisana, but in the Dharmadhatuvagisvara Mandala his name is Trailokyavijaya. His images are found in China 2 .

L Clark : TLP, II, pp. 49, 217 (as Mahabala) p. 75 (as Mahakalavajra) 2. Clark : TLP, II, p, 116 (as Trailokyavijaya)

USNFSA

Colour Yellow

Faces Three

Arms Six

Direction Up

The ninth deity in this series is Usmsa who is also known as Usmsa- cakravarti, and presides over the sky above. His form is described thus in the Nispannayogavali :

"Ordhve Usmsacakarvarti pitah pltanilaraktasyah pitacakrakhadga^ manipadmadhari." NSP, p. 2

u ln the upper region there is Usmsacakravarti 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. His images are found in China ] .

SUMBHARAjA

Colour Blue

Faces Three

Arms Six

Direction Down

The tenth deity in this series, is Sumbharaja who is the embodiment of the Nether regions. His form is described in the Manjuvajramandala as follows :

"Adhah Sumbharajo nibh nilasitaraktasyo vajrakhadgamanikamala" bhrt." NSP, p. 2

"Below is Sumbharaja who is blue in colour. His three faces are blue, white and red. He holds in his four hands the Vajra, the sword, the jewel and the lotus."

With the two principal hands he holds the Sakti in embrace.

In the Vajrahuhkara Mandala he is known by the name of Vajrapata- la. He is not represented in the Chinese collection.

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 panthe- on. Their names and weapons are recorded in the Mandala of Vajra- tara in the Nispannayogavali (p. 38) as also in the

Vajratarasadhanam (p*. 185) in the Sadhanamala. If Puspa, Dhupa, Dipa and Gandha are added, the number will be ten for the directions.

VAJRANKUSI

Colour White

Face One

Arms Two

Direction East

Symbol Goad

The first goddess in the series is Vajrahkusi who is the presiding deity of the Eastern direction. Her form is as follows ;

"Purvadvare Vajrankusi (sukla) suklankusahkasav^akara".

"On the Eastern gate is Vajrankusi white in colour holding in her right hand the white Goad".

The left hand shows like the rest the raised index firmer. Her ixrages are found in China * .

VAJRAPAsf

Colour Yellow

Face One

Arms Two

Direction South

Symbol Noose

The second goddess in the seiies is Vajrapasi who is the piesiding deity of the Southern quarter. Her form is as follows :

"Daksine Vajrapasi pita pasabhrt-savyapanipallava*'.

' 'In the South is Vajrapasi, yellow in colour holding in the right hand the Noose".

She shows the raised index linger in the left band. Her image is found in China J . One of the Chinese statuettes is illustrated in Fig. 193.

VAJRASPHOTA

Colour Red

Face One

Arms Two

Direction West

Symbol Chain

The third goddess m the series is Vajrasphota as the presiding deity of the Western direction. Her form is given as under :

"Pascime Vajrasphota rakta vajrasphotahkasavyakara"

"In the West, there is Vajrasphota, 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 l . One of the Chinese statuettes is illustrated in Fig. 194.

VAJRAGHANTA

Colour Green

Face One

Arms Two

Direction North

Symbol Bell

The fourth deity in the series is Vajraghanta, who is the embodiment of the Northern direction and is described as follows :

"Uttare Vajraghanta syama vajraghantahkadaksinabhuja.

"In the North there is Vajraghanta, green in colour, holding in her right hand the Bell",

The left hand of the goddess displays as usual the raised index finger. A statuette of this goddess occurs in the Chinese collection -.

===[[USNISAVIJAYA

Colour; White

Face; One

Arms; Two

Direction; Up

Symbol; Discus

The fifth goddess in the series is Usmsavijaya who is the presiding deity of the Upper region. Her form is described thus :

"Urddhve Usmsavijaya sukla cakrabhrtsavyabhuja".

"In the upper region there is goddess Usnisavijaya, white in colour, holding the Discus in her right hand".

The left hand of the goddess displays as usual the raised index finger. A statuette of this deity occurs in China 3 .

SUMBHA

Colour Blue

Face One

Arms Two

Direction Down

Symbol Noose of Snake

The sixth and the last goddess in the series is Sumbha who is the presiding deity ot the Nether region. Her form is described as under :

"Adhah Sumbha nila savyena nagapasadhara"

NSP, p. 38

"Below is Sumbha blue in colour, holding in her left hand the Nocse made of a snake 1 '.

Her left hand as usual displays the raised index finger. She is not represented in the Chinese collection.

In Vajrayana there is a class of gods going under the generic name of Usmsas. The word Usmsa means 'the crown' but the deities have nothing to do with the crown. They are usually placed like the gods of Direction, in the four principal

directions and the four intermediate corners. These eight Usmsa gods seem to be an extension of the four Dhyani Buddhas, and they show their characteristic symbols and mudras. They are nevertheless popular in Tantric works, and their

statues are found in China. Hence it is necessary to make a passing reference to these Usmsa gods briefly, for without an account of these this chapter is likely to be incomplete. Below is given a description of these special deities in

the same order as they appear in the Durpati- parisodhana Mandala of the Nispannayogavall, The Usmsa deities like all other deities of the Mandala are two-armed and one-faced. They wear rich dress and ornaments, and a bejewelled crown.

They sit on human beings*

AJROSNISA

Colour White Symbol Bhusparsa

Direction East

The first deity in this Usmsa series of gods is Vajrosmsa and his form is described thus :

"Purvare Vajrosnisah suklo Bhusparsamudrah".

"On the Eastern spoke there is Vajrosmsa of white colour. He shows the Bhusparsa (Earth-touching) mudra".

A statue of this god is found in the Chinese collection l . Fig. 195 illustrates this Chinese statuette.

RATNOSNISA

Colour Blue Symbol Varada

Direction South

The second deity in the Usnisa series of gods is Ratnosmsa and his form is described as under :

"Daksinare Ratnosmso nilo Varadamudrayanvitah".

NSP, p. 66.

"On the Southern spoke there is Ratnosmsa who is blue in colour and shows the Varada mudra".

His statuette is not found in the Chinese collection.

PADMOSNlSA

Colour Red Symbol Dhyana

Direction West

The third deity in the series of eight Usnisa gods is called Padmo^ smsa and his form is described as under :

"Pascimare Padmosmso rakto Dhyanamudrayanvitah"

"On the Western spoke there is Padmosmsa who is red in colour and shows the Dhyana mudra".

He is not represented in the Chinese collection.

VISVOSN1SA

Colour Green Symbol Abhaya

Direction North

The fourth deity in the series of eight Usnisa gods is called Visvo- snisa and his form is described as under :

"Uttarare Visvosmso harito Abhayapradah".

"On the Northern spoke there is Visvosnlsa who is green in colour and shows the Abhaya mudra".

He is not represented in the Chinese collection.

TEJOSNISA

Colour Whitish red Symbol Sun

Direction Agm

The fifth deity in the series of the eight Usmsa gods is called Tejo- snisa, and his form is described as under :

'Agneyare Tejosmsah sitaraktamisravarnah suryabhrddaksinapanih katisthavamakarah".

\

41 On the spoke in the Agni corner there is Tejosmsa of 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 Chinese collection under the title of Tejorasyusmsa *.

DHVAJOSNTsA

Colour Reddish blue Symbol Cintamani Banner

Direction Nairrta

The sixth deity in the series of eight Usmsa gods is called Dhvajosm- sa, and his form is described in the following words :

"Nairrtyare Dhvajosmso raktamisrakrsnah Cintamanidhvajadha' rah karabhyam" NSP, p. 66

"On the spoke in the Nairrta corner there is Dhvajosmsa who is reddish blue in colour. He holds in his two hands the Cintamani banner"

He is not represented in the Chinese collection.

TIKSNOSNISA

Colour Sky*green

Symbol Sword and Book

Direction - Vayu

The seventh deity in the series of eight Usmsa gods is called Tiksno- smsa, and his form is described in the following words :

"Vayavyare TIksnosnIso nabhahsyamo daksinapanina krpanarh vibh* rano vamena pustakarh." NSP, p. 66

"On the spoke in the Vayu corner there is Tlksnosmsa of sky-green colour* He holds in the right hand the sword and in the left hand a manuscript.

His statuette is found in the Chinese collection l .

CHHATROSNISA

Colour White

Symbol Parasol

Direction Isana

The eighth and the last deity in the series of eight Usnlsa gods is called Chhatrosnisa, and his form is described thus :

"Isanare Chhatrosmso subhro bhujabhyam chhatram vibhranah.

On the spoke in the Isana corner there is Chhatrosnisa who is of white colour, and holds in his two hands the Chhatra (parasol). He is not represented in the Chinese collection,

The five protectresses or the Raksa deities as they are called in Tantric works, are popular and well-known amongst the Mahayana Buddhists, particularly of Nepal. A manuscript copy of the Pancar- aksa describing the five Raksa deities,

their worship on different occa- sions and their powers, is to be found in almost every Buddhist house- hold in Nepal. Such manuscripts are often very artistically written and they bear miniature pictures of not only the five Raksa

deities but also of other Buddhist deities such as the Dhyani Buddhas and their Saktis* That their worship was much in vogue is evident from the fact that their images either in stone or in metal are met with in almost all mona- steries.

The miniatures reproduced here are from a manuscript of Pancaraksa in the possession of Dr. Evans Wentz.

The reason why the five Raksa deities are popular is to be found in the Sadhanamala According to this authority the five Raksa 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 mankind. The Pancaraksa is recited in all varieties of domestic difficulties, such as, illnesses, adversities, loss of wealth, cattle, etc.

All the five deities are worshipped either singly or collectively in a Mandala. A description of the Pancaraksa Mandala occurs both in the Sadhanamala and the Nispannayogavall. In both Mahapratisara

is the central or the principal deity while the four others occupy the four cardinal directions. Below is given a description of the five Raksa deities as it appears in the Nispannayogavali.

MAHAPRATISARA

Colour Yellow

Faces Four

Arms Twelve

Symbol Jewel

The place of Mahapratisara is in the centre of the Mandala, and her form is described in the Nispannayogavali in the following words :

" Mahapratisara pitabharaktaprabhamandalacaturmukha, mulamukharh pitam, savyam sitam, pascimarh mlam, vamam raktam. Daksine ratna* cchata-cakra-vajra'sara-khadga^varadamudrah. Vamair^vajram pasam tri- sularh dhanuh parasum sankham ca

bibhratlti dvadasabhuja. Caitya- lankrtasiraska vajraparyankasma". NSP, p. 42

" Mahapratisara 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 mudra. 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 in the Vajraparyahka attitude".

The form described in the Sadhanamala is somewhat different. In this work she has only eight arms instead of twelve. Fig. 196 illustrates a miniature of Mahapratisara in the collection of Dr. Evant> Wentz. She is also popular in Tibet l

and her statuette occurs in the Chinese collection of Peiping a .

MAHAsAHASRAPRAMARDANl

Colour White

Faces Four

Arms Ten Symbol Discus

Mahasahasrapramardani is the second deity in the group of five Raksa deities and she is assigned to the eastern direction. Her form is described in the Nispannayogavali in the following words :

"Purvasyam disi Mahasahasrapramardani visvambhojacandre lalitak- sepena nisanna sukla candraprabhamandala caturmukhl. Mulam sitam, savyam krsnam, prstharh pitam, vamam haritam. Savyabhujaih padma- sthastaracakram varadam ankusam banam

krpananca. Vamairvajram tarjaniih pasarh dhanuh pasanceti dasabhuja." NSP, p. 42.

"In the East there is Mahasahasrapramardani sitting in the Lalita attitude on the orb of the moon placed on a double lotus. She is white in colour, has a halo of the white moon and is fouivfaced. 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 mudia, 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 (Tarjam), 3. the noose 4. the bow and 5. the noose Thus she is ten-armed".

The Sadhanamala describes her form somewhat differently Here 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 l .

MAHAMANTRANUSARlNl

Colour Blue

Faces Three

Arms Twelve

Symbol Vajra

The form of this third Raksa deity is described in the Nispannayo- gavali in the following words :

u Daksinasyarh visvambhojasurye suryaprabha Mahaman f tranusarinl vajraparyankini krsna krsnasitarakta-mula- avyavamamukhi. Dvada- sabhuja. Savyetarabhyam dharmacakramudiam bibhrana aparabhyam samadhimudram. Aparair-daksinair^vajra-

bana-varad'abhayamudrah. Vamais-tarjanipasam caparh ratnacchatarh padmankitakalasam ca'\

"In the South on the orb of the sun over a double lotus there is Mahamantranusanm with the halo of the sun. She sits in the Vajra* paryahka attitude and is blue in colour Her principal 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. Dharmocakra mudra. With another pair of hands she exhibits the 4- Samadhi mudra. In the remaining four right hands she shows 5. the Vajra, 6. the arrow, 7. the Varada

and 8, the Abha>a mudras. The remaining four left hands exhibit 9. the Tarjam with the noose, 10. the bow, 11 the jewel and 12. the jar marked with a lotus 1 '.

Like the other deities of the Pancaraksa group Mahamantranusarinl is also widely represented. She was probably known in China under

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

the title of Mantranudharini l . Fig. 198 illustrates a miniature of the goddess in the collection of Dr. Evans Wentz. Here as well as in the Sadhanamala the goddess is twelve-armed. 2 .

MAHA&TAVATI

Colour Red

Faces Thi ee

Arms Eight

Symbol Lotus

The fourth deity in the series of five Raksa goddesses is named as Mahasitavati to whom the western direction is assigned. Her form is described in the Nispannayogavali thus :

"Pascimayarh visvabjasurye ardhaparyahkanisanna suryaprabha Mahasitavati rakta rakta-sita-krsnamulasavyetaravaktra. Astabhuja. Savyaih sapadmabhayarh, saram, vajrarh, khadgam. Vamais*tarjam- pasarh, capam, ratnadhvajarh, hrdi pustakam ca

bibhrati".

'ln the West on the orb of the sun on a double lotus there is Mahasitavati sitting in the Ardhaparyahka attitude with the halo of of the sun. She is red in colour, and her faces show the red, 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 displays 1. the lotus with the Abhaya mudra, 2. the arrow, 3. the Vajra and 4. the sword. In the four left hands she shows 1. the noose with the

Tar jam, 2. the bow, 3. the jewel banner and 4. the manuscript against the chest".

In the Sadhanamala she is six-armed and green in colour. She is widely represented in Buddhist countries. Under the title of Sitavati she is known to the Chinese collection at Peiping B . Fig. 199 is an illustration of her miniature in

the collection of Dr. Evans Wentz 4 *

MAHAMAYUR1

Colour Green

Faces Three

Arms Eight

Symbol Mendicant on Bowl

Mahamayuri is the fifth and the last deity of the Pancaraksa Mandala of the Nispannyogavall. Her form is described in the following words :

"Uttarasyam visvabjacandre candraprabha sattvaparyahkl Mahamay- uri harita harita-krsna-sukla-mulasavyetaravaktra. Astabhuja. Savyair- mayiirapiccham banam varadarh khadgam ca. Vamaih patropari bhiksum capam

utsahgastharatnacchatavarsighatam visvavajraratnanka- dhvajam ca bibhrana." NSP, p. 42

"In the North on the orb of the moon on a double lotus, with the halo of the moon and sitting on a man, there is Mahamayurl. 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 mudra and 4- the sword. In the four left hands she shows 1. the medicant on 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".

The description of the goddess in the Sadhanamala is somewhat different. Here she is endowed with the yellow colour* But in both places she is eight-armed. Like the other Raksa deities Mahamayurl is widely represented. She is known in

Tibet l and in the Chinese collec- tion at Peiping 2 . Fig. 200 illustrates a miniature in the collection of Dr. Evans Wentz.

According to a statement in the Nispannayogavali any one of the five Raksa deities may become a leader in the Mandala and occupy the central position. All the other deities in that case will become her subordinate companions.

Taras of five colour

Strictly speaking, only those deities can be called Taras to whom the mantia : Om Tare Tuttare Ture Svaha is assigned. In the simplest form Taras carry the night lotus in the left hand and exhibit the Varada mudra in the right. Some of

them bear the miniature image of Amo- ghasiddhi on their crowns, but others may not have any effigy of the Dhyani Buddha. It is therefore difficult to identify their images, parti- cularly in stone where no definite colour can be seen.

Special attention should therefore be paid not only to the particular pose in which the different Taras sit but also to their companions in order to arrive at a correct identification. In this section an attempt will be made to indicate

the characteristic features of the numerous Taras described in the Sadhanas for the purpose of differentiation.

In the Tantric works there are so many different varieties of Tara that it is physically impossible to classify them correctly without reference to their peculiar colour. All Taras are therefore brought together under one head in this

section. From the colour of the different Taras it will be possible to refer them to their respective Kulas or families presided over by the five Dhyani Buddhas.

GREEN TARA

1. Khadiravam Tara shows the Varada mudra in the right hand and the night lotus in the left. She can be identified by the presence of Asokakanta Marici and Ekajata.

2. Vasyatara has as her characteristic feature the Bhadrasana or the European fashion of sitting. It may be noticed however that she is described as single and as such is not accompanied by any god or goddess.

3. Aryatara. The characteristic feature of this form of Tara is that she sits in the Ardhaparyahka attitude and like Vasyatara is entirely alone.

4. Mahattari Tara may be distinguished by the Vajraparyahka attitude in which she sits, and also by the fact of her being represen- ted without any companion whatsoever (Fig, 210).

5. Varada Tara sits m the Ardhaparyanka attitude like Aryatara but she can be easily recognised by the presence of four goddesses Asokakanta Marici, Mahama^uri, Ekajata and Janguli. (cf. Mahasri Tara).

6. DurgottarinI Tara has green complexion, the lotus for her seat, and garments of white colour; she has four arms and she carries m the first pair of hands the noose and the goad and displays in the second the lotus and the Varada mudra.

7. Dhanada Tara carries the book and the rosary in the first pair of hands, while the second pair carries objects similar to those held by DurgcttarmL She has an animal for her Vahana, is accom* panied by eight goddevsses originating

from the eight syllables of her mantra and bears the image of Amoghasiddhi on the crown.

8. Jahguli emanates from Aksobhya and may have three different colour, yellow, white and green. When green, she is fouiv armed, and carries the Trisula, the peacock's feathers and a snake in three hands and exhibits the Abhaya mudra in

the fourth.

9. Parnasaban 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 faces depict irritated smile (sakrodha- hasitananarh).

WHITE TARA

1. Astamahabhaya Tara. The distinguishing feature of this form of Tara is that she sits in the Ardhaparyahka attitude and is surrounded by ten goddesses originating from the ten syllables of the Tara mantra : Om Tare Tut tare Ture Svaha.

These ten deities are identical in appearance with the principal deity.

2. Mrtyuvancana Tara. The distinctive feature of this form of Tara is that she bears a wheel on her chest. She is absolutely unatten- ded and sits in the Vajraparyaiika attitude.

3. Caturbhuja-Sitatara. Her form has already been described as an emanation of the DhvSni Buddha Amoghasiddhi. She has four arms and exhibits in the first pair of hands the Utpala mudra, and the lotus, and the Varada pose in the second.

She may be recognized by the presence of two goddesses, Mahamayurl and Maricl.

4. Sadbhuja-Sitatara. 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 no companions.

5. Visvamata. She has been described in the Sadhanamala as one-faced, with the white complexion of the moon, white garments and a white serpent as her Vahana. 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. Kurukulla as an emanation of Amitabha of red colour generally assumes the red colour, but when two-armed, she has, according to the Sadhanamala the white colour. She carries the rosary and the bowl of lotus, and her Vahana is an

animal.

7. Janguli as an emanation of Aksobhya ought to be of blue colour, but according to the Sadhanamala she may have three colour, white yellow or green. When white she is one-faced and four-armed, plays on the Vina with the first pair of

hands, and shows the white serpent and the Abhaya pose in the second.

YELLOW TARA

1. Vajratara. She is yellow, has four faces and eight arms and bears the image of the Dhyani Buddha Ratnasambhava on her crown* Forms of Vajratara have been described previously. She is accom- panied by ten goddesses when worshipped in

the Mandala.

L Getty ; GNB, p. 122 gives a list of Taras of white colour. 2* Getty : GNB, p. 124 gives a list of Taras of yellow colour.

2. Jangull. The yellow variety of Jahguli has three faces and six arms and bears the image of the Dhyani Buddha Aksobhya on her crown. This form has already been described.

3. Parnasabari. When yellow Parnasabari is an emanation of Aksobhya, has three faces and six arms, and a pleasant smile instead of an irritated expression on her faces. This form of Parnasaban has also been described under the female

emanations of Aksobhya.

4. Bhrkuti is yellow and emanates from Amitabha. She is one- faced and four-armed, shows the Varada mudra and the rosary in the two right hands and carries the Tridandl and the Kamandalu in the two left.

BLUE TARA

1. Ekajata. She may have several forms with blue colour, and bhe bears the image of her sire Aksobhya on her crown in all cases. All her forms have been described previously along with the other emana- tions of the Dhyani Buddha Aksobhya

including the terrible form which goes by the name of Vidyujjvalakarali of blue colour, with twelve faces and twenty-four arms.

2. Mahacma Tara. She also bears the image of Asobhya on her crown, and has already been described as one of the female emanations of that Dhyani Buddha. She is called Mahacina Tara because she is believed to have come from Mahacma, the

place where she was originally wor- shipped. She is the subject of the Mahacinakrama-Tantra, and has been incorporated wholly into the Hindu Tantric pantheon.

RED TARA

There are not many Red Taras in the Sadhanamala, Kurukulla being the only one belonging to the red variety. As she bears the image of Amitabha on the crown, she inherits from him as his emanation, her red complexion. Kurukulla may also

bear the image of the five Dhyani Buddhas on her crown, but that will make no difference as to the colour of her complexion. She will be white when two-armed, and red when four, six or eight-armed All her forms have been described

previously.

EIGHT GAURl GROUP

The eight deities of the Gauri group of goddesses are extremely popular in Vajrayana and are found described in several places both in the Sadhanamala as well as in the NispannayogavalL These goddesses

are represented also in the Chinese collection of statuettes in the city of Peiping. Although it is not necessary to describe their different forms extensively, it is however desirable that at least one form should be recorded here to

stimulate interest in their iconography and identification. Below is therefore given the description of the eight deities of the Gaurl group in the same order as it appears in the Pancadaka Mandala of the Nispannayogavali. All the

deities are violent in character with fearful appearance and ornaments, and garlands of heads. They dance in Pratyalldha and show the raised index finger with clasped fist against the chest, as the common gesture.

1. GAURl

Colour White

Arms Two

Symbol Goad

The first in the series is Gaurl. Her form is described in the Panca- daka Mandala where the Gaun group of deities surround the principal god Vajradaka. GaurFs description is as under :

%( Guuri sita savyenankusadharmr 1 NSP, p. 75

Gauri is white and holds in her right hand the goad".

In the left hand she shows the Tarjani against the chest which is the

common gesture. Three statuettes of this goddess are found in the

Chinese collection at Peiping l .

2. CAURl

Colour Yellow Arms Two

Symbol Noose

The second goddess in the Gaun group is Cauri whose form is des- cribed in the Pancadaka Mandala as follows :

tk Caun pita pasadhara" 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. VETALl

Colour Red Arms Two

Symbol Chain

The third goddess of the Gaurl group is Vetall whose form is described in the PaScadaka Mandala in the following words :

" Vetall rakta bhujabhyam sphotabhrt." NSP, p, 75

'Vetali is red in colour and holds in her two hands the chain."

A statuette of this goddess under the name of Vajravetali is found in the Chinese collection at Peiping l . Fig. 202 illustrates this Chinese statuette.

4. GHASMARl

Colour Green Arms Two

Symbol Bell

The fourth goddess of the Gaurl group is Ghasmari whose form is described in the Pancadaka Mandala as follows ;

"Ghasmari harita vajraghantadhara" NSP, p. 75

"Ghasmari is green in colour and holds in her right hand the bell marked with a Vajra, 17

The left shows the common gesture of Tarjani.

Two statuettes of this obscure goddess are found in the Chinese collection % One of the two statuettes is illustrated in Fig. 203.

5. PUKKASl

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 Pancadaka Mandala in the following words : "Pukkasi nila Bodhicittaghatahasta." NSP, p. 75

"Pukkasi is blue in colour and holds in the right hand the bowl of Bodhi mind."

The left shows the Tarjani against the chest as a common gesture,

Two statuettes of this obscure goddess occur in the Chinese collec- tion :} . One of the two statuettes is illustrated in Fig. 204.

6. SABARl

Colour White Arms Two

Symbol Mem

The sixth goddess in the series of eight deities of the Gaurl group is described in the Pancadaka Mandala in the following words :

"abarl sita Merudhara" NSP, p. 75

"Sabari is white in colour and holds in her right hand the Meru mountain.'*

The left exhibits the common gesture, the Tarjam.

Two statuettes of this goddess are found in the Chinese collection 4 .

7. CANDALl

Colour Blue Arms Two

Sym bol- Fire-pot

The seventh deity among the eight goddesses of the Gauri group is known as Candali and her form is described in the Pancadaka Mandala as follows :

"Candali nila vahnikundabhrt", NSP, p. 75

"Candali 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 J .

8. DOMBl

ColourMixed Arms Two

Symbol Banner

The eighth and the last goddess in the group of deities headed by Gauri is described thus in the Pancadaka Mandala as an associate of Vajradaka :

"Dombi visvavaina mahadhvajapatakam dhatte". NSP, p. 75

"Dombl is of mixed colour and carries in her right hand the high flag and banner".

The left hand displays the common gesture of the Tarjanl against the chest.

She is represented only once in the Chinese collection as Dombinl L> . Fig. 205 illustrates this Chinese statuette.

FOUR DANCE DEITIES^

There are four deities in this group and they are homogenous in cha- racter. These are Lasya, Mala, GIta, and Nrtya, all required in the staging of a drama or in entertainments. All these four deities are popular in the Vajrayana

pantheon and are described times without number both in the Sadhanamala as well as in the NispannayogavalL In the Chinese collection at Peiping statuettes of these deities are found. Although it is not possible to describe all their

forms here, an endea- vour will be made at least to describe one typical form of each for the purpose of recognition. Below is given an account of the four goddesses headed by Lasya in the same order as it occurs in the Panca- daka

Mandala of the Nispannayogavall. They are violent in charac- ter with garland of severed heads, and dance in Pratyalidha. They show the Tarjani against the chest as the common gesture.

1. LASYA

Colour Red Arms Two

Symbol Lasya dance

The first deity of the Lasya group is Lasya who is described in the following words :

"Lasya rakta sagarvarh lasyabhinayobhayabhuja' 1 . NSP, p. 76

"Lasya is of red colour and with pride she arranges her two hands in the Lasya act.

Two statuettes of Lasya are found in the Chinese collection 3 . One of the statuettes is illustrated in Fig. 206.

2. MALA (MALYA)

Colour Red Arms Two

Symbol Garland

The second deity of this group is Mala who is described as follows : "Mala rakta karabhyarh ratnamalabhrt' 1 . NSP, p. 76

"Mala 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 Malya occur in the Chinese collection of images at Peiping * J .

Colour Reddish white Arms Two

Symbol Indian Gong

The third deity of this group is Gita who is described in the Panca* daka Mandala as under :

"Gita raktasita bhujabh>arh karhsike vadayanti" NSP, p. 76.

"Gita is reddish white in colour, and with her two hands she is engaged in playing on the Indian gong (Karhsi).

Three statuettes of this goddess occur in the Chinese collection*. One of these three statuettes is illustrated in Fig, 207.

4. NRTYA

Colour Mixed Arms Two

Symbol Vajra

The fourth and the last goddess in the Lasya group is Nrtya whose form is thus described in the Nispannayogavall :

"Nrtya visvavarna savajrabhujabhyam nrtyanti", NSP, p. 76.

"Nrtya is of variegated colour and she dances with her two hands holding the Vajra".

Three statuettes of this goddess are noted in the Chinese collection 1 . One of the three statuettes is illustrated in Fig. 208*

FOUR MUSICAL INSTRUMENTS

There is a further group of goddesses representing the four musical instruments and are often mentioned in the Sadhanas and Mandalas as companions of important deities. When everything else is deified there is no reason why these musical

instruments should not also be deified. These four Musical Instruments are named as Vamsa (flute) Vina (violin), Mukunda ((kettle-drum) and Muraja (drum) and we find them all deified with human form, colour, faces, hands and symbols. In

the Vajradaka Mandala they are collectively described as nude, violent in appearance, wearing garlands of skulls and severed heads and dancing in Pratyalidha. They display the different instruments as their special symbols. They are

described below in the same order in which they appear in the Pancadaka Mandala.

1. VAMSA

Colour Red Arms Two

Symbol Flute

The first in the series of deities representing the musical instruments is called Vamsa whose form is described in the following terms in the Pancadada Mandala :

"Vaihsa rakta karabhyam dhrtavamsam vadayanti". NSP, p. 76

"Vamsa is red in colour. She holds the flute in her two hands and plays on it/'

She is not represented in the Chinese collection. 1. Clark : TLP, II, pp. 64, 93, 143.

2. VlNA

Colour Yellow Arms Two

Symbol Vina Instrument

The second goddess representing musical instruments is called Vina, and her form is described in the following words :

"Vina pita vmavadanakaradvaya/' NSP, 76

"Vina is yellow in colour. With her two hands she plays on the musical instrument, the Vina."

In the Chinese collection she is represented as goddess Vmadhara which is the same as Vina l . This Chinese statuette is illustrated in Fig. 209.

3. MUKUNDA

Colour White Arms Two

Symbol Mukunda Instrument

The third goddess in this series is the goddess Mukunda who plays on the instrument called the Mukunda. Her form is described thus in the Nispannayogavali :

"Mukunda sita karabhyarh Mukundarh vadayanti." NSP, p. 76

"Mukunda is white in colour. She plays on the instrument called the Mukunda with her two hands",

One statuette of Mukunda is found in the Chinese collection under the name of Mukundadhara, who is the same as Mukunda -* This Chinese statuette is illustrated in Fig 210.

4. MURAJA

Colour Smoky Arms Two

Symbol Muraja Instrument

The fourth and the last deity in the series of goddesses of musical instruments is the goddess Muraja whose principal symbol is the Muraja on which she plays. Her form is described as under :

"Muraja dhumravarna murajavadanaparabhujadvaya."

Muraja 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 Chinese collection.

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. The door planks, the lock, the key, and the curtain, all the four are important

articles, and thus these are all deified in Vajrayana. They are given human form, colour, faces, arms and symbols. They are found described in the Pancadaka Mandala of the Nispannayogavall. Collectively they are described as nude,

dancing in Pratyalidha, with fearful appearance, and awe-inspiring ornaments. They are described below in the same order in which they are treated in the Mandala. They hold their special symbols appropriate to their names,

1. TALIKA

Colour White Arms T wo

Symbol Lock

The first in the list of door goddesses, is Talika. Her form is des- cribed as follows :

"Talika sita talikahasta" NSP, p. 77

"Talika is white in colour and holds in her two hands the Talika or the Lock."

A statuette of this most obscure but interesting deity is found in the Chinese collection. In this collection her name is somewhat differ- ently stated as Dvaratalakadhara '. Fig. 211 illustrates her statuette in China.

2. KUNCI

Colour Yellow Arms Two

Symbol Keys

The second goddess in this series is called Kunci from the keys that she holds. Her form is described as under :

"Kunci pita kuncikahasta", NSP, p. 77

"Kunci 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 Kuncikadhara. She is of the same description as above L '.

3. KAPATA

Colour Red Arms Two

Symbol Planks

The third deity in the series of the four door goddesses is called Kapata. Her form is described as follows :

'Kapata rakta kapatadhara". NSP, p. 77

'Kapata is of red colour and holds in her two hands the Door Planks. 1 '

A statuette of this goddess is found in the Chinese collection under the title of Dvaradhara. The two are identical ] . Fig, 212 illustrates her statuette found at Peiping.

4. PATADHARINl

Colour Blue Arms Two

Symbol Curtain

The fourth and the last goddess in the series of four deities of the door is called by the name of Patadharim. Her form is described in the Pancadaka Mandala as under :

"Patadharim krsna karabhyarh kandapatam vibhrati."

"Patadharim is blue in colour. She holds in her two hands the curtain (Kandapata) .

A statuette of this goddess occurs in China under the title of Vita* nadhara where Vkana means a curtain. The two are identical J .

X. FOUR HOOT GODDESSES

There are four goddesses of Light in the Vajrayana pantheon. They are named as Suryahasta, Dlpa, Ratnolka and Taditkara and described in the Pancadaka Mandala of the Nispannayogavall. 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 Pratyalidha attitude and hold their special marks of recognition in their hands. They are described below in the order in which they appear in

the Pancadaka Mandala.

1. SURYAHASTA

Colour White Arms Two

Symbol Sun

Suryahasta is the first deity in the series of four goddesses of Light and her form is described in the following words :

"Suryahasta sita suryamandaladhara". NSP, p. 76

Suryahasta 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 tide of Suryadhara. The two are identical l .

2. DIP A

Colour Blue Arms Two

Symbol Light stick

The second Light deity is called Dipa. Her form is described as under: "Dipa mla dipayastibbrt."' NSP, p. 76

"Dipa is blue in colour and holds in her hands the light stick". A statuette of this goddess occurs in the Chinese collection. 2 . This Chinese statuette is illustrated in Fig. 213,

3. RATNOLKA

Colour Yellow Arms two

Symbol Jewel

The third in the series of four goddesses of Light is called Ratnolka. She is described as under :

"Ratnolka pita ratnadhara". NSP, p* 76

"Ratnolka is yellow in colour and holds the jewel in her hands*'.

She is represented in the Chinese collection under the name of Ulkadhara. This statuette is illustrated in Fig. 214-

4. TADITKARA

Colour Green Arms Two

Symbol Lightening

The fourth and the last in the series of four goddesses of Light is called Taditkara (Lightening Bearer). Her form is described in the following words :

'Taditkara harita vidyullatadhara". __

'Taditkara is green in colour and holds in her hands the creeper- like lightening.

A statuette of this goddess occurs in the Chinese collection under the title of Vidyuddhara. The image answers the description in all details The two are therefore identical ! .

FOUR ANIMAL-FACED GODDESSES-

There is a set of four very interesting deities described in the Nispannayogavall ; they all have animal faces and have several forms. They are given each a different direction in the Mandala. Their names are : Hayasya, Sukarasya,

Svanasya, and Simhasya, according to the animal face they bear. To this number, in the Kalacakra Mandala, four more deities with birds f?ces are added for the intermediate corners. These birds deities are named as Kakasya (crow-faced),

Grdhrasya (vultur effaced), Garudasya (Garuda-faced) and Ulukasya (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 Kapala (skull-cup). A Khatvahga (magic stick) hangs from their shoulders. They are some- times two-armed and at others four-armed. When four armed, the four chief deities are represented like the goddesses of the

VajiankusI group. With regard to the face, it may be noted that the principal face is either human or of an animal. When it is human, the animal face is shown over the head or on the crown. Normally, there are four goddesses in this

group, but the series of goddesses found only in the Kalacakra Mandala are without adequate description. The group of four goddesses of the Nairatma Mandala is here described. It may be noted that their images are also popular in the

Chinese collec- tion of Peiping, although a few are available in India also.

1. HAYASYA

Colour Whitish Blu Arms Two

Symbol Horse-face

The first in the series of goddesses with animal faces is Hayasya (horse-faced) and her form is described in the Nairatma Mandala in the following words :

'Turvadvare Hayasya sitamla" NSP, p. 16

"On the Eastern gate there is Hayasya of whitish-blue colour". I. Clark : TLP, II, p. 88. ~ ~~

Like all other deities of the group she displays in her two hands the Kami and the Kapala.

In the Hevajra Mandala of the Nispannayogavali (p. 15) she is des- cribed as four-armed and four- faced and as similar in appearance to Vajrankusl.

She is not represented in the Chinese collection,

2. SUKARASYA

Colour Yellowish Blue Arms Two

Symbol Sow-face

The second in the series of four goddesses with animal faces is Sukarasya (sow-faced) and her form is described in the Nairatma Mandala thus :

"Daksine Sukarasya pltanila". NSP, p. 16

"On the South there is Sukarasya with yellowish-blue colour"

Like all other goddesses of the group, she also holds the Kartri in the right hand and the Kapala in the left.

She is also described as four-armed and four-faced, and as similar in appearance to VajrapasI ] .

She is not represented in the Chinese collection.

3. SVANASYA

Colour Reddish Blue Arms Two

Symbol Dog- face

The third goddess in the series of four goddesses with animal faces is called Svanasya (dog-faced) and is described in the Nairatma Mandala as :

<fc Pascime Svanasya raktanlla" ' NSP, p. 16

"On the West there is Svanasya of reddish-blue colour Like all other goddesses of the group she holds the Kartri in the right hand and the Kapala in the left.

In the Hevajra Mandala she is described as four*faced and four- armed and as similar in appearance to Vajrasphota. She is not represented in the Chinese collection.

1. A remarkable specimen of the four-armed variety of the goddess is illustrated in Gordon r ITL, p. 80 under the title of Vajravarahl.

4. SIMHASYA

Colour Reddish Blue Arms Two

Sy m bol Lioi>f a ce

The fourth and the last deity in the series is called Simhasya (lion- faced) in the Nairatma Mandala. Her form is described thus :

"Uttare Simhasya raktanlla" NSP, p. 16

"On the North there is Simhasya of reddish blue colour".

Like all other deities of the group she also holds the Kartri in the right hand and the Kapala in the left.

She is described in the Hevajra Mandala as four-faced and four- armed, and as similar in appearance to Vajraghanta.

Under the title of Simhavaktra she appears in the Chinese collec- tion at Peiping l . She was also known in Tibet *. Figs, 215, 216 illus- trate a very artistic specimen of Simhasya with human face with the face of the lion overhead.

This image is in the collection of Dr. Moghe of Khar (Bombay).

FOUR DAKINI GROUP

Usually in this group of goddesses are included the names of Dakini Lama, Khandaroha and Rupim who are widely mentioned in the Tantric works of rituals. In the Sumbara Mandala of the Nispannayogavall their names are mentioned 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 Sadhanamala. Accord- ing to this authority they are all alike in appearance

holding identical symbols. Only in colour they differ. In the Vajravarahi Sadhana (No. 217) they are described as follows :

^Pakml-Lama-Khandaroha-Rupimh krsna-syama-rakta-gaurah. Eta ekavaktrah caturbhuja vame kapalakhatvafigakapalahastah daksine damarukartrikah trinetra muktakesa nagna alidhasanasamsthita panca- mudravibhusita bhavayet." Sadhanamala p. 425

"Dakim, Lama, Khandaroha and Rupim are of blue, green, red and white colour respectively. They are one-faced and four-armed and carry in their left hands the Kapala-marked Khatvanga and the Kapala, 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".

Two statuettes of Dakim occur in the Chinese collection *. The names of three others do not find mention in China. In Tibet, Lama* dakim belongs to 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 2 .

In the Nispannayogavali of Abhyakara 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 Paramitas are consi- dered to be the perfections of

cardinal virtues which entitle one to Buddhahood. They are deified in human form with colour, and weapons. Similar is the case with the others, such as the Twelve Vasitas or spritual disciplines, the Twelve Bhumis or the successive

spiritual spheres, the Twelve Dharims or sacred chain of words, the Four Pratisamvits or the four branches of logical analysis. All these belong to the realm of philosophy and abstract ideas and, therefore, they are brought together here

under a separate chapter as a matter of logical necessity.

These deities are rarely represented. Except probably Prajnapara- mita and some of the Dharim goddesses, others are not even known in art or sculpture. But their statuettes are found in the Chinese collec* tion at Peiping, and it is

therefore necessary to 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 Paramitas or perfections. These are certain cardinal human virtues carried to perfection in one birth. It is said that Lord Buddha in each of his previous births practised one or another of the

virtues and carried it to perfection, and because of that he obtained enlightenment in his last birth. These Paramitas are usually ten in number, but the Vajrayanists raised the number to twelve. In Vajrayana the craze for deificatian

led to the conception of the Twelve Paramita goddesses in human form, for the purpose of worship. One of the Paramtta deities, Prajnaparamita is the most important and popular in Buddhist countries. Prajnaparamita or transacendental

intuition was taught in the Prajnaparamita scripture which is supposed to have been rescued from the Nether regions by Nagarjuna. In the Dharmadhtuvagisvara Mandalaofthe Nispannayogavali an account of the iconography of rhe Twelve

Paramita deities is given, and it is stated briefly here in the same order as found in the Mandala. Such a description of all the Paramita goddesses cannot be met with in any other published literature on Buddhism. The twelve deities

collec- tively have their spiritual father in Ratnasambhava. They are widely represented in the Chinese collection at Peiping which seems to have been profoundly influenced by India in general, and the Nispannayoga- vail in particular.

These Paramita deities are described in detail in the following sections.

RATNAPARAMITA

Colour Red Arms Two

Symbols Moon on Lotus

Ratnaparamita heads the list of the Paramita deities and is described as :

" Ratnaparamita rakta padmasthacandramandaladhara"

NSP, p. 56

"Ratnaparamita is red in colour and holds the disc of the moon on a lotus in her hand."

According to a statement in the Mandala all the deities are two- armed, and they hold in the right hand the flag marked with the Cinta* mani jewel, and in che left their special symbols. Prajnaparamita is an exception since she has two

more hands. The passage is :

"Dvadasaparamita dvibhujah savyena Cintamanidhvajam vamena svasvacihnadharah Prajnaparamita tvadhikakaradvaya."

"The Twelve Paramitas are two-armed and hold in the right hand the flag marked with the Cintamani jewel, and in the left their own symbols. But Prajnaparamita has two more hands."

Ratnaparamita thus holds in the right hand the Cintamani flag and in the left the moon's disc on a lotus. She is not represented in the Chinese collection,

DANAPARAMITA

Colour Whitish Red Arms Two

Symbol Ears of Corn

Danaparamita is second in the series of Twelve Paramita goddesses and has been described as :

"Danaparamita is whitish red in colour and holds in her left hand various kinds of ears of corn."

In the right she displays the Cintamani banner. Her statue is found in China l .

SILAPARAMITA

Colour -White Arms Two

Symbol Flowery Discus

Sila'paramita is the third in the series of Paramita goddesses and her form has been described thus :

"Silaparamita sveta sapallavagaurakusumacakradhara".

"Silaparamita is white in colour and holds in her left hand the dis- cus made of white flowers and leaves "

The right hand holds the Cintamani banner as usual. A statuette of this deity occurs in China ~\

KSANTIPARAMITA

Colour Yellow Arms Two

Symbol White Lotus

Ksantiparamita is the fourth in the series of Paramita goddesses and her form has been described thus :

"Ksantiparamita pita sitabjadhara "

'Ksantiparamita is of yellow colour and holds in her left hand the white lotus."

Her right hand as usual holds the Cintamani banner, A statue of this deity is to be found in China -\

VlRYAPARAMITA

Colour Green Arms Two

Symbol Blue Lotus

Viryaparamita is the fifth Paramita goddess and her form has been described thus :

"Viryaparamita marakatavarna mlotpaladhara", NSP, p. 56

' Viryaparamita is of the colour of emerald and holds in her left hand the blue lotus."

She holds the Cintamani banner as usual. A statue of this deity is found in China l .

DHYANAPARAMITA

Colour Sky Colour Arms Two

Symbol White Lotus

The sixth Paramita goddess in the series is Dhyanaparamita whose form is described as under :

"Dhyanaparamita gaganasyama sitabjahasta." NSP, p. 56

" Dhyanaparamita is of sky colour and holds in her left hand the white lotus "

The right hand as usual carries the Cintamani banner. A statuette ot this goddess is found in China a . Fig. 219 illustrates this Chinese specimen.

PRAJNAPARAMITA

Colour Yellow Arms Four

Symbol Manuscript on Lotus

The seventh goddess in the series is the famous deity Prajnapara- mita. As the embodiment of the Prajnaparamita literature, she has been dealt with in detail in a previous chapter. Here she will be des- cribed as an embodiment of

transcendental intuition and as part of a collection of deities in a group. In the Nispannayogavall her form has been described as :

'Trajnaparamita kamaniyakanakakantih padmastha-Prajnaparamita- pustakadhara karadvayena dhrta-Dharmacakramudra*\ NSP, p. 65.

"Prajnaparamita is of delightful yellow colour- In her left hand she holds the Prajnaparamita book on lotus. The two principal hands display the Dharmacakra mudra".

The right hand as usual holds the Chintamani 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 6 .

UPAYAPARAMITA

Colour Green Arms Two

Symbol Vajra on Lotus

The eighth goddess in the series is Upayaparamita who has been described in the Nispannayogavali thus :

"Upayaparamita priyahgusyama pitapadmasthavajrabhrt."

NSP, p. 16

"Upayaparamita is green like the Priyahgu flower and holds in her left hand the Vajra on a yellow lotus".

The right hand carries the Cintamani banner as usual. Her statue is found in China l .

PRANlDHANAPARAMIlA

Colour Blue Arms Two

Symbol Sword an Lotus.

Pranidhanaparamita is the ninth in the series of the Paramita group of goddesses, and her form has been described as under :

"Pranidhanaparamita nilotpalavarna nllotpalasthakhadgadhara".

NSP, p. 56

4 'Pranidhanaparamita 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 Cintamani banner. Her statuette is found in China 2 , Fig. 220 illustrates this Chinese statuette.

BALAPARAM1TA

Colour Red

Arms Two

Symbol Manuscript

Balaparamita is the tenth goddess of the Paramita group and her form has been described thus :

"Balaparamita rakta Prajnaparamitapustakadhara". NSP, p. 56 "Balaparamita is red in colour and holds the book Prajnaparamita in her left hand 1 '.

The right hand as usual holds the Cintamani banner. Her statue is found in China 3 .

1. Clark :TLP, II, p. 117. She is kno.vn here by the name of Upayakaulalya Paramita.

JNANAPARAMITA

Colour White Arms Two

Symbol Bodhi Tree

"Jnanaparamita is the eleventh in the series of the Paramita goddes* ses, and her form has been described as : u- \ r ? (

"Jnanaparamita subhra nanaratnaphalalankrta'Bodhivrksadhara.-*

NSP, p. 56

"Jnanaparamita is white in colour and holds in her left hand the Bodhi tree which is adorned with various kinds of jewels and fruits","

The right hand displays the Cintamani .^banner as usual. A statue of this goddess is found in China 1 . v < ^ ,

VAJRAKARMAPARAMITA

Colour Variegated Arms Two

Symbol Visvavajra on Lotus

Vajrakarmaparamita is the twelfth and the last of the group of Paramita goddesses and her form has been described thus in the Dharmadhatuvagisvara Mandala :

" Vajrakarmaparamita visvavarna nilotpalastha-visvavajradhara'\

"Vajrakarmaparamita is of variegated colour and holds in her left hand the Visvavajra (double thunderbolt) on a blue lotus' '.

The right hand as usual holds the Cintamani banner.

TWELVE VA&TA GODDESSES

The Vasitas according to Buddhism, are the controls or disciplines which lead to the spiritual regeneration of its followers. The Vajra- yanists recognized twelve Vasitas, each with a special name and con- ceived them in the form of

deities with heads- arms, weapons and special symbols. These Vasitas are collectively taken to be the 3piri' tual daughters of the Dhyani Buddha Amitabha. Below is given a description of the twelve Vasita goddesses in the same order in

which they appear in the Dharmadhatuvagisvara Mandala of tKe Nispahna* yogavall. The description of the Vasita goddesses is not found in the existing original literature and thus it is of unusual interest. Their iconographjc interest

becomes all the more attractive since in Chkia there are statuettes in metal which correctly represent the Vasita

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.

AYURVAITA

Colour Whitish Red

Arms Two

Symbol Image of Buddha

The twelve Vasita goddesses are described collectively as two-armed, holding in their right hands the lotus and in the left proudly bearing their special symbols, (cf. DvadasVvasita dvibhuja daksinenambhoja- bhrto vamena sagarvam

svasvacihnadharah, op. cit p. 56). Ayurvasita is the first goddess of the series and her form has been described thus :

Ayurvasita sitaraktavarna padmaragamanisthasamadhimudra' Amitayur-Buddhabimbadhara." NSP, p, 56

"Ayurvasita is whitish red in colour and holds in her left hand the image of the Buddha Amita>us in the Samadhi mudra on the Padmaraga jewel .

The right hand displays the lotus as in all other Vasita deities. Her statue is found in China ] .

CITTAVASITA

Colour White Arms Two

Sym bol Vajra

The second goddess in the series is Cittavasita, who has been described as :

"Cittavasua sita raktapancasucikavajradhara" NSP, p. 56

"Cittavasita 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 *.

PARISKARAVA&TA

Colour Yellow Arms Two

Symbol -Cintamani Banner

The third in the series of Vasita goddesses is Pariskaravasita who is described in the Dharmadhatuvaglsvara Mandala in the following words :

"Pariskaravasita pita Cintamanidhvajadhara". NSP, p. 56

"Pariskaravasita is yellow in colour and holds in her left hand the Cintamani banner"*

The right hand displays the lotus as usual. Her statuette is found in China l .

KARMAVA&TA

Colour Green Arms two

Symbol Visvavajra

The fourth in the series of Vasita goddesses is Karmavasita who is described in the Dharmadhatuvagisvara Mandala as under :

"Karmavasita harita visvavajradhara" NSP, p. 56

"Karmavasita is green in colour, and holds in her left hand the

Visvavajra (double crossed thunderbolt).

The right hand displays the lotus as usual. Her statuette is found

in China a .

UPAPATTI VASITA

Colour Mixed Arms Two

Symbol Creepers

The fifth goddess in the Vasita series is Upapattivasita who is des- cribed in the text as follows :

"Upapattivasita visvavarna vividhavarnajatilatahasta."

"Upapattivasita 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 in China *. Fig. 221 illustrates this Chinese specimen.

RDDHIVA&TA

Colour Green Arms Two

Symbol Sun and Moon on Lotus

The sixth goddess in the Vasita series is Rddhivasita whose form is described as follows :

"Rddhivasita nabhahsyama padmastha-suryacandra^mandaladhara." ^ NSP, p. 57

"Rddhivasita 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 in China 1 . Fig. 222 illustrates this Chinese specimen.

ADHIMUKTIVA&TA

Colour White Arms Two

Symbol Priyangu flower

The seventh goddess in the same series is Adhimuktivasita and her form is described in the text as follows :

"Adhimuktivasita mrnalagaura priyangukusumamanjarldhara/ 5

"Adhimuktivasita is white like the stalk of a lotus, and holds in her left hand the buds of the flowers of Priyangu*"

The right hand displays the lotus as usual. She is not represented in the Chinese collection.

PRANIDHANAVA&TA

Colour Yellow Arms Two

Symbol Blue Lotus

The eighth goddess in the series is Pranidhanavasita whose form is described in the following words :

Pranidhanavasita pita nilotpala-hasta." NSP, p. 57

"Pranidhanavasita 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 2

JNANAVASITA

Colour Whitish Blue Arms Two

Symbol Sword on Lotus

Jnanavasita is the ninth in the series of Vasita goddesses and her form is described in the text of Nispannayogavall as follows :

"Jnanavasita sita nilotpalasthakhadgadhara." NSP, p. 57

"Jnanavasita 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 . ^

DHARMAVA&TA

Colour White Arms Two

Symbol Bowl on Lotus

The tenth goddess in the Vasita series of goddesses is Dharmavasita whose form is described in the text as under :

" Dharmavasita sita raktavarnapadmasthabhadraghatahasta."

"Dharmavasita is white in colour and holds in her left hand the Bhadraghata (auspicious bowl) on a lotus of red colour/'

The right hand displays the lotus -as usual, A statue of this goddess is found in China l .

TATHAT A VASITA

Colour White Arms Two

Symbol Bunch of Jewels

The eleventh deity in the group of Vasita goddesses is Tathata whose form is described in the following terms :

"Tathata sveta svetasubhrambhojabhrddaksinapanir*vamena ratna- manjaridhara". NSP, p 57

"Tathata 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 2 .

BUDDHABODHIPRABHA-VASITA

Colour Yellow Arms Two

Symbol Discus on Banner.

The twelfth and the last goddess in the series of Vasita goddesses is Buddhabodhiprabha, and her form is described in the Dharmadhatu* vaglsvara Mandala with the following words :

"Buddhabodhiprabha kanakabha savyenapitapadmasthapancasuci' kavajradhara vamena Cintamanidhvajopari cakradhara".

"Buddhabodhiprabha 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 on the Cintamani banner".

(Hi) TWELVE

In Buddhism the Bhumis are recognized as different spiritual spheres through which a Bodhisattva moves in his quest for Buddhahood and omniscience. They are recognized as ten in number to which the Vajra- yana added two to make it

twelve. As the Bodhisattva progresses in spi- ritual path, he develops certain special qualities which entitle him to move towards the higher Bhumis. They are arranged one upon another in a regular order with the last at the top which

when reached, makes the Bodhisattva equal to a Buddha and he attains omniscience.

These Bhumis or spiritual spheres also received the attention of Vajrayana, and in no time they were deified, and were given different forms. Statues were prepared and many of them were found represen- ted in China.

These twelve Bhumis are now describe^ in the same order as given in the Dharmadhatuvagisvara Mandala of the Nispannayogavall, They are two-armed and hold in the right hand the Vajra and in the left their own weapons or signs.

(Dvadasabhumayo dvibhuja daksine vajradharinyo vamena svasvacihnadharah, p. 55).

ADHIMUKTICARYA

Colour Red Arms Two

Symbol Red Lotus

The first of the twelve heavens is the Adhimukticarya Bhumi and is described in the following words in the Nispannayogavall :

"Adhimukticaryabhumih padmarakta raktapadmadhara",

"Adhimukticarya Bhumi 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 Bhumi goddesses.

She is not represented in the Chinese collection at Peiping,

PRAMUDITA

Colour Red Arms Two

Symbol Jewel

The second goddess in the series "of Bhumi deities is Pramudita. Her form is described in the following words :

"Pramudita rakta Cintamanibhrt". NSP, p, 55

"Pramudita is red in colour and holds in her left hand the Cinta^ mani jewel".

The right hand displays the Vajra which is the common sign. Her statue is found in the Chinese collection '.

VIMALA

Colour White Arms Two

Symbol White Lotus

The third goddess in the series of Bhumi deities is known as Vimala and hei form is described as under :

"Vimala sukla sukla-kamaladhara". NSP, p. 55

" Vimala 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 a .

PRABHAKARI

Colour Red Arms Two

Symbol - Sun on Lotus

The fourth goddess in the series of Bhumi deities is Prabhakari whose form is described in the following words :

"Prabhakari rakta visvapadamasthasuryamandaladhara"

"Prabhakari 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 .

ARCISMATI

Colour Green Arms Two

Symbol Blue Lotus

The fifth goddess in the series of Bhumi deities is called Arcismati and her form is described in the Nispannayogavali as follows :

"Arcismati marakatavarna mlotpaladhara". NSP, p. 55

"Arcismati is of the colour of an emerald and holds in her left hand the blue lotus".

The right holds the common symbol*

She is not represented in the Chinese collection.

SUDURJAYA

Colour Yellow Arms Two

Symbol Emerald

The sixth goddess in the series of Bhumi deities is called Sudurjaya and her form is described as under :

"Sudurjaya pita utsafigasthottanapanina marakatamanidhara".

" NSP, p. 55

"Sudurjaya is yellow in colour and carries an emerald on her open palm on the lap"

The right holds the common symbol, the Vajra. She is not represented in the Chinese collection.

ABHIMUKHI

Colour Yellow Arms Two

Symbol Manuscript

The seventh goddess in the series is called Abhimukhi. She is described as follows :

"Abhimukhi hemavarna padmopari Prajnaparamitapustakadhara.

"Abhimukhi is of the colour of gold and holds on a lotus the Prajna^ paramita manuscript".

The right hand displays the common symbol. A statuette of this goddess is found in China ! .

DURANGAMA

Colour Green Arms Two

Symbol Double Vajra on Double Lotus.

The eighth in the series of Bhumi goddesses is known by the name of Durafigama and is described as follows :

"Durafigama gaganasyama visvapadmopari visvavajradhara".

"Durangama is green like the sky and holds in her left hand the Visvavajra (double thunderbolt) on a Visvapadma (double conventional lotus).

The right hand displays the common symbol.

A statuette of this goddess is found in China ] .

CALA

Colour White Arms Two

Symbol Vajra on Lotus

The name of the ninth goddess in the series of Bhumi deities is Acala whose form is described thus :

"Acala saraccandrabha candrasthapancasucikavajrankitapahkajasya nalam sagarvam vibhrati", NSP, p. 52

"Acala 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 five- thonged Vajra on the disc of the moon".

The right hand displays the common weapon, the Vajra. Her statue is found in China 2 .

ADHUMATl

Colour White Arms Two

Symbol Sword on Lotus

The tenth deity in the series of Bhumi goddesses is Sadhumatl. Her form is described thus :

"Sadhumatl sita khadgankitotpaladhara" NSP, p. 55

"Sadhumati is white in colour and holds in her left hand the sword on a night lotus'*.

The right hand holds the common weapon, the Vajra.

A statuette of this deity is found in China 8 .

DHARMAMEGHA

Colour Blue Arms Two

Symbol Manuscript

The eleventh goddess in the series of Bhumi deities is Dharma- megha whose form is described in the following words : "Dharmamegha dharmameghaparikalita-Prajnaparamitapustakadhara".

"Dharmamegha holds in her left hand the Prajnaparamita manus- cript which is composed of the clouds of Dharma".

A statuette of this goddess is found in China l . Fig. 223 illustrates this Chinese specimen.

AMANTAPRABH A

Colour Red A tms Two

Symbol Image of Amitabha

The twelfth and the last in the series of Bhumi goddesses is Samanta- prabha. Her form is as follows :

"Samantaprabha madhyahnadityavarna padmopari samyaksambo- dhisucaka-Amitabha-Buddhabimbadhara". NSP, p. 56

"Samantaprabha is of the colour of the sun at noon, and holds in her left hand the image of Amitabha Buddha which indicates Perfect Enlightenment".

The right hand displays the common symbol, the Vajra. A statue of this goddess is found in China -.

(TWELVE DHARI^JS)

The Dharmadhatuvagisvara Mandala describes another set of interes* ting deities, twelve in number, called theDharims. InTantric Buddhism, there is a class of literature which is known by the name of Dharanls, or Dharinis, and in the

Nepal Durbar Library there are collections of Dharam works called Brhaddharamsangraha *. The Dharanls are mostly unmeaning strings of words which are required to be kept in memory, so that they may be repeated at will for the purpose of

deve^ loping psychic powers. The Dharanls sometimes reveal traces of a language now unknown. Several Dharanls are recorded in the Sadhana- mala 4 . Nispannayogavali spells the word somewhat differently as DharinI and recognizes a group

of Twelve Dhannis. In the process of deification these Dharinis also became deities with form, colour and symbols. The Dharinis collectively are placed in the family of the Dhyani Buddha Amoghasiddhi of green colour.

When conceived in the form of deities, the Dharinis are endowed with one face and two arms. They all hold in their right hand the double thunderbolt or the Visvavajra, while in the left they carry their

own special symbols 1 . The form, colour, and special symbols of all the Dharim deities are given below in the same order as it appears in the Nispannayogavali under the Mandala of Dharmadhatuvaglsvara.

SUM ATI

Colour Yellow Arms Two

Symbol Ears of Corn

The first in the series is Sumati whose form is described below : "Sumati pita dhanyamanjarldhara". NSP, p. 57

4 'Sumati is yellow in colour and holds in her left hand the ears of

corn"*

The right holds the common symbol, the Visvavajra* She is not

represented in the Chinese collection.

RATNOLKA

Colour Red Arms Two

Symbol Cintamani Banner

The second deity in the series of Dharim goddesses is Ratnolka whose form is described as under :

Ratnolka rakta Cintamanidhvajadhara'*. NSP, p. 57

tl Ratnolka is red in colour and in her left hand she holds the Cinta- mani banner".

In the right hand she holds the common weapon, the Visvavajra. She is not represented in the Chinese collection unless some of the deities like Ratnagni or Ratnarcis is a mistranslation in Sanskrit from Chinese 2

USNISAVIJAYA

Colour White Arms Two

Symbol Jar of Moonstones.

The third in the series of the Dharim goddesses is Usnisavijaya who is a popular deity in the Buddhist pantheon, and as such, has already been described in a previous chapter. As a Dharim goddess, Usnisa- vijaya is described as :

"Usnisavijaya sita candrakantamani-kalabahasta". NSP, p* 57

"Usnisavijaya is white in colour and holds in her left hand a jar full of Moonstones".

1. The relevant text is "Dvadasadharinyo dvibhujah savyena visvavajram vibhrana vameha sagarvam svasvacUmabhrtah. NSP, p. 57

Her right hand displays the Visvavajra, as usual. She is known to the Chinese collection T .

MARl

Colour Reddish White Arms Two

Symbols Needle and String

The fourth deity in the Dharim series of goddesses is Man who is described in the following words :

"Marl raktagauravarna sasutrasucldhara." NSP, p. 57

"Marl is reddish white in colour and holds in her left hand the needle with string/'

The right hand holds the common weapon, the Visvavajra. Man is not represented in the Chinese collection.

PARNASABARI

Colour Green Arms Two

Symbol Peacock's Feathers

Parnasabari is the fifth in the list of Dharim deities in the Nispan^ nayogavali, and her form is described therein as follows :

"Parnasabari syama mayurapicchadhara"'. NSP, p. 57

"Parnasabari is green in colour and holds in her left hand the peacock's feathers/ 7

The right hand shows the common weapon, the Viivavajra She is popular in all Buddhist countries and several six-armed forms of her have already been noted '*. The text of the Dharim is given in the Sadhanamala l . Parnasabari images are

found in Tibet and China <J in fairly large numbers.

jANGULl

Colour White Arms Two

Symbol Flowers

The sixth in the Dharim series of goddesses is the well-known deity Jahgull whose iconography has been dealt with earlier. As a Dharim deity her form is as follows :

"Jahgull sukla \dsapuspamanjaridhara." NSP, p. 57

1. Clark: 'ILP, II, p. 286

2. See Supra

3. Sadhana 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, II, p. 267, and in the same volume two six-armed specimens are shown on pp. 207, 287. See also Getly :

"Jafxguli is white in colour and holds in her left hand buds of poisonous flowers."

Her right hand as usual holds the common weapon, the Visvavajra. She is represented in the Chinese collection and her statuettes have been noted } . The text of the Janguli Dharam is given in the Sadhanamala 2 . Jahgull Dharinl is said

to be effective against snake poison.

ANANTAMUKHI

Colour Green Arms Two

Symbol Jar

The seventh goddess in the series of twelve Dharim deities is Anan* tamukhl whose form is described in the following words :

"Anantamukhi priyangusyama raktabjasthaksaya*mahanidhikalas* ahasta". NSP, p. 57

"Anantamukhl is green as the Priyangu 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 Visvavajra. She is not represented in the Chinese collection.

CUNDA

Colour White Arms Two

Symbol Rosary with Kamandalu

The eighth deity in the series of twelve Dharim goddesses is the well-known Cunda whose iconography and antiquity have already been dealt with in detail in an earlier chapter. As a Dharini goddess her form is described in the following

words :

Cunda sukla aksasutravalarnbitakamandaludhara.

"Cunda is white in colour and holds the rosary from which a Kamandalu is suspended "

The right hand as usual shows the common weapon, the Visvavajra.

Cunda is popular in the Chinese collection, and several of her statue- ttes are found there 3 . Cunda is also popular in Tibet *.

4. The Cunda image in the collection of the late W. B. Whitney is illustrated in Gordon : ITL, pp 74. It is a four'armed image. See also Getty : GNB, pp. 129, 130

PRAJNAVARDHANl

Colour White Arm s Two

Symbol Sword

The ninth in the series of twelve Dharim goddesses is Prajnavardha- ni whose form is described in the following text :

"Prajnavardham sita nllotpalakhadgadhara". NSP, p. 57

"Prajnavardham 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 Visvavajra.

She is not represented in the Chinese collection.

SARVAKARMAVARANAVISODHANI

Colour Green Arms Two

Symbol Vajra

The tenth in the series of twelve Dharim goddesses is Sarvakarma^ varanavisodhani whose form is described in the following words :

"Sarvakarmavaranavisodham harita trisucikavajrahka*sitakamala~ dhara". " NSP, p. 57

"Sarvakarmavaranavisodhani 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 Visvavajra. She is not represented in the Chinese collection.

AKSAYAJNANAKARANDA

Colour Red Arms Two

Symbol Basket

The eleventh deity in the series of twelve Dharim goddesses is Aksa- yajnanakaranda, whose form is described in the following words :

"Aksayajnanakaranda rakta ratnakarandadhara." NSP, p. 57

"Aksayajnanakaranda is of red colour and holds in her left hand the basket full of jewels.*'

The right displays as usual the common weapon, the Visvavajra. She is not represented in the Chinese collection.

SARVABUDDHADHARMA-KOSAVATI

Colour Yellow Arms Two

Symbol Trunk

The twelfth and the last deity in the series of twelve Dharim goddes- ses is Sarvabuddhadharma-KosavatI whose form is described in the following text :

"Sarvabuddhadharmakosavatiplta padmasthananaratnapetakadhara/'

Sarvabuddhadharma-Kosavati is yellow in colour and holds in her left hand the trunk full of various kinds of jewels on a lotus".

The right hand displays the common weapon, the Visvavajra* She is not represented in the Chinese collection.

FOUR PRATISAMVITS

In Buddhism Four Pratisamvits are acknowledged as the branches of logical analysis, and these are named as Dharma (nature), Artha (ana- lysis), Nirukti (etymological analysis) and Pratibhana (context). These abstract ideas also received

the attention of the Vajra>anists and were duly deified with human form, colour, weapon, and symbols. In a deified form these four Pratisamvits are found described in the Dharma- dhatuvagisvara Mandala of the Nispannayogavali. These are

described below with necessary details in the same order in which they appear in the Mandala.

DHARMA PRATISAMVIT

Colour Whitish Red Arms Two

Symbol Goad and Noose

The first in the series of Pratisamvit deities is Dharma Pratisamvit whose form is described in the text as follows :

1 Turvadvare Dharma-Pratisamvit sitarakta vajrankusapasabhrd- bhujadvaya". NSP, p. 5?'

"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 .

ARTHA PRATISAMVIT

Colour Green Arms Two

Symbol Noose

The second goddess in the series of four Pratisamvit deities is Artha Pratisamvit whose form is described thus in the text :

"Daksine Arthapratisamvit marakatavarna savyetarabhujabhyarh ratnapasabhrt". 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.

A statuette of this obscure deity is found in the Chinese collec- tion ] .

N1RUKTI PRATISAMVIT

Colour Red Arms Two

Symbol Chain

The third in the series of four goddesses of the Pratisamvit group is Nirukti Pratisamvit whose form is described in the text as follows :

"Pascime Nirukti'Pratisamvit rakta haddhapadmantasrfikhala- bhrdbhuiadvaya". NSP, p. 58

"In the West there is Nirkuti Pratitamvit of red colour, holding in her two hands the chain from which a lotus is suspended".

A statuette of this obscure deity is found in the Chinese collection of Peipmg 2 . Fig. 224 illustrates this Chinese specimen.

PRATIBHANA PRATISAMVIT

Colour Green Arms Two

Symbol Bell

The fourth and the last goddess in the series of Four Pratisarhvit deities of the Buddhist pantheon is described in the Dharmadhatuva* gisvara Mandala in the following words :

'Uttare Pratibhanapratisarhvit marakatasyama trisucikavajrahkita- ghantavyagrakaradva>a". NSP, p, 58

"On the North there is Pratibhana Pratisamvit of the colour of an emerald (green), holding in her two hands a bell marked with a Vajra with three thongs"

A statuette of this extremely obscure deity is found in the Chinese collection at Peiping \ Fig. 225 illustrates this Chinese statuette.

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 Sarasvatl and Ganapati were given

independent forms as principal gods in the Sadhanas, besides a large number as companion deities or as Vahanas or vehicles of important Buddhist deities. They were also given humiliating roles to be trampled upon by angry Buddhist gods.

A perusal of the Nispannayogavali and especially the Dharmadhatuvagisvara Mandala will show what a large number of Hindu deities was incorporated in the Mandala, and how this large number was tackled intelligently and fitted into the

scheme of the Buddhist Mandalas. How these Hindu gods were classified and how directions and colours were assigned to them, and how they were put under a Dhyani Buddha family, represent a study interesting to the extreme. It is necessary

to make a brief reference to this aspect of Buddhist Iconography. That these Hindu deities were fully converted to 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 per- fectly Indian, as image after image follows the description given either in the Nispannayogavall

or in the Sadhanamala.

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 to be of great importance. These are Mahakala the prototype of Siva Mahadeva with the Trisula as the recognition symbol, Ganapati the elephant-faced

god, and Sarasvatl the Goddess of Learning with her characteristic Vina. Separate Sadhanas are assigned to all of them, and even independent shrines for them are not wanting in the Buddhist countries of the North.

MAHAKALA

In the Sadhanamala as well as in the Nispannayogavall there are several descriptions of the ferocious Hindu god, Mahakala. 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 or six arms, or eight faces with sixteen aims. He is one of the many terrible deities of the Buddhist pantheon with ornaments of snakes, canine teeth,

protruding belly and garment of tiger-skin. The different forms of Mahakala are described belou .

(I) TWO-ARMED

Colour Blue Arms Two

Symbols Kartri and Kapala

At least six Sadhanas in the Sadhanamala describe the two-armed variety of Mahakala. One among them is quoted here.

"Srl-Mahakalabhattarakam dvibhujarh ekamukhfeih kr&navarnam trinayanam mahajjvalam kartrikapaladharinam daksinavamabhujabh^am mundamalalahkrtorddhvapingalakesopari pancakapaladharorh damstra- bhimabhayanakam bhujahgabharanayajnopavitarh

kharvaruparh srava* drudhiramukharh atmanam jhatiti mspadya.. ". Sadhanamala, p. 585.

"The worshipper should conceive himself as Sri Mahakala Bhattara- ka who is two-armed and one-faced and has blue colour. He is three- eyed, has fiery radiance, and carries the Kartri and the Kapala in his right and left hands respecti

vely. He bears five skulls on his brown hair which rises up on his head and is decorated with a chain of severed heads. He looks terrible with bare fangs, and is decked in ornaments of serpents and a sacred thread made out of a snake. He

is short and from his mouth trickles forth blood. Thus quickly meditating...".

Instead of the Kartri, Mahakala carries the Trisula in his right hand in some cases. Images of Mahakala abound in Nepal and are found in large numbers in Buddhist temples, monasteries and even in the streets. Sometimes the head only is

represented. Fig. 226 illustrates one of the finest specimens of Mahakala beloniug to the collection of Pandit Siddhiharsa Vajracarya of Nepal. Here the god tramples upon two figures representing two human corpses as required by the

Sadhana. He weilds the menacing Kartri in the right hand and the Kapala full of blood in the left. Images of Mahakala are also found in abundance in Tibet ' and China *.

1. Gordon: 1TL, p. 90 in which four images of Mahakala are represented. See also Getty : GNB, PL XLIX where four more illustrations are available.

(II) FOUR-ARMED

Colour Blue Arms Four Symbols Kartri and Kapala, Sword and Khatvahga

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 Kapala in the first or the prin- cipal pair of hands, and the sword

and the Khatvanga in the second pair.

(III) SIX-ARMED

Colour Blue Arms Six

Symbols r. Kartri, Rosary, Damaru 1. Kapala, Sula, Vajrapasa

When six-armed the form of Mahakala 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 Damaru in

the right and the Kapala, the Sula and the Vajrapasa in the left.

(IV) SIXTEEN-ARMED

Colour Blue Arms Sixteen

Faces Eight Legs Four

When sixteen-armed, he is eight-faced and is represented in yab-yum in the embrace of his Sakti, and what is really strange, he is also four- legged. The Sadhana describes his form in the following words :

"Atmanam Bhagavantam sodasabhuja-Mahakalam bhavayet ; asta- vadanam caturvimsatinetram catuscarnam sodasabhujam ; daksinakaraih kartri-vajra-gajacarma-mudgara-trisula-khadga-yamadandah, vamakaraih raktapurnakapala-gajacarma-ghanta-

ahkusa-svetacamara-damaru-narasiro dadhanam sesabhujabhyarh Prajnalingitam ; kharvakrsnam hahahihi* hehepuritamukham maharaudrarh trikayatmakam panca-Buddhamu- kutinam naramundamalabharanam bhayasyapi bhayankaram",

"The worshipper should conceive himself as sixteen-armed Maha- kala with eight faces, twenty-four eyes, four legs, and sixteen arms. He carries in his (seven) right hands the Kartri, the Vajra, the elephant- hide, the Mudgara, the

Trisula, the sword and the staff of Yama, and in the (seven) left hands the Kapala full of blood, elephant-hide, the bell, the goad, the white chowrie, the Damaru and the human head. The two remaining hands are engaged in embracing the

Prajna. He is short and blue in complexion, utters laughing sounds, such as ha ha, hi hi, he he, and looks terribly tierce. He is the essence of the Three Kayas, bears the images of the five Dhyani Buddhas on his crown, is decked in

garlands of heads as ornaments, and is more awe-inspiring than Awe itself."

The Sadhana further adds that Mahakala should be surrounded by seven goddesses, three in the three cardinal points, (the fourth being occupied by his own bakti) and the other four in the four corners.

To the East is Mahamaya, consort of Mahesvara, who stands in the Alidha attitude and rides a lion. She has four arms, of which the two left hands carry the Kapala 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.

To the South is Yamaduti, 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.

To the West is Kaladuti, who carries in her two left hands the Kapala and the Cow's head and in the two right the Mudgara and the Trisula. She stands in the Alidha attitude on a horse, has red com- plexion 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. Kalika in the SE corner is blue in complexion, has two arms carrying the Kapala and the Kartri, and stands on a corpse in the Alidha attitude. Carcika in the SW corner has red

complexion, carries the Kartri and the Kapala in her two hands and resembles Kalika in all other respects. Candesvan in the NW corner has yellow complexion, carries in her two hands the grass and the deer, and stands in the Alidha

attitude on a corpse. Kulisesvarl 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 Mahakala should be meditated upon as trampling upon Vajrabhairava in the form of a corpse.

Mahakala is a ferocious god who is generally worshipped in the Tantric rite of Marana and for the destruction of enemies, Mahakala was also regarded as a terrible spirit, and was calculated to inspire awe in

the minds of those Buddhists, who were not reverential to their Gurus, and did not care much for the Three Jewels. He is supposed to eat these culprits raw, and the process of eating has been minutely described in almost all the

Sadhanas. The Sadhanas generally contain the following verses in order to show the terrible nature of Mahakala t

Acaryye yah sada dvesi kupito Ratnatrayepi yah 1 Anekasattvavidhvamsl Mahakalena khadyate II Cchedayet svangamamsani pivedrudhiradharaya I Sirasi vinivesyaiva tilamatranca karayet II

u He who hates his preceptor, is adversely disposed to the Three Jewels, and destroys many animals is eaten up raw by Mahakala.

He, (Mahakala) cuts his flesh to pieces, drinks his blood, and (after) entering into his head breaks it into small bits."

GANAPATI

Colour Red Arms Twelve

Vahana Mouse

Asana Dancing in Ardhaparyahka

Only one Sadhana in the Sadhanamala describes the form of Gana* pati. He is twelve-armed and one-faced and rides his favourite Vahana, the Mouse. The Dhyana describes him in the following terms :

"Bhaga van tarn Ganapatirh raktavarnam jatamukutakirltinam sarva- bharanabhusitam dvadasabhujam lambodaraikavadanam ardhaparyanka- tandavam trinetram api ekadantam savyabhujesu kuthara-sara-ahkusa- vajra-khadga-sulanca ; vamabhujesu

musala-capa-khatvahga asrkkapala' phatkanca raktapadme musikopari sthitam iti 1 '

Sadhanamala, pp. 592-593

"The worshipper should concieve himself as god Ganapati of red complexion, bearing the Jatamukuta, decked in all ornaments, having twelve arms, a protruding belly and one face. He stands in the Ardha- paryahka in a dancing attitude, is

three-eyed and has one tusk He carries in his right hands the Kuthara, the arrow, the goad, the Vajra, the sword and the Sula, and in his left the Musala, the bow, the Khat* vahga, the Kapala full of blood, the Kapala of dried meat and

the Phatka. He rides the mouse on a red lotus."

Fig. 227 is an Indian image of the four-armed Ganapati which 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.

Ganapati images are also noticed in China l and in painted banners of Tibet.

GANAPATIHRDAYA

Asana Dancing Arms Two

Mudras Abhaya and Varada

Like Ganapati himself Ganapatihrdaya who is in all probability is his Sakti or female counterpart, cannot be easily assigned to any particular Dhyani Buddha. Her form is described in the Dharmakosasangraha of Amrtananda in the following

words :

"Ganapatihrdaya ekamukha dvibhuja varada abhaya nrtyasana".

Dharmakosasangraha, Fol. 43

"Ganapatihrdaya 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. Evans^ Wentz.

SARASVATl

Sarasvati is the name of an ancient river now filled up by the sands of Rajputana on the banks of which the Vedic Aryans originally settled after their migration to 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 Pauranic age deified as the the Goddess of Learning. The Buddhists borrowed this Hindu goddess, incorporated her bodily into their pantheon in

the Tantric 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, or 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 Manjusri and Pro jnaparamita, she confers wisdom, learning, intelligence, memory, etc. a comparatively large number of Sadhanas is

assigned to her in the Sadhanamala.

MAHASARASVATl

Symbols r. Varada Mudra ; 1. Lotus. Colour White

She has white complexion, shows the Varada pose in the right hand 1. Clark: TLP, II, p. 153

and carries the white lotus in the left. The Dhyana describes her form in the following terms :

" Bhagavatlm Mahasarasvatlm anuvicintay et saradindukarakaram sitakamalopari candramandalastham ; daksinakarena varadam, vamena sanalasitasarojadharam smeramukhlm atikarunamayam svetacandanaku* sumavasanadharath muktaharopasobhitahrdayam

nanaratnalankaravatlih dvadasavarsakrtim muditakucamukuladanturorastatlm sphuradanantaga- bhastivyuhavabhasitalokatrayam. Sadhanamala, p. 329

"The worshipper should think himself as goddess Mahasarasvati, who is resplendent like the autumn moon, rests on the moon over the white lotus, shows the Varada mudra in her right hand, and 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 half-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 Sarasvati, and all the other varieties, unless otherwise stated, are identical in appearance with the one just described. The distinctive feature of this goddess Mahasarasvati is that she shows like the

ordinary Taras the Varada mudra in the right hand and carries the lotus in the left (Fig. 230), and is surrounded by four deities identical in form with herself Prajna is in front of her, Medha to her right, Smrti to her left, and Mati

in the west. These four divi- nities 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 1 and China - where she is widely represented.

VAJRAVINA SARASVATI

Colour White Symbol Vina

Vajravlna Sarasvati like Mahasarasvati is also white in complexion, peaceful and benign in appearance. She is also two*armed but the dis- tinguishing feature in her case is that she carries in her two hands the Vina, a kind of stringed

musical instrument, and plays upon it. She

may also be represented as accompanied by the four divinities as in the previous case.

Fig, 231 illustrates her statuette at Peiping.

VAJRAARADA

Symbol r. Lotus ; 1. Book

According to the Dhyana in the Sadhanamala she rests upon a pure white lotus, and a crescent decorates her crown ; she is three-eyed and two-armed and carries the book in the left hand and the lotus in the right. The accompanying illustration (Fig. 232) shows how she is pictur^ ed by Nepalese artists. She may, however, be accompanied by the four attendants, Prajna and others. As the Sadhana is silent about the Asana, she may have any attitude. The Nalanda image

(Fig. 233) which has been identified as Kotisri (?) is probably a stone representation of this goddess. Vajrasarada here sits in Bhadrasana, as do her compa- nions. 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.

Arya Sarasvati

Symbol; Prajnaparamita on Lotus

Arya Sarasvati is another variation of Sarasvati, and is also designated Vajrasarasvati, which seems to be the common name of Sarasvati of the Vajrayanists. 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 Prajnaparamita Book. The Dhyana is silent about the symbol carried in the right hand, which may or may not remain empty. The Asana also is not mentioned which shows that she may be represented in any attitude.

Vajrasarasvati

Faces; Three

Arms; Six

Asana; Pratyalldha

The name Vajrasarasvati is given to this goddess in order to distin- guish her from the other four varieties of Sarasvati, with four different names given in the Sadhanas. 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 Mahasarasvati. The difference here is that her hair is brown and rises upwards, and she stands in the Pratyall attitude on the red lotus.

Three Sadhanas in the Sadhanamala are assigned to her worship, and according to 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 on which is the Prajnaparamita Book, the sword and the Kartri, and in the three left the Kapala of Brahma, the jewel and the Cakra. Instead of the book on lotus and Brahmakapala she may also hold the lotus and the Kapala only. Fig 235 illustrates a Nepalese drawing belonging to the latter variety.

The Eight Dikpalas

The eight Dikpalas or the Lords of the Eight Quarters\\ are described in the Dharmadhatuvagisvara\\ Mandala and other places in the Nispannayogavall. They are the Lords or rather the embodiments of the four principal directions and the

four intermediate corners, and resemble the Yamantaka group of deities of the Buddhists. Their forms are described below in the same order as they appear in the Dharmadhatuvagisvara Mandala. Here only one typical form is given, although

there are many more, even with their female counterparts.

1ndra

Colour; Yellow

Arms; Two

Vehicle; Elephant

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 :

"Airavatarudhah Indrah pito vajram stanam ca dadhanah."

"Indra (of the east) rides on the Airavata elephant and is yellow in colour. He holds in his two hands the Vajra and the breast of a woman."

Under the name of Sakra he appears in the Chinese collection ] .

Yama

Colour; Blue

Arms; Two

Vehicle; Buffalo

Direction; South

The second in the series of eight deities of direction is called Yama here as well as in Hindu scriptures. Yama is described in the following words :

"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 Sula".

Yama, the God of Death is fairly popular in Tibet where his images are found l .

Varuna

Colour; White

Arms; Two

Vehicle; Crocodile

Direction; West

The third in the series of gods of direction is Varuna whose form is described in the text as follows :

"Varune makare Varunah svetah saptaphano nagapasasankhabhrt."

"In the west there is Varuna 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".

His statuettes occur in the Chinese collection under the title of Varuna (deva) 2 .

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 :

"Kauberyarii nare Kuberah supltonkusagadadharah."

"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 Gada (mace)",

Kubera is fairly well represented in Tibet b .

Isana

Colour; White

Arms; Two

Vehicle; Bull

Direction; Isana

The fifth in the series of gods of direction is Isana the Lord of the Isana corner, and his form is described in the following words :

Aisanyam Vrsabharudhah Isanah trisulakapalapanih jatardhacandra- dharah sarpayajnopaviti nllakanthah." NSP, p. 61

"In the Isana corner there is isana riding on a Bull. He is white in colour and holds in his two hands the Trisula (trident) and the Kapala (skull'cup). On his matted hair appears the half-moon, on his body a sacred thread of serpent and his throat is blue/'

As isana he is not represented in the Chinese collection.

Agni

Colour; Red

Arms; Two

Vehicle; Goat

Direction; Agni

The sixth in the series of direction gods is Agni the Lord of the Agni corner. His form is described thus :

"Agneyyam Cchage'gnih raktah sruvakamandaludharah."

"In the Agni corner there is Agni riding on a Goat. He is red in

colour and holds in his two hands the Sruva (ladle) and the Kamandalu (water bowl)."

As Agnideva his forms occur twice in the Chinese collection l .

Nairrti

Colour; Blue

Arms; Two

Vehicle; Corpse

Direction; Nairrta corner

The seventh direction god is called by the name of Nairrti who presides over the Nairrta corner. His form is described in the text as follows :

"Nairrtyarh Raksasadhipo Nairrtih mlah save khadgakhetakabhrt."

"In the Nairrta corner there is the Lord of the Raksasas (goblins) called Nairrti who is blue in colour and rides on a corpse. In his two hands he holds the sword and the Khetaka (stick)".

He is not represented in the Chinese collection.

Vayu

Colour; Blue

Arms; Two

[[Vehicle];] Deer

Direction; Vayu.

The eighth and the last deity in the series of direction gods is called Vayu the Lord of the Vayu corner. His form is described thus :

"Vayavyam mrge Vayurmlo vataputadharah". NSP, p. 61

1. Clark :TLP, II, pp. 87, 65 ~

"In the Vayu corner there is Vayu riding on a Deer and blue in colour. In his two hands he shows the Vataputa" (empty fold).

Under Vayudeva his statuette occurs in the Chinese collection l .

Ten Principal Hindu Deities

In the Brahma 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 Puranas and Tantric works of the Hindus. The gods of the Brahma group are described with typical examples in the same order as they appear in the Dharmadhatuvagisvara Mandala of the Nispannayogavali.

Brahma

Colour; Yellow

Arms; Four

Vehicle; Swan

The first among the ten gods of this list is Brahma. His form is given in the following text :

"Harhse Brahma pitascaturbhujah aksasutrabjabhrt~savyetarabhyam krtanjalir-danda-kamandaludharah". NSP, p. 61

"On a Swan appears Brahma of yellow colour with four arms. With the two principal hands carrying the rosary and the lotus, he displays the Anjah (clasped hand) mudra, and the two other hands carry the staff and the Kamandalu'*.

Vishnu

Arms; Four

Vehicle; Garuda

The second god in this series of ten principal gods of the Hindu pantheon is called Visnu. His form is described as under :

"Garude Visnus-caturbhujah cakrasankhabhrtsavyavamabhyam murdhni krtanjalir-gadasarngadharah". NSP, p. 61

"On a Garuda there is Visnu with four arms. With the two prin* cipal hands carrying the Cakra and the Sahkha he displays the Anjali on his head. With the two others he holds the Gada (mace) and the bow".

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 :

"Vrsabhe Mahesvarah sitah sasikanakankitajatamukutas-catur bhujah sirasi krtanjalis-trisulakapalabhrt". NSP, p. 62

"Mahesvara 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 Anjali over the head, and with the two others he carries the Trisula and the Kapala".

One statuette of Mahesvara occurs in the Chinese collection ] .

Karttikeya

Colour; Red

Arms; Six

Symbol; Hen

Vehicle; Peacock

The fourth god in this series is Karttikeya and his form is des* cribed as follows :

"Mayure Karttikeyo raktah sanmukhah savyabhyam saktim vajram ca vamabhyarh kukkutam ca dadhano dvabhyam krtanjalih,"

'Karttikeya 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 Anjali".

Varahi

Colour Blue Arms Four

Symbol Fish Vehicle Owl

The fifth deity in this series is a goddess and is called here as Varahl. Her form is described as follows :

"Varahl krsna pecakarudha caturbhuja savyavamabhyam rohita- matsyakapaladhara dvabhyam krtanjalih". NSP, p. 62

" Varahl is 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 Kapala in the left. Two others are clasped in Anjali".

Two statuettes of the deity are represented in the Chinese collec- tion *,

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 Camunda. Her form is described as follows :

"Pretopari Camunda rakca caturbhuja kartrikapalabhrtsavyetara krtSnjali". NSP, p. 62

"Camunda rides on a corpse and is of red colour. She is four- armed. With the first pair of hands she holds the Kartri in the right and the Kapala in the left. In the second she exhibits the Anjali".

One statuette of this goddess occurs in the Chinese collection *,

Bhrhgi

Colour; Blue

Arms; Four

The seventh deity in this series is Bhrhgi whose form is described in the Dharmadhatuvagisvara Mandala as follows :

"Bhrhgi krsriah krsnaksasutrakamandaludharah krtanjalih".

"Bhrhgi is blue in colour and he holds in the first pair of hands the blue rosary and the Kamandalu. In the second pair the Anjali is shown'*.

Bhrhgi is not represented in the Chinese collection.

Ganapati

Colour; White

Arms; Four

Symbol; Elephant-face

Vehicle; Rat

Ganapati is a popular deity in the Buddhist pantheon. He is des- cribed several times in the Nispannayogavall, and as already stated an independent Sadhana in the Sadhanamala is devoted to his worship. In the Mandala of

Dharmadhatuvagisvara his description is as follows :

Musake Ganapatih sitah karivaktrah sarpayajnopaviti caturbhujah savyabhyam trisulaladdukau vamabhyam parasumulake dadhanah.

"Ganapati 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 the' Trisula and the Ladduka (sweet balls), and in the two left the Parasu (axe) and the Mulaka (radish).

In the Bhutadamara Mandala, he is given four hands carrying the Mulaka and the Parasu in the two right, and the Trisula and the Kapala in the two left J .

One statuette of his is recorded in the Chinese collection 2 . It is illustrated in Fig. 241-

Mahakala

Colour; Blue

Arms; Two

Symbol; Trident

The ninth in this series of Hindu deities in the Buddhist pantheon is called Mahakala who is popular both in the Sadhanamala as well as in the Nispannayogavall. His form is described as follows :

"Mahakalah krsnas-trisula-kapalabhrt". NSP, p. 62

" Mahakala is blue in colour and carries the Trisula and the Kapala in his two hands".

One statuette of his occurs in the Chinese collection 3 . His des- cription in the Sadhanamala is more detailed. The different forms of Mahakala have already been discussed in an earlier section in this very chapter.

(Nandikevara

Colour; Blue

Arms; Two

Symbol; Muraja

Vehicle; Muraja

The tenth and the last in this series of Hindu gods is called Nandi- kesvara. His form is described thus in the Mandala of Dharmadhatu- vagisvara :

"Nandikesvarah krsnah Murajarudho Murajavadanaparah".

"Nandikesvara 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 Nandisvara (deva) which is the same as Nandikesvara *. _____

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 Mandala of Dharmadhatuvagisvara of the Nispannayogavall*

Aditya

Colour; Red

Arms; Two

Symbol; Discs 6f 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 Nispannayogavall as follows :

"Saptaturagarathe Adityo rakto daksinahastena vamena ca padmas- tha-suryamandaladharah". 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 Surya *.

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 :

"Hamse Candrah subhrah savyahastena vamena ca kumudastha- candramandalabhyt". 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 .

(III) MANGALA

Colour; Red

Arms; Two

Symbol 'Human head

Vehicle; Goal

The third in the series of Nine Planets is Mangala or the War*Lord Mars whose form is described in the following words :

"Chhagale Mangalo raktah savyetfa kattaram vamena Manusa- mundam bhaksanabhinayena dadhanah". NSP, p, 62

" Mangala rides on a Goat. He is red in colour. In the right hand he holds the Kattara (cutter) and in the left a severed human head in the act of devouring".

He is not found in the Chinese collection.

BUDDHA

Colour; Yellow

Arms; Two

Symbol; Bow 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 saradhanurdharah" NSP, 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 .

Brhaspati

Colour; White

Arms; Two

Symbols; Rosary and Kamandalu

Vehicle; Frog or Skull

The fifth god in the series of Nine Planets is Brhaspati or Jupiter* His form is described in the text as under :

"Bheke Kapale va Brhaspatir'gauro'ksasutrakamandaludharah,"

"On a Frog or a skull there is Brhaspati of white colour. He carries the rosary and the Kamandalu in his two hands".

Brhaspati is not represented in the Chinese collection of Peiping. 1. Clark : TLP, II, p. 83

Sukra

Colour; White

Arms; Two

Symbol; Rosary and Kamandalu

The sixth in the series of Nine Planets is Sukra or Venus whose form is described in the text as under :

"Sukrah suklah kamalastho'ksasutra-kamandalubhrt.

"Sukra is white in colour. He sits on a lotus and holds in his two hands the rosary and the Kamandalu/'

Sukra is not represented in the Chinese collection.

Colour; Blue

Arms; Two

Symbol; Rod

Vehicle; Tortoise

The seventh deity in the series of Nine Planets, is Sani, Sanaiscara or Saturn. His form is described in the following words :

"Kacchape Sanaiscarah krsno dandadharah/' NSP, p. 63

Sanaiscara rides 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,

(VIII) RAHU

Colour; Reddish Blue

Arms; Two

Symbol; Sun and Moon

The eighth deity in this series ot Nine Planets, is the destructive deity Rahu. His form is as under :

"Rahu raktakrsnah suryacandrabhrt'Savyetarakarah."

NSP, p. 63

"Rahu is reddish blue in colour, and he holds in his two hands the Sun and the Moon."

As Rahudeva he occurs once in the Chinese collection. This Chinese statuette is illustrated in Fig. 242 1 .

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 Dharmadhatuvagisvara Mandala :

"Ketuh krsnah khadga-nagapasadharah". 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 '. Fig- 243 illustrates this Chinese specimen.

A set of four Hindu deities under the Balabhadra group is describ- ed fully in the Dharmadhatuvagisvara Mandala of the Nispannayogavall They include Balabhadra, Jayakara, Madhukara, and Vasanta, and in Hinduism, all these are the

companions of the god Kamadeva, the deity of Desire.

BALABHADRA

Colour; White

Arms; Four

Symbol; Plough

Vehicle; Elephant

The first deity in this group is called Balabhadra who may be identi- fied with Balarama the brother of Krsna. These two pastoral deities of Hinduism broadly represented Agriculture and Dairying, Balabhadra is described as under :

"Kunjare Balabhadrah sitah khadga-langaladharah."

NSP, p. 63

"Balabhadra rides an elephant and is white in colour. He holds the sword and the plough."

He is not to be found in China.

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 Jayakaras-caturbhujah (sitah) savyabhyam puspama- lam banam ca vamabhyarh casaka-dhanusl dadhanah." .

"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.

MADHUKARA

Colour White Arms Four

Symbol Makara Banner Vehicle buka Chariot

The third deity in this series of Hindu gods is Madhukara whose form is described as under :

"Sukasyandane Madhukaro gauras-caturbhujah savyabhyam makar- adhvajasare vamabhyam casakacapau vibharti". MSP, 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 the bow".

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. His form is described in the following words in the Dharmadhatuvagisvara Mandala :

"Plavange Vasantah sitas-caturbhujah savyabhyarii bana-krpanabhrt- vamabhyam dhanus-casakadharah". 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 Dharmadhatuvagisvara Mandala eight Lords of Yaksas are described briefly. This list of Yaksa kings is important as it is not found elsewhere ; it is not possible also to individualize them in their forms. The Yaksas are a semi-

mythical class of beings who are supposed to preside over treasures and shower wealth on mankind when propitiated. Kubera is said to be the greatest among the Yaksas, who according to the Hindus, lives in the North along with the Yaksa hordes. The name of his capital is said to be Alakapuri adjacent to Mount Kailasa in the Himalayan region.

YAKSA KINGS

The names of the eight Yaksa kings are ;

1. Purnabhadra

2. Manibhadra

3. Dhanada

4. Vaisravana

5. Civikundali

6. Kelimali

7. Sukhendra

8. Calendra

They are all collectively described in the Mandala in one brief sentence :

"Purnabhadradayo Yaksadhipah b!japuraphala~nakulabhrt-savyet- arakarah". NSP,*p. 63

'The Yaksa kings beginning with Purnabhadra hold in their hands the Bijapura (citron) and the Nakula (mongoose) in the right and left hands respectively".

In colour they differ. Purnabhadra is blue, Manibhadra is yellow, Dhanada is red, Vaisravana is yellow, Civikundali is red, Kelimali is 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 Yaksa group.

Except Jambhala these Yaksas are rarely represented. In the Chinese collection there are two illustrations one under the title of Yaksadeva and another under Yaksa Purnabhadra l . They refer evidently to this group of deities. Besides them there is a series of statuettes which are designated with the general title of Mahayaksa senadhipatis. They carry the citron and the mongoose.

Allied to the Yaksas are the Kinnaras, Gandharvas, and Vidyadharas. They are all semi^mythical beings next to gods, who have power to confer benefit when propitiated. Some information about their kings is found in the

Dharmadhatuvagisvara Mandala of the Nispannayo- gavalL Their forms are described below in the order in which it is found*

KINNARA KING

The Kinnara king is not named here but his form is given in the following words :

"Kinnararajendro raktagauro vinavadanaparah" NSP, p. 63

"The Kinnara king is reddish white in colour and is engaged in playing on the musical instrument called the Vina".

GANDHARVA KING

The Gandharva king is known by the name of Pancasikha and his form is described as follows :

"Pancasikho Gandharvarajendrah pito vmam vadayati".

NSP, p. 63

"Pancasikha the king of the Gandharvas is yellow in colour and he plays on the Vina instrument".

VIDYADHARA KING

The king of the Vidyadharas is named as Sarvarthasiddha and his form is described as below :

"Sarvarthasiddho Vidyadhararajendro gaurah kusumamalahastah".

"Sarvarthasiddha the king of the Vidyadharas is white in colour and holds in his two hands the garland of flowers".

Twenty-Eight Constellations

The Zodiac is divided into 27 or 28 constellations or 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 or

bad effects and are supposed to 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 Naksattras are described collectively in the Dharmadhatu-

vagisvara Mandala of the Nispannayogavall. In this Mandala the Naksattras are given one face and two arms, which are clasped against the chest in the Anjali mudra. In colour, however, they differ.

The Naksattras have the following features in common :

"Asvinyadayo devyasca ratnakancukiparidhanah krtanjalayah".

NSP, p. 65

"The deities beginning with Asvinl are decked in bejewelled jackets and they all show the Anjali mudra".

They differ in colour. Their distinctive colour is given below in the order in which it is found in the Mandala :

1. Asvini White

2. Bharam Green

3, Krttika Green

4. Rohim Reddish White

5. Mrgasira Blue

6. Ardra -Yellow

1. Punarvasu Yellow

8. Pusya Green

9. Aslesa White

10. Magha Yellow

11. Purvaphalguni Green

12. Uttaraphalgum Green as Priyahgu

13. Hasta -White

14. Citra Green

15. Svati-Yellow

16. Visakha-Blue

17. Anuradha Green

18. Jyestha- Yellow

19. Mula Yellow

20. Purvasadha Blue

21. Uttarasadha White

22. Sravana White

23. Dhanistha Blue

24. Satabhisa Yellow

25. Purvabhadrapada

26. Uttarabhadrapada Yellow

Green

27. Revati-- White

28. Abhijit Green

Time Deities

(I) MONTHS

Another set of interesting Hindu deities is described in the Kalacakra Mandala as Lords of the Twelve 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 Kalacakra Mandala :

1. Caitra Naiirti 2. Vaisakha Vayu

3. Phalguna Yama 4. Jyaistha Agni

5. Asadha Sanmukha 6* Pausa Kubera

7. Asvina Sakra 8. Karttika -Brahma

9. Margasirsa Rudra 10. Sravana Samudra

11. Bhadrapada Ganesa 12. Magha Visnu

These twelve gods, at least most of them, are described previously.

But the forms in the Kalacakra Mandala are somewhat different. Hete they are all accompanied with their Saktis, mostly four-armed and have their distinctive vehicles.

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.

Hindu Gods in Vajrayana

zodiacal signs

Besides these, there are the Twelve Signs of the Zodiac, named in the Hindu books on Astrology as Mesa, Vrsabha, Mithuna, Karka, Sirhha, Kanya, Tula, Vrscika, Dhanu, Makara, Kumbha and Mina. It has not been possible to trace any Sanskrit text from Buddhist Tantric literature which mentions the Dhyana or even a tolerable description of these Signs of the Zodiac, But the Rasis are long believed in India to be the store-houses of mystic power, and it is but natural to

expect that these Twelve Signs should be deified with colour, form, weapons and the rest. It is also natural that these deities should be assigned to one or another of the families of the Dhyani 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 to find descriptive texts. It is however desirable at this stage to refer to the excellent statuettes of the different Signs of the

Zodiac that have been discovered in China and illustrated by Professor Clarke in his Two Lamaistic Pantheons, Vol. II, ] .

(IV) SEASONS

The seasons of the year wore likewise deified and were given form, colour, weapons, and were affiliated to one or another of the Dhyani Buddhas. Descriptions of seasons are also not available in the Buddhist Tantric literature, but their images and statuettes have been discovered both in Tibet 2 and China 3 .

The foregoing is an account of the iconography of Buddhist gods and goddesses as reconstructed from Sanskrit texts of the Buddhist Tantric literature. The study confines itself to the iconography of gods and goddesses only, excluding all

other favourite themes of the Buddh- ists carved on stone or painting, such as the scenes from Buddha's life, the Jataka stories, the Avadanas and others, representations of which, are available from Bharhut, Sanchi, Amaravati, Gandhara or even the cave temples of Ajanta. This book does not refer to 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 to handle large number of images of gods and goddesses with strange faces, weapons and poses. It is a work giving indications as to 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 but a symbol, and it is the business of the students of iconography to find out how the image was made, by whom it was made, and what philosophical and cultural 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 it does not claim to 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 to 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 Tantric work the Guhyasamaja. The pantheon got a good start from the theory of the five Dhyani Buddhas, the embodiment of the five cosmic forces, Rupa, Vedana, Samjna, Samskara and Vijnana. The pantheon further got a fillip from the theory of the Kulas (families) of the Dhyani Buddhas and their Saktis or female counterparts* The Dhyani Buddhas thus became the Kulesas or progenitors or heads of

families, and the families are seen multiplying until they become overwhelming in number. And along with numerical strength, the excellent and meritorious artists went on producing such wonderful specimens of images which were backed by the religious inspiration of the most transcedental type. The pantheon became extremely attrac* tive, 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 Guhyasamaja remained dormant for some 300 years, and was handed down secretly from Gurus to 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 to time and according to space. It has now become so unwieldy and its ramifications have been so intricate and vast, that it has become a highly specialized study requiring experts to handle the gods and goddesses of Buddhism. The study is fascinating to 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 Vajravali, Kriyasamuccaya, the original Tantras like the Kalacakra Tantra, Heruka and Hevajra Tantras, Vajrayogini and Vajravarahi 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 to 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 Sadhanamala and the Nispannayogavali both published in the Qaekwad's Oriental Series for the first time. The Sadhanamala 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.

Nispannayogavali was written by the famous Buddhist author and mystic Mahapandita Abhayakara Gupta whose time is co-eval with that of the Pala king Ramapala who flouris- hed in A, D. 1084-1130. Both these works were written at a time when the psychic phase of Buddhism reached its very zenith, before being destroyed by the sword of Islam. Both the Sadhanamala and the Nispannayogavall therefore record faithfully the highest development of the psychic phase of Buddhism in the 12th century.

The Sadhanas in the Sadhanamala were composed by men distingue shed in the mediaeval age as great Tantric authors. The Dhyanas contained in the Sadhanas laid down the essential features of different gods, and the sculptors and artists

prepared images with the help of these general directions. The Dhyanas 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 Tantric rites in which the images were used had also a modifying in* fluence.

It has been pointed out several times that the most important factor in the identification of images is the miniature figure of the Dhyani Buddha on their crowns. When, however, the parental Dhyani Buddha is not present, other marks of identification have to be sought for. Moreover, difficulties may arise even when the Dhyani Buddhas are present. In cases where all the Dhyani Buddhas are present on the aureole, the Buddha right on the top of the head is to be taken as the parental Dhyani Buddha. The standing figure of Khadiravam Tara in the Indian Museum, Calcutta or the Vikrampur figures of Parnasabari 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 Dhyani Buddhas are not required either by the Sadhana or for identification. Their presence can only be ex- plained by the fact that in all kinds of worship the five Dhyani Buddhas are the first to be invoked. Sometimes, however, the Dhyani Buddhas appear on the image for artistic reasons only, as for instance, in the case of the Dacca Museum image of Arapacana Manjusri. The Java figure of Arapacana is

surrounded by four companions, identical in appearance with himself, but in the Dacca Museum image there are four Dhyani 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 Dhyani Buddhas, here are not required by the Sadhana and are, therefore, more ornamental than otherwise.

But the most serious difficulty arises when instead of the Dhyani Buddha prescribed by the Sadhana some other Dhyani Buddha appears on the crown of any figure. For instance, the Sarnath image of Ucchusma Jambhala should have shown in accordance with the Sadhana the figures either of Aksobhya or Ratnasambhava on its crown, but the effigy of Amitabha is shown instead.

Again, when a reference is made to the Lucknow figure of Marici, who according to the Sadhana should have shown the figure of Vairocana on her crown, shows Amitabha instead. Again the Indian Museum image of Usmsavijaya shows the figure of her parental Dhyani 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 to be that the original texts are not stil] known in their entirety. It must be re- membered that the Sadhanamala and the Nispannayogavall are not the only texts produced in Vajrayana. It is quite likely that new Sadhanas will be forthcoming when further material is published. It is difficult, however, to believe that a new Sadhana for either Marici or Usmsavijaya will be available. In the Sadhanamala itself a large number of Sadhanas is published, but nowhere there is any mention of any other parental Buddha than Vairocana. Thus the possibility of discovering further Sadhanas prescribing parental Buddhas other than Vairocana seems to be remote.

Another alternative suggestion presupposes the existence of ^ fferent cults according as one or another of the Dhyani Buddhas is believed to be the principal or the Adi-Buddha 1 . The Buddhists of Nepal even now are divided into so many different cults, some regard^ ing Amitabha as the Adi-Buddha, and others acknowledging either Vairocana or Aksobhya as the Adi-Buddha. Now though the Sadhanas prescribe the figure of * the Dhyani Buddha Vairocana for both Marici and Usmsavijaya, the followers of the Amitabha cult are at liberty to assign them to that Buddha whom they consider to be the ,Adi'Buddha. Similarly, Ucchusma Jambhala being regarded as the offspring pf Amitabha, is made to bear an image of that Dhyani 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 to 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 prin- cipal ones, or necessary figures for unnecessary ones. A fulLfledgejd

1. The theory of Adi-Buddha originated in the Nalanda monastery about the beginning of the 10th century and was accepted first in the Kalacakrayana, a later form of Vajrayana.

See Csoma de Koros : The Origin of the Theory of Adi-Buddha

Buddhist icon shows in the first place, the principal god, an effigy of his sire on his crown, and the Dhyani Buddhas on the aureole. The icon may further show miniature figures of the companions of the principal god, some worshippers, mythical figures and the three, seven, or sixteen jewels or sacred objects of Buddhism. The figure of Vajrasattva seems to 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 Dhyani 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 Manjusn in which besides the four companions there are present four Dhyani Buddhas Vairocana, Aksobhya, Amitabha and Ratnasambhava, two mythical figures supporting the lotus seat, and two worshippers to 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 no wise affects it. But if, for instance, the companions are confused with the worshippers the identification must be regarded as incorrect. The figures flanking Vajrasana, for instance, are clearly Maitreya and Avalokitesvara accor^ ding to the Sadhana, 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 Vajratara who is surrounded by ten goddesses who originate from the ten syllables of the Mantra "Om Tare Tuttare Ture Svaha". It has also been pointed out previously how from the five letters of the name of Arapacana Manjusri originated the five deities Candraprabha, Jalimprabha, Kesinl, and UpakesinI, and the principal

deity Manjusri. The Dacca image of [[Khadiravam[Tara]] (Fig. 249) is a remarkable instance of the deification of the Tara Mantra. The main figure in accordance with the Sadhana carries the Utpala in the left hand and shows the Varada mudra

in the right, and she is flanked on either side by Asokakanta and Ekajata. 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

Tara Mantra "Orh Tare Tuttare Ture", the two others, Usmsavijaya and Sumbha, being omitted.

Sometimes in the images of Buddhist gods and goddesses we notice the presence of Ganesa, who is regarded by the Hindus as "Siddhidata" or the Bestower of Perfection or success in Tantric rites.

The Buddhists as a proof of their aversion to the followers of the Brahmanical faith, made their gods trample upon Ganesa. Thus in the Indian Museum images of Parnasabari and Aparajita, and in the Baroda Museum image of Vighnantaka,

etc., the deities have been represented as trampling Ganesa under their feet. In the two Vikrampur images of Parnasabari and in the Dacca Sahitya Parisat image of Mahapratisara, Ganesa 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, Ganesa, giving him the epithet of Vighna or Obstacle. Their animosity may be further illus- trated by the

following features of the Sadhanas. The four Hindu gods, Brahma, Visnu, Siva and Indra have been designated uniformly as the four Maras or Wicked Beings, and several Buddhist gods have been described as trampling them under their feet.

The Sadhanas of Prasanna-Tara, Vajrajjvalanalarka, Vidyujjvalakarall, and the like, are instances in point. Trailokyavijaya has been represented as trampling upon the prostrate forms of Siva and Gauri ; Narayana has been made a Vahana or

vehicle by Harihariharivahana. Poor Brahma has been most severely handled by the Buddhists. The severed head of Brahma is a favourite trophy in the hands of Buddhist deities According to Hindu traditions, Brahma 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 to 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 to the alien faith in this manner. On the contrary, they placed Buddha among the ten Avataras of Visnu. In this connection it may be pointed out that in the Kala* cakra Tantra a work of the 10th century A. D. there is evidence that an attempt was made by the Buddhists to unite with the Hindus under the common banner of the god Kalacakra '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 to the colour, weapons, and the Asanas of Buddhist gods who are either represented singly or in yab-yum. The conception of yab-yum images, however, is much more complicated than the single ones.

It has been stated in the Sadhanamala that a single deity may take any colour according to the particular Tantric rite in which he is invoked. For instance, in the Santikavidhi or propitiatory rite the god takes the white or the yellow colour. In Paustikavidhi or protective rite the

yellow colour is taken by the deity. Similarly, in Vasyavidhi (bewitching) and Akarsana (attraction) he may take yellow, green or red colour. In Ucatana (total destruction) and in Marana (killing) the god is generally blue. It may be pointed out here that the word 'Krsna 1 in the Sadhanamala 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 usually 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 and introspection, the Ardhaparyahka shows serenity, the Alidha heroism, the Pratyalidha 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 Sunya is perfect, having attained Karuna and therefore the highest state of Nirvana.

The conception of Sunya in Vajrayana took the concrete shape of a god and a goddess. Sunya took the shape of Heruka when a male god, and became known as Nairatma when a goddess. That unya took the form of a deity does not seem strange in

Vajrayana, where we find conceptions, such as Safigha, Dharma, Prajnaparamita, the twelve Para- mitas, and the five Skandhas deified in the Buddhist pantheon. Thus the conception of Sunya in the form of a god or a goddess is perfectly in

keeping with the tradition of the Vajrayana system. When the Bodhi Mind attains Nirvana it merges in Sunya and there remains in eternal bliss and happiness. And when Sunya was made a goddess, it was easily understood, how eternal bliss and happiness was possible after the attainment of Nirvana. The yab-yum figures, representing Sunya in the form of Heruka in the embrace of oiinya in the form of Nairatma, 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 Vajrayana consider Sunya as the Ultimate Reality, and they believe that the host of gods and goddesses, including the Dhyani Buddhas, are ounya in essence. The innumerable gods and goddesses of the Vajrayana pantheon are all manifestations of Sunya. The gods have no real existence, the images have no real existence, and therefore, it may be positively asserted that a true Vajrayanist never worshipped an image or god. Naturally, since these, paintings,

images, or even the deities themselves have no real or inde- pendent existence, they are merely manifestations in a variety of forms of the One, Undifferentiated Sunya. But it cannot be denied that these images were very useful, since the forms they presented, in accordance with the Dhyanas, to the gaze of the worshippers undoubtedly helped the latter to visualise the deities with whom they were asked to identify themselves. As they had no real existence, these deities had to be attracted to the mind-sky from unknown regions in the firmament by the luminous rays of light issuing from the BIja mantras uttered by the worshipper. The Sunya 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 Sunya.

The question may be raised as to the necessity of a veriety of gods and goddesses when one Sunya would have been sufficient. In answer to this a number of things have to be considered. It may be remember- ed that Sunya, which was

identified with Compassion by the Vajrayan- ists was conceived as manifesting itself in diferent forms in accordance with the different functions it had to discharge. For instance, if any disease is to be cured, Sunya takes the form of Simhanada ; when it is a question of snake-bite, Sunya becomes Janguli ; when destruction of the wicked is needed, Sunya takes the form of Mahakala ; when again, diseases and pestilences are to be prevented, Sunya is conceived as

Parnasabari ; for success in love-affairs, Sunya is invoked in the form of Kurukulla ; and when forcible submission is required in love-affairs, unya becomes Vajrananga, 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 emerges from the one grand conception of ounya 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 Sunya manifests in different forms the nine "Rasas" or dramatic sentiments. For instance, Sunya will be Khadiravam or Lokanatha when benign (Karuna), Marici when Heroic (Vira), Vighnantaka, Heruka or Mahakala when awe-inpiring (Bhaya), Aparajita when wrathful (Raudra), Vajracarcika in its moments of disgust and loathsomeness (Blbhatsa), Prajnaparamita when peaceful (Santa), and so on.

Thirdly, the number of deities increases as objects such as the Three Jewels ; philosophical conceptions such as the Paramitas, Bhumis or Pratisamvits ; literature such the Prajnaparamita, the Dasabhumika Sastra, the Dharims 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 to 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 Sunya so also the host of weapons revolve round the one grand conception of Bodhicitta or the Will to Enlightenment. As these weapons are required to discharge different

functions, the Bodhicitta resolves itself into so many different forms of weapons J . 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 Mara hordes who disturb the worshippers. Bodhicitta becomes the Ahkusa (goad) when the hearts of the wicked are to be pierced. It is conceived as a noose when the Mara hordes are to be securely bound. It

becomes a needle and a thread when the eyes of the wicked have to be sewn up. Bodhicitta becomes a Kartri (knife) when the wicked have to be chopped. It is a Bhindipala (javelin) when Maras have to be attacked from a distance, and a bow and an arrow if the distance be greater.

1. Compare the statement in the Jnanasiddhi of Indrabhuti in the Two Vajrayana Works (GOS), pp. SO, 81

Bodhicittam bhaved Vajram Prajna Ghanta vidtuyate I Cakratn-ajnanacchedat ca Ratnantu durlabhadapi II Bhavadosair-aliptatvat jninam tat Padam-ucyate I Khadgah klearisamcchedat Utpaiam plavanat tatah II

The Mudras also are nothing but the manifestations of the Bodhi- citta. If protection is needed, Bodhicitta is conceived as the Abhaya mudra ; if boon is desired it becomes Varada ; when instruction in Buddhist Law is required it becomes Dharmacakra, and so on.

The Bodhicitta, or the Will to Enlightenment, is that state of Mind which has already acquired the potentiality of dissolving itself in Sunya. As a matter of fact, Sunya or Nirvana would be unattainable without the help of the

Bodhicitta, which like Sunya exists only in the mind. The Bodhi mind leads the aspiring soul into the very presence, so to speak, of Sunya ; it ultimately merges and loses itself completely in Sunya.

The gods of the Buddhist pantheon are conceived as carrying the Bodhicitta in their hands, both being of the nature of Sunya It is with the help of this Bodhicitta that a god is supposed to confer Buddhahood or success in Tantric rite

upon his worshipper. The yab-yum conception of deities is still more sublime. The god Heruka, the embodiment of Sunya, carrying weapons the embodiments of Bodhicitta also of the nature of Sunya, is embraced by Nairatma, whose essence is

Sunya, carrying weapons also of the nature of Sunya. Thus the Infinite with the Infinite commingles. In Involution, the Many become One. This is the highest state the Anupadhisesa* Nirvana.

Krto vah sarvasattvarthah

siddhir-datta yathanuga I Gacchadhvam Buddhavisayarh

punaragamanaya Muh II

"Gods, I bid Ye farewell ! Ye have fulfilled the desires of all beings. Ye have conferred the desired success. Go Ye to the region of the Buddhas. Return Ye once again, Muh".

108 forms of Avalokitesvara (In the Machhandar Vahal, Kathmandu, Nepal)

1. Hayagriva Lokesvara.

The god sits in the Vajraparyanka attitude on a lotus. He has four hands, out of which the two principal ones exhibit the Vyakhyana 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. Mojaghanjabala Lokesvara.

He stands in the Samabhahga attitude on a lotus, with his two hands showing the Abhaya mudra in the right and the noose in the left.

3. Halahala 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 Dhyani 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 noose and the Utpala. The hand holding the noose passes round the Sakti in the act of embracing. The Sakti exhibits the Varada mudra in the right hand and the Abhaya in the left.

4. Harihariharivahana Lokesvara.

Lowermost is the snake, on it is the lion, over the lion is Garuda, Narayana rides Garuda, and on his shoulder sits Lokesvara. The Garuda has two hands in the Anjali mudra. Narayana has four hands, of which the first pair is engaged in forming the Anjali against the chest ; while the second pair has the Cakra in the right hand and the Gada in the left. Lokesvara sits in Vajraparyanka and has six arms ; the right hands show the rosary, the Cakra and the Varada pose, while the three left carry the Tridandi, the noose and the Utpala,

5. Mayajalakrama Lokesvara.

He has five faces and twelve arms. The head on the top probably represents Amitabha. 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 Tridandi, the Khatvahga, the jewel, the Khadga, the Vajra and the rosary, and the six left show the noose, the Kapala, the Utpala, the fruit, the Cakra and the lotus.

6. Sadaksarl Lokesvara.

He sits in the Vajraparyahka attitude, fie has four arms and one face. The principal pair of hands is joined against the chest in forming the Anjali. The second pair carries the rosary in the right and the lotus in the left.

7. Anandadi Lokesvara.

He stands in the Samabhahga attitude, and carries the lotus, the stem of which he holds in his right hand, while the left displays the Varada pose.

8. Vasyadhikara Lokesvara.

He sits in the Vajraparyahka attitude and carries the bowl in his two hands arranged in the Samadhi mudra.

9. Potapada Lokesvara.

sits in the Vajraparyahka attitude, and has four arms. The two principal hands exhibit the Anjali against the chest, while the other pair holds the rosary in the right and the noose in the left.

10. Kamandalu Lokesvara.

He stands in the Samabhahga attitude, and is endowed with six arms. His two principal hands are engaged in drawing the bow to its full length. The other four hands carry the Vajra and the Cakra in the two right andthe Ghanta and the Kamandalu in the two left.

11. Varadayaka Lokesvara.

He is one-faced and six-armed and stands on a lotus. The two principal hands join against his chest in forming the Anjali. He shows also the rosary and the Varada pose in the two right hands, and the book and a mudra (probably Karana ?) in the two left.

12. Jatamukuta Lokesvara.

He is four-armed and one-faced, the head on the top representing the head of Amitabha. 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. Sukhavati Lokesvara.

He is one-faced, and six-armed, and sits on a lotus in the Lalita attitude. The first pair of hands exhibits the Dharmacakra mudra, the second pair carries the rosary and the book, and the third pair shows the Varada mudra in the right and the water- pot in the left.

14. Pretasantarpana Lokesvara.

He is one-faced and six-armed and stands on a lotus. In his threee right hands he displays the rosary, the jewel and the Varada mudra, while the three left carry the Tridandi and the book and exhibit the Varada mudra.

15* Mayajalakramakrodha Lokesvara.

He presents a very fierce appearance with five faces terrible with protruding teeth, and eyes roll- ing in anger. His hair rises upwards like flames of fire* He stands in the Pratyalldha attitude and wears the tiger-skin. He has twelve arms, of which the six right carry the sword, the Vajra, the goad, the noose, the Trisula and the arrow, and the six left hold the shield, the Cakra, the jewel, the deer-skin, the Kapala and the Tarjani with the noose.

16. Sugatisandarsana Lokesvara.

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 Tridandi, the Utpala and the water-pot.

17. Nilakantha Lokesvara.

He is one-faced and two-armed, and sits on a lotus in the Vajraparyafika attitude. He carries the bowl of gems in his two hands arranged in the Samadhi mudra.

18. Lokanatha Raktaryyavalokitesvara.

He is one-faced and two- armed and sits in the Lalita attitude on a lotus The right hand displays the Varada mudra while the left holds the stem of a lotus on his lap.

19 Trilokasandarsana Lokesvara.

He also is one-faced and two- armed and sits in the Vajraparyafika attitude on a lotus. His right hand is raised against the chest with outstreched fingers and palm turned inwards. The other hand exhibits exactly the same pose (Karana ?) as displayed by one of the left hands of VaradayakaLokesvara.

20. Sirhhanatha Lokesvara.

He is one-faced and four-armed and sits in Bhadrasana, or in the European fashion, on a raised 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. Khasarpana Lokesvara.

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. Manipadma Lokesvara.

He is one-faced and four-armed and sits in the Vajraparyatika attitude on a lotus. His two principal hands are joined against his chest forming the Anjali 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 Lokesvara.

He is one-faced and two-armed and sits in the Vajraparyatika attitude on a lotus. The right hand displays the Abhaya pose and the left on the lap holds the stem of the Utpala,

24. Pupala Lokesvara.

He is one- faced and four-armed and sits in the Vajraparyatika 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 mudra with the index and little fingers pointing outwards (Karana ?).

25. Ucnauti Lokesvara

He is one-faced and six-armed and sits in Bhadrasana on the raised seat of a lotus. His three right hands exhibit the rosary, the Vajra and the Abhaya pose, while the three left carry the Kapala, the noose and the water-pot.

26. Vrsnacana Lokesvara.

He is one-faced and six-armed and sits in 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 Abhaya pose.

27. Brahmadanda Lokesvara.

He is one-faced and four-armed, sits in the Lalita attitude on a lotus, and is accompanied by his Sakti who sits on his lap. His two right hands show the Tridandi and the Varada pose, while the two left show the Ratnakalasa (vessel containing jewels) and a mudra with the index and little fingers pointing outwards The Sakti displays the Varada pose in the right hand and the Abhaya in the left.

28. Acata Lokesvara.

He is one-faced and six-armed, and sits in the Lalita attitude on 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 a'nd display the Abhaya pose.

29. Mahavajrasattva Lokesvara.

He is one-faced and eight-armed, and sits in the Vajraparyanka attitude on a lotus. His four right hands exhibit the sword, the rosary, the Cakra and the Abhaya pose, while his four left hold the noose, the Tridandi, the conch and the bowl of gems on his lap.

30. Visvahana Lokesvara.

He is one-faced and six-armed and sits in the Vajraparyanka attitude on 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.

3L Sakyabuddha Lokesvara.

He is one-faced and four-armed, and is represented as standing on a lotus. His two right hands hold the arrow and the Khatvanga, while his two left show the bow and the Tarjani

32. Santasi Lokesvara.

He is one-faced and six-armed and stands on a lotus. His two principal hands are joined against his chest in form* ing the Dharmacakra mudra. The other four hands show the rosary and the Varada pose in the right, and the book and the Abhaya mudra in the left.

33. Yamadanda Lokesvara.

He is one-faced and six*armed, and sits in the Lalita attitude on 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 mudra (Karana ?).

34- Vajrosnisa Lokesvara.

He is one-faced and six-armed, and is represented as standing on a lotus. His three right hands show the rosary, the Tridandi and the Abhaya pose, and his three left the book, the noose and the Varada pose.

35. Vajrahuntika Lokesvara.

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. Jnanadhatu Lokesvara.

He is one-faced and eight-armed and stands on a lotus. Two of his hands are joined against his chest in forming the Anjali mudra ; the second pair exhibits what is called the Ksepana mudra. The remaining hands hold the rosary and the Tridandi in the right and the book and the noose in the left.

37. Karandavyuha Lokesvara.

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. Sarvanivaranaviskambhl Lokesvara.

He is one-faced and two- armed and sits in the Vajraparyahka attitude on a lotus. His right hand holds by its stem a lotus on which there is a sword, and his lefr hand holds the Vajra against his chest.

39. Sarvasokatamonirghata Lokesvara.

He is one-faced and four- armed and sits in the Vajraparyahka 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. Pratibhanakakuta Lokesvara.

He is one-faced and four-armed and sits in the Vajraparyahka attitude on a lotus. He holds the noose against the chest with his right hand and the bowl of gems in his left.

41. Amrtaprabha Lokesvara.

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* Jaliniprabha Lokesvara.

He also is one-faced and two-armed and sits in the Vajraparyahka 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 Lokesvara.

He also is one-faced and two-armed and sits in the Vajra paryahka attitude on a lotus. He exhibits the Vitarka mudra with' his right hand and holds the stem of a lotus against the chest with his left*

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 Lokesvara.

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. Sagaramati Lokesvara.

He is in all respecrs identical with No. 44 except that he holds the double Vajra in his right hand.

47. Ratnapani 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 mudra with his right,

48. Gaganaganja Lokesvara.

He also is identical with No. 44 in all respects except that he exhibits the Vitarka mudra in his right hand and the book in his left.

49. Akasagarbha Lokesvara.

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 Lokesvara.

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 mudra in his left.

51. Aksayamati Lokesvara.

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. Srstikanta Lokesvara.

He is one-faced and two-armed and stands on a lotus.

He displays 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 Amitabha appears over his head.

53. Samantabhadra Lokesvara.

He is one-faced and two-armed and sits in the Vajraparyanka 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. Mahasahastabhuja Lokesvara. In all respects he is identical with No. 53, with this difference that here the god wields the sword in his right hand and displays the Varada mudra with his left.

55. Maharatnakirti Lokesvara. .

He is three-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 and' the Namas-kara mudra in his three left. -

56. Mahasankhanatha Lokesvara.

He is identical in all res- pects with No 55, except that he bears different symbols. Here the god shows the Namaskara mudra, and the two Vajras in his three right hands, while his three left hold the noose, the arrow and the Ghanta.

57. Mahasahasrasuryya Lokesvara.

He is eleven-faced and eight- armed and stands on a lotus. Each of his two principal hands exhibits the Abhaya 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 Lokesvara is very popular in Tibet.

58. Maharatnakula Lokesvara.

He is three-faced and six-armed and stands on a lotus. The head on the top represents Amita- bha. 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. Mahapatala Lokesvara.

He is three-faced and six-armed and stands on a lotus. He holds in his three right hands the Vajra, the Visvavajra and the Utpala, and in his three left, the banner, the Ghanta and the Kamandalu.

60. Mahamanjudatta Lokesvara.

In all other respects he is similar to No. 59. But he carries the Ghanta, the sword, and the Ratnapallava in his three right hands, and the Vajra, the Ghanta and the Utpala in his three left.

61. Mahacandrabimba Lokesvara.

He is thiee-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 on the top probably represents Amitabha.

62 Mahasuryyabimba Lokesvara.

He 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. Maha-Abhayaphalada Lokesvara.

He also is similar in form to No. 61, except that he holds the Vajra, the sword and the Utpala in his three right hands, and two Ghantas, and the book in his three left.

64 Maha*Abhayakan Lokesvara.

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

Ghanta and the Tridandi in his left.

65. Mahamanjubhuta Lokesvara.

He also is similar to No. 61, with this difference that here the god carries the sword, the Vajra and the Kamandalu in his three right hands, and the rosary, the Utpala and the bell in his three left.

66. Mahavisvasuddha Lokesvara.

He is four-faced and eight-armed and stands on a lotus. He carries in his four right hands the sword, the flag, the Vajra and the goad, while the four left have the GhantS, the conch, the Utpala and the

lotus.

67. Mahavajradhatu Lokesvara.

He is identical with No. 66 in all respects but the symbols differ. Here the god carries the Vajra, the bow, the Trisula and the sword in his four right hands, and the Ghanta, the arrow, the Kamandalu and the noose in his four left.

68. Mahavajradhrk Lokesvara*

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 Ankusa in his four right hands, and the Utpala, the Ghanta, the arrow and the

noose in his four left.

69. Mahavajrapani Lokesvara.

He also is identical with No. 66, except that here the god carries the sword, the goad, the Gada, and the rosary in his four right hands and the Cakra, the noose, the Utpala and the book in his four left.

70. Mahavajranatha Lokesvara.

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 Tridandi and the lotus, while the empty fourth rests near the navel.

71. Amoghapasa Lokesvara.

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 Ghanta, the Ttidandl, the noose and the arrow.

72. Devadevata Lokesvara.

He is similar to No. 71, with this difference that here the god carries the Vajra, the bow, the Trisula and the sword in his four right hands, and the bell, the arrow, the jewel (?) and the noose in his left.

73. Pindapatra Lokesvara.

He is one-faced and two-armed and stands on a lotus. He holds the Pindapatra (the bowl) in his two hands near the navel.

74. Sarthavaha Lokesvara.

He is similar to No. 73 in all respects, except that here the god displays the Varada mudra in his right hand, and carries the Pindapatra (the bowl) in his left.

75. Ratnadala Lokesvara.

He also is similar to No. 73, in all res- pects except that here he displays the Varada pose in his right hand, while his empty left touches his left shoulder.

76. VisnupSni Lokesvara

He again is similar in form to No. 73, except that here he carries the Trisula in his right hand and a lotus bud in his left,

?? Kamalacandra Lokesvara.

He also is similar to No* 73, except that here he displays the Vitarka mudra in his two hands.

78. Vajrakhanda Lokesvara.

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 book against his chest with the left.

79. Acalaketu Lokesvara.

He also is similar to No. 73. But he displays the Abhaya mudra in the right hand and the Pindapatra (the bowl) in the left. A chowrie rests against his right shoulder,

80. Sirisara Lokesvara.

He also is similar to No. 73 in all res- pects, except that here he wields the sword in his right hand and holds the noose in his left.

81. Dharmacakra Lokesvara.

He again is similar to No. 73, except that here he carries the Vajra in his right hand and the axe in his left.

82. Harivahana Lokesvara,

He also is identical with No. 73, with the difference that here the god carries the Kamandalu in his right hand and the chowrie in his left.

83. Sarasiri Lokesvara.

He also is identical with No. 73. The difference is that here the god holds the Trisula 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 Vyakhyana mudra with his two hands against the chest.

85. Simhanada Lokesvara. Similar to No, 73, but here the* god holds the chowrie against his shoulder with his right hand while the empty left rests near his navel.

86. Visvavajra Lokesvara.

He also is similar to 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. Amitabha Lokesvara.

Similar to No. 73, except that here the god holds the chowrie in his right hand and the wheel in his left,

88. Vrjrasattvadhatu Lokesvara.

Similar to No. 73, except that here he holds the Cakra in his right hand and the conch in his left.

89. Visvabhuta Lokesvara.

Similar to No. 73 in form, but here he holds the rosary in his right hand and the lotus in his left*

90. Dharmadhatu Lokesvara.

Identical with No. 73 in form, but here the god holds in his two hands the water-pot near his navel.

91. Vajradhatu Lokesvara.

Identical with No. 73 except that here the god displays the Varada mudra in his right hand and holds the lotus in his left.

92. Sakyabuddha Lokesvara.

Also similar to No. 73, except that he carries the Vajra in his right hand while his empty left is held near the navel.

93. Cittadhatu Lokesvara.

Similar to No. 73 except that he holds the image of a Jina (probably Amitabha) in his right hand and displays the Abhaya pose with his left.

94. Cintamani Lokesvara.

Also similar to No. 73, except that here he carries the Caitya in his right hand while the empty left is held near his navel.

95. Santamati Lokesvara.

Similar to 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. Manjunatha Lokesvara.

Also similar to No. 73, but here the god holds the rosary in his right hand and the book against his chest with his left.

97. Visnucakra Lokesvara.

Similar to No. 73, except that here he holds the Cakra in his right hand and the Gada in his left.

98. Krtanjali Lokesvara.

Similar to No. 73 except that here the god exhibits the Anjali against his chest with his two hands.

99. Visnukanta Lokesvara.

He again is identical with No. 73 in all respects, except that here the god displays the Varada mudra with his right hand and the book against his chest in his left.

100. Vajrasrsta Lokesvara.

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. Sankhanatha Lokesvara.

Similar to No. 73, with the difier- ence that here the god holds the conch against his chest with his -right hand and the lotus in his left.

102; Vidyapati Lokesvara.

Also similar to 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.

103. Nityanatha Lokesvara.

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. Padmapani Lokesvara.

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. Vajrapani Lokesvara.

He again is identical with No. 73, in all respects except that here the god holds the Vajra 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 Ardhaparyanka.

106. Mahasthamaprapta Lokesvara.

He is similar in all respects to Padmapani Lokesvara (No. 104).

107. Vajranatha Lokesvara.

Identical with No. 105, Vajrapani Lokesvara, with the only difference that here the god holds the lotus in his left hand.

108. Srfmadaryavalokitesvara.

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 the'navel. Abhaya mudra, or the gesture of protection. The hand showing this mudra should be slightly elevated and bent with the palm turned outward, the fingers being outstretched and elevated. This mudra should be distinguished from the Varada mudra in which case the hand is stretched downwards with the fingers, instead of being elevated, pointed downwards ; and also, from the Capetadana mudra, which shows the right hand menacingly extended upwards, just as is done in dealing a slap.

Aksamala or Mala, 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, Rudraksa. It may be made with other material also, such as crystals, etc.

Alldha, a particular Asana, or 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 Pratyalldba attitude in which case the left leg is outstretched while the right is slightly bent and placed behind.

Anjali, name of a mudra, also known as the Sarvarajendra mudra, or the Samputanjali. It is the mudra in which the two hands are clasped against the chest, palm to palm, both of which are extended upward with all fingers erect or slightly bent. This is the characteristic mudra of Sadaksari Lokesvara and is also exhibited by Namasangiti.

Ankusa, elephant goad. See the weapon, for instance, in the image of Parnasabari. When the goad is surmounted by a Vajra, it is called Vajrankusa.

Anuvyanjanas, see Laksanas.

Ardhaparyahka, also called Maharajallla, 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 Lalitasana 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 Bhadrasana.

Asana, the word in Sanskrit may mean a seat, a mystic or any attitude exhibited in the lower limbs. The word Padmasana means the seat of lotus. Similarly, Simhasana means the lion^throne or the seat of a lion* The word Sukhasana means any easy attitude of sitting. It may be the Paryankasana, Lalitasana or the Ardhaparyankasana. In fact, in the Sadhanamala, the word Sukhasana has not been used in a technical sense. When used in a technical sense Asana is of various kinds, such as the Paryafikasana, Vajraparyankasana, Lalitasana, Ardhaparyankasana, Bhadrasana, Alldhasana, Pratyalidhasana or the Natyasana, a variety of Ardhaparyanka.

Asoka, the absence of sorrow ; but the word is always used to 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 to blossom.

Bana, see Sara.

Bhumisparsa, also called Bhumisparsana or the Bhusparsa, is the name of a mudra. The right hand exhibiting this mudra has the palm turned inward and the fingers outstretched, with the tips touching the ground. This mudra should be

distinguished from the Varada mudra in which case tips do not touch the ground and the palm instead of being turned inward is turned outward. The deity showing the Bhusparsa mudra must sit in the Vajraparyahka attitude.

Bhutas, a class of mischievous spirits or hobgoblins who, without any provocation whatever, are supposed to 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.

Brahmakapala, or the Brahmasirah> is the severed head of Brahma who is credited 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 Brahma, display

the aversion of the Buddhists towards the Hindus, as well as, the superiority of their gods to the gods of the alien faith.

Brahmamukha, the face of Brahma containing four faces. The Brah*

mamukha is superimposed on the head of Paramasva. 55

Brahma sirah see Brahmakapala.

Caitya, or the Stupa, which represents the Buddhist Universe, is the Buddhist sanctuary, sometimes square and sometimes round, with spires or steps on the capital. Each spire or step represents a heaven, the uppermost portion being a

point which is supposed to be the highest peak of Mount Sumeru, a mythical mountain, whence the Bodhicitta loses itself in ounya. On the four sides of the Caitya the figures of the Dhyani Buddhas appear. Vairocana is sometimes present.

The corners are occupied by the figures of the Divine Buddhasaktis or their symbolic representations in the form of Yantras. The Caitya may show further, in the four cardinal points, the Caturmaharajikas or the Great Rulers of the

Quarters, namely, Vaisravana, Virupaksa, Virudhaka and Dhritarastra. See Stupa.

Cakra, Wheel or disc. It is the characteristic symbol of the Hindu God Visnu or Krsna.

Camara, Chowrie or the fly-whisk consisting of the tail of a Yak.

Capa, also called Dhanus, is the bow. It is generally carried in the left hand. With the bow and the arrow Marlci inflicts pain to the Mar as or wicked beings.

Casaka, Wine-glass.

Caturmudra See Sanmudra.

Chintamani 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.

Dakini, same as Sakti. See Sakti.

Damaru, small drum, such as is carried by the Hindu god Siva.

Danda, the staff or the mace carried by Hayagrlva. It cannot be- trans- lated as the magic wand, as the Khatvanga serves that purpose. When the staff is^ surmounted hy a Vajra, it is called Vajradanda.

Dharani or Dharim, meaningless conglomeration of syllables, occasion- ally containing one or two intelligible words, used as a charm or prayer. There are DharanvSangrahas or collections of Phara* nis in the Nepal Library, with an

astonishingly large nujnber of Dharams devoted to different deities. The Ikt giyen;iji the Nepal Catalogue Vol. II. App, p. 225, et sqq. may JbexpnsiiHed.

Dharmacakra, or. Vya.khyan* mudraris that gesture of hands. .exhibited by Lord Buddha -while preaching his first sermon at ,3arnath. This pose is depicted variously but the most artistic and correct

representation of this mudra is to be found in the celebrated Prajnaparamita image from Java. See Getty : GNB, p. 187.

Dhanus, same as Capa. See Capa.

Dhupa, incense stick, which when burns, emits fragrance.

Dhyana, meditation ; it refers generally to that portion of the Sudhana in which instruction is given as to the description of the deity with whom the worshipper is to identify himself.

Dhyana, or Samadhi mudra ; 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 mudra of Amitabha.

Dhyanasana, or Vajraparyahkasana, or Vajrasana, is the meditative pose, the two legs being firmly locked with both the soles apparent, the characteristic sitting attitude of the Dhyani Buddhas. Some* times a small thunderbolt, shown on

the seat of the god, indicates the meditative attitude. Dhyanasana should be distinguished from the Paryahka attitude in which case the legs are placed one upon the other with both the soles invisible.

Dlpa, lamp, the sacred lamp fed with ghee.

Gada, mace.

Garuda, mythical bird supposed to be the destroyer of all serpents. The Hindus regard him as the Vahana of Visnu. Garuda is represented as a huge bird with a human body, two wings and sharp beaks, generally with hands clasped against the

chest.

Ghanta, bell ; when the bell is surmounted by a Vajra, it is called Vajra- ghanta, which is a symbol of Vajrasattva.

Jatamukuta, the crown of matted hair. The hair is tied up above the head in such a way as to resemble a crown or a tiara.

Kalasa, is the ordinary water-vessel of metal or earth. It is different from the Kamandalu or Kundika, which is smaller in size and is provided with a projecting pipe for discharging water.

Kamandalu, see Kalasa

Kapala, either (i) severed head of a man, or (ii) the cup made of a skull, or (iii) a bowl. The skull cup is of two kinds ; when it is filled with blood it is called Asrkkapala, and when with human flesh it is called Mamsakapala. The

deities are supposed to partake of the blood or the flesh carried in these cups.

Karana, mudra. Any hand showing this mudra is outstretched with the index and the little fingers erect, while the thumb presses the two remaining fingers against the palm of the hand.

Karpparasame as Kapala. See Kapala.

Kartri, or 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 Manjusri is called the Prajnakhadga or the Sword of Wisdom, which is believed to destroy the darkness of ignorance by the luminous rays issuing out of it.

Khatvanga, magic wand ; the stick is generally surmounted either by Vajra or the Kapala, or the Trisula or the banner, or all of them. In any case, for a Khatvanga the skulls are necessary and it will be so called even if nothing else is present.

Ksepana, the mudra of sprinkling, exhibited by Namasanglti. The two hands are joined palm to palm with fingers all stretched, the tips of which are turned downwards and enter into a vessel con^ taining nectar.

Kundika, same as Kamandalu. See Kalasa.

Laksanas, auspicious marks ; the thirty^two special marks of the Buddha, enumerated in Dharmasahgraha attributed to Nagarjuna. The Laksanas are also enumerated in Getty : GNB, p. 190. Another class of minor marks is called Anuvyanjanas,

eighty in number, also enumerated in the Dharmasahgraha.

Mala, same as Aksamala. See; Aksamala.

Mandala, the magic circle, containing mystic figures and diagrams, and figures of gods and goddesses constituting the Mandala. In the Nispannayogavali Tantra, Kriyasamuccaya and the Vajravalfoiama* mandalopayika there are descriptions of

a great number of deities constituting the circle.

Mani, same as Cintamani ; see Cintamani.

Mantra, mystic syllables sometimes containing a few intelligible words, but shorter than the Dharanls. The Mantras are believed to be a contracted form of the Dharams 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 or his attri* butes, and these are most important in determining the names of different gods when the Colophons of Sadhanas are not enough.

Mayura, peacock , and Mayurapiccha signifies feathers of a peacock, Mudgara, hammer ; it may also mean a staff or a mace.

Mudra, mystic pose of hand or hands. Some of the Mudras can be shown by one hand, such as the Varada, Abhaya, Namaskara, etc, others require both the hands such as the Anjali, Dhartnacakra, and many others. In the Sadhanamala there are

descriptions of an overwhelming number of Mudras. But it is very difficult to comprehend them unless actually explained by the priests*

Musala, pestle

Nagas, serpents. They have the character of water-spirits and are believ- ed to dwell in the springs, lakes and tanks, and have the power to bring or 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 Sadhanamala are fond of ornaments of eight lords of snakes.

Nakull, mongoose ; the characteristic animal of Jambhala. The mongoose is believed to be the receptacle of all gems and when the God of Wealth presses the animal, it vomits forth all the riches.

Namaskara, the mudra assumed by the Bodhisattvas, when paying homage to the Buddhas or Tathagatas, or by the minor deities to 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.

Nupura, 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 Nllotpala. In Tuntric 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 Getty : GNB, p. 192. When the lotus shows petals in both the upper and lower directions it is called the Visvapadma or the double lotus. Padma indicates purity of descent.

Parasu, axe.

Paryaixka, see Dhyanasana.

Pasa, noose or lasso ; when a Vajra is attached at the end of it, it is called the Vajrapasa or the adamantine noose. The noose is required to bind the host of the Maras and all other wicked beings.

Patra, begging bowl or bowl generally found in the images of the five Dhyani Buddhas and of Buddha Sakyasimha. Sometimes the Kapala is used in the Sadhanamala to designate a bowl

(See Kapala). Getty records a Buddhist legend to show how a Patra came in the possession of the Buddha. Getty : GNB, p. 193,

Prajna, see oakti.

Preta or Mrtaka or Sava, always means a corpse or ghost in Indian Buddhist Iconography.

Pustaka, book in the form of a Manuscript which represents the Prajnaparamita or the Book of Transcendental Knowledge. Nagarjuna is said to have restored the Scripture from the nether regions. The book is carried by several Buddhist gods, notably, Prajnaparamita, Manjusrl, Sarasvati and Cunda.

Ratna, jewel. The word Triratna signifies the three Jewels, Buddha, Dharma and Sangha. Similarly, there are different groups of jewels, such as the seven jewels or the sixteen jewels. For the enumeration of the seven jewels, see Getty :

Source

archive.org

The Indian Buddhist Iconography

The Bodhisattvas

Ten Gods of Direction

=Four Dance Deities

[[Ten Principal Hindu Deities

Lords of the Yaksas, Kinnaras, Gandharvas and Vidyadharas

PADMAPANI=

Ubhayavarahanana=

Gods=

(Nandikevara

108 forms of Avalokitesvara (In the Machhandar Vahal, Kathmandu, Nepal)

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