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Culture Documents
OUP
390
29-4-72
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S*l
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Accession No.
46
'
**
Author
Title
last
marked below.
THE INDIAN
BUDDHIST ICONOGRAPHY
Mainly Based on
THE SADHANAMALA
and Cognate Tantric Texts of Rituals
BENOYTOSH BHATTACHARYYA,
M.A.,Ph.o.
FIRMA
K.
L.
CALCUTTA
MUKHOPADHYAY
1958
Published by K. L.
MUKHOPADHYAY,
SECOND EDITION
Revised and Enlarged with 357 Illustrations
JUNE
1958
Dr. B. Bhattacharyya
Naihati, 24-Parganas
Printed by A. C. Ghosh,
LIMITED,
Bound by
NEW
INDIA BINDERS,
Cakutta-9
S-ntcrwed
to
me
<3olemQry of
^fattier
PREFACE
difficulties,
ing
an occasion when
whom
Shastri both of
my
in
large
are
no longer
and
my
this
Mm.
my
and
happy ending.
It
illus*
Haraprasad
father
believe
blessings are in a
gives
me immense
.satisfaction.
When
the
studies were
first
edition of
this
in
to paucity of material.
1924,
my
But since
Thus
serious subject.
imperfections of which
its
am
my
all
critics.
were published.
information
publications,
edition
Quhyasamaja followed
in
of
the
rapid
furnished in these two excellent texts not only added to my difficulties,
but also changed materially the whole outlook underlying the classification
deities.
>
by
VIII
and embarrassing
affected
published photographs showed that the Peiping collection was exclusively inspired by Indian tradition, depended entirely on Indian texts,
and
them
difficult
in
book, and their study made the task of revision not only
but also delicate by forcing me to include Chinese specimens
in this
book which
is
chiefly
Indian branch of
and wide beyond the Himalayas to Tibet, China, Japan, Korea and
Mongolia on one side, and to Indo-China, Siam, Indonesia, Burma
In the time of the great Achaemenid
and Ceylon on the other.
Emperor Darius, Lord Buddha laid the foundation of a religion which
was destined to be the religion of one third of the population of the
globe.
We
a stage
where
it
is
no longer
possible
to isolate
Buddhist icono-
graphy of India from its developments in Tibet and China which wer^
profoundly influenced by the Buddhist Tantras of India, And thp
chief need of the subject
is
IX
original
and
the archives of
MSS
lies
hidden in
When this
huge
is
New
chapters have been incorporated, old chapters have been redistributed. Many pictures have been deleted, and many new ones have
been included
in order to
make
In 1924,
when the
first
the other side, namely the psychic side, also became apparent. Evidence
of this change will be found in the introduction which is almost wholly
re-written, as also in other chapters, notably on the Dhyani Buddhas.
I offer an explanation here lest my readers receive a shock while reading
this
in a
With
my
their help
Department
help that
is
Museum
specimens in
this
book.
It is difficult for me to adequately express my gratitude and thankfulness to our worthy colleague and associate, Prof. Walter Eugene
CSark, Wales Professor of Sanskrit in the Harvard University, who
gSve
\<
me
permission to reproduce as
many photographs
as
liked
from
X
monumental book
his
conditions, and
am
Two
He
Lamaistic Pantheons.
his
made
no
kindness and
generosity.
To my
of the Baroda
take a
number
Museum,
feel
in the Baroda
this
the
volume from
the Baroda
Musuem
very heartily
authorities
my
friend,
philosopher
and guide, helped me at every step. He supplied copies of rare manuscripts and original Nepalese drawings of rare deities whenever there
Dharmaharsha and
intelligent,
prompt,
my
old artist
to
ful
his
first
edition.
To
Professor N. A. Gore
:
gratitude to
all
edition.
some of
His name
is
mentioned
at
appropriate places.
are also due to Miss Raihana Tyabji, the mystic
of
the
Indian leader, the late Shri Abbas Tyabji,
illustrious
daughter
for going through the first edition for the purpose of a detailed revision
more than 15 years ago.
My grateful thanks
am
Bomby Branch
of the Oxford
University Press for readily agreeing to have this second edition pub"
lished through Firma K. L.
Mukhopadhyay,
It
my
my
It is
my
acknowledgments.
grateful
It is
My
due to
In spite of our best efforts, however, a few errors have crept in, and for
these
my
my
acknowledge
readers.
indebtedness to him.
am
kindness.
My gratitude to
Shri K. L.
Mukhopadhyay of Firma K.
all
that he has
done
in
L.
Mukho*
bringing out
heartily.
This time
memory of my
Shastri in
ble
this
Mahamahopadhyaya Haraprasad
but tender care I have the honour to place
whose
loving
invisi-
second edition of
Buddhist Iconography.
Shastri Villa
Naihati (West Bengal)
Rathayatra 1958
B.
BHATTACHARYYA
ABBREVIATIONS
Appendix
ADV
Advayavajrasangraha
ASI
Bendall
N. K. Bhattasali
Bhattasali
(Dr.)
Clark
Foucher
Professor A. Foucher
Getty
GNB
Gordon
Mrs.
GOS
Qaekwad's Oriental
IBBS
A.K.Gordon
Dacca
Series
Museum
ITL
JASB
JBORS
JRAS
Kern
Professor H. Kern
NSP
Nispannayogavall
Samasrami
TLP
Two
Vogel
Professor
Ph. Vogel
ACKNOWLEDGMENTS
Grateful acknowledgments are made of the Courtesy and Copy*
right of the following institutions among others and of private collections,
with their
officers, curators,
all
appropriate cases.
New Delhi
17,26,27,45,46,77,81,83,84,85,94,95,96,98,
99,
101,
104,
105,
107, 116, 130, 138, 140, 142, 148, 152, 153, 154, 156, 166, 167, 169, 180,
189, 190
II.
and 233.
160,163,168 and
131,
The
III.
the
Two
Palace
M.
S.
University,
97,
106,
127,
188,
Temple
at Peiping in
in respect of Figures
30, 50, 71, 80, 111, 114, 115, 122, 123, 129,
133,
183, 193, 194, 195, 202, 203, 204, 205, 206, 207, 208, 209, 210, 211, 212,
224,
225,
231,
236,
237,
238,
239, 240, 241, 242, 243, 244, 245, 246, 247 and 248.
Figures
229.
W.
Professor
IV*
V.
89,
VI.
Vahglya Sahitya
93 and
149.
VII.
Dr. H. G.
Moghe,
VIIL
IX.
Berlin
Museum,
Berlin,
215, 216
Germany,
Bombay
and 227.
in respect of Figure
90.
141,
XIV
X.
in respect of Figure
XL
B.
Whitney of
XIL
Figure
New York
Dacca Sahitya
at
Parisat,
Bodh Gaya,
in respect of Figure
in
64-
respect of
184.
XIIL
228.
The Oriental
XIV,
loan of nine
156,
(private collection),
161.
full
XV.
169, 180
and
105, 154
and
XVIIL
Figures
XIX.
caryya of
duced
and 233.
The
XVII.
1,3, 4,
190.
81, 84, 85, 95, 104, 138, 140, 142, 148, 152, 153, 156, 167,
Provincial
Museum, Lucknow,
in respect of Figures
99,
166,
Pandits Siddhiharsha,
Kathmandu
in Figures
(Nepal),
and
(Benares), in respect of
and 130.
226.
43,
44,
82,
86,
91,
102,
108,
SYNOPSIS OF CONTENTS
Preface
Abbreviations
Acknowledgments
Synopsis of Contents
List of Illustrations
Select Bibliography
Errata
Introduction
Materials for
1.
...
...
...
CHAPTER!. Dhyani and Mortal Buddhas
1.
Amitabha Pandara
Vajradhara
Aksobhya
Mamaki
Vajrapani
Padmapani
2.
42
...
Vairocana
3.
Tara
Samantabhadra
4*
Amoghasiddhi
RatnaVisvapani 5. Ratnasambhava Vajradhatvlsvarl
6.
Ghantapani
Vajrasattvatmika
pani
Vajrasattva
Mortal Buddhas
Durgatiparisodhana
Vajrasana
Mortal Bodhisattvas Maitreya.
Mortal Buddhasaktis
...
...
CHAPTER II. The Bodhisattvas ...
3.
2.
Ksiti1.
Samantabhadra
Aksayamati
Locana
garbha
pani
Sagaramati
7.
8.
Ratna6.
Gaganaganja
Vajragarbha 9V?walokitesvara ;/x
5,
Candraprabha
Sarvasokatamonirghatamati
17.
Maitreya
naketu ; 21.
Amoghadarsi
18.
24-
14.
Gandhahasti
19.
22,
Surangama
12.
Pratibhanakuta
Jali;
15.
Sarvanivaranaviskambhi
16.
Manjusri
Bhadrapala
;
11.
Mahasthamaprapta
13.
Amitaprabha
niprabha
10.
82
Akasagarbha
4.
20.
Jna-
23,
Sarvapayanjaha
Vajrapaanii ( General
;
25.
remarks.
CHAPTER IIL
1.
ghosa
Bodhisattva Manjusri
...
Dharmadhatu-Vagisvara
Vajraraga ;
5.
Siddhaikavlra
4.
Vajrananga
;
...
2.
Manjusri
sangiti
10>
juvajra
cakra
13.
7.
Vagisvara
Manjukumara
Vadirat,
11.
3.
Manju*
6,
Kama"
8.
100
XVI
CHAPTER IV.
Bodhisattva Avalokitesvara
Sadaksari Lokesvara
1.
Lokanatha
4.
hariharivahana
vara
15.
124
3. Khasarpana;
Padmanarttesvara 7- Hari^
;
8.
13.
Pretasantarpita
Vajradharma
Sukhavati Lokes*
14.
General.
...
Goddesses
2.
Saptasatika Hayagriva
4.
Bhrkuti
Mahasitavatl
5.
Emanations of Aksobhya
...
...
154
1.
/kapala
145
Kurukulla
Gods
...
^
Mahabala
CHAPTER VI.
I.
6.
1.
3.
2.
Emanations of Amitabha
Gods
II.
Sirhhanada
CHAPTER V.
I.
Halahala
...
9. Rakta-Lokes'
Trailokyavasankara
11. Nilakantha
10. Mayajalakrama
12. Sugati-
sandarsana
vara
5.
...
|
Candarosana
Sambara
5.
Havamya
Heruka
2.
6.
3.
Hevajra
Saptaksara
Buddha-
Mahamaya
7.
4.
8.
larka
bara
17.
Trailokyaviiava
Kalacakra.
20.
Goddesses
1.
Yogam-
19.
189
...
5.
2.
Janguli
Parnasabarl
6.
3*
Ekajata
4.
^Prajnaparamita
7.
VidyuVajra-
10.
Mahamantranusarini
97^/TanSpratyahgira
11.
12. Nairatma
Vasudhkra
Dhvajagrakeyura
13.
Jnanadakini
carcika
8.
Gods
5.
8.
14.
...
...
206
Namasahgiti
;
M and
3.
Usnisavijaya
;
6.
4.
Sitatapatra Aparajita
Vajravarahl
Emanations of Amoghasiddhi
CHAPTER IX.
VajravidaranL
MahasahasrapramardanI
Grahamatrka.
Gods
Goddesses
2.
Emanations of Vairocana
1.
II.
CHAPTER VIII.
I.
Paramasva
Mahaclnatara
jjvalakarall
I.
18.
CHAPTER VII.
II.
Vajramrta
...
7.
Cunda
...
226
XVJI
Goddesses
2.
Khadiravam Tara
II.
tara
Sadbhuja
5.
Parnasabari
8.
Dhanada Tara
6.
Mahamayun
9.
Mahasrl Tara
3.
Sitatara
10.
4.
Vasya-
7.
Sitatara
Vajrasrnkhala
11. Vajragandhari.
Emanations of Ratnasambhava
CHAPTER X.
Gods
I.
Goddesses
II.
3.
6.
ApaJtfjita
Ucchusma Jambhala
2.
.s**
Vaipatara
XL
CHAPTER
Vajrayogim
7.
Mahapratisara
4.
Yamantaka
1.
Vighnantaka
4.
bala
8.
Collective Deities
I.
Acala
8.
2.
Usmsa
9.
1.
Vajrankusi
Vajraghanta
4.
III.
Eight
2.
5.
...
...
251
...
...
...
251
6.
Padmantaka
7* Maha-
3.
Niladanda
Sumbharaja.
...
...
VajrapasI
Usmsavijaya
Usmsa Gods
3.
Vajrasphota
256
Sumbha.
6.
...
...
...
...
10.
Prasanna Tara
Prajnantaka
Takkiraja
5.
Vasudhara
5.
II.
237
...
^>^~
Jambhala
1.
...
299
Padmosmsa
3.
Ratnosmsa
1.
Vajrosmsa 2.
Tik7.
Visvosmsa 5. Tejosmsa 6. Dhvajosmsa
Chhatrosmsa.
8.
snosmsa
;
4.
Five Protectresses
IV.
1.
...
Mahapratisara
Mahamantranusarim
3.
Maha$ItavatI
4.
...
...
Mahasahasrapramardani
2.
302
Maha*
5.
mayurL
Taras of Five Colour
V.
1.
4.
VI.
Green Tara
Blue Tara;
Eight Gaurl
5.
VII.
Gaurl;
Pukkasi; 6.
Four Dance
1.
VIIL
Lasya
2. White Tara
Red Tara.
Group
1.
5.
Cauri
2.
Saban
2..
3.
Candali
7.
Yellow Tara
Mala;
8.
3.
Gita
4.
3.
Mukunda
...
312
..,
314
Nrtya.
...
309
Dombi.
...
306
...
Ghasmarl
4.
...
...
...
Vetall
3.
...
...
Deities
...
4.
Muraja.
XVIII
IX.
Talika
KuncI
2.
X.
1.
Suryahasta
Dlpa
...
Ratnolka
3.
316
Patadharinl
4.
...
2.
Kapata
3.
...
...
...
317
...
Tadit-
4.
kara.
1.
2.
bukarasya
3.
...
...
Svanasya
Sim-
4.
319
hasya.
XIL
Dakim
1.
CHAPTER XIL
Ratnaparamita
1.
mita
naparamita
7.
paramita
12.
Danaparamita
1.
sita
9.
10.
Jnana*
5.
8.
...
Pariskaravasita
3.
328
RddhivaPranidhana vasita
Upapattivasita
Dharmavasita
10.
...
...
2. Cittavasita
Twelve Bhumis
6.
Tathatavasita
11.
8.
11.
Durangama
Dharmamegha
Twelve Dharinls
Sumati
1.
Marl
mukhl
5.
Pramudita
8 Cunda
9.
Samantaprabha.
6.
...
...
3.
Usrnsavijaya
Jahgull
Prajnavardhanl
11.
12*
7.
10.
333
Vimala
7. AbhiSadhu-
9.
Ratnolka
;
3.
...
Sudurjaya
10.
Acala ;
...
Parnasabarl
mavaranavisodhanl
6.
2.
...
...
2.
1.
Adhimukticarya
5. Arcismatl
Prabhakan
mat!
11.
Buddhabodhiprabha-vasita.
mukhl
IV.
Balaparamita
4*
cillapara-
Adhimuktivasita
7.
Jnanavasita
12,
III.
Ayurvasita
323
Vajrakarmaparamita.
Karma vasita
4.
...
3.
5.
II.
323
Pranidhanaparamita
9.
Rupim.
6. DKyaViryaparamita
8
Upayaparamita
Prajnaparamita
Ksantiparamita
4.
4.
...
...
2.
321
...
...
...
Khandaroha
3.
Philosophical Deities
Twelve Paramitas
I.
Lama
2.
...
337
AnantaSarvakar-
Aksayajnanakaranda
12
V.
Four Pratisamvits
L Dharma
3.
...
Pratisamvit
Nirukti Pratisamvit
4.
2.
...
Artha Pratisamvit
Pratibhana Pratisamvit.
...
342
XIX
:
CHAPTER
Hindu Gods
XIII.
1.
Mahakala
2.
Ganapatl
3.
Ganapatihrdaya
Sarasvatl
5.
The
V.
Ten
6.
^IT
...
344
...
352
Eight Dikpalas
Yama
II.
Agni
Principal
Hindu
Brahma
Karttikeya
VIII.
BhrngI;
VII
Nairrti
Deities
Varahl
V.
Varuna
III.
Visnu
II.
...
VI.
Isana
...
Indra
in Vajrayana
VIII.
Vayu
**r~
III.
363
IV.
VII.
MahSkala
IX
...
"Stahesvara
Camunda
VI.
Ganapati
Kubera
IV.
X.
Nandikesvara.
Nine Planets:
7.
...
...
III.
Balabhadra
8.
IV
Group
Balabhadra
I.
II.
Jayakara
IV.
II.
Time
Deities:
Months
...
III.
...
379
Gandharva
...
II.
Dates
III.
...
...
381
...
...
382
Zodiacal
Signs
Seasons
Conclusion
...
Glossary
Index of
378
Vidyadhara King.
11.
Apppendix.
...
Madhukara
III.
Kinnara King
Twenty-Eight Constellations
CHAPTER XIV.
...
10.
IV.
3ani;
...
Yaksa Kings
King;
I.
IV.
Vasanta.
Vidyadharas
I.
...
...
9.
VII.
367
Ketu.
IX.
Mangala
Sukra
Rahu
VIII.
...
Words
Index of Illustrations
...
..."
334
...
...
394
...
...
...
...
432
...
...
...
443
...
...
...
...
457
LIST
OF ILLUSTRATIONS
Names
Fig.
1.
2.
BodhiTree (Sanchi)
3.
4.
5.
WheeLof-the-law (Bharhut)
6.
10.
...
Simbhu (Nepal)
...
Baudh (Nepal)
Kathe Simbhu (Nepal)
...
Dharma (Nepal)
...
Buddha (Nepal)
11.
Sangha (Nepal)
12.
7.
8.
..
Page
...
...
33
..
33
...
36
...
36
..
36
...
..
...
...
37
..
...
37
37
...
40
...
...
40
...
...
57
13.
...
...
58
14.
...
...
58
...
58
9.
15.
...
40
...
Museum)
16.
Vajradhara (Baroda
17.
19.
20.
2L
23.
...
Padmapani (Nepal)
a
Aksobhy (Nepalese miniature)
...
Aksobhya (Nepal)
24.
MamakI
18.
22.
(Nepalese drawing)
...
58
...
59
...
59
..
...
60
...
...
60
...
60
...
...
60
...
...
61
61
...
25.
Vajrapani (Nepal)
...
61
26.
Museum)
Vajrapani (Nalanda Museum)
...
..
62
...
...
62
...
...
62
29.
30.
..
...
63
31.
...
...
63
...
...
63
...
...
64
...
...
64
2?.
28.
32.
33.
34.
...
Vajrapani (Indian
...
62
...
XXI
'
Names
Fig.
Page
35.
...
36.
Vilvapani (Nepal)
...
37.
...
38.
39.
40.
Ratnapani (Nepal)
...
64
...
65
...
...
65
...
...
65
...
66
...
66
...
...
66
.-
'67
41.
Vajrasattva (Nepal)
42.
Vajrasattva (Baroda
...
43.
Vajrasattva
...
...
67
44.
Vajrasattva
...
...
67
45.
Seven
..
Museum)
Yab-yum (Nepal)
Yab-yum (side view)
Mortal
Museum)
Buddhas
with
...
Museum)
Maitreya
(Indian
...
...
68
...
..
46.
Vajrasana (Indian
47*
...
...
68
69
...
...
69
...
69
50.
...
51.
52.
53.
48.
49.
...
...
70
..
...
70
...
...
70
...
...
71
54.
...
...
71
55.
...
...
71
56.
...
72
...
72
58.
...
Vajragarbha (Nepalese drawing)
...
Avalokitesvara (Nepalese drawing)
Mahasthamaprapta (Nepalese drawing)
59.
...
...
105
60.
...
...
105
61.
...
...
105
62.
...
...
106
63.
...
106
...
106
57.
64.
65.
66.
67.
68.
69.
72
...
...
107
...
...
107
...
...
107
...
'...
l68
'...
108
...
...
'108
...
.:.
'109
...
'
70.
71.
72.
'73.
74.
'
...
Amoghadarsin (Nepalfese drawing)
...
..:
Surangama (Nepalese drawing)
Manjusn with Ganapati and Vi^snu (Baroda Museum^:/
!.-.
i09
'
"J09
1
10
XXII
Names
Fig.
Musem)
75.
Vajraraga (Baroda
76.
77.
78.
Page
...
...
110
...
...
110
...
...
Ill
...
...
Ill
...
111
79.
80.
Museum)
...
...
112
...
...
112
112
81.
Vaglsvara (Indian
82.
Vaglsvara (Nepal)
...
...
...
83.
Manjuvara (Birbhum)
...
...
...
169
84*
...
...
169
.-.
...
169
...
Manjuvara (Nepal)
Manjuvajra (Baroda Museum)
...
...
170
...
...
170
...
...
170
...
...
171
...
...
172
...
...
172
...
..
172
...
...
173
...
...
173
...
173
...
174
85.
86.
87.
88.
89.
90.
9L
92.
93.
94-
95.
96.
97.
98.
99.
Arapacana
Arapacana
Arapacana
Arapacana
...
(Nepal)
(Baroda
Museum)
...
Group (Indian Museum)
...
Sadaksari Group (Birbhum)
Sadaksari Lokesvara (Baroda Museum)
Sadaksari Mahavidya (Sarnath Museum)
Simhanada Mahoba (Lucknow Musuem)
Sadaksari
...
175
176
...
...
176
...
...
176
...
...
257
...
...
259
258
259
...
259
103.
104.
...
Khasarpana (Indian Musuem)
Lokanatha Mahoba (Lucknow Museum)
...
Lokanatha (Baroda Museum)
...
Lokanatha (Sarnath Museum)
...
Lokanatha (Nepal)
105.
106.
107.
174
...
102.
...
174
...
...
Simhanada (Nepal)
Simhanada (Magadha)
Simhanada (Nepal)
100.
101.
...
...
...
...
260
...
260
...
...
260
...
...
261
...
261
113.
...
261
114.
Trailokyavasahkara (Peiping)
...
...
262
115.
Raktaiokesvara (Peiping)
...
...
262
108.
109.
110.
111.
112.
...
Halahala (Nepal)
Padmanarttesvara (Nepal)
Padmanarttesvara (Peiping)
...
XXIII
Names
Fig.
Museum)
Page
...
...
262
...
...
263
...
...
263
263
116.
Ntlakantha (Sarnath
117.
118
119.
...
120.
..
...
264
...
...
264
...
...
...
...
264
265
122.
123
BhrkutI (Peiping)
124.
...
...
265
...
...
265
...
127.
...
...
266
266
128.
...
...
266
129.
...
...
267
Museum)
...
Vighnantaka (Baroda Museum)
...
267
267
268
121.
125.
126.
130.
131.
...
...
...
132.
...
...
133.
Yogambara
...
...
263
134.
...
...
268
135.
...
136.
...
...
137.
...
...
269
269
269
...
...
270
...
...
270
...
...
270
...
...
271
...
...
271
(Peiping)
...
Museum)
138
Ekajata (Indian
139.
140.
Parnasaban
141.
142.
Prajnaparamita (Indian
143.
...
...
271
144.
...
...
272
145.
...
...
146.
Pratyafigira (Nepal)
...
...
272
272
147.
...
148.
149.
150.
151.
152.
(Indian
Museum)
Museum)
...
274
274
274
...
...
...
...
274
...
...
276
...
...
275
276
276
Museum)
154.
155.
156.
Usnlsavijaya -(Indian
153.
...
Museum)
...
...
...
...
278
...
277
XXIV
Names
Fig*
Page
157.
...
278
158.
...
278
J59.
...
...
279
160.
Vajravarahi (Baroda
...
...
279
161.
Cunda
Cunda
Cunda
Cunda
Whitney)
...
279
...
...
280
...
...
280
...
...
280
162*
163.
164.
(The
Museum)
Mr.
late
W.
B.
(Nepalese miniature)
(Baroda
Museum)
(Bodh-Gaya)
...
...
169.
170.
...
...
284
171.
...
284
...
284
...
...
285
...
..
286
165.
166.
167.
168.
172.
174.
175.
176.
179.
Jambhala
Jambhala
Jambhala
Jambhala
180.
Vajratara
173.
...
(Nepal)
...
282
...
281
...
282
...
282
...
283
...
286
..
...
286
(Vikrampur, Dacca)
...
...
(Vikrampur, Dacca)
...
...
287
288
...
288
...
288
Vajratara (Orissa)
...
...
...
289
182.
Vajratara (Nepal)
...
...
...
289
183.
Puspatara Peiping
...
...
...
289
184.
...
290
185.
...
290
186.
188.
189.
Aparajita (Nalanda
190.
Aparajita (Indian
177.
178.
181.
187.
Museum)
Museum)
290
...
...
291
...
...
291
...
...
291
292
...
...
...
292
...
...
.292
...
...
293
(Peiping)...
,..
...
293
...
...
...
293
...
...
294
...
294
19L
Vajrayogim (Temple
193.
Vajrapasi (Peiping)
Vajrasphota
...
...
192.
194.
...
at
Sahku)
...
195.
Vajrosnisa (Peiping)
196.
197.
XXV
Names
Fig,
Page
198.
...
199.
...
...
294
295
...
...
295
200.
...
...
295
202.
Vetall (Peiping)
...
...
296
203.
Ghasmarl
...
...
296
296
201.
(Peiping)
204.
Pukkasi (Peiping)
...
205.
Dombi
...
...
...
...
353
353
...
...
353
...
...
...
...
...
...
206.
207.
(Peiping)
Lasya (Peiping)
Gita (Peiping)
209.
Nrtya (Peiping)
Vina (Peiping)
210.
Mukunda
211.
Talika (Peiping)
...
...
354
354
354
355
212.
...
355
...
...
355
214.
Kapata (Peiping)
Dlpa (Peiping)
Ratnolka (Peiping)
..
...
...
356
215.
Simhasya
...
...
356
356
208.
213.
(Peiping)
217.
Moghe's Collection) ..
Simhasya, upper view (Dr. Moghe's Collection)
...
DSkinl (Peiping)
218.
Lama
219.
220.
221.
216.
(Dr.
...
357
...
...
376
...
...
...
...
357
357
...
...
222
Rddhi Vasita
...
...
223.
Dharmamegha
224.
225.
226.
(Nepalese
painting in colour)
(Peiping)
(Peiping)
358
358
358
359
...
...
...
...
..
...
359
...
359
...
...
Mahakala (Nepal)
Ganapati (Dr. Moghe's Collection) ...
Ganapati (Maharani Chimanabai Collection)
...
...
...
...
360
360
360
369
369
369
...
...
370
Z34.
...
...
235.
...
...
370
370
227.
228.
229.
230.
231.
232.
Z33.
...
...
...
236.
Indra (Peiping)
...
...
371
237-
Agni
...
...
371
138.
Vayu
...
...
371
(Peiping)
(Peiping)
XXVI
Names
Fig.
239.
Brahma
240.
241.
242.
Page
372
...
...
Mahesvara (Peiping)
...
...
372
Ganapati (Peiping)
...
...
372
Rahu
...
...
373
(Peiping)
(Peiping)
243.
Ketu (Peiping)
...
...
373
244.
Tithi (Peiping)
...
...
373
245
Navami
Dasami
Tithi (Peiping)
...
...
374
246.
Tula (Peiping)
...
...
374
247.
Kumbha
248.
Mma (Peiping)
249.
(Peiping)
...
...
374
...
...
375
...
...
375
APPENDIX
Eye-copy of paintings in the Machhandar Vahal,
Kathmandu, Nepal
Names
Fig.
Page
2(A).
Hayagriva Lokesvara
Mojaghanjabala (?) Lokesvara
3(A).
Halahala Lokesvara
...
...
401
4(A).
Harihariharivahana Lokesvara
...
...
401
5(A).
Mayajalakrama Lokesvara
Sadaksan Lokesvara
Anandadi Lokesvara
...
...
402
...
...
402
...
...
Vasyadhikara Lokesvara
Potapada Lokesvara
...
...
402
402
...
...
10(A).
Kamandalu Lokesvara
...
...
11(A).
Varadayaka Lokesvara
Jatamukuta Lokesvara
Sukhavati Lokesvara
Pretasantarpana Lokesvara
Mayajalakramakrodha Lokesvara
Sugatisandarsana Lokesvara
Nilakantha Lokesvara
1(A).
6(A).
7(A).
8(A)
9(A).
12 (A).
13(A).
14(A)
15(A).
16(A).
17(A),
19(A),
Lokanatha-Raktaryyavalokitesvara
Trailokyasandarsana Lokesvara
20(A).
Sirhhanatha Lokesvara
21 (A).
26(A)*
Khasarpana Lokesvara
Manipadma Lokesvara
Vajradharma Lokesvara
Pupala (?) Lokesvara
Utnauti (?) Lokesvara
Vrsnacana Lokesvara
27(A).
18(A),
401
...
...
...
...
401
403
403
403
...
...
...
...
403
...
...
404
...
...
...
...
404
404
404
...
...
...
...
405
...
405
...
...
405
...
...
405
...
...
...
...
...
...
...
...
406
406
406
406
...
...
407
...
...
407
Brahmadanda Lokesvara
...
...
407
28(A).
Acata
...
...
407
29(A).
...
..
408
30(A),
Mahavajrasattva Lokesvara
Visvahana Lokesvara
...
...
408
31(A).
Sakyabuddha Lokesvara
...
...
408
32(A).
Santasi Lokesvara
...
...
408
22(A).
23(A).
24(A).
25(A).
(?)
Lokesvara
XXVIII
Names
Fig.
Page
33(A).
Yamadanda Lokesvara
...
...
409
34(A).
Vajrosmsa Lokesvara
...
...
409
35(A).
36( A)
..
...
409
...
...
409
...
...
410
37(A).
Karandavyuha Lokesvara
38(A).
Sarvanivaranaviskambhi Lokesvara
...
410
39(A).
...
410
40(A).
Sarvasokatamonirghata Lokesvara
Pratibhanakuta Lokesvara
...
...
410
4l(A).
Amrtaprabha Lokesvara
...
...
411
42(A).
...
...
411
43(A).
Jaliniprabha Lokesvara
Candraprabha Lokesvara
...
...
411
44(A).
Avalokita Lokesvara
...
...
411
45(A).
Vajragarbha Lokesvara
...
...
412
46(A).
Sagaramati Lokesvara
Ratnapani Lokesvara
...
...
412
...
...
412
...
...
412
49(A).
Gaganaganja Lokesvara
Akasagarbha Lokesvara
...
...
413
50(A),
Ksitigarbha Lokesvara
...
...
413
51 (A).
Aksayamati Lokesvara
...
...
413
52(A).
Srstikanta Lokesvara
...
...
413
53(A).
Samantabhadra Lokesvara
Mahasahasrabhuja Lokesvara
Maharatnaklrti Lokesvara
Mahasankhanatha Lokesvara
Mahasahasrasuryya Lokesvara
Maharatnakula Lokesvara
...
...
414
...
...
414
...
...
414
...
...
414
47(A).
48(A).
54(A).
55(A).
56(A).
57(A).
58(A).
59(A).
60(AK
61(A).
62(A).
63(A).
64(A).
65(A)*
66(A).
67(A).
68(A).
69(A).
70(A).
71(A).
72(A).
73(A).
415
...
...
*..
...
415
Mahapatala Lokesvara
Mahamanjudatta Lokesvara
Mahacandrabimba Lokesvara
...
...
415
...
...
415
...
...
416
Mahasuryyabimba Lokesvara
Maha-Abhayaphalada Lokesvara
Maha-Abhayakarl Lokesvara
Mahamanjubhuta Lokesvara
Mahavisvasuddha Lokesvara
...
...
416
...
...
416
...
...
416
...
...
417
...
...
417
...
...
417
Mahavajradhatu Lokesvara
Mahavajradhrk Lokesvara
Mahavajrapani Lokesvara
Mahavajranatha Lokesvara
Amoghapasa Lokesvara
Devadevata Lokesvara
Pindapatra Lokesvara
...
...
417
...
...
418
...
...
418
...
...
418
...
...
418
...
...
419
XXIX
Names
Fig.
Page
74(A).
...
...
75(A).
Ratnadala Lokesvara
...
...
419
419
76(A).
...
...
419
...
...
420
...
...
420
79(A).
Visnupani Lokesvara
Kamalacandra Lokesvara
Vajrakhanda Lokesvara
Acalaketu Lokesvara
...
...
420
80(A).
Sirisara(?)
...
...
420
8l(A).
Dharmacakra Lokesvara
..,
...
421
82(A).
Harivahana Lokesvara
...
...
421
83(A).
Sarasiri
...
...
421
84(A).
Harihara Lokesvara
...
...
421
85(A).
Simhanada Lokesvara
...
...
422
422
422
77(A).
78(A).
(?)
Lokesvara
Lokesvara
86(A).
Visvavajra Lokesvara
...
...
87(A).
Amitabha Lokesvara
...
...
88(A).
Vajrasattvadhatu Lokesvara
...
...
422
89(A).
Visvabhuta Lokesvara
...
...
423
90(A).
Dharmadhatu Lokesvara
...
...
423
91(A).
...
...
423
92(A).
Vajradhatu Lokesvara
Sakyabuddha Lokesvara
...
...
423
...
424
93(A).
Cittadhatu Lokesvara
...
94(A).
Cintamani Lokesvara
...
...
424
95^AK
Santamati Lokesvara
...
...
424
96(A).
Manjunatha Lokesvara
...
...
424
97(A).
Visnucakra Lokesvara
...
..
425
98(AK
Krtanjali Lokesvara
...
...
425
99(A).
Visnukanta Lokesvara
Vajrasrsta Lokesvara
...
...
425
...
...
425
...
...
426
100(A).
105(A).
oankhanatha Lokesvara
Vidyapati Lokesvara
Nityanatha Lokesvara
Padmapani Lokesvara
Vajraparii Lokesvara
106(AK
Mahasthamaprapta Lokesvara
...
...
427
107(A).
Vajranatha Lokesvara
...
...
427
...
...
427
101(A).
102(A).
103(A).
104(A).
108(A).
nmad-Aryyavalokitesvara
...
...
426
...
...
426
...
...
426
...
...
427
SELECT BIBLIOGRAPHY
B.
Bhattacharyva,
Advayavajra
Beal
(S)Si'yU'ki
translated
1906.
Bendall (C)
2.
versity Library,
to H.
Shastri's
Nepal Catalogue
Calcutta, 1905.
Bhattacharyya (Benoytosh), ed
and
the Uni*
Cambridge, 1883.
A Historical Introduction
3.
Vol.
in
Sadhanamala,
2 vols.
COS
Nos. 26
Two
Ed
2.
COS
No.
Ed
3.
No.
COS
Ed
4.
COS No.
109,
Baroda, 1949,
5.
Iconography of Heruka
6.
An
Introduction
in Indian Culture,
to Buddhist
Esoterism,
Vol.
II,
No.
1.
Oxford University
Press, 1932.
Bhattasali
Nalini Kanta
Sculptures in the
Burgess
(J)
Iconography of Buddhist
and
Brahmanical
and Fergusson
(J)
The CaveTemples of
India,
London, 1880.
XXXI
Clark (Walter Eugene) Two Lamaistic Pantheons, (TLP) 2 vols. in the
Harvard Yenching Institute Monograph Series, Cambridge, Mass.
( Dr. A. K. )
Mahay ana Buddhist Images from Ceylon
and Java (with three plates), JRAS, April 1909.
Coomaraswamy
Cordier
(P)
la
Bibliotheca Nationale,
Csoma
(Alex.,
De Koros)
Adi-Buddha systems,
in
2.
from Tibetan
Cunningham
India,
Davids
(W
Rhys)
No.
Fergusson
Foucher
-Early
Six Sculptures
8.
(J)
(A)
partie,
See Burgess
(J)
2e.
1st
partie 1905.
W. Thomas with
a preface
by the
latter,
Oxford, 1917.
The
Getty (Alice)
Gordon (Antoinette
1st edition,
B. Bhattacharyya,
GOS
Baroda, 1931.
Indrabhuti-Jnanasiddhi
along
published under the title,
charyya, in
GOS
with
Two
the
Prajnopayaviniscayasiddhi,
Vajrayana Works,
No. XLIV, Baroda, 1929.
ed
B. Bhatta*
XXXII
Kern (H)
Oxford, 1886.
Max
Muller
The Dharmasangraha
(F),
Mitra (R)
The
Monier- Williams
M.)
(Sir
in
its
A. Gopinatha)
Madras, 1916.
Bmhmanism
London, 1889.
London, 1880.
2 vols., Vol.
u>ith
(T.
Sahni
Connexion
Rao
Buddhism
Catalogue of the
Museum
and
II,
L 1925, Vol.
II,
of Archaeology at Srtrnath,
Calcutta, 1914.
Samasrami
Sastri
(S)
(H)
ed
Karanda-Vyuha, Calcutta.
Eighteen
lished in the
2.
articles
in Bengali
on "Bauddhadharma"
pub-
its
Collection
Descriptive
6.
7.
II,
No.
7,
pp.
Calcutta.
Parisat
Gran-
in the Journal
of the
thavali
8.
Vangiya Sahitya
9.
Parisat, B.S.
(in Bengali)
1327
1898, p. 175
ff.
XXXIII
1916,
le Uahavastu, Vol.
Senart (E)
3,
part
I,
Paris, 1882.
India and
Oxford
Ceylon,
1911.
The
Ui (H)
Vai'sesika
Translation Fund,
Vasu
N, N.
Philosophy,
New
edited by
Series, Vol.
R W,
Thomas, Oriental
XXIV, London,
and
its
1917.
Followers
in
Orissa,
Calcutta, 1911.
2.
Vogel
J,
Ph.
Catalogue
of the Archaeological
Museum
at
Mathura,
Allahabad, 1910.
Introduction to D. R, Sahni's Sarnath Catalogue, See (Sahni,
2.
R.).
The Mathura
3.
Waddell
L. A.
The
illustrated
Wright (D)
London,
Cambridge, 1877.
1895,
ERRATA
Introduction
Materials for the study of Buddhist Iconography.
1.
assigned.
concerns
rily
apparent.
free
gods
in
commonly
exploited.
The problem of
a real
The
Tantru
which
difficulty
ureat
Scholars of
to solve.
scholars have
countries,
all
notably
Waddell, Grunwedel,
Bhattasali,
Rakhaldas Banerji
and many others, have written useful and authoritative works, and
collected together a considerable amount of information on Buddhist
unfortunate, however, that the pantheon of the Indian
iconography.
It is
Vajrayanists
who were
been
more or
less
Buddhism
although a
masterpiece, deals
and Japane.se gods but the purely Indian gods seem to have attracted
It was
Professor Foucher who by the publi*
little notice from them.
cation of his
parts
'Eludes
sur
/'
published as early as
loniogrciphi?
1900 and
1905,
first
sculptures.
field of research.
INTRODUCTION
tallied
When the
present author was studying at the feet of the illustrious savant, Professor Foucher, at the Indian Museum, Calcutta, he
was advised to edit and study the different recensions of the
image.
deities.
The Sadhanamala
is
valuable_jm^i^
Buddhist
of the Buddhists.
b^^jJtud^
dhism 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-
work
fore,
this
is
B.
Hodgson was
the
INTRODUCTION
Resident of Nepal.
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
Amrtananda's work
Collection.
is
not published.
more
of supplying
much
pafa
The Nispannayogavali
its
is
brevity.
It
in twenty-six
these descriptions
is
is
contains in
remarkable for
26 Mandalas
all
large
number pf
and informa-
tive.
Many
literature.
pantheon.
prolific.
What
Buddhism may be
Institute
deities.
Monograph
INTRODUCTION
These
with their
it
is
Otherwise
it is
numerous
difficult
deities
to conceive
represented in the
can be given
how form
to such obscure deities as the Sixteen Boddhisattvas, the Twelve Paramitas, the Twelve Vasitas, the Twelve Bhumis, the Four Pratisamvits,
etc.
It
is
in the Manjuvajra
Mandala of the
Nispannayogavall.
without the help of descriptions as given by Abhayakaragupta.
The volume of information given in the Nispannayogavall of Abhayakaradeities
gupta
is
is
exhaustively.
Tantric texts
numerous
Tantras,
Candamaharosana
Tantra,
Vajravarahi
Tantra,
Academy of
Sciences in Leningrad.
are
work
and
original
INTRODUCTION
cultural past.
India.
family of languages
is
it is
is
not allowed
There
Illuminated
also not
unknown.
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
The
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 attention of great scholars, but images belonging to the Tantric and postTantric 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 Odanta(1)
Foucher
17.
INTRODUCTION
puri,
such as
Sarnath, Patna,
Mayurbhanj,
Calcutta, Dacca, Rajshahi,
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
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
and
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
some
Sadaksarl
in the matter
Mar-pa,
in
character
Tibetan
Although
of the purely Indian gods of the
An
About
Mila-ras-pa,
Lokesvara,
Vak, Heruka,
first,
(1)
illustrated in
INTRODUCTION
number of monasteries
at
Kathmandu
alone exceeds
five
hundred.
is
in
few minutes.
These
artists
seem to have
and white and paintings in colour all relating to Buddhist deities. The
specimens obtained from a gifted Citrakara named Virman are reproduced in the body of the book in large numbers. All line drawings,
barring the twenty- four Bodhisattvas, reproduced in this volume are
his drawings in black and white.
from
The above
is
a short
that
the
images,
sculptures,
It
may be
noticed
the
is
well
known
as Vajrayana,
INTRODUCTION
8
2.
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
in India were all
incorporated in the
Tantric literature contributes a great deal to such sciences as
and mysticism.
In this
wonderful literature
and when
madan
all
locked up
much of the
studied,
of
is
right
upto the
Muham-
conquest.
may here be mentioned that the Tantras, inspite
their faults, are peculiarly Indian and represent India's contribu^
It
tion to world
culture.
literature of this
kind
is
till
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
others.
Buddhism continued
with their
own unaided
these ideals.
The
efforts,
distinction between
four
INTRODUCTION
How
maka).
these
There
are
four
theories;
According to
this
authority
and Mahayana.
Sautrantika, Yogacara and
Pratyekayana
Vaibhasika,
Madhyamaka.
and Mantranaya.
very abstruse.
is
It
trans-
common
many and
cends
all
degree.
men whose
Advayavajra in
his
senses are
Sekanirnaya
accepts the
:?
fail
religion to
make
it
popular from
all
points of view.
Adv. p. 28
Adv. p. 21
3.
2.
Adv. p. 14
"Taduktamantrayogadiniyamad Vidhivat Krtat.
1.
pi jayote.
Sloka 3487
4.
Tattvasangraha of santaraksita
Prajnarogyavibhutvadidrstadharmo-
INTRODUCTION
10
Mantras were
we
few works on
all
which are
number of times.
paramita with
Tantras.
all
Then
the recitation of
all
of
to be a pro-
to
Mahayana although
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
is
coextensive
is
reality either
Obviously, this is
a position which was not agreeable to the Vajrayanists because to them
a positive aspect in the
Sunya
is
The Yogacara
absolutely necessary.
further and the view of Vijnanavada
does
not
Bhattacharyya
It is said,
Buddhist Esoterism, p. 24
INTRODUCTION
"Sunyata
is
11
designated as Vajra
The Mahayanists
obtaining
differ
liberation
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
salvation.
to
in possession of the
worldly miseries.
Nirvana until
all
is
represented
Now,
this
is
is
there
in Vajrayana.
It
embodiments of the
five
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
Adv.
p.
23
2.
Karandavyuha, ed.
INTRODUCTION
12
character.
in a secret
Gurus to
disciples in
their
its
followers could be
secret doctrines
in
public.
who were
lished.
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
ters
who
is
even
is
now amongst
Dharmas of Nepal.
Kern:
Manual of Buddhism,
p.
133
INTRODUCTION
13
Coming Buddha
it
is
after
in the mysteries
of
It
faith.
On
the
monks
very strictly put into operation. For instance, they must not have anything to do with women, must not take any forbidden food. Wine,
fish,
forbidden.
appetisers
The
rules
trusted disciples
hindrance.
who
and the
as true unless
in a public assembly.
Series,
(GOS).
INTRODUCTION
14
imposed on the
when
followers.
remained
secret,
ded
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
available.
It is
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
1.
2.
INTRODUCTION
The Manjusrimulakalpa
in that case
15
hundred
The beginning of
orthodox
the
Sangiti in the
style as
Manjusrimulakalpa
is
in the
opposed
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
is
even their names, Mudras, Mantras, families, Saktis, colour and direction 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 Manju*
srlmulakalpa in a disorganised manner. The Mantras of some of the
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.
purview all varieties of attractive tenets,
and
notions, dogmas, theories, rites
practices, and incorporated all that
was best in Buddhsim and probably in Hinduism also, and owing to
It
this circumstance Vajrayana attained great fame and popularity.
Vajrayana thus included in
its
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 somesatisfied
Its
universal popularity
became an
esta-
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
1.
16
INTRODUCTION
Vajrayanists,
The Tibetan
Buddhism
is
origi-
important for
Uddiyana
is
mentioned
in the
earliest
when Tantras
flourished,
were the two important centres of culture in Bengal. Vahga included the present Dacca, Faridpur and Backerganj districts, while Samatata
tata
culture in Bengal
is
rest of
Tantric
lore,
Vikrampur
is
said
to
In this Pargana
village
which
is
Vikrampur there
now known by
1.
Bhattasali
is
a fairly large
the rather
and well-populated
extraordinary
name of
INTRODUCTION
17
is
The
dhist.
still
which
is
But
deity Vrjrayogim
is
not
it is
known
as
Uddiyana but
as the
later,
One
rest of India.
deities are a
is
This process
necessary.
is
section.
3.
India were
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.
eminently the
Amongst
most
influential
Vol.
I.
18
INTRODUCTION
tion of the
mind or by mentally
few seconds.
long distance the material world provides telephones and wireless instruments but the Tantrics claim that
by psychic exercises they can hear anything from any distance, even the
at a
voice of gods and other invisible beings in the firmament. When a man
suffers from disease the material world provides doctors, medicines,
and so
forth, but to a Tantric these are unnecssary. By deveof the mind he can cure by a mere glance, or
resources
loping psychic
touch or by recitation of Mantras. These extraordinary powers of the
injections
the Tantrics
rial
in the present
should wonder seeing people running after Sadhus and Sannyasins leaving aside modern scientific men in many of their difficulties. Occasionally, stories
powers of
cities,
and
mountains,
in
India
moving about
in
jungles,
miraculous
powers.
Tantrics who were the advocates of psychic culture, by persistent
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
The
efforts
called Sadhana.
work
is
in Sanskrit
different
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
mind
it is
instantly fulfilled.
INTRODUCTION
The Middling
variety of Siddhas
enter unperceived
is
able
to
19
with
gods,
move
understand
all
homes of
others,
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
tise
Yoga
in all
its
subdivisions,
obtain omniscience.
all
worldly enjoyments,
show compassion
third class
prac-
all
first
and second
class
four.
and in verse, in
and are now preserved
now
This literature
is
in India in the
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
deities
iconography
the
it is
Sdhana or
INTRODUCTION
20
or Siddhi
whom
deity with
Sadhana
in all cases
and
visualisation
of the
the worshipper
is
is
in translation
in
five in
The
number, are
contents
of
lonely, agreeable,
and on
it
syllable
mendicant
everything
like,
confees'.
"Thereafter,
'I take refuge in the Buddha so long as the Bodhi essence subsists ;
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'.
INTRODUCTION
21
else',
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
'Then
a prayer should
quickly*.
'Whatever merit
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.
suffering
beings
who
evils
what
is
called
unlikely to
materialize.
*
Or
it is
the attraction in
all
powers
spiritual
"What
to
all
Or
it
without the
Indifference or
least
Upeksa
It is
human
Or
it is
the
fame
sarvadharmah svabhavasuddho'ham
If all
Om
phenomena
are inherently
INTRODUCTION
22
pure, where then
Because
is the possibility of the cycle of existence ?
being covered up with such thought categories as the subject and
the object. The way of purging of this impurity is the meditation on
of
its
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
and the object. The Sunyata should be established by the
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*
the subject
formula
siddhi.
The
deity should
further be meditated
upon
as sitting in the
food
offerings, scents,
garlands, unguents,
powders, mendicant
Thus
after repeatedly
umbrella, flags, bell,
worshipping her and offering her panegyrics, the Mudra or the mystic
The palms of the hands, should be joined
signal should be exhibited.
dress,
The two
first
two middle
fingers
like.
form of a needle.
tips
touching the
lotus*
INTRODUCTION
"With
Mudra
this
23
front should
Time
within,
Then the
rays issuing
as satisfying
the nature of
Sunya.
the universe.
on the
Om
is
is
endowed with
by
all
great powers,
This
and
is
is
the lord of
saluted,
all
Mantras,
Tathagatas.
own form
thinking his
those
who
meditate on
supernormal powers
him
as
as a matter
fall at
of course.
which
of
his
is
most
difficult
own
The
him his breath, nay more, even the Buddhahood
to attain comes to him like a plum on the palm
Generally speaking,
all the eight
with his
eyes.
hand."
The above
is
summary of
other gods
and
goddesses.
But
is
that the
The discussion
in
in this
exercise
for
the
development of
his
deities
treated
in
this
work may be
24
INTRODUCTION
4.
There
is
is
in
Buddhism.
of the
deity whether
belief
Godhead
it is
is
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 prinBy this communion the ascetic draws
ciple behind the world structure.
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 Tantras
The
deity
is
practices,
and
may be
is
other Vidya
known
a certain
an exceedingly
difficult path,
the disciple
is
required
ssary for
him
is
the
art
of Yoga
and
is
The
form
difficult
in the
psychic process
is
INTRODUCTION
Buddhists.
perusal of the
book makes
it
25
letters
first
embodiment of
the Infinite
in
in bright, effulgent,
They appear
Sunya.
form,
ornaments and
dress.
Violent
manner appear before him in the most violent form conan awe-inspiring manner with dishevelled hair, blood-shot
deities in like
ceivable, in
in
bestowing on the
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-
ascetic
it is
said
essence."
the icon
its
external representations.
The equipment
therefore
is
realize deities,
been indicated.
Now
it is
realised
Samanya Seva
second,
its
ADV.
ADV.
3,
Guhyasamaja, chapter,
1.
first,
2.
p. 50, lines 7, 8.
p. 51, lines, 6, 7.
18,
third,
its
evolution
26
INTRODUCTION
in the
form of
a deity,
deity.
In the
UttamaSeva
These
be employed.
(excellent worship)
limbs are
six
Yoga with
Pratyahara,
its six
limbs should
Dhyana,
Pranayama,
Dharana, Anusmrti and Samadhi.. Pratyahara (control) is here described as the process by which the ten sense-organs are controlled. Dhyana
(meditation)
through the
is
five
desired objects
Vitarka
(cogitation),
Vicara
(thinking), Priti
upon
in the
Bimba
(icon-circle).
By
this
Hathayoga.
By
this
this, it
Yoga the
If
the deity
ascetic
most
certainly
attains the
know-
The above
Hathayoga
incidentally
is
played by
first
and
shows also
Rajayoga
It
INTRODUCTION
to follow the
is
more advanced
27
Buddhist
as
the
in
as
well
most profound.
The individual soul
is
called
variously
the
Bodhisattva
Bodhi
flashes
and sparks.
The nature of
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 different cases the deity visualised also becomes different. It is the Bhavana
(desire)
of
that reacts
the
on
worshipper which
is
The
Infinite
Energy
is frilnva
in
Vajrayana^jmd
this
Sunya
invoked
is
sandandjane purposes,
in
is
less
or more
difficult
classified as
less
stringent
In the realisation of the deity, there are thus three elements, the
fiamed ifr~Tfi5~TanirIc
works
connecd9D_Q_Jsientity.
as the
These are
28
INTRODUCTION
citta
cluster of letters
to be the
same
consciousness which
all
is
Bodhi mind
memory,
are
all
is
existence,
unreal.
done
are
good or bad.
The
To
this chain
subject, object
and the
of consciousness
is
rest
which
purify
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,
is
it
defines
Bodhi mind
who
will
The
not be prepared
Vajrayanist concep-
The
Tantras
characterize
immovable objects
mountains and the
it appears in Yogacara.
the external world with its movable and
like a
pot,
rest as
picture,
carriage,
house, stone-house,
INTRODUCTION
29
be proved by reason.
The
Mantras
or
mystic
syllables
constitute
the
backbone
of
It is
also said
that through
if
"What
is
for instance,
slowly.
The mind
it
at
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
the greatest care.
syllables, the
The Mantra
is
preceptor.
who
The Mantra
is
powerful
when
it
comes from
a preceptor
is
nual repetition by day and at night until the deity is visualized. When
the Mantra becomes powerful the vibrations let loose by the Bodhi
the universal Sunya which explodes in consequence in
the divine form of the deity and appears before his mind sky. Accor*
mind
react
on
ding as the calling signal is different in different cases the deity becomes
The deities are nothing but
different, and thus its number increases.
the forms created by the force of word or letter vibrations, and by
continuous practice anyone can visualise the deity. The Mantra idea
30
is
INTRODUCTION
The
and the calling deity is one of identithe identity of the Bodhi mind with
the deity, the manifestation of Sunya or the ultimate reality, The
relation between the caller
fication.
It is
called
Ahamkara or
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.
signify
duality
but their
Continuous
enable the
meditation
and
austerities
makes
Karuna
Sunyata, and when the two
when
it
As copper
in
contact
leaves
its
with the
deity appears locked in close embrace with his Sakti or the female coun-
When
the deity
means
is single, it
reality
in the
who
sacrificed his
his
fellowmen.
From
ists
tablewill which multiplies in the formof words and gradually condensethemselves 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,
the
therefore,
INTRODUCTION
31
is
sur*
The Pantheon.
is
all,
and
theos
god and
Virtually, there
human
was an epedemic of
tract ideas,
Buddhists owes
qualities,
origin to Tantric
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
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
1.
Kern
2.
p. 3
first
image of
INTRODUCTION
32
Buddha
sacred
the
symbols
life
and
One of
objects.
with
regarded as the embodiment of the Buddhis^lJmv^
The
heavens
as
conceived
in
the
Buddhism
stupas received worship
which
all
are
art.
Besides
teachings,
Gandhara QjlMathura. It is
many images of Buddha in these two
in favour ofjsither
established
is
is
the
theBy^Ih^^and continued throughout
Mahaparinirvana J Such stupas are found in abundance 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
centuries
after his
human forms
Nepal are
one Dharma is
in
wa s" freely
symbolic and
goddess.
number of gods
pantheon.
rationally
for the
It
the Guhvasamaja
in
is
of
pantheon,
classified,
first
is
The
is
composed.
They
families
owe
who
In the
known
are
as
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
their families.
It is
pantheon with
its
offsprings
in this
way
multiplicity of gods
1.
2.
Guhyasamaja
p. 6.
XXXVI XXXVII.
Fig.
Maya's Dream.
1
(
RJi^rhryf
SYMBOL-WORSHIP
Fig.
(
Bodhi Tree.
Amaravati
INTRODUCTION
34
were represented
holding on
in art,
Buddha.
The
artists
had
a considerable
perhaps the
an unbroken cbnin
r>f
Hums
thr^ hnndtw]
y pQrg
1>r>
travellers
Amitabha appears
time as the
the
first
all
1,
28,
32.
INTRODUCTION
35
Hariti,
the
Catur-Mahafajikas,
Maitreya,
all
The Sadhana
lays
literatuie
down
which describes
worshipping them was developed by the Mahasiddhas or great magicians like Saraha, Nagarjuna, Sabaripa, Anahgavajra, Indrabhuti and
others,
although
it
is
very
composed by
Asanga who
attributed to
earliest
A.D.
their
Sadhana was
In the Sadhana
emanations are
referred to.
When
a reference
is
made
schools of art
different
it
to the
also
pantheon was not well developed before the Tantras got wide publicity
AT)i InTKe Gandhara school,
injiboutjthe middle of the 7th century
Kubera, Indra,
images.
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,
The Magadha school included the images found in
is otherwise.
The most
Kurkihar,
flourishing
1.
2.
Vogel
in
A.S
I.
Annual Report,
1906-7, p. 145.
36
UH
ffi
C/3
BS
o
o
CQ
00
oo
eb
SS
o
(/)
ss
oH
oo
3
03
CD
rob
CO
tu
4-J
U4
O
U4
PU
38
INTRODUCTION
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.
museums
the
at
this will
takes a
Bihar)
Sarnath, the contents of the museum are rich with such interesting
as Sadaksari Lokesvara, Ucchusma Jambhala,
Vasudhara, Marlci,
all
the
Five
Dhyani Buddhas,
Dhyani Buddha and numerous others belonging
to the Vajrayana pantheon. Nalanda images are enriched with the
same deities as are found in Sarnath.
Manjusri, Tara,
is
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
school
many
to Tantric
interesting
Buddhism
are
In this school
INTRODUCTION
39
is
published by
of India.
the
Archaeological
Department
of the
Government
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
at least exhibited
Had
it
deities
such
The Javanese
art
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
destruction of
40
CJ
03
CO
Q
<
H
H
CO
E
Q
Q
D
>
ctf
CQ
CQ
Hi
E
H
e
i^
C3
^C
41
INTRODUCTION
many Newars of
the land
in
history,
art,
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
with, and
it
is
with 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
CHAPTER
I.
Skandhas are
Rupa
These cosmic
forces are
In
Buddhas.
(form),
as
Dhyani
the
five
fact
that
all
the six
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
is
the
The
idea of
an
Adibuddha
originated
in the
this primordial
43
Adibuddha
in Central
Homage
it
as the
form of
in the
Nepal
over
is
a flame of
fire,
Svayambhu
Caitya.
is
later
than the
first
and, there-
Vajrasattva,
being
In Vajrayana,
He
left,
against the
(bell) in
chest in what
is
the
When
single,
he
in the Vajra'
sits
feet
locked with
carries
known
as
the
Vajrahuhkara
Mudra
on
a lotus
on
is
In
Yab-yum,
he
is
his
locked in
The
is
left
hands respectively
(skull cup) in
an embodiment ofthe
Jhdghest. ^reality,
The_deitv^ Vajiradhara
Sunya, ^jljLJE^SlP^rai^ta
BUDDHIST ICONOGRAPHY
44
is
forms.
Vajradhara.
Colour
Arms
Reddish White.
Six.
Faces
Pose
Three.
Tandava Dance.
Vajradhara
is
kho
mla-raktasavyetaravaktrah.
. .
sadbhujo
vajra-ghantavirajitabhuja-
savyakarabhy am
bhyam
vamabhyam kapalapasabhrt
alingitasvabhaprajna
krpanankusavarau
ardhaparyahkena
navanatyarasais-
tandavl." NSP. p. 8.
He
is
Vajradhara.
is
reddish white.
is
three-faced.
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".
represents a three- faced and six-armed Vajradhara image
Sakti in the Baroda Museum.
the
without
Fig.
the
16
,so
many
Dhyani Buddhas
the Adibuddha.
as the
is
the five Dhyani Buddhas, the progenitors of the five Kulas or families of
Buddhist gods and goddesses. Next to Vajradhara the Phyani^jBu.ddhas
Getty
-GNB,
p.
Secret
The Guhyasamaja
detail.
Communion) was
assembly)
(holy
in
the
which
first
Tantra
(Tantra of
supposed to
is
45
introduce
new
ideas into
Buddhism.
the Dhyani Buddhas are given a Mantra, a colour, aSakti^a direction, and a guardian of the gate. As these Dhyani
Buddhas are of primary importance in Buddhist iconography, it is neceIn the Guhyasamaja
some
detail
here.
The Guhyasamaja
opens in
a grandiloquent style
and
know-
his
VAJRADHRK
vibrant
with the sacred sounds of JINAJIK, the principal mantra of the Moha
The sounds condensed themselves into the concrete form of
family.
in
his front in
the East.
a third
Buddha mandala.
series
Abhaya
different
is
entirely
BUDDHIST ICONOGRAPHY
46
in the
form of
already
five
placed in their
appropriate positions.
Thus, the Lord in the
DVESARATI
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
queen of Amitabha.
Then
in a further meditation
the Lord
YAMANTAKRT.
the concrete shape of a violent deity, fearful to the Tathagatas, and was
placed at the eastern gate.
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
shape of
the beginning of the theory of the five Dhyani Buddbas, their counterparts, their mantras and the guardian of the gates. \ The five Dhyani
Buddhas ar* *hp Corner stones of Buddhist Iconography on which the
process
47
was
called
The
five
is
established.
five
Skan-
Sadhanamala
'
Amitabhamoghasiddhiraksobhyasca prakirtitah
"The
p.
568-9
Ratnasambhava, Amita*
colours
are white, yellow,
and
Their
Aksobhya.
bha, Amoghasiddhi
the
exhibit
and
and
blue,
they
Bodhyahgl (teaching), Varada
red, green
(boon), Dhyana (meditation), Abhaya (protection), and Bhusparsa
Jinas (victorious ones) are Vairocana,
As has been
in
number
known
to which a sixth
is
Vajrasattva
in circa
Tantra.
That the
five
1.
JASB, 1898.
p. 178.
BUDDHIST ICONOGRAPHY
48
But it may also be possible that the five Mudras which Buddha Sakyasimha 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
who
and
is
is
generally regarded
as
five
an embodiment of the
Ghanta,
doubtedly a
is
and the
and un-
Skandhas collectively,
pantheon of the Northern Buddhists.
five
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,
The head
is
fire
half-closed
in
perfect
Stupa which
is
cardinal points.
no means
He
But exceptions to
this
lule
are by
is
The
wrings of the
DhySni-Bddhas
Ratnasambhava
is
49
Dhyani Buddhas
known
not given
is
for
detailed
is
description of the
their
paintings.
1.
By
far the
AMITABHA.
Colour- Red
Vehicle
Mudra
Symbol
Samadhi
Peacock
Lotus
is
Amitabha
in the
also
known
form of
as Ayalokitesvara,
Amitabha
is
who
is
described in the
Advayavajrasamgraha thus
Pancakara section
The
of the
V'On
on the
disc of the
ADV.
sun there
is
p. .41
Amitabha
of red colour originating from the red syllable Hnh. | He has a lotus
He
as his sign and he exhibits the Samadhi Mudra in his two hands.
is
after)
BUDDHIST ICONOGRAPHY
50
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
His recognition symbol is the Lotus.
is a pair of peacocks.
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
It may be
remembered here that all
and other Dhyani Buddhas.
here
reproduced
Wentz.
Dr. Evans*
* Amitabha images are found
China
to the collection of
belong
abundance
in
in
Tibet
and
in
PANDARA
'
Pandara
Red
Colour
Symbol
Lotus
According to a Dhyana
in
is
is
is
des*
"Vayavyam
sini
Parhkarabljasambhuta Pandarava*
candramandalopari
raktavarna
rakta
padmacihna
Vayu corner on
"In the
ravasini
originating
She
is
the
embodiment
Padma
in
from the
germ
lotus
moon
ADV.
p.
there
is
syllable Parh.
full
She
43.
Pandared
is
She belongs to
of
is
red
padmakula
tejodhatusvarupa
ragarakta."
of attachment."
China A Fig 20
Pandara
represented
of drawings of all
trations
1.
Gordon ITL
2.
Clark
3.
Getty
Clark
4-
illustrates a
is
27.
p.
TLP,
II.
pp.
GNB
p.
TLP,
II,
Getty
32,
57,
the
GNB.
five
Buddhasaktis,
Pandara
illus"
and
142.
139.
61,
106, 152,164.
These
from
reproduced
Wright's Hutory
made by Nepalese
drawings are
51
of
painters.
PADMAPANI.
Colour
Padmapani
family which
I
whose
the
is
Red
spiritual
Lotus
Symbol
to
the
the
over by
Pandara
is
'(
Padma lotus )
Buddha
Amitabha
Dhyani
or Pandaravasim. The Lotus
attached
Bodhisattva
presided
consort
is
If
is
is
One
China./
of his images
2.
well
fairly
represen-
including Tibet
in Fig. 21
illustrated
is
is
and
2
.
AKSOBHYA.
Colour
Blue
Mudra
Bhusparsa
Vehicle
Elephant
Symbol
Vajra
Next
in
and 417.
Aksobhya
Nepalese Buddhists.
Tantric literature.
is
vajrakuli
ADV.
viuddhah".
p. 40-41.
Aksobhya
originates
He
of Vijnana
consciousness
is
).
He
is
the
embodiment of
the Vajra
group of
letters".-
2.
North.
When
61, 62
Getty : GNB. pp
This and other illustrations of the
t
size bronzes.
five
full-
BUDDHIST ICONOGRAPHY
52
the East. His left hand rests on the lap while the right
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
faces
Crests
reproduced here
/He
popular in Tibet
is
and China
(ii)
Colour
Aksobhya
is
Arms
Blue
Eight
He
is
described thus
parsavajralingitah".
"Aksobhya
is
is
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
the Cintamani jewel and the sword.
left hands he carries the bell,
With the two principal hands he embraces the Prajna Sparsavajra
his right
by name", j
MAMAKI
(
1
Colour
According
to
Blue
Symbol
the
in
Dhyana
Vajra
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
maki krsnavarna
krsnavajracihna
ADV.
sarakta"!
"On
originating
Moon
syllable
Mam.
\ She
is
is
4!
Mamaki
p.
blue in colour
and has the blue Vajra as her recogntion symbol. She is the embodiment of the element of Water and she belongs to the Vajra family.
She
is full
of enmity", f
Mamaki
is
known
1.
2.
is
in Tibet
Gordon
and China.f
:
ITL, p. 104 Getty GKB, pp. 36, 37.
Clark: TLP, II, pp. 126, 129, 138, 244.
;
53
VAJRAPANL
y
Colour
Blue
Symbol
Vajra
his
are illus-
He
is
represented in Tibet
3.
Vairocana
and China
VAIROCANA
Colour
White
Mudra
Vahana
Dragon
Symbol
Dharmacakra
Discus
is
^^
oldest^
His place
t 'le
form
It is
is
given below
ADV.
dhyatmakyasvabhavah".
p. 41
is
He
is
white in colour.
He is of
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
mudra and
the nature of
Moha
(delusion)
Ka
and
1.
2*
Getty
Clark
GNB.
TLP.
p.
II.
is
(guttural)
51
pp.
8,
11, 56,
Rupa (Form).
197, 201.
group of
letters,
and the
BUDDHIST ICONOGRAPHY
54
When
represented, Vairocana
is
two hands
thumb and
forefinger of
his recognition
and China
/
ii
Colour
Vairocana
dhatu and in
is
White
Faces
Arms
When
His
28, 29). /
(Figs
Eight
form he
this
"Vairocano
Four
nisannah
vajraparyankena
subhrah
sita-pita-rakta-
harita^caturvaktro astabhujah
is
is
white
in
colour.
His
show white, yellow, red and green colours. I He is eightarmed. With the two principal hands holding the Vajra he exhibits
With the second pair of
the Bodhyahgl or the Dharmacakra mudra.
hands he shows the Dhyana mudra. The two remaining right
four faces
hands hold the rosary and the airow, and with the two remaining
left he carries the discus and the bow". |
The
Vajradhatu Buddha is mentioned in the Chinese collection
1
Chinese
is
LOCANA.
Colour
Symbol
Two
Arms
White
Discus
Sakti or female
their
into a separate
They
Vajra$attva is added. Locana belongs to the
group of five or
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
[
six
fall
if
1.
2.
Gordon ITL. p. 51
Clark -TLP, II, pp
:
Getty:
12, 57.
GNB,
p. 34.
3.'
Clark
TIP. Vol.
II,
p. 115
55
ADV.
harakta".
"On
moon on
p.
42
is
em
of t h e
A Nepalese draw|
in
31
Locana
here
is represented
reproduced
Fig.
is
in Tibet.
SAMANTABHADRA
White
Colour
I
are the
a spiritual
Cakra
Symbol
progenitors of the
different families
consort and spiritual son. These spiriThe Bodhisattvas bear the same
is
known
in Tibet
and China
and
;i
One
is frequently
of his images
Colour
VThe
Nepalese
in
order.
Mudra
Green
Garuda
Vahana
Buddha
AMOGHASIDDHI.
Abhaya
Symbol
Visvavajra
left
hand
lies
open on
Fifth
Dhyani
right
below
the
Abhaya
"Uttaradale
'moghasiddhih
1.
Getty;
2.
Getty
GNB, p. 139.
GNB. p- 47.
Clark
TIP,
II,
pp.
8, 9, 52,
133
BUDDHIST ICONOGRAPHY
56
avabhavo
Varsarturupah
[Karmakull]
pavargavisuddhah ardharatrasvabhavah."
on
"Amoghasiddhi
the orb of the
from
originates
sun on the
pisitap(s?)ahtiktarastmakah
ADV. p. 41-42
or
symbol
'""(-, is the Visvavajra
He exhibits the Abhaya ( protection
thunderbolt.
mudra and represents the cosmic element of Samskara conforritotion ).
He is the embodiment of the rainy season and is a
demon by nature
to the Karma
[ he
belongs
family ] and he
of green
the double
is
colour. /His
^>
recognition
1C
represents the
bitter
the Pa
taste,
(labial)
group of
and the
letters
When
North.
Vahana
His
Garudas
pair of
is
Visvavajra or
the
green and
is
symbol
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
is
and
Statues
of
paintings
Buddha
Dhyani
this
large
Some
especially
33,
34
).
found in
of the North*
are
He
is
popular
in
TARA.
Tara
Colour
Green
called
Tarim
also
PancSkara
section
Karma family
of
the
which
to
Symbol
to
according
Utpala
Dhyana found
Advayavajrasahgraha
evidently
the
Dhyani
belongs
Buddha
in
to
the
the
Amogha-
The green
is
also
associated.
syamavarna
vayudhatusvarupa
syamamlotpalacihna
Irsyarakta."
"In the
Isana corner
from
originating
on the
the germ
orb
of the
syllable Tarn
Karmakula
ADV. p. 43.
moon there is TSrim
is
1,
Gordon:
I.
Clark:
ITL,
TLP,
of jealousy."
full
p.
II,
27
Getty:
GNB.
p.
42.
is
the
57
Fig.
ADI-BUDDHA, VAJRADHARA,
12
(
58
13
Vajradhara
Baroda Museum
Fig.
Fig.
(
Fig,
Side
Yal>yum
View
Vajradhara Yab-yum
(
15 Vajradhara
14
Fig.
16
(
Nepal
Vajradhara (Six-armed)
Baroda Museum )
59
Fia.
17
Fig*
Buddha
18
in different
Buddha
in
Muuia*
Java
Fig.
Fig. 21
19 Amitlhha,
Padmapani
Nef?al
Fig,
Fig.
20 Pandara,
22 Aksobhya.
QJL
3
I
s
o
62
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Ctf
SI
.&
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64
103
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65
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CO
CO
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io
03
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1
Of
>
ti
g
m
>
68
Fig,
45
Pig,
(
Museum
46
)
69
Ctf
ui
03
0*
C
co
8
ub
oo
^t-
ob
70
CO
71
2
ted
Qfc
led
filed
O,
cd
a
a
a
cd
72
a
10$
+CO
ICtf
OS
QO
ctf
<
o
same
remarks
(Fig.
35
),
apply to
One specimen
and China 2
In Tibet
73
VISVAPANI
Green
Colour
Symbol
erect or
sometimes found,
Visvapani
is
in
sit
different
and one
known
in
5.
Tibet
the
is
consort
the
is
spiritual
called
Visvavajra.
When
sitting
specimen
is
he may.
His
postures.
images are
illustrated here ( Fig 36 ).
represented,
r>
RATNASAMBHAVA.
Colour
Yellow
Vahana
Lion
Mudra
Varada
Symbol
Jewel
in
He
is
the
Here Ratnasambhava
described as under
is
is
"Daksinadale suryamandalopari TranVkarajah pitavarno Ratnasambhavo ratnacihnavaradamudradharo vedanasvabhava'piiunasanrah raktatmako ratnakull samatajnanavan vasantarturupo lavanasanrah Tavar-
ADV,
gavyap! trtlyacaturtliapraharatmakah".
p. 41.
He
Mudra.
and
is
the
in the
represents the
cosmic
element of VedanS
slander (pisuna).
He presides
system, and belongs to the Ratna (jewel)
possesses the knowledge of Samata (equality)
embodiment of
human
family of deities. He
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.
3.
GNB,
Getty
Getty: GNB,
:
10
p.
127
p.
10 i
Clark:
TLP,
II,
pp.
60,
107,
171.
BUDDHIST ICONOGRAPHY
74
When
His
South.
'exhibits the
is
a pair of lions,
He
in^lhe Nispannaybgavali.
VAJRADHATVI&VARI
Yellow
Colour
Symbol
Jewel
ment of
MamakL
She
is
be the embodi-
said to
Tathata,
is
named
so forth
:t
Sunyata, Frajnaparamita
Vajradhatvisvan thus can be taken as the spiritual consort of Ratnasambhava only, with the yellow colour and the jewel as symbol.
differently
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
/
'
is
Yellow
Colour
Symbol
Jewel
consort
spiritual
Buddha
the Dhyani
nature
as
stands
erect,
stalk
Vajradhatvisvan.
is
of a
or
lotus
in
sits
on
different
which
Ratnapani
when
and
postures.
sitting
the"
appears
is
of
the same
represented, he
Kula
either
He
symbol
in
Nepal
is
illustrated
represented in Tibet
(Fig
40).
Ratnapani
is
known and
6.
Colour
here
White
VAJRASATTVA.
Symbols
Getty
3*
ADV,
5.
Getty
GNB,
p. 37.
p. 43.
;
GNB, p
53,
54
2.
Clark
4-
Getty
TLP,
GNB,
II,
p. 139.
75
sented in the Stupa like the other Dhyani Buddhas, but independent
shrines are dedicated to his worship. His worship is always performed
and
in secret
teries
who
is
of Vajrayana.
Vajrasattva
is
and Yub-yum.
The notable
Dhyani
Vajrasattva
He
appears more
sits
feature of this
rags
to be a Bodhisattva than a
Thus
(tricivara).
Dhyani Buddha.
Dhyani
hand
left
is
typical
and
is
jThe
His form
description given
quoted below
in
is
repeatedly
the Advaya-
suklo
ADV,
p. 41.
HUM
the syllable
and is white in
two-armed and one-faced and holds in his two
hands the Vajra and Vajra-marked Ghanta. |He represents the as-
He
colour.
is
Autumn
season,
the
letters
of the alphabet
ya,
ra, la,
va, and the part of the night from midnight to day-break.
His second name is Dharmadhatu". \
and
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
Some
represented widely in
Vajrasattva
is
GNB,
I.
Getty
2;
Clark :TLP.
all
p.
II.
p. 138.
and China f
BUDDHIST ICONOGRAPHY
76
VAJRASATTVATMIKA.
Colour
White
Symbol
Arms
As
even
Kartri
and Kapala
Two
Vajrasattvatmika thus
Sakti.
Dhyani Buddha
is
the spiritual
consort of
the Sixth
Hejr
Dhyana
is
rarely
found,
in..
GHANTAPANI
White
Colour
Ghanta
Symbol
The
Sixth
MORTAL BUDDHAS"
Both the Mahayanists and the Hmayanists hold that a Buddha
who is endowed with the thirty-two major and eighty mione
is
nor auspicious marks known as "external characteristics" as enumerated 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 properties,
and
the
four
Vaisaradyas
or
points
of
self-confidence
or
assurance.
in
recognised
Visvabhu,
The
and
their
Bodhisattvas
by holding that
the
Divine
Bodhisattvas
their duties
77
of
portal Buddhas.
in
ingeniously
from
scholars,
When
but
is
it
against
represented, the
last
all
Tibet
may
it
all alike
; I
they are of one colour and one form, usually sitting cross-legged,
with the right hand disposed in the Bhumigparsa
present.
In
it
is
coloured or
no other
if
identification
mark
VAJRASANA
of the group of the seven Mortal Buddhas,
and in paintings.
His
is widely represented both in sculptures
images date from a period anterior to the birth of Christ and the
Gautama, the
last
Buddha images
seems never to
ence of Buddhism,
indepen-
The Sadhanamala
Vajrasana
sitting
in
the
Vajraparyahka
attitude,
with
The Dhyana,
as
Buddha
his right
given
in
santam laksanavyanjanenanvitagatram.
Tasya Bhagavato
daksine
Colossal images of the Seven Mortal Buddhas representing them with the Bhu-
Cave
78
BUDDHIST ICONOGRAPHY
Vajrasanasadhanarh samaptam"
Sadhanamala,
24-
p.
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
in the
left.
God
is
Lokesvara of white
in the
left.
as looking
towards the
god
for Vajrasana"
the
Sadhana
ends
"Here
Images of this divinity are found in overwhelming numbers
all
is
simha
Museum
image
in
almost
(Fig.
46)
in
name of Durgatiparisodhana.
is
DURGATIPARISODHANA.
Colour
Arms
Yellow
Two
Face
One
Mudra
Dharamacakra
"NSP,
"On
79
MORTAL BUDDHA&AKTIS
Like the Dhyani Buddhas, the Mortal Buddhas have also their reswhom they obtained the seven Mortal
Bodhisattvas.
The Buddhasaktis
1.
are
Kakudvatl
4.
2.
Vipasyanti
SikhimalinI
5.
Kanthamalini
3.
Visvadhara
6.
Mahidhara
7.
Yasodhara
Only
MORTAL BODHISATTVAS
They were brought into existence by
and their Saktis. They are
their respective
Mortal Buddhas
1.
2.
3.
Mahamati
Sakamangala
Kanakaraja
Ratnadhara
Akasagan a
5.
7.
Dharmadhara
6.
Anan
L>
former
his favourite
disciple.
The
relation
the Bodhisattvas
may
be thus
shown
in a tabular
form
BUDDHIST ICONOGRAPHY
80
would
not be
the
name
of
earth
in
human
form.
after the
4000 years
deliverance of
all
It
is
beings.
worshipped
of
Asahga
is
Maitreya in the
alike
images can be
disappearance
sentient
to
He
said
been
the only
is
to
have visited
initiated
Bodhisattva
by him
who
is
traced
form,
is
before carving
heaven
it.
rich
Indian sculpture he shows in his hands the usual Dharmacakramuin the left there is a vase, round, oval or pointed, or there
dra
;
may be
of
the
five
Buddha.
The Sadhanamala
Maitreya as a principal
represented as a
left.
The
Dhyana
in
the right
Sadhana
hand and
describing
the
81
visvakamalasthitam trimukham
navamabhujabhyam varadapuspitanagakesaramanjarldharam
nanalahka radharam atmanam Maitreyarupam aiambya
Maitreyasadhanam.
Sadhanamala,
p. 560.
"The worshipper should meditate himself as Maitreya who originates from the yellow germ syllable "Maim". He is three-faced
and four-armed.
three-eyed,
are
faces
is
respectively
Meditating thus
ornaments.
This
follows the
drawing
Dhyana
in Tibet
1.
Gordon ITL,
2.
Clark
11
He
branches
is
decked
in
many
is
A Nepalese
popular
its
..
TLP,
II,
(Fig.
in
all
1,
9, 59, 143,
GNB,
195.
except the
in
vehicle.
abundance
in
Maitreya
China 1
',
is
CHAPTER
II
THE BODHISATTVAS
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 primorI
The Bodhisattvas
elements.
dial
'thus
connote
all
the
ryale
deities
from the Buddhasaktis who are fhe queens of the five Dhyani Buddhas-.
The Bodhisattvas are sometimes represented in the company ot their
Saktis
who
them or on
embrace.
Although
all
ai^Maniyin
Some names
of sixteen Bodhisattvas.
Maitreya, the Future Buddha. Images of many of these Bodhisattvas are found in India, but their number is the largest in China
as
would
be
seen
in
the
Two
Lamaistic Pantheons
by
Walter
are actually
List
No.
Ganganaganja, Ratnapani,
Sagaramati,
Vajragarbha,
Avalokitesvara,
NSP, pp.
Sarvasokatamonirghatamati,
46, 50, 67.
Pra-
Sarvanivaranaviskambhin.
THE BODHISATTVAS
List
No. 2
Maitreya,
Sagaramati,
pala,
83
Pratibhanakuta,
Aksayamati,
Mahasthamaprapta,
No. 3
Amoghadarsin,
Maitreya,
Sarvasokatamonirghatamati,
Candraprabha,
Amitaprabha,
Jnanaketu,
Apayanjaha-Saivapayanjaha,
Gandhahasti,
Surangama,
Gaganaganja,
Bhadrapala,
Jaliniprabha,
SAMANTABHADRA
1.
Colour
Symbol
(Universal Goodness)
as
Jewel
is
is important
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
in
the Nispanna*
Samantabhadra
yogavali.
He
name
is
Mandala he
is
described as
:/
Once
There he
again
is
Samantabhadra
described as
Samantabhadrah
kapala*Brahmasirarhsi
is
nllah
savyairvajrakartriparasun
dadhanah.
Brahmasirahsthane,
vamah>ghanta>
utpalam
va*
NSP,
Dharmavajrasamapanno'yam.
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
p. 85.
1.
For a
full
GNB,
p. 47,
f.
BUDDHIST ICONOGRAPHY
84
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/'
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
I
Samantabhadra
one description of
described as
popular
is
his
the
in
available.
is
In
Fig.
48
is
a Nepalese
drawing
fo
Colour
\:
Yellow
name
is
Symbol
Sword or Jar
AKSAYAMATI
is
yamati
is
left
the
right/'
''Aksyamati
is
differently
is
described somewhat
as :/
khadgam
vamenaabhayakamalam
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
Aksayamatih
pitah
savyena
bibharti.
the
Durgati-
"Aksayamati
is
Clark
TLP,
II,
pp.
8, 9, 52, 133,
274.
of knowledge." /
THE BODHISATTVAS
85
Chinese
statuette
of
drawing
Nepalese
the
deity.
50
Fig.
illustrates
Chinese
specimen.
KSITIGARBHA
3.
Yellow or Green
Colour
The
Symbol
He
represented.
one, he
described twice in
is
identical with
is
In another,
is
Ksitigarbha
earth)
the
in
yellow
in
shows
colour,
hand, and
right
In
krtabhusparso vamenabjastha*kalpa'
'
NSP,
"Ksitigarbha
mudra
rarely
Nispannayogavali.
drumadharah.
is
is
his sire
daksinena
Ksitigarbhah pito
the
lotus
p. 58.
earth -touching
the
Ksitigarbha
different
forms.
is
illustrated
He
also
is
found in Tibet.
Fig.
collection
a
51
is
further
in
Nepalese
cribed
Bodhisattva Ksitigarbha.
occurs of the
in verse
as
the Sadhanamala
in
Here he
is
desdes-
Sadhanamala,
is
p. 49.
"Ksitigarbha
and the Abhaya mudra/'
the
jar
AKASAGARBHA'
4.
Colour
Green
Symbol
Jewel
in
womb
the
Akasagarbha
is
of the sky.
described in
of the Nispannayogavali.
His form
1.
Clark:
2
3.
4.
Gordon
5.
TLP,
II,
p.
the Dharmadhatuvagisvara
is
depicted
132.
:
GNB.
ITL, p. 60.
:
GNB,
p. 101.
in
the
Mandala
following
BUDDHIST ICONOGRAPHY
60
words
bbrt.
Two
forms.
statuettes
Varada mudra
the
in
the
left.
deity.
in
described as follows
as
green
"Khagarbha
one hand and exhibits the Varada mudra
is
5.
Colour
/
in
Sadhanamala, p. 49
Cintamani jewel
the
in'
other."
GAGANAGANJA
Yellow or Red
Symbol
is
Kalpa Tree
described
four
times
in
the
"Gaganaganja
is
is
In
the
left
he holds
hip,
is
flourished
'
is
Clark
TLP,
II.
pp.
8, 9, 56,
273.
25.
TH BODHISATIVAS
third description
of Gaganaganja occurs in
There
sodhani Mandala.
Gaganagnnjah
S?
form
his
is
savyena
sitapitah
under:
as
the
/
padmasthadharmaganjadhanilh
katisthdvamahastah.
p. 67
NSP,
"Gaganaganja
Dharmaganja on lotus
is
Durgatipari*
whitish
He
in
holds the
complexion.
hand, while his left hand rests on the
yellow
in the right
hip/ /
/
Ga^anaganja is also represented in the same form as his sire Ratnasambhiua of yellow colour. In the Two Larnaistic Pantheons Gaganagnnja occurs only once and he
Fig.
bhava,)
53
is
the Loknatha
Sadhana, a
runs as follows
Bodhisattva Gaganaganja
is
is
not
unknown
to the SaJhanamala.
of the deity
iJhort description
is
available.
In
It
p. 49.
Gaganaganja of red colour, holds the blue lotus and exhibits the
Varda rnudra
in his
two hands."
6.
RATNAPAN1
ColourGreen
Symbol
Jewel or the
(Jewel bearer)
is
Moon
mandalam bibhranh.
"Ratnapani
the disc of the
He
is
such, he
found
NSP,
jewel in the right
is
p> 58,
hand, and
in the
Chinese collection.
Fig.
54
is
Bodhisttva.
7.
Colour
Bodhisattva
Nispannayogavali.
Sagaramatih
SAGARAMATI
White
Sagaramati
Symbol
(
ocean mind
Sea
)
is
Wave
or
Conch
twice described in
is
NSP,
1,
2.
Clark
the
described as:
GNB,
p, 53, $4.
p. 50.
BUDDHIST ICONOGRAPHY
33
"Sagaramati
is
In the Dharmadhatuvagisvara
Mandala he
is
as
p. 58.
NSP,
55
Fig.
is a
VAJRAGARBHA
8.
Colour
juMbdonuiiuKa Scripture
'
he
Symbol
is
described as
vamena
thus
p. 58.
In the Durgatiparisodhana
dasabhii'
NSP,
right
described
mikapustakadharah.
''Vajragarbha
is
NSP,
p. 67.
"Vajragarbha is of bluish white colour and holds the blue lotus in the
right hand while the clenched left rests on the hip." *
His images are rare, and he is not represented in the Chinese collecFig. 56 is a Nepalese drawing of Vajragarbha.
tion.
9.
(Colour
AVALOKITESVARA
White
Lotus
Symbol
be referred
list
of Sixteen Bodhisattvas
to.
Avalokitesvara
is
NSP,
"Avalokitesvara
the right
is
hand and
white in colour
in his left,
p. 58.
in
THE BODHISATTVAS
Avalokitesvara
]
Pantheons
Fig.
is
57
is a
the
in
Two
Lamaistic
MAHASTHAMAPRAPTA
10.
White or Yellow
Colour
89
Symbol
Six Lotuses or
Sword
is
Mandala he
great
described us
sito
Mahasthamapraptah
vamena
sat-vikasitapadmadhari savyena
NSP,
varadah.
p. 50.
is
Mahasthamapraptah
savyena
pltah
dadhanah.
''Mahasthamaprapta
and the lotus
right hand,
the Chinese
In
Fij?.
58
is
yellow
in colour.
khadgam vamena
NSP.
He holds
padmam
p.
58
in the left/'
collection,
Mahasthamaprapta
occurs^ only
once 1'.
is a
11.
CANDRAPRABHA
White
Symbol
Moon on
Lotus
Candraprabhah candravamo
vamenotpalastha'candramandaladharl
NSP.
daksinena varadah
p. 50.
Candraprabha is described
the following words \
\
in the
Dharmadhatuvaglsvara Mandala
in
TLP, Vol. II, p. 7, 11, 161, 195. For further information on Avalokiand his forms in Tibet, China and Japan, see Getty GNB, p. 55 f.
Clark: TLP, II. p 160. For further information on the deity see Getty :
Clark
te^vara
2*
GNB,
12
p. 115.
BUDDHIST ICONOGRAPHY
90
In the Durgatiparisodhana
follows
Mandala he
described
is
differently
as
hip."
is
moon on
the
1
In the Chinese collection Candraprabha occurs only once
a Nepalese drawing of Candraprabha
lotus.
Fig,
59
is
JALINTPRABHA
12.
Colours-Red
Sun*disc
Symbol
rakto
Jaliniprabho
NSP.
varadah,
is
"Jaliniprabha
is
as
He
of red colour.
Jalimprabha
Mandala
savyena
vamenotpalastha-suryamandaladhari
again
described
p. 50.
in
Varada mudrS.,
Dharmadhatuvaglsvara
NSP.
'
is
Jalimprabha
He holds
the right hand and the disc of the sun on a lotus in the
i
p. 58.
the sword
left
described further as
is
in
hand/'
:J
NSP.
amustih.
p. 67,
He
red in colour.
60
is
a Nepalese
Colour
AMITAPRABHA
White or Red
Clatk
2.
Clark
TLP,
II.
TLP,
p. 147.
II,
2
represented as Amitabha J
drawing of Jalimprabha.
13.
'
is
p, 132
is
Symbol
Boundless
described
t^jice
Jar
Light)
also
in the
Nispannayoga~"
spelt
as
THE BODHISATTVAS
91
t
Twice he
vali.
is
mentioned
as of white colour
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
Amrtaprabha is described as
Amrtaprabhah subhrah mukutoparyamrtakalasabhrtsavyakarah katis*
thavamamustih.
NSP. p. 67.
is
white
in
colour. In his right hand he holds the jar
t "Amrtaprabha
of nectar on the crown of his head. His clenched left hand rests on
j
the hip."|
Mandala he
In the Manjuvajra
is
:<
Amitaprabha
In the Dharmadhatuvaglsvara
deity appears
Mandala
bjasthakalasam bibhranah.
"Amitaprabha it> of white colour.
The
jar
a further description
NSP. p. 50.
two hands the
jar
of the
:l
Amitaprabhah
his
in
of initiation. '|
is
left
of consecration
hand
is
With
a jar
thus
on
vamena-
the right
NSP. p. 59.
hand he holds the
lotus. "I
the
Bodhisattva.i
Fig.
61
is
PRATIBHANAKUTA
14.
Colour
*
Whip
Symbol
is
is
is
described as
NSP.
padmasthakrpanam
/
^Pratibhanakuta
is
dhatte.
is
placed
as follows
NSP,
p. 59.
of yellow colour.
left, a
is
p. 50.
BUDDHIST ICONOGRAPHY
92
J
his
"Pratibhanakuta
With the
red in complexion.
is
crown placed on
the
follo-
a lotus,
right
left
p.
67.
hand he holds
hand rests on
the hip."/
He
not represented
is
found in
India.
Fig.
This Bodhisattva
I'
in the
is
SARVASOKATAMONIRGHATAMATI
15.
Colour
62
who
destroys
He
all
Symbol
Staff
is
described
is
also.
describes
him
as
:|
Sarvasokatamonirghatamatih sitapltamisravarnah
NSP.
dandabhrtsavyakarah katisthavamamustih.
r<
p.
66.
'
on the hip.
The Manjuvajra Mandala describes him with the following words):
rests
I
Sarvasokatamonirghatamatih kanakakantih
NSP. p. 50.
hastadvayasamputena praharabhinayi.
*
is
of
golden complexion. With his two
"Sarvasokatamonirghatamati
hands joined palm to palm, he displays the attitude of striking."!
,
In the Dharmadhatuvagisvara
Mandala
his description
is
as undetfy
is
Sarvasokamonirghatamati
With
(vermillion).
his right
of the
Tamodghatamati and
as
colour
of
red
p. 59.
Kumkuma
five
thongs
t
Bodhisattva
Sokanirghatamati
is
illustrated
Fig.
63
twice
illustrates a
Colour
SARVANIVARANAVISKAMBHIN
White or Blue
Sarvanivaranaviskambhin
1.
Clark:
TLP,
II,
is
Symbol
the
Bodhisattva
who
is
the
effacer
THE BODHISATTVAS
of
Two
sins.
all
the Nispannayogavall.
thus he is the spiritual
in
and of Vatrocana
93
son of Aksobhya
in
in another.
describes
him
as
NSP. p. 50.
mustitarjanyangusthau sammllya prasamabhinayi.
"Sarvanivaranaviskambhl is of either blue or white colour. With
the
left
thumb\ind
with
the
words
ing
the
NSP,
With
in colour.
the
left
p. 59.
his right
hand
double thunderbolt/'
This Bodhisattva
also
known by
his shorter
name of Viskambhin,
and
He
is
is
popular
also
in Tibet-*
Fig.
64
is
1
.
Bodhisattva.
This
Bodhisattva
under his
as
under
shorter
description
I*
MAITREYA
17.
Golden Yellow
Colour
Symbol
excellent
jewel
Nagakesara Flower
is
takes the
form of
his
spiritual
sires
Clark
2.
Gordon
TLP,
II, pp.
ITL, p* 104
7,
;
Jl, 52,
Getty
274
GNB,
p. 107.
BUDDHIST ICONOGRAPHY
94
is
'
"
'
under
NSP.
dadhanah.
"Maitreya
as
is
He
yellow in colour.
holds
vamena kundirh
right
p. 66.
hand the
and he
is
variously represented
The Nagakessra
1
.
flower
is
his chief
in Tibet"/
/
In the
Sadhanamala
his description
is
simple
18
Golden
Colour
Like Avalokitesvara
and has
tries
MANJUSRI~>
Symbol
Manjusri
is
worshipped
in all
Buddhist coun^
variety of forms.
as
Manjuvajra, Manjughosa,
His wide variety of forms, and his legendary origin deserve a separate
treatment in a later chapter.
As one of
sixteen Bodhisattvas
in the
In the
comes
as
a Bodhisattva in
the
who
is
represented along
with his
Prajna or
god Manjuvajra
female
counterpart.
will
Pltanllasuklasavyetaravaktrah
sadbhujo
__
1.
Clark: TLP,
II,
7,
9, 59,
H L,
p.
104,
2.
Gordon
3.
For a detailed account of the legendary origin of the deity and his forms in
GNB. pp. 112, 113
Tibet, China and Japan. See Getty
107
THE BODHISATTVAS
"Manjusri
is
95
blue and
He
is
in
China
Fig 66
illustrates a
is
text
is
in
the
Lokanathasadhana
of the
Sadhanamala
The
the
"Manjughosa is
sword and the book.
GANDHAHASTI
19.
/I
Colour
Symbol
1
Elephant's
Trunk or Conch
as belonging to the
and
is
to the
word
'Hasti'
In the Manjuvajra
NSP,
katisthavamamustih.
p. 66*
"Gandhahasti
is
1,
Clark:
TLP,
II.
pp.
7,
11,
53,
198 199
BUDDHIST ICONOGRAPHY
96
This Bodhisattva
is
JNANAKETU
20.
Colour
^llow
or Blue
jewel
under the
Bodhisattvas
is
mentioned as one
leadership of
ol the
Two
Maitreya.
sixteen
independent
in the Nispannayogavall. /
/
Mandala he is described as
Jnanaketuh plto vamena cintamanidhvajadharl
NSP. p. 50.
savyena varadah.
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
In the Manjuvajra
"
mudra
In the Durgatiparisodhana
ently as
Mimdala he
is
somewhat
described
**Jnanaketu
differ^
is
blue in colour.
He
hold& in his
The clenched
p. 67.
right
left
drawing of the
deity.
BHADRAPALA
21.
Colour
1
Red or White
Symbol
Jewel.
The name of Bhadrapala occurs in the second list of sixteen Bodhisheaded by Maitreya. At least two independent forms of this
attvas
words
'
'
NSP.
p. 50.
differently as
Clark
2.
Clark
NSP,
p. 67
THE BODHISATTVAS
97
He
white in colour.
I "Bhadrapala
is
hand
left
*/.
illustrates a
SARVAPAYANJAHA.
22.
White
Colour
Symbol
Act of removing
sin or goad.
as
Manjuvajramandala
is
described
NSP.
v
"Sarvapayanjaha
is
white in colour.
sins."
all
With
the Durgatiparisodhanamandala he
(.In
his
p. 50.
described as Apayanjaha
is
NSP. p. 66.
With both hands he carries the
"Apayanjahah sveto'nkusabhrtkaradvayah.
L" Apayanjaha
Ahkusa
is
(goad)/'
of white colour.
He
and
is
while the
left
identical with
drawing of
tjae
deity.
of removing
the act
y
|
Fig.
70
is
Nepalese
23.
Colour
1
sin
AMOGHADARSIN
Yellow
Symbol
<</
Lotus
the
contains
Durgatiparisodhanamandala
There his form
words
The
1.
Clark
2,
Clark: TLP,
13
is
TLP,
II,
p. 147-
II,
j.
of
p. 66,
BUDDHIST ICONOGRAPHY
98
'
"Amoghadarsi
lotus with
its
is
In his right
yellow in colour.
SURANGAMA.
White
Colour
headed
by
Sword.
Symbol
attvas
list
Maitreya.
Surangama
white in colour.
is
that too
in a different
form
He
left is
Surangama
l>
Fig.
is
Colour
VAJRAPANL
White
Symbol
Vajra.
Maitreya
5.
Manjughosa
2.
Ksitigarbha
6.
Gaganaganja
3.
Vajrapani
7.
Viskambhin
4.
Khagarbha
8.
Samantabhadra
1.
A half
Sadhanamala,
"Vajrapani
displays the
1.
2.
is
Abhaya mudra
Clark :TLP,
Clark : TLP.
II,
II,
p.
49.
THE BODHISATTVAS
99
China and
Pantheons, Vol.
II.
Tibetan
specimens
of his image
are also
found.
GENERAL REMARKS,
This
reference
on the
Chapter
to a
important
very
closed without
Bodhisattavas cannot be
passage
in
the Nispannayoga-
spiritual
it is
sires,
said that
^^
Maitreya
Sarvapayanjaha
3.
Sarvasokatamonirghatamati
Amoghadarsi
have the same form as that of the eastern Dhyani Buddha Aksobhya
of blue colour.
2.
1.
3.
Gaganaganja
*/
^
4.
Jnanaketu
Surahgama
have the same form as that of the southern Dhyani Buddha Ratnasam^
bhava of yellow colour.
2.
The
fouj:
Bodhisattvas
3.
Bhadrapala
Amitaprabha
4.
Jalimprabhs
Chandraprabha
have the same form as that of the western Dhyani Buddha Amitabha of
1.
2.
red colour.
3.
Vajragarbha
Pratibhanakuta
Samantabhadra
4.
Aksayamati */
have the same form as that of the northern Dhyani Buddha Amogha2.
Dhyani Buddha Vairocana has no place in this classiand none of the sixteen Bodhisattvas is affiliated to him*
Cit.
Op.
pp.
pp.
8,
11,
5051.
2.
Gordon
3.
NSP.
ITL, p. 64.
p. 46.
56,
197,201.
For further
cletaila
see Getty
GNB,
CHAPTER
III
BODHISATTVA MANJUSRI
There is no doubt that the place assigned to Manjusri in the
Buddhist pantheon is one of the very highest.
The MahSyanists
to
be
one
of
the
him
Bodhisattvas.
consider
They believe
greatest
worship of Manjusrl can confer upon them wisdom, reenables them to
intelligence and eloquence, and
that the
tentive
memory,
master
many
sacred scriptures.
It
no
is
wonder,
therefore,
that
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.
the
It is difficult to fix the exact time when Manjusrl entered
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
time
first
in
the
Aryamanjusrimulakolpa
then in the
which
is
at
there are
juvajra.
His
least
name
In this
work
four
smaller recension 8
Amitayus Sutra in
its
Many
fire,
details
and so
This place
is
it is
is
the Manjusri
about Manjusrl
Hill
now known
as gleaned
as the Sarasvatisthana.
).
it
The information
is
given below
in brief.
1.
Guhyasamaja Tantra, G. O.
4.
There
II.
BODHISATTVA MA^JUSRf
It
on mount Pancasirsa
living
said
is
101
(the Hill
number of
his
his
disciples,
two
offer
to
all
in his
and he began
ern barrier of
was
hill
leaving
Having at
obeisance.
he cast about
mind
for
last
succeeded
hills,
he
in
doing
lifted
his
When
so,
however,
asunder.
it
The
split into two, and the water rushed through that opening,
behind a vast strench of dry land, which is now known as the
as the
this
"sword-cut".
and on
behind
>.
From above
it
worshipped him
in almost
all
in
He
is
known
Buddhism
had
1.
will
its
sway*
An account of the story recorded in the Svayambhu Purana with many details
in Hodgson's
be found in R. Mitra Sanskrit Buddhist Literature, pp. 249258
Essays, p. 115
ft.
and in Oldfield
Sketches
II,
p.
185
ff.
BUDDHIST ICONOGRAPHY
102
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
made abundantly
has been
believe that
colour.
origin of Manjusri
The human
Manjusri special
stress
in
Prajn5paramita manuscript in
sword
his
in his
right
hand
In
and the
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
left*
sometimes again by the four divinities, Jalimprabha (also called Suryyaprabha), Candraprabha, Kesini and Upakesini. Though the last four
are required to be present with Arapacana, they are nevertheless found
in others also.
1.
Colour
Vajraraga Manjusri
VAJRARAGA
Mudra Samadhi
White
Asana Vajraparyahka
is
also
known by
his
Clark
TLP,
II,
the two
allegiance
is
to the
His
BODHISATTVA MANJUSRI
103
two hands are joined on his lap forming what is called the Samadhi or
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
the
in the following
Dhyana
namah
iti
Orh Vakye-
Sadhanamala,
japamantrah".
p.
129
Fig. 75 illustrates a
Vajraraga
is
known
Museum.
in
Tibet
and China
2.
DHARMADHATU VAOI^VARA
Reddish White
Colour
Asana
Face
Arms
Lalita
Four
Eight
common, but
The two
"...Astabhujarh
caturmukharh
am
1.
Gordon
I.
Clark
TLP,
II,
title
of Manjusri.
BUDDHIST ICONOGRAPHY
104
punaraparabhyamPrajnaparamitapustakakhadgadharam,tathaparabhyam
ghantavajradharam maHaragasrngararasojjvalam lalitasanastham visva-
who
Vagisvara
His right face
as the
p.
128.
god Dharmadhatu-
is
is
is
decked in
celestial
(ii)
Golden Yellow
Colour
Arms
is
Four
Eight
Manjughosa
Mandala of the Nispannayogavall.
follows
Faces
His form
may be
given briefly as
"Manjughosa
colour
the right,
two
pricipal
the bell".
MANJUGHOSA.
Colour
Golden Yellow.
Mudra
Vahana
Lion
Symbol
Four
Sadhanas
Manjusri, which
is
in
2.
TLP,
Getty
II p.
:
Vyakhyana
Lotus in the
Sadhanamala describe
the
known by
the
this
name of Manjughosa.
GNB,
PL.
XXXV,
left.
variety
When
of
repre-
is
good
illustration
of this form*
105
S
Tc5
14
106
I
CO
cO
CO
oi
CO
CO
4->
ICO
I"
O
O
-tf>
CO
VD
OJD
107
!*f-<
^
CO
co
108
103
103
tu
109
-rt
Ctf
05
J-.
CO
110
03
DJD
""O
,-rH
.52'
^ >
PL,
Ill
CTJ
CO
OJ
ICO
uu
112
2
03
00
E$
03
'"*'
^
vC/)
**
''So
\ti
C
00
oo
ci
co
o
CO
.2?
bo
c
r
BODHISATTVA MAN^USRI
lotus here does not
It
113
may
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
:
who
rides
a lion,
should be muttered*'.
Some
on the back of
a lion while
sit
in
Lalitasana
Asana.
It is
4.
Colour
SIDDHAIKAVfRA.
Mudra
White
Symbol
Varada
Lotus.
vira
pancavlrakasekharah..
vame
Aksobhyam devatyah
pujarh kurvanti".
Sadhanamala,
"God
the
Siddhaikavira
moon, and
15
sits
on
He
is
p. 140.
moon,
supported by
two-armed, one^faced and
is
BUDDHIST ICONOGRAPHY
114
He
of white colour.
in celestial
sits in
ornaments.
accompany
Saranath his
In
image
shown
is
in
standing
is
likely to
arise
In
of Lokanatha,
Images of Siddhaikavlra,
it
5.
may
VAJRANANGA.
Colour
Asana
is
Pratyalidha.
Yellow
Hands
Six or Four.
known
The two
bow of
The four remaining
the two right hands,
Aksobhyadhisthita-jatamukutinarh
pratyalldha-
pasyet".
Sadhanamla,
p.
124
BCDHISATTVA MANJUSRf
115
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.
Sadhanamala that
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
It
is
said in the
in the act of
Asoka bough,
is
subjugated
Fig. 78 illustrates a
6.
Colour
Faces
LS
completely
Nepalese drawings of the deity.
NAMASANGm MANJUSRF
Reddish white
Three
Asana
Vajraparyaiika
Arms
Four
the lotus.
The Dhyana
him
"...Raktagauram
mamukham
describes
Sadhanamala, p. 123
BUDDHIST ICONOGRAPHY
116
kiritinamdvatrimsallaksananuvyanjanavirajitarh kumarabharanabhusitarh
atmanam
tadanu
vibhavya
who
is
reddish white in
colour and
himself as
sits in
Aryanamasangiti,
on the orb of the moon on a lotus. His principal face is red, the
he is three-faced
In his
right blue and the left white and thus
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
is
7.
known
in
China
Fig.
80
Fig.
79 illustrates
illustrates
VAGlSVARA
Colour
Red of Yellow
Asana
Vahana
Lion
Symbol
Ardhaparyanka
Utpa la
Vaglsvara
widely
wheels in Nepalese temples bear, in monumental Newari characters,
the mantra "Om Vaglsvara Muh" stands witness to his popularity.
of the Sadhanas describes him as red in
One
colour
with
all
which
is
in
graceful
known
as
attitude.
the
He may have
yellow
variety,
Maharajalila
ManjusrI,
Dhyana thus
is
described in the
"Pancavirakasekharam kumaram sarvabharanabhusitarh kuhkumarunarh vamenotpalam daksinena Hlaya sthitarh sirhhasajiastharh atma*
nam kumararupena
cintayet...Om Vaglsvara
Muh".
Sadhanamala,
is
p.
105
beautified
Clark
TLP,
II,
p. 263.
H7
BODHISATTVA MANJUSRT
right
is
He
displayed artistically.
possesses princely
grace
in the
(Fig. 82) is
god somewhat
differently.
MANJUVARA
8.
Mudra
Golden Yellow
Colour-
Asana
(Fig. 81)
a lion
Lalita or
Dharmacakra
Prajnaparamita on lotus
Symbol
Ardhaparyanka
are
joined
the
against
chest
in
forming
the
Dharmacakra
givea below
is
"Taptakancanabham
pancavirakakumararh
Dharmacakramudra-
head decorated
with
colour
as
with
images
of the
five
and
Dhyani Buddhas. His hands display the Dharmacakra mudra
He
the
lotus
manuscript.
blue
the
he shows
Prajnaparamita
bearing
in
all
is
decked
and
attitude
in
Lalita
the
rides a lion, sits thereon
ornaments... Orh Manjuvara Hum".
According to a second Sadhana Manjuvara should have the lotus
He may sit in the
in his left hand with the Prajnaparamita on it.
the fierce
Ardhaparyanka attitude and may be accompanied with
face distorted with bare fangs
god Yamantaka of blue colour, whose
Yamantaka carries the staff in one of his hands
is terrible to behold.
figures
1.
2,
The image
Bengal
feet of
(Fig. 83)
probably
of the five Dhyani Buddhas over the head, and of the two
Gordon
This image
was
first
(
in Bengali
of Maharajalila ManjusVl.
of the Hindu goddess, Bhuvanelvari
then as that of Simhanada Lokelvara in A. S. I.
title
identified as that
),
192021,
p. 27
and
later
on
as that of MaKjuIrl in
BUDDHIST ICONOGRAPHY
118
divinities to
The
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
The
vehicle of Manjuvara
lion
may be found
The lotus to
is
is
added
in order to
later
in
sitting in the
sword
One
Tibet
Manjuvara
is
well
known
9.
MANJUVAJRA
(
Colour
Arms
Red
Faces
Six
Three
Variety
Yab-yum
The form of Manjusri called bv the name of Manjuvajra is somewhat popular amongst the Tanrric Buddhists. Several of his forms are
described both in the Sadhanamala and the Nispannayogavali of
In the Sadhanamala the colour of his body
Abhayakara Gupta.
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
Bhujadvayasamaslista"svabhavidyadharasyadhrk
Khadgabanabhujancapa^mlotpalaparigrahah
II
Visvadalabjacandrasthah vajrasanasasiprabhah
II
Sadhanamala,
p. 163.
1.
pi.
Gordon
XXXV.
title
GNB,
BODHISATTVA MANJUSRl
Manjuvajra
(ii)
Golden Yellow.
Colour
Arms
Manjuvajra
represented in Tibet
is
119
Faces
Three
Six.
Manjuvajra
deity of the
His form has been described thus
the principal
is
in the Nispannayogavali.
Mandala
the bow."
(iii)
Colour
Arms
Red
Six
sitasavyetaravadanah
rendivaracapadharo"...
"The god
llion.
NSP, p. 2.
form of Manjuvajra is red like vermiblue and the left white. With the two principal
Vajrasattva in the
is
with the
a
.
Fig.
his different
8?
in
an eight-armed Manjuvajra
It is both remarkable and
illustrates
Baroda Museum.
beautiful.
10.
Faces
MANJUKUMARA
Vahana
Red
Colour
Arms
Three
Animal
Six
1.
Gordon ITL,
2.
Clark
TLP,
p.
II,
is
pp.
7, 11,
title
of Manjunatha.
BUDDHIST ICONOGRAPHY
120
garakumarabharananivasanadikam
jitarh
Sadhanamala,
is
151
and
faces
left
seated on an animaL
He
and dress as
He wears
befitting the
Srfxgara
is
decked
in princely
(amour) sentiment
ornaments
hre
displays.
Thus meditating..."
Manjukumara
paintings.
known
not
is
88
Fig.
11.
Colour
either in sculptures
Asana
which
is
Four
Symbols
sometimes
white and
he
ancient
Vajraparyanka
in
ARAPACANA
White or red
Companions
or
illustrates a
He
the
sometimes
when he
sits
form
of this
red.
He
sits
on an animal
called Prajnacakra.
is
is called Arapacana.
When represented, the four
of
Arapacana resemble the principal god in all respects.
companions
None of the forms of Manjusri is so widely represented both
and
in
Bhattasali
1BBS,
BODHISATTVA MA*3)USRf
121
by one
The
(Fig 91)
chest,
Baroda bronze
92) also
(Fig.
does likewise.
companions.
Arapacana
also
is
He
bhava-Manjusrl.
face, is
lotus in
decked in
called
is
Sadyonubhava-Arapacana,
like
the full
or
Sadyonu*
resplendent
of princely ornaments, and
all sorts
in front
on a double
the sword in
sits
book
against
of him, Candra^
his
is
*.
in the following
terms
.Khadgapustakadharinam
yutam
sobharh visvadalakamalasthabaddhaparyahkam
arupam atmanam-ikseta".
Sadyonubhavarapacan^
Sadhanamala,
p. 121.
which are
slightly
folded.
Vajraparyanka attitude..."
This Sadhana further adds that the principal god should originate
syllable "A", Jalimkumara from the syllable "R",
from
P", Kesim from "C" and UpakesinI from "N".
Candraprabha
in the middle, Jalimkumara in front, Candra^
be
Manjusri should
prabha behind, Kesini to the right and UpakesinI to the left. All
of them should have white colour and should be identical with the
from the
first
Arapacana
1.
is
First published
and
identified
as
Manjusri in Grunwedel
Buddhist
Art
in
India, p. 199.
2.
Gordon
ITL, p. 68.
in
Getty
GNB,
pi.
XXXV
illustrates a
ofManjus'ri.
16
unique image
title
BUDDHIST ICONOGRAPHY
122
STHIRACAKRA.
12.
Colour
White
Symbol
Mudra
Varada
Companion
Sword
Sakti
The Sadhana
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
The special feature of this image is that the sword appears
Sthiracakra.
on
the right
hand
the
moon
over
to
Indian
(Fig. 93)
exhibits the
a lotus,
custom
occupies
Sthiracakra
is
the
of her consort
left
Asana
Vahana
Ardhaparyahka
One Sadhana
is
2
.
VADIRAT
Mudra
bronze.
to
position
'.
Tiger
Vyakhyana
rarely to be
met with
either in stone or in
is
2.
Clark
TLP,
II,
p. 261,
to the Scluptures
in the
Museum
of the
BODHISATTVA MANJUSRf
the Ardhaparyafxka
all
sorts
Dhyana which
ing terms
He
wears
mudra.
The
of ornaments,
is
123
in verse,
in the
follow*
Sadhanamala, p. 98.
Cintamani*Dattasya ".
''The worshipper should think himself as (Vadirat), who is handsome 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
He is neither tall, nor
slightly raised in the Ardhaparyahka attitude.
very short,
is
for
Vadirat
written
by
Vadirat
1.
Clark
is
TLP,
II,
p. 262.
J
.
the
author
CHAPTER
IV
BODHISATTVA AVALOKITESVARA
is famous in the Mahayana Pantheon as a Bodhisattva
the
from
emanating
Dhyani Buddha, Amitabha and his akti, Pandara.
As Amitabha and Pandara are the presiding Dhyani Buddha and
Avalokitesvara
should be
is
still
in
spiritual
knowledge amongst
his
One
all
is
The
Sadhanamala
have already been described by M. Foucher in his Etude sur V Iconographie Bouddhique de Vlnde, Vol II with translations in French of the
Sanskrit texts of the Sadhanas.
From
at least
it is
possible to individualize
forms of Avalokitesvara.
and
distinct
many
names.
Kathmandu
eight,
1.
R. Mitra
2.
Karandavyuha
ed.
Samara ml,
pp.
21*22.
BODHISATTVA AVALOK1TESVARA
125
they depict.
Appen-
Out of
The
mentioned
Images of
Out
of these the typical one* are described in their approSuch images are popular both in Tibet as well as
priate places.
Nepal.
in
China 2
1.
SADAKSARI-LOKESVARA.
Colour
White
Arms
Mudra
Anjali
Symbols
Companions
Four
Rosary and lotus
him
in a
group of three
:-
"Atmanam
suklavarnam
Lokesvararuparh sarvalahkarabhusitarh
daksinato'ksasutradharam
vamatah padmadhararh
aparabhyam hasta^
bhyarh hrdi samputanjalisthitarh dhyayat. Daksine Manidharam tatta*
dvarnabhujanvitam padmantaroparistham.
stharh Sadaksarlrh Mahavidyarh".
Vame
tathaiva aparapadma-
Sadhanamala,
p. 27.
left
in the right.
GNB,
2.
pp. 60-64.
BUDDHIST ICONOGRAPHY
126
in
Knowledge of the
Six Syllables, he
is
called
Sadaksari Lokesvara.
An
artistic
Sadaksari
the
sculpture
group
Fig.
94
is
this
is
in
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
now
(Fig. 95) is
to
are
shown
in
central
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.
in
the temple of
Fig.
now
When
he appears in
2.
Karandavyuha,
3.
A. S.
I*
(e) 6.
PI
XIV
Her
right
hand remains
(b;
p. 74*
pi. 1(2).
BODHISATTVA AVALOKITESVARA
empty, while the
mutilated,
uncommon
left
although
(Fig* 98)
127
readily
Buddhist iconography.
in
of Sadaksan
SIMHANADA.
Colour
Asana
White
Vahana
Maharajalila
Lion
Symbols
who
the
is
more
important monasteries
in stone
either
or
in
bronze, on
have two
images of Simhanada,
the staircase leading
either side of
to the sanctum.
"Atmanarh
Dak sine
maharajalilarh
candrasanarh
candraprabharh
paripuritapadmabhajanarh.
Vamahastat
bhavayet.
vame nanasugandhikusuma*
uttharh
padmopari
Sadhanamala,
tkhadgarh".
jvala-
p. 63.
on
a lion
orb of the
in the
attitude of princely
moon and
is
ease.
He
In his
is
seated
on the
right there
is
left there is a
white trident entwined by a white snake, and
lotuS'bowl full of fragrant flowers. From his left hand rises a lotus
in his
on which there
is
sword burning
like fire".
Sadhanamala, p. 36.
BUDDHIST ICONOGRAPHY
128
Mahoba
1
carrying a rosary
statue at the gate of a monastery. Fig. 101
of Simhanada from
Fig.
100
is
a Nepalese
a
illustrates
sculpture
from Magadha, while Fig. 102 is a small bronze of Simhanada without the lion, from Nepal.
Simhanada wears no ornaments and this
feature of his images differentiates him from Manjusri when he is
KHASARPANA
3.
Colour
White
Mudra
Varada
Companions
in
Symbol
Asana
Lotus
Lalita or
Ardhaparyahka
Khasarpana is described in a number of Sadhanas in the Sadhanamala, which fact points to his popularity. The peculiar feature of
while Khasarpana has two in addition, namely, Bhrkuti and Sudhanakumara. He is of white complexion, and sits either in the Lalita
Below
is
sasimandale,
ardhaparyahkanisannarh
sakalalankaradharavigraham
Sucimukham
tada^
karavigalatpiyusadhat abhyavahararasikam
tarpayantam
atisitivainarh
srimat-Potalakacalodaranivasinam karuna^
snigdhavilokanarh
kumararu-
Tatra Bhrkuti caturbhuja hemaprabha jatakalapini, vame tridandlkamandaludharihasta daksine vandanabhinayaksasiitradharakara trinetra.
1.
3.
First published
Memoir No.
Clark
8, pi. la,
:
TIP,
II,
2.
2,
Getty
Mahoba
:
GNB,
in the
A.
S.
I,
1894t pi.
1.
BODHISATTVA AVALOKITESVARA
129
bhrkntikutilabhrukah
vartulatrinetrah
vyaghracarmambarah
danda-
Khasarpanasadhanam''.
He
attitude.
is
decked in
all
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
compassion,
peaceful and
full
is
(amour),
is
extremely
"Here Tara
is
green.
"To
the
West of
the god
Bhrkun and
is
two
carries
left
is
Kamandalu in the
mudra of bowing in
The two
hands.
right
in the second.
in the
the
"Hayagriva
His hair rises upwards
is
show
is
eyes.
short,
shape of
as
act of bowing.
should be meditated on as disposed in a befitting
and artistic manner, with their eyes directed towards the face of
Here ends the Sadhana for Khasarpana.'*
the principal deity.
and
his right
"All these
17
deities
BUDDHIST ICONOGRAPHY
130
The
late
finest image
N. K. Bhattasali
The sculpture
art.
Had
is
(Fig. 103)
in the
would
it
still
LOKANATHA
4,
Colour
White
Symbol
Mudra
Lotus
Varada
Khagarbha, Viskambhin, Samantabhadra, Manjughosa, and Gaganagafija, and by the four goddesses
Dhupa, Puspa, Gandha, and Dlpa,
:
and by the four guardians of the gates Vajrahkusi, Vajrapasi, Vajrasphota and Vajraghanta, In other words the Sadhana gives the
:
Mandala of Lokanatha.
left
Vajradharmajatantahstham asesaroganasanam I
Varadam daksine haste vame padmadharam tatha
Lalitaksepasamstham tu
II
mahasaumyam prabhasvaram
II
I
"He
is
the destroyer of
right
1.
2.
hand and
Bhattasali
Gordon
ITL, p, 66
PI.
3.
VII,a.
Clark
TLP,
II,
BODHISATTVA AVALOKITESVARA
"He
in
sits
who
terrible
is
staff in
his
gesture of bowing
red in colour, appears
displays the
two hands.
He
is
Later,
131
deities
keepers.
constituting
and
the Lokanatha
the
II
II
gate-
II
II
I
II
II".
On
placed
and others.
Maitreya
is
sitsj
should
be
yellow in colour
and exhibits the Varada pose. Ksitigarbha is of green colour, carries the Kalasa and exhibits the Abhaya
pose. Vajrapani is whitish in colour, carries the Vajra and exhibits
carries the
Naga
[kesara] flower
the
Abhaya mudra.
book.
exhibits
the
mudra.
When
represented, Lokanatha
is
is
occasion-
BUDDHIST ICONOGRAPHY
132
present.
Lokanatha
different
Sadhanas
may
three attitudes
in
sit
according
to three
the Paryanka
Lalita,
or
the
Vajraparyahka attitude.
discovered,
There
the
Baroda
Museum.
is
The
HALAHALA
Colour
Hands
White
Three
Faces
Six
Companion
Prajna
Sadhana.
the
strictly follow
The
is
distinguishing feature
of Halahala
he
that
is
to the Sadhana the god should be seated, but the image above referred
to represents
him
of the Sadhanas
is
in a standing attitude.
in verse
and reads
as follows
"Hrlhkarabijanispannarh Halahalam
Trinetrarh
trimukham
caiva
in
one
mahakrpam
jatamukutamanditarh
II
I
II
I
II
nanasugandhikusumaih sampurnam,
M
tam vibhavayet Bhagavantam.
1.
K. N. Dikshit
Sx
Scu!ptitfis
raktapadmacandre
Hlaksepasthi-
Memoir No,
8 of A.SJ.
B3DHISATTVA AVALOKITESVARA
133
"The worshipper should think himself as Halahala, the Great Compassionate, 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
on
bears
his
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
own
left
Jata (matted
creation
in the act of
is
is
The god
of fragrant flowers.
full
To
their
right
the
in
Her
the
is
left is
sits in
carries the
left lap.
engaged
decorated with flowers.
right
hair)
on the
He
on the red
lotus
'.
One image
of Halahala
is
Eighteen
(I)
Face
One
Asana
China
]
.
in
Eighteen
Ardhaparyahka
Double lotus
in the
Armed
Arms
Dancing
Symbol
Three Sadhanas
in
PADMAN4RTTESVARA
6.
found
in all
hands
that
all
the three
no
difficulty
all
doubt
in
all
is
translated.
There
is
him
is
as
Padmanarttesvara.
ekamukham
tabhajatajutamandalam
sarvakarair-visvapadmadharinam,
yoginlvrnd-
aparivrtam, daksinavamaparsvasthita-Tara-Sudhana-Bhrkuti-Hayagrlvam
divyalahkaravastrabhusanam
1.
Clark
TLP,
II,
265.
."
Sadhanamala,
p.
77.
BUDDHIST ICONOGRAPHY
134
as
Bhattaraka Avalokitesvara
in the
is
hands and
(eighteen)
is
Maharajalila, as in the
cing variety,
cases of Vaglsvara
(ardhaparyankena natyastha) as
cases of Heruka,
in the
Nepal image
shows
the god in this particular attitude. This image hails from the Sarasvatlsthana 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
to the
all details,
description
One
statuette
statuette
is
of this god
illustrated in Fig.
is
Red
Mudra
Sue!
in
China
l
.
This
Chinese
111.
Two-Armed
Companion
(II)
Colour
found
Vahana
Sakti
Symbol Lotus
Animal
is
vamaparsve Pandaravasinlsamaslistam
jena raktapadmadharam,
paradaksinakaram...".
is
seated
and he
decked
is
in
all
kinds of ornaments
is
His
(
alinganabhinayasthitavamabhu'
narttanabhinayena
left
dancing... \
1.
Calrk
""
TLP,
II,
193.
BODHISATTVA AVALOKITESVARA
The same Sadhana which
contains the
135
gives
description of the Mandala, and adds the information that the lotus
each.
Bhurim
West,
is
Bhrkuti
in
yellow
in the
is
In the
lotus.
colour and
complexion and
North, with
North-East there
carries the
Cakra and
Padmavasini,
is
holding the
white colour
who
the
is in
is
yellow
yellow in
lotus.
The South-East
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
is
(Ill)
Asana
One Sadhana
Eight- Armed
Arms
Red
Colour
in the
Dancing
in
Eight
Ardhaparyahka
of Padmanarttesvara.
"Namah
Padmanarttesvaraya.
Tatra Visvapadmopari candre rakta-Hrihkaraparinatam Padmanarttesvaram raktavarnam ekamukham jatamukutinam trinetram, asta-
dhrtam,
trtlyabhujadvayena
raktapadmam
vajravaddandatrisuladharam,
sirasi
caturtha-
Salutation to Padmanarttesvara
Here the
on the
syllable Hrlh.
He
is
He
The
first
pair
of
is
decked
in all
sorts of ornaments,
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
1
Sadhanamala, pp,
7576.
BUDDHIST ICONOGRAPHY
136
HARIHAR1HARIVAHANA
Vahana
The composition of
Arms
White
Colour
Sithha,
Six
deity
is
There
is
with the four symbols, the conch, the discus, the mace and the lotus.
On the shoulder of Visnu rides Lokesvara. The lion, the Garuda
all
vehicle of Lokesvara
is
acquires
the
Saclhanamala
composed of three
name of Harihariharivahana.
are
devoted
to
the
worship
Two
Sadhanas
of this
form
the
in
of
Arya
Harihanharivahanodbhavam
Bhagavantarh
Arya-Avalokitesvaram
sarvangasuklam jatamukutinam santavesam daksinakarena Bhagavantarh
Tathagatam saksinam kurvantam dvitl>ena aksamaladharinam trtlyena
dandadharam dvitiyena
kamandaludharam
simha*garuda-visnu-
krsnajinadharam
trtlyena
skandhasthitam atmanam dhyatva..."
Sadhanamala,
p. 77
with one of his right hands, carries the rosary in the second,
and instructs deluded people with the third. He carries the staff in
as witness
one of
his
in the
third.
are
left
He
lion.
Thus
meditating..."
BODHISATTVA AVALOKITESVARA
of Hariharharivahana
In the drawing
there
is
of 'Hari'
in Sanskrit,
and that
illustrated
The snake
how a snake
lion.
is
Sadhana.
113
137
the
in
Appendix
synonym
added, although
it is
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
Fig.
This deity
all details.
is
also
known
in
China
TRAILOKYAVASANKARA
8.
Red
Colour
is
Asana
Vajraparyanka
or Oddiyana Lokesvara
is
"Lokesvaiam
sarvahgamaharagaraktarh
ekamukham
dvibhujam
atmanam
div^abharanavastravibhusjtam
Sadhanamala, p. 80
vajraparyahkanisarmam
vicintya".
as
is
He
on
Vajra.
is
seated
a red
lotus in
the
It
further says that the Sadhana is composed by the great Tantric savant,
famous in the Middle Ages as one of the eighty-four
Sarahapada,
Mahasiddhas
'Great
Mystics'.
Clark
2.
Clark
18
TLP,
one of the
II,
p.
266
Two
Two
illustrations
of
this
form
statuettes in China.
BUDDHIST ICONOGRAPHY
138
RAKTAIOKESVARA
9.
Four
Arms
Red
Colour
Armed
Four
Companions
Tara-Bhrkutidevidvayasahitam
"Daksinottaraparsve
Arya^Avalo-
kusadhanurbanadharamcaturbhujam,.raktakusumavatasokataroradhastat
avasthitam atmanarii vicintayet...
Sadhanamala, p. 83
Rakta-Lokesvarasadhanam"
"The
who
is
bow and
the
He
carries
Asoka
tree,
which has
1 '
is
Colour
II
Two-Armed
Red
Mudra
The second Sadhana
Symbol
Opening of the
Lotus
Petals
in the
raktapadmam
vibhusitam...".
Sadhanamala,
Clark
TLP,
II.
p. 219.
p.
84
Rakta-Lokesvara of red
(crown of matted hair) bearing the effigy
as
BODHISATTVA AVALOKITESVARA
He
of Amitabha.
carries
139
decked
is
in various
made
here be
its
Dhyana of Vajradharma
another variety of Lokesvara, equally unrepresented, whose form will
be described later in this chapter. The forms of Rakta-Lokesvara and
reference
may
to the
Vajradharma are almost identical with the difference that the Sadhana
enjoins for Vajradharma, the Vahana of a peacock.
MAYAjALAKRAMA
10.
Faces
Asana
As
Hands
Five
Twelve
Colour
Pratyalidha
Blue
in the following
in the
pancamukham
suryamandalasthitarh
dvadasabhujarh
sita-
tarjam-kapala'raktakamala'mani'cakra-capadharam darhstrakaralasakal'
avadanarh sanmudropetam
sardramundamalalankrtasai Iram nagnam
sarvahgasundafarh
atmanam
jhatiti pratyakalayya..."
Sadhanamala,
p.
86
He
carries
the goad,
3.
hands the
in his right
4.
the noose,
Damaru,
the Vajra and the
5.
in the left
hands the
1.
lotus, 4.
the jewel,
5.
6.
2.
6.
the Khatvanga,
the arrow, and
the Kapala,
the bow.
3.
the red
terrible with
One
illustration
Lamaistic Pantheons of
Svayambhuksettra.
the Appendix.
1.
Clark V
TUMI,
~~~
p.
267
140
BUDDHIST ICONOGRAPHY
NfLAKANTHA
11.
Colour
Yellow
Asana
Mudra
Samadht
Symbol
Companions
Two
serpents
Vajraparvahka.
Bowl of Jewels
on
either side
One Sadhana
vara,
which
is
only is devoted to the worship of this form of Lokesalmost 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.
paladharinam
raktapadmoparisthitam
Amita-
krsnasaraharina-
samadhimudropari
nanaratnaparipurnaka-
eneyacarmakrtayajnopavltinam,
vyaghracarmambara-
parsva-
dvaye parasparabhisambaddhapuccha'Samaniphanavisista-Bhagavadavalo-
atmanam
evarh
kanaparordhvamukhakrsnasarpadvayopalaksitam
85-86
Sadhanamala, pp.
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
with
variety
He
(eneya-carma).
person). His throat shows the blue
Hindu
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
Siva.
As this particular form of
(Blue- throat) has been given to
Lokesvara has also the same name, it may well be that its origin was the
Hindu god
Siva Nilakantha.
BODHISATTVA AVALOKITESVARA
141
must be
it
If
the image
identified as that of
is
richly
ManjusrL
In the
is
god
SUGATISANDARSANA
12.
White
Colour
One
Sadhana
short
Avalokitesvara.
in the following
in
Six
The Dhyana
words
Arms
suklavarnarh sadbhujam
''Sugatisandarsana-Lokesvara-Bhattarakam
is
decked
in
and
and
He
is
peaceful in appearance'*.
PRETASANTARPITA.
13.
Colour
in
White
the Sadhanamala
The Dhyana
worded as follows
describing the
Avalokitesvara.
brief
and
is
Arms
Six
form of
Pretasantarpita
is
Clark
TLP,
II,
p. 267,
p.
89
BUDDHIST ICONOGRAPHY
142
who
Pretasantarpita Lokesvara
six^armed, exhibits
is
in 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
lotus,
and
is
white in colour/'
SUKHAVATl LOKESVARA
14.
White
Colour
Arms
Six
Companion
Faces
Three
Asana
Lalita
Sakti
A description
Amrtananda.
runs as follows
kamalopari,
parivrtah.
Upari
caityah.
SukhavatI Lokesvarah"
"Sukhavati Lokesvara
One
is
is
ing
he
carries the
of Tara.
He
bow and
sits
in
and six-armed.
Lalitasana
on the
lotus,
and
is
surrounded by the
like.
There is a
VAJRADHARMA
Colour
Vahana
One Sadhana
kitesvara.
peacock.
in
Peacock
Reddish White
Symbol
Lotus
this
god
entirely
is
form of Avalo*
that he rides a
in verse,
and the
BODHISATTVA AVALOKITESVARA
relevant portion containing the description of the
is
given below
'Tarn
143
form of Vajradharma
raktavarnam tu padmaragasamadyutirh
sitarh
Pancabuddhamukutadharam harsenotphullalocanarh
Vamato spardhaya nalam dhrtva sodasapatrakam I
Padmam
II
II
II
I
II
Sadhanamala,
p. 33.
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
beam with
delight
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
the
Caitya,
for
place
great
Bodhi
who
Fig.
statuette
GENERAL
The conception of Avalokitesvara
He was
is
as
form of
first
whose duty
a Bodhisattva,
it
is
for the sake of instructing the people and for their constant welfare
godhead
sake of the
for the
1.
Clark:
2.
Senart
3.
TLP,
:
II,
p. 265.
Le Mahavastu, Vol.
first
II, p. ,294
translated into Chinese between A.D.
48 and
70 while
the smaller recension was translated into the same language between A.D. 384
and 417.
Max
Muller
iii-iv.
BUDDHIST ICONOGRAPHY
144
great
number of
his forms.
As
no less than 108 forms which are painted on the walls of the
Macchandar Vahal atKuthmandu in Nepal with inscriptions for the
given
purpose of identification.
by an expert Nepalese
Appendix.
To
this a
of Avalokitesvara.
All
artist,
and
reference
are
mav
illustrated
be
made
for
book in an
the numerous forms
in
this
CHAPTER V
EMANATIONS OF AMITABHA
GODS
I.
of their importance.
1.
Colour
MAHABALA
Red
Asana
Arms
Only one Sadhana
the Sadhanamala
in
Pratyalidha
Four
is
The Dhyana
is
given below
"Mahabalarh ekamukharh
caturbhujarh
sarvangaraktam
urdhva-
damstrakaralavadanam
and
staff
is
by a snake.
tied
He
carries in his
finger.
He
is
left
two
right
attitude
His
face
looks
with bare fangs and he is bright like the orb of the sun.
holds the effigy of Amitabha on the crown".
terrible
Two
statuettes of
at Peiping
Clark-
19
l
.
TLP
He
BUDDHIST ICONOGRAPHY
146
SAPTASATIKA HAYAGRIVA
2.
Red
Colour
Symbols
Special Feature
Horse-head
of Amitabha on
Samadhi mudra,
states in the
given below
hayananarh
hihikaranadinarh
p. 509*
Sadhanamala,
vajradandarh...vicintayet".
t erFi
is
is
as
(SaptasatikaJHayagnva)
with three-eyes,
BIy a w e ^inspirTng
belly.
His face
is
of
horse, which
is
blue in
all
ornaments.
may be noticed
that the
He
threatens
Dhyana
is
all
two hands)".
of hands and faces but it seems from the description that Hayagriva
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
Danda or
the staff
Dhyana
also
it
serves
as
appears that he
two-armed and
From
the
while
EMANATIONS OF AMITABHA
Danda
the
colophon
carried
is
is
the
in
and
certain,
About
left.
it
Tibet
in
147
ritual
in the
work consisting of
Anuscubh metre.
and China
-.
in the
Sadhanamala.
Two
list
These goddesses as
paintings, however,
are not
rule
made by
are
modern
times.
KURUKULLA
3.
She
she
one-faced and
is
is six
effigies
When
Buddhas
When
on her crown.
Kurukulla.
Kurukulla
is
or the
rite
Hum Hnh
times,
mi
less
this
merilffe~~T?ewitched.
subdue
sufficient to
no
When
Svaha".
minister,
mantra
is
muttered
ten
thousand
than a lakh.
of subduing
all
in
Tibet
ix
and China
and she
is
Gordon
2.
Clark
3.
Getty
Clark
4.
TLP,
GNB,
TLP,
II,
Getty
GNB,
p. 163 as
under the
Hayagriva.
title
of Hayagriva.
105, 239,
Also Gordon
ITL,
p. 75.
BUDDHIST ICONOGRAPHY
148
SUKLA KURUKULLA
(1)
Colour
White
Vahana
Animal
Symbols
Asana
in the
Vajraparyahka
Sadhanamala
method whereby
states the
be propitiated.
one and runs as follows
she should
therein
is
long
"Atmanam
aksasutrotpalamrtakundim savyavasavya-
Bhagavatlrh
gataih
kincit-savyapanipallavapasobhitajatamukutam srhgaradirasopetam,
sthaksasutramalokamanam, ksirambhodhisvetavarnabjastham-amrtafxko*
pari sattvaparyahkasanastham, kahkana^keyura-kundala-nupuramuktaharadivyavastradivibhusitam nllanantabaddhakeslm piyusavarna-Vasu-
kikrtaharam,
durvasyama-Kar-
rakta-Taksakakitakarnograkundalam,
kkotakakrtayajnopavltam, sukla-Padmanagendrakrtaharam,
mrnalavar-
dhuma
pita-Sankhapalakrtakankanam,
na-Mahapadmakrtanupuram,
bhravat-Kulikakrtakeyuram, subhravarnam sravadamrtavigraharh karunardracittam bhavayet.
Sukla-Kurukulla'Sadhanam".
who
the
carries
which
Jatamukuta
decorated
is
miniature figure of Amhabha. She displays the sentiment of passionate 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
tied
She
is
pearl-necklace, and
up
decked
is
in
bracelets,
that rises
from
armlets, ear-rings,
is
Her hair
formed
by
is
the
the serpent
bracelet
of
is
smoky
Mahapadma
of the
colour of the
She possesses
a heart
which
is
EMANATIONS OF AMITABHA
This lengthy description
is
sufficient
149
to give
one
vivid picture
common
It
not
is
necessary to quote and translate all the Dhyanas given in the Sadhanamala, because that would only serve to increase the bulk of the
book
unnecessarily.
TARODBHAVA KURUKULLA
(II)
Asana
Arms
Red
Colour
Vahana
Vajraparyanka
Four
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
bow and
the
the red
She
lotus.
sits
in
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.
Appearance
Asana
deity.
UDDIYANA KURUKULLA
Terrible
Ardhaparyahka
Arms
Colour
Red
Vahana
Corpse
Four
is
called in
in
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
Vahana of corpse
is
present.
in Peiping.
Here the
BUDDHIST ICONOGRAPHY
150
IV
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
Sadhana
us
that
it
Mandala which
it is
and translated
"Kurukullam Bhagavatim
in extenso
padmasuryye
astabhujam
Vajraparyankanisannarh
raktavarnam
raktastadala-
kutagaramadh^anivasinirii
pra-
pasam
capam
dadhanam,
utpalam
sakalalankaravatlm
bhavayet.
uttaradale
Karnataram,
Aparajitam, nairrtyadale
dhyayat. Etasca sarvah
paryahkanisanna
aisanadale
Cundam,
agneyadale
Gaurltarafica
vayavyadale
Pradipataram,
raktavarnah Panca-Tathagatamukuta vajra
daksinabhujabhyam
varadamudra-akamapurita'Sara-
dhara.
vamabhujabhyam utpalacapadharah.
Purvadvare Vajra vetallrh lambodaram vikrtamukhim
raktavarnam
dandahkusadharam,
vamahastabhyam
urdhvakesam
ghantapasa-
lambodaram
daksmakarabhyam vajrahk-
khadgankusadharaih
EMANATIONS OF AMITABHA
vamabhujabhyarh ghantapasadharam
151
vicintayet.
Etascatasra alldhapadasthah"
as goddess
Kurukulla,
who
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
hands,
ornaments.
On
the north-west
is
Gauritara.
is
Vjijravetali,
who
in the
right
in the
two
the
two
effigy
hands the
southern gate
is
Aparajita,
who
is
Ekajata,
in the
who
two
is
is
left
the
bell
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
bell and the noose.
two
left
the
is
the goad, and in the two left the bell and the noose.
All these four goddesses stand in the Alidha attitude"
(V)
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
BUDDHIST ICONOGRAPHY
152
now
lost
arms, which
described
is
in
mudra
carries
in
the
first
pair of
hands, and
in
in the
third.
Images of Kurukulla
are rare.
BHRKUTf
4.
Colour
Arms
Yellow
Four
Bhrkuti
pana she
two
left
hands
right
is
is
raised in
is
the
attitude of
Bhrkuti
in the
described in
"Caturbhujaikamukhirh
pltarh trinetrarh navayauvanarh Varadaksasutradharadaksinakaram tridandikamandaludhaiavamakararh Amita-
Bhrkutisadhanarh.'
as
four-armed, one-
crown
of the
in
is
moon
over a lotus.
effigy
Thus
of Amitabha.
She
sits
on the orb
meditating.,.."
p. 372.
EMANATIONS OF AMITABHA
but they are known in Tibet
of
one
the
illustrates
Peiping images.
Bhrkuti are
rare,
5.
153
and China
2
.
123
Fig.
MAHASITAVATl.
Arms
Colour- Red
Asana
Four
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
"Mahasita
(sicsita) vati
aksasutiavaradavati
van
vamabhujadvaye vajrankusahrtpradesasthapustaka-
Amitabhamukutl
Jlrhbija
ardhaparyahkasthita
nanalahkaravatl
Sadhanamala, p. 401
and red in colour.
.
one-faced,
her two right hands the rosary and the Varada pose,
her two left hands the Vajra and the Book against the chest.
She shows
in
and in
She originates from the
the crown,
syllable
ornaments.
Images of
this
3.
Getty
4.
Clark
20
2.
1.
'Jim',
Amitabha on
sits in
"
and China
GNB,
p,
TLP,
II.
139.
title
of SttavatL
4
.
CHAPTER V
EMANATIONS OF AKSOBHYA
GODS
I.
The number of
deities
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,
are generally
and the
deities
of snake.
Amongst the
deities
many
in
with different
this
figure
prominently
amongst
the offsprings of Aksobhya. The deities coming under the Vajra Family
of Aksobhya are described below one by one.
CANDAROSANA.
1.
Yellow
Colour
Symbols
Arms Two
and Acala.
is
ia verse.
.
paranamanam
nam
dvft>htrjaih
ratnamaulinaih
kekaraksaih damstravikliralamahaghoravada-
damstraniplditadharam
mundamalasiraskam
EMANATIONS OF AKSOBHYA
155
vyaghracarmanivasanam nanaratnaviraciisadunnatadaksinacaranam
bhumilagnavamacaranam
kararh sitasarpayajnopavltarh
tabharanarh
atrnanarh
suryyaprabhamalinarh
Aksobh^amukutinarh
vicintya..
Sadhanamala,
dhyayat."
p. 172.
like that
is
one-faced,
He
Acala.
is
his
lips
two-armed and
He
appears terrible
bites
as Sri-Candamaharosana,
of the Atasi flower and whose second name
is
and wears on
his
is
squint-eyed.
wears
crown
His face
jewelled head-dress,
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.
tiger-skin and
on
he wears jewels.
His
raised.
He
is
slightly
crown the
his
effigy
white snake
is
of Aksobhya.
meditated upon".
It should be noticed that the Dhvana
whose embrace
in
Buddhist
priests
be believed and
if
is
always
represented in
clad in
silent
yab-yum,
but
if
the
is
in
to
is
he
left
it
sible to
As Acala and
'
2.
Colour
Symbols
HERUKA
Blue
Vajra and Kapala
Arms
Variety
Two
Single
Heruka
When
he
is
this form he
popular in Tibet, Many of his forms aie described in the Sadhanamala in its numerous Sadhanas, arid the additional ones are derived
in
is
Getty:
GNB,
-BUDDHIST ICONOGRAPHY
156
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
words
ardhaparyahkam naracarmasuvasasam I
Bhasmoddhulitagatranca sphuradvajranca daksinam
Savastharfa
II
Satardbamundamalabhih krtaharamanoramam
Isaddamstrakaralasyam raktanetrarii vilasinam
II
1
on
human
in the
right
as the
body
hand and from
p. 473.
He
II
is
well clad in
He
and
is
skulls.
Maras (wicked
beings)'
In another Sadhana
for the
worship of
this
particular
kind of
The image
Fig.
125
discovered by
Museum, agrees in all details with the descripThough the hands are broken it can yet be discerned
and the left carried the Kapala against
which he stands is called the dancing
the chest.
The
attitude in
attitude in Ardhaparyahka.
skulls
and the
effigy
banner attached to
be seen.
five
EMANATIONS OF AKSOBHYA
3.
157
HEVAJRA.
the
Colour
form
is
Two-Armed
One
Face
Blue
Two
Arms
When
Prajna
Nairatma
Ardhaparyanki ..ekamukho
krsno
"Trailokyaksepah
Jvibhujo
NSP,
andasavyabhujah."
4
'Trailokyaksepa (Heruka)
is
attitude... He is
Ardhaparyahka
left hand carrying the
Vajra, he
is
of
blood and
14
the
With
the
dances
p.
marked with
raised*".
is
in the left
(n)
Colour
Arms
]
.
Four
Blue
Four
Armed,
Face
Prajna
One
Vajravarahi
When
four-armed, Hevajra shows all the characteristics of the twoarmed variety with the difference that here the Prajna is known by the
name
and
of VajravSrahi.
is
worded thus
is
short
Aparabhujabhyam savabha-VajraNSP, p. 14
Sadhanamala,
p. 462*
BUDDHIST ICONOGRAPHY
15tt
shoulder but
is
one of
carried in
(ill)
Colour
Arms
his hands.
Six-Armed
Face
Blue
-Six
Three
Vajrasrnkhala
Prajna
When
ca vajravajraghantanvitahastabhyam
svabha-Vajrasrhkhalamalihgitah.
NSP.
p. 14.
ColourVBlu
Arms
Sixten
Legs
Prajna
Nairatma
Hour
The fourth type of Hevajra according to Hevajra Mandala is sixteenarmed and is alike in appearance with the three other forms described
before.
The
difference lies
in
his
upon
Mandala
in
His form
question as under
is
described
pltah,
EMANATIONS OF AKSOBHYA
159
raktam, urddhvam vikatadamstram sesam krsnani. Daksinabhujesu vajram khadgam banam cakram casakam trisulanvankusarh
vamam
ca
vamesu
tarjanipasam ca."
"Hevajra of the fourth* class
crown
He embraces
Sakti Nairatma.
The
legs.
his legs
as
his
aforesaid,
Skandha Mara
first is
in
the form of
in
On them
the
is
fourth
blue,
on
is
the sword,
1.
the
the arrow,
3.
the Tusula,
7.
staff,
2.
bell,
6.
skull-cup,
and
the lotus,
4-
3.
the jewel,
the discus,
the goad.
8.
5.
In
is
red,
the Vajra,
1,
the
7.
raised
the
All other
index
finger
and
5.
8.
the
the
noose-..",
Hevajra
is
popular in Tibet
and China
-.
BUDDHAKAPALA
4.
Arms
Colour- Blue
Four
Citrasena
Sakti
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
"
lr -Getty *
2.
TLP,
II,
GNB,
142, 1431
p. 236.
A Tibetan image
is"
illustrated in
Gorden
ITL, p. 83.
BUDDHIST ICONOGRAPHY
160
as
(Buddhakapala)
who
ryahka in
dancing attitude,
is
decked
in
is
of heads,
garlands
one-faced and four-
who
the
left
is
embra-
is
intoxi-
Sumalim
(blue)
in
(green)
the
in
the
three
in
The
circles.
Kapalim (yellow)
east,
(white)
in
circle
first
has
Bhima
The next
the noith,
in
the south.
(south)
Suraksmi
Vikalaratri
(north-east),
(north-west),
Mahayasa
of the innermost
circle,
all
(south).
Excepting
four
the
deities
colour
blue
two
arms, one
Fig.
126 illustrates
embrace of
Buddhakapala
Chinese collection at Peiping
He is also
represented singly in a remarkable statuette in the Baroda Museum.
is
represented
in
the
(Fig. 127).
SAMBARA
5.
(i)
Colour
Vahana
Two-Armed
Blue
Asana- Alidha
Kalaratri
Symbols
Prajna
Vajravarahi
TLP,
II.
in the
EMANATIONS OF AKSOBHYA
and
two-armed
and
one-faced,
bears the
161
effigy
Aksobhya on
of
Sanmudra-mundamall
ca visvavajri trilocanah
visvaksaravivartinim
II
Alidhapadavinyaso
Sabhairavam Kalaratrimarudho vyaghracarmabhrt
I
II
II
II
"
Dvibhuja-Sambaropadesah samaptah
Sadhanamala,
p.
504
He wears
He shows
stands in
the
necklace
is
of heads.
three-eyed.
He
combination of
all
Ghanta
Sakti
Her
alphabet.
is
is
is
three-eyed,
bhe
wears
arnii>
and
in
this
(ii)
Colour
Arms
Sambara
Twelve- Armed
Blue
Twelve
Faces
Sakti
Four
Vajravarahl
is
BUDDHIST ICONOGRAPHY
162
tagajacarmadharah
vajrapasam BrahmasiNSP, P. 26
vamairwajrankitakhatvafiga-raktapuritakapalaih
rasca
navanatyarasarasih."
"God
With
Sakti Vajravarahi.
the second pair... he carries the elephant skin from which blood
trickles
down.
and the
trident.
The four
Mandala
Sambara
is
Aksobhya and
is
is
that of
in
the
J
.
popular in Tibet
Asana
and China
'.
SAPTAKSARA
6.
Faces
Arms
Three
Alidha
Six
Prajna
Vajravarahi
This
the crescent
and stands
on
in the
MSP,
2.
Two
p. 28.
GNB,
A, K. Gordon
As Sambararaja Buddha he
is
mentioned in Clark
TLP,
II,
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, Yajrabhaskan, Vajraraudri and Vajradakinl. They have respectively blue,
yellow, red, green, smoky and white colour. All of them ha\e dishevelled hair, fierce appearance, three eyes and the quarters as
garments. They carry the resounding Damaru and the Ghanta in the
pair of hands, and the human skin in the other pair. They stand on
first
the orb of the sun placed on a corpse. Their head-dresses are decorated with rows of skulls, and they stand in the Alidha attitude.
In another
variation
is
noticed.
In
it,
it is
the god
said that
in
carries,
slight
the
first
pair of hands,
Ghanta
pair of
MAHAMAYA
1.
Colour
Arms
skin.
FacesFour
Blue
Four
Buddhdakinl
Prajna
is
embraced by
his
This variety of
as
above
has
and
the
verse
four
faces
four arms and
indicates,
Heruka,
four
in
the
is accompanied by
four cardinal points. Two
goddesses
Below
in early times.
is
eighty- four
given a
summary of
Mandala of Mahamaya.
appearance. His body is besmeared with
ashes and his hair streams upwards in the shape of a flame of fire.
Mahamaya
He
is
is
terrible in
skulls.
is
decorated with
row of
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
bracelets
on
his wrists*
He
is
clad in
human
skin,
BUDDHIST ICONOGRAPHY
164
He
The four
Her four
right.
'
Padmadakim
in
four
of
faces
carries the
left
red,
bow and
the west
is
are
seat
are
faces
in the
two
left
hands
arid*
the
right.
Visvadakim
(or the
These four
in the north,
right.
number of
skulls,
Mahamaya
In the Nispannayogavali,
is
quoted below
"Mahamayahva-Herukah
also
finds
krsno-'rkaprabho.. nilapkasvetaharita-
mulasavyapascimavama-caturmukhah. .savyabhujabhy am
kapalasarau
vamabhyam khatvahgadhanusi dadhanah...ardhaparyahkena tandavi."
.
NSP.p.*22.
4
is
Mahamaya
four-faced
is
is
blue, the
paryahka".
EMANATIONS OF AKSOBHYA
Mahamaya
is
known both
Red
Colour
and
in
China
'.
Three
Faces
Asana
Eight
Lahta
Terrible.
Appearance
[One form
HAYAGRIVA
8.
Arms
in Tibet
165
been discussed
the god
Dhyana
that
describing
trimukharh
astabhuiarh
"Arya-Hayagrivarh raktavarnurh
pratitrinetrarh nilasitadaksmetaravadanarh sarpabharanam lahtak-
mukharh
prathamamukharh smerarh
daksinamukharh darhstravastabdhaustharh, vyaghracarmam-
sepapadanyasarh sakrodhadrstmiriksanam,
lalajjihvarh,
Sadhanamala,
p. 508.
looks wrathful.
His
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 remaining ones hold the lotus and the bow. He bears the effigy of Aksobhya
on
his
crown".
Fig.
little
128 illustrates
to be touching his
own
that ought to display the raised index finger only has a noose
is
important
as
it
shows
round
it.
miniature head of
:i
trates a
1.
A. K. Gordon
2.
Clark
3.
A. K. Gordon
4.
Clark
1TL, p. 83
Getty
GNB,
p.
144.
TJLP,
II.
GNB, p
163
BUDDHIST ICONOGRAPHY
J66
RAKTAYAMARI
9.
Red
Colour
Arms
One
Face
Two
YatvYum
Variety
Several
in
\s
said
dhi
(rite
subdviing) he
is
is
in
Vasyavidhi
(rite
of
most popular
Of
in
is mostly
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
performed with
Krsnayaman.
of this
fearful god.
a holy man who lived in a cave in deep meditation
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
ascetic,
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
!
who
fierce
in a fearful struggle
tradition,
it
sufficiently explains
Yama
is
a killer of
I.
Getty
Yama
:
in
EMANATIONS OF AKSOBHYA
Under
then.
the
the
title
of Yamantaka he
of Yamantakavajra he
title
is
found
known
is
in
167
China
in
He
who
follows
is
his
is
own
Under
variety
of
Yaman-
is
The Dhyana
creation.
-.
Tibet
vicitrabharanarh
dhya>
dvibhujaikamumaduvihvalarh skhalad-
Bhagavatmca
at.
alidhapadasthitarh
vyaghracarmamsukam Bhagavata
sSaha
samputayogena pratyalidhena-
Sadhanamala
p. 530.
of blood in the
left
hand and
the
in the
white
right-
staff
He
is
surmounted by a
decked in orna-
He weais garupwards.
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
iiair
rises
which
slips
intoxicated
is
down
Colovn
He
of tiger-skin
Thus
meditating... ".
KRSNAYAMAR1
Blue
Varieties
Four
or three
cribed
one
1,
2.
GNB,
TLP,
p. 164.
II,
One
six-armed variety
is
is
des-
represented
Krsnayamari
His different forms are dealt with one by
BUDDHIST ICONOGRAPHY
168
T wo*- Armed
(i)
Colour
Blue
Arms
Two
Variety
twoarmcd form
Single
Staff
Symbol
This
One
Face
of Krsnayamari
is
dvibhujaifo nilavarnarh
Sadhanamala, p. 547
suryasthamahisarudham bhavayet/
"The worshipper should conceive himself as (Krsna) Yaman who
stands
in
He
is
marked with
as
brandishes the
staff
as riding a
buffalo/'
Four- Armed
(ii)
Appeatance
Terrible
Arms
Faces- -Three
Companion
The form of Yamari with three
and awe-inspiring.
describes his form
He
in
is
Four
Prajna.
faces
represented
verse as follows
'*
Yab-yum
Variety
..Yamariratibhisanah
Kathoravarhikanthabhah savyasuklarunetarah
II
Krodhaparyahkayogena visvabjaravisamsthitah
Svabhavidyadharasvadarasayanamahasukhah
II
Kadarordhvajjvalatkesah pingabhrusmasrulocanah
Phamndravrndanepathyo mrnaladhavaladvijaih
Mudgarasidharah savye vame rajivaratnadhrk"
II
II
Sadhanamala,
4
'Yamari
is
terribly fierce,
is
terrible
p.
544
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
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
169
22
170
fl
cc
(-1
rt
i
oo
171
Fig.
89 Arapacana
(Dacca Museum)
172
173
6
!-
1
W
3
oj
"S,
'S-
a
o
V-(
O
03
as
u
PL,
it
>
174
led
co
73.
CS
3?
2
cd
o
-I
"B
CQ
O
"C
CCS
CO-
vo
ON
-fc
OQ
-
175
ygfrfv
'
.-#
**.**
.
.
& <^^-*&.^
f
Fig.
>
-,<*
^^yf
99 Simhanada
176
10*
ca
,-C
5JD
ffi
ctf
O
ei)
103
G
CO
CO
o
o
EMANATIONS OF AKSOBHYA
177
He
left
carries
the lotus
(iii)
Asana
Alidha
Arms
Variety
three
faces
show
contorted brows.
Three or Six
Faces
Six
faces
is
Single
and
single.
six
He
is
arms,
fierce
is
in
He
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
runs as follows
krsnarh
sanmukharh sad-
Sadhanamala,
p.
546
is
He
appearance.
Aksobhya on
Yaman
is
the crown/*
of blue colour
is
Mandala
thus
"Krsna-sita-rakta'mula-savya-vamavadanah sadbhujah
vajrasi
23
vamabhyam
kartrikapa-
svabhaprajnasarnalihgitah
savyabhyam
cakrabje vibhranah".
NSP, p. 36
lancita-Sdvyetarakarabhyam
BUDDHIST ICONOGRAPHY
178
"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
of
JAMBHALA
11.
Arms
Three
Faces
statuettes
Variety
Six
Yab-Yum
Buddha of Jambhala
is
are to be
wealth
commanded
worship
in various
either
met with
great respect
forms in
all
matulunga-nkusa-banadharam
prathamavamabhujaikena
Sadhanamala
p.
564
TLP, Vol.
II,
ITL,
p.
90
EMANATIONS OF AKSOBHYA
179
12.
UCCHUSMA-JAMBHALA
VahanaKuvera
Terrible
Appearance
Asana
vomitting jewels
Pratyalidha
Ucchusma
also
bhav a Jambhala
called
will
be described
later.
to
his
"Atmanam
Ucchusmam
Bhagavantam
pancavarsakumarakrtim
kharvarh
urdhvalihgarh
nagnarh
nakapalabhimukhadrstim
garyyadhomukhanakullm
lambodaram
;
hrdi
daksinapanistharaktapur-
vamajahghasaktavamakarena ratnacchatod'
aviddhadhollakarnadvayarh ardhendu [sekha-
krtabhrkuti lalatam
M
pihgordhvakesarh Bhusparsamudra'nil'Aksobhyamunimastakarh...
Sadhanamala, p. 577.
u
who
five years
headdress.
jewelled
He
is
and
decked
in
is
as
the god
dwarfish.
He
Ucchusma,
stands on a
stands in the
Dhanada of yellow
rests
on the
He
and
is
his
membrum
is
virile
two legs (of Dhanada).
nude,
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
He holds in his left hand the mongoose vomitting out jewels,
chest.
presses with his right leg the forehead of the sleeping
His
left leg
on
on
crown.
His face
2,
Getty
Clark
GNB, p
TLP,
II,
159.
p.
title
p.
203 as
BUDDHIST ICONOGRAPHY
180
Asana
VIGHNANTAKA
Colour
Pratyalidha
Blue
Symbols
in
nilava-
bhayana-
karh pihgalordhvakesam.
Vighnantakasadhanam.''
colour.
Vajra
rises
in
Pratyalidha attitude,
He
carries
upwards.
His seat
This Sadhana
is
is
who
is
silent
figure of
Ganesa
hair
whom
he tramples under
his
already indicated.
It
whom
in his left
He
the right.
as (Vighnantaka)
is
feet,
may be
As to the
regarded as the most dangerous obstacle by the Buddhists
origin of this god there runs a Nepalese legend that at a certain time an
!
EMANATIONS OF AKSOBHYA
In the statuette illustrated in Fig. 131
on Ganesa and
it
may be
18
seen
how Vighnantaka
up the
trampling heavily
dignity of his godhead, exhibits the Abhaya pose even in his agony!
The form in which Vighnantaka is said to have appeared before the
is
The
taka
is
image
original
known
left,
is
in the
Museum
collection.
14*
Appearance
Mudra
Vighnan-
l
.
VAJRAHUNKARA
(i)
Asana
Baroda
Two-Armed
Terrible
Symbols
Arms Two
Vajrahuhkara
Vahana
Pratyalidha
Siva
Ghantavajraprayogena mudrabaddhakaradvayarh
Pratyalldhapadenaiva Bhairavakrantabhlkararh"
II
II
Sadhanamala,
''The worshipper should conceive himself as the
who
originates
from
that syllable
He
(Hum) and
p.
506
god Vajrahuhkara,
is
terribly
fierce
in
their forms*
Vajradhara
sits
on
a lotus
~~
T~ Clark
TLP,
II,
BUDDHIST ICONOGRAPHY
162
in
No connection can,
Siva, and has a terrible appearance.
therefore, be established between the two.
l
Vajrahunkara images are known to the Chinese collection at Peiping
Hindu god
Six-armed
(ii)
Colour
Blue
Arms
Vajrahunkara
Three
Faces
Six
is
is
With
mudra
the Trailokyavijaya
embraces the Prajna of his
L>
He
with Trailokyavijaya,
identified
is
his
and
own
With
two remaining
right hands he holds the goad and the noose, and with the two left he
shows the skull-cup and the Khatvanga
creation.
the
:>>
As Vajrahunkara and
15.
Colour
Arms
canine teeth,
is
known
m China
BHUTADAMARA
Black as collyrium
Appearance
Mudra
Four
Terrible
Bhutadamara.
Three Sadhanas
damara, who
Trailokyavijaya he
in the
terrible
is
trailokyam
II
nasanam
api
as
II
II
p. 521
(Bhutadamara)
who
is
four*armed,
terribly
Clark: TLP,
1,
Probably the
mudra
see
Gordon
24
3.
NSP,
4.
Clark: TLP,
p.
II,
angry,
II,
For a description of
this
EMANATIONS OF AKSOBHYA
He
collyrium.
183
weilds the Vajra in the right hand and shows the Tarjam
fangs and he is
garland of skulls
worlds.
He
on
From
suns.
and exhibits
the
tramples
and
attitude
Pratyalidha
He
his special
capable of
is
under
his
is
resplen-
the
feet,
god
mudra/
it
will
Tarjam in the
same Sadhana.
The
left.
Bhutadamara
is
description
of
this
mudra appears
in the
the Nispannayogavali.
Aparajita,
and
violent in appearance.
is
He
is
He
four-armed.
wieids
NSP.p.
He
is
74).
known
in
VAJRAJVALANALARKA
Colour
Arms
Blue
Faces
Eight
Asana
Vahana
in the
Four
Alidha
wife.
Sadhanamala describes
his
form.
He
is
and tramples
who
is
his
wife.
He
is
blue
in colour
Visnu,
accompanied
by
upon
The Dhyana describes him in the
and has a terrible appearance.
following terms
four-faced, eight-armed, stands in the Alidha attitude,
"Vajrajvalanalarkarh mlavarnam
kham astabhujam
jvalamalakulaprabham
caturmu-
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.
ibid, p. 62.
2.
The Cult of
BUDDHIST ICONOGRAPHY
184
p.
512
He
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*-.
decked
in
is
ornaments of
who
Maya
are clever in
(deception).
17.
Colour
TRAILOKYAVIJAYA
Blue
Asana
ArmsEight
Vahana
Four
Faces
Pratyalidha
Trailokyavijaya
is
Two
the
in
Hindu
Mohant
Bodh Gaya.
at
The Dhyana
form
describes his
''Trailokyavijaya-Bhattarakam rnlam
caturmukham
astabhujam
daksinatrikaraih
vajrahunkaramudradhararh
dharam, vamatrikaraih capapasavajradharam
khatvahgankusabana-
pratyalidhena
vama*
padakranta-Mahesvaramastakam daksinapadavastabdha-Gaunstanayugalam
Buddhasragdamamaladivicitrambaiabharanadhannam atmanam
;
Sadhanamala,
vicintya..."
"The
worshipper
should
meditate himself
p. 511.
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,
the Vajrahuhkara
He
carries
in
He
exhibits
his
left
the
EMANATIONS OF AKSOBHYA
185
This god
is
known
in Tibet
is.
and China
PARAMAVA
Arms
Four
Faces
Vahana
Four
Legs
-.
Eight
four
goddesses
It has already been said
that Paramasva "Great Horse" is another
form of Hayagrlva "Horse-Neck" as the word "asva" in Paramasva
In the Sadhana it is said that he should have four faces,
indicates.
but in reality he has seven faces, for one of his faces is said to be
quoted below
'Taramasvam
caturmukham
prathamamukham krodhasrhgararh
vamam Brahmamukham murdhni lalitoddhulitosthamharitasvamukham
raktam
astabhujam catuscarnam
trilocanam, daksinam raudram,
Pratyalldhena
daksinapadaikena Indramm Sriyanca akramya sthitam, dvitiyodaksinacaranena Ratim Pritinca vamaprathamapadena Indram Madhu-
vamadvitlyapadena
karanca,
dhyayat..."
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
of his
hands
carries
1.
Gordon J ITL,
2,
Clark
24
his right
left
TIP,
p. 60
II,
GNB,
p.
BUDDHIST ICONOGRAPHY
186
(dart).
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
YOGAMBARA.
19.
Colour
Blue
Arms
Faces
Six
Variety
oakti
God Yogambara
is
the Nispannayogavall.
words
Three
Yab-Yum
Jnanadakini
His form
is
Yogambara Mandala or
"Simhopari
Yogambarah
. .
NSP,
p. 32.
He
lotus
His
six^armed.
principal face
In his two principal hands carrying the Vajra and the Vajra-marked
is
is
"
China
'.
Colour
is
KALACAKRA.
Blue
Faces
Four
Arms Twenty-four
Kalacakra
is
NispannayogavalL
1.
Clark :TLP,
II,
called
the
EMANATIONS OF AKSOBHYA
187
Vimalaprabha
is
the
Buddhism.
on
the
Kalacakra Tantra which is
commentary
them
of the Mlechhas
borders of India
penetration
where the
followers of Islam were daily growing strong and were destroying old
and ancient
civilizations.
"Uttananahgarudrahrdayayoralidhena nrtyan
Bhagavan Kalacakrah
krsno.,..vyaghracarmambaradharo dvadasanetrascaturmukhah....trigrlvo
bhagavan
satskandho'sau. .dvadasabahurupabahutah
.
vimsatisahasrah.
catur-
prabhrti
Vamesu krsnesu
raktapurna-kapalam
kam
ca
raktes-
suklesu cakra^kunta-danda-parasavah.
ca vajra-ghantaphalake vikasitamukhakhatvahgaih
ca
suklesu darpana'vajra'Srhkhala'Brahmasirasca.''
NSP, pp.
83^84.
"God
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.
and
in the
in the
right
left.
In the four right hands of blue colour are held the Vajra, the sword,
In the
the arrow, the Vajra and the Ahkusa. And .in the three
white hands are shown the discus, the knife, the rod, and the axe.
the
Fire,
BUDDHIST ICONOGRAPHY
188
In
shown
the
Vajra-marked
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,
bell,
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
his
form
is
is
known
given
in
the
Two
a presentation
of
as
pf Kalacakra are rarely found in India. He is popular in Tibet
,well as in China ~. Fig. 134 illustrates a Nepalese drawing of Kalacakra.
i
The
1.
Getty
GNB,
p. 146.
II,
is
Aksobhya.
CHAPTER
VII
GODDESSES
Compared
number of goddesses
Some of the
is large.
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
terrible
in
appearance
The genuinely
and benign
peaceful
deities
Buddha Aksobhya
Asana
Vahana
one by one.
the Dhyani
MAHACINATARA ^
Pratyalidha
Appearance
Corpse
Arms Four
Terrible
in
at
Sanku
temple
This Ugratara or Mahacinatara of the Buddhists has been incorpora^
ted in the Hindu pantheon under the name of Tara, and is now regard-
The Dhyana
ed as one of the ten Mahavidya goddesses.
Sadhanamala describes her form in the following verses
in
Kharvalambodaram bhimam
nilanirajarajitarh
II
Navayauvanasampannam pancamudravibhusitam
Lalajjihvam
II
mahabhimam sadamstrotkatabhisanam
II
p,
210
the
BUDDHIST ICONOGRAPHY
190
terrible.
(Mahacma-Tara) who
as
awe-inspiring with a
garland
short and has a protruding
Her complexion is like that of the
is
is
is
round her
two
left.
in
right
is
two
loins,
is
the
Dhyana
in
it."
Sadhanamala.
vajra
As
earlier
the
it is
Sadhana
in
verse
is
attributed to
Sasvata-
Dhyana,
just
identical
Dhyana
stated descri-
is
II
II
Pingograikajatam dhyayenmaulav-Aksobhyabhusitam
Balarkamandalakaralocanatrayabhusitam II
Jalaccitamadhyagatam ghoradamstram karalinim
Savesasmeravadanam stryalahkaravibhusitam
Visvavyapakatoyantah svetapadmoparisthitam
II
I
Aksobhyadevlmurdhanyastrimurtirnagarupadhrk"
II
A comparison
Dhyana and
This is
grammatical errors are rectified.
the
method
of
a
evidently
recognized
Hinduizing Buddhist Tantric deity.
original
all
191
over,
is
and shows
in
what
different
forms she
is
represented
in
Nepal
modern times. It may be pointed out that the corpse under the
of the Hindu Tara is not a corpse properly speaking, but it is
prostrate form of Mahadeva to whom she is attached as a Sakti.
jANGULf
2.
in
feet
the
Jahguli
who
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
(i)
White
Colour
Mudra
In
In
is
follows
Snake, or Vina
Abhaya
arms.
Symbol
is
In
is
described as
Sadhanamala,
1,
Z.
p. 253*
BUDDHIST ICONOGRAPHY
192
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."
Sadhana she
In a second
second
right hand.
armed form of
Fig.
is
137 illustrates a
Janguli.
(ii)
Colour
Mudra
Green
Abhaya
Symbols
The second variety resembles the first in many respects, but the
Sadhana does not mention the animal-seat or the particular Asana in
The symbols also are different
which Janguli should stand or sit.
namely, the Trisula, peacock's feathers and the snake. The mudra,
however, is the same Abhaya mudra.
]
(iii)
Faces
Vahana
The
third variety
Sadhanas
in the
follows
Snake
Six
Colour
Yellow
Sadhanamala, one
Arms
Three
in
trayam
satarjanipasavisapuspakarmukavamakaratrayam
namandalasirahstham
sarvadivyavastrabharanabhusitam
sphltaphakurrari-
Sadhanamala,
p.
248
who
1.
Sadhana No.
121,
Sadhanamala
p. 251.
193
EKAJATA.
3.
Colour
Blue
Appearance
Attitude
Terrible
Pratyalldha
and
is
Four Sadhanas
Buddha.
in the
The main
features of the
goddess
aie
one of
Sadhana
in
given
the
famous
in
the Sadhana
who was
one of the eighty-four Siddhapu*
rusas of India.
is
The
general description
as follows
has
of the
goddess
given
in
Navayauvanasampannah ghoiattahasabhasvarah
II
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
on
brown
hair rising
bellied,
upwards
their head.
They are
Pratyalldha attitude,
short,
pot-
they
have
faces
distorted
their
BUDDHIST ICONOGRAPHY
194
When
(i)
(ii)
and
Kartri
the
Karota
When
two right hands and the bow and the skull in the two
In two other Sadhanas describing the four-armed variety, her
left.
in the
appearance undergoes a slight modification. Here she holds
in
the
first
When
the North.
L>
"^
VIDYUJJVALAKARALL
4*
Twelve
Arms
Colour
Blue
Asana
Vahana
Indra,
Faces
Twenty-four
-Pratyalldha
SYMBOLS
Left
Right
Khadga
7.
Dart
1.
Bow
7.
Wine-glass
2.
Vajra
8.
Mudgara
2.
Noose
8.
Utpala
3.
Cakra
Musala
3.
9.
Bell
1.
9.
4.
Jewel
10.
5.
Ankusa
11.
6.
Arrow
12.
Another
variety
Kartri
4.
Tarjam
Banner
10.
Parasu
Damaru
5.
Mace
11.
Brahmasiras
Rosary
6.
Trisula
12.
Kapala
of
Ekajata
is
known
as
Vidyujjvalakarali,
who
is
is
said to
it
"Dvadasamukham mahakrsnavarnam caturvimsatibhujam caturmarasamakrantm svetakapalopari pratyalldhapadam mahapralayagnisamaprabham vivrtasyam hahakaram lalajjihvam sarosam vikrtakoti*
bhimabhrkutltatodbhrunetracaladvartulam
1.
Gordon:
2.
Clark:
TLP,
II.
p.
284
GNB,
pp.
bhayasyapi
125-126
bhayahkarlm
kapalamSla
195
mamukharh mahakrsnam
tatha
daksinamukhapancakam
sitapitaharita-
dgara-musala-kartri'damaru'aksamalikafica,
asirah-kapalanca.
Vidyujjvalakaralinamaikajatasadhanam
II
"
Sadhanamala,
who
blue colour
deep
as
257
p.
(Vidyujjvalakarali)
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
comes
Destruction,
has
with the
white, yellow, green and whitish red colour. The face on the top
AH her
is of the colour of smoke, distorted and displays anger.
faces
rise
protruding
belly.
in tiger-skin,
and
2.
the thunderbolt,
6.
the arrow,
drum and
bow,
2.
7.
Her
carries
3.
in
the discus,
the dart,
8.
the
heaving
4-
'the jewel,
hammer,
9.
5.
she
1.
is
clad
the sword,
the
elephant*goad,
the pestle, 10. the saw, 11. the
the noose,
trident, 7.
In an extremely
happy
BUDDHIST ICONOGRAPHY
196
is
youthful, appears resplendent with
a
wears
terrible laugh,
Jatamukuta, which is brown and fiery and
which bears the image of Aksobhya on it."
irtood
form
of
Ekajata."
(
5.
Yellow
Colour
Arms
PARNASABARI.
Fa ces
Vahana
Six
Asana
T hree
Vighnas
Pratyalldha
The worship of
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
the same.
ill
discovered in
"Bhagavatim pltavarnam trimukharh trinetram sadbhujarfa prathamamukham pitam, daksinam sitam vamam raktam, lalitahasinim sarva
lankaradharam parnapicchikavasanam, navayauvanoddhataih plnarh...
daksinabhujaih vajraparasusaradharimrh vamabhujaih satarjanikapasapuspavabaddhajatamukutastha-Aksoparnapicchikadhanurdharimm
bhyadharimm suryyaprabhamandalinlm adho vighnan nipatya sita*
worshipper should
yellow complexion, with three
**The
first
face
is
pleasing manner.
ment of
leaves, is
She
decked in
left red,
all
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
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,
right
fist at
(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
The above-mentioned Sadhana, further states that
refers to Ganesa.
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
6.
is
Prajnaparamita
the
the
Buddha
is
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-
it
contained.
could not be assigned to any one of the Dhyani Buddhas because the
Prajnaparamita scripture was chronologically earlier than the Dhyani
Buddhas.
China
Images
s
.
SITAPRAJNAPARAMITA
(i)
Colour
White
Symbols
in the
Asana Vajraparyahka
Lotus and Book
Gordon
2.
Clark
3.
See Bhattasali
f
*
ITL, p. 71 Getty
TLP, II, p. 278
:
"
4.
5,
IBBS, p. 42.
GNB,
pp. 134-135.
BUDDHIST ICONOGRAPHY
198
armed, one-faced,
and
in the
beautiful
on
white lotus,
left.
face
Aksobhya.
carries the
Book
sits in
as follows
Ardhacarcarakesanca svetambhoruhasarhsthitam
Padmam
II
II
Sarvalahkarasampurnam bhavayennabhimandale
Ankarajnanasambhutam paramanandakarinim II
.
Aksobhyamudrita ceyarh
Sukla*Prajnaparamita-Sadhanam'\
She
ornaments.
releases
lotus,
in
her
sits in
immense
Aksobhya (on
delight...
is
PlTAPRAJNAPARAMITA
(ii)
Colour
Mudra
Yellow
Distinctive
The yellow
This goddess
the crown)."
Mark
Book on
Vyakhyana
lotus to the
left.
of
Aksobhya
identical in
1
.
The
Dhyana.
1.
SidhanaNo.
158,
Sadhanamala, p. 321
(iii)
199
KANAKAPRAJNAPARAMiTA
Mudra
Golden
Asana
Colour
Vajraparyanka
Book on
Symbol
Dharmacakra
lotus
on two
sides.
She
colour
The
of Prajnaparamita illustrated 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
is
golden
in
bearing a manuscript,
may
Java figure
this
variety
of
Prajnaparamita.
7.
Asana
Dancing
in
VAJRACARCIKA
Arms
Ardhaparyahka
Colour
Red
Distinctive feature
Vahana
Corpse
Appearance
Six
Emaciated body
Terrible
"Vajracarcikam
trinetrarh
ekamukhim
ardhaparyahkatandavam
damstrotkatabhairavarh
narasiromakrsangim
lavibhusitakanthadesam asthyabharanavibhusitam pancamudradharimm
mrtakasanastharh,
The
corpse,
is
Her neck
emaciated
is
in
decked
in
left
BUDDHIST ICONOGRAPHY
200
The accompanying
form, with the skeleton of her fleshless body showing through the
all its nakedness, and her vulture-like claws
enhancing the
fierceness of her appearance.
skin in
is
found in China
M AHAM ANTRANUSARINL
8.
Colour
Arms
Blue
Mudra
Four
Varada
theDhyana contained
therein
is
as follows
Sadhanamala,
p. 401.
One
Tibet
and China
*'.
MAHAPRATYANGIRA
Colour
The Dhyana
Arms
Blue
pratyafigira.
in
is
Six
is
as follows
to
Maha-
Clark
2.
Gordon ITl, p. 76
As Mantramidharanl she occurs
3.
TLP,
II,
p. 269.
in
Clark
TLP,
II,
pp. 205*275.
p. 402.
"Mahapratyahgira
shows
201
She
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
she originates from
against the chest, the red lotus and the trident
in
"Hum",
the syllable
decked
Figs.
illustrate
and
is
is
conform
China
!
.
10.
Two
Sadhanas
in the
DHVAJAGRAKEYURA
Sadhanamala describe two widely
different
The weapons
is
three-faced and
identical.
The Dhyana
Three-Faced.
Colour
Blue
Arms
Four
Asana
Faces
Three
Appearance
Terrible
Pratyalidha
effigy
"Dhvajagrakeyura krsna
vamamukhi
-.
trimukhl caturbhuja
khadgapasadharidaksinakaradva^ a
raktasyamadaksina^
vajrankitakhatvahgaca*
"Dhvajagrakeyura
with the right and
is
left
She carries the sword and the noose in the two right hands,
tively).
and the Khatvahga stamped with a Vajra and the Cakra in the two left,
l7 Clark
Clark
2.
26
TLP
TLP
II,
II,
pp. 200,
289.
202
BUDDHIST ICONOGRAPHY
.
,
She has
protruding belly,
stands in
Four
(ii)
Faces
Faced
Arms
Four
Colour
Four
Yellow
In
all
is
identical with
Fig.
11.
Mudra
VASUDHARA
Varada
Colour
Vasudhara
figures in the
Symbol
Ears of
Corn
Yellow
as
the consort of Jambhala, the Buddhist god of wealth. Only three Sadhanas 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.
may be
crown runs
as follows
It
sriyam
etascadyaksarabijah svanayikasamanarupascintaniyah.''
Sadhanamala,
p.
421
Aks^tmjon
jof
In front
left,
203
in the left
goddess' '.
Buddhist countries of
in the
th<
12.
Asana
Dancing
Colour
Vahana
NAIRATMA.
in
Ardhaparyahka
Blue
Corpse lying on
its
Appearance
back.
Symbols
Terrible
Kartri and Kapala.
Two
on
When
it
crown
if it lies
its
the image ot
all
must be absent
in
the case of
Nairatma.
The Dhyana
"Savahrccandrasthardhaparyahkanatyasthitam
Nairatmam krsnam
ekamukham
Sadhanamala,
p. 451
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
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 auspi*
right
cious symbols."
1.
Gordon
ITt, p. 72
Getty
GNB,
p. 174.
BUDDHIST ICONOGRAPHY
204
The word
remain in eternal
and happiNairatma gets the blue colour, because the colour of Sunya
ness,
according to the Buddhist tradition, is like the colour of the sky, which
is
is
said to
bliss
blue.
this
Ratna
(jewels),
The Vangiya
(Fig.
149)
13.
Colour
Arms
Blue
Six
Faces
Kulesa
Three
Aksobhya
is
Jnanadakini
JNANADAKINL
She
Nispannayogavali.
is
described thus
"Jnanadakim nilasya...savyam
suklarh...vamam
raktasrhgaraih...
"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
Clark:
2.
Clark
is
TLP
TLP,
II.
II,
p. 237
2
,
VajravidaranI
tananda as follows
is
VAJRAVIDARANi
Amiv
205
dakse ankusa-khadga-sara-
vame pasa-carma-dhanU'dhvaja'abhaya
Dharmakosasahgraha
Fol.
pratyalidhasana".
44A.
She stands
Fig.
150
is
five^faced,
CHAPTER
VIII
EMANATIONS OF VAIROCANA
According to the Sadhanamala all the deities that emanate from the
Buddha Vairocana have generally the white colour or the
the Dhyani
in
The
family of Vairocana"
deities
be remembered,
Among
in
of
is
it
may
first
Buddhas by
his white
plays in his
1.
Arms
NAMASANGITI
White
Colour
dis
Face
Asana
Twelve
One
Vajraparyanka
Manjusri who
Bodhisattva Manjusri.
Prajnaparamita
who
is
the
The
the illustration
it
would appear
that he
is
the parental
in
literature,
EMANATIONS OF VAIROCANA
207
Getty
tesvara"
kosasangraha
is
quoted
"Namasangmnama
The Dhyana
as follows
as
given in the
Dharma*
(Bodhisattvah).
bhyam
savyadaksabhyarh
hrdayapradese
abhayamudradvayam,
dvayabhyam mukutopari krtanjalimudram, daksatmyena visvavajropari
khadgam savyavamacaturthabhyam tarpanamudradvayam, savyavamapancamabhyam patrasthamrtaksepanamudrarh sasthasavyavamabhyam
sapatradhyanamudrarh
vamatrtiyena
savajrakhatvangam
dadhanah,
kamalopari vajrasanah."
Dharmakosasahgraha (A.
u
The
"He
MS.) FoL 91
(Bodhisattva) Namsangiti.
is
smiling
is
decked
countenance,
in
the
Jatamukuta
the six
exhibits in the
mudras
S, B.
first
and
in 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,
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
the Vajra
and he
sits in
lost the
Vajra and the Khatvahga with the Vajra carried in the third pair of
hands by the deity.
Fig. 151 illustrates a
MARICf
is
1;
Getty
GNB,
is
BUDDHIST ICONOGRAPHY
208
There
is
it
rides a
to
is
being an abbess,
may
reside
The mantra
anywhere.
for Vajravarahi
is
or
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
Vajravarahi stands in the Ardhaparyahka in a dancing attitude
on a corpse, but Marici stands almost always in the Alldha attitude
Marici.
and moves
in
least,
a chariot,
but she
siddhi
first
and
and had
become
deified
last.
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
legs.
She may have one, three, five or six faces and two, eight, ten
She is generally accompanied by her four attendants,
and Varahamukhl. She is recognized generally
Varall
Vadall,
or twelve arms.
Varttall,
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
Tara; amongst other varieties of Marici, the form with three faces and
EMANATIONS OF VAIROCANA
eight arms,
is
and China
L>
Goddess Marici
is
Nispannayogavali.
Sasvata or
Marici
Marici
Images of
*.
armed.
209
Vairocana
said
is
to
and
three-faced
is
be
the
six-
spiritual sire of
4
.
ASOKAKANTA
(I)
Vahana
Asana
Pig
Standing
Distinctive feature
Left
Colour
Yellow
Mudra
Varada
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
Varada mudra
exhibits the
in the
right
hand
but she
called
is
she carries the needle and the string in her two hands.
Arya-Marlci
The Dhyana describing the form of Asokakanta is stated below
if
"Hemabhasukaraiudham taptakancanabhasvaram
Lilayordhvasthitarh candrabimbambhoruhasamsthitam
Asokavrksasakhagravilagnam vamapanina
II
Bibhratim varadakaradaksinakarapallavam II
Diptaratnopasobhena maulina Buddhasekharaih
II
Sadhanamala,
p.
306
"I
is
to Marici
like 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 assurance of safety (to the world)".
An
image of Asokakanta
1.
Bhattasali
Z.
Getty
Clark
3.
4
5.
27
IBBS.
GNB,
TLP,
p.
XIII-XIV
p. 133
II,
NSP:pp. 40, 41
Getty GNB, p. 133.
:
is
5
.
BUDDHIST ICONOGRAPHY
210^
ARYA*MARlCf.
(II)
Symbols
Needle and
String.
Arya-Markl
is
identical with
the string
As
l
.
(III)
Faces
Marlcipicuva
is
Arms
Three
Eight
MARlcfPICUVA.
both
endowed with
in their hands.
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
The Dhyana in verse runs as follows
different sentiments (Rasa),
:
Srhgaravirasaddharsair-jambunadasamaprabham
Madhyendranllavarnasyam bhayablbhatsaraudrakaih
Karunadbhutasantaisca sphatikendvitarananarh I
II
Trivimoksamukhaistryaksam dharmasambhoganirmitam
Pltabharanasadvastram mayukhasukhavasinim I
Sucyaksasyani sivantlm badhnantim mukhacaksusi II
II ...
II
II
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
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
Her essence is made of Dharmakaya and Sambhogakaya. She
evils.
1.
p. 305.
EMANATIONS OF VAIROCANA
III
is
She
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."
second, or the
left
face
is
gem, displays wrath and looks terrible with bare fangs and protruding lips. The third or the right face is of deep red colour, glows
She rides
in heavenly splendour and displays the sentiment cf Santa.
nlla
drawn by seven
chariot
pigs,
appears
(i)
Varttali,
and
(iii)
common
Vadali has
Varali
is
many
features in
right
Varahamukhi wears the same garments and the same ornaments 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
belong
this
:>
may sometimes be
retain
the
eight-armed
fnet with
charioted
actual
Iti
Variety.
all
instead
'
as'
images,
well
as
a legless
known
so
.far,
lady charioteer
*
the
Dacca Museum,-
two
BUDDHIST ICONOGRAPHY
212
Museum
which
Sarnath and
is
is
Figs.
reproduced
now
153
152,
deposited in the
Calcutta,
many works of
in
art,
Lucknow Museum,
while a sixth
at
the Sadhana in
UBHAYAVARAHANANA
Faces
Arms
Three
Asana
Alidha
Twelve
Distinctive
mark
Two
Sow*faces
She has been given this name because, unlike all other three-faced
of MaricI, both her right and left faces are like that of a
forms
sow.
She
is
is
womb of
has
clad in tiger-skin,
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
is
red,
and
is
paid
homage to by
deity carry-
the Asoka bough, the VajrahBrahma and the vessel, and in the six
hands the needle, the Afikusa, the Bhindipala ( spear ), the sword,
She bears the
the Kartri and the Staff
stamped with a Vajra.
on
her
and
of
Vairocana
under
her feet the
crown,
tramples
image
right
that the
goddesses, Varttali,
1.
EMANATIONS OF VAlROCANA
(V)
Two
Sadhanas
that she
is
DASABHUJASITA-MARICf.
Faces
Five
Colour
Arms
Ten
Legs
White
- Four
in the
213
cipal face
is
sow-like,
legs.
is
is
blue,
green,
She has
the left
is
variety
The pnn*
faces.
five
ten-
is
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
Visnu and Brahma. She bears the effigy of Vairocana on
Indra, Siva,
her crown,
The Sadhanas
other goddesses
Makara.
Vajra in
of whom
the
first is
The
is
ruddy
in colour with
of
Marici.
a
upon
carries
wears
the
celestial
like
She
three
that of
is
of red
The two
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
.
It is
deities,
which
mem-
give the
of
2 1
BUDDHIST ICONOGRAPHY
(VI)
VAJRADHATSTi^VARlMARICL
Faces
Asana
Six
Arms Twelve
When
Alldha
Terrible
Appearance
minor
six*faced
details
and
in
the
respect of
in their
hands.
The
The
twelve arms.
common
as follows.
to
all
They
the three
are
all
may be summarised
endowed with
first five
six faces
red,
and
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
They present
three eyes, protruding tongue, bare fangs, serpents for ornaments and
garments of tiger-skin.
4.
5.
the
bow and
the Trisula,
6.
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
Kapala.
cases
noose instead of the Kapala or the KhatvafigaAll the other hands carry the same weapons in all the three
left
the
\
3.
Colour
White
Faces
Identification
<^ feet
crown and to
USNfsAVIJAYA
Arms
Three
mark
Buddha on
Eight
lotus
Vairo-
She
is
A miniature
'
1.
p.
280
-I
Caitya'
EMANATIONS OF VAIROCANA
215
name included
given below
is
"suklam trimukham
trinetrarh
navayauvanam nanalankaradharam
pitakrsnadaksinetaravadanam
daksi-
nacaturbhujaih visvavajra-*padmastha-'Buddha'bana'*varadamudradharam,
vamacaturbhujaih
capa-tarjanlpasa-abhayahasta'purnakumbhah
yaguhagarbhasthitam, Vairocanamukutinirh nispadya..."
Sadhanamala,
Usmsavijaya'Sadhanam."
as
394
p.
(Usmsavijaya}
cait-
who
is
on
on the crown.
The
Thus
meditating..."
statuette
attitude.
The other
of Dr.
W.
Y. Evans- Wentz.
In
it,
is
Faces
is
1.
2.
.._..-.
2
.
Six
White
word "Vairocananayakam"
i
Arms
Three
Colour
only
and China
SITATAPATRA APARAjITA
4.
One Sadhana
In the Sadhiaiia
^***
this
deity.
The
BUDDHIST ICONOGRAPHY
216
form
in
mukhtm
sakrodhadrstikam
sarvagrahavidhvamsinim
divyalankaravastravatim
Sadhanamala, p. 395
Vairocananayakam dhyatva..."
who
is
her faces.
She
is
as goddess Sitatapatra
and
three eyes in each of
has
armed,
of white colour. Her faces to the right and left are
three*faced, six
destroys
all
sorts of
e\il
(Grahas
spirits
lit.
Thus
led by Vairocana.
is
wears
Planets),
celestial
meditating...
who
158
Apatajita
As
*,
is
known
in Tibet
and China
3
.
MAHASAHASRAPRAMARDANI
5.
White
Colour
Arms
Six
suklam ekamukhim
khadgabanavaradamudrah
vicitralahkaradharam
vamatri*
rupayauvana*
Sadhanamala,
1.
Bhattasali
2.
Gordon
3*
Clark
1BBS, p. 53,
TIP,
II,
PI.
400
XVIII.
1TL, p. 27
p.
GNB,
p. 136.
EMANATIONS OF VAIROCANA
217
who
dani
decked
is
is
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".
and China
".
VAJRAVARAHI
6.
Asana
Dancing
Characteristic feature
in
Ardhaparyahka
is
the cult of
ear.
the
celebrated
<l
Herukadevasyagramahisi" or 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-
It
will
Vajravarahl
and passionate
name
The
is
love.
or Adamantine
Vajravarahi
for
sow'
is
given
near
an excrescence
to
her
her
right
may be
near the right ear, which has gained for her the epithet 'Vajraghona' in
the Sadhanas, Another argument in favour of this is that, while Vajravarahl
is
called a Dakini,
and
is
Gordon
2.
Clark
28
1TL, p. 76
TLP,
II,
p 275
woman
deified,
she
Vajra-
is
BUDDHIST ICONOGRAPHY
218
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
may have
she
hands.
is
weapons she
she said
two
from the family
carries in her
to emanate
the others
China
in
Tibet
and
2
.
(I)
VAJRAVARAHI
Appearance Nude
Arms Two
Asana Pratyalldha
Symbols Vajra-Tarjam and Kapala.
Red
Colour
Below
Vajravarahl.
her form
is
quoted
Dhyana which
gives
forms of
general idea of
Atmanam Bhagavatlm
Vajravarahim dadimakusumaprakhyam dvidaksinakarena vajratarjanikakararh vamena karotakhatvangadharam ekananarh trinetrarh muktakesam sanmudramudritam digambhujarii
bararfa
ta- Bhairava-Kalaratrikam
Sadhanamala,
p. 425.
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 knowShe stands in
ledge, and is the embodiment of the Sahaja pleasure.
wears
garland of heads
The Sadhana
still
on which
she stands are occupied by the four goddesses Dakini, Larna, Khandaroha and Rupini in the four cardinal directions beginning from the
right.
respectively,
Gordon:
2.
Clark
TLP,
II,
p. 238.
GNB,
left
They
all
EMANATIONS OF VAIROCANA
VASYA-VAJRAVARAHl
(II)
Symbols
Kami
219
and Kapala
Vahana
Asana
Corpse
Dancing
lying
in
Ardhaparyahka
on back
case
as in the previous
l
.
159 illustrates
is
beautiful
(Fig. 160).
ARYA-VAJRAVARAHI
(III)
Asana
Terrible
Appearance
Arms
is
Alidha
Four
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,
shoulder as usual
2
.
7.
Colour
CUNDA
White
Symbol
Face
Arms
Two, Four,
Book on Lotus.
One
Sixteen, Eighteen
and Twenty'six.
in the
2.
in the
3.
Sadhanamala
p. 433.
BUDDHIST ICONOGRAPHY
220
Buddha Vairocana, and thus Cunda is the spiritual daughter of Vairocana, and is required to be classed under the emanations of this very
Dhyani Buddha.
spelt variously as
is
deity
The spelling of
Foucher
to
be
correct
since
her mantra
by
appears
as given in the Sadhanamala "Om Gale Cule Cunde Svaha contains
Cunda
She
is
as adopted
word Cunda
the
in the vocative as
From
the Sadhana
it is
But from
made by
Santideva.
altogether
The names of
are these
5.
6,
Parnasabari,
10.
jnavardhanl
anda and
the twelve
Sumati,
1.
2.
Dharims
as given in the
3.
Ratnolka,
Jahgull
7.
Sarvakarmavaranavisodhani
8.
11.
Cunda
Marl
49.
Pra-
Aksayajfianakar-
Dharims
Buddha
Dhyani
Amoghasiddhi, and are
These
Sarvabuddhadharma-Kosavati.
12.
Nispannayogavali
Usnisavijaya,
Anantamukhi
left.
are
des-
The Dharims
are
peculiar
is
this
is
Mahayana
who
is
the
embodiment of the
is
great
p. 57.
See the
list
EMANATIONS OF VAIROCANA
221
the
Cunda
mantra.
repeated in
meditation
for
a
deep
long time with concentration and faith, the mantra
vibrations grossen themselves in the concrete form of a deity which the
asamaja which was written most probably in the time of Asahga, cir.
300 A. D, Cunda is also mentioned in the Siksasamuccaya of Santideva
Cunda images
MSS
mita
equivalent to A. D. 1165.
Earlier, she
is
mentioned
in the
Nispannayo-
So
far
Cunda
are
Mandala
the
of
Astabhuja-Kurukulla.
the
goddess in
minor deity
Three more descriptions
a
p. 271,
"She
is
in all ornaments."
Only one image of Cunda (Fig. 161) of this description was in the
of America. The illustra*
collection of the late Mr. W. B. Whitney
1
tion
is
1.
of Art.
from
Also
illustrated in
Gordon
ITJL,
p. 74.
It is
no*
in the
BUDDHIST ICONOGRAPHY
222
The Sadhanamala
also
follows
attitude,
the
They
ears.
carry in their
two
left
hands the
In the
Cunda.
who
is
is
similar to
given below
Ratnasambhava
in appearance
The
relevant passage
(lotus)
Cunda
is
Mandala. In
"
(staff)
once again
this
"Cunda
to which a
is
white in colour.
Kamandalu
is
NSP, p. 57
She carries in her two hands the rosary
suspended.
"
karh ca vibhrati.
NSP, p 49
EMANATIONS OF VAIROCANA
"Cunda
is
moon*white
223
land of jewels,
4.
citron, 5. arrow,
Kamandalu,
axe, 7. club, 8.
sword,
hammer,
3.
9.
gar-
goad,
1. flag
noose,
4.
6.
remain-
In the
thunderbolt, 11.
10.
With
in colour.
5.
bow,
6. javelin, 7.
sword,
discus, 8.
and
Bhindipala
12.
left
3.
9.
Tarjam
the
Prajna-
paramita Scripture".
"Pattikere Cundavarabhavane
"Cunda
in the excellent
Cunda
label
in
Cunda"
temple of Cunda
at
Pattikera/
principal pair of
called in the
to
3,
6.
dagger, 6,
discus, 4. club, 5.
hands she
left
carries the
and
(indistinct)
7.
1.
sceptre.
Thus
it is
at
(indistinct)
and
which
temple
remains on the Lalmai
Dr. N. K. Bhattasali
bow,
2
5.
dagger,
gives a slightly
same miniature.
Pattikera
1.
is
hills in
identified
Cunda
in the
Cunda
The miniature
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.
Bhattasali
1BBS, p. 13.
is
BUDDHIST ICONOGRAPHY
224
man
figure of a
on
many
at
lying
on
She
ments such
and
on
places,
a pedestal there
In the Paryahka
his back.
and
richly dressed
is
is
the prostrate
Asana the
is
deity sits
decked in ornaanklets
She
girdle.
is
sixteen-armed.
The two
mudra which is
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
in the
form of
discus, 2.
1.
bell, 3.
The
da mudra.
deity
noose,
4.
dagger,
5.
goad,
6.
arrow ard
Vara-
7,
one-faced.
is
found
in the
is
Hindu monastery
in the
Cunda
(Fig. 164)
One more
I,
has also to
be identified with
Cunda is illustrated
Here Cunda has eighteen
stone image of
as in the miniature.
is
on the prostrate
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
lying
on
on
man
his back.
Cunda
is
Faces
Mudra
and China
-.
GRAHAMATRKA
Three
Dharmacakra
words
is
in the
Arm s
Six
Asana
Vajraparyahka
Dharmakosasangraha
in
the following
vame kamala'Capa
sahasradalapadme vajrasana".
Dharmakosasafigraha.
1.
Gordon
2.
Clark
ITL, p 74
TLP,
II,
Getty
GNB,
fol,
44A.
EMANATIONS OF VAIROCANA
225
"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".
EvanS'Wentz
29
Getty
l
.
GNB,
illustrates a similar
miniature
on
of Dr.
CHAPTER
IX
EMANATIONS OF AMOGHASIDDHI
There are several Buddhist deities emanating from the Dhyani
Buddha Amoghasiddhi whose colour is green and whose distinctive
Out of the deities emanating from the
signal is the Abhaya mudrau
Dhyani Buddha Amoghasiddhi only one is a male, while all others
The description of the only male deity,
belong to the female sex.
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,
1.
VAJRAMRTA
Green
Colour
Arms
Vajramrta
Faces
Six
is
He
Nispannayogavall.
is
Three
sadbhujah
savajraghantabhujayugmalingitasvabha'
prajnah savyabhyam cakrasi vamabhyam pasankusau vibhranah."
vamamukhatrayo.
. . .
NSP,
"
Vajramrta
sits
on
flower.
red
and
a Sattvaparyanka
is
green
like
p. 18.
the Priyangu
right
Vajra, and the Ghanta, embrace the Prajna of his own creation.
two other right hands carry the discus and the sword, and the two
The
left
is
represented in China
KHADIRAVAMTARA
2.
Colour
Green
Mudra
v/
Varada
Symbol Utpala
Companions Asokakanta and
Ekajata.
is
the
deities in the
~~
1.
Clark
TIP,
II,
p. 236,
EMANATIONS OF AMOGHASIDDHI
227
manm
*
.
dhy atva'
Khadiravam-Tara-Sadhanam"
Sadhanamala,
as
p.
176
KhadiravanT'Tara of
who
To
left
commonly known
is
colour, and as
may
as
(Fig.
beautiful
statuette
in the
Colour
Mudra
166)
or standing
Museum shows
the
(Fig. 168)
(Fig.
Baroda
in Tibet
and China
MAHASRI TARA
Arms
Two
Green
Vyakhy ana
Companion
i>
Four
tinlm.
"Mahasn Tara
PL XXI-XXII.
1.
IBBS
2.
Getty:GNB,p.
3.
Clark
p. 56,
TIP,
sits
II,
125
p. 267.
BUDDHIST ICONOGRAPHY
228
She
and
decked
is
sits
on
Parijataka.
of Amogha-
figure
siddhi."
companion
Later,
central deity,
is
left
of the
knife
belly.
is
in the following
words
Asokakanta who
is
described
of Ekajata, and
is
also appears
on the
further
left,
behind the
left
p. 245.
Mahamayurl.
is
Mahamayurl showing
p. 245.
The mantra of
dhana
as
is
EMANATIONS OF AMOGHASIDDHI
Only one
now
Indian
in the
Museum,
Calcutta
discovered so
169
Fig.
229
far.
It is
In conformity with
),
pose on a lion-throne
Rajalila
sits
the
To
her
left is
demeanour which
To
is
clear
on the
stone.
sits
The
statuette also
left
of
in accordance with
The
also
statuette
She
Mahamayuri
shows the
to the
peacock's
l
.
**J
Asana
Mudra
Vasyatara,
one
is
Sadhana
also
VASYATARA
4.
Bhadr asana
Sy m bol
Lotus
Colour
Green
Varada
known by
the
the Sadhanamala
in
name
is
of Aryatara,
assigned to
her.
and only
There is
difference between her form and that of Khadiravam-Tara in as much as both display the Varada mudra in the
Both have green colour,
right hand and carry the Utpala in the left.
and both bear the image of Amoghasiddhi on their crowns. In the
case of Khadiravam-Tara, however, no mention is made regarding
practically
no
sit,
but here
it
is
expressly
For an
257
article
on the
Madras,
p.
there are
some miniature
et.
seq,
Identification
of an Indian
Museum
Statuette.
Besides this
BUDDHIST ICONOGRAPHY
230
Vasystara from
6fdinary Taras carrying the Utpala in the left and exhibiting the
in the right.
The other point of difference between
and
Khadiravam-Tara"
Vasyatara is, that the former is accompanied by
othetf
Varada mudra
the
is
its
(Fig. 170)
special
Colour
Faces
5.
SADBHUjA
SIT AT AR A
Arms
Three
is
depiction of the
sits
Asana
White
lies in its
importance
Ardhaparyahka
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.
Dhyana
"Sitatararh trimukharh
timukham
It is
three-faced and
following terms
is
tirh
astasmasanamadhyasthitam.. vicintya/
Sadhanamala,
Sadbhuja'Sukla-Tarasadhanam
p.
who
216
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
the Ardhaparyanka
and bears the effigy of Amosits in
attitude, sits
is
twice eight years old, and resides in the midst of the eight cremation
grounds.
Thus
meditating..."
It tallies
in all
(Fig.
171) shows
how
she
is
represented in
p. 173.
EMANATIONS OF AMOGHASIDDHI
Sadhana, except that here she
as required
Ardhaparyanka
She
known
is
is
by the Sadhana.
Arms
Dhanada-Tara
is
Four
Colour
2
,
DHANADA^TARA
6.
231
Green
varieties of Tara.
The
goddess are that she rides an animal, and like
surrounded by eight goddesses, originating from the eight
Vajratara,
syllables
"Om
follow
The
of four-armed Tara.
also different
candrasanaprabham saumyarh
ekavadanam dvilocanam
catur*
bhujam
vicitravastralankaravaaksasutravaradotpalapustakadharam
tirh-Xocanadibhir-devibhlr-abhisiktam atmanam Amoghasiddhimukutarn dhyayat."
Dhanada-Tara Sadhanam."
Sadhanamala, p. 219,
who
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
and China
3
.
Fig.
172
Nepalese drawing.
SITATARA
7.
Colour
Sitatara, as the
name
Utpala
is
Four
Mudra
implies,
She
Arms
White
Mudra
face
is
Mahamayun.
1.
Clark:
2.
Getty
Clark
3.
TLP,
GNB,
TLP,
II,
p.
282
p. 123.
II,
p. 283
BUDDHIST ICONOGRAPHY
232
is
form
in the following
terms
four-armed.
is
in the only
in the
"Tarabhagavatlm suklam trinetram caturbhujam Panca'Tathagatamukutim nanalahkaram, bhujadvayena utpalamudram dadhanarh, daksmasarvasattvanam asam
bhujena cintamaniratnasamyuktavaradam,
Tasya daksinaparsve
Mariclrh
pitarh
candrasanam
vamena raktasokapallavadharam,
nilambaram
daksinena
dvibhujam
dharam raktakancukabharanam.
;
pari*
vibhranam dhyayat.
purayantirh, vamenotpalamanjarim
sitacamara'
vamena
Vamaparsve Mahamayurim priyangusyamam dvibhujam
mayurapicchadharam, daksinena camaradharam, evam vicintya..."
Sadhanamala, p. 215.
;
himself
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,
visualise
right,
prayers of
To
all
in
as
mudra with
the
first pair
of hands,
and
left,
fulfils
the
beings.
her right
is
MancI who
yellow in complexion,
is
sits
on the
moon,
She wears
in the right.
fruit,
hand
Thus
meditating...".
1
>/
Colour
Vahana
Diseases (in
8.
left
and China
-.
PARNASABARI
Green
human form)
Faces
Three
Asana
Pratyalidha.
One form
of Parnasabari of yellow colour has already been discussed along with the female emanations of the Dhyani Buddha Aksobhya.
But here her complexion is green probably because the Dhyani Buddha
2,
EMANATIONS OF AMOGHASiDDHI
233
the
but the
previous one,
Dhyana
case also,
in this
comparison of the
for a
details
with the
atmanarh
jhatiti
mspadya
Sadhanamala,
.."
as Parnasabari,
p. 308.
who
has
green complexion, three-faces, three eyes, and six arms. Her right and
She carries
left faces are of blue and white colour
respectively.
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*
in her three ri^ht
skin and a garment of leaves, has a slightly protruding belly, and hair
tied up above. She tramples under her feet various diseases and pestilences,
Thus
meditating.. ".
(Figs.
]
Bhattasali
in
all
173 and
174)
have been
dis-
These two
details
the
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,
in
are
the
the
represented
to escape the wrath of
Hindu
goddess
as
of
in
opposite directions
flying
images
The
Parnasabari.
prostrate figures under
the
feet
figure
under the
left foot, is
fatal
disease.
Both the images of Parnasabari are decidedly very fine specimens of the
Bengal school of art,
l7~Bhattasali
30
BUDDHIST ICONOGRAPHY
234
Parnasabarl
represented in Tibet
is
Green
Colour
2
.
Three
Faces
Asana
Six
Ardhaparyahka
Mahamayun
affiliated
and China
MAHAMAYURI
9.
Arms
group are
is
affiliated
different in
trinetram
mam
rnayurapiccha-bana-varadamudrah
tacapotsangasthakalasah
sndbhujarh pratimukham
daksinatnhastesu yathakra*
vicitrabharanam,
srhgararasam,
navayau*
visualise himself as
Mahamayun, who
has
green complexion,
jewel, the
six
water-vessel
on the
lap.
She
is
decked in
Mahamayun
is
popular
Tibet
in
She
is
said
and China
3.
4.
Clark: TLP,
1.
Clark:
II,
and
poison.
2.
EMANATIONS OF AMOGHASIDDHI
10,
Colour
Arms
235
VAJRARNKHALA
Green
Eight
Faces
Three
Asana
Lalita
Chain
Symbol
Three Sadhana^
is
The
called Vajrasrnkhala.
chain,
therefore,
One
in
to,
is
her
identi-
be compared
of the Dh>anas
daksinesu catuhkaresu
prathamamukham
Isaddhasarasarh;
abhaya-vajra-srhkhala-saradhaiarii
vamacatuhkaraih rudhirapurnakapala-tarjani-pasa-capadharam
lalitak-
Amoghasiddhibhusitoidhva-
marjjaracarmottariyam,
sepasanastharh,
pingalakesam vicmtya...
Sadhanamala,
Vairasrhkhaia-Sadhanam/'
visualise
himself
p. 414.
(Vajrasmkhala) of
as
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
Kapala
full
and
upwards
meditating
is
Thus
.".
shows
of Nepal.
this
1.
2.
Clark: TLP,
II.
native Citrakaras
p. 413.
'
'
'
.'"":'
BUDDHIST ICONOGRAPHY
236
11.
VAJRAGANDHARI
Blue
Faces
Twelve
Asana
Colour
Arms
Six
Pratyalidha
image of his
it is
sire
suryasana ceti".
''Vajragandhari
brown
is
sword,
six left
Parasu,
face
rests
is
hands
the Vajra,
1.
the trident,
4.
hands
1.
5.
2.
the
bell
the Khatvafiga,
2.
5.
6.
blue,
five faces
marked with
and
the arrow,
6.
a Vajra, 3. the
the discus, and in the
the goad,
3.
the
show
five
different
the
bow, 4.
Her
first
colour.
She
double lotus".
I.
Clark
TIP,
II,
are
found
in
China
CHAPTER X
EMANATIONS OF RATNASAMBHAVA
GODS
I.
as
originating
from Aksobhya.
affiliate
1.
JAMBHALA
H^
mongoose
it
It
is
this
mongoose which
BUDDHIST ICONOGRAPHY
238
makes it easy to identify Jambhala images. As an emanation of Ratnasambhava he may either be represented alone, or in the embrace of his
In the Sadhanamalu only three Dhyanas describe
Sakti in yab^yum.
him as single.
When
represented in yab*yum, he
a double lotus of eight petals.
sits
is
his
is
The
Vasudhara.
by the eight
KeliT
Sakti with
whom
he remains
in
yab-yum
in
the
oi
vdme way
tiK'se eight
as
Jambhala
Yaksinis are
complexion, carries the ears of corn and show^ rhe Varada mudra in
her two hands.
When
in the left
Vikrampur 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.
1
There
is
divine
beings
is
mongoose in his two hands jnJ tramples upon two semiSankhamunda and Padmamunda by name, apparently in
-.
(a)
JAMBHALA
White
Colour
(Yab-Yum)
Faces
Arms
Three
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
attitude,
and embraces
1.
Bhattasali
2.
his Prajfia
IBBS, p. 34,
in the
PI.
XI.
Sadhanamala,
p.
5b4
EMANATIONS OF RATN^SAMBHAVA
239
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
In
all
other respects he
Asana
identical
Fig,
179
^x"'
UCCHUSMA JAMBHALA
2.
Pratyahdhu
Yahana
This
and China
is
Terrible
Appearance
Kuvera
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
He
hand
protruding belly,
holJ.s the
full
Kapala
at
it
bare fangs
and the
The
left
Aksobhya.
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
his head. I It is Amitabha who is there.
onh h^ure known to students of iconography,
as representing Ucchusma Jambhala.
^Jambhala in his fierce form ol Ucchusma or Dimbha is not known
|
11,
GODDESSES
(rom the Dhyani Buddha Ratnasambhava with the yellow coloui and the Varada mudra as his recog*
Several Buddhist goddesses* emanate
nition symbol.
He
at>
ALL deities
On
undernotcd
deities are
2.
Getty
Clark
3.
GNB,
TLP,
p. 159
II,
pp^203
(six-armed), p. 310
to, the
colour.
BUDDHIST ICONOGRAPHY
240
VAJRATARA^
3.
^^cx
Golden Yellow
Colour
Faces
Arms
Four
Eight
l
the Vajratara
contained in
She
as
is
under
is
hemabha'Subhra-nila^lohitamu*
NSP,
is
principal face
p.
38
"Goddess Vajratara
The
is
four- faced.
is
left
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."
of Astabhuja Vajratara 2
Here, at least one very peculiar image of Vajratara may be noted. It
The Indian Museum bronze of
in the Indian Museum, Calcutta.
Vajratara
is
dala with
all
title
in the
form of
a lotus,
'*.
The
It
is
so constructed that
it
can be
Visvapadmasamasinarh
raktaprabhavibhusitam
II
I
I
II
Sadhanamala,
1.
NSP
2.
Clark
3.
p. 3S Vajratarayah kulelo*Ratne^ah
:
TLP,
II,
p.
210
:
pi.
p.
179
EMANATIONS OF RATNASAMBHAVA
241
of gold,
marks of
is
the sun
is
rings, sits
a virgin
she
is
blooming youth, has swaying earand radiates red-hued light she carries
her
effulgent in
on the double
lotus,
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-
in her right
shipper)
may conquer
The Sadhana
on which Vajratara
Mandala.
on the four
sits,
Puspatara (East)
1.
Omkaraksaranispannarh puspadatnakarakularh
II
"On
the east
and decked
is
in all
ornaments.
Dhupatara (South)
2,
"Daksme Dhupatararh
krsnavarnam surupinim
tu
Dhupasakhakaravyagram sarvalankarabhusitam''
On
the south
carries the
Dhupa
is
Dhupatara,
(incenbe) &tick
who
and
i&
is
ot
decked
ornaments."
Dipatara (West)
3.
On
the west
is
II
Dipatara,
who
II
hands,
is
of
''Uttare
Gandhatara (North)
Gandhataram
tu gandhasahkhakarakulam
On the
scents,
31
II
BUDDHIST ICONOGRAPHY
242
The Sadhana
VajrankusI (East)
"On
Vajrankusi
is
who
is
one-faced and
Vajrapasi (South)
6.
bhujam vajrapasahastam''.
u
On
She carries
is
in her
with a Vajra".
Vajrasphotl(West)
7.
ekavaktram dvibhujam
"On
Vajraghanta (North)
rtavadanam vajraghantahastam''.
"On
one distorted
face.
In her
is
a Vajra".
9.
Usmsavijaya (Above)
Sumbha
regions*
(Below)
reigons.
All these goddesses stand on the orb of the sun in the Alldha attitude with the right leg stretched forward. They are radiant like the Sungod and are surrounded with a fiery halo. They are decked in orna-
ments of snakes.
EMANATIONS OF RATNASAMBHAVA
These goddesses originate from the ten
different
243
letters
of the
The following
some of the
are
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
and the
or even
name
There
no need
to
multiply instances. It is
enough to say that Vajratara is sure to bring success to her worshipper
is so
in anything he may undertake, and that is the reason why she
is
Museum
at
Svayambhu Temple
in
Nepal.
Fig.
attendants of Vajratara.
4.
Varieties
MAHAPRATISARA
1.
Three-Faced, Ten-Armed
2.
Four-Faced, Eight-Armed
IBBS, p. 61 and
PL XXIV
BUDDHIST ICONOGRAPHY
244
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
kancukaraktottariya ca ardhaparyanka-lalitaksepa
divyabharanavastrabhusita ceti."
Sadhanamala, p. 401-402.
"Mahapratisara
has
three eyes,
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,
She bears the image of Ratnathe jewel, the Parasu and the conch.
sambhava on the crown, has a blue jacket and a red scarf, sits on the
in the Lalita attitude,
Ardhaparyahka
and wears
celestial
ornaments and
garments' '.
pal face
is
is
is
faces
But there
deities.
is
is
yellow, the right white, the left red, and the face behind blue.
in her four right hands the sword, the Cakra, the Trisula
She carries
left
the Vajra.
Two
The goddess
is
popular in Tibet
5.
Colour
Arms
\
Vasudhara
is
or
Aksobhya
and China
VASUDHARA
Yellow
Two
1,
Gordon
Clark
ITL, p. 76
II, pp. 289 (two-armed)
TLP,
Face
One
Symbol
Ears of
Corn
2.
-.
is
invariably two-armed.
As
EMANATIONS OF RATNASAMBHAVA
245
sitting, V"he
is
decked
richl y
in
in
ornaments and
invariably
The
as follows
'Tita^Vam-karaparinatarh
bharanavastravibhusitarh
is
dhanyamanjarmanaratnavarsamanaghata\'ama*
sanastharh Ratnasambhavamukutimm...nispadya''.
p. 422*3.
Sadhanamala,
as
all
sorts of
the crown../'.
is represented
standing.) Fig. 186 illustrates
the
of
goddess.
drawing
is sometimes represented as one^ faced and six-armed, and
Vasudhara
|
a Nepalese
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
6.
APARAjITA
Colour
Mark
Identification
Mudra
in the
Gordon ITL,
:
Capetadana (Slapping)
Yellow
p. 72
Getty
GNB,
p. 131.
Dhyana
There she
said
to
bear the
BUDDHIST ICONOGRAPHY
246
the
is
Aparajita
Brahmadidustaraudradevataparikarocchritacchatra
ceti.
"
Sadhanamala, p. 403.
"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
Brahma and
others".
It
is
full
image
is
identified with
Had
it
been complete,
Capetadana mudra
in the right
it
left,
and
a parasol
Museum image
no room
Aparajita
1,
Clark
is
known
TLP,
II,
in
China
*.
EMANATIONS OF RATNASAMBHAVA
7.
(I)
Colour
VAJRAYOGINf
HEADLESS FORM
Yellow
Companions Two
Symbols
247
Kartri
Asana
Alldha
Arms
Two
is
crown.
this
their
varnanl.
The Sadhana
is
as follows
bhavayet.
Vamadaksinaparsvayoh
syamavarna-Vajravarnanl-pitavarna^Vajra-
vairocanyau vamadaksinahastakartrisahite,
daksinavamahastakarppara-
sahite, prasaritavamapadaprasaritadaksinapade
takesyau bhavayet
sankucitetarapade
muk*
antarikse atibhayakulam
Sadhanamala,
p. 452-*453.
He
BUDDHIST ICONOGRAPHY
248
hands respectively, and the cup made of a skull in the right and
hands respectively. Their left and right legs respectively are stretched forward, while the other legs are bent, and they have dishevelled
hair.
On all sides, between the two Yoginls and in the firmament there
right
left
is
RED FORM
(II)
Red
Colour
Vahana
Symbols
Corpse
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-
many
much
shoulder.
left
is
respects to the
confusion
is
likely
to arise in the
dancing attitude
be
as
or Vajravarahi,
identified
Nairatma
Ardhaparyanka,
may
but if it shows the Alidha attitude, it may have to be identified as Vajra*
in
If
it
yogtni.
chest
is
is
its
The Alidha
YELLOW FORM
(Ill)
Colour
Symbols
have
Arms Two
Yellow
Yellow
when
according to the
Sadhana, she will carry the Kartri ard the Kapala, but in other respects
Another Sadhana adds
will be identical with the one just described
She
may
also
form,
filled
that the
Kartri
may show
Vajrayogini
which
is
Bengali priests
EMANATIONS OF RATNASAMBHAVA
from
a place of the
1350,
when
the
same name
in
Muhammadans
249
Eastern
Bengal*
Yellow
Faces
ArmsPrasannatara
is
PRASANNATARA
8.
Colour
mentioned twice
Eight
Sixteen
in the
Sadhanamala, once as
com*
The Dhyana
form of Ekajata.
ing terms
the follow-
"Hemavarnarh
Trinetram astavadanam
bhujasodasabhusitam
II
sardrasatardhamundamalakrtaharam.
Ordhvapingalakesam
Pratyalldhapadopetarii
jagattranarh
mahabalarii
II
Pradhanamukharh
vikato-
daksma-karesu khadga'Utpala-sara-vajra"ankusa-danda-kartri'
vamabhujesu sapasatarjanl-kapala'dhanuh-khatvahga'
abhayadharam
visvapadmacandrastham
vajrapasa-Brahmasirah-ratnakalasadharam
tkatam
Prasantiatara-Sadhanarh.
51
Sadhanamala,
as
p. 241.
(Prasannatara)
who
is
of golden complexion,
1.
32
Gordon: TLP,
p. 81.
BUDDHIST ICONOGRAPHY
250
blood.
is
terrible
is
She
to behold.
in the fulness
of
variegated colour.
and
8.
the
2.
Tarjam,
Vajra,
6.
Abhaya pose
the Kapala,
the noose,
7.
3.
and
the
in
the
bow,
left
4.
1.
the
Khatvanga,
5.
the
the vessel of
moon
gems.
Upendra, and presses Rudra and Brahma between the two, and destroys
the veils of ignorance".
illustrates a Nepalese drawing of the goddess which
Fig. 192
with the Sadhana in major details.
tallies
CHAPTER
XI
COLLECTIVE DEITIES
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
It
even the desires into gods and goddesses, with forms, colour, poses of
In this manner the ten directions, eight kinds
sitting, and weapons.
of head-dress, the
musical
weapons.
this
these
chapter
collective
deities
will
be
briefly
described.
I.
The process of
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
the
commonly found
in the
The Buddhists improved upon the original ideas of the Hindus and
showed in an artistic style their origin in an Assembly of the Faithful
Samadhis (meditations), and
where the Highest Lord sits in different
#+
the rays issuing out of his body Condense themselves first into syllables
(Hf
which
deification
of which
is
These
Sadhanas.
is
described in the
first
deities
This process of
book
In the
are invariably
BUDDHIST ICONOGRAPHY
252
present and their places are accurately stated. They are always collectively mentioned in the Mandalas or Circles of deities where the direc-
to
remove
all
of Dharma.
The
is
described differently
in the
different
with
Mandalas
forms,
all their
it is
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 describing their
forms
1.
Colour
YAMANTAKA
Arms
Blue
Three
Faces
Six
Direction
East
He is
two forms known
earlier chapter.
also
is
known
As
NSP,
krsnavajramudgara-khadga-mani-kamaladhari".
"On
is
p. 1
Yamantaka of blue
His three faces have blue, white and red colour. He holds in
four
hands the hammer marked with the blue Vajra, the sword,
his
colour.
danda.
1.
Clark
2,
Gordon
TLP,
:
GNB,
name
is
given as Vajra-
as also in Tibet
p. 164
2
.
COLLECTIVE DEITIES
PRAJNANTAKA
2.
White
Clour
Arms
The second
He
is
Three
Faces
Six
Direction
South
Southern direction.
253
is
"Daksinasyam Prajnantakah
sitah [ska]
tasitadandasimanipadmadhari/'
krsnaraktamukho VajrahkiNSP, p. 2
the white
staff
marked with
jewel
and the
lotus."
The two other hands hold the Sakti. In the Vajrahunkara Mandala
second name is given as Vajrakundali. His images are found in
his
China
'.
3.
Arms
PADMANTAKA
Red
Colour
Three
Faces
West
Direction
Six
The
third
is
The two
principal
huhkara Mandala he
y
are found in China
known by
is
the
embrace.
in
name of Vajrosmsa.
In the Vajra-
His images
4.
Colour
Arms
VIGHNANTAKA
Green
Six
Three
Faces
Direction
North
The fourth deity in the series is Vighnantaka who is already wellknown 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
rasimanipadmadharl."
Clark
2.
TLP,
II,
p,
59
;
TLP,
II,
BUDDHIST ICONOGRAPHY
254
show
in the
is
"Vighnantaka
faces
North and
is
He
ra
The principal hands embrace the Sakti as usual. In the VajrahuhkaMandala his second name is Analarka. His images are found in
China
l
.
TAKKIRAJA
5.
Colour
Blue
Arms
Faces
Three
Direction
Six
Agni
"Agneyyam Takkirajo
nilah
mlasitaraktasyo mladandakhadgaman'
NSP,
yabjadhan."
'Takkiraja
faces
jewel
are
is
p. 2
in the
blue, white
The two
madhatuvaglsvara Mandala he
found in China 2
is
name
is
In the Dhar~
Vajrayaksa.
Vajrajvalanalarka.
6.
Colour
Arms
The
Blue
Faces
Three
Direction
Six
NfLADANDA.
is
His form
Niladanda
is
who
described as
Nairrta
is
NSP,
mariyabja'dhan."
who
The two
is
He holds
Clark
Clark
3.
Clark
the blue
2.
of blue colour
In the Vajrahuhkara
2.
p.
TLP,
TLP,
TLP,
II,
pp. 217,311
II,
p.
303
p.
49
II,
(as Nifadaijda);
and
269
But in the
His images
(as Vajrayaksa).
p. 75 (as Vajrakala),
COLLECTIVE DEITIES
MAHABALA
7.
Colour
Arms
255
Blue
Three
Faces
Direction
Six
Vayu
The seventh
is
trisulasimanik'
NSP,
p.
2*
As
Vayu
In the Vajrahuhkara
Mandala he
is
Sakti.
given the
Dharmadhatuvagisvara Mandala he
are
found in China 1
images
in the
is
ACALA
8.
Colour
Arms
Blue
Three
Faces
Six
Direction
Isana
the eighth deity in the series, and is regarded as the presidHis form is several times described in
ing deity of the Isana corner.
the Nispannayogavall. It is probable that this deity is the same as
Acala
Acala
is
who
is
known
as
Candarosana and
described already in an
is
earlier chapter.
The
is
given below
nilasitaraktasyah* khadgavajramanipa-
dmadhari."
NSP,
and the
lotus.
and red.
is
p. 2
He
"
is
Clark
2.
Clark
TLP,
TLP,
name of Vajrabhisana,
name is Trailokyavijaya.
given the
II,
II,
p,
p. 75 (as Mahakalavajra)
BUDDHIST ICONOGRAPHY
256
USNFSA
9.
Colour
Yellow
Arms
The ninth
is
Usmsa who
Up
is
also
His form
in the Nispannayogavali
Three
Faces
Direction
Six
known
is
as
Usmsa-
described thus
is
He
found
in
China
SUMBHARAjA
10.
Colour
Arms
The
Blue
Faces
Three
Direction
Six
Down
nilasitaraktasyo vajrakhadgamanikamala"
NSP,
bhrt."
"Below
is
Sumbharaja
who
is
blue in colour.
p. 2
In the Vajrahuhkara
He
la.
is
II.
SIX
Mandala he
is
GODDESSES OF DIRECTION
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
is
If
Vajratarasadhanam
Puspa, Dhupa, Dipa and Gandha are
Clark
TLP,
II,
p. 76
directions.
257
103 Khasarpana
(Vikrampur, Dacca)
Fig.
33
258
Fig,
105 Lokanatha
(Mahoba)
259
VO
'tJ
14
03
260
tf
i-l
>
c3
CO
J3
S x-'
J2 ^
B A
^r
ON 2
O ^
2P
261
C*
OS
J3
irt
.,
et
a
M
U
cd
cd
262
tuD
2
03
263
as
s,
|CS
1
C/5
ON
PL,
OO
EDp
C
03
.22
*3
CO
DJD
264
Op
$=
*S
O
r-4
265
05
03
I
u
->
^M
34
266
03
8P
ac
00
OJ
73
CD
CM
a.
03
CQ
267
jl
o
rn
DD
268
OS
t-4
JS
OD
cd
>
-co
269
DJD
ICT5
CJD
tOJ
VO
OJD
led
cfl
**U
103
270
PLi
a
00
271
irt
CO
OJO
272
IOJ
10*
OS
J-J
P-4
OJ
>*
4_>
03
273
Fig.
148 Nairatmi
(Indian
35
Museum)
274
"5rt
I
~r
W)
'2
ID
DC
Q
fs^tr~t
50
&
'~K/>
275
Fig,
Museum)
276
o
"C
cd
^^
II
277
Fig.
156 Usnisavijaya
(Indian
Museum)
278
ICtf
icd
*-
<M
03
Q*
cd
*led
*-*
CO
00
IC3
>
cd
03
279
_C
2
IOS
o\
DJO
280
led
H3
ij
281
Fig.
(Mahoba)
36
282
"I'i
i
oo
ica
H
2
^5-
las
as
*-.
db
284
J
Q
CUD
ICti
i-i
ICQ
4-f
.g
c/5
O)
ios
OJ
^
o
285
Fig.
173 Parnasaban
(Vajrayogini, Vikrampur)
286
C9
r
rt
287
Fig.
177 Jambhala
(Vilcrarnf>wr,
Dacca)
288
IOJ
S
2
s
"5
H
5
> s
s
6
ca
ON
oo
r-
S
6
-g*
289
103
{-(
'2
03
^^
II
'^
00 ^t
icd
4->
Ctf
IC3
4->
cs
00
14
o
37
290
CO
rt
B
in
Si
3:
00
291
ICtf
03
ON
OD
5S
> s
GO -S
OO o
'2
103
to
OJ
QO
292
Ctf
C
G
OS
Ox
293
103
*->
a
</>
03
ON
fca
bo
SS.
294
c
ICO
CO
c
CO
DJD
c
03
2
CO
CO
~C
ICO
CO
ICO
o\
.
PH
'2
CO
.22
wu>
ex
rctf
ca
tE
295
Ig
H
ctf
tJ
as
s
led
|
led
i
ON
a
^s
296
CO
COLLECTIVE DEITIES
VAJRANKUSI
1.
White
Colour
Direction
first
Vajrahkusi
is
East
Goad
Symbol
The
One
Face
Two
Arms
297
Her form
is
who
as follows
the presiding
is
;
NSP,
"On
The
left
found
hand shows
China
her
in
2.
Colour
VAJRAPAsf
Yellow
Direction
in the seiies
"Daksine Vajrapasi
South
Noose
Symbol
One
Face
Two
Arms
is
Her form
pita pasabhrt-savyapanipallava*'.
NSP, P
'
in
right
are
is
p. 38.
'In the
South
is
Vajrapasi, yellow
in
38.
left
band.
statuettes
is
Her image
is
illustrated
in
Fig. 193.
3.
Colour
Arms
VAJRASPHOTA
Red
Face
Two
Direction
third goddess
m the series
West
Chain
Symbol
The
One
is
Her form
is
given as under
NSP,
1.
Clark
TLP,
II.
p.
64
2.
Clark
TLP,
II,
p.
64
38
p. 38.
BUDDHIST ICONOGRAPHY
298
holding in her
The
left
hand
China
l
.
One
There are
index finger.
is
4.
VAJRAGHANTA
Green
Colour
Face
Two
Arms
Direction
The fourth
North
Bell
Symbol
One
is
NSP,
"In the North there
right
hand the
The
left
is
this
Colour
Arms
fifth
FaceOne
White
Two
Direction
Upper
region.
-.
USNISAVIJAYA
S y mbol
The
5.
deity of the
38
Bell",
A statuette of
p.
is
Up
Discus
Usmsavijaya
Her form
is
who
is
described thus
the presiding
p.
38
The
left
Qark:
2.
Clark
3.
Clark
TLP,
TLP,
II,
p. 286.
II
p. 65.
in
China
index
finger.
COLLECTIVE DEITIES
SUMBHA
6.
Colour
Symbol
The
sixth
and the
presiding deity ot
under
Direction
Down
Noose of Snake
last
the Nether
One
Face
Blue
Two
Arms
299
Sumbha who
is
Her form
region.
is
is
the
described as
"Adhah Sumbha
nila
savyena nagapasadhara"
NSP,
"Below is Sumbha blue
Nocse made of a snake
in colour,
in
holding
her
left
p.
38
hand the
'.
Her
left
hand
She
is
not
III.
nothing to do with the crown. They are usually placed like the gods of
Direction, in the four principal directions and the four intermediate
reference to these
Usmsa gods
briefly, for
Below
given a description of
these special deities in the same order as they appear in the DurpatiThe Usmsa deities
parisodhana Mandala of the Nispannayogavall,
is
wear rich
human
beings*
1.
VAJROSNISA
White
Colour
Symbol
Direction
The
form
is
first
deity in this
described thus
Usmsa
Bhusparsa
East
series
of gods
is
Vajrosmsa and
NSP,
p.
66
his
BUDDHIST ICONOGRAPHY
300
god is found
Chinese statuette.
statue of this
illustrates this
Blue
form
is
195
Ratnosmsa and
his
South
described as under
Fig.
Varada
Symbol
Direction
The second
RATNOSNISA
2.
Colour
in
He
is
NSP,
is
Ratnosmsa who
is
blue in colour
is
3.
Colour
PADMOSNlSA
Red
Symbol
Direction
p. 66.
in the series
is
Dhyana
West
described as under
is
Padmo^
called
NSP,
"On
is
Padmosmsa who
is
p.
66
red in colour
He
is
Colour
VISVOSN1SA
Green
Direction
The fourth
snisa
Symbol
Abhaya
North
is
described as under
is
called
Visvo-
NSP,
1.
Clark
TLP,
II,
p.
65
p. 66.
COLLECTIVE DEITIES
is
301
Visvosnlsa
is
who
is
green in colour
Colour
TEJOSNISA
Whitish red
Sun
Symbol
Direction
Agm
called Tejo-
is
suryabhrddaksinapanih
NSP,
41
On the
colour.
rests
66
In his right
on the hip".
A statuette of his is
of Tejorasyusmsa
DHVAJOSNTsA
Reddish blue
Colour
Nairrta
The
and
his
Usmsa gods
is
Dhvajosmso
"Nairrtyare
Cintamani Banner
Symbol
Direction
form
raktamisrakrsnah
rah karabhyam"
"On
title
*.
6.
sa,
p.
He
holds in his
called
Dhvajosm-
Cintamanidhvajadha'
NSP, p. 66
Dhvajosmsa who is
two hands the Cintamani
is
is
banner"
He
is
Colour
TIKSNOSNISA
Direction
The seventh
smsa, and
his
Symbol
Sky*green
-
Vayu
form
is
Usmsa gods
is
called Tiksno-
Clark
TLF,
II,
p.
158
BUDDHIST ICONOGRAPHY
302
"On
colour*
is Tlksnosmsa of sky-green
sword and in the left hand a
manuscript.''
His statuette
is
found
in the
8.
Colour
Chinese collection
CHHATROSNISA
White
Direction
The
Symbol
Parasol
Isana
eighth and the last deity in the series of eight Usnlsa gods
and his form is described thus
called Chhatrosnisa,
is
NSP,
66
p.
He
is
of
The
is
FIVE PROTECTRESSES
five
met with in almost all monaThe miniatures reproduced here are from a manuscript of
Pancaraksa
in the possession
the
Sadhanamala
According
is
be found
to
five
Raksa
Pancaraksa
is
recited
in all varieties of
domestic
difficulties,
such
as,
Mandala.
Clark
TIP,
II,
p.
131
In
both Mahapratisara
COLLECTIVE DEITIES
is
303
the central or the principal deity while the four others occupy the
Below is given a description of the five Raksa
it
MAHAPRATISARA
1.
Colour
Arms
Yellow
Four
Faces
Twelve
Symbol
Jewel
Vamair^vajram pasam
cchata-cakra-vajra'sara-khadga^varadamudrah.
ca bibhratlti dvadasabhuja.
lankrtasiraska vajraparyankasma".
"
NSP,
sularh
tri-
Caityap.
42
first
left
is
2.
of red colour.
the discus,
the Vajra,
3.
six left
the
arrow,
hands she displays
1.
the jewel,
5.
:
1.
the Vajra.
6.
the
2.
the
and she
3.
sits
She
collection of Peiping
2.
a
.
MAHAsAHASRAPRAMARDANl
Colour
Arms
White
Faces
Ten
Symbol
Four
Discus
"Purvasyam
sthastaracakram varadam
tarjaniih
1.
2.
ITL, p. 76.
Pratisara.
Vamairvajram
NSP, p. 42.
BUDDHIST ICONOGRAPHY
304
attitude
principal face
is
left is
1.
goad,
4.
the Vajra,
4.
2.
left
5.
The Sadhanamala
3.
the
2.
bow and
the
5.
describes her
known
and
in Nepal,
Fig.
in
Wentz
MAHAMANTRANUSARlNl
3.
Colour
Arms
The form of this
gavali in
Blue
Three
Faces
Twelve
Symbol
Raksa deity
the following words
third
is
Vajra
samadhimudram.
Aparair-daksinair^vajra-bana-varad'abhayamudrah.
Vamais-tarjanipasam caparh ratnacchatarh padmankitakalasam ca'\
NSP,
p. 42.
"In the South on the orb of the sun over a double lotus there is
with the halo of the sun. She sits in the Vajra*
Mahamantranusanm
attitude
paryahka
the right
pair
is
and
is
of hands
she
Her
blue in colour
She
left is red.
displays the
2.
principal face
the Vajra,
8,
left
hands exhibit
9.
the arrow,
6.
jewel and
blue,
twelve-armed.
7.
the
is
With one
Dharmocakra mudra.
With
Samadhi mudra. In the
4is
Abha>a mudras.
10. the
bow,
11
the
'.
ITL
p. 76
Getty
in
China under
GNB,
p.
138.
COLLECTIVE DEITIES
the
title
of Mantranudharini
l
.
Fig.
305
Here
as well as
the
in
MAHA&TAVATI
4.
Red
Colour
Arms
The fourth
Thi ee
Symbol Lotus
Faces
Eight
Mahasitavati to
whom
Raksa goddesses
is
assigned.
named
is
Her form
as
is
"Pascimayarh
Mahasitavati
ardhaparyahkanisanna suryaprabha
visvabjasurye
rakta rakta-sita-krsnamulasavyetaravaktra.
Astabhuja.
*'ln
the
West on
Vamais*tarjamkhadgam.
pustakam ca bibhrati".
NSP, p. 42
vajrarh,
on
is
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".
She is
six-armed and green in colour.
widely represented in Buddhist countries. Under the title of Sitavati
she is known to the Chinese collection at Peiping B
Fig. 199 is an
In the Sadhanamala she
is
Arms
Mahamayuri
is
fifth
of the Nispannyogavall.
Three
Symbol Mendicant on
Faces
Eight
the
MAHAMAYUR1
5.
Green
Colour
Evans Wentz
and the
Her form
last deity
is
Bowl
Astabhuja.
Savyair-
Vamaih patropari
mayiirapiccham banam varadarh khadgam ca.
bhiksum capam utsahgastharatnacchatavarsighatam visvavajraratnankadhvajam ca bibhrana."
1.
Clark
2.
3.
4.
39
TLP,
II,
NSP,
1TL, p. 76.
ITL, p. 76
p.
42
BUDDHIST ICONOGRAPHY
306
moon and
halo of the
sitting
on
moon on
man, there
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
is
she shows
1.
the medicant
on the bowl,
2.
the banner
The
is
eight-armed.
will
become her
subordinate companions.
V.
TARAS OF
FIVE
COLOUR
whom
the
Om
ghasiddhi on their crowns, but others may not have any effigy of the
Dhyani Buddha. It is therefore difficult to identify their images, partiSpecial attention
cularly in stone where no definite colour can be seen.
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
an attempt
section
will
be
made
to
it is physically
impossible to
reference to their peculiar colour.
that
different varieties of
classify
Tara
2.
five
76
Getty
GNB,
pp. 137-138
COLLECTIVE DEITIES
GREEN TAR A
A,
307
'
1.
She can be
left.
hand and
in the right
identified
by the presence of
2.
It
is
may
not
goddess.
3.
The
Aryatara.
characteristic
Ardhaparyahka
attitude
and
like
of Tara
Vasyatara
is
is
entirely
alone.
Mahattari Tara
4.
which she
attitude in
sits,
companion whatsoever
Varada Tara
5.
may
sits
(Fig, 210).
the Ardhaparyanka
attitude like
the presence of
Aryatara
four goddesses
and Janguli.
(cf.
Mahasri
Tara).
lotus
has
for
DurgottarinI Tara
green complexion, the
and garments of white colour; she has four arms and she
6.
her
seat,
7.
Dhanada Tara
carries
the
carries
in
the
in
first
8.
emanates
Jahguli
from
Aksobhya
and
may
have
three
when green,
9.
Parnasaban
emanates from Amoghasiddhi
and when yellow from Aksobhya, and as such, both of her forms have
She is generally three- faced and six-armed
already been described.
but
may
in rare cases,
green variety
is
also.
The
peculiarity of the
hasitananarh).
J
Getty
GNB,
p.
123 gives a
list
BUDDHIST ICONOGRAPHY
308
WHITE TARA
B.
'
Tara
is
Mrtyuvancana Tara.
The
on her
ded and
sits in
She
is
form of
absolutely unatten-
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
She may be recognized
lotus, and the Varada pose in the second.
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.
She
Visvamata.
one-faced, with the white complexion of the moon, white garments and
She carries the white lotus in the left
a white serpent as her Vahana.
right.
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,
an animal.
is
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
first
Vajratara.
She
YELLOW TARA
Getty
2*
Getty
GNB, p.
GNB, p.
122 gives a
124 gives a
list
list
is
accom-
COLLECTIVE DEITIES
309
2.
The yellow variety of Jahguli has three faces and six
Jangull.
arms and bears the image of the Dhyani Buddha Aksobhya on her
crown. This form has already been described.
When
Parnasabari.
3.
yellow
and
Parnasabari
is
an emanation of
Bhrkuti
4.
is
faces
six
She
is
one-
two
right
left.
D.
1.
Ekajata.
BLUE TARA
She may have several forms with blue colour, and bhe
Aksobhya on her crown in all cases. All
her forms have been described previously along with the other emanaDhyani Buddha Aksobhya including the terrible form which
tions of the
goes by the
name of
to have
shipped.
is
place where she was originally worthe subject of the Mahacinakrama-Tantra, and has been
RED TARA
There are not many Red Taras in the Sadhanamala, Kurukulla being
As she bears the image of
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.
or
six
four,
She
will be white
All
eight-armed
her forms
have
been described
previously.
VI.
The
1.
Getty:
2.
Getty
GNB, p.
GNB, p.
125 gives a
126 gives a
list
list
of
Tras
of ted colour
BUDDHIST ICONOGRAPHY
310
as
it
They dance
common
GAURl
first
in the series
is
%(
Her form
Gaurl.
Gaun group
GaurFs description
god Vajradaka.
Two
Arms
Goad
White
Symbol
The
is
is
under
as
Guuri
sita
''Gauri
is
common
gesture.
Chinese collection
Three statuettes of
at Peiping
Colour
is
the
in the
CAURl
Arms
Yellow
in the
Two
Noose
Gaun group
found
goddess are
this
which
Symbol
2.
Caun
p. 75
NSP,
savyenankusadharmr
In the left
tk
against
gesture.
1.
Colour
fist
is
is
des-
NSP,
pasadhara"
p. 75
"Cauri
is
this group*
Only one
Colour
Red
Symbol
is
found in China
2
.
VETALl
Arms
Two
Chain
whose form
described in the PaScadaka Mandala in the following words
"
Vetall rakta bhujabhyam sphotabhrt."
NSP, p, 75
The
third goddess
is
Vetall
1.
Clark
TLP,
II,
2.
Clark
TLP,
II,
p. 92.
is
COLLECTIVE DEITIES
*'Vetali
is
311
in the
statuette.
GHASMARl
4.
Colour
Two
Arms
Green
Symbol
Bell
whose form
The
is
"Ghasmari is green
17
marked with a Vajra,
The
shows the
left
Two
statuettes
common
and holds
hand the
bell
gesture of Tarjani.
the
two
statuettes
Blue
Colour
is
PUKKASl
5.
Symbol
The
form
in her right
p. 75
% One of
collection
in colour
NSP,
Arms
Two
Bowl
fifth in
is
The
Two
tion
:}
left
gesture,
statuettes of this obscure goddess occur in the Chinese collecOne of the two statuettes is illustrated in Fig. 204.
6.
Colour
SABARl
White
Symbol
The
common
Arms
Two
Mem
Gaurl group
"abarl
sita
"Sabari
is
Merudhara"
is
NSP,
p. 75
Meru
mountain.'*
The
Two
left exhibits
1.
Clark
2.
Clark: TLP,
3.
Cark
4.
TLP,
II,
p. 62.
4
.
BUDDHIST ICONOGRAPHY
312
7.
Colour
CANDALl
Arms
Blue
Sym bol-
Fire-pot
The seventh
known
Two
as follows
deity
among
The
statuettes of this
8.
the Chinese
DOMBl
Symbol
Two
Arms
Banner
is
in
ColourMixed
Gauri
found
be
are to
goddess
collection
The
p. 75
shows the
left
Two
is
NSP,
Vajradaka
last
"Dombi
"Dombl
is
NSP,
p. 75
flag
The
left
common
the chest.
She
is
Dombinl
L>
VII.
FOUR DANCE
DEITIES^
There are four deities in this group and they are homogenous in chaThese are Lasya, Mala, GIta, and Nrtya, all required in the
racter.
staging of a
drama or
in
entertainments.
All
these
four
deities
are
vour
will be
made
at least to describe
Below
purpose of recognition.
goddesses headed by Lasya in the same order as it occurs in the Pancadaka Mandala of the Nispannayogavall. They are violent in character
show
and dance
1.
Clark
TIP,
II,
2.
Clark
TIP,
II,
common
in
Pratyalidha.
gesture.
They
~~
COLLECTIVE DEITIES
LASYA
1.
Lasya dance
Symbol
The
first
following words
Two
Arms
Red
Colour
313
group
is
who
Lasya
is
"Lasya
in the
is
Lasya
Two
described in the
NSP,
p. 76
of red colour and with pride she arranges her two hands
act''.
of the statuettes
is
found
3
.
One
MALA (MALYA)
2.
Symbol
deity of this
Two
Arms
Red
Colour
The second
Chinese collection
in the
group
Garland
is
Mala who
is
described as follows
"Mala
"Mala
is
NSP,
p. 76
jewels".
this goddess under the slightly different name of
in
the
Chinese
collection of images at Peiping J
occur
Malya
Three statuettes of
G1TA
3.
Colour
Indian
Symbol
The
daka Mandala
as
under
Arms
Reddish white
is
Gita
Gong
who
is
Two
NSP,
p. 76.
is
is
Three statuettes of
One
this
goddess occur
is
1.
Clark
TLP,
II,
2.
Clark
TLP,
II,
3.
Clark
TLP,
II,
40
in the
Chinese collection*.
BUDDHIST ICONOGRAPHY
314
NRTYA
4.
Arms
Mixed
Colour
Symbol
last
Two
Vajra
in the
Nispannayogavall
"Nrtya
is
Nrtya whose
NSP,
p. 76.
is
Three statuettes of
One
this
is
VIII.
There
is
further
of
group
Vina
them
as
(violin),
all deified
In the Vajradaka
Mandala they
in Pratyalidha.
symbols.
appear in the Pancadaka Mandala.
VAMSA
1.
Red
Colour
Arms
Symbol
The
is
first
called
Two
Flute
Pancadada Mandala
is
"Vamsa is
plays on it/'
She
1.
is
red in colour.
not represented
Clark
TLP,
II,
in the
flute in
Chinese collection.
NSP,
p.
76
COLLECTIVE DEITIES
VlNA
2.
Colour
315
Two
Arms
Yellow
Vina Instrument
Symbol
is
called Vina,
which
is
NSP, 76
l
.
on the
plays
Fig. 209.
MUKUNDA
3.
Mukunda
Symbol
The
on
the Nispannayogavali
"Mukunda
the
series
is
Instrument
the goddess
Mukunda.
Mukunda
statuette of
name
the
found
is
Mukundadhara, who
of
Colour
p.
76
plays
on the instrument
in the
Mukunda
the same as
-*
called
This
MURAJA
Two
Arms
Smoky
Muraja Instrument
Symbol
is
is
NSP,
is
4.
instruments
plays
described thus in
is
sita
Chinese statuette
Mukunda who
Her form
One
Two
Arms
White
Colour
Her form
plays.
is
whose
principal symbol
described as under
is
the Muraja
is
is
is
1.
Clark
2.
Clark
TLP,
TLP,
II,
II,
p. 107
107.
76
She
p.
BUDDHIST ICONOGRAPHY
316
IX.
The door
its
all
deified
in
Vajrayana.
form, colour, faces, arms and symbols. They
are found described in the Pancadaka Mandala of the
Nispannayogavall.
human
are given
They
fearful appearance,
TALIKA
White
Colour
Arms
Lock
Symbol
The
door goddesses,
in the list of
first
cribed as follows
T wo
is
Talika.
Her form
des-
is
"Talika
sita talikahasta"
"Talika
is
NSP,
p.
77
the Lock."
statuette of this
'.
Fig.
211
illustrates
her statuette in
China.
2.
Colour
KUNCI
Yellow
Symbol
Two
Arms
Keys
"Kunci
is
title
keys
NSP,
p. 77
A statuette
the
the
Kuncikadhara.
1.
Clark
TLP,
II,
p. 108.
2.
Clark
TLP,
II,
p.
108,
COLLECTIVE DEITIES
KAPATA
3.
Red
Colour
Kapata.
*
Planks
Her form
is
Two
Arms
Symbol
The
317
described as follows
door goddesses
NSP,
'Kapata
Planks.
A
the
is
is
called
p. 77
1 '
of Dvaradhara.
title
is
PATADHARINl
4.
Colour
Arms
Blue
Symbol
is
Two
Curtain
NSP,
"Patadharim
curtain
blue in colour.
is
(Kandapata)
A statuette of
in her
this
She holds
p. 77
a curtain.
The two
title
are identical
of Vita*
J
.
attitude
They
and hold
their special
are described
below
Pancadaka Mandala.
1.
Clark
TLP,
II,
p, 108
2.
Clark
TLP,
II.
p.
108
in the order in
BUDDHIST ICONOGRAPHY
318
SURYAHASTA
1.
Arms
White
Colour
Two
Sun
Symbol
NSP, p. 76
suryamandaladhara".
of white colour and she holds in her hands the disc of
"Suryahasta
sita
''Suryahasta
is
the Sun".
One
found
The two are
Light deity
is
identical
Arms
Blue
Two
Light stick
Symbol
The second
DIP A
2.
Colour
in
is
called Dipa.
Her form
is
described as under:
NSP, p. 76
"Dipa mla dipayastibbrt."'
"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,
.
RATNOLKA
3.
Colour
Arms
Yellow
Symbol
The
two
Jewel
is
called Ratnolka.
"Ratnolka
is
yellow in colour
NSP,
and holds the jewel
She
is
4.
Colour
Arms Two
Green
Lightening
following words
'Taditkara harita vidyullatadhara".
:
1.
Clark
TLP,
2.
Clark
TUMI,
II,
name of
TADITKARA
Symbol
p* 76
in her hands*'.
p.
pp.
88,
67*90.
__
COLLECTIVE DEITIES
'Taditkara
is
319
like lightening''.
A
the
statuette of this
title
goddess occurs
of Vidyuddhara.
The two
details
set
is
collection
under
description in
all
!
.
XL
There
Chinese
in the
Nispannayogavall
They are given each
;
Mandala.
Their names
more
These birds
deities
dancing on
named
as
(vultur effaced),
are
a corpse,
group.
face
is
With
either
animal face
is
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
1.
Colour
HAYASYA
Whitish Blu
first in
the series of
following words
is
"On
I.
Clark
TLP,
Two
Horse-face
Symbol
The
Arms
II,
p. 88.
is
NSP,
p. 16
~~
BUDDHIST ICONOGRAPHY
320
Like
Kami
other deities of the group she displays in her two hands the
all
In the Hevajra
cribed as
(p. 15)
in
she
is
des-
appearance to
Vajrankusl.
She
is
2.
Colour
SUKARASYA
form
Mandala thus
Two
Sow-face
Symbol
The second
Arms
Yellowish Blue
is
described
in
is
NSP,
She
all
is
appearance to VajrapasI
She
is
as similar in
SVANASYA
Arms
Reddish Blue
Two
Dog- face
called
is
'
<fc
"On
the
Like
all
West
there
is
p. 16
In the Hevajra
armed and
She
1.
NSP,
right
in
in
Symbol
as
Kartri
Colour
is
16
3.
The
p.
Like
Nairatma
the
"On
is
is
Mandala she
as similar in
is
appearance to Vajrasphota.
Gordon
is
illustrated
'
COLLECTIVE DEITIES
4.
Colour
SIMHASYA
Arms
Reddish Blue
Sy
321
m bol
Lioi>fa ce
last deity in
Two
the series
Her form
called
is
is
Simhasya
described thus
(lion-
all
other deities of the group she also holds the Kartri in the
Under the
of Simhavaktra she appears in the Chinese collecShe was also known in Tibet *. Figs, 215, 216 illus-
title
l
tion at Peiping
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).
XII.
all
alike in
symbols.
the
Vajravarahi Sadhana
mudravibhusita bhavayet."
carry
and
in
have dishevelled hair, stand in the Alidha attitude and are decked
the five bone ornaments. Thus they are to be meditated upon".
1.
Clark :TLP,
2.
Gordon
Getty
41
GNB,
II,
p. 314.
II L, p.
pp.
HO,
in
the deity.
See also
BUDDHIST ICONOGRAPHY
322
Two
statuettes of
Dakim
*.
The
Fig.
is
a Nepalese picture
1.
2.
Fig*
218
CHAPTER
Xli
PHILOSOPHICAL DEITIES
In the Nispannayogavali of
number of
deities
who
is
made of
as philosophical deities.
weapons.
Similar
is
spiritual spheres,
These
Except probably Prajnaparamita and some of the Dharim goddesses, others are not even known
But their statuettes are found in the Chinese collec*
in art or sculpture.
tion at Peiping, and
it
is
original Sanskrit texts so that the statuettes on the one hand and
the Sanskrit texts on the other may mutually enlighten each other.
from
In Buddhism, importance
These
birth.
practised
is
said that
is
human
Lord Buddha
in
in
one
it
to perfection,
and because of
number
BUDDHIST ICONOGRAPHY
324
and
it is
Such
same order
found
as
Mandala.
in the
any other published literature on Buddhism. The twelve deities collectively have their spiritual father in Ratnasambhava.
They are widely
in
the
collection
at
which
Chinese
seems to have
represented
Peiping
vail
following sections.
RATNAPARAMITA
1.
Colour
Moon
Symbols
Ratnaparamita heads the
as
Arms
Red
list
Two
on Lotus
described
is
"
NSP,
a
56
p.
moon on
According to a statement in the Mandala all the deities are twoarmed, and they hold in the right hand the flag marked with the Cinta*
mani
jewel,
and
more hands.
is
Prajnaparamita
The passage
is
an
hand
right
their
own
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
2,
Colour
Whitish Red
Symbol
Danaparamita is second
and has been described as
Arms
Ears of
in the series of
Two
Corn
Twelve Paramita goddesses
^^
'Danaparamita skaraktavarna
nanadhanyamanjarihasta."
T
''
NSP,
p.
56
PHILOSOPHICAL DEITIES
"Danaparamita
is
325
hand
left
China
Her
statue
is
found
l
.
SILAPARAMITA
3.
Symbol
is
Sila'paramita
Two
Arms
Colour -White
Flowery Discus
NSP,
"Silaparamita is white in colour and holds in her
"
made of white flowers and leaves
cus
The
of this
left
as usual.
p.
56
hand the
dis-
statuette
KSANTIPARAMITA
4,
Colour
Two
Yellow
Arms
Symbol
White Lotus
'Ksantiparamita
is
left
hand
Her
right
this deity is
5.
Colour
described thus
is
the
statue of
VlRYAPARAMITA
Green
Symbol
Viryaparamita
fifth
Arms
Two
Blue Lotus
NSP, p. 56
"Viryaparamita marakatavarna mlotpaladhara",
Viryaparamita is of the colour of emerald and holds in her left
*'
Clark
lotus."
TLP,
II,
p. 120
2.
Clark: TLP,
II,
p. !20
3.
Clark
TLP,
II,
p.
120
BUDDHIST ICONOGRAPHY
326
as
usual.
is
l
.
DHYANAPARAMITA
6.
Symbol
The sixth Paramita goddess
form is described as under
Two
Arms
Sky Colour
Colour
White Lotus
in the series
is
Dhyanaparamita whose
"
white lotus
The
ot this
in
her
NSP, p. 56
hand the
left
"
right
hand
goddess
is
found
in
China
Cintamani banner.
a
.
Fig.
219
illustrates this
statuette
Chinese
specimen.
PRAJNAPARAMITA
7.
Symbol
The seventh goddess
Four
Manuscript on Lotus
in the series
As the embodiment of
mita.
Arms
Yellow
Colour
is
the famous
deity Prajnapara-
she has
previous chapter. Here she will be described as an embodiment of transcendental intuition and as part of
group.
form
NSP,
p. 65.
The
right
hand
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
1
Clark
2.
Clark
3.
Clark
6
.
TLP,
II,
TLP,
TIP,
II,
p. 127
II,
p. 127.
PHILOSOPHICAL DEITIES
327
UPAYAPARAMITA
8.
Two
Arms
Green
Colour
Vajra on Lotus
Symbol
who
has been
NSP,
left
The
found
hand
China
in
Her
carries the
right
in
her
statue
is
9.
PRANlDHANAPARAMIlA
Colour
Arms
Blue
Two
Sword an Lotus.
Symbol
NSP,
p.
56
The
is
right
hand
found in China
BALAPARAM1TA
10.
Arms
Red
Colour
Symbol
Balaparamita
is
Two
Manuscript
NSP, p. 56
"Balaparamita rakta Prajnaparamitapustakadhara".
"Balaparamita is red in colour and holds the book Prajnaparamita
1
in her left hand '.
The
is
right
hand
found in China
1.
Clark :TLP,
as usual
II,
p. 117.
II,
p. 117.
She
is
Paramita.
2.
Clark
3*
Clark
TUP,
TLP,
II,
Her statue
pp.
96, 3 1
name of Upayakaulalya
BUDDHIST ICONOGRAPHY
328
11.
Colour
JNANAPARAMITA
Two
Arms
White
Bodhi Tree
Symbol
series
u-
"Jnanaparamita
Bodhi
tree
The
which
right
is
left
usual.
.^banner as
of this goddess
<
12.
Colour
hand the
fruits","
statue
VAJRAKARMAPARAMITA
Arms
Variegated
Symbol
Two
Visvavajra on Lotus
Dharmadhatuvagisvara Mandala
"
NSP,
"Vajrakarmaparamita is of variegated colour and holds
hand the Visvavajra (double thunderbolt) on a blue lotus'
p.
56
in her left
'.
The
right
hand
(II)
The
Cintamani banner.
The Vajrayanists recognized twelve Vasitas, each with a special name and conceived them in the form of deities with heads- arms, weapons and
which lead to the
spiritual regeneration
of
its
followers.
Clark
TLP,
II,
p. 121
PHILOSOPHICAL DEITIES
329
goddesses.
AYURVAITA
i.
Arms
Whitish Red
Colour
Two
Image of Buddha
Symbol
DvadasVvasita dvibhuja
(cf.
sitaraktavarna
''Ayurvasita
Amitayur-Buddhabimbadhara."
padmaragamanisthasamadhimudra'
NSP, p, 56
colour and holds in her left hand
Padmaraga jewel
The right hand displays the lotus
Her statue is found in China
.
as
in
all
other Vasita
deities.
2.
Colour
CITTAVASITA
Sym bol
"Cittavasita
The
China
Vajra
the series
is
Cittavasita,
who
has
been
"Cittavasua
Vajra with
in
Two
Arms
White
five
right
sita
is
raktapancasucikavajradhara"
white in colour and holds in her
thongs.
as usual holds the lotus.
hand
left
NSP, p. 56
hand the red
Her image
is
found
in
*.
3.
Colour
PARISKARAVA&TA
Yellow
Arms
Two
is
words
Clark
2.
Clark
42
TLP,
TLP>
II,
II,
p. 136
p. 136
NSP,
p.
56
BUDDHIST ICONOGRAPHY
330
"Pariskaravasita
is
hand the
left
Cintamani banner"*
The
China
right
lotus as usual.
Her
statuette
KARMAVA&TA
Green
Arms
Symbol
Visvavajra
Colour
The fourth
in the
two
as
under
NSP,
China
56
p.
hand the
left
statuette
found
is
a
.
UPAPATTI VASITA
5,
Colour
Creepers
fifth
Two
Arms
Mixed
Symbol
The
Her
lotus as usual.
is
"Karmavasita
right
who
Karmavasita
in
in
4.
The
found
is
is
Upapattivasita
who
is
des-
NSP,
"Upapattivasita is of variegated colour and holds in her
various kinds of creepers of variegated colour/'
The
in
right
China
*.
Her
statue
left
is
56
hand
found
6.
The
as usual.
p.
RDDHIVA&TA
Arms
Two
Colour
Green
Symbol
described as follows
is
is
^
1.
Clark
2.
Clark; TUP,
3.
Clark
TLP,
TLP,
II,
II,
II,
p. 136
p. 137
p.
133
NSP,
p. 57
PHILOSOPHICAL DEITIES
"Rddhivasita
The
in
right
China
is
moon on
Her statue
as usual.
is
Priyangu flower
in the
same
series
is
NSP,
hand
left
The
is
found
Two
Arms
White
Symbol
"Adhimuktivasita
discs
ADHIMUKTIVA&TA
7.
is
hand the
Chinese specimen.
illustrates this
Colour
form
left
a lotus.
331
white
p. 57
right
She
as usual.
is
not represented
in
PRANIDHANAVA&TA
8.
Colour
Arms Two
Yellow
Symbol
Blue Lotus
The
is
NSP,
is
is
p. 57
left
hand
The
China
right
as usual.
Her statue
found
is
in
9.
Colour
JNANAVASITA
Whitish Blue
Symbol
Arms Two
Sword on Lotus
"Jnanavasita
sita
NSP,
nilotpalasthakhadgadhara."
The
China
2.
Clark; TLP,
Clark : TLP,
3.
Clark
1.
lotus as usual.
TLP,
II,
p. 133
II,
p. 134
II, p'.
137
Her
statue
left
is
p. 57
hand the
found
in
BUDDHIST ICONOGRAPHY
332
DHARMAVA&TA
10.
Colour
Bowl on Lotus
Symbol
Dharmavasita
sita
Two
Arms
White
series of goddesses
as
under
is
Dharmavasita
raktavarnapadmasthabhadraghatahasta."
NSP,
"Dharmavasita
is
holds
in
her
57
p.
hand
left
The
is
right
found
-as usual,
A statue of
this
goddess
in
11.
Colour
TATHAT A VASITA
White
Arms
Two
Bunch of Jewels
Symbol
is
Tathata
NSP, p 57
manjaridhara".
"Tathata
lotus
is
and in the
Her
statue
is
ratna-
white in colour.
left
right
found
in
China
2
.
BUDDHABODHIPRABHA-VASITA
12.
Colour
Yellow
Symbol
Arms
Two
Discus on Banner.
The twelfth and the last goddess in the series of Vasita goddesses
Buddhabodhiprabha, and her form is described in the Dharmadhatu*
vaglsvara Mandala with the following words
is
p. 57
Clark :TLP,
2,
Clark
TLP,
II,
II,
p. 137
p.
107
PHILOSOPHICAL DEITIES
TWELVE
(Hi)
In
333
move towards
Buddha and he
attains omniscience.
These twelve Bhumis are now describe^ in the same order as given
Mandala of the Nispannayogavall, They
are two-armed and hold in the right hand the Vajra and in the left
in the Dharmadhatuvagisvara
their
own weapons
or signs.
ADHIMUKTICARYA
Arms
Red
Colour
Symbol
The
first
Two
Red Lotus
is
the Adhimukticarya
in the
Nispannayogavall
Bhumi and
is
is
Colour
lotus,
the
is
p. 55
and holds
common
sign
at Peiping,
PRAMUDITA
Red
Symbol
Arms
Two
Jewel
deities
is
Pramudita.
NSP,
p, 55
BUDDHIST ICONOGRAPHY
334
"Pramudita
is
left
mani jewel".
The
right
Her
statue
found
in the
White Lotus
Bhumi
described as under
is
Two
Arms
White
deities
Vimala
lotus
is
known
is
as
sign.
'.
VIMALA
Symbol
The
common
the
Chinese collection
3.
Colour
is
NSP,
left
p. 55
The
Her
statue
is
found
common
in the
4.
Chinese collection
PRABHAKARI
Red
Colour
Two
Arms
deities
Prabhakari
is
MSP,
"Prabhakari
is
left
p. 55
The
right
goddess
is
Colour
fifth
Green
Arms
Two
Blue Lotus
Clark
II,
p. 123
I,
Clark
II,
p. 123
II,
p. 123
3.
ARCISMATI
Symbol
The
This
TLP,
TLP,
Ckrk: TLP,
NSP,
p.
55
PHILOSOPHICAL DEITIES
"Arcismati
is
She
is
common
not represented
in the
Colour
symbol*
Chinese collection.
SUDURJAYA
6,
Emerald
described as under
is
Two
Arms
Yellow
Symbol
The
left
lotus".
The
335
Bhumi
deities is called
Sudurjaya
NSP,
"Sudurjaya
p.
55
is
The
She
is
common
ABHIMUKHI
7.
Colour
Symbol
in
Two
Arms
Yellow
Manuscript
the series
Abhimukhi.
called
is
She
is
"Abhimukhi
is
paramita manuscript".
The
right
A statuette of
this
goddess
8.
Colour
Symbol
is
found in China
DURANGAMA
Green
Arms
Two
The
is
known by
the
name
NSP,
77 ClarkTrLP,
II,
p. 121
p. 55
BUDDHIST ICONOGRAPHY
336
"Durangama
is
left
hand the
lotus).
The
right
common
found
is
is
]
.
Two
Vajra on Lotus
Symbol
"Acala saraccandrabha
China
Arms
White
Colour
"Acala
in
ACALA
9.
nalam sagarvam
symbol.
the series
in
of Bhumi
deities
is
candrasthapancasucikavajrankitapahkajasya
NSP, p. 52
vibhrati",
moon
a lotus
The
Her
right
statue
found
is
common
China
in
Arms Two
White
Sword on Lotus
Symbol
The tenth
SADHUMATl
10.
Colour
Bhumi goddesses
is
Sadhumatl.
"Sadhumati
on
is
NSP,
in
her
left
p. 55
a night lotus'*.
The
right
A statuette of
common weapon,
this deity is
11.
Colour
found
in
China
the Vajra.
8
.
DHARMAMEGHA
Blue
Symbol
Arms
Two
Manuscript
is
Dharma-
"Dharmamegha dharmameghaparikalita-Prajnaparamitapustakadhara".
NSP,
Clark: TLP,
Clark: TLP,
II,
p. 118
2.
II,
p. 118
3.
Clark: TLP,
II,
p. 118
1.
p. 55
PHILOSOPHICAL DEITIES
337
"Dharmamegha holds in her left hand the Prajnaparamita manuscript which is composed of the clouds of Dharma".
A
this
statuette
of this goddess
found
is
in
China
l
.
Fig.
223
illustrates
Chinese specimen.
1
S AMANTAPRABH A
Image of Amitabha
Symbol
The
A tms Two
Red
Colour
Her form
prabha.
is
as follows
Bhumi goddesses
is
Samanta-
"Samantaprabha madhyahnadityavarna
dhisucaka-Amitabha-Buddhabimbadhara".
padmopari samyaksamboNSP, p. 56
The
right
A statue of
this
goddess
is
common
found
in
China
-.
(TWELVE DHARI^JS)
(iv)
ting deities,
there
is
Dharam works
mala
symbols.
The Dharinis
collectively are
When
conceived
in the
form of
They
deities, the
all
Clark: TLP,
Clark: TLP,
3.
H.
1.
4.
43
118.
II,
p.
II,
p. 118.
all
Dharanls.
carry their
BUDDHIST ICONOGRAPHY
338
all
in
The form,
own
Dharim
the
symbols
special
SUM ATI
1.
Ears of
Symbol
The
first
in the series
is
Two
Arms
Yellow
Colour
Corn
described below
is
'Sumati
is
in colour
yellow
and holds
in her
left
NSP,
p. 57
hand the
ears
of
corn"*
The
represented
in the
not
is
RATNOLKA
2.
Colour
She
Visvavajra*
Arms
Red
Symbol
Two
Cintamani Banner
Ratnolka
is
Ratnolka
is
left
NSP,
p. 57
mani banner".
In the right
common weapon,
the Visvavajra.
She
is
Chinese
USNISAVIJAYA
3.
Colour
White
Symbol
The
deity in the
vijaya
Two
Moonstones.
popular
been described in
is
Jar of
Arms
is
previous chapter.
described as
"Usnisavijaya
sita
As
candrakantamani-kalabahasta".
in
her
NSP,
left
p*
hand
57
a jar
Clark
TLP,
II,
PHILOSOPHICAL DEITIES
339
She
known
is
to
MARl
4.
Symbols
The fourth
Dharim
deity in the
Two
Arms
Reddish White
Colour
series of goddesses is
Man who
is
"Marl
is
NSP,
p. 57
hand the
left
The
right
Peacock's Feathers
Symbol
the
Two
Arms
Green
Colour
is
fifth in
the
list
"Parnasabari
green in
is
peacock's feathers/
The
right
popular in all
is
PARNASABARI
5.
Parnasabari
Man
her
NSP, p. 57
hand the
left
<J
6.
jANGULl
Arms
White
Colour
Two
Flowers
Symbol
The
sixth in
NSP,
2.
Clark: 'ILP,
See Supra
3.
1.
II, p.
p. 57
BUDDHIST ICONOGRAPHY
340
is
"Jafxguli
left
hand buds of
common weapon,
the Visvavajra.
poisonous flowers."
Her
She
hand
right
ANANTAMUKHI
7.
Arms Two
Green
Colour
Symbol
Jar
is
Anan*
"Anantamukhi
priyangusyama
raktabjasthaksaya*mahanidhikalas*
NSP, p. 57
ahasta".
left
She
is
CUNDA
8.
The
Arms
White
Symbol
Two
Colour
NSP,
"Cunda
Kamandalu
The
is
is
right
Cunda
p. 57
is
suspended
hand
as usual
in the
popular
3
.
shows the
common weapon,
the Visvavajra.
Cunda
is
*.
1.
Clark: TLP,
II,
2.
SadhanaNo.
118, p. 247
3.
Clark; TLP.
II.
in
PHILOSOPHICAL DEITIES
PRAJNAVARDHANl
9.
Arm s Two
White
Colour
Symbol
ni
341
Sword
is
Prajnavardha-
"Prajnavardham
sita
"Prajnavardham
the sword
The
on
right
white in
is
NSP,
nllotpalakhadgadhara".
and holds
colour
in her
p. 57
left
hand
blue lotus".
hand
usual
as
displays the
common
weapon, the
Visvavajra.
She
is
SARVAKARMAVARANAVISODHANI
Symbol
The tenth
Two
Arms
Green
Colour
Vajra
is
"Sarvakarmavaranavisodham
"
harita
trisucikavajrahka*sitakamala~
dhara".
NSP,
"Sarvakarmavaranavisodhani
left
The
is
is
not
right
p. 57
a lotus' '.
represented in the
11.
She
Chinese collection.
AKSAYAJNANAKARANDA
Colour
Arms
Red
Symbol
Two
Basket
deity in the series of twelve Dharim goddesses is Aksayajnanakaranda, whose form is described in the following words
The eleventh
is
NSP,
p.
left
57
hand
The
is
common weapon,
BUDDHIST ICONOGRAPHY
342
SARVABUDDHADHARMA-KOSAVATI
12.
Colour
Two
Arms
Yellow
Symbol
Trunk
twelfth and the last deity in the series of twelve Dharim goddesSarvabuddhadharma-KosavatI whose form is described in the
The
ses
is
following text
"Sarvabuddhadharmakosavatiplta padmasthananaratnapetakadhara/'
NSP,
p. 57
The
(V)
common weapon,
is
collection.
FOUR PRATISAMVITS
abstract ideas also received the attention of the Vajra>anists and were
deified
1.
Colour
DHARMA PRATISAMVIT
Symbol
The first
whose form
1
deities is
Turvadvare
Two
Arms
Whitish Red
Dharma-Pratisamvit
Dharma
sitarakta
vajrankusapasabhrd-
NSP,
bhujadvaya".
"On
Pratisamvit
is
Dharma
p. 5?'
the thunderbolt".
collection
1.
l
.
Clark: TLP,
II,
p. 134.
is
found
in the
Chinese
PHILOSOPHICAL DEITIES
343
ARTHA PRATISAMVIT
2.
Two
Arms
Green
Colour
Noose
Symbol
The second goddess in the series of four Pratisamvit
Pratisamvit whose form is described thus in the text
deities
is
Artha
"Daksine
is
Artha
Pratisamvit
of
the
p.
57
an
colour of
in
N1RUKTI PRATISAMVIT
3.
Colour
Arms
Red
Symbol
The
is
savyetarabhujabhyarh
NSP,
ratnapasabhrt".
"In the South, there
tion
marakatavarna
Arthapratisamvit
"Pascime
is
Nirukti'Pratisamvit
West
there
is
the
Pratisamvit group
bhrdbhuiadvaya".
"In the
Two
Chain
haddhapadmantasrfikhalaNSP, p. 58
A statuette of
is suspended".
obscure deity is found in the Chinese collection
224 illustrates this Chinese specimen.
this
of Peipmg
Fig.
4.
PRATIBHANA PRATISAMVIT
Arms
Green
Colour
Symbol
Two
Bell
gisvara
Mandala
last
in the following
*'Uttare Pratibhanapratisarhvit
ghantavyagrakaradva>a".
"On
A statuette of
collection at
is
in
words
marakatasyama trisucikavajrahkitaNSP, p, 58
a bell
marked with
Vajra
1.
Clark: TLP,
II,
p 134
2.
Clark
TLP,
II,
p. 134
3.
Clark
TLP,
II,
p. 135
CHAPTER
HINDU GODS
IN
XIII
VAJRAYANA
gods.
not a
It
Sarasvatl
the
in
gods
deities
or as
classified
how
this aspect
The
its
fectly Indian, as
spirit is
per-
given either
Several series of
Amongst
the
Hindu
Buddhist pantheon,
1.
In the
Sadhanamala
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
(I)
Colour
least six
Sadhanas
variety of Mahakala.
Arms
Blue
Symbols
At
TWO-ARMED
in
Two
"Srl-Mahakalabhattarakam
is
quoted here.
dvibhujarh
ekamukhfeih kr&navarnam
Bhattarais
three-
hair
which
rises
up on
his
head and
is
the Kartri,
cases.
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
He
Tibet
1.
'
and China
also Getty
2.
44
*.
Clark
TLP,
II,
See
BUDDHIST ICONOGRAPHY
346
(II)
Colour
Symbols
When
FOUR-ARMED
Arms Four
Blue
details
all
(III)
Colour
r.
1.
When
second
pair.
SIX-ARMED
Arms
Blue
Symbols
in the
Kartri, Rosary,
Six
Damaru
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)
Colour
Faces
SIXTEEN-ARMED
Arms
Blue
Legs
Eight
Sixteen
Four
When
in the
astabhavayet
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*
;
p.
598
"The worshipper should conceive himself as sixteen-armed Mahakala with eight faces, twenty-four eyes, four legs, and sixteen arms.
He
hide, the Mudgara, the Trisula, the sword and the staff of
the (seven)
left
full
bell,
HINDU GODS
IN
VAJRAYANA
347
the goad, the white chowrie, the Damaru and the human head. The
two remaining hands are engaged in embracing the 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
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
in
the
To
the
arms.
To
the
West
Kaladuti,
is
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 complexion and dishevelled hair.
All these deities are terrible in appearance, with protruding teeth
SW
NW
corpse.
Kulisesvarl in the
staff,
NE
on
carries
corpse. These
four deities are nude, and look terrible with bare fangs, three eyes and
dishevelled hair.
Surrounded by
as trampling
upon
all
upon
Mahakala
rite
BUDDHIST ICONOGRAPHY
348
II
Sadhanamala,
u
He who
is
is
p.
eaten
up raw by Mahakala.
He, (Mahakala) cuts his flesh to pieces, drinks his blood, and
entering into his head breaks it into small bits."
pati.
He
is
Mouse.
Dancing
Twelve
Mouse
in
Ardhaparyahka
Arms
Red
Vahana
Asana
(after)
GANAPATI
2.
Colour
586
in the
The Dhyana
describes
him
in the following
terms
"Bhaga van tarn Ganapatirh raktavarnam jatamukutakirltinam sarvabharanabhusitam dvadasabhujam lambodaraikavadanam ardhaparyankatandavam trinetram api ekadantam savyabhujesu kuthara-sara-ahkusavajra-khadga-sulanca
iti
as
and one
face.
all
He
ornaments, having
He
paryahka in a dancing attitude, is three-eyed and has one tusk
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
Phatka. He rides the mouse on a red lotus."
Fig.
227
is
the
is
349
of Baroda.
and
in painted
banners
of Tibet.
GANAPATIHRDAYA
3.
Asana
Arms
Dancing
Mudras
Two
the Dharmakosasangraha of
in
"Ganapatihrdaya
the Varada and
Fig.
229
is
poses, and
Abhaya
illustrates a
W.
two hands
".
Y. Evans^
Wentz.
SARASVATl
4.
Sarasvati
the
is
name of an
ancient river
now
filled
up by the sands
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
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
As her worship
is
Symbols
MAHASARASVATl
r.
Varada Mudra
Colour
1.
Lotus.
White
Clark: TLP,
II,
p.
153
in
BUDDHIST ICONOGRAPHY
350
and
Mahasarasvatlm
Bhagavatlm
The Dhyana
anuvicintay et
saradindukarakaram
She "has
stem.
smiling countenance, is
extremely compassionate, wears garments decorated with white sandal
flowers. Her bosom is decorated with the pearl-necklace, and she is
left
its
decked
in
she illumines the three worlds with the immeasurable light that radiates
from her body."
This
is
The
described.
carries
deities identical in
left (Fig.
230),
one
left,
Prajna
and Mati
in
mudra
and
is
in the
is
right
just
that
hand
surrounded by four
in front of her, Medha
is
the west.
These four
divi-
may
accompany other varieties of Sarasvati. As the Sadhana
silent about the particular Asana, she may be represented in any
also
nities
is
and
all
Sarasvati
is
is
both in Tibet
a popular goddess
and China
where she
widely represented.
(II)
VAJRAVINA SARASVATI
White
Colour
Symbol
in appearance.
Vina, a
1.
2.
She
is
is
Vina
also
dis-
Clark
GNB,
HINDU GODS
may
IN
VAJRAYANA
351
also
as in
the
previous case.
231 illustrates her statuette at Peiping.
Fig,
VAJRAARADA
(iii)
Symbol
According to the Dhyana
r.
Lotus
in the
1.
Book
Sadhanamala she
rests
upon
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
;
The accompanying
ed by Nepalese
nions.
among
artists.
are
mutilated,
the
book,
but
at least
one
and
left
in the right
hands respectively.
(iv)
Symbol
Sarasvati
Arya
is
ARYASARASVATI
Prajnaparamita on Lotus
is
also
desig-
stalk
The
may
may not remain empty. The Asana also is not mentioned which
shows that she may be represented in any attitude.
Dhyana
is
or
Fig.
Faces
VAJRASARASVATI
Three
Asana
Arms
Six
Pratyalldha
The name Vajrasarasvati is given to this goddess in order to distinguish 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
The difference here is that her
is identical with that of Mahasarasvati.
hair is brown and rises upwards, and she stands in the Pratyalldha
BUDDHIST ICONOGRAPHY
352
on the red
attitude
lotus.
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.
235 illustrates a Nepalese drawing belonging
Fig
to
the
latter
variety.
5.
The
in the
nayogavall. 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
many more,
The
is
Dharmadhatuvagisvara
given,
1NDRA
(I)
who
in the
first
Yellow
Arms
Vehicle
Elephant
Direction
in
Two
Colour
East
follows
NSP,
p.
61
"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
Fig.
the
in the
Chinese collection
Colour
Vehicle
The second
words
YAMA
Blue
Buffalo
Arms
Two
Direction
South
here as well as in
Hindu
scriptures.
Yama
is
Yama
NSP,
1.
Clark
TLP,
II,
p. 61
353
103
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_^
o '*?
si"! ^"
ti
-r
tS
Q-.S
o
(SI
45
S*
k*-
354
103
o
r-4
ICtf
led
x->
5-<
Z
oo
355
ICO
ft
rrt
4->-
res
a
to
C3
.
i-4
*S<
356
>>*
J
^
</)
ins
.jcs
^e
*-
^
:
C/3
o
o
O
^
o
DJD
I!
bb
357
10$
P-.
03
I i
05
U<
ex.
e
03
t>0
.
Q
ON
-T-
103
Qbfl
c
.
358
103
e
OS
it
b
IC0
-t!
-co
ted
359
s
VO
r*4
I
CO
OS
OJ
.1
.2
4-
DO
*
Q-
360
c!
_O
O
OO
'5
*4^
Q
H
C
O
*
o ^
IS
361
are
is
his
images
VARUNA
(III)
The
fairly
Two
Colour
White
Arms
Vehicle
Crocodile
Direction
is
West
is
is
Varuna
riding
on
He holds
a Crocodile.
He
white in
is
in his
Varuna (deva)
KUBERA
VehicleMan
North
Direction
Two
Arms
Yellow
Colour
The fourth
of
(IV)
is
title
is
his
form
NSP,
p. 61
Kubera
is
(V)
The
fifth in
b
.
1SANA
Two
Colour
White
Arms
Vehicle
Bull
Direction
Isana
46
1.
2.
Clark
3.
TLP,
II,
1TL, p. 90
also Getty
GNB, PL XLVII,
Gordon
GNB,
plate LII,
and
b.
BUDDHIST ICONOGRAPHY
362
(skull'cup).
is
On
a sacred thread
As isana he
is
AGNI
(VI)
The
Agni
Two
Colour
Red
Arms
Vehicle
Goat
Direction
corner.
His form
is
described thus
Agni
is
(ladle)
He
p. 61
red in
is
(water bowl)."
As Agnideva
Fig,
his
237 illustrates
statuettes
direction
god
follows
Two
Direction
called
is
from Peiping.
Arms
Blue
VehicleCorpse
The seventh
Chinese collection
NAIRRTI
(VII)
Colour
in the
Nairrta corner
His form
is
who
who
is
is
He
is
(stick)".
VAYU
Colour
Blue
Arms Two
Vehicle
Deer
Direction
Vayu.
eighth and the last deity in the series of direction gods is called
the Lord of the Vayu corner. His form is described thus :
The
Vayu
Clark :TLP,
II,
pp. 87, 65
NSP,
p. 61
HINDU GODS
"In the
Vayu corner
Under Vayudeva
Fig.
238
is
VAJRAYANA
Vayu
riding
on
363
In his
colour.
there
IN
fold).
his
in
l
.
6.
India
gods of the Brahma group are described with typical examples in the
same order as they appear in the Dharmadhatuvagisvara Mandala of
the Nispannayogavali.
(I)
Colour
BRAHMA
Arms
Yellow
Vehicle
The
first
among
Four
Swan
list
is
Brahma.
His form
is
"On
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'*.
Three statuettes of his occur in the Chinese collection L\
illustrates one of the three.
(II)
Arms
The second god
pantheon
is
in this series
238
VISNU
Four
called Visnu.
Fig.
Vehicle
Garuda
His form
"Garude Visnus-caturbhujah
cakrasankhabhrtsavyavamabhyam
murdhni krtanjalir-gadasarngadharah".
NSP, p. 61
"On a Garuda
there
is
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".
Two
statuettes of
1.
Clark
II,
p. 181
2.
Clark
II,
II,
3.
TLP,
TLP,
Clark TLP,
3
.
BUDDHIST ICONOGRAPHY
364
MAHESVARA
(III)
Arms
White
Colour
Four
Vehicle-Bull
The
His form
"Vrsabhe
bhujah
Mahesvara.
described thus
is
Mahesvarah
sitah
is
sasikanakankitajatamukutas-catur
NSP, p. 62
sirasi krtanjalis-trisulakapalabhrt".
"Mahesvara
matted hair
is
sits
on the
and
Bull,
beautified by the
is
white in colour.
moon. He
is
His crown of
hands he displays the Anjali over the head, and with the two
others he carries the Trisula and the Kapala".
principal
One
It is
statuette
]
.
KARTTIKEYA
(IV)
Arms
Colour
Red
Symbol
Hen
in this
series
Six
Vehicle
is
Peacock
is
des*
is
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".
One
is
(V)
Colour
Blue
Symbol
Fish
found
in the
Chinese collection
2
.
VARAHI
Arms
Four
Owl
Vehicle
a
goddess and
is
"Varahl
Two statuettes
tion
*,
1.
Clark
2.
3.
TLP,
II,
p. 156
in
the
Chinese collec-
CAMUNDA
(VI)
Red
Colour
365
Arms
Veh icle
Four
Corpse
The sixth deity in the series of Hindu gods is also a goddess and
known by the name of Camunda. Her form is described as follows
Camunda
"Pretopari
rakca
caturbhuja kartrikapalabhrtsavyetara
NSP, p. 62
krtSnjali".
"Camunda
With
rides
armed.
the
One
on
first
a corpse
pair of
and
is
of red colour.
She
four-
is
the right
in
in the left.
Colour
The seventh
is
:
*,
BHRNGI
Arms
Blue
Four
is
described
is
NSP,
"Bhrhgi
is
In the
the
first
62
p.
pair of
hands
is
shown'*.
Bhrhgi
is
(VIII)
GANAPATI
Colour
White
Arms
Symbol
Elephant-face
Vehicle
Ganapati
is
Four
Rat
He
is
des-
and
in the
Cla^kl TLP,
two
left
IT,
p. 176
Mulaka
(radish).
BUDDHIST ICONOGRAPHY
366
Bhutadamara Mandala, he
In the
is
two
in the
One
statuette of his
is
It is
MAHAKALA
(IX)
Colour
Trident
Symbol
The
ninth
pantheon
is
in
this
of Hindu
series
Mahakala who
called
Two
Arms
Blue
is
deities
"Mahakalah krsnas-trisula-kapalabhrt".
"
Mahakala is blue
two hands".
in colour
Buddhist
the
in
and
NSP,
p.
62
in his
One
Chinese collection
His des-
cription in the
chapter.
NANDIKEVARA
(X)
Colour
Symbol
kesvara.
vagisvara
is
Two
Arms
Blue
Vehicle
Muraja
Muraja
of Hindu gods
is
called Nandi-
NSP,
"Nandikesvara
engaged
Two
the
in playing
is
on
Clark
II,
3*
Clark
II,
4.
TLP>
TIP,
Clark :TLP,
II,
a Muraja
drum and
is
2.
on
62
the Muraja".
_____
title
sits
p.
p. 153
p. 101
is
*.
HINDU GODS
IN
367
VAJRAYANA
NINE PLANETS
7.
India
in
the planets either for evil or for good. That belief is still current. The
all these
Hindus, Buddhists and Jainas alike shared in this belief, and in
three religious systems the planets were deified and they were given a
form, weapon and colour. To compare the forms of the different
planets
systems
an independent and
compare their forms,
is itself
stupendous study. It is
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
stated below in
planets were deified in Buddhism also, their forms are
the same order and in the same manner as they appear in the Mandala of
Dharmadhatuvagisvara of the Nispannayogavall*
ADITYA
(i)
Symbol
Two
Arms
Red
Colour
Vehicle
and his
Aditya or the Sun-god heads the list of the Nine Planets,
form is described in the Nispannayogavall as follows
:
"Aditya
Both
colour.
on
in the right
and in the
left
he holds the
lotuses".
In the
the
title
of Surya
*.
Colour
White
Symbol
Discs of the
under
CANDRA
(II)
Arms
Moon
The second
is
Vehicle
Two
Swan
is
ca kumudastha-
NSP,
As Candradeva
lT~Clark
Clark
2.
TLP,
TLP,
this planet is
II,
p. 176
II,
p.
62
in his right
2
.
BUDDHIST ICONOGRAPHY
368
MANGALA
(III)
Arms
Red
Colour
Two
Goal
Vehicle
Planetjs is
mundam
"
He
is
BUDHA
(IV)
Symbol
is
in the series of
Nine Planets,
Budha or Mercury
is
pitah saradhanurdharah"
described as under
"Padme Budhah
Two
Arms
Yellow
Colour
is
Budha who
NSP,
p. 62
is
Budha
is
Symbols
BRHASPATI
Arms Two
White
Colour
Vehicle
Frog or Skull
is
Brhaspati or Jupiter*
"On
Brhaspati
1.
Clark
is
is
Brhaspati of
white colour.
TLP,
II,
p. 83
He
369
-0
03
C-4
ob
CO
,1-
CO
10*
a
s?
47
370
rt
CO
03
cti
OJ
GO
103
-o
2
105
371
>*
103
23 .-9.
o Q
'"^
PL
DJD
uu
372
03
o,
as
g*
"5
.
."9<
Y-H
Ol
373
rJQ
4-
H
"g
> .S
2 t
le
tl'^fff
F^St^
:
'M:-
';
^^T-^if'S
iv^^^K/--^]-^-)
''
t^'r^JVr
1
1
'-'
374
J2
H
i "5
CO
.*;
&t
E
375
Fig*
248 Mlna
(Peking)
Fig.
(Dacca Museum)
376
Fig.
218
Lama
(Nepalese Painting)
HINDU GODS
Arms
White
Colour
377
Two
Symbol
The
VAJRAYANA
SUKRA
(Vi;
is
IN
Nine Planets
is
NSP,
"Sukra is white in colour. He sits on a lotus and holds
hands the rosary and the Kamandalu/'
Sukra
62
two
in his
is
The seventh
Saturn.
p.
Colour
Blue
Symbol
Rod
Arms
Vehicle
His form
is
Two
Nine
Tortoise
NSP,
He
is
blue in colour.
p.
63
holds the
rod".
is
very significant,
RAHU
(VIII)
Symbol
The
Arms
Reddish Blue
Colour
Two
deity Rahu.
His form
"Rahu raktakrsnah
is
as
under
is
the destructive
suryacandrabhrt'Savyetarakarah."
NSP,
48
Clark
TLP,
is
II,
in colour,
occurs once
and he holds
p. 153
1
.
63
Chinese collection.
in the
in his
p.
This
BUDDHIST ICONOGRAPHY
378
KETU
(IX)
Colour
last in
He
Ketu.
is
Two
Symbol
Planets
Arms
Blue
is
NSP,
blue in colour and holds the sword and the noose of snake*"
is
p. 63
'.
Fig-
243
illustrates this
in the
Chinese
Chinese specimen.
BALABHADRA GROUP
8.
A set of four Hindu deities under the Balabhadra group is described 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
(I)
The
first
Colour
White
Arms
Symbol
Plough
Vehicle
is
Four
Elephant
called Balabhadra
who may
be identi-
NSP,
"Balabhadra rides an elephant and
is
white in colour.
p.
63
He holds
the
He
is
JAYAKARA
(II)
The second
Colour
(White)
Symbol
Garland
deity
described as under
of this group
Arms
Vehicle
is
Four
Cuckoo Chariot
called Jayakara
whose form
"Kokilarathe
lam banam
ca
'
'
'
p.
I.
Clark
is
TLP,
II,
p. 99
63
HINDU GODS
IN
VAJRAYANA
379
and
bow".
He
is
MADHUKARA
(Ill)
Makara Banner
Symbol
The
form
is
Arms
White
Colour
described as under
Four
Vehicle
Hindu gods
buka Chariot
is
Madhukara whose
adhvajasare
"Madhukara
He
rides a chariot
is
VASANTA
(IV)
Colour
White
Arms
Symbol
Wine-glass
Vehicle
the
His form
is
Dharmadhatuvagisvara Mandala
Four
Monkey
of four Hindu
gods
is
Vasanta
None
9.
is
Yaksas are
is not found
The Yaksas
it is
of his capital
is
Himalayan region.
Mount
Kailasa in the
BUDDHIST ICONOGRAPHY
380
YAKSA KINGS
(I)
eight
1.
Purnabhadra
2.
Manibhadra
3.
Dhanada
4.
Vaisravana
5.
Civikundali
6.
Kelimali
7.
Sukhendra
8.
Calendra
are
They
sentence
all
collectively
one
brief
"Purnabhadradayo
Yaksadhipah b!japuraphala~nakulabhrt-savyetNSP,*p. 63
arakarah".
hands respectively".
In colour they differ. Purnabhadra
is
blue,
Manibhadra
The
citron
is
is
is
yellow,
red, Kelimali
is
symbols of Jambhala
In the
Except Jambhala these Yaksas are rarely represented.
Chinese collection there are two illustrations one under the title of
Yaksadeva and another under Yaksa Purnabhadra
They refer
l
is
series
of
senadhipatis.
confer benefit
is
found in
gavalL
found*
(II)
is
not
KINNARA KING
named
Clark
TLP,
is
given in the
II,
NSP,
is
p.
63
engaged in
HINDU GODS
IN
VAJRAYANA
381
GANDHARVA KING
(III)
his
vmam
vadayati".
NSP,
"Pancasikha the king of the Gandharvas
plays on the Vina instrument".
p. 63
is
VIDYADHARA KING
(IV)
is
named
as
white in colour
TWENTY-EIGHT CONSTELLATIONS
10.
The Zodiac
is
is
features in
common
NSP,
They
differ in colour.
it is
are decked in
Their distinctive
found
in the
Mandala
1.
Asvini
White
3,
Krttika
Green
4.
Blue
6.
1.
Mrgasira
Punarvasu
9.
Aslesa
5.
Yellow
White
colour
2.
8.
10.
p.
65
bejewelled jackets
is
given below in
Bharam
Rohim
Green
Reddish White
Ardra -Yellow
Pusya Green
Magha Yellow
BUDDHIST ICONOGRAPHY
382
11.
Green
PurvaphalgunI
12.
Uttaraphalgum
Citra
Green
as Priyahgu
13.
Hasta -White
14.
15.
Svati-Yellow
16.
17.
18.
21.
Anuradha Green
Mula Yellow
Uttarasadha White
22.
Sravana
23.
Dhanistha
Blue
24.
Satabhisa
25.
Purvabhadrapada
Green
26.
Uttarabhadrapada
27.
Revati-- White
28.
Abhijit
19.
Green
Visakha-Blue
Jyestha- Yellow
Purvasadha Blue
20.
White
Yellow
Yellow
Green
TIME DEITIES
11.
MONTHS
(I)
Another set of interesting Hindu deities is described in the Kalacakra Mandala as Lords of the Twelve Months of the Hindu Calendar.
As they
in detail.
here.
Only
a brief
deities
and
their
in the Kalacakra
1.
Caitra
3.
Phalguna
5.
Asadha
7.
Asvina
9.
11.
Naiirti
Sanmukha
Margasirsa
10.
12.
Magha
6*
8.
Rudra
Ganesa
Vayu
Agni
Pausa Kubera
Karttika -Brahma
Sravana Samudra
4.
Sakra
Bhadrapada
Vaisakha
2.
Yama
Jyaistha
Visnu
all
accompanied with
their Saktis,
DATES
(II)
The
TLP,
are illustrated.
II,
p.
84 where the
Tithis,
*.
Figs.
224
Saptaml, Astami,
383
ZODIACAL SIGNS
(III)
named in
Hindu books on Astrology as Mesa, Vrsabha, Mithuna, Karka,
It
Sirhha, Kanya, Tula, Vrscika, Dhanu, Makara, Kumbha and Mina.
Besides these, there are the Twelve Signs of the Zodiac,
the
has
Sanskrit text
from Buddhist
natural
more
literature
on the
is
subject
It is
however
it
will
be possible
to the excellent statuettes of the different Signs of the Zodiac that have
Two
Figs. 246,
Kumbha and
Mina.
SEASONS
(IV)
The
seasons
of the year
1.
p. 87 for
Kumbha
TLP,
II,
p. 102
for
Kanya Devi,
&
3.
Hemanta seasons
and
p.
are illustrated.
CHAPTER
XIV
CONCLUSION
The foregoing
all
life,
image
is
mystery of
all
stones
on which something
is
carved.
is
and
at
work
difficulty
high cost.
before
cir.
300 A. D.
Tantric
the Guhyasamaja.
CONCLUSION
families,
and the
families
number.
in
overwhelming
excellent and meritorious
are
385
And along
own
their
religion vanished
The teachings of
the
when
its
it
Just at the
BUDDHIST ICONOGRAPHY
386
the psychic phase of Buddhism reached its very zenith, before being
destroyed by the sword of Islam. Both the Sadhanamala and the
The Sadhanas
in the
The Dhyanas
mediaeval age as great Tantric authors.
of different
laid
features
the
down
essential
contained in the Sadhanas
gods, and the sculptors and artists prepared images with the help of
shed in the
these general directions. The Dhyanas left much scope for the exercise
of imagination on the part of the sculptors, and the products of their
has been pointed out several times that the most important factor
miniature figure of the Dhyani
Buddha on
is
their
crowns.
Moreover,
difficulties
When, however,
may
arise
In cases where
aureole, the
all
the
Buddha
by the Sadhana or for identification. Their presence can only be explained 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,
otherwise.
But the most serious difficulty arises when instead of the Dhyani
Buddha prescribed by the Sadhana some other Dhyani Buddha appears
CONCLUSION
387
own
instead.
figure
sire
True reasons for these discrepancies can hardly be given at this state
The most reasonable suggestion seems to be that
the original texts are not stil] known in their entirety. It must be remembered that the Sadhanamala and the Nispannayogavall are not
of our knowledge.
will
Usmsavijaya
be available.
number of Sadhanas
In
Another
as
one or
ing
at liberty to
multiply
instances.
This
is
the only
reasonable explanation
it
is
guard himself against taking unnecessary figures in the image for principal ones, or necessary figures for unnecessary ones. A fulLfledgejd
The theory of Adi-Buddha
J.
A. S.
B.,
Vol.
JBORS, March,
II
(1833),
1923.
p.
57f.
Buddhist Iconography in
BUDDHIST ICONOGRAPHY
388
first
effigy
of
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
his
sire
figure of Vajrasattva
artists.
He
the images
CONCLUSION
The Buddhists
Brahmanical
as a
faith,
389
made
upon Ganesa.
Thus
in the
Indian
epithet of
Vighna or Obstacle.
Their animosity
may be
further illus-
trated
four Maras or
Wicked
Beings,
as trampling
instances in point.
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
Hindu
traditions,
According to
heads, and the Buddhist deities mercilessly hold the heads by the
matted hair and flourish them in their hands. This is how the Buddhists
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.
however, that the attempt proved futile.
The
yab-yum.
history showed,
later
images, however,
is
much
single ones.
has been stated in the Sadhanamala that a single deity may take
colour
according to the particular Tantric rite in which he is invoked.
any
For instance, in the Santikavidhi or propitiatory rite the god takes the
white or the yellow colour. In Paustikavidhi or protective rite the
It
BUDDHIST ICONOGRAPHY
390
yellow colour
some
It
Of
is yellow, Fire is red, Ether is green, and Air is blue.
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
colour, Earth
these the
violent of
all.
The Vajraparyahka
reference
may be made
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
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.
CONCLUSION
391
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,
easily
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.
As they had no
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
themselves.
real
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.
In answer
sufficient.
to this a number of things have to be considered. It may be remembered that Sunya, which was identified with Compassion by the Vajrayanists was conceived as manifesting itself in diferent forms in accordance
BUDDHIST ICONOGRAPHY
392
number of
Thirdly, the
increases as objects
deities
such as
the
Three Jewels
Sastra, the
west
drum and
As
all
As
forms of weapons
For instance, when the darkness
of ignorance is to be dispelled Bodhicitta becomes a sword by which
the veil of ignorance is cut asunder. The sword is also to be used to
destroy the Mara hordes who disturb the worshippers. Bodhicitta
many
different
becomes the Ahkusa (goad) when the hearts of the wicked are to be
It is conceived as a noose when the Mara hordes are to be
It becomes a needle and a thread when the
bound.
securely
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
pierced.
Bhavadosair-aliptatvat
II
CONCLUSION
The Mudras
citta.
If
mudra
in
protection
if
Buddhist
boon
Law
393
is
is
is conceived as
the Abhaya
when instruction
becomes Varada
becomes Dharmacakra, and so on.
needed, Bodhicitta
desired
it
required
it
is
of the Bodhi-
The
As
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.
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
are
Buddhahood or success
Bodhicitta also
in
is
embraced by
Nairatma,
Gacchadhvam Buddhavisayarh
punaragamanaya
"Gods,
beings.
bid
farewell
Ye have
II
fulfilled
the desires of
of the Buddhas.
50
Ye
Muh
to
all
the region
APPENDIX
108
(In the
1.
The god
Lokesvara.
Hayagriva
on
FORMS OF AVALOKITESVARA
Machhandar Vahal, Kathmandu, Nepal)
sits
the
in
Vajraparyanka
He
attitude
in the right
a lotus.
in the left.
He
is
accompanied by
six
on a lotus
The face
lap.
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
The hand holding the
carries the lotus, the noose and the Utpala.
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.
3.
Halahala Lokesvara.
4.
is
Harihariharivahana Lokesvara.
the lion,
is
attitude
six
Lowermost
Garuda, Narayana
is
arms.
the
snake,
rides Garuda,
on
it
and on
mudra.
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
;
The head on
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,
APPENDIX
He
Sadaksarl Lokesvara.
6.
sits
395
in the Vajraparyahka
attitude,
The
He
Anandadi Lokesvara.
7.
and
face.
the left
8.
and
carries the
He
Potapada Lokesvara.
9.
sits in
in the left.
10.
and
is
in drawing the
bow
to
its full
The
length.
Vajra and the Cakra in the two right andtheGhanta and the Kamandalu
in the two left.
He
Varadayaka Lokesvara.
11.
stands
on
a lotus.
The two
is
one-faced
principal hands
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.
lotus
13.
on
He
Sukhavati Lokesvara.
is
He
is
The
first
sits
Dharmacakra mudra, the second pair carries the rosary and the book,
and the third pair shows the Varada mudra in the right and the waterpot in the
left.
left
He has
twelve arms,
BUDDHIST ICONOGRAPHY
396
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.
Nilakantha Lokesvara.
17.
He
is
in
18.
armed and
mudra while
the Varada
He
Trilokasandarsana Lokesvara.
19
also
on
his lap.
is
armed and
sits in
He
is
two
In his
the lotus.
left
right
hands he
left is
on
jewel,
He
is
a lotus.
He
Manipadma Lokesvara.
22.
carries the
Khasarpana Lokesvara.
21.
sits
Sirhhanatha Lokesvara.
20.
sits in
left
on
is
in
a lotus.
He
Vajradharma Lokesvara.
is
24.
Pupala Lokesvara.
He
on
is
a lotus.
One
left
index and
in
the two
sits
little fingers
?).
APPENDIX
Ucnauti
25.
(?)
He
Lokesvara
397
is
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.
Brahmadanda
27.
sits
in
who
sits
on
his lap.
He
Lokesvara.
on
a lotus,
one-faced
is
and
is
and four-armed,
show
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.
He
Acata
28.
(?)
Lokesvara.
on
He
is
sits
four
is
a lotus.
Mahavajrasattva Lokesvara.
29.
and
on
left
hold the noose, the Tridandi, the conch and the bowl of gems
his lap.
30.
in the
He
Visvahana Lokesvara.
Vajraparyanka attitude
on
is
a lotus.
sits
the sword, the arrow, and the Cakra, while his three
the bow and the Abhaya pose.
left
3L
and
is
the TarjanL
32.
Santasi Lokesvara.
He
is
His two principal hands are joined against his chest in form*
mudra. The other four hands show the rosary
Dharmacakra
the
ing
in
the right, and the book and the Abhaya mudra
and the Varada pose
on
a lotus.
in the
33.
sits in
left.
Yamadanda Lokesvara.
on a
He
lotus.
is
sword, the lotus and the Vajra, while his three left display the
bowl of gems and an unspecified mudra (Karana ?).
fruit,
the
BUDDHIST ICONOGRAPHY
398
He
34-
is
represented as
36.
stands
on
a lotus.
Two
Karandavyuha
in the left.
He
Lokesvara.
is
a lotus.
sits in
38.
He
Sarvanivaranaviskambhl Lokesvara.
is
armed and sits in the Vajra paryahka 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.
He
Sarvasokatamonirghata Lokesvara.
is
40.
and
He
Pratibhanakakuta Lokesvara.
sits in
is
He
against the chest with his right hand and the bowl of
41.
Amrtaprabha Lokesvara.
He
also
is
gems
in his left.
and
sits in
his left.
42*
Jaliniprabha Lokesvara.
and
on a lotus
sits in the
with his
43.
and
He
Vajraparyahka attitude
in his right
also
on
is
a lotus.
He
chest
left.
Candraprabha Lokesvara.
He
also is one-faced
on
a lotus.
and two-armed
He
Vitarka mudra with' his right hand and holds the stem of
the chest with his
left*
exhibits the
a lotus against
APPENDIX
44.
He
Avalokita Lokesvara.
also
399
is
He
45*
hands and
faces as
No.
also
He holds
44.
He
Vajragarbha Lokesvara.
left.
He
Sagaramati Lokesvara.
in
is
all
the Varada
48.
mudra with
No. 44 in all
hand and displays
identical with
is
in his
left
his right,
He
Gaganaganja Lokesvara.
also
is
He
Akasagarbha Lokesvara.
also
is
No. 44
in all
in his right
hand
identical with
mudra
identical with
No. 44 in
all respects,
right
50.
Ksitigarbha Lokesvara.
the Varada
god
He
carries a tray of
mudra
in his
also
gems
is
identical
in his right
in
the
left.
Srstikanta Lokesvara.
He
left.
is
He
stands on
displays the Varada pose with his right hand,
while his empty left hand rests near his navel.
large number of
four-armed gods issue from various parts of his body, while Amitabha
a lotus.
Samantabhadra Lokesvara. He
is
55.
Maharatnakirti Lokesvara.
He
is
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
"
'
BUDDHIST ICONOGRAPHY
400
56.
Mahasankhanatha
pects with
No
He
Lokesvara.
is
identical in
all
res-
Here the
bears different
symbols.
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.
Mahasahasrasuryya Lokesvara. He is eleven-faced and eightarmed and stands on a lotus. Each of his two principal hands exhibits
the Abhaya pose against his chest.
The remaining hands show the
57.
Varada pose
Utpala, the bow charged with an arrow, and the vessel in the three
This form of Lokesvara is very popular in Tibet.
left*
No.
Mahamanjudatta Lokesvara.
In
all
other respects he
is
similar
three
59.
left.
He
Mahasuryyabimba Lokesvara.
62
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.
to
No.
61,
in
his
except
that he holds
He
also
is
similar in
form
in his three
left.
He
form to
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.
64
No.
Maha*Abhayakan Lokesvara.
also
is
different.
similar in
401
Fig.
Fig.
3(A)
Halahala Lokesvara
51
Fig. 2 (A)
1(A)
Hayagriva Lokesvara
Mojaghanjabala Lokesvara
Fig.
4(A) Hariharihari
Vahana Lokesvara
402
6(A)
5(A)
Mayajalakrama Lokesvara
Sadaksan Lokesvara
Fig. 7(A)
"Anandadi Lokesvara
Fig. 8(A)
Vasyadhikara Lokesvara
Fig.
Fig.
403
Fig. 9(A)
Potapada Lokesvara
Fig.
11(A)
Varadayaka Lokesvara
Fig.
10(A)
Kamandalu Lokesvara
12(A)
Jatamukuta Lokesvara
Fig.
404
Fig. 13(A)
Sukhavati Lokesvara
Fig.
15(A)
Mayajalakramakrodha-Lokesvara
Fig. 14(A)
Pretasantarpana Lokesvara
Fig.
16(A)
Sugatisandarsatxa Lokesvara
405
17(A)
Nilakantha Lokesvara
Fig.
Fig.
19(A)
Trilokasandarsana Lokesvara
Fig.
18(A) Lokanatha-
Raktaryyavalokitesvara
Fig.
20(A)
Siihhanatha Lokesvara
406
Fig. 21 (A)
Khasarpana Lokesvara
Fig.23(A)
Vajradharma Lokesvara
Fig 22(A)
Manipadma Lokesvara
Fig.
Pupala
(?)
24(A)
Lokesvara
407
Fig.
Ufnauti
25(A)
Lokesvara
(?)
27(A)
Brahmadanda Lokesvara
Fig.
Fig.
26(A)
Vrsnacana Lokesvara
Fig. 28(A)
Acata Lokesvara
(?)
408
29(A)
Mahavajrasattva Lokesvara
Fig.
31(A)
Sakyabuddha Lokesvara
Fig.
Fig. 30(A)
Visvahana Lokesvara
Fig.
32(A)
Santasi Lokesvara
409
Fig.
33(A)
Yamadanda Lokesvara
35(A)
Vajrahuntika Lokesvara
Fig.
52
Fig.
Vajrosmsa
34(A)
Lokesvara
36(A)
Jnanadhatu Lokesvara
Fig.
410
37(A)
Karandavyuha Lokesvara
Fig.
Fig.
39(A)
Sarvasokata
monirghata Lokesvara
Fig.
38(A) Sarvanivarana-
Viskambhl Lokesvara
Fig. 40(A)
Pratibhanakakuta Lokesvara
411
41(A)
Amrtaprabha Lokesvara
Fig.
43(A)
Cardraprabha LokesVara
Fig,
42(A)
Jalimprabha Lokesvara
Fig.
Fig. 44(A)
Avalokita Lokesvara
412
Fig. 45(A)
Vajragarbha Lokesvara
Fig. 47(A)
Ratnapani Lokesvara
Fig. 46(A)
Sagaramati Lokesvara
48(A)
Gaganaganja Lokesvara
Fig.
413
Fig.
49(A)
Akasagarbha Lokesvara
Fig. 51(A)
Aksayamati Lokesvara
Fig.
50(A)
Ksitigarbha Lokesvara
Fig.
52(A)
SrstikantS Lokelvara
414
Fig.
53(A)
Samantabhadra Lokesvara
Fig.
55(A)
MahjLratnakirti Lokesvara
Fig. 54(A)
Mahasahasrabhuja Lokesvara
Fig.
56(A)
Mahasahkhanatha Lokesvara
415
Fig. 57(A)
Mahasahasrasuryya Lokesvara
Fig. 59(A)
Mahapatala Lokesvara
Fig. 58(A)
Maharatnakula Lokesvara
Fig. 60(A)
Mahamanjudatta Lokesvara
416
Fig.
61(A)
Mahacandrabimba Lokesvara
Fig.
63(A)
Maha-Abhayaphalada Lokesvara
62(A)
Mahasuryyabimba Lokesvara
Fig.
Fig.
64(A)
MahS-Abhayakari LokesVara
417
Fig.
65(A)
Mahamanjubhuta Lokesvara
Fig. 67(A)
Mahavajradhatu Lokesvara
53
Fig.
66(A)
Mahavisvasuddha Lokesvara
Fig. 68(A)
Mahavajradhrk Lokesvara
418
Fig. 69(A)
Mahavajrapani Lokesvara
7KA)
Fig.^
Amoghapasa Lokesvara
Fig. 70(A)
Mahavajranatha Lokesvara
Fig. 72(A)
Devadevata Lokesvara
419
Fig.
73(A)
Pindapatra Lokesvara
Fig. 75(A)
Ratnadala Lokesvara
Fig.
74(A)
Sarthavaha Lokesvara
Fig. 76(A)
Visnupani Lokesvara
420
Fig. 77(A)
Kamalacandra Lokesvara
Fig. 79(A)
Acalaketu Lokesvara
Fig.
78(A)
Vajrakhanda Lokesvara
Fig.
Sirisara
80(A)
Lokesvara
421
Fig. 81 (A)
Dharmacakra Lokesvara
Fig.
Sarasiri
83(A)
Lokesvara
Fig. 82(A)
Harivahana Lokesvara
Fig. 84(A)
Harihara Lokesvara
422
Sirhhanada Lokesvara
Fig.
86(A)
Visvavajra Lokesvara
Fig.
Fig.
87(A)
Amitabha Lokesvara
Fig.
88(A)
Vajrasattvadhatu Lokesvara
423
Fig. 89(A)
Visvabhuta Lokesvara
Dharmadhatu Lokesvara
Fig. 91(A)
Vajradhatu Lokesvara
Sakyabuddha Lokesvara
Fig.
Fig.
90(A)
92(A)
424
93(A)
Cittadhatu Lokesvara
Fig.
Fig. 95(A)
Santamati Lokesvara
Fig. 94(A)
Cintamani Lokesvara
Fig.
96(A)
Manjunatha Lokesvara
425
Fig.
97 (A)
Fig.
^
Visnucakra Lokesvara
Fig. 99(A)
Visnukanta Lokesvara
54
Krtanjali Lokesvara
Fig.
100(A)
Vajrasrsta Lokesvara
426
Fig. 101(A)
Sahkhanatha Lokesvara
Fig. 103(A)
Nityanatha LokeSvara
Fig. 102(A)
Vidyapati Lokesvara
Fig.
104(A)
Padmapani Lokesvara
427
105(A)
Vajrapani Lokesvara
Fig.
107(A)
Vajranatha Lokesvara
Fig.
106(A)
Mahastbamaprapta Lokesvara
Fig.
Fig.
108(A)
Srimad-Aryavalokitesvara
BUDDHIST ICONOGRAPHY
428
65.
He
Mahamanjubhuta Lokesvara.
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.
68.
He
Lokesvara*
Mahavajradhrk
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
He
left.
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
69.
the
Mahavajrapani Lokesvara.
book
also
is
identical with
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
empty fourth
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
god
carries
APPENDIX
75.
He
Ratnadala Lokesvara.
429
also is similar to
No.
73, in all
in his right
res-
hand,
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,
78.
He
Vajrakhanda Lokesvara.
also
is
similar to
79.
He
Acalaketu Lokesvara.
mudra
also
in the right
Sirisara
Lokesvara.
(?)
He
except
No. 73
in his right
in
all
hand
But he
is similar to No.
73.
hand and the Pindapatra (the
80.
73,
also
right shoulder,
similar to
is
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
difference
is
(?)
He
Lokesvara.
also
is
identical with
No.
73.
The
left.
Harihara Lokesvara.
except that
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.
Visvavajra Lokesvara. He also is similar to No. 73 with the
difference, that here the god displays the Varada pose with his right
86.
Amitabha Lokesvara.
Similar to
right
BUDDHIST ICONOGRAPHY
430
Dharmadhatu Lokesvara.
Identical with
No. 73
but here
in form, but
here the god holds in his two hands the water-pot near his navel.
lotus in his
92.
left.
Sakyabuddha Lokesvara.
73,
left
except that
held near
is
the navel.
Cintamani Lokesvara.
73,
here he carries the Caitya in his right hand while the empty
near his navel.
95.
bough of
96.
his right
Manjunatha Lokesvara.
right
god
against his
left.
99.
all
but here
Visnucakra Lokesvara.
Krtanjali Lokesvara.
73,
holds the Cakra in his right hand and the Gada in his
98.
held
left is
Santamati Lokesvara.
except that
Visnukanta Lokesvara.
his right
100.
Vajrasrsta Lokesvara.
god
No.
chowrie
Identical with
carries the
left.
73,
the difference
in his right
hand
in his left.
Sankhanatha Lokesvara.
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.
APPENDIX
431
book held
104.
in his left
He
Padmapani Lokesvara.
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,
in
which he stands
is
also different*
He shows
Ardhaparyanka.
106.
Mahasthamaprapta Lokesvara.
He
is
similar in
all
respects
and stands on a
lotus.
He holds
the'navel.
He
Srfmadaryavalokitesvara.
is
left
near
GLOSSARY
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
and also, from the Capetadana
elevated, pointed downwards
mudra, which shows the right hand menacingly extended upwards,
just as is done in dealing a slap.
;
Aksamala or Mala,
Roman
fruit,
called in
Sanskrit, Rudraksa.
It
other
arrow.
The
right leg
is
the
bow
charged
to
with an
name of
mudra, or the
which the two hands are clasped
as the Sarvarajendra
upward with
characteristic
all
fingers
erect or slightly
bent.
is
This
is
the
also exhibited
by Namasangiti.
See the weapon, for instance, in the image of
When the goad is surmounted by a Vajra, it is
called Vajrankusa.
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
;
called Bhadrasana.
GLOSSARY
433
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,
It
sitting.
seat of a lion*
is
of various
kinds, such as
the
Paryafikasana,
Asoka,
the absence of
sorrow
flowers.
India.
it
It is
is
always
used to
this tree is
regarded as sacred in
women cause
to blossom.
mudra should be
mudra
in
This
which case
attitude.
means a
takes the
'seed'.
form of
In Tantra
Brahmakapala, or
who
is
it
a deity in the
symbol of Jambhala.
the Brahmasirah>
is
of matted hair.
The Buddhist
all
of them
gods, carrying
faith.
BUDDHIST ICONOGRAPHY
434
Brahma si rah
see Brahmakapala.
the Caturmaharajikas
or
the
Great
Rulers
of the
Cakra,
See Stupa.
Wheel or
God Visnu
disc.
It
is
Hindu
or Krsna.
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
Chintamani
See Sanmudra.
the
gem
The
jewel
is
sometimes
See Sakti.
trans-
When the
staff
is^
surmounted hy
a Vajra,
it is
called Vajradanda.
Dharani or Dharim, meaningless conglomeration of syllables, occasionally 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
or.
different deities.
II.
App,
p. 225, et sqq.
GLOSSARY
mudra
representation of this
Dhupa, incense
in
it
whom
GNB,
p. 187.
See Capa.
refers
which instruction
with
Java.
See Getty
stick,
Dhyana, meditation
is
435
is
fragrance.
the worshipper
is
to identify himself.
Dhyanasana, or Vajraparyahkasana,
all
serpents.
Garuda
is
represented
sharp beaks, generally with hands clasped against the chest.
Ghanta,
bell
when
ghanta, which
the bell
is a
is
surmounted by
a Vajra,
it is
called Vajra-
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
is
It
smaller
is
different
in size
and
with blood
is
called
it is
called Asrkkapala,
Mamsakapala.
The
made of
when it
deities are
a skull,
is filled
flesh
it
supposed to partake of
Karana, mudra. Any hand showing this mudra is outstretched with the
index and the little fingers erect, while the thumb presses the two
BUDDHIST ICONOGRAPHY
436
See Kapala.
It
called Vajrakartri
it
is
when
Khadga, sword.
In
any
case,
be so called even
if
nothing else
is
and
it
will
present.
The
Ksepana, the mudra of sprinkling, exhibited by Namasanglti.
two hands are joined palm to palm with fingers all stretched, the
tips
of which
are turned
downwards and
taining nectar.
enumerated
in
See Kalasa.
Mandala, the magic circle, containing mystic figures and diagrams, and
In the
figures of gods and goddesses constituting the Mandala.
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.
a contracted
many
attri*
enough.
Mayura, peacock
Mudgara, hammer
and Mayurapiccha
;
it
may
also
mean
signifies feathers
a staff or a mace.
of a peacock,
GLOSSARY
437
hurl
are
lords of snakes.
Nakull,
riches.
fingers outstretched or
slightly
bent
when
chimes melodiously.
which
Padma, lotus,
may be of any colour except blue. The blue lotus
is designated by the word
Utpala or Nllotpala. In Tuntric
the leg moves,
it
It is
is
in
Parasu, axe.
Paryaixka, see Dhyanasana.
Pasa, noose or lasso ; when a Vajra
is
it,
it
is
The noose is
called the Vajrapasa or the adamantine noose.
required to bind the host of the Maras and all other wicked
beings.
Patra, begging
BUDDHIST ICONOGRAPHY
438
means
Buddhist Iconography.
Pustaka,
book
form of
in the
or
Prajnaparamita
Nagarjuna
is
the
The book
Ratna, jewel.
or the
For the
sixteen jewels.
GNB,
194.
p.
See
is
a collection
of 312 Sadhanas.
is
god to
called
whom
she
is affiliated
Svabha' (own
She sometinles
Samadhi, meditation
as the
Sakti.
being the
carries the same
the deepest
a description of the
Sankha, conch-shell
as a
light,
it is
especially given as a
shell penetrates
ancient Indians.
Sanmudra,
the
different
II
"The torque, the bracelet, the jewel, the girdle, the ashes and the
sacred thread are ascribed to the gods in the form of mudras
(ornaments), which represent the six PSramitas".
GLOSSARY
439
is
the arrow.
It is
left
deeds.
Simha, lion.
Most of them
lion-seat
or the lion-
is
is
as
the charac-
surmounted
a Vajra.
by
Stupa see Caitya.
Suci,
mudra used
Sunya, translated as 'Void' in the absence of a suitable and more exIt signifies a state of the mind after Nirvana,
pressive word.
about which neither existence, nor non-existence, nor a combinaof the two can be predicated.
This
unya
transforms
in
Vajrayana
itself in
is
identified with
Compassion which
Prime Cause of
all
manifestation.
Suryya, the sun or the disc of the sun which is held in one of her
hands by Marlci and which is the seat of many Buddhist gods
and goddesses. Rahu is said to devour the sun and the moon.
Svabha Prajna,
see Sakti.
Tarjani,
mudra
is
raised in a
menacing
attitude.
.,
."
BUDDHIST ICONOGRAPHY
440
raised
upward
The palm of
hand
the
Tathagatas, the Buddhas who have attained the highest state of perfection according to the Buddhists. In the Sadhanamala, the word
is
number
with reference to
the
among them,
Sambuddha,
and the
like.
the infernal.
*
Trisula, trident.
Par vat I.
Utpala, see Padma.
Vahana, the vehicle or the mount of gods the mount may be any
animal including men, demons and corpses. Sometimes even the
;
it is
called a
all
evils.
Vajrahunkara, mudra.
The
chest with
two
hands holding the Vajra and the bell, both of which are turned
inwards. But if the two symbols and the hands are turned outward the mudra will be called the Trailokyavijaya mudra.
Vajrakartri, see
Kami*
rnkhala.
GLOSSARY
441
The Mahoba
is,
figure
of Khadiravam
lotus.
mudra assumed
known
known
is
seen
as the
Vitarka,
a jewel
is
in discussion.
is
an example
See Padma.
See Vajra.
This mudra
is
altogether un-
the right arm bent, all fingers erect except either the index or the
ring finger which touches the thumb so as to resemble a ring. The
hand
is
her embrace.
who
mountains and
their
chief
56
is
cruel habits.
INDEX OF
WORDS
Ahankara, 27, 30
Abhayakara Gupta,
3, 4, 47, 82,
Ajanta,
155
Abhidhanottara Tantra, 4
Abhimukhi
Bhumi,
symbol
335,
colour
335,
dhyana
335,
described
335,
described
333,
331
manifestation of, 101,
44
as,
387, di-
84,
dhyana 84
84,
described 84,
51, colour
51,
vahana 51, nnidra 51, symbol 51, dhyana 51, described 51, images 51, in
stupa 5 1 direction 5 1 family 5 1 forms
,
of the East 52
52, lord
eight-armed form
origin
in the
temple
described 86,
Alchemy, 8
Amravati, 5
lOOf,
in-
367, colour
367,
symbol
367,
Adibuddhayana, 187
Adiyana, 187
Advaya, 30
Advayavajra,
9,
Amitabha,
49,
troduction 38 7n
Aditya,
dhyana
images 85
Adibuddha,
86,
cult of,
85,
symbol
333, dhyana
symbol
Aksayamati Bodhisattva,
42, 43,
Akanistha heaven, 34
rite, 166
Akarsana
341
Adibuddha,
39
Akasagarbha Bodhisattva,
symbol
5,
48
vahana
49,
of Avaloki-
from
145f,
Amitaprabha
(also
Amjrtaprabha),
90f,
Advayavajrasahgraha, 25
Amitayus, 35
Agni, 362, colour 362, vahana 362, direction 362, dhyana 362, described 362
97,
described 98,
images 362
symbol
97,
dhyana
BUDDHIST ICONOGRAPHY
444
Arya'Manjulrlmulakalpa, 100
images 96
Amoghasiddhi
colour
mudra
55,
symbol
55,
dhyana
vahana
55,
55f,
55,
described 56,
55-6,
by Maitreya
descrip-
Sudhanakuma-
ra 129
151
Raksita, 20
Anusmrti, 26
Aparajita, 183
Aparajita, 151, 222, colour 151,
151, direction 151, see also
described
Sitatapatra
Astabhuja Marici, 211, colour 211, residence 211, described 211, attendants
211, images 212
Atamahabhaya
Tara,
245,
mudra
245,
name
308,
Astronomy, 8
120,
explained
Arapacana,
colour 120, companions 120, symbols
images
335
AsVaghosa, deified 35
Atila Dlpankara, 16
Avalokita Bodhisattva 143
Amitabha
Pratisariivit, 343,
343
Arolik, 45
Aruna, 207
124,
special
qualities
125, character
124
sadhanas
125.
228,
as
companion, 228,
dhyana 228, described 228, images 229
Arya-JangulI,
white
308,
Aparajita
343, dhyana
81)
Ascetic, 25
Artha
senti-
8, 12, 13,
tiated
of 389, 390,
Anupama
Asanas, significance
ments in 390
Asanga,
79, 191
Animal-faced
four-armed 219,
219,
Analarka, 254
Ananda,
Arya-Vajravarahi,
Amrtaprabha
Aryatara, 229,
Amrtalocana, 249
Amrtamukhi, 249
Amrtananda, 2, 3,
AvalokitesVara
88,
symbol
Bodhisattva,
88,
dhyana
88f, colour
88, described
INDEX OF
83,
images 89
dhyana
colour
327,
Balaparamita,
445
Bimba (icon'drcle), 26
Birbhum 38
Blue colour, significance of, 154
Bodhi21
B
378,
WORDS
327,
symbol
Bodhicaryyavatara 5
Bodhicitta, 25, 27, nature of> 393
Bodhi knowledge 1 1
Bodhi mind, 28, 29,
Karuna 31
class
327
82,
Banerji, R. D. 39
Bendall, 35n
lists of,
Bengal
99,
5, 6,
Bhadrapala Bodhisattva,
96,
96, des*
companions
130,
Bodhisattva, Padmapani, 49
Bodhi sattvay ana 8
Bodhnath, stupa of 32
Borobudur temple 39
Brahma
Bhadrasana 229
27, 250, as
82, with
group of eight 98
Bharhut,
with
charged
30,
Mara
Bauddh)
159, 195,
colour
31
(also
parasol
bearer 246,
Bhatgaon, monasteries n, 41
Bhattasali (Dr. Nalini Kanta),
1,
16,
39,
Bianniavawana Parana 18
160,
form 160
Brahmananda 190
Brahmas, Four, 21
Bhismabhagini, 236
Brhaspati, 368,
Bhota 193
symbol
129,
135,
152, des-
Bhumis,
Bhumi
ten, 28
deities,
Buddha
Bhutadlmara
dhyana
182,
182,
mudra,
182,
sadhana
of 183
Vajratara 240, in
of
5,
Buddha Sakyasimha 48
Buddhas 20
Buddhahood 8, 29
Buddhadakini 163, 218, Sakti of Maha164, described 164
160,
159,
mandala
dhyana
of, 160,
159,
described
images 160
Buddhism, destruction of 39
Bhuvanesvarl 117n
Buddhist esoterism 10
Buddhist god of love 115
Bihar 6
the form
20, as
sadhana
cribed 135
symbol 368,
of a lotus 240
maya
333
182,
of
Bronze
colour, 368,
BUDDHIST ICONOGRAPHY
446
Buddhist
Iconography
scope
384,
384,
Buddhist monasteries 4
Buddhist pantheon 384, in Guhyasamaja
384, first deifications 384, Kulas and
Saktis 384
same
(planet), 368,
dhyana 302,
302,
Chinese,
Chittagong 39
of Usmsavijaya 215,
of
symbol
Maitreya 80
residence
211,
special
Museum
Camunda
colour 365,
365,
colour
312,
Cittavisuddhiprakarana 47
vahana 365,
symbol 312,
names
Candamaharosana
Candarosana
155
4,
Comilla 38
of Marici, 213, un-
Companions, three
named
Confession of
of
Mahakala,
(planet), 367,
89, 120,
121,
Cunda
Dharini
308,
special
220,
name
220,
mantra of 220,
222, place
the
in
mandala,
222,
as
of Mahakala, 347,
features 308
named
deified
Candraprabha Bodhisattva,
companion
381,
21
20
sins,
Constellations,
companion
Carcika,
Compassion (Karuna),
Candavajrapani 236
Candra
form 213
see
Candamahawsana Tantra
Candesvan,
at, 6, 38,]
312,
des-
Chiromancy,
368
302,
direction
302,
Hindu goddess
247,
17,
1,
as Vajrayogini 247
Chhatrosnisa,
Buddhist universe 48
368,
Chhinnamasta
247,
Buddhist Tantra 9
Budha
mudra
221, sadhana
221, images
224,
image
224,
image 224
221,
223,
Baroda
INDEX OF
Cunda Dharinl
220,
o,
museum
nature 312,
images 312
DasabHUmika-SMtra, 28
names of
220,
382
Dharma
220
Deities,
in*
47,
as
392,
of
desires
at*
Dharmakara
101
Dharmakaya 210
Dharmaklrti, 12
Dharmamegha
336,
Bhumi
336,
colour
336,
25,
nature
of 24,
mantra person
29, realisation of 27, single 30, condensation of words, 30, manifestation of
real existence
Sunya 391,
an idea 391, Sunya
Dharma
Pratisamvit
colour
342,
342,
Dharma
332,
332
Dhupa
256,
and others
in
Lokanatha Man-
dala 131
in
391, only
essence 391,
Dhupatara 241,
dhyana
Dhvajagrakeyura 201,
described
(n)
three-faced
201,
described
202,
four-faced
direction 301,
Dhyana
231, colour 231,
231,
241,
241
/oim
202
;
images 202
vahana
mantra
231, companions
dhyana 231, described 231, images 23 1
green 307, special features 307
Dharana 26
Hindu 6
images 337
Dhanada 179
Dhanada Tara,
of
sire
220,
220
symbol
no
337,
description
evolution
number
attendants 213
392, interchange
general des-
10,
sadhanas, 337n, of
183
Deity,
in
337,
yoginl 217
Dance
Dharinl)
merated
33, 156
Damara mudra
(also
cription 338n,
dhyana 321,
Dharani
44,7
D
Dacca,
WORDS
231,
301,
ations
local
conditions 386
326
BUDDHIST ICONOGRAPHY
448
309, images
two-armed
described
described
194, eight-armed
number
352,
Hindu lords of
quarters
251
Dikshit,
Mr. K.
179,
Ellora
5, 39,
229, forms of
194,
194,
on 228, dhyana
126
239
194,
/our-armed
described
as
compani-
cave temples
77
at,
Epidemics 196
Dinajpur 38
W.
liteiature
251,
their
forms 252f;
six
goddesses
Hindu gods
of, 25
205,
215,
Excavations 5
Extraordinary worship 21
F
Fa-Hien 35, mentions Manjus'ri 100
Fever, Hindu god of, 233
Fire-flies, sign
of 26
image of Buddha 5
Five cosmic elements 32
names 47,
mudras 47
Divination 8
Divine Bodhisattvas 47
colour
32,
15,
38,
symbols
47,
42,
47,
Dogmas 8
Dogmatic Form of AvalokitesVara
312,
colour
312,
(?)
207
symbol 312,
Dragons 54
Durangama Bhumi, 335, colour 335, symbol 335, dhyana 335, described 336,
images 336
3,
Durgatiparisodhana 78,
Buddha 76, colour
4
later
78,
name
mudra
Five
Mudras 48
Five senses 47
Five Kulas- 32
of
78,
5,
31
G
Qaekwad's Oriental
Series, 2, 3,
19
32, 45
Dvesarati, queen of
1, 2,
features 307
Dvesa family
50,
First
Disciples, qualifications of 94
Diseases in
Y.),
251,
Door
194, as a
Dombi
193,
Aksobhya 46
E
Earliest sadhana 35
Ekagrata (concentration), 26
Ekajata 151, direction 15 1, colour 151,
described 151, mantra of 29, power of
246
WORDS
INDEX OF
449
Grdhrasya 319
Grunwedel, Professor Albert,
Ganapati Sastri, 14
Gandhahasti Bodhisattva
Gryphons 54
Gurdians of gates, four 154
symbol
95,
95,
95,
dhyana
colour 95,
described 95,
Quhyasamaja,
5, 32,
35
Qunakarandavyuha, 124
241, described
Halahala
241
name
381,
des-
Gandharvas, lords
379
of,
132,
ed 394
al
in
Nepal
136,
dhyana
136,
Hariti35
151
Gautama 77
38, 35
Germ-syllable (Bija) 25
Getty, Miss Alice 1,166,207,209
Bodhisattva
76,
colour 76,
colour
163,
311,
image 233
319,
23
God-realisation 17, 25
131
mudra
mudra
described
dhyana
sadhana 165,
;
163
Grahamatrka 224,
another form:
57
colour
Handwritten MSS, 5
Hara 212
Garudasya319
Gatha style 14
GaurL Hindu goddess 184
225
132,
Sakti described
Ghoracandi,
132,
132-133,
cribed 381
Godhead
(Lokesvara),
companion
Ghantapani
Gaya
45,
teach-
Qukyctsiddhi, 12
see Ganapati
Gandha 256
Gmdharva
in 221,
13n,
385
trampled 197, presence of 388-9, humiliating role 389, often trampled under
;
Cunda
dormant
ings of 385,
feet,
images 96
389
Heruka Tantra
4, 155, 217,
Herukavajra 254
248
BUDDHIST ICONOGRAPHY
450
Hevajra 154, 163, forms of 157, two-armed (i) 157, colour 157, PrajriS 157, dhya-
na
described
157,
157,
sadhana 157;
sadhana 158,
six-armed
(tii)
dhyana
sixteen-armed
(iv)
Indra
35, 186,
1,
Mara
250
158,
158,
Infinite Spirit 25
158,
Interchange of deities
Involution, process of 31
Is'ana 361,
Hinayana 8
1 1
Hlnayanists
Hindu pantheon
Jagaddala
19
Jainas
6,
under
trampled
389,
animosity
344, nature
important
deities
names
symbol
344
described
100
Jalinikumara 121
Jaliniprabha Lokesvara, described 398
17,
35,
23 7f
Yaksa 178,
forms
202, 244, a
237,
single 238,
image
39,
sadhana
178,
described
178,
dhyana
178,
Yab-yum
178,
238,
Jangull
power
I
388
Identification 30, of
Buddhas important
386, difficulties in
necessary
figures
387,
Museum,
Calcutta, 2
191,
191
mudra
192,
192,
192,
192,
symbol
of, 386,
Man-
Horse-neck 165
way
238,
Prajna 238,
Hodgson, B. 2
Holy books 5
Horoscopy
90,
Hiranyagarbha 212
Nepal of Wright, 51
Hiuen Thsang 12, 80, mentions Manju^ri
Indian
colour 90,
90,
dhyana 90
90,
images 90
Jambhala
344,
History of
tial
41
Jaiiniprabha Bodhisattvn
Hindu gods 158, 344, their parental Dhyani Buddha 344, position in the Mandala
Hindu gods
number
queen of Ratnasambhava 46
colour 361, vahana 361, direc-
Irsyarati,
Hevajra TantM, 4
Hindus
features 309
in
308
white
green 307,
340
Japanese
Jar of consecration 91
Indifference (Upeksa), 21
Indonesia 39
from
INDEX OF
Java 5, image of irajnaparamita found
198
in
Javanese Art 39
WORDS
199,
Kanaka-Prajnaparamita 199, colour
mudra 199, symbol 199, described 199,
described 379
Jayatara 151, colour 151, described 151
Jewel family of Ratnasambhava 48
Kapata 317, colour 31 7, symbol 317, dhy5na 317, described 3 17, images 317
Jinajik 45
5,
11,
124,
143,
sadhana
from 126
Jivatman 27
Karma
Karmakul! (Amoghasiddhi), 49
Karmavasita 330, colour 330, symbol 330,
dhyana 330, described 330, images 330
symbol
images
96,
dhyana
96,
family 56
colour 328,
Jnanaparamita 328,
symbol
328
Karttikeya,
images 364
Jnanapradipa, Samadhi 45
Karuna (compassion),
Kasia 38
Joyousness (Mudita), 21
9, 28, 30,
43
7,
41
Kaulas 46
K
Kailasa,
Kern
mount 379
Kakasya319
Kalacakra,
186,
dhyana
187,
188, blue
(H.) 12,
31n
colour
186,
described
colour
188,
form
187f,
187,
images
an attempt
at
unification 389
226,
companions
226,
described 227,
Kalihrada 101
Kalika,
(same as
Akalagarbha) 86,
dhyana 86, in the Lokanatha Mandala
Khagarbha
companion
of
Mahakala,
347,
vahana 149
Kamadeva,
as
Kamakhya
16, 17
Kharuiaroha 218,
131, described
Kb asarpana
symbol
colour 128,
128,
ated 128,
Kamalaslla 15
described 129
symbol
131
BUDDHIST ICONOGRAPHY
452
Kinnaras, lords of, 379
Kles'a
Knowledge, essence of 23
Kotbar (sword-cut)
101
Krodha
deities
252
KrsnSnanda Agamavagis'a
90
Laksml
Krsnayamari 167
armed
168, colour
form
dhyana
168,
177,
described
177,
dhyana
168
41
form (u)
Lama
168,
177
sadhana 177,
images
177f,
168,
companion
168,
described
six-armed
(in)
symbol
168,
178
218, 321,
monasteries
in,
des-
Kriyasamuccaya 4
325
ance 31 7
Locana, Buddhasakti 54, colour 54 symbol
54, family 54, Sakti of Vairocana 54,
ons
Asana
130,
in
130,
compani-
dhyana
vahana
Lokanatha
of Ucchusma 239
Kukkurlpada, Mahasiddha 163
Kukku{apada, mount 80
images 78
Lokottara 31
Kulacara 47
Kulas (families) 11, 42, 46, five 44
KuleJa 32, 42
KulilesVarl,
sana
78,
dhyana 77,
described
78,
Padmapani 48
Luipa (Siddhacaryya), 12
described 347
Kuncikadhara 316
Kurkihar
5, 35,
Kurukulla
16,
147,
6,
124,
144
38
white
Madana
(also Ananga),
115
Madhukara
symbol
INDEX OF
WORDS
453
379
Madhyamaka
Magadha
5,
8,
Magical practices
9,
and Buddha
163,
describ-
companion of
colour
347, weapons
347,
Mahakala
dhyana
as
Mahamayur!
RaksS
234,
goddess
234,
described
Maha-Abhayakari
LokesVara,
400
dhyana
255, direction
Sakti
306, forms 306, images 306, as companion 228, 231, 232, dhyana 228, 232,
Mahapadma
forms
40J
Mahaclna 189
303
na 189, dhyana
189,
189, sadha-
origin
189,
images
features 309
190,
Mahadeva 191
Mahakala 255,
blue
191,
243,
colour 303,
symbol
another form
244, dhyana
244,
309,
des-
fara
special
Mahasadhana 25
347, nature 347,
forms 345
347,
of
(snake) 148
form
(i)
function
two-armed,
Mahasahasrabhuja
399
described
Lokesvara,
Raksa
217,
Mahasahasrapramardatt!
goddess 217, sadhana 216, colour 216,
(iv)
sixteen
form
346, sym-
companions
347
Hindu god
344f,
Mahamanjubhuta
LokesVara,
described
described
okelvara,
Mahamanjudatta
400
MahSmantranusarin! 200, Raksa goddess,
I
304
164,
303
described
Mahasahasrasuryya Lokesvara,
400
Mahasanghikas 13,
Mahas'ankhanatha
14, 143
LokesVara, described
Mahasarasvat!
MahaTitavat!
colour 305,
symbol 305,
dhyana 305, described 305, forms 305,
fotm
305,
Mandala of
images 305
Mahalrl TSra
com-
MahamayS
400
428
in
mudri
BUDDHIST ICONOGRAPHY
454
313
Malya
companions
227,
symbol
89,
89,
images 89
described
Mahasthamaprapta LokesVara,
see
Mamaki
Mala
bhya
Mahasukha theory 9, 11
Mahasuryyabimba LokesVara,
described
400
Mahnttari Tara
307,
features 307
2, 3,
104,
described
images 120
Maniupattana 101
Manjusri 35, 38, 43, god of learning 95,
117n, 166, 178, place in the pantheon
428
Mahay an a
Mahnyana
8,
two kinds
9,
100,
deities in 31
images
Maha^anaiutTtilunkara 8
tect
101,
Mahayanists 11
Mahayas*a 160, direction 160, form 160
Mahesvara (Mara) 159, 364, colour 364,
forms
Mahayanasutra
15
Mahoba (Mahotsavapura),
Mahodadhi
Maitreya
form 160
Buddha
Future
symbol
80,
stupa on the crown 80, image in Udyana 80, heads the list of Bodhisattvas
ftoddhisattva
symbol
images 94,
78,
images 78
form 93
dhyana
93,
94,
companion
dhyana
77,
100,
sire
spiritual
102,
panions
images
various
com-
102,
95,
archi-
kula or
102,
simplest form
102,
exploits
102,
Manjusr!
102, with
94, colour
94,
sym-
119
80,
dhyana
in the
images 81
Lokanatha Mandela 131, colour 131,
;
images
Cunda
in
78,
(Nepal) 100
221
described
of Vajra-
hill
colour 93,
described
as a minor god
described 81,
life
an engineer and
132
100,
81,
vahana 119,
sana
131
dhyana
94,
113,
Manjukumara
82
(Hindu goddess)
193,
1,
Mandalas
as
described 52,
52,
images 52
Manasa
Manidhara
431
dhyana
52,
Akso*
52, consort of
52, family
119,
form
described
119
118,
119,
images
dhyana
form (m)
119,
Manjuvara
symbol
117,
117,
39117,118
Mantras 2, 28, power of
29, repetition
of
INDEX OF
29, letters deified 388,
fication
examples of
388, of Vajratara
dei-
243, appli-
Mantrayana
394
Momentary consciousness 28
Mongoose
Mahamantranusarini
see
304
Mantras*astra
455
Monastery, Buddhist
cation of 243
Mantranaya 9,
Manranusarinl
Mantrapurusa
WORDS
16, 41
Mortal Bodhisattvas 79
27, 28,
Mortal Buddhas
9,
14, 15
Bodhi
their
of
marks
76,
with Maitreya 77
Mortal BudJhas'aktis
79,
enumerated
named 79
Mrtyu Mara (Mahelvara) 159
MaricI
time of invocation
dhyana
232,
Mudita (Joyousness),
Mudras
Mukunda
of 393
colour 315,
symbol 315,
dhyana 315, described 315 images 315
315,
211
position of image 210, described
Marl Dharinl 339, colour 399, symbols
Muraja
special
21
9, significance
Mukundadhara 315
79,
features 308
Maricipicuva 210, other names 210, sadhana 210, dhyana 210, described 210, com-
Mann!
their
Mulaghosa Vihara 15
315, colour 315,
symbol
315,
des-
cribed 315
Musee Guimet 4
form 160
Museums of
Eastern India 6
Mar- pa 6
Mathura school of
Mati 350
description 314
Mysticism 8
Matsyendranatha 6
Mayadevi, dream of 31
139,
dhyana
139,
images 139
symbols
139, described
94
Nagarjuna
12,
35,
rescued Prajnaparamita
Sidhhapursa 193
151,
Nagas35, 197
152,
form of
female
described 152
Sunya 390,
consort
Mayurbhanj 6
Mayurl see Mahamayuri
Medha
350
Medicine
160,
and
Vajravarahl 203,
362
Miniature paintings 5
Mixed Sanskrit
form
160,
Mlecchas 187
Moha
general description 38 If
family 32, 45
MojaghSnjabala
(?)
Lokesvara, described
Nalanda
5,
6,
35,
museum
at
38,
BUDDHIST ICONOGRAPHY
456
Omniscience
theory originated at 38 7n
colour 206,
Namasanglti 206,
206,
Buddha or
Bodhisattva
dhyana
and Manjusri 206
images 207,
literature
206,
Padma
Naropa 6
164,
direction
Padmamunda 238
PadmanarttesVara 133, varieties 133f
eighteen-armed
dhyana
Navagrahas 213
foirn
sadhana 133,
133,
7,39
Nepalese art 39
mudra
symbol
140,
companion
(11)
134,
two-armed
symbol
companions
134,
colour 134,
vahana 134,
134,
sadhana 140,
134t/brm
5, 6,
Padmantaka
140,
images
described
dhyana 140,
and Vajniraga 141
Padmapani
colour
Nstha Yogin 6
140,
164,
(i)
mudra
(snake) 148
Padmadakini
Padmakul! 49
Nepal
28, 29
Pratisamvit
colour
88,
images
12
343,
35, 51,
343,
Padmasambhava (Guru) 6
Padmavajra 12
PadmavasinI 135, colour 135, symbol 135,
described 135
Padmosmsa
151,222
direction
dhyana
300,
symbol 300,
300, described
NitfwniwyosSt'ali 3, 4, 47, 82, 385, importance 385, date 385, Cunda in 221
O
Objects, external, 29
Pala period 19
Paftcaiaksa 5
symbol 381
Pandara (Buddhas*akti)
124,
Dhyani Buddha
symbol
50,
50,
family
50,
50, colour
Pantheon
32, 41,
INDEX OF
world pro-
perty 385
ParamasVa
Paramatman 27
Paramitanaya 9
Paramitas, ten 243, twelve 324,
common
their nature
323,
329
Dharinl deity 220, images
17,
dhyana
vahana
mantra 232,
233-4, as
Dhanni
339,
196,
image 197
339,
233,
colour
232,
images
339.
museum
at
described
151,
168,
Prajnadhrk 45
Prajnantaka 180, 253, colour 253, direction
253, dhyana 253, described 253, images
253, Sakti 253
Prajnaparamita
1, 5,
326,
another form
197,
1^7,
colour
326,
Cunda
described in
221
symbol
Peiping 3
Philosophical deities,
323
323,
and
deification
of
philosophical
323, their
images 323
Philosophy 8
Phenomenal world, inherent purity of 21
Pigs, seven for Marlci 211
colour
327,
Pita-Prajnaparamita
symbol
198,
198,
colour
198,
described 198,
images 198
Planrts, nine 367, deified 367, their
images 327
Pranidhana Vasita 331, colour 331, symbol
331, dhyana 331, described 331, images
331
colour
249,
Pis*aci,
198,
327,
abstract ideas
Pranayama 26
Pramdhana Paramita
Pestilences, in
333,
334
Pranabindu 26
38
influ-
58
colour
Pradlpatara 222,
151
mudra
images 197
Pis*aci
6,
called
Patna
Potalaka 129
described
dhyana 233,
symbol
power
196,
457
Parnasabarl
WORDS
meaning 342,
deifi-
BUDDHIST ICONOGRAPHY
458
PratyahSra 26
166, worship
PratyekabuddhaySna 8
166,
Pratyekas 20
167
dhyana
Ras*is,
Pratyekayana 9
Prayer 21
383, deified
Preceptor 29
395
Pretasantarpana LokesVara, described
sadhana
colour
141,
Pretasantarpita 141,
141,
images
dhyana
named
383, images
Rati 186
Ratnadakini
164,
164, direction
colour
142
Hindu
Principal
nature
deities,
ten
363,
their
186
origin qf, 45
form 160
Prognosis 8
Raksa
deities
302,
2, 8, 17,
74
87,
24
dhyana
Psychic power 17
324,
324
dhyana
described
311,
311,
images
311,
described 73,
377,
symbol
museum
Rajayoga 26
Rakhaldas (Banerji),
at 38
139,
four-armed
fifth
forms
second
of,
138, colour
Religion 8
Restraint of
305
139;
138,
described 138,
symbol
symbol 330,
dhyana 330, described 331, images 331
138,
Rakta-LokesVara,
318,
Raga family 32
Ragarati, queen of Amitabha 46
Rahu 207, 211, as vahana 149; colour
138,
73,
74*
241
Puspatara 241, dhyana 241, described
(f)
dhyana
73,
Puspa 256
symbol
324, images
Purnagiri 16, 17
form
family
311
396
Pupala LokesVara, described
Purandani 212
377,
74,
symbol 74
302
popularity 332, their worship
18
culture
Psychic
Psychic exercises
Ratnakula 73
Rarnakull (Ratnasambhava) 49
Ratnapani Bodhisattva 74, colour
Process of evolution 30
Ratnadhrk 45
Ratnaketu (same as Ratnasambhava) 45,
popularity 363
3t>3, their
Raksa
383,
wrong deeds 20
Rupa (form)Skandha, 42
Rupa heavens
Rupini
218,
31
described
218,
form 321,
INDEX OF
WORDS
459
Samanya seva 25
Samasrami ed Karandavyuha
Sabaripa, (Mahasiddha) 35
Sadaksari group, 127
mudrl
125,
125,
38,
125,
colour
symbols
125,
compa-
Sadaksari LokesVara
6,
des-
forms of
126,
Sadaksari Mahlvidya
described 126
125,
dhyana
230
Sambara
160f, varieties
summary of
SadhanamaJa
23,
2, 3,
tance 385,
literature
com-
35,
its
16,
19,
20, its
essen-
colour 160,
forms of 161
another form
Sakti
161,
161
lt>l,
dhyana 162,
162n
Sainbodhi 21
impor-
residence
described
211,
31
5,
Sadhus 18
colour
87,
87, described
88,
Sagaramati Bodhisattva
dhyana
87,
87,
Sankhamunda 238
Sankhanatha Lokesvara, described 430
images 88
Sagaramati LokesVara, described 399
Sahasrapramardani see
Sannyasms
Mahasahasrapra-
18
mardani
Santaraksita
Sahet-Mahet 38
9,
15, 28, 41
Sakti 9
Saptaksar
Sakyabuddha
Saptasatika
430
Samantaprabha
Bhumi
images 337
Samantabhadra Bodhisattva 55, family 55,
55, described 55,
a list
images 55,
of Bodhisattvas 62, colour
83,
forms
83,
dhyana 83, 84
Hayagriva
146,
colour
symbol
146,
26
337, colour 337,
symbol
Cunda 220
Santikavidhi 166
Sakya Bodhisattva 35
Sakya Buddha 35
heads
as
Sankhapala (snake) 48
Sanku (in Nepal) 248
symbol
13,
god 32
Sani (planet), 377, colour 377, symbol 377,
vahana 377 dh>ana 377, described 377
336
Samadhi
atten-
211,
Samskara (conformations) 42
Sanchi
date 385
Sadhanasamuccaya 2,
SadhumatI Bhumi 336, colour 336, symbol
symbol
Samjna (name) 42
Samksipta Marlci 210, 211, colour 211,
dants 211
19
83,
160f,
366,
161,
1 1
Samatata 16
colour
Sadbhuja
146,
sadhana
147
Saptasatika Kalpa 146, 147
Saraha (Siddhacaryya)
Sarasiri
(?)
Sarasvat!
137
1,
349
BUDDHIST ICONOGRAPHY
460
Saranath (also Sarnath)
museum
5, 6, 35,
at
Simbhu (Svayambhunath) 6
38
Simhanada
Sarvabuddhadharmakosavatl
342,
342,
colour
342
Sarvakarmavaranavisodhani Dharinl
colour 341, symbol
dhyana
341,
341,
341,
colour
92,
93,
Sarvanivaranaviskambhi
92,
92f,
127,
symbols
127,
images
127,
images
127,
127f,
39
Sarvanivaranaviskambhi
Lokesvara,
des-
cribed 398
Sarvarthasiddha 381,
dhara king
381,
name of
colour
the Vidya-
381,
dhyana,
Sarva^okatamonirghatamati
dhyana
92,
92,
Simhavikridita 35
Sirisara
(?)
92, described
92,
215,
colour 215,
sa-
different
Sitatara,
mudra
companions
232, described
Sarvastivada 9
bhuja 308
sym-
197,
colour 92,
images 92
231,
231
dhyana
Sad-
Sautrantika
Sixteen Boddhisattvas 4
Skandhas
Science 8
Brahma 59
Small- pox, Hindu goddess of
11,
cosmic elements
42,
(Mara)
Smoke
Sekanirnaya 9
SevS 25
19,
of
18,
113,
Mild
19,
Best 18
symbol
repre-
(sign)
26
Smrti 350
Middling
233,
sented 233
of Tantrics 44
Siddhas
symbol 321,
Sitala, 233,
Sects,
vahana
Sirihatta 16, 17
images 93
symbol
127, colour
127,
described 341
symbol
35,
127, asana
dhy&na
mandala
mudra
113,
companions
sire
113,
114,
effective
8,
Sri 186
r&tha 114
Siddhis 18, 19, 24, eight 18, thirty-four 18
Cunda
Srivasundhara 203
in 221
&la 21
&lapararoitfi 325, colour 325,
Srivasumukhi 203
symbol 325,
Stael Holstein 3
INDEX OF
Staff 129,
forms 392,
Sthiracakra 122,
122,
colour
122,
companion
mudra
122,
described
122,
resi-
dence of Vairocana 53
form 160
Subhag 160, direction 160, form 160
Subhamekhala 160, direction 160, form 160
160, direction 160,
symbol 129
qualities
Sunyavada 8, 9, 11
Supernormal powers 23
Superstition 8
Bodhisattva
Surangama
symbol
98,
dhyana
colour
98,
98,
98,
described 98,
images 98
Sugatas 20
sadhana
as
of,
String 2K)
Subha
461
Sthaviras 13
symbol
WORDS
141
Sugatisandars'ana Lokelvara, described 396
Sukha (happiness) 26
Sukhavati heaven 34, 49
Suryadhara 319
Suryahasta 318, colour 318, symbol 318,
dhyana 318, described 318, images 318
Suryaprabha 120
Svabha Prajna 167
colour 320, symbol
Svanasya 320,
320,
31
panions 142,
dhyana
images 142
described 395
142,
142,
another
described
form 395
snakes 148
Sumbha
dhyana
299, images 299
Takkiraja 254
colour
299,
299,
described
Tamralipti 39
Tangyur
symbol 299,
Tantras
19,
20
Tantrarahatya 190
Tantrasara 190
Sumedhas, deified 35
SundarS 160, direction 160, form 160
Sundarl 160, direction 160, form 160
Tantric philosophy 2
Sunya
28,
42,
meaning
Tantric period
Tantrics,
2,
powers of 18
14
BUDDHIST ICONOGRAPHY
462
Tantrism
12,
15
TSra
1, 17,
cribed
56,
symbol
another form
135,
described
epithet
symbol
dhyana 56,
White colour
308,
149,
149, colour
vahana 149, sadhana 149, described 149,
vahana 239,
image of 180,
S a math
239,
image 239
16, 149,
same
Uddiyana Kurukulla
as village Vajra-
Tathagatakull (Viarocana) 49
of origin 149
Tathagata Mandaia 45
same as Rakca*
137,
Tattvaratnavali 9
Ulkadhara319
TiJtt*a*angraha 9, 28
38, 245,
described
yogini 17
symbol 301,
301,
dhyana 301,
described
Theories, four 9
32, refuge in 20
330
Upasadhana 25
months
deified
382,
trampled 211
colour 327, symbol
16,
Upeksa (indifference), 21
Upendra 250, as vahana 250
Usnisa 256, colour 256,
Trailokyaksepa 157
137,
dhyana
colour
137,
same
137,
describ-
25, 26,
137,
Upaya (means)
Upayaparamita 327,
327
Trailokyaviis'ankara
Tibet(Bhota) 193
Tibetan I
382,
Ulukasya319
Universe 23, goddess identified with 23
University Library, Cambridge 4
137
as VajrahunkS-
mudra
Pantheons 3
Uddiyana
images 149
ra 182,
Ucchusma Jambhala
Tarodbhava Kurukulla
symbol
Trisamayaraja 35
Tusita heaven, abode of Maitreya 80
Twelve Bhumis 4, 333
Taranath 12
Tarinl (same as Tara) 56
deities,
Two Lamaisuc
Time
Trayastrims'a heaven 31
Tridandi 152,
185;
direction
256,
another form
INDEX OF
dhyana 298, described 298 images 298
embodiment
Ucpala Mudra 22
Uctama seva 25, 26
463
Utnauti
WORDS
VahaHNepal)51n
Buddhas*akti
217,
of
highest
74,
truth
74,
74,
symbols
214
Vajradhrk 45
des-
symbol
116,
116,
popularity
dhyana
dhyana
53,
described
53
206f
of
same
as
Sunya
10,
qualities
11
of Mahakala
347
Vajrabhaskarl 163, colour 163,
163
described
dhyana 88
88,
colour
88,
described 88,
(i) two-armed,
symbols 181, mudra 181, vahana
sadhana 181, dhyana 181, images
on Bhairava 182
form (n)
armed 182, same as Trailokyavijaya
rides
181,
181,
182,
six-
182,
Vajrabhlsana 255
Vajracarcika 199, colour 199,
dhyana
described 236
peculiar
colour
Vajraghona
VaisVavana 35
17, 43,
images 88
eight-armed form
Vajra
descubed 151
symbol
Vaipulyasutras 14
cribed 54,
151,
154
151,
Vahyarthabhanga 8
Vaibhasika 8, 9
symbol
feature
199,
vahana 199,
sadhana
199.
200
VajrScaryyas 34
Vajrahuntika
(?)
Vajrakarmaparamita
described
183,
symbol
328,
colour
328,
images 328
Vajradanda 952
Vajradhara 42, 43, forms of 44, dhyana 44,
described 44, and VajrahunkSra 181,
Vajrakundali 253
images 43f
142, colour
Vajradharma 125,
139,
142,
dhyna
BUDDHIST ICONOGRAPHY
464
242,
direction 242
98, des-
tha
Mandala
31
235, consort of
Heruka 217
Vajratara 240, sire 240, dhyana 240, described 240, popularity 240, images 240,
Museum image
Indian
241}
companions
241,
240,
Mandala
sadhana
24 1>
Vajravali
247
name of Sunrbha
form of Manjusr!
mudra 102, names of
102,
colour 102,
tion with
103
Gautama
77,
dhyana
77,
described 77,
images 78
351, images 351,
described
companions 351
352
Vajrasattva 17,38, 43, 48, Sixth Dhyani
Buddha 74 priest of the Five Dhyani
Buddhas 74, shrines of 75, forms of 75,
75,
worship
75,
217,
compared with
Vajravarahi Tantra
4,
208
247
Vajravetali 151, direction 151, colour 151,
dhyana
Heruka
Marlci 208, 217, compared with Nairatma 203, compared with Vajrayogini
243
form of
77, later
102,
Amoghasiddhi 46
Buddha
Vajrasana 38,
102,
nama Mandalopayika
in
yab-yum
75,
form
75,
75,
form
single
Sakti
75
described 15 1,2 14
Vajravidarani 205, dhyana 205, described
205, images 205
Vajrayaksa 254
Vajrayana
ddhism
2,
38,
Vajrayanists 14
Vajrayogini 1, 16 r 17, 149, consort of Heruka 21 7 forms of 247 ; form (i) headless 247, dhyana 247,
described 247
companions 247
form (ii) red 248,
;
colour 248, vahana symbols 248, described 248, compared with Nairatma
tion 297,
Vajraspho{!
242,
235,
symbol
Vajrayogini 137,
rampur
name of
a village in Vik-
137, identified as
Uddyana 137
INDEX OF
Vajrosmsa 299, colour 299, symbol 299,
direction 299,
described
dhyana 299,
^ ?53n
Vak 6
Vams'a
314, colour
dhyana
Vanga 16
symbol
314,
314,
WORDS
Vedana
465
(sensation) 42
Veil of ignorance 30
Veta1i310, colour 3 10, symbol 310, dhyana 310, described 310, images 311
Vibrations (sound) 2S, of word and letter
29
Vicara (thinking) 26
Vidya
embodiment of 220
24,
Vidyadharapitaka 14
Vidyadharaking 381
Vidyadharas, lords of 37 C>
Varahamukhl
211, colour
described
211,
211
194,
Varahl 364, colour 364, symbol 364, vahana 364, dhyana 364, described 364,
images 364
Varali211,colour211, described 211
symbols
194,
J94,
vahana
1^4f, describ-
dhyana
ed 195f
180,
origin 180,
361, dhyana
described 361,
361,
253,
described
images 361
Vasanta 186, 27^, colour 379, symbol 379,
vahana 379, dhyana 379, described 379
328,
general
forms 328,
Vasubandhu
Vasudhara
328,
description
their images
their
colour 244,
38,
symbol 244,
symbol
202,
antiquity
com-
Vasuki (snake)
Vikrampur
Vilokim
202,
Vijnanavada
cribed
8,
16,
Vikramasila
329
12
^>,
10,
3,
6, 41.
11,
monastery
form 160
137
3
symbol
135, des-
35
Vimala Lhumi
334,
334
Vimalapxabha 187
Vma 315, colour 315, symbol 315, dhyana
315, described 315, images 315
140, 148
Vasumatisri 203
Vmadhara315
VasusYi 203
Vajravarahi
Vas*ya
219,
symbols
219,
219,
described
images 363
59
(Citrakara) 7
Viskambhin
219, images 21 9
Vayu
Virman
362,
described 363,
Mandala
name of
Saravaniva-
93, in the
Lokanatha
93, short
ranaviskambhin
described 131
symbols 131
BUDDHIST ICONOGRAPHY
466
described 363,
363,
Yaksims 238,
Yama
enumerated 238
eight,
136
Yamantaka
6,
17,
VisVadakml
dhyana
Yamantakavajra 167
Yamantakrt 46, (of the east
gate) 46
described 164
special
features
Mahakala
308
VisVapadma
135,
135,
described 135
VisVapani Bodhisattva
colour 73,
sire
described 135
VisVavajra Lokesvara, described 429
Yasodhara 79
Yoga
73,
direction
dhyana 300,
described
8, 9, 17,
Yogacara
8, 9,
Yogambara
24,
and
its six
limbs 26
28
images 186,
Yo?ins 18
18t>,
186,
described 186,
sire 186
247
Yogimjala Tantra 4
Vitanadhara 317
Vitarka (cogitation) 26
Yuan Chwang
35, see
Hiuen 7 h sang
W
Waddell (Mr. L. A.), 1
Walter Eugene Clark, Professor
Weapons
Whitney (Mr.
Will to Enlightenment 25
Yab-yum
Yaksas 35,
eight,
380
symbols
380, their
names 380,
descriptions
deified 383,
images 383.
number
383,
INDEX OF ILLUSTRATIONS
of painting
5o
Machhandar Vahal,
the
in
Amoghasiddhi
stupa at
Kathmandu,
Temple
Arapacana
copy
oi'
the
in
(Fig
collection
Museum
(Fig 92)
Arapacana
tte 172,
in the
(Fig 91),
now
described
described 121
eye copy
Museum
artistic
in
Machhandar Vahal,
of painting
172,
of Dr.
Kathmandu
Museum
121
Arapacana
(Fig 87-A),
metal
in the Berlin
52
Amitabha LokesVara
Museum
of
described
Baroda
22) Nepa-
Y. Evans-Went::, 60,
a muti-
Nalanda
W.
lower half
Aksayamati Lokesvara
W.
)>,
the
described
at Peiping, 70,
85
Dr.
Aksayamati (Fig
lese
Aparajita (Fig 18
Machhandar Vahal,
the
in
painting
cribed 85
Palace
described 428
86
Aksayamati, Nepalese
IK,
362
Nepalese drawing,
(Fig 52),
70, described
Nepalese drawing
(Fig 72)
Vahal, Kathmandu, 4
Temple
34)
cribed 43
Akasagarbha
(Fig
109, described 98
Buddha
Amoghadarsm
Agni
Dhyani
Nepalese
piece
a full-page
212
'
Amitaprabha
(Fig
61),
Nepalese drawing
105, described 91
Amoghasiddhi
Dhyani
Astabhuja
Buddha
(Fig 33),
Museum
Mfcrlcl
(Fig
154,
Lucknow
BUDDHIST ICONOGRAPHY
468
Kathmandu
9, 10,
11)
see
Triad,
described 89
B
Candarosana
Baudh
(Fig 7) a
famous stupa
in Nepal,
37, described 32
(Fig
265, des-
Yab-yum
cribed 155
Candraprabha
statuette in metal in
Candraprabha
Bhrkutl
Nepalese drawing
124)
Nepalese drawing
(Fig 59;
105, described 90
des-
(Fig 123),
the Palace
Temple
at
Peipmg
265,
cribed 153
cribed 31
Brahma
Kathmandu
metal statuette of the
(Fig 239)
deity riding
Palace
Temple
363
Brahmadanda
Lokesvara
27-A) eye
(Fig
Buddha
Nepalese
(Fig 10)
mudra
in
the
Siddhiharfaha
metal statuette
in the
Bhusparsa
collection of Pandit
des-
40,
Vajracaryya,
cribed 32
Buddha
in different
Museum
the
Maohhandar Vahal,
deity,
des-
280,
cribed 223f
Cunda
the
Hindu monastery
of the deity
at
in
Bodh Gaya
Cunda
sixteen
armed
variety in
MS
of the
No.
Add
mudras
panel
(Fig 17)
Buddha
59, described 48
in different
Library,
des-
cribed 48
bas-relief
Museum
on
Bharhut
preserved in the
36, described 31
Indian
4)
Museum
36,
des-
(Fig 127)
Baroda
Museum
Buddhakapala
cribed 31
Buddhakapala
322
(Fig 126)
Nepalese drawing
the Palace
Temple
at
statuette in
cribed 382
INDEX OF ILLUSTRATIONS
Kathmandu 418, described 428
Dhanada Tara (Fig 172) Ncpalese drawing
of the four'armed deity 284, described
231
Dharmacakra
copy of painting
in the
e^e
Machhnndar
Kathmandu
Dhvajagrakeyura (Fig 147) Nepaleso diawing of the four-armed goddess 274, des-
in the Palace
Temple
at
statuette
Peiping 357,
at
Temple
365
Ganapatttirdaya (Fig 229) Nepalese miniature in the collection of Dr. W. Y.
Ghasmari
(Fig 203)
205) metal
Temple
statuette in
in the
see
Nepalese miniature
of Dr. W. Y Evans-
(Fig 165)
collection
the
312
Dream, Maya's,
Grahamatrka
described 326
(Fig
311
cribed 202
Dhyana Paramita
Dombi
469
Maya's Dream
at
monastery
ed 132
full-size
Museum
painting
3- A)
260, describ-
eye copy of
Machhandar
the
in
stone image in
Kathmandu
Vahal,
Kathmandu 401
Harihara Lokesvara (Fig 84- A) eye copy of
Machhandar
the
painting in
Kathmandu
described 194
Vahal,
Harihariharivahana
(Fig
113)
Nepalese
drawing of the deity riding on Visnu,
Garuda and Lion 261, described 137
Four-armed Ganapati,
see
Harihariharivahana
Lokesvara
(Fig
4-A)
prints
Ganapati
394
Harivahana LokesVara (Fig 82-A) eye copy
of painting in the Machhandar Vahal,
71,
Kathmandu
Ganapati
(Fig
228)
twelve-armed
metal
of the Dowager
Maharani Chimanbai Gaekwad of Baro-
Kathmandu
Hayagrlva
(Fig
Hayagrlva LokesVara
painting in
the
(Fig)
Machhandar
Vahal,
BUDDHIST ICONOGRAPHY
470
Kathmandu
Kamandalu Lokesvara
Head-dress, Buddha's
see
Buddha's Head-
dress
Heruka
(Fig 125)
Dacca
Museum
sculpture
Kapata
(Fig
Palace
statuette in the
212) metal
Temple
317
1
Kathe Simbhu
J
in
Ketu
60),
drawing
Nepalese
176) fine
(Fjg
copy
sized stupa
37, described 32
Palace
Temple
Tar a
Khadiravani
(Fig
at
Peiping 373,
beautiful
166)
Museum without
statuette
Nepal
37-A) eye
described 378
Jambhala
(Fig 243)
in the
medium
(Fig 1)
Kathmandu,
90
105, described
(Fig
Jalinlprabha (Fig
LokesVara
Karandavyuha
Khadiravani Tara (Fig 249) unique sculpture showing the eight deities of the
238
described 388
Jam bhal
specimen discovered at a
roadside shed near Rampal in Vikramof an
artistic
(Fig
road-side &hed
discovered at a
Rampal
in
Vikrampur
288,
near
Khadiravani Tara (Fig 166) artistic specimen discovered at Mahoba and LOW
at
238
Jambhala
(Fig 179)
Janguli (Fig
137)
Nepalese drawing
(Fig 103)
in the
in
a full
104)
Indian
Museum
Kathmandu
copy of
Machhandar
Vahal,
painting in the
Kathmandu
Jnanaketu (Fig 68) Nepalese drawing 108,
described 96
discovered
Khasarpana
Jatamukuta LokesVara
Kathmandu
Lucknow
Khasaipana
269*
described 192
Museum
described
K
Kalacakra
showing
(Fig
134)
Nepalese
drawing
yab-yum 268,
Kumbha
described 188
Kamalacandra LokesVara
copy
(Fig
247)
INDEX OF ILLUSTRATIONS
flowers 264, described 149
Kurukulla (Fig 122) metal statuette in the
Palace
Temple
149
471
LokesVara
Mahamanjubhuta
(Fig
65-A
428
Lama
(Fig 218)
goddess in a
full
described 322
Lasya
205)
(Fig
Palace
Temple
metal
statuette
in the
at
313
Kathmandu
31)
(Fig
Nepalese
Lokanatha
Baroda
(Fig 106)
tal statuette
Lokanatha
Mahamayuri
Nepalese miniature
of Dr.
Y. Evans-
(Fig 200)
105)
cribed 132
Lokanatha
imago in
pri-
Kathmandu (Nepal)
Museum
Torso
in the Sarnath
Raktaryyavalokitesvara
18-A) eye copy of painting in the
(Fig
Ma-
Kathmandu
deity in the
(Fig 63-A)
eye copy of painting in the Machhandar Vahal, Kathmandu 416, described
400
LokesVara (Fig 61 *A)
Mahaclna Tara
226)
Kathmandu
copy of painting
Maha-Abhayaphalada LokesVara
(Fig
Vahal,
Mahakala
Maharatnakula Lokesvara
Mahacandrabimba
described 244
Lokanatha
Vahal,
described 305
described 244
vate collection in
Lokanatha
Wentz295
Kathmandu
Mahoba sculpture
Lucknow Museum 258, des-
(Fig
in the
Museum me-
(Fig 198)
Nepalese
miniature in the colleuion of Dr. W.
in the collection
Locana Buddhas*akti
now
Vahal,
MahamantranusarinI
exceedingly
fine
(Fig
in the
58-A) eye
Machhandar
Mahasahasrabhuja
LokesVara
(Fig 5 4- A)
399
Mahasahasrapramardani
Kathmandu
415, described
400
MahalankhanStha
400
MahSsarasvati (Fig 230) Nepalese drawing
of the goddess 369, described 350
Mahafitavati (Fig 199) Nepalese miniature
BUDDHIST ICONOGRAPHY
472
W. Y,
Wentz
MahSsri Tara
artistic
sculpture
in the
Indian
Mahasthamaprapta
of
the Bodhisattva
72,
described
89
Kathmandu
427,
described
dit fchddhiharsha
Vajracaryya of Nepal
(Fig 66)
described 95
Manjuvara
(Fig 83)
Birbhum sculpture
Museum
Manjuvara
169*
sculp-
Manjuvara
(Fig 85)
second Indian
Museum
Kathmandu
Vahal,
Kathmandu
Vahal,
Kathmandu
Vahal,
Kathmandu
Vahal,
Kathmandu
Mahavisvasuddha LokesVara
copy of painting
Kathmandu
Mahesvara
(Fig 240)
in
the
(Fig
66 A) eye
Machhandar
Peipmg
Temple
at
in the collection
(Fig
tuette in the
Nepalese metal
of Pandit
86)
collection
staSi-
Manjuvajra
(Fig 87)
Baroda
Museum
metal
depicting
phant
Buddha
entering
as
the
into
White
Ele-
womb
of
83, described 31
Mayadevi
Mayajalakrama
Kathmandu
Lokesvara
Mayajalakramakrodha
15-A) eye copy of painting in
Machhandar Vahal,
(Fig
the
Kathmandu 404
>
described 395
Mina
(Fig
248) metal
of the
statuette
afc
Tem-
Kathmandu
401, described
394
described 94
of Pandit Siddhiharsha
Vahal,
Manjuvara
Manjuvara
69,
described 81
Mamaki
drawing
Nepalese
Mahattarl Tara (Fig 201) beautiful Nepalese statuette in the collection of Pan*
Maitreya
described 117
431
Vahal,
Manjukumara
Kathmandu
described 229
ing
Kathmandu
of an
tion
Evans
(Fig
45)
Museum
with
sculp*
Mudras, Buddha in
in different
different see
Mudras
Buddha
INDEX OF ILLUSTRATIONS
Mukunda
Palace
Temple
Nairatma
(Fig
Museum
48) Indian
sculp-
273, described
(Fig 149)
Parisat
drawing
Nepalese
79)
(Fig. 80)
metal
Temple
at Peiping
sta-
20)
Nepalese
Museum
Nilakantha LokesVara
405, described
Nirukti Pratisamvit
in
(Fig.
the Palace
3%
Temple
Peiping
103-A) eye
Machhandar
Temple
at
yogini in
at Vajra-
specimen
Vikrampur
285,
described
Potapada
of painting in the Machhandar Vahal,
(?)
Kathmandu
403, described
395
Museum
in
artistic
the Leiden
Museum
the Palace
Temple at Peiping
357,
described 327
(Fig- 208)
Parnasabari (Fig.
Kathmandu
186
Parnasabari (Fig 140) sculpture in the In*
dian Museum 270, described 197
Kathmandu
Kathmandu
(Fig. 132)
Nepalese drawing
showing the horse-head 268, described
Palace
(Fig.
233
Namasangiti Manjusri
Nrtya
Pandara Buddhasakti
tion of an artistic
Vahal,
60, described 51
Paramasva
204
Nairatma
ette
size
full
(Fig. 21)
lost
Padmapani Bodhisattva
mandu
315
473
314
Padmanarttasvara
drawing in
the
Nepalese
112)
(Fig
company of
the Sakti
(Fig.
10)
artistic
sculp-
Simbhu
in
described 134
60
Vahal,
Pratibhaua
Padmanarttesvara
Temple
at Peiping
261,
Kathmandu
Pratisamvit
(Fig
225) metal
Temple
at Peiping
described 201
Pratyangira (Pig
145)
Nepalese drawing
BUDDHIST ICONOGRAPHY
474
Ratnolka (Fig
&
the Palace
metal statuette in
2 14)
Temple
at Peiping
356,
the
des-
cribed 31 8
collection in
Vahal,
Kathmandu 404
described 395
described 142
Temple
311
Pupala
(?)
Machhandar
the
painting in
Kathmandu
Vahal,
243
Museum
Museum
sculpture
Sadaksari Mahavidya in
described 126
Temple
at
Peiping 262,
in
Rddhi
bronze
in a
size
at
monastery
66, described 74
the Palace
Temple
metal statuette in
at Peiping
358,
des-
71,
cribed 74
Kathmandu
Mu-
Nepalese draw-
Sakyabuddha
copy of painting
Kathmandu
in the
eye
Machhandar
408, described
397
size
(Fig 32)
full
Kathmandu
63, described 55
Samantabhadra LokesVara
copy
Kathmandu
40,
des-
cribed 40
Vahal,
(Fig 37)
stupa
(Fig 1711
Samantabhadra Bodhisattva
cribed 330
Kathmandu
Machhandar Vahal,
Vahal,
Kathmandu
the
Sadbhuja Sitatara
Kathmandu
described 138
173,
126
Rahu
Nepalese
and
form
Kathmandu
in the Palace
full
Sadaksaii Lokesvara (Fig 97) Baroda Museum metal statuette 174, described
painting
Manidhara
showing
65,
described 74
ankhanatha
Kathmandu
426,
described 430
INDEX OF ILLUSTRATIONS
Lokesvara
Santamati
copy of painting
Vahal,
(Fig
Kathmandu
eye
95-A)
the Machhandar
in
the
in
painting
Kathmandu
Sarasiri (?)
Machhandar
of
Vahal,
Simhasya
Kathmandu
Lokesvara
Sarthavaha
(Fig
74-A)
eye
Lokesvara
3 8- A) eye copy of
Machhandar Vahal,
(Fig
in
the
Kathmandu
410,
painting
drawing
Temple
metal
statuette
at Peiping
109,
Nepa*
Sarvasokatamoiarghatamati
lese drawing oi the Bodliisattva 106,
(Fig 63)
described 92
Sarnath
see
the
Museum
in the
Lucknow
sta-
176, des-
copy of painting
Vahai,
Kathmandu
Simhanada
Simhanada LokesVara
in
Khar
ot"
the
in
eye
Machhandar
Nepalese
drawing of the six armed deity 278,
described 216
Aparajita (Fig 158)
108-A) eye
Srimad-Aryavalokitesvara (Fig
Vahal,
Kathmandu
of
in the
Machhandar
painting in the
Kathmandu
A) eye copy
Machhandar Vahal,
Van-
173,
des-
cribed 122
famous stupas
three
6, 7, 8)
of Nepal illustrated
37, described 32
illustra-
in
Nepal
illustra-
sta-
the Machhandar
copy of painting
in
Vahal, Kathmandu
many
LokesVara (Fig
19)
one of the
Kathmandu 404,
cribed 128
of painting
Moghe
fcukhavati
Ma-
sculpture from
the
in
Simhanada
image showing
collection of Dr.
Stupa of Simbhu
Museum
of
upper view
216)
Stupas (Figs
the
(Fig
described 97
(Fig
Moghe of Khar
tho Palace
copy of painting
described 398
Simbhu
Simhasya
eye
Machhandar
Bombay
Sitatapatra
Sarvanivaranaviskambhi
in
Kathmandu
(Fig
20A)
(Fig
in the
(Fig
Lokesvara
copy of painting
Vahal,
Lokesvara
Kathmandu
Simhanatha
475
Surangama
described 395
copy
Symbol
Worship (Figs. 3, 4,
from
Bharhut
bas-reliefs
5)
Three
Railings
BUDDHIST ICONOGRAPHY
476
Museum,
Cal-
Vairocana Dhyani Buddha (Fig 28) Nepalese miniature in the collection of Dr.
W.
Talika
(Fig
Palace
Temple
at
the
Vairocana Dhyani Buddha (Fig 29) Nepalese bronze in the private collection in
Kathmandu
62, described 54
316
TSra Buddhasakti
(Fig 35),
Nepalese minia-
the Palace
Temple
at
14) a statuette in
9, 10, 11)
drawing
three metal
Lokesvara
Museum
Trilokasandarsana
sta-
at Peiping
Peiping
collection of Pandit
statuettes in the
Temple
des-
262,
cribed 137
Triad, Buddhist (Figs
the Palace
63, described 54
Trailokyavas'ankara (Fig
in
tuette
(Fig 19-A)
396
(Fig 246) metal statuette of the Sign
of the Zodiac in tha Palace Temple at
Peiping 374, described 383
Tula
tuette
showing
his single
form
sta-
des-
58,
cribed 44
cribed 43
Ucchusma Jambhala
sculpture showing
on
Kubera and
(Fig
130)
Ucchusma
in the
unique
standing
company of
Upapati Vasita
the Palace
Temple
358, des-
at Peiping
cribed 330
Museum
Indian
Utnauti
(?)
LokesVara
copy of painting
in
(Fig
the
25-A)
eye
Machhandar
statuette of
Museum
58,
described 43
Vajradharma
Kathmandu
Vajradhatu- Vairocana
tuette in the Palace
Wents
metal
(Fig 30)
sta-
at Peiping
Temple
63, described 54
Vajradhatu Lokesvara
(Fig 91 -A)
eye
copy of painting in the Palace Temple
at
VajradhatvisVar!
Buddhasakti
(Fig 39)
Museum
Kathmandu
Vajrahuntika
(?)
LokesVara
(Fig
35-A)
INDEX OF ILLUSTRATIONS
the Machhan-
Kathmandu
409,
described
398
Yab-yum
view of
of Pandit Siddhiharsha
67,
described
75
described 115
Vajranatha Lokesvara
(Fig 107-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu
Vajrapani Bodhisattva (Fig 26), Indian Museum sculpture of the Bodhisattva 62,
Vajrasphota (Fig
the Palace
metal statuette in
194)
Temple
at
Peiping
293, des-
cribed 298
235
described 53
Kathmandu 425
53
full
477
Lokesvara
(Fig
105-A)
size
at
eye
Baroda
Museum
metal
bronze
eight petals
in centre
deity
243
Museum
297
dis-
Mayurbhanj
Museum
sculp-
ture
Vajravarahi
(Fig
beautiful
160)
bronze
Museum
279,
described 2 19
Vajravarahi
Nepalese drawing
(Fig 159;
described 78
drawing
Nepalese
Museum
370,
Wentz
Temple
at Peiping 369,
described 350
described 351
at
Sanku
Vajrayogini Temple
in
Vajrasattva (Fig 41) Nepalese sculpture
described
Kathmandu
at
66,
a monastery
Museum
bron*
bronze
(Fig
191)
248
300
75
Vajrasattva
Yab-yum
in
the
(Fig
43)
collection
Nepalese
of Pandic
Kathmandu
Varadayaka LokesVara
copy
BUDDHIST ICONOGRAPHY
478
Vahal,
sculpture of the
six
(Fig 187)
Vasudhara
Museum
Baroda
(Fig
8-A)
eye
Madhhandar
copy of painting
in the
Vahal, Kathmandu
Vayu
(Fig 238)
Palace
Temple
at
cribed 362
Vetall
(Fig 202)
Palace
Temple
matal
statuette in the
Visvahana Lokesvara
Kathmandu
LokesVara
VasVfidhikara
Bodhisattva
VisVapani
Nepalese bronze
Kathmandu
Kathmandu
in
(Fig 36)
full
monastery
size
at
65, described 73
Kathmandu
Vrsnacana
(?)
397
31J
described
Kathmandu
cribed 245
425,
Kathmandu
cribed 245
Vasudhara
Kathmandu
Vahal,
430
Wheel-of-the-Law
(Fig 5)
symbol of
Lord Buddha appearing on a bas-relief
on the Bharhut railing in the Indian
Museum
36, described 31
181
Vina
(Fig
Palace
209)
Temple
metal
at
statuette
Peiping
in
354,
the
des-
Yamadanda Lokesvara
cribed 315
Kathmandu
Visnukanta
Lokfsvara
(Fig 99-A)
Yogambara
eye
Machhandar
Palace
his