Buddhist Art Series-1

ICONOGRAPHY OF AMOGHAPĀŚA:THE BODHISATTA OF COMPASSIONANKUR BARUA, M.A. BASILIO

Hong Kong, 2009

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Background: Dr. Ankur Barua had graduated with distinction from the University of Hong Kong (MBuddStud, 2009).
He had also completed two other Master Degrees, one from Sikkim Manipal University (MBAIT, 2007) while the otherfrom Manipal University (MBBS-2000, MD in Community Medicine - 2003) and presently working in professional field.
Ms. M.A. Basilio is a nursing professional who has also a keen passion for conducting research on
religion and science.

First Publication on 26th August 2009

Copyright © Ankur Barua and M.A.Basilio

Communication Address of Corresponding Author:
Dr. ANKUR BARUABlock – EE, No.-80, Flat No.-2A,
Salt Lake City, Sector-2,
Kolkata - 700091, West Bengal, INDIA.
Email:

ankurbarua26@yahoo.com

Mobile: +91-9434485543 (India), +852-96195078 (Hong Kong)

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Acknowledgements

I wish to express my sincere gratitude and indebtedness to Prof. Dr. Dorothy Wong, visiting Professor of Buddhist
Art at the Centre of Buddhist Studies in the University of Hong Kong for her constant encouragement, constructive
criticism, personal attention and valuable guidance throughout this work.

I would like to express my sincere gratitude to my beloved father Dr. Dipak Kumar Barua, who was the earlier Deanof the Faculty Council for Postgraduate Studies in Education, Journalism & Library Science in the University of
Calcutta (1987-1991) and the Director of Nava Nalanda Mahavihara, Nalanda (1996-1999) for his technical guidance
and timely advice for this project.

I would also like to convey my sincere thanks to my beloved mother Mrs. Dipa Barua for showing keen interest andproviding constant assistance and support during this endeavor.

Ankur Barua

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ICONOGRAPHY OF AMOGHAPĀŚA:THE BODHISATTA OF COMPASSION

Introduction
Amoghapāśa (Avalokiteśvara Bodhisatta with the Unfailing Rope) is one of the popular esoteric forms of
Avalokiteśvara, who protects all sentient, living beings by means of his rope of compassion and has their wishes
fulfilled. This is why he is known as “the Bodhisatta with the Unfailing Rope (Amoghapāśa)”. This lasso ofcompassion is used to rope in all wayward sentient beings to the Dhamma, so that they do not fall into the three evil
realms, and always guiding them on the Correct Path.1

The widespread worship of this deity first started in India, and then spread to the Himalayas, East Asia during thelater part of the eighth century. Though the initiation of this Bodhisatta in East Asia remains unclear, but theexamination of Amoghapāśa images suggests that the cult of Amoghapāśa in East Asia arose in the late seventh toeighth centuries. It was initiated by imperial patronage due to their devotion to the esoteric Avalokiteśvara with theconcept of royalty and efficacy in protecting the state. Confounded by the lack of early Indian examples, the scholars
of Indian art still believe that there must have been Indian precedents prior to the East Asian images.1,2

Early Textual Evidences of Amoghapāśa
Amoghapāśa owes his existence to the rise of the Diamond Vehicle (vajrayāna) in India and is mentioned in various
works of esoteric Buddhism. The Amoghapāśakalparāja, the bulky Amoghapāśa-ritual is a masterpiece of the

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Mahāyānistic Tantra literature containing twenty-six chapters. The first chapter of this text was also published as the
Amoghapāśahṛdaya Mahāyāna-sūtra.3
Several versions of the Amoghapāśa-dhāraṇi-sūtra4 have been translated into Chinese, most of them during the sixthand eighth centuries. The earliest known information on Amoghapāśa comes from Chinese translations of this textthat were made by Jnānagupta in 587, Hsüan Tsang in 659, Bodhiruci in 693 and Amoghavajra in the seventh
century.1 Tibetan versions of Amoghapāśahṛdaya texts emphasize Amoghapāśa’s role as a compassionate savior.
Recitation of his mantras results in twenty blessings in this world and eight for those near death. 5,6,7

Early Appearance of Amoghapāśa Images during the Pāla Period Art in India
The significant period for the popularity of multiple-armed forms of Avalokiteśvara was the early part of the Pāla
period (8th-12th centuries), for most images depicting multiple-armed forms date to either the ninth or tenth centuries.
While four-armed forms are most commonly found, a smaller number of six-armed images also survive.8 These
images were identified as of Amoghapāśa because of the presence of pāśa, which is a distinctive attribute of thisform of Avalokiteśvara. 9

The exact origins of Amoghapāśa images are not yet clearly defined. The descriptions of Amoghapāśa arecompletely missing in the Indian texts, the Sādhanamālā10 and the Niṣpannayogāvalī11, which were used for
iconographic identifications. However, descriptions of Amoghapāśa are found in Tibetan, Chinese and Japanesecollections. A Nepalese manuscript of the Amoghapāśa Lokeśvara pūjā contains a description of the most popularly
depicted eight-armed form of Amoghapāśa.6,12

R.O. Meisezahl has published descriptions of the eight-armed form preserved in the Tibetan Tanjur which arerecorded to have come from Bengal and Kashmir. These descriptions all agree in prescribing the akṣamālā, pāśa,Iconography of Amoghapāśa: The Bodhisatta of Compassion

Page 5abhaya mudrā and varada mudrā for the right hands of the figure and the padmā, tridaṇḍī, pustaka and kamaṇḍalu
for the left ones.12

The cintāmaṇi is an attribute of Avalokiteśvara, but usually associated with Cintāmaṇicakra Avalokiteśvara. The
cintāmaṇi is viewed as the jewel which grants all wishes, a popular aspect of Avalokiteśvara’s nature, which is also
connected to his ability to save an protect. Some earlier images of Amoghapāśa from Japan are also found to havethis jewel as an attribute. However, a six-armed form of Amoghapāśa in India, described in the Sādanamālā, known
as Pretasantarpita, also holds the jewel or cintāmaṇi. Interestingly, Pretasantarpita which is translated as “satiatedwith pretās, the hungry ghosts”, share some of the common functions as Amoghapāśa as the deliverer of beings fromhorrible existence of the hell.9,13

One of the earliest examples of Amoghapāśa image from India during 8th–9th century is the four-armed broken image
at Udayagiri (Fig. 1). He is richly adorned and wears a jeweled diadem at the base of is jaṭā-mukuṭa coiffure. His
third eye and the effigy of Amitābha in his coiffure are eroded. His head is framed by a plain halo which is flanked oneither side by a goddess seated in vajraparyaṅka on a viśvapadma. The rosary and noose are both held in the
uplifted back right hand while the principal right hand is lowered in vaada-mudrā. Only abhaya-mudrā of the eightarmed form is missing in the right hand of this image. The major left arm is broken at the elbow. The raised back left
hand holds the Kamaṇḍalu. There are seven Mānuṣī buddhas flanked on the right by Vajrapāṇi and on the left byMaitreya, each figure being seated in Vajraparyaṅka, with the centre Buddha displaying dharachakra-mudrā. The
lower part of the image below the knees is broken.14

In contrast, a standing four-armed image of Amoghapāśa at Ratnagiri has the noose held in one of the left hands(Fig. 2). This image, dated in 8th century, was found in the area of the banyan grove. He stands rigidly in a slightly
flexed pose on a viśvapadma with his principal right hand lowered in varada while the uplifted back hand holds therosary. His principal left hand held chest-high holds the stalk of a lotus while the uplifted back hand holds the noose.

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He is richly adorned and an effigy of Amitābha appears in is jaṭā-mukuṭa. He has a third-eye and his head is framedby an oval halo. The sides of the back-slab each contain a meandering lotus stalk branching out from theviśvapadma seat of Amoghapāśa and blossom opposite the halo of the deity where they each support a Tathāgata,Akṣobhya on the right and Amitābha on the left. The centre branch on the left is held in his raised principal left handto blossom above his shoulder. In the fork made by the two branches of the stalk on the left is placed the kamaṇḍalu,replaced in the uplifted back hand by the noose. In this image there are three objects on the left side, though there
are only two arms on this side. Amoghapāśa is flanked at the base by Tārā on the right and Bhṛkuti on the left, eachseated in vajraparyaṅka.14

Some six-armed images of Avalokiteśvara, with one hand holding the lasso (pāśa), were found at Kurkihār andAmethi (Fig.3a). They belong to the 9th-10 centuries and are standing images wearing long dhotis and having
antelope skins draped around their torsos. They are adorned with jewelry and crowned with a small image of
Amitābha placed at the centre. Some of these images also hold the cintāmaṇi jewel on one of the right hands. They
are attended by Tārā on the right side and Bhṛkuti, who is four-armed, on the left.9

It is obvious that there were two major iconographic forms of Amoghapāśa evolving in Orissa at this time, one with anoose in the right hand and another with a noose in the left hand. The addition of a third object or attribute on one
side or the other in a four-armed image suggests the form is transitional leading to one that will have additionalhands. A similar transition was noticed by J. Leoshko on some seated six-armed Pāla period images of Amoghapāśa
where a book is added on the left side to make four attributes while the cintāmaṇi on the right side is replaced byabhaya-mudrā. The book and abhaya-mudrā are attributes of the eight-armed Amoghapāśa form as prescribed in
texts. So, the only missing attribute is tridaṇdī.15

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The paucity of six-armed and eight-armed images of Avalokiteśvara suggests an abrupt cessation in this line ofdevelopment.16 The reason for this interruption, occurring near the end of the Bhauma period, is unknown. It could be
as a result of changing tenets within the indigenous Buddhist sects or due to a change in external patronage.14

These incipient Orissan forms of Amoghapāśa evolved primarily from the four-armed image and do not exhibit manyof the peculiar features prescribed in the later texts, such as a tiger-skin wrapped around the lower garment or theantelope-hide serving as a sacred thread. The number of companion deities varies from two to five with variable
identities and genders, suggesting their iconography has not yet crystallized. The image of Sudhanakumāra, who ispopular in textual descriptions of Amoghapāśa is absent, while Ekajaṭā appears only once or twice. Tārā, in contrast,
seldom appearing in textual descriptions, appears in all Orissan examples.9,14

A few twelve-arm forms of Avalokiteśvara were found at Nālandā (Fig. 3b) and nearby Telhāra region which could be
identified as Amoghapāśa. Although they do not completely correspond to the twelve-armed description published by
Meisezahl, they hold a pāśa in one of their left hands. The images from Nālandā are early example of the eighth
century and those from Telhāra dates to the early tenth century. These twelve-armed images of Amoghapāśa were
popular at a few sites indicating localized practices of Amoghapāśa. 9

The popularity of the six-armed forms of Amoghapāśa in the Gayā region may reflect the influence of ideas oractivities occurring at the nearby sites of Bodhgayā and Gayā.17 The Hindu tīrtha Gayā is considered to be a holy
place for the performance of srāddha ceremonies for ancestors.14 These activities are concerned with the welfare ofdead ancestors can be related to the Pretasantarpita form of Avalokiteśvara which was common with Amoghapāśa.
According to the Amoghapāśahṛdhyadhāranīsūtra, Amoghapāśa is believed to deliver eight benefits at the hour ofdeath to save the human beings from an unpleasant existence.18

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Iconography of Early Image of Amoghapāśa from Nepal
Amoghapāśa Lokeshvara, a manifestation of the Bodhisatta Avalokiteshvara and one of the most popular deities in
Nepal, is one of the eight tutelary deities of the Kathmandu valley. This sculpture of Amoghapāśa Lokeshvara (Fig.
4), with copper with traces of gilding and gold pigment, epitomizes the classical beauty of Licchavi period (c. AD 300879) art in Nepal. Amoghapāśa's graceful posture (tribhanga) and gentle countenance are exquisitely rendered.
Ornament is pared to the minimum to allow for the cleanest line. The sacred thread (upavita), antelope skin and scarf
fall naturally over the god's youthful, sensuous form. The fan-like arrangement of Amoghapāśa's twelve-arm form ahalo around his body. This is made of unalloyed copper, which is problematic to cast. But this is cast in one pieceand entirely fire-gilt. Unfortunately, the arms have suffered damage and almost all are now displaced.12,19

Amoghapāśa is particularly popular in Nepal and is only rarely encountered in Tibet. However, this image has been
worshipped in Tibet for an indeterminate period, as confirmed by the presence of traces of gold paint on the face andneck and blue pigment in the hair. The practice of applying paint to images in this manner is unknown in Nepal.
Elegant facial expressions and sense of movement, the pronounced webbing between the fingers, seen here
especially between the thumb and forefinger are iconographic features that appear throughout the Licchavi period.20
A pronounced nose, protruding lower lip and webbed fingers were standard sculptural features of this period whichwere derived from the ideals of the great artistic era of the Indian Gupta kings.12,19

Iconography of Early Image of Amoghapāśa from Tibet
In the Garbhakosa Maṇḍala of Tibet, Amoghapāśa is seated in the middle of the 3rd row of the Lotus Section.
Amoghapāśa here is white-fleshed and 3-eyed in each of the three faces. He has 4-arms and wears a robe ofdeerskin (Fig. 5). The two important attributes of this form of Amoghapāśa Avalokiteśvara are the infallible lasso andVajra of Equal Guidance.1,6 The indication of Hindu influences on the esoteric Buddhist iconography is evident fromthe inclusion of multiple arms and multiple heads, depicting the superhuman power and efficacy similar toMaheśvara, a form of Śiva.21
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Iconography of Early Images of Amoghapāśa from China
A group of esoteric images dating to late seventh and early eighth centuries at Longmen, reflects the influence of
Esoteric Buddhism fostered by the patronage of the Empress Wu. The eight-armed Bodhisatta at Longmen could
have been an incipient form of Amoghapāśa.22 Buddhism was an instrument to augment her political status andlegitimacy for Empress Wu. She promoted the cults of Amoghapāśa and other esoteric Avalokiteśvaras, notably the
Eleven-headed Avalokiteśvara and the Thousand-armed Avalokiteśvara, invoking their powers to protect the state. It
was the same ideological principles that took shape in Japan about half a century later, focusing on Todaiji.23

There is no existing representation of this Bodhisatta dating to the late seventh and early eighth centuries from China
at present. The only known example comes from Dunhuang Cave 148 which dates to 776; the statue is lost but there
are murals depicting the benefits of worshiping this Bodhisatta.24

One maṇḍala of Avalokiteśvara as Amoghapāśa (Amojia Guanyin), also known as Bukongjuansuo Guanyin, wasfound in one of the Mogao caves near Dunhuang. In this maṇḍala of the tenth century, Amoghapāśa sits in an eightpointed star at the center of the painting as the primary deity (Fig. 6). He is surrounded by a circle of vajras andplaced within a square foundation with protective deities at the four cardinal directions. He wears a crown and jewelry
and holds a lasso, the traditional lotus and a rosary in three of his four arms. Additional forms of Avalokiteśvara
alternate with attendant deities in the eight peaks of the stars. The four-armed wish-granting Avalokiteśvara Monibao
Guanyin) and the powerful thousand-armed manifestation (Qianshou Guanyin) appear at either side of five buddhas
in the upper portion of the painting. The buddhas, who are echoed by the smaller images in their crowns and in thatof the principal icon, represent the five lineages of Buddhism. Buddha Vairocana, identified by his white color, is thecentral and largest of the five. The donors are depicted at the bottom of this painting.25

In Fowan Cave 136 in the Beishan caves, Dazu, Sichuan, dated to 1142-1146, Amoghapāśa is portrayed as seatedwith six arms, holding two round discs in the upper two hands (for Sunlight and Moonlight Bodhisattas), a bowl and a

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Page 10willow branch in the middle two hands, and a sword and an axe in the outer two hands (Fig. 7). The Bodhisatta has
an elaborate floral crown with Amitābha at the top is lost, and florid jewelry on the chest. The two attendants by theside of the pedestal represent Vasiṣṭha and Lakṣmi. In later Chinese iconography the two attendant figures for
Avalokiteśvara have transformed into a young boy, Sudhana and a young Dragon Girl, revealing a process of local
adaptation.2

Iconography of Early Images of Amoghapāśa from JapanThe earliest representation of Amoghapāśa in Japan (J. Fukūkenjaku Kannon), dated 748 is in the Sangatsudō (Hallof the Third month) of Tadaiji, Nara (Fig. 8). This Amoghapāśa image is a grandiose artistic masterpiece of 3.62
meters high, with a vivid countenance and thick and round cheeks with an austere expression. This ancient image of
Amoghapāśa, having three eyes and eight arms, realistically curved and painted with dry lacquer techniqueintroduced from China. His two central hands are pressed in front in the praying gesture, holding the cintāmaṇi, while
the other hands hold emblems that include a lotus, pilgrim's staff, and lasso. A separate piece of lacquered cloth
covers the shoulders to represent the deer skin. The halo and light rays behind the statue are rendered in openwork
metal, with attached flame patterns. The figure appears heavy, with drapery folds hanging on the two legs. The
creation of this image is thought to have been a response to Emperor Shomu's decree that provincial temples install
statues of this divinity.1,2,26

Formerly, a huge picture scroll of cloth representing Amoghapāśa was hanging in the Hall of the Great Buddha(Daibutsuden) of the Tōdaiji. The figure of the Bodhisatta was 35 feet high and 25 feet wide. It had been constructedby the order of Empress Kōken to console the late Empress Dowager Kōmyō, her mother who was a worshipper of
Amoghapāśa. Due to the perishable nature of the material, the hangings no longer exist, but more than 1000
characters of the inscriptions along the borders of the hangings have been recorded.1,26

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Daianji was an important state-sponsored temple in the first half of the eighth century before being eclipsed by Todaiji
which was dedicated in 752. During 749, at Daianji in Nara, a painting of Vairocana Buddha (30 shaku tall) was
installed as the main icon, flanked by paintings of Amoghapāśa and Thousand-armed Avalokiteśvara (15 shaku talleach). These were thought to precede the iconography of the triad of Vairocana and two Avalokiteśvaras at Todaiji.
Carved in wood in the Single-block technique, a standing Amoghapāśa of Daianji, has eight arms; the attributes heldin various hands have been lost (Fig. 9). The face and body are rendered fully, while the jewelry and drapery on thesurface are naturalistically carved and detailed. This heavy style is found in sculptures of mid-to late eighth-century
associated with the Todaiji and Toshodaiji workshops, including the Sangatsudo Amoghapāśa. The Amoghapāśa
images at Ratnagiri in India, during 8th–10th centuries, all have four to six arms and do not show the deer skin. They
appear to have no connections to these early Japanese examples.2,27

Iconography of Early Images of Amoghapāśa from Java, Sumatra and Bali
No existing text from Indonesia mentions the Amoghapāśa form of Avalokiteśvara. A sādhana written by Kaśmīri
Śakyaśrībadra (1127-1225), now present only in its Tibetan translation, describes the white Amoghapāśa. The Jago
Amoghapāśa closely fits this description, though he lacks the antelope skin upavīta. This sādhana also mentions
Amoghapāśa’s attendants Hayagrīva, Sudhanakumāra, Bhṛkuṭī and Tārā.7

The remarkably beautiful statues of the Bodhisatta Amoghapāśa Lokeśvara and his retinue are found at Candi Jago
in East Java have been cited as evidence of a new wave of religious and stylistic influences from the Pāla kingdom ineastern India. The Amoghapāśa statues found here are assisted by four attendants, four cosmic buddhas (Jina
Buddhas) and their four śakti. Of the thirteen statues that originally made up this Amoghapāśa maṇḍala, only thecentral image remains in situ (Fig. 10), standing in the courtyard of the temple.7

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Though the central stone stele of Amoghapāśa is damaged, with the head and several hands missing, but it reflects
former grandeur (Fig. 10). From the ankle to the neck it measures 1.5 meters. He wears a damaged waistband and along sarong with shallow folds on either side of his legs and also running down the middle. On the upper right thighthe face of a tiger can be seen and the legs of this tiger skin drape down onto each of the thighs. On either side of
him are lotus plants that grow up from wavy lines that look like roots. This is thought to be a hallmark of Singasariperiod sculpture. According to Stamford Raffles, who visited Jago in 1815; the image’s head had been removed andtaken to Malang by a Dutch man several years earlier. Despite the removal of the head of the statue, the three foldsof the neck (trivala) are still visible on the torso. Though most of the attributes in the hands are damaged, but themost important attribute still preserved for identification of this statue is the pāśa or noose held in the second
uppermost right hand. The figure’s uppermost right hand holds an akṣamālā (rosary) and the other two lower righthands are broken. On the left side, the uppermost hand holds a book, the next is missing, the third hand holds a stick
like object which could be a lotus stem and the lower hand is also missing. The statues of Amoghapāśa’s attendants
were also found at Jago and they were much better preserved than the main image. Today, all four attendants stand
together at the Museum Nasional in Jakarta, Indonesia.7 Stylistically; the statues that comprise the Amoghapāśa
maṇḍala are remarkably different from the bas-reliefs that encircle the temple. These reliefs have a flattening
abstraction of the human figures resembling that of traditional Javanese shadow-puppets. The free-standing
sculpture of Amoghapāśa and is attendants, in strong contrast, are naturalistic. The difference in styles provides theevidence that these images were imported from India or made by immigrant sculptors and their students.7

Another image of Amoghapāśa was produced by King Kṛtanagara, the last of the Singasai dynasty in an attempt to
replicate the image at Jago (Fig. 11). This sculpture, which was found near Rambahan in West Sumatra, has three
inscriptions: a dated one at the base (1286), another on the back of the stele and a third at the feet of the deity. The
second inscription is from the mid-fourteenth century; the third is highly eroded and has never been translated. The
stone stele has borne significant damage, especially at the top.7

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An image of Amoghapāśa was also found in Bali (Fig. 12), which is now restored in a closed shrine at the Pura
Puseh in Kutri, central Bali. The figure stands in a stiff stance against a plain stele, with a raised halo around thehead. His dress and ornaments are elaborate. There are three bracelets around the each wrist, numerous bows andslashes at his waist, and large pleats of fabric that fall by his knees and twisted upward over his hands. His attributes
are slightly different from the Jago Amoghapāśa. On his left side from bottom to top he holds a kamaṇḍalu (vase), a
missing attribute, a śaṅkha (conch) and a padma (lotus). On his right, his lower hand is broken, then akṣamālā(rosary), nāga (snake) and an angkuśa (elephant prod). Here, the conch replaces the book and the angkuśa replaces
the abhaya mudrā. The nāga might be transformed into nāgapāśa (snake noose) in later images. Though the face of
this image is severely damaged, but Stutterheim proposed that the image was a portrait of Dhammawangśa
(Wiṣṇuwardhana),28 a Balinese ruler (1022-1026) known for his inscriptions.7

Conclusion
The cult of Amoghapāśa, originating from India, was widespread at Dunhuang and in Sichuan, Java, Sumatra, Bali,
Japan and received impetus from the Himalayan tradition as well as local adaptations. Though the
Amoghapāśahṛdaya Mahāyāna-sūtra also describes the iconography in making images of this Bodhisatta, and therituals attending the worship, but the study of images shows a wide variation in following these instructions.
Numerous early appearances of Amoghapāśa images outside of India provide the evidence that widespread
popularity of Amoghapāśa was not limited to surviving texts. The oppression associated with the revival of Hinduism
followed by the Muslim invasion of the Gangetic plains had led to the widespread destruction of Buddhist
monasteries and mass killing of Buddhist monks during the 12th Century CE. This had resulted in the extinction of thisAmoghapāśa cult from India, which was its place of origin. However, the various traditions of representation of
Amoghapāśa, which had evolved independently in India and East Asia during the eighth to tenth centuries 6,7, need to
be investigated in detail for better understanding of the history of evolution of Buddhist art and archeology.

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Notes
1. See Meisezahl, R.O., ed. 1962. The Amoghapāśahṛdaya-Dharani. The Early Sanskrit Manuscript of theReiunji. Monumenta Nipponica 17(1/4): 265-72.
2. See Wong, D. C. 2007. The Case of Amoghapāśa. Journal of Inner Asian Art and Archaeology 2:151-8.
3. See Dasgupta, S.B. 1958. An Introduction to Tāntric Buddhism. Calcutta, India: University of Calcutta Press.
4. For a detailed discussion of the contents of the sūtras see Reis-Habiro, Maria. 1999. The Amoghapāśa
Kalparāja Sūtra: A Historical and Analytical Study. Studies in Central and East Asian Religions 11: 39-67;
Chūn-fang, Yū. 2001. The Chinese Transformation of Avalokiteśvara. New York: Columbia University Press:
56-58.
5. See Meisezahl, R.O., ed. 1962. The Amoghapāśahṛdaya-Dharani. The Early Sanskrit Manuscript of theReiunji. Monumenta Nipponica 17(1/4): 293.
6. See Pal, P. 1966. The Iconography of Amoghapāśa Lokeśvara – I. Oriental Art 7(4): 234-9.
7. See Reichle, N. 2007. Violence and Serenity: Late Buddhist Sculpture from Indonesia. Honolulu, US:
University of Hawai῾i Press: 85-132.
8. Of the few six-armed stone images which cannot be identified as Amoghapāśa, some do not correspond to
any textual descriptions. See fig.71 in Saraswati, S.K., ed. 1977. Tantrayāna Art Album. Calcutta, India: The
Asiatic Society Press, for an example of one six-armed image which can be identified as representing theform Sugatisandarśana Lokeśvara.
9. See Narain, A.K., ed. 1985. Studies in Buddhist Art of South Asia. New Delhi, India: Kanak Publications:
127-33.
10. See Bhattacharyya, B., ed. 1925, 1928. Sādhanamālā. Baroda, India: Gaekward’s Orental Series. Oriental
Institute Press XXVI & XLI.
11. See Bhattacharyya, B., ed. 1949. Niṣpannayogāvalī. Baroda, India: Gaekward’s Orental Series. Oriental
Institute Press CIX.
12. See Meisezahl, R.O. 1967. Amoghapāśa, Some Nepalese Reresentations and their Vajrayanic Aspects.
Monumenta Serica 26: 478-82.
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13. See Bhattacharyya, B. 1958. The Indian Buddhist Iconography. Calcutta, India: 2nd edition. Firma K.L.
Mukhopadhyay: 141-142.
14. See Donaldson, T.E. 2001. Iconography of the Buddhist Sculpture of Orissa. New Delhi, India: Indira
Gandhi National Centre for the Arts: Abhinav Publications 1 (Text): 200-206.
15. Refer to Leoshko, J. Appearance of Amoghapāśa: 129-33 and Bhattacharyya, B. 1958. The Indian Buddhist
Iconography. Calcutta, India: 2nd edition. Firma K.L. Mukhopadhyay: 141-142.
16. According to Leoshko, J., the multiple-armed forms of Avalokiteśvara in Pāla art are confined
chronologically to the early period, i.e., 9th -10th centuries and do not appear later.
17. For an early and extensive account of pilgrim activities at Gayā, see Hamilton, F.B., James J.F.W., ed.
1936. An Account of the Districts of Bihar and Patna in 1811-1812. Patna, India: Bihar and Orissa
Research Society I: 98-134.

18. For a discussion of Avalokiteśvara, see Mitra, Rajendralal. 1882. The Sanskrit Buddhist Literatureof Nepal. Calcutta, India: The Asiatic Society Press: 95-7 and Mallmann, T.M. 1967. Introduction al’ ẻtude d’ Avalokiteśvara. Annales du Musee Guimet 57: 95-104 and Meisezahl, R.O., ed. 1962.
The Amoghapāśahṛdaya-Dharani. The Early Sanskrit Manuscript of the Reiunji. Monumenta
Nipponica 17(1/4): 293-4.
19. See Pal, P. 1967. The Iconography of Amoghapāśa Lokeśvara – I. Oriental Art 13(1): 27.
20. Published in Schroeder (1981), fig. 76E. Earlier Licchavi period works show greater ties with Gupta period
images. See Schroeder (1981), figs. 74A-G.

21. An example of the three-headed Maheśvara is in Whitfield, R., Farrer, A. 1990. Caves of the Thousand
Buddhas: Chinese Art from the Silk Route. London: The British Museum cat. no. 134.

22. Refer to Li, Wensheng. 1991. Longmen Tang dai mizong zaoxiang [Esoteric Sculptures from the Longmen
Caves from the Tang Dynasty]. Wenwu 1: 61-64 and Su, Bai. 1989. Dunhuang Mogaoku mijiao yiji zaji
(shang) [Discussing Esoteric Remains from the Dunhuang Mogao Caves; First part]. Wemwu 9: 45-53 andNara Narional Museum, Komikkyō, p. 155.
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23. See Wong, D.C. 2007. Early Transmission of Esoteric Images from China to Japan in the Seventhand Eighth Centuries. Huaxue 9. in print; and "Dōji and his Role in Sino-Japanese Buddhist Art
Exchanges," paper read at the 2007 Association for Asian Studies annual meeting. Boston.
24. For an overview see PengJinzhang, "Dunhuang Bukongjuansuo Guanyin jing bian yanjiu." Many
examples are illustrated in PengJinzhang. ed. Mijiao huajuan.
25. See Leidy, D.P. 2008. The art of Buddhism: An introduction to its history and meaning. Boston: 1st ed.
Shambhala Press: 193-4.
26. See Mason, P. 1993. A History of Japanese Art. New York: Prentice Hall Press: 68.
27. See Hock, N. 1987. Buddhist Ideology and the Sculpture of Ratnagiri: Seventh through thirteenth centuries.
Berkley: Thesis (Ph.D.) –University of California: 70-89.
28. Refer to Stutterheim, Oudheden van Bali, 129. There is some confusion as to the identity of
Dhammawangśa. Sutterheim suggests he might be Airlangga himself, though Berner Kempers and Coedès
dismiss this theory. Stutterheim, Oudheden van Bali, 134. Coedès states that he might be a viceroy
governing in Airlangga’s stead (Indianized States, 145), while Berner Kempers contends it was Airlangga’s
elder brother. A.J. Bernet Kempers, Manumental Bali (Berkeley: Periplus Editions, 1991), 42-3.

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Sources of Illustrations
Fig.1. Udayagiri: 8th–9th century. 4-armed Amoghapāśa Lokeśvara flanked by two goddesses above with Vajrapāņi,seven Mānuşī Buddhas and Maitreya at the top. Dimension: 68”x48” (broken). [ref: Donaldson, T.E. 2001.
Iconography of the Buddhist Sculpture of Orissa. New Delhi, India: Indira Gandhi National Centre for the Arts:
Abhinav Publications 2 (plates): Fig. 248.]

Fig.2. Ratnagiri: 8th century. 4-armed Amoghapāśa Lokeśvara flanked by Tārā and Bhŗkuţī below and by Amitābha
and Akşobhya above. Dimension: 75.5”x45” (top missing). [ref: Donaldson, T.E. 2001. Iconography of the Buddhist
Sculpture of Orissa. New Delhi, India: Indira Gandhi National Centre for the Arts: Abhinav Publications 2 (plates):Fig. 252.]

Fig.3a. Amethi near Kurkihār: 9th–10th centuries. Six-armed image of Avalokiteśvara, where one arm holding thelasso (pāśa). [ref: Narain, A.K., ed. 1985. Studies in Buddhist Art of South Asia. New Delhi, India: Kanak
Publications: Fig.46.]

Fig.3b. Nalanda: 8th century. Twelve-armed image of Avalokiteśvara, where one arm holding the lasso (pāśa). [ref:Narain, A.K., ed. 1985. Studies in Buddhist Art of South Asia. New Delhi, India: Kanak Publications: Fig.53.]

Figure 4: Nepal, 8th–9th centuries. Copper with traces of gilding and gold pigment. Height - 31.5cm. [ref: The
Sculptural Heritage of Tibet – Amoghapāśa. [Serial online] 2007 June [cited 2008 December 17] [2 screens].
Available from: URL: http://www.asianart.com/exhibitions/nyingjei/plate9.html.

Figure 5: Garbhakosa Maṇḍala of Amoghapāśa from Tibet. Here, Amoghapāśa is situated in the middle of the 3rd
row of the Lotus Section. The white-fleshed, Amoghapāśa is 3-eyed, 4-armed & wears a robe of deerskin. [ref:Manifestasi2 Bodhisatta Avalokitesvara. [Serial online] 2004 November [cited 2008 December 26] [1 screen].
Available from: URL: http://www.wihara.com/forum/showthread.php?t=477.html.
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Figure 6: Maṇḍala of Avalokiteśvara as Amoghapāśa (Amojia Guanyin). Dunhuang, Gansu Province, China, Five
Dynasties period, 10th century. [ref: Leidy, D.P. 2008. The art of Buddhism: An introduction to its history andmeaning. Boston : 1st ed. Shambhala Press: 192. Fig. 9.3.]
Figure 7: Amoghapāśa, South Song Dynasty, 1142-46 Chinese, Fowan Cave 136, Sichuan, Stone, Height: 147cm(After Dazu shiku diaosu quanji bianji weiyuanhui, Dazu shiku diaosu quanji: Beishan shiku, pl.103). [ref: Wong, D. C.
2007. The Case of Amoghapāśa. Journal of Inner Asian Art and Archaeology 2:158. Fig. 7.]

Figure 8: Amoghapāśa, Nara Period, 748 CE, Japanese Tōdaiji, Sangatsudō. Dry Lacquer. Height: 362cm. (After
Uchara Shoichi, et al. (eds.), Tenpyō no bijutsu, pl.2). [ref: Wong, D. C. 2007. The Case of Amoghapāśa. Journal of
Inner Asian Art and Archaeology 2:157. Fig. 1.]
Figure 9: Amoghapāśa, Late Nara period, 3rd quarter Eighth Century Japanese, Daianji. Wood, height: 189.9 cm.
Important Cultural Property. (After Kōno Seikō, Shōtoku Taishi to Daianji, pl.116). [ref: Wong, D. C. 2007. The Caseof Amoghapāśa. Journal of Inner Asian Art and Archaeology 2:157. Fig. 4.]

Figure 10: Amoghapāśa, 1268-1280 CE. Candi Jago, Tumpang, East Java, Height: 2.15m. [ref: Reichle, N. 2007.
Violence and Serenity: Late Buddhist Sculpture from Indonesia. Honolulu, US: University of Hawai῾i Press: 88. Fig.
4.2.]

Figure 11: Amoghapāśa, 1286 CE. Height: 1.63m, Rambahan, West Sumatra, now in Museum Nasional Indonesia.
[ref: Reichle, N. 2007. Violence and Serenity: Late Buddhist Sculpture from Indonesia. Honolulu, US: University of
Hawai῾i Press: 98. Fig. 4.14.]

Figure 12: Amoghapāśa Pura Puseh, Kutri, Bali, Height: 79cm. [ref: Reichle, N. 2007. Violence and Serenity: Late
Buddhist Sculpture from Indonesia. Honolulu, US: University of Hawai῾i Press: 111. Fig. 4.22.]

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Annexure
A Collection of Images of Amoghapāśa

Fig.1. Udayagiri: 8th–9th century

Fig.2. Ratnagiri: 8th century

4-armed Amoghapāśa Lokeśvara flanked by two
goddesses above with Vajrapāņi, 7 Mānuşī
Buddhas and Maitreya at the top. Dimension:
68”x48” (broken).

4-armed Amoghapāśa Lokeśvara flanked by
Tārā and Bhŗkuţī below and by Amitābha andAkşobhya above.
Dimension:75.5”x45” (top missing).

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Fig.3a. Amethi near Kurkihār:Fig.3b. Nalanda: 8th century

9th-10th centuries

Twelve-armed image of Avalokiteśvara, where
one arm holding the lasso (pāśa)Six-armed image of Avalokiteśvara, where
one arm holding the lasso (pāśa)Iconography of Amoghapāśa: The Bodhisatta of Compassion

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Figure 4: Nepal, 8th-9th centuries
Copper with traces of gilding andgold pigment.
Height - 31.5cm

Figure 5: Garbhakosa Maṇḍala of
Amoghapāśa from Tibet
Amoghapāśa is seated in the
middle of the 3rd row of the Lotus
Section. The white-fleshed
Amoghapāśa is 3-eyed in each of
his three faces.
He is 4-armed & wears a robe ofdeerskin.

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Figure 7:
Amoghapāśa, South Song Dynasty, 1142-46
Chinese, Fowan Cave 136, Sichuan, Stone,
Height: 147cm(AfterDazu shiku diaosu quanji bianji weiyuanhui, Dazu
shiku diaosu quanji: Beishan shiku, pl.103)

Figure 6:Maṇḍala of Avalokiteśvara as Amoghapāśa (Amojia Guanyin).
Dunhuang, Gansu Province, China, Five Dynasties period, 10th
century.

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Figure 8: Amoghapāśa, Nara Period, 748 CE, Japanese Tōdaiji, Sangatsudō.
Dry Lacquer. Height: 362cm(After Uchara Shoichi, et al. (eds.), Tenpyō no bijutsu, pl.2)

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Figure 9: Amoghapāśa, Late Nara period, 3rd quarter Eighth Century Japanese,
Daianji. Wood, height: 189.9 cm. Important Cultural Property.
(After Kōno Seikō, Shōtoku Taishi to Daianji, pl.116)

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Figure 10: Amoghapāśa, 1268-1280 CE
Candi Jago, Tumpang, East Java, Height: 2.15m

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Figure 11: Amoghapāśa, 1286 CE
Height: 1.63m, Rambahan, West Sumatra, now inMuseum Nasional Indonesia

Figure 12:
Amoghapāśa Pura Puseh,
Kutri, Bali,
Height: 79cm

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