"The Benzaiten and Dakiniten mandalas: A Problem or an Enigma?"by Bernard Faure, Columbia University
Toward the end of the Heian period, an esoteric Buddhist text refelred to a strange tliree-faced
deity called Yaksa or Matarajin as the protector of TOji, the headqua~tersof the Sliingon school.
Its thee faces were those of the devas Dakiniten, Benzaiten, and SliOten (or Kangiten), threemajor figures of medieval esotericism. Unfortunately, no representation of that deity remains. It
is only some three or four centuries later, during the Muromaclii period, that a series of painted
scrolls representing the Thee Devas as one composite fox-riding deity surrounded by its
acolytes became popular. These paintings present affinities with another type of representations
known as the Tenkawa Benzaiten mandala. This paper is trying to address the iconologicalproblems raised by such paintings and their cultic background.

The Benzaiten and Dakiniten mandalas: A Problem or an Enigma?

The Three-faced Deity of Ttiji

The Gyciki, a ritual text compiled around 1179 by the imperial priest Shukaku (Shukaku
Shitm6, 1150-1202), contains an interesting passage concerning the image of theprotecting deity of T6ji, the headquarters of the Shingon school. This image,
unfortunately no longer extent, was that of a Yaksa (yashajin) called Matarajin, who is
described as a "strange deity" (kijin) with three faces and six amls. Its central face(golden it1 color) was that of Sh6ten, while the riglit (red) face was that of Benzaiten, andthe left (white) face that of Dakiniten. This Yaksa is said to be a messenger of the Inarideity, and he was believed to predict fnture events, eli~ninatecalamities, and bring good
fortune. He was also allegedly extremely compassionate and free of resentment, astatement that soutlds more like a pious wish given the general reputation of the yaksas.
According to the priest G6h6 (1306-62), he was actually a kind of ogre, whom people
attempted to placate by consecrating their children to him.

While the protecting deity of T6ji is specific to Shingoa, the composite deity later known
as the Three Devas - Shoten (or Daikokuten), Dakiniten, and Benzaiten - fitted quite
naturally the ternary logic of Tendai doctrine. These Devas were said to represent theThree Truths of Tendai, corresponditlg to the Womb Realm, the Vajra Realm, and theRealm of Realization (susiddlli), respectively. The Three Devas were also worshiped on
the margins or outside of Buddhism, in religious trends that came to be known asOnmyGd6, Shint6, and ShugendG. The importance of the fox at Inari, and the role of the"Three Foxes" in apotropaic rituals, have perhaps paved the way to the representation of
the Three Devas as a fox-riding deity.

lconology and lnterpicturality

The Three Devas are represented as one single deity in a series of painted scrolls often
called "Image of Dakiniten" or "Dakiniten mandala." Only one of them, preserved at
H6ju-in, is actually called "Image of the Three Devas." These representations flourishedbetween the Nanbokuch6 and the Muromachi periods, and they were still produced
during the Edo period and even after.

The "Dakiiliteil mandara" usually represents a three-faced deity riding a fox. While its
three faces are those of Dakiniten, ShGten, and Benzaiten, their disposition may valy. The
deity is usually identified as Dakiniten because its mount, the fox; in some cases,
however, if we consider the central face to be the main one, it would perhaps be just as
appropriate to speak of Benzaiten or ShMen. Sometimes, additional faces - llun~anornon-human - are visible on the sides. Sorne of the deity's attributes are characteristic of
the eight-armed Benzaiten.

A) Let us begin with the simplest case, that in which the deity is represented alone orwith only a small number of acolytes. It is represented by tlxee painted scrolls.

a. The first one is a painted scroll dating from the Muromachi period, andpreserved at H6ju-in. This painting, cotntnonly known as "Three Devas riding a fox," isstrongly reminiscent of Shukaku's description of the y a k a of TGji. The distribution of thethree faces (with that of Sheten at the center) is the same. Although the color symbolismthat characterized the TGji figure has disappeared (a fact due perhaps to the wearing outof colors), other symbolic elements are visible. The deity is winged, and snakes are coiled
around its neck and arms - a feature reminiscent of Gundari My66, one of Shoten's
tamers. Shoten's mouth breaks into a large snlile (or grin), while the two other figures
look serene and dignified. Above their heads are three disks. The red solar disk above
Shoten displays a three-legged bird, the white lunar disk above Dakiniten's head on theright contains the legendary hare-in-the-moon; on the left, the disk above
Benzaiten's head, while empty, is partly filled by the head of the snake that adorns herhead.

The twelve-armed deity holds various attributes (different types of jewels, a small
shakujF staff, a small vajra staff, a lace, a vajra bell, a five-pronged vajra), and hvo pairsof hands (one in front of its chest, the other it1 front of its navel) are joined in afijali
mudst4 (J. gassl16). Near the legs of the fox (so close as they seem to be standing onthem), four small figures (three female, one male) are represented, also riding foxes. As
noted above, they are usually the acolytes of Dakiniten.

The HGju-in moiljo contains a section entitled "The four bodies of the Three Devas"that seems to be a textual counteqart of that scroll, although the latter is by no meansmerely the illustratio~lof a text. It gives a metaphysical explanation of the four bodies
in question -namely, the body of self-nature (jish6sl?in), the function body(juyoshin), the tl~etat~~o~phosis
body, and the assimilatio~lbody (t6i~ishi~t).
This list
represents an expansion of the traditional Three Bodies of the Buddha. In principle,
the Three Devas should represent the lowest type of hypostasis, the assitnilatiotl body.
Here, however, they seem to be at the center of the classificatoly scheme. Tlrus, interms of the self-nature body, Sh6ten is said to correspond to the Dainichi of the
Vajra realm, symbolized by a solar disk; Dakiniten, to the Dainichi of the Womb
Realm, symbolized by a the lunar disk; and Benzaiten, to the Dainichi of the Susiddhi[Realm], synlbolized by the wheel of Venus. In teims of the function-body, ShBten
corresponds to the Bodhisattva Kaunon, Dakiniten to the bodhisattva Monju, andBenzaiten to the bodhisattva Kokiiz6; in terms of the metamorphosis-body, Sh6ten
col-responds to a three-legged bird (traditional symbol of the sun), and it is called"heavenly fox" (tenko),Dakiuiten to a fox, and Benzaiten to a white snake; finally,and somewhat sulprisingly, in terms of the assimilation body, Sh6ten col~espondsto
thunder and lightning, Dakiniten to a bird, and Be~lzaitento a bee or a wasp. The
latter equivalences remain enigmatic to me.

b. In the second exemplar, the central (white) face of the deity seems to be that of
Dakiniten, the left one (pink) that of Shotell, the right one (white) that of Benzaiten.
No animals are visible in the solar disk above ShBten and in the lunar disk above
Benzaiten. The deity also holds two disks in its upper hands, which seem to represent
the sun and moon. It also wears a strange headgear, in which several faces appear

(one red rooster face, two green demonic faces, and two female bodhisattva-likefaces, crowned by smaller buddha-heads). The attributes held in eight o f the twelve
hands are slightly different (two astral disks, a sword and a lace -traditional
attributes o f FudG - as well as a tray and a tripartite jewel, a vajra and a vajra-bell),while the four others are joined in two gassli0.

The four fox-riding acolytes are distributed in the same fashion, and hold similar
attributes, but their faces seem more friendly. The male figure on the left o f the maindeity holds a brush and a sheet of paper, in a gesture that denotes a certain joviality.
The main fox is sn~aller,less impressive, and it has a smaller fox head above its head,
and a jewel in its mouth. A snake is coiled around its neck, and it has a vajra at the tipo f its tail. A geometric shape is also visible, which nlay be the form o f a constellation(althoughit looks slightly differentfrom the usual representation o f the Seven Stars).
The group is set on a red, isregular lotus leaf, which is itself set on a cloud and somegeometric pattern.

c. A development o f that model can be found in the next exemnplar. Here, the presenceo f a coiled snake with an old man face (Ugajin) above the central figure seems toidentify it as Benzaiten (but perhaps that was already the case in the previous
example). However, next to the faces o f ShGten and Dakiniten, with their solar andlunar disks, on the sides are two Inore figures, that o f a lion and o f an eagle. Again, on
the left o f Ugajin is the large head o f a goat, and the two figures are sulmounted by
two small buddhas. Likewise, small figures appear on the heads o f the lion and theeagle. Next to them are two of the four fox-riding acolytes, placed here by the strange
perspective that puts the main fox's hind legs and tail on top of the picture.

The attributes held by the main deity also vaty solnewhat (for instance, the sun andmoon in the upper hands have been replaced by a key -a characteristic attribute of
Benzaiten) and a dharma-wheel). As noted above, the figures of the four acolytes andtheir foxes are much smaller. The main fox has jewels, but also vajras and dharmawheels at its extremities. There is also a three-pronged vajra surmounted by a jewel at
the tip of its tail, while a coi~stellationpatten1 is clearly visible on it.

A line &awing of the Three Devas from the NBman-in collection (Rokkaku-dB)
shows the face of Sh6ten as the center. The deity's lower hands hold ShBten's
traditional attributes, a kind of cake and a daikon, while its other hands hold threejewels and a sword, a trident and a key, a wheel and a jeweled staff, a bow andarrows. Two hands are also joined in gassk6. Unlike paintings of the same type, nosun and moon are visible above its head(s). Its mount, a fox, has a snake coiled
around its neck. It is flanked by two fox-riding youths, facing each other, their hands
also joined in gassh6. The caitouche calls this figure "Jade Woman deity" (gyokujoskin), which suggests a Yin-Yang influence.

Another typical element in these representations is the frontal position of the fox,
which is seen in plunging view, as if the viewer was placed slightly above the scene.

This feature is accentuated by the unusual form of the lotus on which (or above
which) the god and his mount are set: in the various exe~nplars,the four petals of thislotus sul-l.ound the subject, according to changing perspectives that co~respondto theideal elevation o f the viewer's viewpoint. This lotus is lined with a fringe o f clouds,
which indicates that the scene takes place in the sky. The cloud trailing behind the fox
legs gives a sense of great speed. In most cases, the fox is drawn in a frontal fashionthat gives its body a massive and somewhat unnatural appearance. In some cases,
l~owever,it is represented sideways, plunging toward the lower right o f the painting-although the deity standing on it still faces the viewer. When Sh6ten is the central
figure, he shows a kind o f uncanny smile or grin. The astral symbolism o f the sun andmoon is reinforced by the schema of a constellation (usually the Northern Dipper).
In the Dakinitetl scroll o f the Clarke Museum (Nanbohlch6 period), the deity has
only one head and two anns; it holds a sword in its right hand, a jewel in its left, likein some representations o f Benzaiten. It rides a white fox that has snakes coiled
around its legs. It is flanked by two warrior-like tengus, like in some representationso f the three-faced deity. In the Dakiniten mandala o f the Osaka Municipal Museum,for instance, one bird-tengu holds a spear, while another, with a red face and wings,
holds a sword. They are usually identified as acolytes called Ton'yRgy6 andSuyochiso, t\vo names refelring to their swiftness.

Various details reinforce the strangeness o f the scene. W e have already noted thesnakes are coiled around the legs of the fox, whose extremities rest on small dharma.
wheels and vajras. The feeling o f uncanniness increases by several degrees in theDakiniten mandalas. That feeling, also produced by the proliferatiotl of snakes, foxes,and other animals, side by side with auspicious sytnbols (jewels, treasures), also
seems to introduce a dimension of trouble -and almost of thseat - in a painting
whose main motivation seems to be to bring good fortune.

Let us first mention a few relatively simple cases in which the deity is simply flanked
by four fox-riding acolytes. In most instances, three of these acolytes are female, thefourth one is a male wearing a black hat. In the matldalas, these four acolytes growsmaller, and are placed on the lotus near the main fox, the deity's mount, evensometimes on its legs. As noted above, they are known as the "Four Princes." In a
painting atlalyzed by Shirahara Yukiko, the four-almed deity and its four attendants
are represented, flying on their fox mounts against a mountainous background of
mountains that seem to represent Mount Inari, a place traditionally associated withfoxes. In this case, the deity seems to have been identified with Inari My6jin.

B. The Dakiniten mandalas are Inore complex works, ia which the number of retinue
members tends to increase. Their attnosphere is quite surreal. Despite the diversity ofthe surroundings, the main image remains basically the same (frontal vision, deity
riding a fox, on a large lotus lined with clouds), except for one significant detail: thecentral face can be that of any of the three devas. In addition to the multi-headed deity
and the four princes, all or part of the following elements can usually be found:1. Two attendants, at the feet or it1 front of the main deity: according to an oral
tradition, they are the devas Suiten (Skt. Varuna) and Katen (Skt. Agni).
2. Two goddesses bringing offerings, flanking the main deity. They are identified as

Kichijdten (Skt. Ssi) on the left and Kariteimo (Skt. HBriti) on the right.
3. Fifteen or sixteen divine youths (dCiji, Skt. kum?ira), disposed in rather linear

fashion on each side of the main deity. They clearly represent - or are patteined
after-

the "children" or acolytes of Benzaiten. In one case at least, one of themseems to he Mydken Bosatsu. Most of them ride animals (crane, horse, ox, deer,fox, snake) and hold specific attributes.

4. In some cases, we find only eight youths, rvho are the acolytes of Dakuliten rather
than those of Benzaiten. They are described in the Kei~aiishii,l18sshz7,and theirnames are given in the Betsuu6 giki.In the Fushitni Inari mandala, we find seven
youths and an old man.
5. At the bottom of the image, two armored generals - of the bird-tengu variety -are visible, and they seem to be running toward the viewer.

One of these representations is a Kasuga mandala prese~vedat the Boston Museum ofFine Asts. On the upper pait of the image, a deer, messenger of the Kasuga deity, canhe seen standing at the foot of Kasuga Mountain. Below it are two goddesses withofferings (Kariteimo, on the right, is surrounded by childsen; KichijMen, on the left,rides what looks like a phoenix). Below, tlie three-faced honzon, riding a white fox, isflanked by two female acolytes, who are also riding foxes. Despite its alleged name
(Dakiniten), its central face is that of Shdten, while the two lateral faces are those ofBenzaiten and Dakiniten. Although the details are not too clear, it seems to have a
coiled Ugajin over his heads.

The other acolytes, however, are more unusual, and the group they form cotlstitutes
an epitome of medieval Tantric iconography: below the main deity is a representationof the dual-body Kangiten. It is flanked by two unidentified figures (the one on theleft could be My6ken). Below it is a representation of Aizen My66 in a fiery circle,
on a vase. On the left is one of the tengu that usually accotnpany Dakiuiten. On theright, however, is a black figure, MahSkSla, standing, holding an elephant-skin over
his head. At the bottom, or in the forefront, various food offerings are arrayed, like in
the Tenkawa Benzaiten tnandala.

Another particularly fine exenlplar is a nrandala dated to the NanbokuchO period, andbelonging to the Osaka Municipal Museum. Tlre main figure is a three-faced, twelve
armed deity. Its central white face is that of Benzaiten, the left red face that of
Dakiniten, the riglrt one that of ShGten. Above the central face is Ugajin, thecomposite figure of a snake with an old man's face that usually appears in the imagesof Uga Benzaiten. Above the Dakiniten face is the lunar disk, above the ShBten face
the solar disk; above these, the Seven Stars of the Northern Dipper are visible. This
mandala lacks the attendants and the two gift-bearing goddesses. The deity issurrounded by sixteen dGji, sonle of them riding foxes or other animals; also present
are the two tengu and the four fox-riding acolytes. But the main characteristic of thatscroll is the presence below (or in front of) the main deity of a hybrid couple: the man

is red in color, and wears a black hat; the woman white, and she holds what looks likea jewel. Both are naked to the waist. Even more striking: the male has a fish tail, thefemale a fox tail, and two foxes are shown, plunging toward these appendices andapparently biting them.

The Tenkawa Benzaiten mandalaThis strange couple of divinities, whose presence remains unexplained, provides abridge to a second iconographical series, which at first glance seems unrelated toDakiniten, since it is a variation on the theme of the so-called Teukawa Benzaiten
mandala. As noted above, the Teukawa Shrine near Yoshino is one of the cultic
centers of Benzaiten, to which we will return. This representation is known throughvarious scrolls, the best known being a set of two scrolls preserved at NBman-in, atatt6 of Hasedera, and a single scroll preserved at Sliint16-in. The central subject ofthese mandalas is another three-headed deity. This deity has the appearance of an
elegant Chinese lady. This appearance, however, is belied by the three serpent or
dragon heads that emerge from the neck of her sumptuous dress. Their month emits
clouds of dark vapor, in the midst of which three wish-fulfilling jewels (ciiltiimani)
are visible.

This striking image, said to be based on a vision, has no textual counterpart, nor any
equivalent in Japanese iconography; it is not found either in Indian or Chinese
iconography, although Indian nagis are sometimes represented with snake-hoods

emerging above their head. The closest representation I have found is that of the
dragon-goddess Fude (Fude longnii) is the so-called Long Scroll of the Dali kingdom.
This nag1 was identified with the Dali kingdom deity Baijie, who is said to be theconsort of MaliEkEla. She is also identified with HBriti and hi. Benzaiten is also
paired with Daikokuten (MahBkXla), and in the Tenkawa mandala her two female
attendants are KicbijGten (SIT)and Kishimojin (HXxitT). I have, however, no clue as tohow a Dali image might have resurfaced in the vision of a monk of the Muromachi
period.
The three-headed deity is shown staiiditig instead of riding a fox, as in the Dakiniten
mandala, although numerous foxes appear in the picture. The sixteen dGji are
represented, however, in the two NKtnan-in scrolls (although not in the Shinn6-in
scroll), as well as three snake-headed guardians, wliich an oral tradition calls theThree Princes. But another striking element, next to the rather uncanny snake-headsof tlie deity and its acolytes, is found in one of tlie NGman-in scrolls, with two halfnaked, half-human half-animal couples, whose animal legs call to tiiind the fauns ofancient Greece. In tlie first couple, male and female stand facing each other, on snake
skins. They are both half-naked. The female has four arms, and holds what looks likesugar cones in three of her hands; the male holds a plate of what looks like fiuit. She
has a small brown fox above her head, while he has a snake. A white fox tail is visible
undex her dress; he has bird legs.

In the second couple, the male, wearing a black hat, holds the female by her waist.
She has a fox tail, while he has bird legs. She holds what looks like apain de sucre inher two hands, he holds what looks like an open fruit. They are flanked by hvo foxes
flying down in the same attitude as Dakiniten's foxes. This painting is attributed to
Takuma Hogen. According to the colophon at the back of the first painting, it was
drawn in 1546 by Rinken, a painter (e-busshi) from Nara. These two couples lookvely much like the one in the Dakinitetl mandala of the Osaka Museum, but they are
represented in amorous postures that give the scene a sese~nblancewith Bosch's
Garden of Delights.

These two mandalas form a set, and they differ by their color. In the first one, thedorninant color (and in particular the color of Benzaiten's dress and of the threesnakeldragon heads) is green, whereas the second one brown tones are more
important. This set could be related to specific spring and autumn rituals. This
interpretation is reinforced by another common characteristic of these mandalas, thepresence of large-size ritual objects, atnong which vases that seem filled with jewels
that call to mind the image of Aizen MyGO. According to the catalog's legend, theseobjects evoke the seven treasures of the cahavartin king. Another significant detail isthe proliferation of wish-fulfilling jewels (cint2mani). In one scroll, the two snakeheaded guardians on top of the picture are connected by an arc of jewels that seems toemanate from their mouths and that gives the impression that they are juggling;
likewise, the "treasures" just n~entiotledare outlined by cintamanis. At the top of thepicture, the three mountains in the distance, themselves crowned by large cingmanis,
probably represent the three peaks of Yoshino, with Misen (abbreviation of

Shumisei~,that is, the cosmic Mount Sutnem), the mountain behind Tenkawa Shrine,at the center; Kinpusen on the Yoshino side, and Omine on the Kumano side.

The mandala of Shinno-in has a simpler structure. The central deity is not surroundedby d6ji. According to the Jzippi Benzaiten shidai (kukefsu) (KGyasan), a text attributed
to Kiikai's disciple Shinga but more likely dating from the early Muromachi period,
the two deities on whose hands she stands are Suiten and Kate11 (Varuna and Agni,
the Water and Fire Devas), the two goddesses making offerings ate Kichij6ten(Laksmi) and Kariteimo ("Mother" HXriti).

For the sake of comparison, let us mention another Tenkawa Benzaiten mandala, thatof the Nezu Museum in Tokyo (Muromachi period). Its central deity is ananthropotnorphic figure, the traditional eight-armed Benzaiten, sur~oundedby thefifteen dKji and Daikokuten. The two protectors found on the top in the otherTenkawa mandala scrolls have been replaced by ZaK Gongen (on the left) and En no
Gy6ja (on the right), two n~ythicalfigures of Yoshino ShugendK. No snake-headed
deities are visible. The dKji are grouped in a more natural way and do not rideanimals. Although this picture was produced around the same time and place, it
entirely lacks the unsettling characteristics of the other pictures described above.

Another particular example that forms an interesting contrast to these paintings is thatof the Tohachi Bishamon maildala of Shimlo-in (Muromachi period), alreadymentioned. This four-headed, ten-armed Bishamotlten wears a lion headgear above
which two small seated buddhas are visible. In this case, however, the honzoa's four
faces are alike. He holds a spear and a stupa in his two upper hands, a key and a jewel(the usual attributes of Benzaiten) in the next two hands, and eight swords in theremaining hands. Under his feet are two tortoises (emblems of the North). He rides alion, which stands on four lotuses. That lion's frontal view is strikingly similar to thatof the fox it1 the Dakiniten mandala. We also find here the same small fox-riding
acolytes that we noticed in the Dakiniten mandala, and Bishamonten's representation
is clearly influenced by those of Dakinitetl and Benzaiten. As noted, he holds some of
Benzaitetl's attributes, and several of the sixteen deities around him seem to beloug tothe retinues of Benzaiten and Dakiniten. Several of them are riding foxes, aud seemvery to be variants of the "Four Pritlces" of Dakinitetl. Some cany on their shoulder alarge bag that calls to mind Daikokuten -although the latter usually does not ride afox. Indeed, as one of the figures suggests -a youth holding a ball of rice above hishead (also found in the Dakiniten mandala) in the same way as one of the six
manifestations of Daikokuten -\ve may have here a variant of the so-called "SixDaikoku." Also worth mentioning are two red wrathful deities, one holding bow andarrows like Aizetl, the other holding two spears; the latter also appears in some
Dakiniten mandalas; finally, two wairior-like tengu -perhaps

the same ones thatflank Dakiniten; a naga-king holding fruit; and a Inan wearing a hat, and holding two
bundles of rice stalks (a motif usually associated with the Inari deity).

I insisted otl the detail of these paintings, not otily because "the god is in the details," butalso because these motifs reveal what one could call the "interpicturality" (theicollological version of "intertextuality") that presided to the composition of thesepictures. Many things in them remain incomprehensible, and perhaps some of them haveno "signification" in the strict sense of the term, but are merely here to create or reinforce
a certain atmosphere. The viewer is immersed in an oneirical or visionary milieu that
does not quite have the same meatling than the "pragmatic" reduction of various deities totheir common function of gods of fortune (as in the case of the Three-faced Daikoku) even if, in the last analysis, it is the same circulation of symbols, transfer of attributes, a
network of identifications, that allowed the two paiticular instances (cas de figure) of the"Three Devas in one" and the Three-faced Daikoku to develop.

What is striking in the cases of the Dakiniteil and Benzaiten mandalas is the syn~bolic
proliferation they achieve, and the fluidity of identities that unsettles them. Indeed, theviewer is no longer sure of knowing, for instance, if he or she is dealing with Dakiniten
or Benzaiten -with a Dakinitetl surrounded by fifteen d6ji and by snakes, or with a
Benzaiten riding a fox.

E v e ~ yviewer selects specific motifs in a painting on the basis of hislher own neuronallibra~y.The detail that sttuck h e the most is perhaps the half-naked hybrid couple in thefrontstage. As Yves Bonnefoy points out, when a detail invades the front stage of a scene- for instance the horse in Carravagio's painting in the "Conversion of Saint Paul," "it is
no longer a detail, its status changes, it expresses some unavoidable necessity."Without denying the register of symbolic/ritual relevance, I want to emphasize here a"non-interpretive interpretation" that resonates with Michel de Certeau's discussion ofBosch's "Garden of Delights." Here, I would argue that, after paying due attention toritual and historical contexts, the interpreter must take the risk of committing at1
anacluonism. It could be that "the painting organizes, aesthetically, a loss of meaning,"
which no interpretation (historical, socio-economic, mythological, ritual, psychological)
can come from without to fill in. Like Bosch's Garden, the Tenkawa Be~lzaitenmandala
may not be reduced to univocity, to some kind of nalxative. Perhaps precisely "it not only
establishes itself within a differelace in relation to all meaning; it produces its difference
it1 iilakiizg 71s believe tltaf it colzfainshidden nzeanirtg.''

There is no denying that a lot of iconographic, mythological, and ritual elements in thispainting make sense. But perhaps that sense, if not purely illusory, is merely at the levelof co~lventionaltruth, while the painting conveys, not a deeper doctrinal truth, but a more
immediate affect, namely, its uncanny feeling, obtained by the merging of the divine,
human, and the animal registers, and of the auspicious signs of wealth, the natural
sexuality, the ugly, threatening reptilian presence. As Certeau argues, "the painting seems
both to provoke andfi.trstrate each one of these interpretive meanings." "It does not cease\~ithdrawiizg,thanks to the secrecy effect it produces." 1x1other words, it would be alreadytoo much to ascribe this painting "the status of an enigma, a statement that tells 'the truth'
to the extent, and only to the extent, that it means what we make it say." Perhaps its

aesthetics "does not consist in generating new lights for intelligibility but in extitlguishi~~git."

While recognizing the importance o f the aesthetic and ritual levels, I want to suggest herein passing the possibility that we need temporarily to withdraw from our conventional

interpretive mode in order to yield to the fascination that this representation (or moreexactly, "presentification")exerts on us, and to realize that this uncanniness, in the
Freudian sense, brings us closer to the reality of the Devas than any henneneutic
rationalization,any doctrinal or cultural recuperation.

What led medieval Buddhists to worship the Three Devas as a single composite deity?
The grouping -within

a single ritual (or parallel rites) like the "joint ritual o f the Three

Devas" -o f several deities perceived as having functional similarities and symbolic
affinitiesmay have been part o f a strategy for obtaining greater ritual efficacy.
But why do we have "three devas," and why these three in particular? The first question
seems easy to answer. As we have had many occasions to note, the number three has aparticular symbolic value in esoteric Buddhism. It symbolizes the Three Jewels, theThree Truths of Tendai, The Tlxee Mysteries of Shingon, the Tluee Bodies o f the
Buddha, and similar doctrinal rubrics.

Symbolically, the triangle represents the fire o f goma rituals, and in particular the shapeo f the hearth used for subjugation rituals. It is also evokes the "three dots" o f theSiddham letter I , which plays an important role in Tantric ritual, and the three eyes o f the~ i v aa, god that, it1 his Buddhist follns as MahSkSla and MaheSvara, is the paradigmatic
representative of the Deva category. The triangular form is also that of the Three Jewels
or "triple" cintsmani (sanben 1iGju). This threefold cintsmani is associated wit11 many
medieval deities, among which Benzaiten, whose three main cultic centers are
represented as three connected jewels forming a triangle.

The iconography thus merely expresses and brings the associative logic to its conclusion.
To understand this logic, we must understand each of these devas in its complex
singularity, and realize that, beyond their similarities and constant pelmutations, it is theirdifferences and their own dynamics that have allowed the Three (or Four) Devas tocoexist and to resist their reduction to one single "personality." Admittedly, however, theboundaries between them are at times blurred. By passing through the three-in-one stage,
each of the T h e e Devas was enriched by a variety of features that contributed to its risein the medieval pantheon.

The development of the Three Deva paradigm camlot be explained simply by the role ofindividuals, groups, or institutions. It represents the interconnection of several orders of
reality: ideas like the hongaku teaching and the theories on duality and nonduality, texts,
objects (mandalas, zushi, shikiban, relics, jewels) and technologies, myths, legends,
icons, and symbols (thee jewels, the triangular shapes symbolizitlg fire, the tripod stove,
the thee-legged solar crow, etc.).

W h y did it take three cetrturies for this paradigm to flourish, when its image was alreadypresent at TBji at the end o f the eleventh centuly, and the model of the "combined ritualo f the three wostlries" was already fully developed by then? There is sro clear answer tothat question in the present state o f the documentation.In the case o f the Tenkawa
Bemaiten mandala, a circumstantial reason has to do with the fact that it is only after the
NanhokuchB period tlrat the Tetlkawa Shrine, which had sided witlr the Southern Court,
was able to flourish again as a pilgrimage center. The mandala drawn by Rinken in 1546
represents the ultimate point o f a long process.

However, the figwe o f the Three Devas is not simply, as one might think, theconrbination o f three clearly defined deities, but rather the progressive convergeace or
emergence o f bundles o f features, the conce~rtrationo f a nebula into the semblance o f acore resulting from the mangle and tangle o f ideas, men, myths, symbols, rituals. W enever obtain a neat structure B la Lkvi-Strauss, but a mangle, and a tangle that leaves theviewer himself tairgled, tlrat is, confused, in a state of bewildesment. The networks o f
associations and permutatio~rsdetermine a field o f potentialities, within which a precise
and composite image becomes fixed.