?r< OU_1 60794

OUP

390

29-4-72

10,000OSMANIA UNIVERSITY LIBRARY
Call No.

S*l-3 0&tAccession No.

46

'

**

-

Author
Title

This book should be returned on or before the date last marked below.

THE INDIAN
BUDDHIST ICONOGRAPHY
Mainly Based on

THE SADHANAMALA
and Cognate Tantric Texts of Rituals

BENOYTOSH BHATTACHARYYA, M.A.,Ph.o.
Formerly Director of Oriental Institute and General Editor,
Qaekwad's Oriental Series, Baroda

FIRMA

K.

L.

CALCUTTAMUKHOPADHYAY1958

Published by K. L.

MUKHOPADHYAY, 6/1A, Banchharam Akrur Lane,
Calcutta- 12, India.

SECOND EDITION
Revised and Enlarged with 357 Illustrations

JUNE

1958

Dr. B. Bhattacharyya
Naihati, 24-ParganasPrinted by A. C. Ghosh,

GHOSH PRINTING HOUSE PRIVATE LIMITED,

17 A, British Indian Street, Calcutta- 1

Bound by NEW INDIA BINDERS,
Cakutta-9

5B, Patwar Bagan Lane,

S-ntcrwed to me <3olemQry of^fattier

PREFACE TO THE SECOND EDITION
The Mighty Gods and Goddesses of the Buddhist Pantheon wish
to reveal themselves before the world once again through the pages of
the Buddhist Iconography. Their Will is supreme. After overconv
ing

difficulties,

last is presented

lapse

of

full

delays and obstacles, the Buddhist Iconography atto the scholarly world in a second edition after a
It is pleasant
to live these long
thirty-four years.

years to see my favourite book pass through a second edition.

This

is

an occasion when I should remember with gratitude two of my illus*
trious preceptors, Professor A. Foucher and my father Mm. Haraprasad
Shastri both of whom are no longer in the land of the living.
in my heart of hearts that their invisible careandlarge measure responsible for this happy ending.

Ibelieveblessings are in a

It gives

me immense.satisfaction.

When the first edition of this book wasstudies were

published in 1924,

much hampered owing to paucity of material.

my

But since

then such a great volume of information has been published that it
appears almost overwhelming. I never could think that it would bepossible for me to handle such vast material in a manner befitting thisserious subject.

Thus the second edition goes to the world withwhich I am conscious more than my critics.

allits imperfections of

After 1924, the texts of the Sadhanamala and the Nispannayogavali

Both these texts proved to be veritable mines of
Between the two
information on Buddhist gods and goddesses.
editionofthetheand theAdvayavajrasangraha
publications,
in
and
the
followed
information
rapid succession,
Quhyasamaja
furnished in these two excellent texts not only added to my difficulties,
were published.

but also changed materially the whole outlook underlying the classiThese Sanskrit texts
fication and arrangement of Buddhist deities.

were published in the Qaekwad's Oriental Series when I was the General
Editor under my erstwhile Master, the late His Highness Maharaja
Sayaji Rap III, Gaekwad of Baroda and his illustrious Dewan Sir V. T*
Krishnania Chariar, now Deputy Chairman of the Planning Commission
for the Republic of India.

^>

Later, publications such as the Elements of Buddhist Iconography

Coomaraswamy, die second

byedition of the Qods of: Northern Buddhism

VIII

by Alice Getty, the Iconography of Tibetan Lamaism by Mrs. A. K.
Gordon and the Iconography of Buddhist and Brahmanical Sculptures inthe Dacca Museum by my friend and colleague Dr. N. K* Bhattasali,
Curator of the Dacca Museum, made my work of revision still moredifficult and embarrassing !

Professor Walter Eugene Clarke of the Harvard University by
publishing the two sumptuous volumes of the Two Lamaistic Pantheons
served to put the proverbial last straw on the camel's back. This bookpublished for the first time photographs of an unbelievable numberof Buddhist statuettes in the Royal Temple at Peiping in Manchuria.
If the statues had been entirely Chinese in character it

affected me in the

becausewould not haveamconnected palpably with theleast,
Indian branch of Buddhist iconography. But an examination of theIpublished photographs showed that the Peiping collection was exclusively inspired by Indian tradition, depended entirely on Indian texts,

and faithfully followed the directions given in Sanskrit texts such as
the Sadhanamala and the Nispannayogavali. The remarkable Indian
character of the Chinese statuettes led me to include a large number ofthem in this book, and their study made the task of revision not only
difficult but also delicate by forcing me to include Chinese specimens
in a book which is chiefly concerned with theIndian branch of
Buddhist iconography. I must thank the learned American author
Professor Clarke for imposing on me this additional labour andresponsibility!

The study of the Buddhist branch of Indian iconography is one of
the most interesting and fascinating of all studies. In Buddhist iconography the whole world is interested because Buddhism is not confinedwithin the limits of India like Hinduism or Jainism, but travelled far

and wide beyond the Himalayas to Tibet, China, Japan, Korea andMongolia 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.

The fountain head of inspiration

relating to Buddhist icono-graphy was furnished by the ancient Sanskrit manuscripts of India, andthe ideas and directions contained therein travelled to different countries, notably Tibet and China, where they were coloured by the art andculture characteristics of the respective peoples.

a stage

where

it

is

no longer

possible

We have now reached

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

isthe publication of a great volume of

IX

original

andunpublished manuscript material thatthe archives of MSS Libraries throughout the world.
material is published then alone the study
can be said to be complete.

lies

hidden in

When this hugeof Buddhist iconography

The second edition has been thoroughly revised and greatly enlarged.

New chapters have been incorporated, old chapters have been redistributed.

Many pictures have been deleted, and many new ones havebeen included in order to make the studyas

In 1924, when the first edition 'was published,

up-to-date as possible.
I
could only see thematerial side of the problem. But with the availability of fresh material,

the other side, namely the psychic side, also became apparent. Evidenceof this change will be found in the introduction which is almost whollyon the Dhyani Buddhas.

re-written, as also in other chapters, notablyI

offer an explanation here lest

my readers receive a shock while reading

this book in asecond edition. I may further point out that repetitions
in a book of this kind can hardly be avoided, and deities have been

repeated at different places for different purposes and in different
contexts.
My critics of the first edition will also notice how irregularities pointed out by them have been regularised in the second edition
I have received help from a number ofWith their help I could complete the revision and place theIn preparing this edition

persons.

book in the hands of scholars in its present form.

my sacred duty to acknowledge the debt

I

First of

all,

it

is

owe' to the late lamented

Dr. N. P. Chakravarti, one-time Director-General of Archaeology inIndia, for graciously permitting me to reproduce all the photographs

belonging to the Department as were included in the first edition.
These photographs either purchased direct or reproduced from Departmental publications are shown in the list of Acknowledgements.
It is hardly necessary for me to add that iconographic studies in India
are not possible without the generous help of the Archaeological

Department

help that is always given cheerfully as also gracefully.

Shrimati Hansa Ben Mehta, the talented Vice-Chancellor of theMaharaja Sayajirao University of Baroda, has laid me under a deep
debt of obligation by ordering a loan for the purpose of reproduction,of nine full-page blocks belonging to the University. As the Baroda
Museum now belongs to this University I have to thank the ViceChancellor also for using the Baroda 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, whogSve me permission to reproduce as\<

Bmany photographs as I liked fromX
monumental bookhisconditions, and

I

am

:

Two

Lamaistic Pantheons.

simply overwhelmed with

He

made

no

kindness andhisgenerosity.

To my friend and colleague, Dr. Hermann Goetz, formerly Curatorof the Baroda Museum, I feel very deeply indebted for allowing me totake a number of photographs of interesting Buddhist images deposited

Museum years ago, for their eventual reproduction in
my own negatives. All the statuettes belonging toand published in this book show the place of theirMuseumthe Baroda
in the Baroda

thisvolume fromorigin at the foot of each and every such illustration.

I

have to thankthe Baroda Musuem authorities and Dr. Goetz, the eminent art-critic,

very heartily for the favours enumerated above.

Pandit Siddhiharsha Vajracaryya of Nepal, 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

was need for them. The drawings of the Twenty-Five Bodhisattvas
were all procured by him from Nepalese artists. Out of this number,sixteen were copied from stone images in one of the famous Caityas
of Patan in Nepal. I am deeply indebted to him, as also to his son

Dharmaharsha andintelligent,prompt,his

grandson Purnaharsha Vajracaryya for theiractive and effective co-operation.

Iam also grate*

to my old artist of Nepal, Virman Chitrakar who supplied
Nepalese drawings illustrated in the first edition.
ful

all

the

To Professor N. A. Gore I am indebted for three beautiful photoone of Ganapati (four-armed) and two of the rare deity
fromoriginals in the collection of his father-in-law, Dr. H. G.
Simhasyagraphs :Moghe, L. D. S., R. C. S. ( Eng* ) of Khar, Bombay.
gratitude toedition.

expressmyboth while reproducing all the three photographs in

this

I

this opportunity of once again recording

my heartfelt thanksmewhoallowedto Dr. W. Y. Evans- Wentz
years ago to reproduce
I takesome of the miniatures in his possession.

His name is mentioned at

appropriate places.

My grateful thanks are also due to Miss Raihana Tyabji, the mystic
daughter of the illustrious Indian leader, the late Shri Abbas Tyabji,for going through the first edition for the purpose of a detailed revision
more than 15 years ago.
I

am also indebted to the Manager, Bomby Branch of the Oxford

University Press for readily agreeing to have this second edition pub"lished through Firma K. L. Mukhopadhyay, It was he who pursua*

ded me, much against

revise the book for a second
have many reasons to be thankful to him.

my wishes, toedition as early as 1949.

I

my pleasant duty to express my indebtedness to the Curators,

It is

Keepers and Superintendents of Museums, Picture Galleries, image
collections, and the rest, wherefrom images in metal, stone and paint'I

am parti*

culary grateful to the authorities of the IndianMuseum,Calcuttta,

Museum and Picture Gallery at Baroda, theProvincial

Museum,ings havethebeen selected for reproduction in this volume.

Lucknow, the Museums

and Dacca, the Vangiya
Sahitya Parisat Museum, Calcutta, and the Palace Temple Collection
To all of them I tender myof images at Peiping in Manchuria.
grateful

at Sarnath, Nalanda

acknowledgments.

All those Universities of India which prescribed the first edition of

the Indian Buddhist Iconography as a textbook for the M.A. Examinationin Ancient Indian History and Culture, deserve
selecting the book.

It is

my grateful thanks forhoped that the authorities will extend the same

patronage to the second edition which is now published.

Messrs. Ghosh Printing House
Private Limited, Calcutta, especially Shri P. C. Basak, for exercising
great care on the accurate printing and excellent geMip of this volume.

My grateful thanks are duetoIn spite of our best efforts, however, a few errors have crept in, and for

These are mostly minor
Shri N. L. Dutt has also beenthese I crave the indulgence of my readers.
errors and can be corrected with ease.

very helpful, and I acknowledge my indebtedness to him.
Lastly,brotherI

am duty bound to acknowledge my indebtedness to my

Shriyut Paritosh Bhattacharyya of Messrs. Sandal &. Co.,and for his many acts ofCalcutta, for his sustained encouragement

kindness.

My gratitude to Shri K. L. Mukhopadhyay of Firma K. L. Mukho*
padhyay knows no bounds, for all that he has done in bringing out
this edition in its present form. I thank him cordially and bless him
heartily.

This time I can only inscribe the book to the memory of my loving
father, the late Mahamahopadhyaya Haraprasad Shastrible

in whose invisi-

but tender care I have the honour to place this second edition of

Buddhist Iconography.
Shastri Villa
Naihati (West Bengal)

Rathayatra 1958

B.

BHATTACHARYYAABBREVIATIONSAAppendix

ADV

Advayavajrasangraha

ASI

Archaeological Survey of India

Bendall

Professor Cecil Beridall

Bhattasali(Dr.) N. K. Bhattasali

Clark

Professor Walter Eugene Clark

Foucher

Professor A. Foucher

Getty

Miss Alice Getty

GNB

Qods of Northern Buddhism

GordonMrs.

GOS

Qaekwad's Oriental Series

IBBS

Iconography of Buddhist and Brahmanical Sculptures
the

A.K.Gordon

Dacca

MuseumITL

Iconography of Tibetan Lamaism

JASB

Journal of the Asiatic Society of Bengal

JBORS
JRAS

Journal of the Bihar and Orissa Research Society

KernProfessor H. Kern

Journal of the Royal Asiatic Society of Qreat Britain

NSP

Nispannayogavall

Samasrami

Pandit Satyavrata Samasrami

TLP

Two Lamaistic Pantheons, 2 Vols.

Vogel

Professor J. Ph. VogeliACKNOWLEDGMENTS
Grateful acknowledgments are made of the Courtesy and Copy*
right of the following institutions among others and of private collec-

superintendents as well as
individual owners, while reproducing photographs of images, bronzes,

tions, with their officers, curators, keepers,

sculptures, bas-reliefs, statuettes, miniatures and blocks in their charge,

the copyright being reserved in all appropriate cases.

The Archaeological Survey of India, New Delhi along with theArchaeological Museums at Calcutta, Lucknow, Sarnath and Nalanda
Lfunctioning under the Department, in respect of Figures

17,26,27,45,46,77,81,83,84,85,94,95,96,98,

99,:

1, 2, 3, 4, 5,

101,

104,

105,

107, 116, 130, 138, 140, 142, 148, 152, 153, 154, 156, 166, 167, 169, 180,
189, 190 and 233.
II.

The Museum and131, 160,163,168

M.

S.

13, 16, 42, 74, 75, 87, 92,

97,

Picture Gallery under the

Baroda, in respect of Figures:

University,
106,

127,

and 188,

The Palace Temple at Peiping in Manchuria and the author ofIII.
the Two Lamaistic Pantheons, 2 Vols., Professor Walter Eugene Clark,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,

213, 214, 217, 219, 220, 221, 222, 223,

224,

225,

231,

236,

237,

238,

239, 240, 241, 242, 243, 244, 245, 246, 247 and 248.

Professor W. Y. Evans- Wentz (private collection), in respect ofIV*
Figures229.

:

19, 22, 28, 33, 37, 150, 157, 165, 196, 197, 198,

199,

200 and

Dacca Museum, Dacca (East Pakistan), in respect of Figures89, 125, 185 and 249.
V.

VI.

Vahglya Sahitya Parisat, Calcutta, in respect of Figures::

93 and149.

VII.

Dr. H. G.

Moghe,

L.D.S., R.C.S. (Eng.), of Khar,

Bombay(private collection), in respect of Figures : 215, 216 and 227.

VIIL
IX.

Berlin Museum, Berlin, Germany, in respect of Figure

Leiden Museum, Leiden, Holland, in respect of Figure

:

90.

141,

XIV

The Late Mr. W. B. Whitney of New York (private collection),X.

in respect of Figure : 161.

XL

The Hindu Monastery at Bodh Gaya, in respect of Figure

XIL
FigureDacca Sahitya Parisat, Dacca (East Pakistan),

in

:

1

64-

respect of

184.

:

XIIL

Her Highness The Dowager Maharani Chimanabai Gaekwadof Baroda (private collection), in respect of Figure

228.

:

XIV, The Oriental Institute of the M.S. University, Baroda for theloan of nine full page blocks, in respect of Figures
89, 99. 103, 105,:

156, 166, 169, 173 and 177.

XV.

The Indian Museum, Calcutta, in respect of Figures

5, 26, 45, 46, 81, 84, 85,:

1,3, 4,95, 104, 138, 140, 142, 148, 152, 153, 156, 167,

169, 180 and 190.

XVL The Nalanda Museum, Nalanda (Bihar), in respect of Figures;

17, 27, 189 and 233.

XVII.

The Provincial Museum, Lucknow, in respect of Figures:99,

105, 154 and 166,

XVIIL
FiguresXIX.

:

The Saranath Museum, Saranath (Benares), in respect of
77, 94, 98, 107, 116 and 130.

Pandits Siddhiharsha, Dharmaharsha and Purnaharsha Vajra-

caryya of Kathmandu (Nepal), in respect of

duced in Figures:

9, 10, 11, 14, 15, 29,146, 151, 176, 187,201 and 226.

43,

Nepalese images

44,

82,

86,

91,

repn>

102,

108,

SYNOPSIS OF CONTENTS
Preface

Abbreviations

Acknowledgments
Synopsis of Contents
List of Illustrations
Select Bibliography

ErrataIntroduction

the study of Buddhist Iconography ;Materials for

1.

1

...

...

The Psychic Process of3.
Vajrayana Mysticism
Sadhana 4. Godhead in Buddhism 5. The Pantheon.
2,

;

;

;

...
CHAPTER!. Dhyani and Mortal Buddhas
1.
Amitabha Pandara
Vajradhara

Aksobhya

Mamaki;

Vajrapani;;

Padmapani;

Vairocana

;

;

;

;

2.

42

...

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

;

;

;

;

;

;

;

;

;

;

;

;

;

garbhapani ; 7.

Sagaramati;

Ratna6.
Gaganaganja
8. Vajragarbha
9V?walokitesvara ;/x
5,

;

;

.

;

11.
Candraprabha 12.
Mahasthamaprapta
Pratibhanakuta
13.
14.
Amitaprabha
niprabha
10.

;;

Amoghadarsi;

18.

Manjusri

Bhadrapala
;

24-

)

19. Gandhahasti
22,;

Surangama;

15.

Sarvanivaranaviskambhi ;Sarvasokatamonirghatamati ; 16.
Maitreyanaketu ; 21.

Jali-

;

;

17.

82

;

Akasagarbha

4.

;

;

;

;

;

20.

;

Jna-

23,
Sarvapayanjaha
Vajrapaanii ( General
;

25.

;

remarks.

CHAPTER IIL
1.

ghosa

Bodhisattva Manjusri
Vajraraga ;Siddhaikavlra
4.
;sangitiManjusri

;

...

...

Dharmadhatu-Vagisvara ; 3.

2.

7.

5.

;

Vagisvara

juvajra ; 10>

Manjukumara

cakra ; 13.

Vadirat,;11.

Vajrananga;

6,

Manju*

Kama"

Manjuvara 9. Man12. SthiraArapacana
;

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.

/kapala145:

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
Sambara5.

Havamya

Heruka

2.

;

;

6.

3.

;

HevajraSaptaksara

9

7.

;

;

4. Buddha-

Mahamaya;Raktayamah 10. Krsnayamari 11. Jam12. Occhusma Jambhala
13.
bhala
Vighnantaka
15.
Bhutadamara
16. Vajrajjvalana14.
Vajrahuhkara

8.

;

;

;

;

;

;

;

larka

bara

;

17.

Trailokyaviiava
Kalacakra.

; 20.

Goddesses
1.

;

Yogam-

19.

189

...

5.

;

;

2.

JanguliParnasabarl;;

3* Ekajata ; 4.

6. ^Prajnaparamita;

Vidyu-

7. Vajra-

10.

Mahamantranusarini
97^/TanSpratyahgira
11.
12. Nairatma
Vasudhkra
Dhvajagrakeyura

13.

Jnanadakini

carcika

;

8.

Gods

14.

;

...

...

206

;

M and

;

3. Usnisavijaya

MahasahasrapramardanI
8. Grahamatrka.

;

;

4.

Sitatapatra Aparajita

6. Vajravarahl ;Emanations of Amoghasiddhi

CHAPTER IX.

1 .

;VajravidaranL

Namasahgiti

5.

Gods

;

:

Goddesses
2.

;

Emanations of Vairocana

1.

II.

;

;

CHAPTER VIII.

I.

Paramasva:

Mahaclnatara

jjvalakarall

I.

18.

Emanations of Aksobhya (continued)

CHAPTER VII.
II.

;

;

:

Vajramrta

...

7.

Cunda

;

;

...

226

XVJI

Goddesses
2.
Khadiravam Tara

II.

:

tara ; 5. Sadbhuja
8. Parnasabari ;Mahasrl Tara;

4.

Vasya-

Sitatara ; 6. Dhanada Tara;

7.

Sitatara

3.

;

Mahamayun

9.

10.

;

Vajrasrnkhala ;11. Vajragandhari.

Emanations of Ratnasambhava

CHAPTER X.

Gods

I.

:

1.

3.
6.

Ucchusma Jambhala

2.

;

.s**

:

Vaipatara

ApaJtfjita

CHAPTER XL;

Vajrayogim

7.

;

Mahapratisara

4.

1.

Yamantaka

Vighnantaka

4.

bala

;

8.

;

Collective Deities

Ten Gods of Direction

I.

Acala

8.

2.

;

5.

;

;

Usmsa

;

;

1.

Vajrankusi

Vajraghanta

4.

2.

;

5.

;

...

...

...

251

...

...

...

251

6.

Padmantaka
7* Maha-3.

;;

Niladanda

10.

;

Sumbharaja.
...

...

VajrapasI

Usmsavijaya

Eight Usmsa Gods

III.

;

3.

Vajrasphota

6.

Sumbha.

;

256

;

...

...

...

;

;

Prasanna Tara

Prajnantaka

Takkiraja

9.

;

:

Vasudhara

5.

Six Goddesses of Direction:

II.

237

...

^>^~
Jambhala

Goddesses

II.

...

299

Padmosmsa
3.
Ratnosmsa
1.
Vajrosmsa 2.
Tik7.
Visvosmsa 5. Tejosmsa 6. Dhvajosmsa
Chhatrosmsa.
8.
snosmsa
;

;

;

4.

;

;

;

;

Five Protectresses

IV.

1.

...

:

Mahapratisara

Mahamantranusarim

3.

;

2.

;

4.

...

...

Mahasahasrapramardani
Maha$ItavatI

;

302

;

Maha*

5.

mayurL
Taras of Five Colour

V.

1.

4.

VI.

Green Tara

Blue Tara;

5.

;

...

:

2. White Tara
Red Tara.

Eight Gaurl Group

Gaurl; 2. Cauri
Pukkasi; 6. Saban

VII.

;

VIIL

Lasya

2..

;

Mala;

...

4.

Ghasmarl

8.

Dombi.

;...

3.

Four Musical Instruments
2.
VaihsaVina; 3.

Gita ;...

4.

;

Mukunda

309

;

...

312

..,

314

Nrtya.
...

:

L

306

;

...

Vetall ;7.

Four Dance Deities :
1.

Tara

Candali

3.

;

...

3. Yellow

;

...

:

1.

5.

...

;

4.

Muraja.

XVIII

Four Door Goddesses

IX.

L

Talika

KuncI

2.

;

Four Light Goddesses

X.

1.

Suryahasta

Dlpa

...

Ratnolka

3.

;

316

Patadharinl

4.

;

...

:

2.

;

Kapata

3.

;

...

...

...

:

317

...

Tadit-

4.

;

kara.

XL Four Animal-Faced Goddesses
Hayasya

1.

2.

;

bukarasya

;

...

...

:

3.

Svanasya

...

...

Sim-

4.

;

319

hasya.

Four Dakim Group

XIL

Dakim

1.

CHAPTER XIL;

naparamita

7.

;

12.

paramita ;Danaparamita

1.

Ayurvasita

sita ;

10.

III.

;

Balaparamita

5.

Jnana*

8.

;

...

328

Pariskaravasita ;3.

Upapattivasita

10. Dharmavasita ;Twelve Bhumis

Rddhiva-

6.

;

Pranidhana vasita;

Tathatavasita

11.

;

8.

;

11.

;

Durangama
Dharmamegha

Twelve Dharinls
Sumati

1.

Marl

mukhl

;

;

5.

;

;

Pramudita;

8 Cunda

;

9.

12*

Samantaprabha.

6.

;

;

...

...

3.

JahgullPrajnavardhanl ;11.

;

Acala ;

Ratnolka;

333

Vimala7. Abhi10.
Sadhu3.

9.

...

2.

;

;

...

6. Sudurjaya ;;:Parnasabarlmavaranavisodhanl

...

...

:

2.
1.
Adhimukticarya
5. Arcismatl
Prabhakan

mat!

4

;

Buddhabodhiprabha-vasita.

mukhl

IV.

11.

...

...

:

;

4*

;

2. Cittavasita ;;;9. Jnanavasita ;12,cillapara-;

Adhimuktivasita

7.

323

Vajrakarmaparamita.

Karma vasita

4.

...

3.

;

5.

;

Twelve Vasita Goddesses

II.

323

;

Pranidhanaparamita

9.

Rupim.

6. DKyaViryaparamita
8
Upayaparamita
Prajnaparamita

Ksantiparamita

4.

4.

;

...

...

2.

;

321

.

...

...

:

Ratnaparamita

1.

mita

Khandaroha

3.

;

Philosophical Deities :Twelve Paramitas

I.

Lama

2.

;

:

Usrnsavijaya
;

7.

10.

337

;

AnantaSarvakar-

Aksayajnanakaranda;

12

Sarvabuddhadh armakosa vatL

V.

Four Pratisamvits...

:

L Dharma Pratisamvit
3. Nirukti

Pratisamvit

;

4.

;

2.

...

Artha Pratisamvit ;Pratibhana Pratisamvit.

...

342

XIX
:

Hindu Gods in Vajrayana

CHAPTER XIII.
1.

Mahakala

2.

Ganapatl

3.

Ganapatihrdaya

4

Sarasvatl ;5.

The Eight Dikpalas

V.

...

:

Yama

II.

^IT Brahma

Agni

Varuna

352

VII

;

VarahlV.

;

IV.

KuberaNairrti ; VIII.

Vayu

III.

;

Visnu

II.

;

VIII.

BhrngI;...

;

Isana ; VI.

Karttikeya

344;

Ten Principal Hindu Deities

6.

...

;

Indra ;

I...

:

Ganapati

**r~

:

III.

;

VI.

;

;

...

"Stahesvara ;IV.

CamundaVII.

;

MahSkala

IX

;

;

;

363

X.

Nandikesvara.

Nine Planets:

7.

...

Aditya; II. Candra
Budha; V. Brhaspati VI.
I.

...

III.

;

Balabhadra Group :8.

Balabhadra

I.
7

IV

,

II.

;

IV.

3ani;

Jayakara;...

Madhukara

III.

378

;

Vasanta.

Vidyadharas
I.

...

...

Lords of the Yaksas,

9.

VII.

;

;

367

Ketu.

IX.

;

Mangala

Sukra

;

Rahu

VIII.

...

...

:

Yaksa Kings

King;

IV.

Kinnaras, Gandharvas and

;

...

II.

Kinnara King

;

...

...

III.

Gandharva

379

Vidyadhara King.

10.

Twenty-Eight Constellations

...

...

381

11.

Time Deities:

...

...

382

I.

MonthsIV.

Seasons

CHAPTER XIV.

Apppendix.

;

...

II.

Conclusion

Dates ;

III.

...

108 Forms of Avalokitesvara

ZodiacalSigns ;

...

..."

334

...

...

394

...

...

...

...

432

Index of Words

...

...

.

...

443

Index of Illustrations

...

...

...

...

457

Glossary

...

LIST

OF ILLUSTRATIONS
Names

Fig.

1.

Maya's Dream (Bharhut)

2.

BodhiTree (Sanchi)

3.

Buddha's Head-dress (Bharhut)

4.

Buddha's Footprints (Bharhut)

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

Adibuddha Vajradhara (Nepal)

...

...

57

13.

Vajradhara (Baroda Museum)

...

...

58

14.

Vajradhara Yab^yum (Nepal)
Vajradhara Yab-yum (side view)

...

...

58

.

...

58

16.

Vajradhara (Baroda Museum)

...

17.

19.

Buddha in different Mudras (Nalanda Museum)...
Buddha in different Mudras (Java)
Amitabha (Nepalese miniature)20.

Pandara (Nepalese drawing)

2L
23.

...
Padmapani (Nepal)aAksobhy (Nepalese miniature)...
Aksobhya (Nepal)

24.

MamakI (Nepalese drawing)

9.

15.

18.

22.

...

,

40

...

.

58

...

59

...

59

..

...

60

...

...

60

.

...

60

...

...

60

...

...

61
61

...

25.

Vajrapani (Nepal)

...

61

26.

Vajrapani (Indian Museum)

...

..

62

2?.

...

...

62

28.

Vajrapani (Nalanda Museum)
Vairocana (Nepalese miniature)

...

...

62

29.

Vairocana (Nepal)

...

30.

Vairocana Vajradhatu (Peiping)

..

...

63

31.

Locanl (Nepalese drawing)
Samantabhadra (Nepal)

...

...

63

...

...

63

...

...

64

...

...

64

32.
33.
34.

...

...

Amoghasiddhi (Nepalese miniature)
Amoghasiddhi (Nepal)

...

62

XXI
'

Names

Fig.

Page

35.

Tara (Nepalese drawing)

...

36.

Vilvapani (Nepal)

...

37.

...

38.

Ratnasambhava (Nepalese miniature) ...
...
Ratnsambhava (Nepal)

39.

Vajradhatvisvari (Nepalese drawing)40.

Ratnapani (Nepal)

.

...

...

64

...

65

...

65

...

65

...

66

...

66

...

66

.-

'67

41.

Vajrasattva (Nepal)

..

42.

Vajrasattva (Baroda Museum)

...

43.

Vajrasattva Yab-yum (Nepal)

...

...

67

44.

Vajrasattva Yab-yum (side view)

...

...

67

45.

Seven

MortalMuseum)Buddhaswith...

Maitreya(Indian

...

...

68

..

46.

Vajrasana (Indian Museum)

...

47*

Maitreya (Nepalese drawing)
Samantabhadra (Nepalese drawing)

...

...

68
69

...

...

69

...

69

50.

Aksayamati (Nepalese drawing)
Aksayamati (Peiping)...

...

51.

52.

53.

48.

49.

...

...

70

Ksitigarbha (Nepalese drawing)

..

...

70

Akasagarbha (Nepalese drawing)

...

...

70

Gaganaganja (Nepalese drawing)
Ratnapani (Nepalese drawing)

...

...

71

54.

...

...

71

55.

Sagaramati (Nepalese drawing)

...

...

71

56.

Vajragarbha (Nepalese drawing)
Avalokitesvara (Nepalese drawing)

...

...

72

...

...

72

...

105

105

57.

72

59.

Mahasthamaprapta (Nepalese drawing)...
Candraprabha (Nepalese drawing)

60.

Jalinlprabha (Nepalese drawing)

...

...

61.

Amitaprabha (Nepalese drawing)

...

...

105

62.

Pratibhanakuta (Nepalese drawing)

...

...

106

63.

Sarvasokatamonirghatamati (Nepalese drawing)
Sarvanivaranaviskambhi (Nepalese drawing)

...

106

...

106

58.

64.
65.
66.
67.
68.

69.

...

...

107

...

...

107

...

...

107

Jnanaketu (Nepalese drawing)
Bhadrapala (Nepalese drawing

...

'...

l68

'...

108

Sarvapayanjaha (Nepalese drawing)
Sar vapiy an jaha (Peiping)

...

...

'108

...

.:.

'109

...
Amoghadarsin (Nepalfese drawing)...
..:
Surangama (Nepalese drawing)
Manjusn with Ganapati and Vi^snu (Baroda Museum^:/

i09

Maitreya (Nepalese drawing)
Manjusr! (Nepalese drawing)
Gandhahasti (Nepelese drawing)

...
'

70.
71.

72.
'73.

74.

'

-

!.-.

'

"J09
1

10

XXII

Names

Fig.

Page
...

110
110

75.

Vajraraga (Baroda Musem)

...

76.

Vajraraga (Nepalese drawing)
Siddhaikavlra (Sarnath Museum)

...

...

...

...

Ill

...

...

Ill

...

111

77.
78.
79.

Vajrananga (Nepalese drawing)
Namasanglti Manjusrl (Nepalese drawing)

80.

Namasanglti Manjusrl (Peiping)

...

...

112

81.

Vaglsvara (Indian Museum)

...

...

112

82.

Vaglsvara (Nepal)

...

...

...

112

83.

Manjuvara (Birbhum)

...

...

...

169

84*

Manjuvara (Indian Museum)
Manjuvara (Indian Museum)

...

...

169

.-.

...

169

...

...

170

87.

...
Manjuvara (Nepal)
Manjuvajra (Baroda Museum)

...

...

170

88.

Manjukumara (Nepalese drawing)

...

...

170

89.

...

...

171

...

...

172

...

...

172

92.

Arapacana (Dacca Museum)Arapacana (Berlin Museum)...
Arapacana (Nepal)
Arapacana (Baroda Museum)

...

..

172

93.

Sthiracakra (Vanglya Sahitya Parisat)

...

...

173

94-

Sadaksari Group (Sarnath Museum)
Sadaksari Group (Indian Museum)

...

...

173

...

...

173

...

174

85.
86.

90.

9L

95.

97.

...
Sadaksari Group (Birbhum)
Sadaksari Lokesvara (Baroda Museum)98.

Sadaksari Mahavidya (Sarnath Museum)

99.

102.

Simhanada Mahoba (Lucknow Musuem)...
...
Simhanada (Nepal)...
Simhanada (Magadha)...
...
Simhanada (Nepal)

103.

Khasarpana (Vikrampur, Dacca)

104.

96.

100.

101.

105.

106.

107.
108.

...

174

...

174

...

175

...

176

...

176

...

176

...

257

...
Khasarpana (Indian Musuem)
Lokanatha Mahoba (Lucknow Museum)...

Lokanatha (Baroda Museum)
Lokanatha (Sarnath Museum)
Lokanatha (Nepal)

...

...

259
258
259

...

...

259

...

...

260

...

...

260

...

...

260

...

...

261

...

...

110.

...
Halahala (Nepal)
Padmanarttesvara (Nepal)

111.

Padmanarttesvara (Peiping)112.

Padmanarttesvara (Nepalese drawing)...

...

261

113.

Harihariharivahana (Nepalese drawing)

...

261

114.

Trailokyavasahkara (Peiping)

...

...

262

115.

Raktaiokesvara (Peiping)

...

...

262

109.

XXIII

Names

Fig.

Museum)

Page

116.

Ntlakantha (Sarnath

...

...

262

117.

Sugatisandarsana {Nepalese drawing) ...

...

263

118

Pretasantarpita (Nepalese drawing)

...

119.

Sukhavati Lokesvara (Nepal)

...

...

263
263

120.

..

...

264

...

...

264

...

...

...

...

264
265

122.

Vajradharma (Nepalese drawing)
Kurukulla (Nepalese drawing)
Kurukula (Peiping) ...

123

BhrkutI (Peiping)

124.

Gandarosana (Nepalese drawing)
Heruka (Dacca Museum)

...

...

265

...

...

265

Buddhakapala (Nepalese drawing)
Buddhakapala (Baroda Museum)

...

...

127.

...

...

266
266

128.

Hayagrlva (Nepalese drawing)

...

...

266

129.

...
Hayagrlva (Peiping) ...
U cchus ma Jambhala (Sarnath Museum)

...

267

...

267
267
268

121.

125.
126.

130.

...

132.

Vighnantaka (Baroda Museum)
Paramasva (Nepalese drawing)

...

...

133.

Yogambara (Peiping) ...

...

...

263

134.

Kalacakra (Nepalese drawing)

...

...

268

135.

...

-

136.

Mahaclna Tara (Nepalese drawing)
Mahaclna Tara (Nepalese drawing)

...

...

137.

Jangul! (Nepalese drawing)

...

...

269
269
269

131.

...

...

138

Ekajata (Indian Museum)

...

...

270

139.

Ekajata (Nepalese drawing)

...

...

270

140.

Parnasaban

...

...

270

141.

Prajnaparamita (Leiden, Holland)

...

...

271

142.

Prajnaparamita (Indian Museum)

...

...

271

143.

Vajracarcika (Nepalese drawing)

...

...

271

144.

Pratyangira (Nepalese drawing)

...

...

272

145.

Pratyangira (Nepalese drawing)

...

...

146.

Pratyafigira (Nepal)

...

...

272
272

147.

Dhvajigrakeyura (Nepalese drawing)...
Nairatma (Indian Museum)

...

148.
149.

150.

151.
152.

(Indian Museum)

...

...

274
274

...

...

274

...

...

274

...
Namasahglti (Nepal) ...
MaricI(IndianMuseum) ...
Astabhuja

...

276

...

275
276
276

Nairatma (Vangiya Sahitya Parisat)
Vajravidaram (Nepalese miniature)154.

Astabhuja MaricI (Indian Museum) ...
Astbhuja MaricI (Lucknow Museum)...

155.

Dasabhujasita MaricI (Nepalese drawing)

...

278

156.

Usnlsavijaya -(Indian Museum)

...

277

153.

...

...
...

XXIV
Names

Fig*

Page

157.

Usmsavijaya (Nepalese miniature)

...

278

158.

Sitatapatra Aparajita (Nepalese drawing)

...

278

J59.

Vajravarahi (Nepalese drawing)

...

...

279

160.

Vajravarahi (Baroda Museum)
Cunda (The late Mr. W. B. Whitney)...
Cunda (Nepalese miniature)...
Cunda (Baroda Museum)...
Cunda (Bodh-Gaya) ...

...

279

161.

162*
163.

164.

...

...

...

279

...

280

...

280

...

280

169.

Grahamatrka (Nepalese miniature) ...
Khadiravam Tara Mahoba (Lucknow Museum)
Khadiravam Tara (Indian Museum) ...
Khadiravam Tara (Baroda Museum) ...
...
Mahasri Tara (Indian Museum)

170.

Vasyatara (Nepalese drawing)

...

...

284

171.

Sadbhuja Sitatara (Nepalese drawing)...
...
Dhanada Tara (Nepalese drawing)

...

284

...

284

...

...

285

...

..

286

165.

166.

167.
168.

172.

174.

Parnasabarl (Vikrampur, Dacca)
Parnasabarl (Vikrampur, Dacca)

175.

Vajrasrnkhala (Nepalese drawing)

176.

179.

...
..
Jambhala (Nepal)...
Jambhala (Vikrampur, Dacca)...
Jambhala (Vikrampur, Dacca)
Jambhala Yab-yum (Nepalese drawing)

180.

Vajratara

173.

...

282

...

281

,

...

282

...

282

...

283

...

286

...

286

...
...

287
288

...

288

...

...

288

Vajratara (Orissa)

...

...

...

289

182.

Vajratara (Nepal)

...

...

...

289

183.

Puspatara Peiping

...

...

...

289

184.

Mahapratisara (Dacca Sahitya Parisat)

...

290

185.

Mahapratisara (Dacca Museum)

...

290

186.

188.

Vasudhara (Nepalese drawing)...
Vasudhara (Nepal)
Vasudhara (Baroda Museum)

189.

Aparajita (Nalanda Museum)

190.

Aparajita (Indian Museum)

177.

178.

181.

187.

(Indian Museum)

.

...

...

290

...

...

291

...

...

291

...

...

291

...

...

292

...

292

...

.292

...

...

293

293

19L

Vajrayogim (Temple at Sahku)

...

192.

Prasannatara (Nepalese drawing)

...

193.

Vajrapasi (Peiping)

...

194.

Vajrasphota (Peiping)...

,..

...

195.

Vajrosnisa (Peiping)

...

...

...

293

196.

Mahapratisara (Nepalese miniature) ...

...

294

197.

Mahasahasrapramardam (Nepalese miniature)

...

294

XXV
Names

Fig,

Page

198.

Mahamantranusarim (Nepalese miniature)

...

199.

Mahasltavati (Nepalese miniature)
Mahamayuri (Nepalese miniature)

...

...

294
295

...

...

295

200.

Mahattarl Tara (Nepal)

...

...

295

202.

Vetall (Peiping)

...

...

296

203.

Ghasmarl (Peiping)

...

...

296
296

201.

-

204.

Pukkasi (Peiping)

...

-

205.

Dombi (Peiping)

...

...

...

...

353
353

...

...

353

...

...

...

...

...

...

206.
207.

Lasya (Peiping)
Gita (Peiping)209.

Nrtya (Peiping)
Vina (Peiping)210.

Mukunda (Peiping)211.

Talika (Peiping)

...

...

354
354
354
355

212.

Kapata (Peiping)Dlpa (Peiping)
Ratnolka (Peiping)

..

...

355

...

...

355

...

...

356

...
...

356
356

208.

213.
214.
215.

217.

Simhasya (Dr. Moghe's Collection) ..
Simhasya, upper view (Dr. Moghe's Collection)...
DSkinl (Peiping)218.

Lama (Nepalese painting in colour)

219.
220.

Dhyana Paramita (Peiping)Pnmidhana Paramita (Peiping)

221.

216.

...

357

...

...

376

...

...

...

...

357
357

Upapatti Vasita (Peiping)

...

...

222

Rddhi Vasita (Peiping)

...

...

223.

Dharmamegha (Peiping)

...

...

224.

Nirukti Pratisaifavit (Peiping)

...

...

225.

Pratibhana Pratisarhvit (Peiping)

..

...

359

226.

Mahakala (Nepal)

...

...

359

227.

Ganapati (Dr. Moghe's Collection) ...
Ganapati (Maharani Chimanabai Collection)
Ganapatihrdaya (Nepalese miniature)...
...
Mahasarasvati (Nepalese drawing)

...

358
358

358
359

...

...

232.

Vajravlna Sarasvatl (Peiping)
Vajrasarada (Nepalese drawing)

...

...

360
360
360
369
369
369

Z33.

Vajrasarada (Nalanda Museum)

...

...

370

Z34.

Arya'Sarasvatl (Nepalese drawing)

...

...

235.

Vajrasarasvati (Nepalese drawing)

...

...

370
370

228.

229.

230.
231.

...
...
...

236.

Indra (Peiping)

...

...

371

237-

Agni (Peiping)

...

...

371

138.

Vayu (Peiping)

...

...

371

XXVI
Names

Fig.

Page

239.

Brahma (Peiping)

...

...

240.

Mahesvara (Peiping)

...

...

372

241.

Ganapati (Peiping)

...

...

372

242.

Rahu (Peiping)

...

...

373

372

243.

Ketu (Peiping)

...

...

373

244.

...

...

373

245

Navami Tithi (Peiping)
Dasami Tithi (Peiping)

...

...

374

246.

Tula (Peiping)

...

...

374

247.

Kumbha (Peiping)

...

...

374

248.

Mma (Peiping)

...

...

375

249.

Khadiravam Tara (Dacca Museum)

...

...

375

APPENDIX
Eye-copy of paintings in the Machhandar Vahal,

Kathmandu, Nepal
Names

Fig.

Page

2(A).

Hayagriva Lokesvara
Mojaghanjabala (?) Lokesvara3(A).

Halahala Lokesvara

...

...

401

4(A).

Harihariharivahana Lokesvara

...

...

401

5(A).

Mayajalakrama Lokesvara
Sadaksan Lokesvara
Anandadi Lokesvara

...

...

402

...

...

402

...

...

...

...

402
402

9(A).

Vasyadhikara Lokesvara
Potapada Lokesvara

...

...

10(A).

Kamandalu Lokesvara

...

...

1(A).

6(A).
7(A).

8(A)

11(A).
12 (A).

13(A).

14(A)
15(A).
16(A).

17(A),

401

...

...

...

...

401

...
Varadayaka Lokesvara...
Lokesvara
Jatamukuta...
Sukhavati Lokesvara...
Lokesvara
Pretasantarpana
Mayajalakramakrodha Lokesvara ...
...
Sugatisandarsana Lokesvara...
Nilakantha Lokesvara

...

403
403
403

...

403

...

404

...

404
404
404

...
...

...

405

...

405

19(A),

Lokanatha-Raktaryyavalokitesvara...
Trailokyasandarsana Lokesvara

...

405

20(A).

Sirhhanatha Lokesvara

...

405

21 (A).

26(A)*

Khasarpana Lokesvara
Manipadma Lokesvara
Vajradharma Lokesvara
Pupala (?) Lokesvara
Utnauti (?) Lokesvara
Vrsnacana Lokesvara

27(A).

18(A),

...
...

...

...

...

...

...

...

...

406
406
406
406

...

...

407

...

...

407

Brahmadanda Lokesvara

...

...

407

28(A).

Acata (?) Lokesvara

...

...

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).

XXVIII

Names

Fig.

Page

33(A).

Yamadanda Lokesvara

...

...

409

34(A).

Vajrosmsa Lokesvara

...

...

409

35(A).

Vajrahuntika (?) Lokesvara
Jnanadhatu Lokesvara

36( A)

.

..

...

409

...

...

409

...

...

410

37(A).

Karandavyuha Lokesvara

38(A).

Sarvanivaranaviskambhi Lokesvara

...

410

...

410

39(A).

Sarvasokatamonirghata Lokesvara

40(A).

Pratibhanakuta Lokesvara

...

...

410

4l(A).

Amrtaprabha Lokesvara

...

...

411

42(A).

Jaliniprabha Lokesvara

...

...

411

-

43(A).

Candraprabha Lokesvara

...

...

411

44(A).

Avalokita Lokesvara

...

...

411

45(A).

Vajragarbha Lokesvara

...

...

412

46(A).

Sagaramati Lokesvara
Ratnapani Lokesvara

...

...

412

47(A).

...

...

412

48(A).

Gaganaganja Lokesvara

...

...

412

49(A).

...

...

413

...

...

413

51 (A).

Akasagarbha Lokesvara
Ksitigarbha Lokesvara
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

...

...

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

50(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).

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).

Sat thavaha Lokesvara

...

...

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 (?) Lokesvara

...

...

421

84(A).

Harihara Lokesvara

...

...

421

85(A).

Simhanada Lokesvara

...

...

422
422
422

77(A).
78(A).

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

...

...

426

...

...

426

...

...

426

...

...

427

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

SELECT BIBLIOGRAPHY

Abhayakara Gupta Nispannayogavall (NSP) ed
COS No. C1X, Baroda, 1949.

:

B.

Bhattacharyva,

Advayavajrasafigraha (ADV) consisting of nineteen shorted
works,
Haraprasad Shastri, COS No. XL, Baroda, 1927.

Advayavajra

:

Beal

or the Buddhist Records of the Western World
from the Chinese of Hiuen Thsang, 2 vols. London,(S)Si'yU'ki
translated

1906.

Siksa-Samuccaya of oantideva in the Bibliotheca Buddhi'

Bendall (C)ca Series, St. Petersburg, 1897.

Catalogue of Buddhist Sanskrit Manuscripts

2.

inthe Uni*

versity Library, Cambridge, 1883.

A Historical Introduction to H.

Shastri's

Nepal Catalogue

Sadhanamala, 2 vols.
and 41, Oriental Institute, Baroda, 19254928.

COS Nos. 26

3.

Vol. I Calcutta, 1905.

Bhattacharyya (Benoytosh), ed

Ed

2.

:

Two Vajrayana Works consisting of the Jnanasiddhi:

of Indrabhuti and the Prajnopayaviniscayasiddhi of Anahgavajra,

COS No. 44, Baroda, 1929.
Ed

3.

Guhyasamaja Tantra or the Tathagataguhyaka, COS:

No. 53, Baroda, 1931.

Ed

4.

:

Nispannayogavall of Abhayakara Gupta, COS No. 109,

Baroda, 1949,
5.

Iconography of Heruka : in Indian Culture, Vol. II, No. 1.

6.

An

Introduction

to Buddhist

Esoterism, Oxford University

Press, 1932.

Bhattasali(

Nalini Kanta )Iconography of Buddhist

andBrahmanical

Sculptures in the Dacca Museum, (IBBS) Dacca, 1929.

Burgess (J) 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

Catalogue du Fonds Tibetain de la Bibliotheca Nationale,

Cordier (P)2e partie, Index du Bstan-Hgyur (1909), 3e partie (1915), Paris.

Csoma (Alex., De Koros)

Note on the Origin of the Kalacakra and
Adi-Buddha systems, in JASB, Vol. II, 1833, 57ff.
Notices on the different systems of Buddhism extracted
authorities, in JASB, Vol. VII, 1838, Part I, 142ff.

2.

from Tibetan

The Bhilsa Topes or Buddhist Monuments of Central

Cunningham (A)India, London, 1854.

Davids (W Rhys)
Dikshit (K. N.)-Early Buddhism. London, 1908.

Six Sculpturesfrom Mahoba, Memoirs of the ASI

No. 8.
Fergusson (J)Foucher(A)

partie,See Burgess (J)Etude sur Tlconographie Bouddhique de 1'Inde,
Paris, 1900,

2e.

1st

partie 1905.

The Beginnings of Buddhist Art and other Essays in Indian2.
and Central Asian Archaeology, translated by L. A. Thomas andF.

W. Thomas with a preface by the latter,

Oxford, 1917.

The

Qods of Northern Buddhism (QNB),
andthe second edition, Oxford, 1928.
Oxford, 1914

Getty (Alice)

1st edition,

Gordon (Antoinette K.)

The Iconography of Tibetan Lamaism (ITL),
Columbia University Press, New York, 1939.

Grunwedel (A) Buddhist Art in India, translated from German byAgnes Gibson, revised and enlarged by J. Burgess, London, 1901.
Guhyasamaja Tantra or Tathagataguhyaka, ed:

B. Bhattacharyya,

GOS

Baroda, 1931.
Indrabhuti-Jnanasiddhi
alongpublished under the title,

with

the

Prajnopayaviniscayasiddhi,

Two Vajrayana Works,

charyya, in GOS No. XLIV, Baroda, 1929.

ed:

B. Bhatta*

XXXII

Kern (H)Manual of Indian Buddhism, Strassbourg, 1896

Legge (J) A Record of Buddhistic Kingdoms, being an account of theChinese monk Fa-Hien of his Travels in India (A. D. 399414),

Oxford, 1886.

Max Muller (F), Kasavara (K) and Wengel (H) The Dharmasangraha
attributed to Nagarjuna, Oxford, 1885.

Mitra (R)The Sanskrit Buddhist Literature of Nepal, Calcutta, 1882.

Buddhism in its Connexion u>ith Bmhmanism(Sir M.)and Hinduism and in its contrast with. Christianity, London, 1889.

Monier- Williams

Sketches from Nipal. Vol. 2, London, 1880.

Oldfield (H. A.)

Rao (T. A. Gopinatha)

Elements of Hindu Iconography, Vols. I andII,

Madras, 1916.

Sadhanamala, ed B. Bhattacharyya, COS, 2 vols., Vol. L 1925, Vol. II,
1928, Baroda.
:

Sahni ( D. R.

)

Catalogue of theMuseum ofArchaeology at Srtrnath,Calcutta, 1914.

Samasrami (S)Sastri(H)

ed:

Karanda-Vyuha, Calcutta.

Eighteen

articlesin Bengali on

lished in the monthly magazine
2.

"Bauddhadharma" pub-"Narayana", Calcutta.

Introduction to N. N. Vasu's "The Modern Buddhism andits

Followers in Orissa." Calcutta, 1911.
3.

A Catalogue of Palm*leaf and Selected paper

belonging to the Durbar Library,

Manuscripts
Vol.
I(1905) and Vol.11
Nepal,(1915), Calcutta.
4.

A Descriptive Catalogue of Sanskrit MSS in the Qovernment

Collection under the care of the Asiatic Society of Bengal,

Vol. L

Buddhist MSS, Calcutta, 1917.
5.

'Buddhists in Bengal' in the Dacca Review, Vol. II, No. 7, pp.

91104, Dacca, 1922.
6.

Discovery of Living Buddhism in Bengal

7.

Bauddha Qant

Calcutta.

O Doha (in Bengali) Sahitya Parisat Gran-thavali No. 55, Calcutta, B. S. 1323.
8.

Bangalar Parana Aksara (in Bengali)in the Journalof theVangiya Sahitya Parisat, B.S. 1327
9.

'The Discovery of a work by Aryadeva in Sanskrit* in JASB,

1898, p. 175 ff.

XXXIII
Sastri (H, Krishna)

South Indian Images of Qods and Qoddesses, Madras,

1916,

le Uahavastu, Vol. 3, part I, Paris, 1882.

Senart (E)A History of Fine Arts in India andSmith (V. A.)

Ceylon,Oxford1911.

The Outlines of Mah&yana Buddhism, London, 1907.

Sujuki (D. T.)

The

Ui (H)

Vai'sesika

Philosophy,

edited by

R W, Thomas, Oriental

Translation Fund, New Series, Vol. XXIV, London, 1917.

Vasu

(

N, N.

)

The Modern Buddhism

and

its

Followersin

Orissa,Calcutta, 1911.

The Archaeological Survey of Mayurbhanj, Calcutta.

2.

Vogel

(

J,

Ph. )

Catalogueof the ArchaeologicalMuseum at Mathura,

Allahabad, 1910.
Introduction to D. R, Sahni's Sarnath Catalogue, See (Sahni,

2.

D R.).
The Mathura School of Sculpture' contributed to the ASI,

3.

Annual Report, 19067, pp. 137-160.

Waddell(L. A. ) The

Indian Buddhist Cult of Avalokita and his

Consort Tara, the 'Saviouress

5

illustrated

from the remains of

Magadha' JRAS, 1898.
2.

Wright (D)The Buddhism of Tibet or Lamaism,
History of Nepal,

London, 1895,

Cambridge, 1877.

ERRATAIntroduction
Materials for the study of Buddhist Iconography.

1.

All the three great religious systems of India, Hinduism, Buddhism
and Jainism developed well-filled pantheons, and it is not always easy
to decide to which of these three systems a particular image should be

The importance of the study of iconography, which prima*
itself with the proper recognition of images thus becomesassigned.

rily concerns

apparent.

The
free andof the investigator are increased by the fact that afrequent interchange of deities took place among the threereligious

systems.

difficulties

Such Hindu

Sarasvatl are to be founddeitiesasamong the Jaina.s.

Parvatl,

Indra,

LaksmI,The Hindus, on the other

hand, have borrowed goddesses like Mahaclnatara, Jangull, Vajrayogini
from the Buddhist pantheon and incorporated them into their own

under the names of Tara, Manasa and Chinnamasta respectively.
there

is

Thus

evidence that a free interchange of deities actually took place
and Jainism as in the more promiscuousat the verv outset of Buddhism

TantruThe Jainas andage.

gods in their earlier

stages,buttheBuddhists alikein the Tantricborrowed Hindu

age Buddhist gods werecommonly exploited.
The problem of correct identification of images, therefore, presents
a real difficulty which ureat scholars have more than once attempted
Scholars of

to solve.

countries,

allnotably

Foucher, Burgess, Getty, Coomiraswamy,

Waddell, Grunwedel,

Bhattasali,

Rakhaldas Banerji

and many others, have written useful and authoritative works, andcollected together a considerable amount of information on Buddhist
It is

iconography.

unfortunate, however, that the pantheon of the Indian

Vajrayanists who werebeen

more orlessmainly responsible in building it up has so far
Getty and Deniker's 'Qods of Northernneglected

9Buddhism,

although amasterpiece, deals

only with Tibetan, Chineseand Japane.se gods but the purely Indian gods seem to have attracted
It wasProfessor Foucher who by the publi*
little notice from them.
cation of his
parts'Eludessur/'published as early as

scholars to

this

rich

loniogrciphi?

1900 and

Bouddhique de L' Inde* in two

1905, first drew thefield of research.

attention of

His curiosity was roused by astuoy of the miniatures appearing on such Buddhist manuscripts as the
Prajnaparamita, and then he made a systematic attempt to identify the
sculptures.

For the purpose of recognising images he hunted out a

2

INTRODUCTION

number of Sadhanas from the manuscripts of Sadhanamala, and he
was surprised to find that the images tallied most remarkably with thedescriptions given in the unpublished text of the Tantric manuscript.
Again, the images and sculptures supplied interesting details such aswere not available in the Sadhana.

Thus the Sadhana and the image

mutually enlightened each other.

Professor Foucher's second volume

embodies a critical, although partial, study of the Sadhanamala and it
was this book that first emphasized the necessity of referring to a

Sadhana in order to make or justify any single identification of a Buddhist
image.

When the present author was studying at the feet of the illus-

trious savant, Professor

Museum,Foucher, at the Indian

Calcutta, he

was advised to edit and study the different recensions of the
Sadhanamala before proceeding with the delicate art of identification of
Buddhist deities.
j

The Sadhanamala is

Buddhistthus the most valuable_jm^i^

iconograph^aot only becauseitrecords the latest advancesin psychic research of the Vajrayana Buddhists, but also because ita product of aperiod whenwasBuddhism was about to be destroyedinBengal due to Mussalman invasion. This standard work on Buddhist
iconography has been published in two volumes as Nos. 26 and 41 of
the Qaekwad's Oriental Series with an elaborate introduction dealing
with the text and the various problems raised therein.

The editionof theSadhanamala comprises^^ 31 2All new Sadhanas
contains^dscrij>tions of i^umerQus_Buddhist deities*
found in a different collection called the Sadhanasamuccaya have been
carefully incorporated in their appropriate places in the present edition,
which may very well represent a Vade Mecum of the Sadhana literatureof the Buddhists.

The Sadhanamalanot only

gives valuable details
historicalregarding the deities, b^^jJtud^

perio4r the Tantric philosophy,

and its psychic exercises, and on authors, Siddhas, Mantras, Mandalas,and
magic as prevalent among the Buddhists. The special .form of Buddhism
which developed in the Tantric period is called the Vajrayana, and the
Sadhanamala throws a great deal of light on this obscure path of Bud-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 therefore,

thiswork is not expected

to recordallthe developments thattook place after 1165 A. D.
Many of the later developments arefound incorporated in the work entitled the Dharmakosasangraha^ ofAmrtananda who was the Residency Pandit when B. Hodgson was theINTRODUCTION

3

A

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 is not published.

Collection.

Besides Amrtananda's work there are others more ancient and capableof supplying

much iconographic

One such work

material.

istheNispannayogavali of Mahapandita Abhayakara Gupta of the Vikramastla monastery who flourished during the reign of the Pala King Rama1084-1130 ). This valuable work is now published in the
Qaekwad's Oriental Series as No. 109 with an elaborate introduction anda full summary of its contents

pafa ( A.D.

The Nispannayogavaliisa work on Mandalas

its richness of information and brevity.

Itand is remarkable forcontains in all 26 Mandalaschapters, some short, some long.
describe innumerable deities of the Tantra cult.

in twenty-six

All these Mandalas

A large number pf

these descriptions is absolutely original, Tiighly interesting and informative.

Manyof the names and forms which were altogether lost, areMany of the deities describedpublished here for the first time.
tofound anywhere in printed
are
not
in
work
be
the
accurately
literature.

The Nispannayogavali thus presents a unique, original, usefuland most valuable information which constitutes our most authentic
material for the study of the images and deities belonging to the
Sadhanamala sinceNispannayogavali outbeats
the material presented here is more varied, more extensive and more
Buddhistpantheon.

prolific.

What service this Nispannayogavali can render to Buddhism may beillustrated by a reference to the several hundreds of images of
deities

Buddhist

discovered in the Forbidden City of Peiping in Manchuiia.

In

July 1926 Stael Holstem the Russian archaeologist received permission tovisit anumber of Lama temples situated in Peiping which seem to havebeen neglected for a long time. In the upper storey of one of thesetemples he found a collection of bronze statuettes constituting a
Lamaist Pantheon which had consisted originally of 787 figures. Thesefigures along wuh a series of photographs from three manuscripts
written in Chinese were studied "by the famous American Professor

Walter Eugene Clark, Wales Professor of Sanskrit in the Harvard
University, and he published this rich material in two sumptuousvolumes, entitled, the Two Lamai&ic Pantheons in the Harvard Yenching

The first volume contains
deitiesin Sanskrit, Tibetan
andindexesofan introduction, bibliography
and Chinese. The second volume contains illustrations of innumerable

Institute Monograph Series in the year 1937.

deities.

4

INTRODUCTION

These

illustrations are of theutmost importance for the study of
the Buddhist pantheon not only of China but also of India, Nepal andTibet.

The original images bear inscriptions in Chinese and sometimesin Tibetan and other languages, and the learnedin restoring their original Sanskrit

names.

names derived from Chinese sources

iseditor took great pains

A large number of thesefound in the Nispannayogavall

full iconographic descriptions.
Thus the Nispannayogavall
neededtexts
thewhich served as a basis formuch
descriptive
providesthe artists to prepare the statuettes found in China. Since this bookwith theirNispannayogavall gives full iconographic descriptions of most of these
not unreasonable to suppose that the Nispannayogavall
formed at least one of the originals from which the artists obtained thedeities it iscorrect idea of the form of the

Otherwise

statuettes.

it isnumerous

deitiesdifficult to conceive

represented in the

how form can be given

to such obscure deities as the Sixteen Boddhisattvas, the Twelve Paramitas, the Twelve Vasitas, the Twelve Bhumis, the Four Pratisamvits,
are described accurately in the Manjuvajra Mandala of the
Nispannayogavall. It is simply imposible to prepare images of theseetc. which

deities

without the help of descriptions as given by Abhayakaragupta.

The volume of information given in the Nispannayogavall of Abhayakaragupta is so great that an independent book is required to deal with themexhaustively.

Besides the above mentioned Nispannayogavall, there are numerous

Tantric texts which furnish considerable

material for the study of

Buddhist iconography of the Tantric period with which this work
primarily concerns itself. Some of the more important materials canbe found in the original Tantra works such as the Heruka and theHevajraTantras,Candamaharosana

Tantra,Vajravarahi

Tantra,nama Mandalopayika, Yoginijala Tantra
Kriyasamuccaya,
The list of such original
Abhidhanottra Tantra and many others
Tantras furnishing valuable information on Buddhist deities can by no
Vajravalimeans be exhausted. The works above mentioned are all unpublished,
and their handwritten copies can be found in the manuscript libraries
such as the Durbar Library, Nepal; Asiatic Society's Library, Bengal;
University Library, Cambridge; Musee Guimet, Paris; and the Russian

Academy of Sciences in Leningrad.

Numerous such manuscripts

arealso to be found in the hundreds of Buddhist monasteries of Nepal at
Kathmandu, Pattan and Bhatgaon. Thus there is still an inexhaustive
field forresearch and original

work

in Buddhist iconography alone

and original source books of Buddhism
should remain unpublished in this country, and sooner attention isdrawn to this field of work, the better it will be for the history of our

It isa pity that these valuable

INTRODUCTION

5

It is a matter of deep regret that even tx>day there areofhandwritten
lakhs
manuscripts in India in private houses, and noeffort is being made to collect or preserve them.
Thus these valuable

cultural past.

source books of Indian history and culture are allowed to perish in
Sanskrit being the most important member of the Indo-European

India.

family of languages is world property to-day, and it is the duty of every
scholar in the world to see that this precious heritage is not allowed
to be dissipated in an irresponsible manner.
is another class of manuscripts which bears miniatures andof
Buddhist gods and goddesses. The different recensions ofpaintings
the Prajnaparamita and Pancaraksa bear miniature paintings on them.

There

Illuminatedalso notmanuscripts of the Karandavyuha and Bodhicaryavatara are
The Pancaraksa manuscripts are to be foundunknown.

almost in every Buddhist house in Nepal, they bear different sets ofminiatures, and are calculated to serve many household purposes. Holybooks are illuminated with miniatures in order that they may be treatedwith respect by others, and in order that their sanctity may be increased

and preserved.

most important material for .the study of Buddhist
iconography is represented by sculptures, bronzes, metal images andminiatures. The earlier phases of Buddhism are more or less free from
But scenes from Buddha'sthe. representations of gods and goddesses.
werelife, and Jataka stories
given preference in the earlier Buddhism.
Such scenes and stories are found represented in stone at Sanchi,
Bharhut, Amaravati and also in the Gandhara school. According toProfessor Foucher the first image of the Buddha was fashioned in theGandhara school of art.(*) Sculptures of Bodhisattvas and Hindu gods

By

far

the

are not rare in this school.

The

sculpture remains at Amaravati arecontemporaneous with those of the Gandhara school. The Mathuraschool followed closely and then came the sculptures of Sarnath,

Magadha, Bengal, Orissa, Java and Nepal in the Tantric age. The
paintings at Ajanta begin from the first century A.D. and the sculpturesof Ellora and many other places, Buddhist cave temples of Southernand 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 notbeen so fortunate. The excavations at Sarnath, Nalanda, Kurkihar
have brought to light a large number of images of Buddhist gods andgoddesses belonging to the Tantra school, and it may be reasonably
expected that the old strongholds of Tantric learning such as Odanta(1)Foucher:

Beginnings of Buddhist Art and other essays, p. 1 17.

6

INTRODUCTION

Vikramaslla, Nalanda, Sarnath and Jagaddala monasteries will
prove no less fruitful in this respect. The museums of Eastern India

puri,such asSarnath, 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
is made obvious by the fact that theworship 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 theperiod was practically Buddhist

Buddhist images discovered in Bengal, Bihar and Assam are mostly the
product of the Tantric school of the Buddhists.

The wealth of sculptural and bronze remains in Nepal has not yet
received the attention it deserved. Nepal is the only country whichabounds in rich material for the study of Buddhist iconography, andin Nepal Buddhism can be studied as a living religion.
Some of the
Buddhist monasteries at Pattan are so rich in images that they can be
museums by themselves. The stupa of Bodh-said to constitute small

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 arerepresented in Yab-yum and the rest are single. About ten of th< single
images depict the Siddhas of Tibet such as Mila-ras-pa, Mar-pa,

Padmasambhava, Naro-pa and others.
the temple contains nevertheless

Vajrayana pantheon,

such

as

Although Tibetan in character

some of the purely Indian gods of the
SadaksarlLokesvara,

Vak, Heruka,

Yamantaka and a few others. An old Tibetan tradition declares thatin the matter of art Bengal comes first, Nepal second while the Tibetan
and Chinese are the worst.
At Simbhu in Nepal one can witness the grandeur of an excellent
Buddhist museum where the finest specimens of Buddhist sculpturesAtare preserved round about the Stupa itself and in the surroundings.
the Maccharidar Vahal or the temple of Matsyendranatha the great
Natha Yogin, there can be found 108 different forms of Avalokitesvara
Images and forms of deities
painted on a running panel in colour.
that are not available in India are to be found in plenty in the Buddhist
monasteries in Nepal. Anywhere in Nepal round a central stupa tiersof small chapels rising from the ground to the top are found to containartistic
first classspecimens of Buddhist gods and goddesses. In
monasteries which are run by courteous and learned Tantric monks
one can find quite a number of images, sculptures, bronzes, paintings
1(1)

These 108 forms tre

illustrated in

the Appendix at the end of this volumeINTRODUCTION

7

and illuminated manuscripts. It is possible to have an idea of theenormous wealth of cultural remains in Nepal, when it is rememberedthat thenumber of monasteriesatKathmandu

alone exceeds

fivehundred.

is

In Nepal, interesting material for the study of Buddhist iconography
obtained from an entirely unexpected quarter. There is a class ofpeople called the Citrakaras or professional artists. They are so
proficient in their art that they can produce an excellent drawing of

any Buddhist deity ina few

minutes.

These

artistsseem to haveaphenomenal memory with regard to the iconographic details such as
the number of faces and hands, the pose, the symbols, the weapons andDhyani Buddha. They prepare such drawings in theofthecustomer without ever referring to a book or painted
presence
specimen, although at home they keep albums full of drawings in black
the parental

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 arefrom his drawings in black and white.

The above isa shortsurvey of materials of different kinds that areavailable to the student of Buddhist iconography.

that

the

images,sculptures,It

may be noticed

bronzes, drawings, miniatures, andthegods and goddesses represented by these, together with the literatureexplaining them, all belong to the Tantric mode of thought andculture. They are brought together under the comprehensive termof Vajrayana or the "Adamantine Vehicle". It leads therefore to a consideration of that form of Budhhism which 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

Whatever was best, whatever was ennobling

numerous sub-divisions.
and whatever was beautiful
Tantra.

in India were allincorporated in the
Tantric literature contributes a great deal to such sciences asastronomy, astrology, medicine, alchemy, chiromancy, horoscopy, divi^
The Tantra is an admixture
nation, prognosis, Yoga and Hathayoga.
of religion, philosophy, science, superstition, dogmas, psychic exercises
In this wonderful literature is locked up much of theand mysticism.

cultural history of India, and when this literature is intensively
itstudied,will reveal a great deal of India's past history and culture, particularly

for the period between the 7th century A. D.

madan conquest.

right

upto theMuham-

may here be mentioned that the Tantras, inspiteof all their faults, are peculiarly Indian and represent India's contribu^

tion to worldIt

culture.

A literature of this kind is not found in thehistory and civilization of any other country in the world.

To understand the rise of Vajrayana it is necessary

to goback toLord Buddha prescribed
Yanas in the beginning, namely, the Sravakayana ancL thebuddhayana. The Srtvakas were to near IFom a Buddha but they had to
wait till the advent of another Buddha for their emancipation. In the
meanwhile the Sravakas could teach, but they could neither attain
Nirvana themselves nor help others to attain it. The Pratyekas wereeminent men they could attain Nirvana by their own efforts, without
the original teachings of the

Buddha.

;the help of a Buddha but they could not impart Nirvana to others.

Buddhism continued in this state till the rise of the Mahayana properly called, the Bodhisattvayana.\ The Mahay anists dismissed theprevious Yanas with the contemptuous epithet of Hinayana. They
claimed that they could not only attain Nirvana, nay even Buddhahood,with theirown unaided efforts,

these ideals.

The

but could also help others to attain

Mahayana and Hinayana iswork, the Mahay anasutralankara,

distinction between

graphically described in the earliest
attributed to the famous Buddhist sage Asahga.

Thus there were three Yanas in Buddhism about 300 A. D. which
may approximatelv be taken as the time of Asahga. But against thesethree Yanas there werefour

schools of philosophy in Buddhism,

namely, the Sarvastivada (Sautrantika), the Vahyarthabhaiiga (Vai*rbhasika), the Vijnanavada (Yogacara), and the Sunyavada (Madhya-

INTRODUCTION

How

9four systems of philosophy were distributed
amongst the three Yanas is one of the vital questions of Buddhism.

maka).

these

The Tattvaratna vail of Advayavajra (12th century A. D.) answers thisquestion in a praiseworthy manner.
"Three are the Yanas, Sravakayana,

There

are

four

theories;

According tothisauthorityand Mahayana.
Sautrantika, Yogacara andPratyekayana

Vaibhasika,

Sravakayana and Pratyekayana are explained by thetheories of the Vaibhasikas.
Mahayana is of two kinds Paramitanaya

Madhyamaka.

:and Mantranaya.

Paramitanaya is explained by the theories either of
Sautrantika, Yogacara or Madhyamaka.
Mantranaya is explained by
the theories of Yogacara and Madhyamaka only".
lThus^ Mantranayacomilieuges with the most abstruse theories ofSunyavada and Vijnanavada.
ranaya isvery abstruse.

Advayavajra in one place says, "Mantmen who seek emancipation by

It concerns

deep and solemn methods. It is also very extensive owing to theunderstanding of such theories as the four symbolic representations.
Therefore, the author is not fit to explain it".
Advayavajra cites
for his authority a statement

cends

all

commonwhich says that the Mantrasastratrans-

other Sastras, because though the Sastras have the same
object there is no fear of ignorance here. The means aremany and the end not difficult of attainment by men whose senses aredegree. Advayavajra in his Sekanirnaya
Mahasukhathetheorv, dilates upon the various stages of theaccepts

sharpened to the highest

Mahasukha which according to him is not possible of attainment without the Sakti the embodiment of Karuna.
It is hardly necessary now to state that the Buddhism of the Lord
Buddha found entirely different expressions as time passed from century
to century, so much so, that even if Buddha is reborn, he will not be:?

able to recognize Vajrayana or the Buddhist Tantra as his own handi*
craft.
Though the Buddha was antagonistic to all sorts of sacrifices,
sorcery, necromancy or magic, he nevertheless is credited by some later

authorities with having given instructions on Madras,

Mandalas, Yoga
and Tantra, so that prosperity in this world could be attained by his
less advanced disciples who seemed to care more for this world than for
India in Buddha's time w^s such that
the Nirvana preached by him.
which
all
dared
forbidkinds of magical practices, could
any religionA
clever organiser as the Buddha was, he did nothardly be popular.
*

fail

to notice the importance of incorporating magical practices in his

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.

The Tantras andTattvasangraha of santaraksita

Prajnarogyavibhutvadidrstadharmo-

INTRODUCTION

10

Mantras were all there in the time of the Buddha, but unfortunately, we
do not possess any connected account of them except a few works on
the Dharanis in which the Chinese were interested in the beginning of
the Christian era.

These Dharanis are only unmeaning strings of words

which are said to confer great merit when mutterred repeatedly for a
Then comes the worship of Buddha in the Prajnaallthewithparaphernalia of worship such as are found in theparamita

number of times.

Then follow the different recensions of the Prajnaparamita, its
sutra, hrdayasutra, its Dharam and Mantra the recitation of all of

Tantras.

which confers the benefit of reading the whole of the Prajnaparamita
scripture. This is a very old work and was translated into Chinese in
the second century. A. D.

The Manjusrimulakalpa appears to be a pro-and is full of deities, mudras, mandalas
and Tantric practices, which became systematized in the Guhyasamaja
duct of the same

periodTantra in circa 300 A. D.

The Buddhist Tantras belong undoubtedlytoMahayana althoughpossible to infer the presence of magical practices amongstl
The Tantras were a development
the followers of the early Buddhism.
it is quiteof the Yogacara which was inspired by the Sunyavada of the Madhyamakas. Vajrayana marks a step in advance even of the Yogacara
thought.

The Mahayana in the opinion of the Vajrayanists is coextensivewith what they called Dharma which they considered as eternal and towhich was given a more important place in later Buddhism, than was
assigned to the Buddha himself. The Vajrayanists refer to Sunya in all
their writings, but this is not theSunya of the Madhyamakas about
which neither existence nor non-existence nor a combination of the two
nor a negation of the two can be predicatedj To the Madhyamakas
both the subject and the object are Sunya in essence there is no;

reality either of the mind or of the external

world.

Obviously, this isa position which was not agreeable to the Vajrayanists because to thema positive aspect in the Sunyaisor the Vijnanavada goes a little

The Yogacara
absolutely necessary.
further and the view of Vijnanavada

when emancipation is obtained it
become Sunya, but turn into eternal consciousness.
Vajrayana, on the other hand, 'is characterized as the 'Path which leads
as formulated by the school is that

does

not

to perfect enlightenment* or what they call in Sanskrit 'Ar&ttara Samyak

Sambodhi'.

Vajrayana literally means the adamantine path or vehicle,
where unya is used in

but its technical meaning is the 'Sunya Vehicle'
a special sense to represent Vajra.

L

Bhattacharyya :It is said,

Buddhist Esoterism, p. 24

INTRODUCTION

11"Sunyata is designated as Vajra
because it is firm and sound, andcannot be changed, cannot be pierced,
cannot be penetrated, cannot be burnt

and cannot be destroyed".

The Mahayanists
obtaining*from the Hmayanists who are keen on
for themselves by their own efforts.
The

differliberation

Mahayanists, on the other hand, do not care for their own salvation..
They are more solicitous about the deliverance of their fellow creatures/
than about their own.

Their compassion for the sufferings of others
actuates them to renounce their comforts, merits and even their right

The ideal of a Mahayanist finds expression in thewhere
the ideal Bodhisattva Avalokitesvara is represented
Karandavyuha
as refusing his well earned Nirvana until all beings of the world werein possession of the Bodhi knowledge and obtained freedom fromtosalvation.

worldly miseries.

-

This then may be considered to be the goal of every Bodhisattva,
which can be reached by following the tenets either of Sunyavada or of
Vijnanavada.
state but theto Sunya.

The Madhyamaka theory

postulated a transcendental

Yogacara added the element of Vijriana 'consciousness'
The Bodhi mind is a chain of Vijnana which is changing

every moment, the Vijnana of the previous moment giving rise to
the Vijriana of the succeeding moment with the same memory thesame conformations and same qualities, and this process goes on till

Vijnana attains liberation.

Now, this is the sort of emancipation to which
led their followers.

In this Nirvana, as

isthe Vijnanavadinsalready pointed out,

there

The Vajrayana which is a direct
outcome of the Yogacara school introduced a new element or theelement of Mahasukha 'eternal bliss' to their conception of liberation.
The evolution of Buddhism became complete and found full expression
are two elements, Sunya and Vijnana.

in Vajrayana.

Vajrayana introduced many innovations of a revolutionary character.
It introduced, for instance, the theory of the five Dhyani Buddhas asembodiments of the five Skandhas or cosmic elements and formulated
the theory of the Kulas or families of the five Dhyani Buddhas fromwhich deities emerge according to need. It introduced the worship of
the Prajna or Sakti in Buddhism for the first time, and a host of otherthings including a large number of gods and goddesses, their Sadhanas
1.

Adv.

p.

23

2.

Karandavyuha, ed.

Samarami, pp. 21-22

INTRODUCTION

12

for the purpose of visualisation,

Mantras, Tantras, Yantras, Mudras,
Mandates, mystic realizations and psychic exercises of the most subtle

character.
It is not possible to trace the origin

of Vajrayana without referring
Taranath isto the Tibetan authorities and ancient Tantric authorslthat Tantrism existed from very early times andreported to have said
manner from the time of Asanga down tosecretina
was transmitted

the time of Dharmaklrti.

Asanga who wasa brotherofVasubandhu(280-360 A, D.) must have flourished circa 300 A. D. and Dharmaklrti

who is not mentioned by the Chinese traveller Hiuen Thsang but isreferred to with great respect by I-Tsing very probably belonged to aperiod between 625-675 A. D. Thus it can be seen that during a long
period of nearly three hundred years Tantrism was handed down from

Gurus to disciples in an occult manner, before

its

followers could benumerically strong enough to preach their secret doctrines in public.
It seems, therefore, reasonable that the Mahasiddhas such as Saraha,
Nagarjuna, Luipa, Padmavajra, Anahgavajra, Indrabhuti and the rest
who were masters of Tantra and were great authors and magicians, werethe chief agents to boldly and publicly preach their doctrines andexhort people to follow their tenets, doctrines and practices. Theirendeavours combined with their unique personal achievements musthave converted a considerable number of people to Vajrayana faith.
It is rather difficult topoint out the source of information fromwhich Taranath drew his inspiration, but a perusal of such Tantric
works as the Guhyasiddhi of Padmavajra and the Jnanasiddhi of Indrabhuti makes it possible to infer that it was the Guhyasamaja which wasregarded as the most ancient and the most authoritative work of theTantra school. Padmavajra not only advocates the cause of Tantric
Buddhism but also gives a succinct digest of the work which he calls
Sri-Samaja or the 'Venerable Samaja' in his treatise which is still unpubIndrabhuti in his Jnanasiddhi acknowledges the Guhyasamaja
as the work of highest authority, and gives a summary of some chap-lished.

There is thus hardly any
original Sahglti which introduced
of
time
the
tenetsfor the first
Vajrayana into Buddhism. It is believed
to have been introduced in an Assembly of the Faithful by Lord Buddha

ters and the topics dealt with in this work.

doubt that the Guhyasamaja is thewho is here called Sarva-Tathagata-Kaya-Vak-Citta. The Guhyasamaja
form of a Sangiti and is considered highly authoritativeeven now amongst the Vajrayanists, and is regarded as one of the Nineis written in the

Dharmas of Nepal.

This is evidently the first work of Vajrayana, and
1.

Kern:

Manual of Buddhism, p. 133

INTRODUCTION

13

Asahga quite conceivably may have had something to do with it, as it iscommonly believed that the Tantras were introduced by Asahga after
being initiated by Maitreya the Coming Buddha in the mysteries ofTantra in the Tusita heaven.
l

It cannot be denied that in the very

when Mahayana sprang up

beginnings of Buddhism and evenvery strict discipline was
the monks the rules werein later times aenjoined on the followers of the faith.

Onvery strictly put into operation. For instance, they must not have anything to do with women, must not take any forbidden food. Wine,flesh,

fish,

forbidden.
the

time

appetisers

and such objects of enjoyment were

specially

The rules were indeed good and were very attractive
Butof the Buddha.

absurdintoexpectwhollyobedience to such strict disciplinary measures from all membersof the Sahgha even in the Buddha's life-time, if not for centuries
itisAnd after all, what will be the result ?
disappearance.
Freedom from births and rebirths was only a possibility, and successat best was only questionable
The members of the Sahgha must have
revolted from time to time against the unnatural rules of discipline
imposed on them, and party quarrels were already in evidence in
the Second Great Council when the Mahasahghikas were expelledfrom the Orthodox church by the Sthaviras or Elders, because
the latter were unwilling to make any concession on the ten minor
points of discipline. Rebellion against the rules on broader and more
important matters of discipline must have been in existence amongst
after his!

the monks but they could not create a party of theirown which could

orthodox section which wasThose monks
who saw salvation only in leading a natural life went on devising planssufficiently withstand the criticisms of thesure to go against them and denounce them as heretics.

to modify their faith according to their light, probably by writing
is called

the original Tantras which were secretly handed

what

down throughwho could practice their secret rites without let or
These
Tantras are in the form of Sahgltis and are said tohindrance.
have been delivered by the Buddha in an Assembly of the Faithful. It

trusted disciples

is in this Sahgiti

form that all new ideas were introduced into Buddhism

and the Sahgltis were very powerful agencies in the introduction of
innovations, because Buddhism will not be prepared to accept anything
as true unless spoken by the Buddha in a public assembly.

The orthodox followers of the faith were sure tochallenge anythingthat had not been sponsored by the Buddha, and that seems to be the1*

For further information refer to introduction to Guhyasamaja published in the
Qaekwad's Oriental Series,(GOS).

INTRODUCTION

14

reason of the great popularity of the Sahglti literature.
The originalTantras of Buddhism are written in the Safiglti form wherein are in-which are diametrically opposed to the original
teachings of the Buddha. Easy methods leading to happiness in thisworld were held out in this literature, easy paths leading to salvation
were shown great parade was made of the merits accruing from therepetitions of the Mantras, Dharams, panegyrics and worship of gods
and goddesses. But everywhere any casual reader can detect a desire on
culcated doctrines;

all unnatural rules and regulations
These disciplinary regulations, as a consequence gradually slackened down one after another, and ultimately

the part of the authors to thwart

imposed on the followers.

when the Vajrayanists gained in power the secret doctrines no longer
remained secret, but were openly preached and practised to the greatannoyance of the orthodoxy.
In order to increase the popularity of Vajrayana the followers included in it every conceivable tenets, dogmas, rites and practices that were
calculated to attract more adherents. Thus the leading tenets ofMantrayana along with Mantras, Mandalas, Mudras, gods and goddesses were included in Vajrayana.
The earliest work of this class is
said to be the Vidyadharapitaka which has been characterised by Hiuen

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

This extensive work is published in the Trivandrum Sanskrit
three volumes.

Seriesin

The text forms a part of the ancient Vaipulyasutras of

Mahayana and is decidedly the earliest work of Mantrayana
available.

It is written inin an archaicstyle

at present
the Sangiti style in prose and in verse, andclosely resembling

the Gatha style, andiswrittenthroughout in what is called the Mixed Sanskrit. This work musthave been very popular even after the destruction of Buddhism in India
as will be evident from the fact that thebook was copied only aboutfour hundred years back in a monastery of South India by Ravicandra
The Manjusrimulakalpa deals
the head of the Mulaghosa Vihara.
1with the formulae and practices which lead both to meterial prosperity
and spiritual regeneration, and belongs to the early centuries A. D. but
decidedly after the time of the composition of the Amitayus Sutraor the Sukhavati Vyuha which ushered in the conception of Amitabha

and Avalokitesvara for the first time in Mahayana. The Amitayus Sutra
was first translated into Chinese in a period between A. D. 148-170, andhence the time of its composition may be fixed at about 100 A. D. 2
1.

2.

See introduction to the Manjulrlmulakalpa by the editor, Ganapati Shastri.
Sukhavativyuha, p p. 1, 28, 32

INTRODUCTION

15

The Manjusrimulakalpa in that case would only be aboutahundredyears later than the Amitayus Sutra. If the Guhyasamaja is accepted as
the very first work of the Vajrayana school it must be admitted thatmuch time must have elapsed between the age of the Manjusrimulakalpa
and that of the Guhyasamaja which is put down in circa 300 A. D. l
The beginning of the Sangiti in the Manjusrimulakalpa is in theorthodox style as opposed to the Tantric style which is decidedly later,
and where Bhagavan is introduced in the company of a large numberof women instead of an assembly of pious and devout Bodhisattvas only
as in the earlier Sahgltis.

The doctrine of the five Dhyani Buddhas oreven their names, Mudras, Mantras, families, Saktis, colour and direction are all absent in the Manjusrimulakalpa.

Moreover,the

Mantrasthe Vajrayana work of
the text of the Manju*
inofthe body
Guhyasamaja are found scattered

and Mudras which were later systematizedinsrlmulakalpa in a disorganised manner. The Mantras of some of the
Dhyani Buddhas are indeed to be found in the Manjusrimulakalpa
although not exactly in the same meaning and form as in the later
Guhyasamaja. The Manjusrimulakalpa further apeaks of Mantrayana
but it does not refer to Vajrayana which is mentioned for the first time
the Guhyasamaja the Tantra of Secret Communion. Under thecircumstances it is possible to call the Manjusrimulakalpa as one of theinearliest Mahayana Sutra works on which perhaps is based

the outward

Yet one who willread this workiscarefully will not fail to notice that it is a product behind which there

foundation of the Vajrayana system.

a history of development of several centuries.

And probably, if ever

one can go to the root of Mantrayana one will have to voice the opinionof antaraksita and Kamalaslla that instruction on Tantras, Mudras andMandalas were delivered by the Buddha for the benefit of such followers
as would care more for their material prosperity than spiritual.
Vajrayana thus included in its purview all varieties of attractive tenets,
notions, dogmas, theories, rites and practices, and incorporated all thatwas best in Buddhsim and probably in Hinduism also, and owing to
Vajrayana attained great fame and popularity. It
satisfied everybody, the cultured and the uncultured, the pious and thethis circumstancesinner, the lower and the higher ranksof the people and devotees.
it had somebecame an esta-

Vajrayana catered to all tastes with equal efficiency, andthing useful for everybody.
blished fact.

Its

universal popularity

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 the1.

See introduction to Quhyasamaja, where this date has been discussed.

16

INTRODUCTION

Vajrayanists, namely, Kamakhya, Sirihatta, Purnagiri and Uddiyana.
The Tibetan authorities are of opinion that the Tantric Buddhism originated from Uddiyana, The location of Uddiyana thus is important for

the history of the Buddhist Tantric literature.

Uddiyana is mentioned in the Sadhanamala rather
earliest manuscript of the Sadhanamala is dated in thewhich is equivalent to A. D. 1165.
with

the

Sadhana of Kurukulla,frequently.

The

Newari Era 285

In this work Uddiyana is connected

Trailokyavasamkara,

Marici and

Vajrayogim. The Sadhanamala also connects Uddiyana with such
Tantric authors as Saraha. The Jnanasiddhi of Indrabhuti is stated in
the last colophon as having started from Uddiyana (Odiyana).

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

In the mediaeval period when Tantras flourished,tata

Vanga and SamaVahga inclu-

were the two important centres of culture in Bengal.

ded the present Dacca, Faridpur and Backerganj districts, while Samatata
comprised the present Sylhet, Chittagong, Tipperah and Mymensingh
districts.
That Vahga and Samatata were the two great centres ofculture in Bengal is borne out by the numerous Buddhist andBrahma-nical images of the Tantric type discovered in the whole of this region.

Numerous old inscriptions, remains of old buildings,

coins and terra-cottas found in these regions, confirm the conclusion that from the
Vanga-Samatata area radiated different streams of culture to the rest of

Eastern India.

l

In this Vahga'Samatata region one of the most important places is
the Pargana Vikrampur in the Dacca district. Anyone acquainted withthe ancient inscriptions of Bengal will be able to appreciate the import-

ance of Yikrampur which

is sometimes mentioned as the seat fromwhich imperial charters were issued. There was a great Buddhist
Atisa
monastery here in the reign of the Candras and the Senas.
Dlpahkara, famous in Tibetan history as a great scholar and master ofTantric

lore,

Vikrampur

is

said

to

belongto the royal family of Vikrampur.
one of the foremost places ofis recognized even to-day asculture in East Bengal.

In this Pargana Vikrampur there is a fairly large and well-populated
villagewhichis

now known by the rather
1.

Bhattasali :extraordinary

IBBS, intro. p. xxviii.

name ofINTRODUCTION

17

Round about this village numerous Vajrayana images havebeen discovered, and among them may be noticed images of Jambhala,
Parnasaban, Vajrasattva and Tara. The term Vajra' inVajrayogim is also
Vajrayogini.

*

Buddhist word. Vajra is equivalent to Sunya. Vajrayogini
Buddhist deity which the Hindus borrowed in the form of Chhinna-a familiar
is amasta. Thus the name of the village appears to be unmistakably Buddhist. The village must have derived its name from the temple ofVajrayogini which was in existence in early times.
It has already been pointed out that the temples dedicated to Vajrayogini could only be expected at four places, Kamakhya, Sirihatta, Purnagiri

and Uddiyana.

Out of these Kamakhya and Sirihatta (Sylhet)

still retain their original names.

identified yet with certainty.

Purnagiri which signifies a hill

is

not

But it is possible to spot the fourth place

which is connected with Vajrayogini. Thus it becomes evident that thepresent village Vajrayogini was originally known as Uddiyana but as thedeity Vrjrayogim became more popular later, the original name graduallydisappeared giving place to the name of the deity. Tantrism of the
Buddhists therefore originated here in Uddiyana-Vajrayogim, and thence

was transmited to the rest of India.

l

One of the chief topics dealt with in Vajrayana is the deity.
deities are a product of psychic exercises of theThesemost subtle character,and are visualized by the worshipper in the course of intense meditation.
These psychic exercises are called the Sadhanas a collection of whichreferred to. To appreciate
is published in the Sadhanamala already
Buddhist iconography, therefore, a reference to the Sadhana process of
god-realisationisnecessary.

This processisdescribed in the next

section.
3.

The Psychic Process of Sadhana.

The Tahtrics of ancientIndia were

formidable optimists. They
intuitively realised that though this universe is composed of matter andspirit, it is the spirit which always

dominates over matter, and is unThere were several schools

doubtedly more powerful than the latter.

of thought in ancient India which took it for granted that spirit wassupreme and that this spirit should be developed in order that power

Amongst these schools the Yoga and Tantra were premost influential and popular. The followers of theseschools, particularly the latter, wanted to achieve through spiritual or

may be gained.

eminently thepsychic power everything that could be achieved in the material sphere.
To-day for quick travel the material world presents to us railways,
For further details, see the author's article, entitled The Home of Tantric Buddhism
in B. C. Law Commemmoration Volume, Vol. I.

3

18

INTRODUCTION

aeroplanes and steamers, but the Tantrics claimed that by spiritual
culture weight of the body can be so reduced that it can fly over space
to any distance within the shortest possible time.

To-day for information about kinsmen in distant lands people send letters, wires andcables, but the Tantrics claim that by intense meditation alone they canvisualize what is happening in other parts of the world, either by a projection of the mind or by mentally travelling the distance in a few seconds.
For conversing with a friend at a long distance the material world provides telephones and wireless instruments but the Tantrics claim thatby psychic exercises they can hear anything from any distance, even thevoice of gods and other invisible beings in the firmament. When a man
suffers from disease the material world provides doctors, medicines,
injections and so forth, but to a Tantric these are unnecssary. By developing psychic resources of the mind he can cure by a mere glance, or
touch or by recitation of Mantras. These extraordinary powers of themind are called Siddhis.
Thus it can be seen that

the Tantrics

present age that psychic culture isrecognised long before theof the utmost importance in

life,

and

through these exercises anything that can be accomplished in the mateThis tendency evenrial sphere can be achieved in the psychic sphere.
in the present day is a dominating factor in Indian life, and no one
should wonder seeing people running after Sadhus and Sannyasins leaving aside modern scientific men in many of their difficulties. Occasionally, stories are told of miraculous powers of ascetics overthe elementsof nature or of their power of curing diseases for which apparently no
Thererecognised system of scientific medicine has discovered a cure.
are many such Yogins even now
cities,

caves

and

mountains,

in

India

moving about

possessing wonderful andinjungles,miraculous

powers.

The Tantrics who were the advocates of psychic culture, by persistentthrough mental exercises, used to obtain super-normal powers
which were known as Siddhis. Those who gained such Siddhis werecalled Siddhas, and the process through which they obtained Siddhis
called Sadhana. In the Yogasutra which is recognised to be the earliest
efforts

work in Sanskrit on the subject of psychic exercises, enumerates eight
Later works mention more and the Brahmavaivarta

different Siddhis.

Purana mentions thirty-four kinds of Siddhis including the eight alreadymentioned in the Yogasutra.

The Siddhas or those who attain supernormal powers are considered to be of three distinct varieties, the Best, Middling and the Mild.
The first class magicians can fulfil all their desires by mere thought,that is to say, as soon as a desire arises in his mind it is instantly fulfilled.

INTRODUCTION

The Middling variety of Siddhas is able

to19conquer death, commune

unperceived into dead bodies or homes of others,
move in the air, hear the gods talk, understand all terrestrial truths,

with

gods,

enter

obtain conveyances and ornaments, and are able to bewitch people, per*form miracles, remove diseases by glance or touch, extract poison,obtain erudition in scriptures, renounce all worldly enjoyments, practise Yoga in all its subdivisions, show compassion to all beings and evenobtain omniscience.

The Mild or the third class of Siddha obtains fame,long life, conveyances, ornaments, familiarity with the king, popularity
with royal personages and people of influence and power, wealth andprosperity, children and family.

The Siddhas of the first and second class were known as Mahasiddhas'Great Magicians' and in India their number was recognized as eightyMost of these Mahasiddhas flourished during the Pala Period
four.
of Indian history (8th to 12th centuries A.D.) and were famous becauseof their uncanny and prodigious feats.

The Sadhana or the process prescribed for attaining the different
Siddhis forms the bulk of the Tantric literature of both the Buddhists
and the Hindus.

Thousands of Sadhanas were written, both in prose
Sanskrit and thousands were translated into Tibetan

and in verse, inand are now preservedin the pages of the Tibetan Tangyur.
Besides,Tantric
cart
loads
of
are
which
even
manuscript,
every
to*day to beandindescribes
theSadhanas
foundprivate collections,publicthroughwhich Siddhis are possible of attainment. The Buddhists had a special
and they were always written in Sanskrit
known
the
well
Tantric authors and the Mahasiddhas.
ofby many

literature called the Sadhanas

This literature is

now almost lost in original Sanskrit, but fortunately

These collections
for us some collections of Sadhanas are still extant.
were given the names of Sadhanamala and Sadhanasamuccaya, and acritical edition of all available Sadhanas in these two collections isalready published in two volumes in the Qaekwad's Oriental Series as
Nos. 26 and 41. The publication of these Sadhanas has revealed anumber of hitherto unknown and important facts. The Sadhanas
revealed that the Buddhists were not lagging behind any other religion
matter of psychic culture as advocated in the Tantras.

in India in theSecondly, as these Sadhanas contain the description of a large numberof Buddhist deities it becomes possible to differentiate them from theand Jain faiths, and to determine the purpose forwhich they were made and what they stood for.
The Sadhanas being most important for the study of Buddhist

deities of the Hindu

iconography

it isnecessary to give a general idea of the contents of

the Sdhana or the detailed process through which spiritual eminenceINTRODUCTION20

For this purpose a summarised translation ofis obtained.
an elaborate Sadhana in the Sadhanamala is given here. But before
proceeding to translate the Sadhana it may be emphasized that it isor Siddhi

a purely psychic process for the realisation

deity with

Sadhanaandvisualisationof thewhom the worshipper is asked to identify himself. The
prescribed for the realisation of some god orin all cases isgoddess according to a fixed procedure laid therein.
For describing the contents of the Sadhanas a specimen is here
which is published as Sadhana No. 98 in the Sadhanamala ofthe printed edition, for the realisation of the goddess Tara, composed
selectedby Sthavira Anupama Raksita who was a well-known Tantric author
and who flourished before 1165 and whose works, five in number, arepreserved in translation in the Tibetan Tangyur.
this Sadhana is given below.

The

of

contents"The worshipper after leaving the bed in the morning should wash
his feet and face and after purifying himself should go to a place which
is lonely, agreeable, besmeared withand thensit there

scents, strewn with fragrant flowers,

in an easy pose.

heart the orb of the moon

which

Then he should meditate on his
originates from the first syllable -A-

and on it think on the form of a beautiful blue lotus.

On the filamentof the lotus he should meditate on another moon the yellow germ
Tarn as destroying the darkness of ignorance, illuminating
syllableinnumerable worlds of the ten quarters, and bringing from thefirmament innumerable Buddhas and Bodhisattvas.
'Then after an elaborate worship of these great compassionate
Buddhas and Bodhisattvas with celestial flowers, incense, scentsgarlands, unguents, powders,mendicantdress,

umbrellas, flags, bells,banners and the like, the worshipper should confess his sins with the
to befollowing words ; 'Whatever sinful deeds I have done, caused

done, or consented to be done, in

thisendless cycleofcreation,everything I confees'.
"Thereafter,

meditating on the restraint of wrong deeds he shouldof others with the following
give his assent to the meritorious deeds
the virtuous deeds of the Sugatas, Pratyekas,
Sravakas, the Jinas and their sons the Bodhisattvas, and of the world
with all the gods beginning with Brahman'.

Mantra;'I

assent to'Then he should take refuge in the Three Jewels with the MantraI'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;;;Sangha so long as. the Bodhi essence subsists'.
'Thereafter the adherence to the path of the Tathagatas should be

I take refuge in themade with the Mantra:'By me shall be followed the path indicatedINTRODUCTION

21

by the Tanthagatas and naught else','Then a prayer should be uttered with the Mantra
The gods
and the Tathagatas instruct me with such incontrovertible advices onlaw by which all beings may be freed from the bonds of the world:

quickly*.

'Then he should meditate on the

results of his meritorious deeds'Whatever merit I have acquired by the seven kindsof extraordinary worship like the confession of sins, etc. all that I
devote to gain at the end the final Sambodhi'.

with the words;"

After having finished the seven kinds of extraordinary worship-Om Ah Muh- or
the deities should be dismissed with the formula:

Thou movest now according to Thy will,with the following words
sandalthewithbesmeared
paste of Silas (conduct), wearing the
being
of
the
Dhyana (meditation) and strewn with the flowers ofgarments:

the Bodhi (Enlightenment)'.

'Then the worshipper should meditate on the Four Brahmas, of
Friendship, Joyousness, Compassion and Indifference. Friendship isthe love that exists in all beings like the love towards the only son, or
like its fruition in their welfare and happiness.

"Compassion again is of what kind ? It is the desire to save all
beings from misery and from causes that lead to misery. The desirethat I shall even save the beings

who are burnt in the great fire of

from the three evils and have entered the prison of Samsara

sufferingCompassion. Or it is the desire to save
suffering from the three evils from the sea of Samsara.
is whatiscalledall beings

is of the following nature.
It is the desirefortheattainment
the
world
of
of
Buddhahood
which isbeings"Mudita or Joyousness
in allunlikely tomaterialize.
*

virtues that exist in the

Or it is the attraction in all beings towards theworld and to the enjoyment of spiritual powers

arising out of them.

"What is Indifference or Upeksa ?

It isthe doing of great welfare

to all beings, good or bad, by overcoming adverse requests and obstacles.

Or it is the desire that comes of its own accord to do good to all beings
without the least craving for any return, love or hatred. Or it is theindifference towards the eight human institutions of gain or loss, fameor notoriety, praise or blame, pleasure or pain, and similar things.

'Thus meditating on the Four Brahmas the inherent purity of thephenomenal world should be meditated upon. All phenomena areindeed inherently pure, and therefore, the worshipper should thinkhimself to be pure by nature. This natural purity of all phenomena
svabhavasuddhah
should be established by the formula:sarvadharmah svabhavasuddho'ham.

Om

If all phenomena are

inherently

INTRODUCTION

22

pure, where then is the possibility of the cycle of existence ?

Becauseof its being covered up with such thought categories as the subject andthe object. The way of purging of this impurity is the meditation on
the good path
By this it is made to disappear. Thus is establishedthe inherent purity of all phenomena.
"
After meditating on the purity of the phenomenal existence theSunyata of all phenomena should be meditated upon. Here ounyameans

He should

this.

conceive the entire universe with its mobile

and immobile creations as the clear manifestation of non-duality whenthe 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 hisheart 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 hercrown the miniature figure of the parental Dhyani Buddha Amogha*
the subject

formulasiddhi.

.

The

deity should

further be meditated upon as sitting in theardhaparyahka attitude and showing the gift-bestowing signal in theright hand and carrying a full-blown lotus in the left hand.

"The goddess of this description should be meditated upon as long
Then the eternally accomplished Bhagavatl should be drawn
as desired.
out from within by the spreading rays that illumine the three worlds,
the rays that issue forth from the yellow germ syllable Tam placedon the orb of the spotted moon which is enclosed within the filamentof a beautiful blue lotus.

After thus discovering

her, she should beplaced on the firmament and should be worshipped with the offerings ofscented water and fragrant flowers contained in the vessel inlaid withgems at the feet of the goddess. She should also be worshipped withvarious rites, external and internal, by means of flowers, incense, light

powders, mendicant
and
the
like.
Thus
after repeatedly
dress, umbrella, flags, bell, banner
worshipping her and offering her panegyrics, the Mudra or the mystic

stick,

food

offerings, scents,

garlands, unguents,

should be exhibited. The palms of the hands, should be joined
together with the two middle fingers stretched in the form of a needle.
signalThe two first

fingersshould be slightly bent their tips

touching the

The two third fingers should be
little fingers should be stretand
the
two
the
withinconcealedpalm,ched. This is called the Utpala Mudra or the signal of the night
third phalanges of the first fingers.

lotus*

INTRODUCTION

23"With this Mudra the goddess of the essence of Knowledge in thebe propitiated, and then she should be commingled withfront should

Time within, and by so doing the nonduality of the two should be meditated upon. Then the rays issuing
the goddess of the essence offorth from the yellow

germplaced on the spotlessTarnsyllablemoon will appear to him as illumining the ten quarters, as causing theremoval of the poverty and misery of all beings by showers of various
gems and as satisfying them by the nectar of advice on the nature ofSunya.

"Engaging himself in doing good to the world, the worshipper
should meditate on the form of goddess Tara which is identified with
Further, he should meditate repeatedly until tired on thethe universe.

yellow germ syllable and the Bhagavati contained therein, He who
is unable to meditate thus should mutter the Mantra which in this caseisis

Om Tare Tuttare Ture Svaha
endowed withgreat powers,

This

.

and

is

is

the lord of all Mantras,

saluted, worshipped and reveredby all Tathagatas.
"After having finished his meditation on the form of Tara he should
think the world as identical withe th goddess and should

own form as

thinking his

those

who meditate onsupernormal powersthat of the goddess.

move about

Generally speaking,the Bhagavati in this manner, all the eight

fall athim as a matter of course.

their feet,and other small powers come to

Whoever

meditateson the Bhagavatiinown eyes.

The
Bhagavati herself gives him his breath, nay more, even the Buddhahood
which is most difficult to attain comes to him like a plum on the palm
the lonely caves of mountains espies her

with hisof his hand."The above isa summary of the contents of a Sadhana devoted toa single goddess, Tara,other gods

andand there are hundreds of such Sadhanas forgoddesses.

But

the important point to be noted

gods have no independent and real
existence apart from the mind of the worshipper and the manner ofin this connection

worship.

Theisdeitiesthat thepossessnoexternal form, but represent purely

mental conceptions of the Sadhaka who by means of the Sadhana
undergoes a detailed mental exercise for the development of his
spiritual or psychic powers.

The discussion
inin thissection leads to a consideration of godhead

Tantrism in order that thestudied in their true perspective,

deitiestreatedinthiswork may be

24

INTRODUCTION
4.

Godhead in Buddhism.

There is a great deal of confusion regarding the true nature of thedeity whether it is of the Hindu or Buddhist conception. The generalI

belief is that the deity is nothing more than an idol,and therefore, notworthy of any attention. The deities are connected, as all students ofTantra know, with Sadhana and Siddhi, and the conception of godhead
therefore is an essentially spiritual or psychic matter. {.

The Sadhana is concerned with the process for worshipping a parti"
cular deity as has been made abundantly clear in the previous section.
This consists in meditation in a quiet place and there practise Yoga tilla 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 principle behind the world structure.

By this communion the ascetic draws

forth energy from that inexhaustible store-house and becomes powerfulhimself. This process of the realisation of the Infinite Spirit is what iscalled Sadhana.

The deity is part of this psychic process.

The Tantras are, in fact, sciences dealing with psychic matters, andgive directions for a variety of psychic exercises. It therefore stands lo
reason that the Tantra is a science or a Vidya requiring competent preLike all other sciences the Tantra is
ceptors and efficient disciples.

not also open to all and the sundry, but only for those who are initiatedinto the mysteries of the science, and are competent to follow the pres-cribed practices with patience and zeal. These are the right type of
disciples for Tantric practices, and may be called the Adhikarins or

many Tantric works long chapters are devoted
the preceptors *and disciples and there are alsoofto the qualifications

rightful persons.

In

rules for their respective competence to give or receive initiation.

The Adhikarin must have a certain equipment before he proceeds
to receive his initiation in the Tantra from a preceptor. And, in fact,
as the Tantra path is an exceedingly difficult path, the disciple is required
to have a great deal more equipment than is necessary for persuing anyother Vidya known to ancient India. First of all, the neophyte must be

enduring, devoted and sincere, and he must serve his preceptor
with whole-hearted devotion. But the most important equipment necepatient,ssary for him is that he should be proficient in the art of Yoga andHathayoga without which it is not possible to proceed with any Sadhana

worth the name or with any

difficult Tantric practice.

The process ofthe visualisation of the deity requires intensive training as the following

account will show.

The difficult psychic process is described in detail and in an elaborate
form in the Guhyasamaja which may be called the Bible of the TantricINTRODUCTION
Buddhists.

25

A perusal of the book makes it clear that when the Bodhicittaor the Will to Enlightenment mingles with Sunya or the Infinite Spirit
in the highest state of meditation the mind-sky is filled with innumerable
visions and scenes, until at

like

la?t,

sparkstheindividual

visualises

which gradually assume the shape of deities,
first indistinct, then changing into perfect, glorious and living forms, theletters or germ syllables,

embodiment of theInfinitegorgeous and divine beauty

They appear in bright, effulgent,

Sunya.
inform,

ornaments anddeities in like manner appear before him in

Violentdress.

the most violent form con-ceivable, in an awe-inspiring mannerwith dishevelled hair, blood-shoteyes, bare fangs, decked in ornaments of human skulls, severed heads

and human bones, with frightful weapons and dress.
both benefic and malefic, are known as deities, and once
never leave the ascetic but become instrumental

in

These beings
realised

bestowing

they

on theascetic more and more spiritual and psychic powers.

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
I

and their gradual evolution from the germ syllable.
sahgraha, for instance, it is said:

In the Advayavajra-f"The form of the deity is an explosion of the Sunya. It is by nature
Whenever there is an explosion it must be Sunya in
non-existent.
fessence."
|

In

1

I

another place in the same book it is declared:/

I" From the right perception of Sunyata proceeds the germ-syllable
from the germ-syllable proceeds the conception of an icon, and from;

The whole process therefore is

the icon its external representations.

one of dependent origination."-'The equipmentjnecessary for persons competent to worship andrealize deities, and the nature of the evolution of the deities have alreadybeen indicated.

Now it is necessary to state the views of the Guhyas-amaja regarding the principles of god-realisation, and the various experiences through which the Sadhaka has to pass before the deity isand visualised. The Guhyasamaja 3 calls this process Upaya(means) which is recognised as of four kinds, Seva, Upasadhana, Sadha-realisedna and Mahasadhana.

Seva (worship) is

again

sub-divided into two,

namely, Samanya (ordinary) and Uttama (excellent). Of these two, theSamanya Seva consists of four Vajras first, the conception of Sunyata:

second, its transformation into the germ-syllable

2.

ADV. p. 50, lines 7, 8.
ADV. p. 51, lines, 6, 7.

3,

Guhyasamaja, chapter, 18, pp. 162, 163.

1.
r

4

;

;

third,

its

evolution

26

INTRODUCTION

in the form of a deity, and the fourth, the external representation of thedeity.

In the UttamaSeva (excellent worship) Yoga with its six limbs shouldbe employed. These six limbs are
Pratyahara, Dhyana, Pranayama,
Dharana, Anusmrti and Samadhi.. Pratyahara (control) is here described as the process by which the ten sense-organs are controlled. Dhyana:(meditation) is explained as the conception of thethrough the five Dhyani Buddhas, namely,

Amitabha, Amoghasiddhi and Aksobhya.
divided into five kinds:

Vitarkafivedesired objects

Vairocana, Ratnasambhava,
This Dhyana is again sub-(cogitation),

Vicara(thinking), Priti(pleasure), Sukha (happiness), and Ekagrata (concentration).

Pranayama (breath control) is the control of the breathing process
which
breath which is of the nature of the five Bhutas (elements) andby
the five kinds of knowledge, and is like a bright gem, is drawn frominside and placed as a lamp at the tip of the nose and is meditated upon.
Dharana (meditation) is the meditation of one's own Mantra on theheart, and the placing of it on the Pranabindu (heart centre) after
When this is done Nimittas
restraining the jewel of sense-organs.
are of five kinds and appear
their
These
make
signs
appearance.
(signs)
The first is the sign of the Maricika (mirage), the secondin succession.
and theis that of smoke, the third is of fire-flies, the fourth is of light,
fifth of constant light like a cloudless sky.

Anusmrti (memory) is the constant meditation of the object for
which the psychic exercise is undertaken, and by this Pratibhasa (revelaAfter commingling the two elements Prajna (knowtion) takes place.
the whole objective world should be conceiand(means)Upaya
ledge)
ved as contracted in the form of a lump, and this should be meditatedupon in the Bimba(icon-circle).

By

this

process the transcendental

knowledge is suddenly realised by the worshipper and is known as
Samadhi (visualisation).
For the purpose of visualisation it is necessary that the process should
be continued for six months and this is done according to the GuhyasIf within six
amaja always while enjoying all kinds of desired objects
months the deity does not show herself the process should be repeatedthrice while following the rules of restraint duly prescribed.
is not visualised

Hathayoga.

If the deity

even after this, it should be forced by the practice of

By this Yoga the ascetic most certainly

attains theknow-ledge of the deity.

The above incidentally shows what part is played by Rajayoga andHathayoga in the process for the realisation of the deity. It shows alsothat the Tantra begins where Yoga ends. Therefore, the worshippersof the deity must first be adepts in Yoga before they

make an attemptINTRODUCTION

27

to follow the more advanced science of the Tantra which obviously,isThe conception of godhead in
Hindu Tantra is thus philosophicallynot meant for ordinary people.

Buddhist

as

as

well

the

in

most profound.
The individual soul is variously

calledtheBodhisattva

(

Bodhi

Essence), Bodhicitta (Will to Enlightenment), Jivatman (individual soul)
while the Infinite or the Universal soul is variously known as Sunya

When they combine

Brahma and Paramatman.

anhighest meditation and concentration,

deep sleep isbrought about, and the deity appears

flashes and sparks.

ent cases the deity visualised also becomes different.
that reacts

on

the

of thetomind sky inworshipper which

result ofAnd

finite.

meditation is different inobject for which the worshipper sits intheinentirety, that is to say, thethe mystic experience of the Jivatman also remains

of

state

condition akin

The nature of the Jivatman being finite, it is notpossible to realise the Infinite in its(desire)theinartificial

is

It

as

the

differ-the Bhavanaisof the nature of a psychic force

the Infinite Energy, giving rise to different manifestations

according to the nature of the reaction. The nature of this reaction is ofillimitable variety and thus the resultant deity also appears in an infinite

and this seems to be the chief reason why we find gods
and goddesses of different forms in the pantheons of both the Buddhists
and the Hindus. The ascetic who visualises a particular deity, generally
makes it a rule to record the process by which the visualisation of aparticular deity took place, for the benefit of his disciples in order thatthe latter may realise the deity in the easiest and most efficient manner.
variety of forms,

The Infinite Energy is frilnva in Vajrayana^jmd this Sunyaisinvokedby the worshippers of different classes with different desires and differ^
ent degrees otjnental development.

As Sunya isinvoked in for thou-sandandjane purposes, manifests itself in thousand and jane^jwayj^
in thousand and onejorms, and it is precisely in this manner that theitnumbeFof deitiesin the Buddhist pantheon

increased to an enormous

extentT^TKe psychic exercise prescribed in the case of different deities
is different in the Sadhanas. The Sadhanas become less or more difficult
according to the mental capacity of the worshippers, who are generally
The regulation of life in the caseclassified as High, Middling or Low.

of the worshippers of different classes become more or

lessstringentaccording to the degree of psychic progress.
In the realisation of the deity, there are thus three elements, theworshipper, the deity and theirfiamed ifr~Tfi5~TanirIc

works

connecd9D_Q_Jsientity.
as theThese areBodhicitta, the Mantrapurusa(Mantra body) and the Ahamkara (identity). The worshipper is called
the Bodhisattva (Bodhi essence), and his mind is known as the Bodhi*,

28

INTRODUCTION

citta(Will to Enlightenment). The deity is the embodiment of thecontained in a Mantra which are dynamized by exces-

cluster of lettersand repetition. The sacred words or letters set up
strong vibrations and ultimately condense themselves in the form of
deities and this is called the Mantrapurusa (Mantra body) or Mantra
person. But before the Mantra person is visualised there must always
sive concentration

be a complete identity between the Bodhiciita and the Mantrapurusa.
The subject is both interesting and important for the study of gods andgoddesses, and therefore merits a detailed treatment.

The Vajrayana conception of the Bodhi mind appears to be the sameas advocated in Yogacara, an idea of which can be gained by a reference

to the Tattvasahgraha of Santaraksita.

The Bodhi mind is like a conti-

nuous stream of consciousness which changes

every moment^ theconsciousness of the previous moment giving rise to or causing theconsciousness of the succeeding moment. The chain of momentary

consciousness which is without a beginning or an end, operating in
unison with the all powerful act-force leads it either to degradation or
to emancipation according as the actions done are good or bad.

Bodhi mind

memory,isexistence,

are all unreal.

The

by nature surcharged with impurities such as desire,
non-existence,subject, object andthe rest which

To purify this chain of consciousness is the sole aim of

the Bodhisattva, but so long as impurities are not removed, it will be
subject to a series of transmigrations either in the world of gods or men,or of animals, birds, ghosts and demons.

According as the impurities are removed one after another, theBodhi mind commences an upward march in the different spiritual
spheres, called Bhumis, and stays in them only so long as it is not
qualified to ascend to a higher sphere. The number of Bhumis arerecognized generally as ten and the Sutra which describes them is called
the Dasabhumika Sutra. The Bodhi mind obtains emancipation, or inother words when it crosses the ten Bhumis mentioned above, it isrewarded with moniscience. These Bhumis are not meant for the
Hinayanists but were exclusively designed for the Mahayanists who are
the real Bodhisattvas. No Buddhist will be called a Bodhisattva who

has no compassion for suffering humanity or

who will not be prepared

The Vajrayanist concepmind as one where Sunya andto sacrifice his all for the benefit of others,

tion isthe same, and it defines Bodhi

Karuna (compassion) work in unison. In the eye of a Vajrayanist theexternal world has much the same significance as it appears in Yogacara.
The Tantras characterize the external world with its movable andimmovable objects like a pot, picture, carriage, house, stone-house,
mountains and the rest as reduced by reason to mere appearances, inINTRODUCTION

29

the same way as magic and dream are considered to be appearances.
Therefore, the Vajrayanists hold that external objects have no greater
reality than magic, mirage, shadow or dream, and their reality cannot

be proved by reason.

The

Mantrasor

mysticsyllables

constitutethebackboneof

Vajrayana worship, and are of illimitable varieties. The Mantras aremostly unmeaning words but they sometimes reveal the influence ofsome unknown language. The Vajrayanists maintain that the Mantras
are endowed with great powers.
"What is there impossible" they say,"For the Mantras to perform if they are applied according to rules ?"It is also said that through repeated mutterings of the MantrdS such
power is generated that it can astonish the whole world. The Mantra
has power even to confer Buddhahood or omniscience. The merits
from the repetitions of the Mantra of Mahakala are sothat accrue

all the Buddhas taken together cannot count them even
were to count without celadon for a number of days andnumerous that
if they

By the DharanI of Avalokitesvara even an ass can memorize
three hundred verses. The Mantra of Ekajata is said tQ be so powerfulthat the moment it is uttered a man becomes free from danger, he isnights.

always followed by good iortune and his enemies are all destroyed.
The repetition of the rnantra is however to be done with the greatest
care,

for instance,it

The mindatslowly.

should not be muttered too quickly nor too
the time of repetition should be concentrated

on the letters of the Mantra and should be free from all evil thoughts,
and the mantra should not be repeated when the mind is fatigued
or tired.

Thus it can be seen that the Vajrayanists believed that the Mantras
were endowed with dynamic power. Their power consisted in thearrangement of thesyllables, thepurity of which is to be guarded with

The Mantra is required to be received with properafromceremonies
competent preceptor. The Mantra is powerfulwhen it comes from a preceptor who is pure, and has repeated conti-

the greatest care.

nuously so as to visualize the Mantra person or the deity sacred to the
Mantra. The letters of the Mantra can only be dynamized by continual repetition by day and at night until the deity is visualized. When

becomes powerful the vibrations let loose by the Bodhi
the universal Sunya which explodes in consequence inthe divine form of the deity and appears before his mind sky. Accor*
ding as the calling signal is different in different cases the deity becomesthe Mantra

mindreact onThe deities are nothing but
letter vibrations, and by
or
word
of
the forms created by the force
continuous practice anyone can visualise the deity. The Mantra idea
different,

and thus

its

numberincreases.

30

INTRODUCTION

is not only

logically correct

but also philosophically profound.

The relation between the caller and the calling deity is one of identiIt is called Ahamkara or the identity of the Bodhi
mind withthe deity, the manifestation of Sunya or the ultimate reality, The
identity is established with the Mantra "I am the goddess and thegoddess is in me". The worshipper should conceive himself as the deitywith the same complexion, form and limbs as described in the Sadhana
fication.

and should, instead of worshipping any external object, worship himself.

The Bodhi mind and|the deity apparently

signify

duality

but their

enlightenment. The Bodhi mind is of thenature of Sunya and the deity is a manifestation of Sunya and, therefore,
duality disappears withboth have the same origin.

But to realise that therequires perfect knowledge.

Continuous

two are the sameand austerities

meditation

enable theworshipper to shed the veil of ignorance which makes
one thing appear as two. The Bodhi mind is further called Karuna(compassion) and the ultimate reality as Sunyata, and when the twocommingle, it is called Advaya or non-duality.
dirty colour (and become gold) when it comes

As copper leaves
incontactitswith themagic tincture (of alchemy), even so, the body leaves off its attachment,
hatred, etc. when it comes in contact with the tincture of Advaya. This
Advaya is a form of cognition where the Bodhi mind commingles with
Sunya and becomes one with it. To symbolize this principle Vajrayanabrought in the conception of the Yab-yum form of deities in which thedeity appears locked in close embrace with his Sakti or the female counterpart.

When the deity is single, it means that the female counterpart

has merged into the deity even as salt melts in water. The deity is
Sunya and the female principle is the Bodhi mind, or the first is theultimate reality and the female is Karuna (compassion). The Bodhi
mind can become ultimate reality through the one principle of Karuna.
This Karuna is symbolized in the form of Avalokitesvara, the great com-passionate Bodhisattva who sacrificed his Nirvana in order to serve

his

fellowmen.

From the foregoing even a casual observer" can find that theVajrayanists formulated the principle that behind the creation there is arTinSomj-

tablewill which multiplies in thedensethemselves in the form of
a further grossenirig process.*

formof words and graduallycon-the_dejtj^ The iemale counterpart

is

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 theBodhi mind to soar higher and higher, and to become finer and thinner
before it merges inunya. According jo Vajrayana, therefore, theINTRODUCTION

31

reverse process of involution starts only when the Bodhi mind
charged with Karuna or compassion.
5.

is

sur*

The Pantheon.

The word Pantheon is derived from pan

all,

and

theos

god and

therefore, concerns itself with all gods belonging to a community follow-

ing the same religion. In Hinayana or Primitive Buddhism there wasno pantheon to which worship was offered by any Buddhist. But in
Mahay an a a large number of deities was included and later, in its moreadvanced form of Vajrayana this pantheon became surprisingly large

with deities of every description.

\

Virtually, there

was an epedemic ofdeification in which every philosophical dogma, ritualistic literature, abs^
tract ideas, human qualities, even desires such as sleeping,

yawning, andsneezing were deified or given a deity form.

The varied, extensive,

anddiversified

pantheonof the Northern

Buddhists owes its origin to Tantric Buddhism or Vajrayana. Thereare certain indications that Buddhism had no pantheon before Tantrism

was well established. In very early days Buddhism recognised thirtythree gods of the Hindus who were the residents of the Trayastrimsa
Heaven which is one of the Rupa heavens. Buddha did not believe ingods or worship, and in the Saundarananda Kavya of Asvaghosa wefind Buddha discouraging his half-brother Nanda to touch his feet intoken of worship. He told Nanda that he would not be in the leastpleased by Nanda's taking the dust of his feet, but he would bless him if
he would follow the precepts of true Saddharma. Buddha was deified
in Mahayana which considered him to be Lokottara or superhuman.
In
Buddnist art also Jbfruddha images are not met with in the earlier schools
such as J3anchi and Bharhut, and it is believed that the Graeco-Buddhists}of Gandhara were the first to carve out his image in stone.\ This is theview held by the celebrate3 French archaeologist Professor A. Foucher. 2
In Bharhut andSanchi scenes connected with the life of the Buddha,

such as the dream of his mother Mayadev! (fig. 1), and the symbols of
Buddha like the Bodhi Tree, his head-dress his foot-prints (figs, 2, 3,4, 5),

and the rest used to be

freelyrepresented,

but his actual likeness was

regarded as too scared to admit of representation. Dr. Coomaraswamy
on the other hand has shown that the Mathura school of sculpture canhave an equally strong claim to antiquity and probably for carving out
the first image of Buddha. These are great authorities and it is notpossible here to examine their theories in detail. For the present work
is immaterial whether the claim for carving out the first image ofit

Manual of Buddhism, p. 3

1.

Kern

2.

Beginnings of Buddhist Art, p. 127.

;

INTRODUCTION

32

Buddha is

Gandhara QjlMathura. It ismany images of Buddha in these two

in favour ofjsither

establishedenough to know that there areschools of art.
Besidessacredtheconnected with Buddha's

symbolslife

andteachings,

worship was offered by the Buddhists to numerous otherobjects.

One of the most important among these objects is the Stupa

which is regarded
all thewithembodiment of the Buddhis^lJmv^
The stupas received worshipas theheavens as conceived in Buddhism

thetheBy^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 theeven in the life-time ofcenturies

after his

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

one Dharma is a goddess.
Later,

anumber of gods

Manjusrimulakalpa whichisand goddesses
believed toaredescribed

inthe

be an earlier work than the

Guhyasamaja which is dated circa A. D, 300
Again in the Prajnaparamita Buddha is worshipped elaborately with diverse paraphernalia
of worship. But even then it does not seem clear that Buddhism at
this time had any conception of a well-defined andwell-classified]

pantheon.

It

the Guhvasamaja

inisthat the ideaofapantheon,properly and systematically crystallised. _JHeje
for the first time are found the descriptions of the five Dhyani Buddhas,

rationallyclassified,

istngi_ rnantras, their Mandalas^ and their baktis or remale^gjnitprparti
These Dhyani Buddhas represent the five Skandhas or the five cosmic
elements of which the world
as theThe

iscomposed.

They

are here describedprogenitors of the five Kulas or families of gods and goddesses.

familiesoweallegiance to their progenitors

Kulesas or Lords of Families.

"The

five

In the Guhyasamaja

who are known as
it is

said

:

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 ispantheon withits

offspringsof these Dhyani Buddhas constitutein this way that the Buddhists built awell-classified

multiplicity of gods and goddesses, and when these1.

See the discussion on the subject in Guhyasamaja, intro. p. XXXVI

2.

Guhyasamaja

:

p. 6.

XXXVII.

Fig.

Maya's Dream.

1(

RJi^rhryf\

SYMBOL-WORSHIP

Fig.
(

2

Bodhi Tree.

Amaravati )INTRODUCTION

34

they were required to show their origin byholding on their heads the miniature figure of their parental Dhyani
Buddha.
Every deity almost without exception was given various

were represented

in art,forms with two, four, six, eight, ten, twelve, sixteen and even morehands, and proportionately one head to three, four, six, and eightheads. They were given different colours, different expressions anddifferent companions according as they were worshipped in the differ*
ent Tantric rites and according as they were required to discharge
different functions,from curing a disease to the killing of an enemy.

The artists had a considerable hand in executing the images and they
introduced their own traditions, provincialisms and innovations The
votaries also according as they wanted to have their gods in a powerfulform, added extra hands heads and feet to suit their own ideas
and whims, and it is precisely in this way that the deities increased to anamazing number.
,

The Guhyasamaja or

the Tantra of Secret

Communion which isperhaps the first book inculcating Vajrayana philosophy of Mahasukha
is a product of circa 300'A.D. which is the time of Asanga.
Quitenaturally the Tantra could not get publicity as the public mind was notprepared to receive the revolutionary innovations introduced in it.
Thus thf Tonfra wj*nt into private hands and was handed down throughan unbroken cbnin
the

most

secretr>fHums ^nrl disciples for thr^ hnndtw] y pQrg

mannerpossible.

It

1>r>

obtained publicity through theteachings and mystic songs of the Buddhist Vajracaryyas or Siddhas in
about the middle of the 7th century. It is for this reason thatreferences to the pantheon in the general Buddhistic literature are not
nor the accounts of then^T"wi^show much acquaintance with the pantheon, when
they came to India to investigate the condition of Buddhism in India,
Despite this certain names of Buddhist gods and goddesses are indeed
met with in their writings, though they do not pertain to the well
Chinesetravellers

pantheon referred to above. In the SukhayatT Vynhfl \yjrfch
was translated into Chinese between A. D. 148*170 the name ofclassified

Amitabha appears

time as thepresiding deity of theheisbelieved to have brought
Sukhavati or thc_Akanistha heaven where
for

the

first

It should be remembered that
forth Avalokitesyara into existence.*
in fKe Vajrayana works also this heaven has been characterized as

the abode of all gods and goddesses.

In the smaller recension of the

Sukhavati Vyuha which was translated into Chinese between A. D.
417 mention is made of two more gods namely Aksobhya as a
Sukhavati Vyuha, pp.

1,

28,

32.

INTRODUCTION

35

Tathagatajand ManjusrL_as a^Bodhisattva^ Fa-Hien (A. D. 394-414)
mentions the names of MaSjusrT; Avalokteesvara, and the future

Buddha Maitreya, while Yuan Cbwang (629-645 A. D.) refers to thenames of Avalokitesvara, Harlti, Ksitigarbha, Maitreya, Manjusn,
Padmapani, Vaisravana, Sakya Buddha, akya Bodhisattva, and Yama
together with such deified saints as Asvaghosa, Nagarjuna, Asahga,
Sumedhas and others. I-Tsing (671-695 A.D.) mentions the names of
Avalokitesvara, Amitayus,

Hariti,the

Catur-Mahafajikas,

Maitreya,

Manjusri and Yama besides several others. Santideva (695-730 A.D.)
in his oiksasamuccaya mentions the names of Aksobhya as a Tathagata,
Gaganaganja as a Bodhisattva, Simhavikridita as a Tathagata, Cunda,
Trisamayaraja, Marici, Simhanada, Manjughosa and many others.
After Santideva the Tantra of the Buddhists got wide publicity, and]the Tantric works written after his timeallreferred to the pantheonand described numerous gods, especially the Dhyani Buddhas a definite
product of Tantric Buddhism. The Sadhana literatuie which describes
the forms of gods and goddesses and lays down the procedure forworshipping them was developed by the Mahasiddhas or great magicians

like Saraha,others,although

Nagarjuna, Sabaripa,
it

is

very

Anahgavajra, Indrabhuti andprobable that theearliest

composed by Asanga who flourished in circa 300 A.D.
attributed toAsanga the Dhyani Buddhas andtheirSadhana was

In the Sadhana
emanations arereferred to.

When a reference is made to the numerous images executed in theschools of art

different

it

also

becomes palpable that the Buddhist

pantheon was not well developed before the Tantras got wide publicity
AT)i InTKe Gandhara school,
injiboutjthe middle of the 7th century
for instance, Jbesides the

Buddha images, there are images of Jambhala

Maitreya, Haritl and several unidentified Bodhisattva
In the Mathura school which was either contemporaneous

Kubera, Indra,
images.

or somewhat later than the Gandhara school there

are numerous
Buddha and Bodhisattva images along with those of Kubera, the Yaksas
and Nagas. The Mathura school extended to the early Gupta period 2
and here also later Buddhist images of Tantric flavour are not met
with. Not even the images of Avalokitesvara, Manjusri are to befound in this school. The case of the later Magadha school however,
The Magadha school included the images found inis otherwise.

Sarnath, Nalanda, Odantapuri,sites in Bihar.

The most

Gaya and other ancientperiod of the Magadha school

Kurkihar,flourishing1.

Bendall's introduction to Siksaasmuccaya, p. V.

2.

Vogel

:

The Mathura School of Sculpture 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

d

E

38

INTRODUCTION

was contemporaneous with the reign of the Pala kings of Bengal andlasted 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.

there are figures of five Dhyani Buddhas

In most of the images
on the halo round the headof the principal deity, as also others with miniature figures of Dhyani
Buddhas on the crown to indicate the origin of the deity installed.
Again, unlike the Mathura and Gandhara schools there is a distinct
dearth of Buddha images in later schools of art, and even when he isrepresented, he takes the semi-mythical form of Vajrasana being
flanked by Avalokitesvara and Maitreya on two sides. In the Magadhaschool therefore Buddha lost his original importance and became
similar to the Dhyani Buddha
Aksobhya as is evident from thenumerous Sadhanas dedicated to the worship of Vajrasana Buddha
with the earth touching signal. The Bodhisattva images are also not
so stereotyped as they are found either in Gandhara or in Mathura.
The Magadha school is characterised by its wide variety of images ofgods and goddesses and this will be apparent to any visitor who visits
the museums at Sarnath, Nalanda, Patna, or even at Calcutta, andtakes a round in the extensive ruins of the Odantapuri Vihara (Modern
Bihar)The same is theAton the Bakhtiyarpur Bihar Light Railway.

case with the ruins of Gaya, Kurkihar, Sahet-Mahet and Kasia.

Sarnath, the contents of the museum are rich with such interestingas Sadaksari Lokesvara, Ucchusma Jambhala,and symbolic images
Manjusri, Tara,

Vasudhara, Marlci,

Vajrasattva the sixth Dhyani

all

the

Five

Dhyani Buddhas,

Buddha and numerous others belonging

Nalanda images
same deities as are found in Sarnath.

to the Vajrayana pantheon.

The Bengal school whichisare enriched with thecontemporaneous with the Magadhaschool is distinguished by the high class of art it developed and forits

beauty of execution. Its flourishing period ranged from the 10th century
till the conquest of Bengal by the
Muhammadans. Many of theoftheschoolarespecimenspreserved in the museums at
BengalDacca, Rajshahi, and the Vangiya Sahitya Parishad, and ascattered about in the Pargana Vikrampur
and in the districts of Dinajpur, Rajshahi, Birbhum and Comilla. In

Calcutta,

large number of them arethis school many interesting and unique specimens of

to Tantric

Buddhismaremet with.

From

the

images belonging

above

it

becomes

clear that the artists were acquainted with the descriptions of deities
as given in the Sadhana literature, because the images
as given in

and the Dhyanas

the Sadhana coincide most remarkably.

In this school

INTRODUCTION

39

are to be found such images as Heruka, Vasudhara, Jambhala, Arapa-

Khasarpana, Parnasabari, Simhanada, Manjuvara, Aparajita,
Mahapratisara, Nairatma, Sadaksan Lokesvara, Mahasri Tara, Khadiravani Tara along with many others too numerous to mention. Scholars
cana,desirous of having more information on the subject are recommended
to refer to the excellent work of Dr. N. K. Bhattasali, entitled,

The Iconography of Buddhist and Brhamanical Sculptures in the Dacca
Museum where incidentally images discovered elsewhere in Eastern
Bengal have also been treated. Another monumental work on thesubject is R. D. Banerji's Eastern Indian School of Mediceval Sculpture,published byof India.

the

Archaeological

Departmentof theGovernment

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 ofthe paintings and sculptures are of long antiquity. It does not seemthat the Tantras were very popular with the Buddhists of Western
India or that they were influenced by the teachings of the Tantra which

was mainly a product of Eastern India.

Had it not been

temples would have at least exhibited some of the Tantricso,the cavedeitiessuch

Prajnaparamita and others.
been profoundly influenced by theas Manjusrl, Tara, Khasarpana, Jambhala,

The Javanese art seems

to have

Bengal school, and the images of gods and goddesses as found in the
Borobudur temple show that they were acquainted with many deitiesof the Vajrayana pantheon

As Vajrayana was mainly a product ofprobable that colonists carried their art and religion to Java

Bengaland Indonesia by the sea route, probably from the sea^port atTamralipti
it isor from Chittagong and Orissa.

The Prajnaparamita image producedin the Javanese school has been acclaimed as one of the finest

specimensof eastern art, ancient or modern.

Buddhism from India the priests of thecelebrated monasteries of Bengal and Magadha who could save theirheads from the hostile sword of the Muhammadans, fled to Nepal
which is protected on all sides by the mighty walls of the Himalayan
mountains, and took refuge in that country, and thus kept the torchof Buddhism still burning there. The Bengal school of art which was
carried by the priests was soon modified into a typical Nepalese art
when it came in contact with the native artists, and thus became
But after the 18th century it became debased and crude.
stereotyped.
The general impression of the visitor who inspects the numerous
After thedestruction ofmonasteries in Nepal which are the repositories of Buddhist imagesof diverse kinds, is that the dreamy sweetness and the sublime beauty

40

CJ
03

CO

Q
<
H
H
CO
E
Q
Q
D
>

ctf

i

CQ

O

CQ

Hi

E
H

e
i^
C3

^C

Q

41

INTRODUCTIONof the Bengal school could not be preserved in Nepal, although earlier
specimens of really good art are not at all wanting in the Nepal school.
The followers of Vajrayana who went to Nepal in order to makesure of their existence converted a good

many Newars of the land

to Buddhism and carved out innumerable images of gods and goddessesinisstone, metal or wood, so much so, that a student of iconography

overwhelmed

at

and

their wealthvariety.

Itishowever curious

all the monasteries in Kathmandu,
the 13th century, which shows
from
and
dates
Bhatgaon,
Lalitapattan
werefounded almost immedia^
monasteries
unmistakably that thesetely after the Muhammadan conquest by the refugees fleeing fromto note that the origin of almost

Eastern India.

The cumulative evidence of art,

history,andliterature

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 theformation of a pantheon, well developed
the origin of it is definitely earlier. This

before that time, although

may be explained by the fact that the Guhyasamaja which for the firsttime inculcated the doctrine of the five Dhyani Buddhas and theirfamilies, was composed in secret and transmitted in an occult manner
one of the many reasons whyneither the Guhyasamaja Tantra nor the Dhyani Buddhas nor thevaried pantheon of Vajrayana could be widely known. It is only in
the Sadhana of Asahga as included in the Sadhanamala a definite
reference to the five Dhyani Buddhas and their families is to be met
for about three hundred years.

This

not improbable to connect Asahga
Guhyasamaja Tantra itself. The

with, andfor that reason

with theintroduction of the very

it

is

is

subsequent writers only got a glimpse of what filtered through thesecret but very popular mystic organisations. After the 7th century
secrecy was no longer necessary, as the principles of Vajrayana werethen fully established and widely spread through the teachings andmystic songs of the Siddhas and Mahasiddhas. The beautiful images

produced by the priests and artists made the teachings doubly attracGreat men came forward to advocate the cause of Vajrayana.
tive.
Chairs for the study and teaching of Tantras were founded in theand famous centres of learning such as Nalanda, Odantapuri,
Vikramaslla and Jagaddala. Eminent scholars like Santaraksita worked
as professors of Tantra in the world famous university of Nalanda.
different

CHAPTERI.

DHYANI AND MORTAL BUDDHAS.
The

pantheon of the Northern Buddhists revolves round theofthe five Dhyani Buddhas. The Buddhists believe that thetheoryworld is composed of five cosmic elements or Skandhas. The five

Skandhas are

Rupa

Vedana^ (sensation), SamjnS (name),andSahskara (conformation)
Vijnana (consciousness). These elements(form),

are eternal cosmic forces

and are without

These cosmic

forces aredeified in Vajrayana as the fiveIn

the courseof time they were regarded

Buddhas.

abeginning or an
as

end.

Dhyanithefiveprimordial gods responsible for this diversified creation, and thus
Vajrayana took a polytheistic form, although polytheism can hardly

apply to a system which considers ounya as the One, Indivisible andUltimate Reality. But so long as form could not be given to Sunyaan anthropomorphic deity, the system of five Dhyani Buddhas
certainly had the flavour of polytheism. The priests and the Vajrayana
authors were conscious of this shortcoming, especially in view of theasthe six Hindu systems of philosophy tended to develop
a highly monistic philosophy.
They tried at first to cure this defect
Kulas
the
of
and Kulesas (lord of families)
the(families),
theory
by
fact

that

all

of gods and men, and thus divided everything into five groups. For
each group, a particular Dhyani Buddha becomes the Kulesa or theprimordial lord, all other groups taking their origin from him*

Another grand conception of the Vajrayana Buddhism is the theoryof the highest god Yajra^haira aJ?Q, ..ffd JggLjjjkuddha, the primordial
monotheistic god who is the embodiment ofSunya to whom even>

the Dhyani Buddhas owe their origin. The theory originated in the
Nalanda monastery in about the 10th century. l Thereafter, a large
number of images of Vajradhara must have been made in the different

schools ofart.

The special Tantra dedicated to Adibuddha

is

the

Kalacakra Tantra which appears to be the original Tantra in which
the doctrine of Adibuddha was for the first time inculcated. The

Kalacakra Tantra thus is a product of the 10th century. Vajradhara
was particularly popular in Nepal and Tibet where numerous images
1.

The

idea ofan

Adibuddha

originatedbeginning of the 10th Century A.D.

in theNalanda Monastery in the

See JASB, Vol. II ( 1833 ) pp. 57 ff.
Also Vajradhara Vs. Vajrasattva in JBORS, Vol. IX, pp. 114fF.

DHYANI AND MORTAL BUDDHASof this primordial god are to be met with.

43

Alexander Csoma de Koros

places the introduction of this conception of

Adibuddha

in Central

Asia in the latter half of the 10th century* It originated at Nalanda
according to him in the beginning of the 10th century, and no mention

made by any writer prior to this time.
Homage is paid to Adibuddha in the shape of a flame of fire which theof the Adibuddha cultpriests consider asiseternal,selPbbrn ~ancT~self*existent.

It

is

said

in

tHe~~Svayambhti Purana that Adibuddha first manifested himself in
Nepal in the form of a flame of fire, and ManjusrI erected a temple

over it in order to preserve the flame.

This ancient temple

is

known

as the Svayambhu Caitya.

The conception of Vajradhara presupposes Adibuddha and, therefore, is later than the first half of the 10th century.

Vajrasattva, being
theBodhisattva
of
Vajrapani emanating from
regular development
the Dhyani Buddha Aksobhya, is a little earlier, although the conceptionaof Vajradhara and Vajrasattva are sometimes inextricably mixed up.
Adibuddha is regarded as the highest deity of the

In Vajrayana,

Buddhist pantheon, the originator even of thefiveDhyani Buddhas.

When represented in human form, he begets the name of Vajradhara
and is conceived in two forms, single and Yab-yum. When single, hebedecked in jewels, gaudy ornaments and dress, sits in the Vajra'
paryahka or the attitude of meditation with the two feet locked withissoles of the feet turned upwards.

He carries the Vajra in the righthand and the Ghanta (bell) in the left, the two hands being crossed
against the chest in what is known as the Vajrahuhkara Mudra

The Vajra (thunderbolt) here is the symbol for the ultimate
Sunya while the bell represnts Prajna or wisdom thesounds of which travel far and wide. Sometimes the symbols are shown
on a lotus on either side, the Vajra being on the right and the Ghanta
In Yab-yum, his form remains the same as whenin the left (Fig 13).
(Fig 12).

reality called

single except that here he is locked in close embrace by his Sakti^or thefemale counterpart whose name according to Getty is Prajnaparamita.
The Sakti is somewhat smaller lri"sizerTs richly dressed and bedeckedin ornarpents, carrying the Kartri (knife) and the

Kapala (skull cup) in

the right and left hands respectively (Figs. 14, 15).

In these figures the

Kartri is the symbol for the destruction of ignorance, the JCapala stands

form Yab^yum represents thatthe distinction between duality and non^duality is unreal, and the twofor oneness absolute, while the double

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

,

BUDDHIST ICONOGRAPHY

44

1

is widely represented in Tibet.

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

Vajradhara.

ColourArms

Reddish White.
Six.

.

Faces

Three.

Pose

Tandava Dance.

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

"Kutagaragarbhe Vajradharah. .isadraktanu-viddhasitavarnah. .trimu.

kho

mla-raktasavyetaravaktrah.

.

. .

sadbhujo

vajra-ghantavirajitabhuja-savyakarabhy am

bhyam
vamabhyam kapalapasabhrt

alingitasvabhaprajna

krpanankusavarau

ardhaparyahkena

navanatyarasais-

tandavl." NSP. p. 8.

"In the innermost chamber of the Mandala thereHeis

Vajradhara.

The right face is blue
and the left is red. He is six-armed. With the two principal hands
carrying the Vajra and the Ghanta he embraces the Prajria. The twoother right hands show the excellent sword and the Ankusa. In theHis colour is reddish white.

isthree-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".
Fig.

16

represents a three- faced

and six-armed Vajradhara image

without the Sakti in the Baroda Museum.

But Vajradhara was not universally accepted as the Adibuddha or
When the theory of Adibuddha was fully

the first creative principle.

established the Buddhists seem to have ranged themselves into ,sosects as it were, holding different views regarding specific

the Adibuddha should take.

manyforms which

Some considered one among

the

five

Dhyani Buddhas as the Adibuddha, some acknowledged Vajrasattva as
the Adibuddha. Many others were content to regard the Boddhisattva
such as Samantabhadra or Vajrapani as the Adibuddha. Thus the cultof Adibuddha was widely distributed amongst the different 'schools,
which gave

rise

to

as

many

different

sects

amongst the Tantric

Buddhists.

Vajradhara or the Adibuddha is supposed to be the originator of
the five Dhyani Buddhas, the progenitors of the five Kulas or families of

Next to Vajradhara the Phyani^jBu.ddhas
or the Tathagatas are important in Buddhist iconography and, therefore,
Buddhist gods and goddesses.

1.

Getty -GNB,p.

5

DHYANI AND MORTAL BUDDHAS
requires treatmentindetail.

SecretCommunion) was the(holyassembly)which

The Guhyasamaja
first

Tantra(Tantra of

to reveal their existence in a Sahglti

supposed tois45

introduce

newideas into

Buddhism.
the Dhyani Buddhas are given a Mantra, a colour, aSakti^a direction, and a guardian of the gate. As these Dhyani
In the GuhyasamajalBuddhas are of primary importance in Buddhist iconography, it is necessary to deal with their origin in some detail here. The Guhyasamaja
opens in a grandiloquent style with the description of a monster assembly of gods, Tathagatas, Bodhisattvas, Saktis, and various other divine
beings.

The Tathagatas present in the Assembly requested the Lord

Bodhicittavajra to define the Tathagatamandala or the magic circle ofthe five Dhyani Buddhas and in response to their request, the Lord sat ina special Samadhi (meditation) called the Jnanapradipa (lamp of knowledge), and his whole form started resounding with the sacredsounds of

VAJRADHRK which is the mantra of the Dvesa family. No sooner thewords came out, the sounds transformed themselves into the concrete
shape of Aksobhya with the earth-touching signal (Mudra).
Then the Lord sat in another meditation and soon became

vibrant

with the sacred sounds of JINAJIK, the principal mantra of the Moha
The sounds condensed themselves into the concrete form offamily.

Vairocana with the Dharmacakra Mudra and was placed in his front in
the East.

Next with a third Samadhi (meditation) the Lord became resonantwith the word RATNDHRK the principal mantra of the Cintamanifamily and soon became condensed in the human form of Ratnaketu
with his favourite signal of Varada (gift bestowing) and was placed tothe south of the Lord.

The Lord thereupon took a fourth Samadhi and became resonantwith the sacred sound of AROLIK, which is the principal mantra of the
Vajraraga family. The vibrations soon grossened themselves in thehuman form of Amitabha with the signal of Dhyana (meditation) andwas placed behind the Lord in the west.
Next, the Lord assumed another Samadhi and soon became resonantwith the sacred sound of PRAJNADHRK, the principal Mantra of the
Samaya family. The vibrations after condensation gradually assumed
the shape of Amoghasiddhi with his characteristic symbol of(assurance), and was placed by the Lord in the north.

AbhayaThen the Lord sat in a series of special Samadhis, five in number, andThe vibrations in likedifferent mantras.

became resonant with five
Guhyasamaja, chapter

Buddha mandala.

1

isentirely

devoted to the formation of the Dhyani

BUDDHIST ICONOGRAPHY

46

manner were condensed in the form of five goddesses as female counteralready named and were placed in theirparts of the five Tathagatas

appropriate positions.
Thus, the Lord in the first Samadhi became resonant with the sound

DVESARATI which transformed itself into the form of his own queen
and was placed on his own seat.
Next, he became resonant with the sound MOHARATI which took
the shape of a goddess and was placed in the eastern direction

as

the

queen of Vairocana.
Thereafter he became vibrant with the sound fRSYARATI which
took the shape of a goddess and was placed in the southern direction
as the queen of Ratnasambhava.
Next in another Samadhi the Lord became vibrant with the sound
RAGARATI which soon took the concrete shape of a goddess andwas placed in the western direction as the queen of Amitabha.

Then in a further meditation the Lord became resonant with thesound VAJRARATI which took the concrete shape of a goddess andwas placed in the northern direction as the queen of Amoghasiddhi.
When all the Tathagatas were associated with their female counterparts the Lord sat in four more meditations and through these createdfour guardians of gates for the four cardinal directions.
First, he sat in the Mahavairocanavajra Samadhi and became resonantwith the sound YAMANTAKRT. These sound vibrations soon assumed

the concrete shape of a violent deity, fearful to the Tathagatas, and wasplaced at the eastern gate.
Next, he became vibrant with the sound PRAJNANTAKRT.

The

sound vibrations soon assumed the form of a violent deity, fearful tothe Vajra process, and was placed at the southern gate.
In a third Samadhi the Lord became vibrant with the sound
PADMANTAKRT which soon took the form of a violent deity representing the speech of the Tathagatas and was placed at the western gate.
Finally, the Lord sat in another Samadhi called the Kayavakcittavajraof the Tathagatas, and became vibrant with the sound VIGHNANTA-KRT which soon took the shape of a violent deity representing the body,speech and the mind of the Tathagatas, and was placed at the northern gate.
The above account as recorded in the Guhyasamaja Tantra marks
the beginning of the theory of the five Dhyani Buddbas, theirparts, their mantras and thegates. \ Thecounter-

guardian of the
Dhyani
Buddhas ar* *hp Corner stones of Buddhist Iconography on which thewhole edifice of the Buddhist pantheon is crecte^ The five Dhyani
Buddhas are the progenitors of the five Kulas orramilies of deities, andthe community worshipping them were known as the Kaulas, and thefiveDHYANI AND MORTAL BUDDHAS

47

Kulacara or family conduct. These
Dhyani Buddhas further split themselves up in the form of Bodhhisattva
processof worshipwascalledand their female principles who are responsible for creating everything
found in existence. The forms of deities are nothing but the grossforms of the different sounds, and thus the connection of the mantra
with the deity is established.

I

The five Dhyani Buddhas who are the embodiments of the five Skandhas or primordial elements are the progenitors of the

five

of

families

The emanateddeities constituting the whole of the Buddhist pantheon.

ofdeities of these Dhyani Buddhas, as a rule, hold the miniature figure

the parental Dhyani Buddha on their heads and are usually of thesamecolour as that of the Dhyani Buddha and are placed in the same

direc-

tion as is assigned to their sires.

This very plan is followed most scru-

pulously in almost all the Mandalas or magic circles as described in theremarkable work, Nispannayogavali of Mahapandita Abhayakara Gupta.

The names, colours and the symbols of the

five

'

Dhyani Buddhas

are stated briefly in the following verse occuring in the Sadhanamala:

Jino Vairocano khyato Ratnasambhava eva ca

Amitabhamoghasiddhiraksobhyasca prakirtitah

Varna amisam sitah plto rakto haritamecakau
Bodhyahgl Varado Dhyanam Mudra Abhaya-Bhusprsau.
Sadhanamala, p. 568-9"The Jinas (victorious ones) are Vairocana, Ratnasambhava, Amita*bha, Amoghasiddhi and Aksobhya. Their colours are white, yellow,
red, green and blue, and they exhibit the Bodhyahgl (teaching), Varada(boon),

Dhyana(meditation),

Abhaya(protection),andBhusparsa(earth-touching) attitudes of hands respectively/'

iThe Dhyani Buddhas are a peculiar kind of Buddhas who are notrequired to pass through the stage of a Bodhisatta. They were neveranything less than a Buddha. They are always engaged in peaceful
meditation, and they voluntarily abstain themselves from the act ofwork of their emanations, the Divine
Bodhisattvas. As has been said already, the Dhyani Buddhas are fivein number to which a sixth Vajrasattva is sometimes added. The
Guhyasamaja Tantra makes it clear that all the five Dhyani Buddhas
creation.

To create isthealong with their female counterparts and the guardians of gates were
known in circa 300 A. D. the time of the introduction of this new

That the five Dhyani Buddhas might have owed their origin
to the theory of the eternity of the five senses, seems to be borne out

Tantra.

by a passage in the Cittavisuddhiprakarana

lof the Tantric Aryadeva.
"

1.

JASB, 1898. p. 178.

I

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 wereconstantly depicted in the Buddhistic figures of the different schoolsof art, gave rise to the five Dhy an i Buddhas (Figs 17, 18). Advayavajra

who flourished in the llth century,

has written in one of his shortworks that the five Dhyani Buddhas took their origin from the theoryof the eternity of the five Skandhas (elements), that is to say, that the
Dhyani Buddhas represented the five primordial cosmic forces which
are responsible for creation.

who is generally regardedasVajrasattva, the sixth Dhyani Buddha,
the priest of the five Dhyani Buddhas

and is usually represented with the priestly symbols, the Vajra and the
Ghanta, is an embodiment of the five Skandhas collectively, and undoubtedly a later addition to the pantheon of the Northern Buddhists.

The Dhyani Buddhas

are always represented

seatedas

on a fullblown

lotus, and in the meditative pose with legs crossed, the rightfoot crossing over and in front of the left, with the soles of both feetturned upwards. The hand that rests on the lap is sometimes empty,

The head is bare, the thick clustering
The eyes are half-closed
flame of fire
in-meditation showing the mind completely drawn inwards in perfect
introspection. The dress consists of an undergarment reaching fromthe chest to the knee, and secured by a scarf. The body is loosely
covered by the habit of a monk, leaving only the right arm bare.
but in most cases holds the bowl.

curls radiate effulgence like a

The Dhyani Buddhas are generally represented on the foursides ofa Stupa which is the symbol of the Buddhist

cardinal points.

VairocanaisUniverse, facing the foi!rthe deity of the inner shrine and is,

But exceptions to this lule are byplace between Ratnsam*

therefore, generally unrepresented.

no means rare.

He is occasionally assigned abhava in the south and Aksobhya in the East.
are also dedicated to each of the Buddhas.

Independent shrines.

The five Dhyani Buddhas are given each a special recognition symbol
and a colour. The symbols are extremely important for the purposeof iconographical studies, because the female counterparts and thewrings of the DhySni-Bddhas invariably display these symbols inorderto sKow^theit^ origin/

1'fiusAmitabha is given the Lotus

as

the

recognition symbol.^ His Sakti Pandara and his Bodhisatta Padmpajii
must exhibit the Lotus symbol in order to show that they are theemanations of Amitabha.
also

have their

fixed from these

Similarly,

all

the

other Dhyani Buddhas

own symbols and the name of the family is generally
symbolsof the Lotus family,;

for instance,

AksobhyaisAmitabhaisthe leader of thethe progenitor

Vajra family,

Ratnasambhava is the embodiment of the Jewel family, and soforth.

DHYANI AND MORTAL BUDDHAS

49

The Advayavajrasangraha gave special epithets to the Dhyani Buddhas
to indicate their families, although these special epithets are not known

from any other source. According to this authority, Amitabha is
Padmakuli, Aksobhya is Vajrakuli, Vairocana is Tathagatakull, Ratnasambhava is Ratnakuli and Amoghasiddhi is Karmakuli. The Kulain the case of Vajrasattva

not givenisthe simple reason thatfor

he has neither family nor a special element.

Next to symbols, the colour of the Dhyani Buddhas is important.
Each Dhyani Buddha has a special colour and this colour is required
to be shown by all originating from each, Sometimes in classifying
Buddhist deities there is no other sure indication of the parental Dhyani
Buddha except the colour. On the ground of colour alone, and in
the absence of positive mention of the parental

Dhyani Buddhas,
in
book
this
manner.
thisclassified
in
have
been
several deities

A detailed description of the Dhyani Buddhas along with theirfemale counterparts and their offsprings, the Bodhisattvas, now follows
with relevant information regarding their forms and their statues andquotations from Tantric works have been
incorporated to indicate the source of information wherever possible.]
paintings.

Descriptive

1.

AMITABHA.

,

Colour- Red

VehiclePeacock

Mudra

SymbolLotus

Samadhi,/far the most ancient among the Dhyani Buddhas is Amitabha| By
who is said to reside in the Sukhavati heaven in peaceful meditation.
He presides over the current Kalpa (cycle) which is Bhadrakalpa. As a

Dhyani Buddha he does not create.
also known as Ayalokitesvara,

form of

Amitabha

is

It

is

described in the

Advayavajrasamgraha thus

his

Bodhisattva Padmapani,

who is responsible for creation. The
Pancakara sectionof the:J"Pascimadale Ravimandalopari rakta-Hnhkarasambhuto raktavarno

Amitabhah padmacihnah samadhimudradharah samjnaskandhasvabhavo
ragasarirah sukratmakah padmakull pratyaveksanajnanalaksano gris^marturupaha mlarasasarlrah tavargatma pradosavan".

ADV. p. .41

V'On the western petal on the disc of the sun there is Amitabhaof red colour originating from the red syllable Hnh. | He has a lotus
as his sign and he exhibits the SamadhiisMudra inhis

two hands.

Heof the nature of the cosmic element of Samjna (name), is an embodi*

ment of attachment and belongs to the Lotus family. He stands forthe vital fluid, and is endowed with the Pratyaveksana (looking after)
7

BUDDHIST ICONOGRAPHY

50

knowledge. He represents the summer season and the acid taste. He
presides over the group of letters beginning with Ta (cerebrals) and rules
over the evening twilight".

When represented on the Stupa, he always faces the West and the
Nepalese Buddhists regard him as the fourth Dhyani Buddha. His
two hands with palm open lie on his lap, one upon the other forming
the Dhyana or the meditative mudra. His colour is red and his Vahana
His recognition symbol is the Lotus.

is a pair of peacocks.

Images, sculptures, paintings and drawings of this description arefound in all Buddhist countries including India, Tibet and China. \ Oneminiature painting of the Dhyani Buddha is reproduced in Fig. 19.
Besides the two-armed form various other forms are known of thisIt may beremembered here that all
and other Dhyani Buddhas.
the five miniatures reproduced here belong to the collection of
Dr. Evans* Wentz.
* Amitabha images are foundin abundance in Tibet
and in
1

China

2

[

PANDARA'|

PandaraRed

ColourI

Symbolalso called Pandaravasini.

is

Lotus

According to a Dhyana in

the Advayavajrasahgraha she belongs to the Lotus family which isalso the family of the Dhyani Buddha Amitabha.
Pandara thus isof Amitabha. \Her form and nature are des*the"~spiritual consort

cribed as under"Vayavyam
sini

:

|

raktavarna

rakta

Parhkarabljasambhuta Pandarava*

candramandalopari

padmacihna

ADV. p. 43.
Vayu corner on"In theravasini

originating

She

is

the

the orb of thefrom theembodiment

the Lotus family and

(

Padma

colour and has theinpadmakulatejodhatusvarupa

ragarakta."

is

moon

there

is

Panda-

red ) germ syllable Parh. I She is red
as her recognition symbol.
( lotus )ofthe element of Fire.

fullof attachment."

She belongs to

Images and paintings of this goddess are rare. She is however
known in Nepal in paintings, and some of her sfejuettes are foundin China A

Fig 20 illustrates a Nepalese drawing of the goddess.

Pandaraisrepresentedof drawings of all

trations
1.

Gordon ITL p.

2.

Clark

3.

Getty
Clark

4-

27.

:

TLP,

:

II.

pp.

Tibet 3

the

five

Getty

GNB. pp. 38,

32,

142.

:

GNB p. 139.

:

TLP,

II,

in

57,

and

China 4

Buddhasaktis,^

The

illus"

Pandara

and

.

39.

under the name of Pandaravasini, pp.

61,106, 152,164.

DHYANI AND MORTAL BUDDHAS
others are

These

from

reproduced

Wright's Hutory

made by Nepalesedrawings are

51

Nepal, Plate VI.

ofpainters.

PADMAPANI.
RedColourPadmapanifamily which
I

whose

Symbolpresidedconsort is Pandara

spiritual

'(

to

the

(

the

over byis

Lotus

Padma lotus )BuddhaAmitabha
Dhyanior Pandaravasim. The Lotus

attached

Bodhisattva

the

is

If

symbol of this family and the colour assigned to this family
The Bodhisattva Padmapani begets the red colour and ais red.
full*blown lotus as his symbol. Padmapani is fairly well represenandted in the Buddhist countries of the North including Tibet
is

the

l

China./

One of his

images2.

in Fig. 21

illustrated

is

2
.

AKSOBHYA.

Colour

Blue

Mudra

Bhusparsa

VehicleElephant

SymbolVajra

Next in importance and antiquity

the

is

Dhyani Buddha Aksobhya

in thesmaller recension of thewhcTlsHnientioned
Tathagata
Amitayus Sutra which was translated into Chinese between A. D, 384
as aand 417.

Aksobhyaregarded as the Second Dhyani Buddha by theHis description appears almost everywhere inis

Nepalese Buddhists.

The

Tantric literature.

Paficakara section of the Advayavajrasangraha

perhaps gives the best description thus:

^Suryamandalastha-nlla-Humkaranispanno dvibhuja ekamukho Bhuvijnanaskandhasvabhavah
sparsamudradharo vajraparyankl
sisiramadhyahnakatusruti'akasasabda-cavargo Aksobhya-

vajrakuli

ADV. p. 40-41.

viuddhah".

syllable Hum which is placed
two-armed and one-faced, exhibits
the Bhusparsa (earth-touching] mudrf and sits in the Vajraparyanka| Aksobhya

originates

on the orb of the sun.

from the blue

Heis

He represents the primordial cosmic element
He is the embodiment of the Vajra
consciousness).
of Vijnana (family and represents the winter season, noon-time, pungent taste,(adama"ntineleat) pose.

faculty of hearing, the element of Ether and Sound and thegroup ofletters".-

Ca (palatal)

J\Images, sculptures, statuettes and paintings of Aksobhya of thisdescription are to be met with everywhere in Buddhist countries
especially of the
1.

2.

North.

When represented in the Stupa he always

61, 62
Getty : GNB. pp
This and other illustrations of thetsize bronzes.

fiveDhyani Bodhisattvas are in fullU Vahal in Nepal.

All these are to be found in the

BUDDHIST ICONOGRAPHY

52

the East. His left hand rests on the lap while the righton 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
Crestsreproduced here (Figs. 22, 23).
/He is popular in Tibet and China
1

,

(ii)

Colour

Arms

Blue

Eight

Aksobhya is the principal deity in the Aksobhya Mandala according

He is described thus

to Pindlkrama in the Nispannayogavall.

"Aksobhyah krsno raudrah:

sitaraktasavyetaramukhah savyakaraih

kulacakrapadmani vamair-ghanta-Cintamani-khadgan vibhranah svabhaparsavajralingitah".
|

NSP. p. 5!
The colour of"Aksobhyaisblue in colour and is angry-looking.

face

is

white and that of the left is red. He holds in his righthis 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
by name", j

MAMAKI,(
1

Colour

According

*

to

a

Blue

Symbolin

Dhyanathe

Vajra

Advayavajrasafigraha,

Mamakibelongs 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

krsna-Mam-karabijasambuta Maabdhatusvabhava Vajrakula dve*

ADV. p. 4!
"On the orb of the Moon in the Nairrta corner there is Mamaki
originating from the blue germ syllable Mam. \ She is blue in colour
sarakta"!

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", fMamaki is very rarely represented. There are Nepalese drawings of
thisisgoddess J of which one specimen is reproduced here (Fig 24).

known in Tibet and China.f
1.

2.

Gordon:
ITL, p. 104 Getty GKB, pp. 36, 37.
Clark: TLP, II, pp. 126, 129, 138, 244.
;

:

She

DHYANI AND MORTAL BUDDHAS53

VAJRAPANLyColourBlue

SymbolVajra

I The Bodhisattva Vajrapani with the Vajra symbol is the spiritual
son of the Dhyani Buddha Aksobhya who is the progenitor of the
Vajra family. His spiritual mother is Mamakl. Vajrapani, whenrepresented, either stands or sits and carries usually^ lotus on whichis placed the family symbol of Vajra.
Sometimes he holds the Vajra
against the chest in one of his hands/

Some images of his are illus-

trated here (Figs. 25, 26, 27).

He is known and widely represented in Tibetland China 2 J

VAIROCANA

3.

Colour

White

Mudra

Dharmacakra

VahanaDragonSymbolDiscusis mentioned along with the other Dhyani Buddhas inf Vairocana
the Guhysamaja which is dated circa 300 A.D. He is regarded as the^^

Buddha^ rst

theDhyaniby
Nepalese Buddhists andoldest^His place is in the sanctum of the Stupa where he is the master of thet 'lewhole temple andits contents.
Naturally, therefore, he cannot bebuttheoutsideStupa,
exception to this rule is frequently
represented
met with in the important stupas of Nepal where he is assigned a place

between Aksobhya in the East and Ratnasambhava in the South.

His

frequently described in Tantric works, but the description
occuring in the Pancakara section of the Advayavajrasahgraha is full.

form

is

It is given below:|"Purvadale candramandalopari Omkarajah Suklavarna*Vairocanahsuklacakracihnah
rupaskandhasvabhavah
Bodhyahgl-mudradharahmohasvarupo vitavisuddhah tathagatakuli adarsatvena pratisthitah
Hemantartuvisuddhah madhurarasasarlrah Kavargavyapl prabhatasan-

ADV. p. 41

dhyatmakyasvabhavah".

Om placed on the orb

Vj'Vairocana originates from the white syllableof the moon on the eastern petal of the lotus andiswhite in colour.

He exhibits the Bodhyafigl
mudra and represents the cosmic element of Rupa (Form). He is of
the nature of Moha (delusion) and is without bad companions, he is
His recognition symbol is the white Discus.

embodiment of the Tathagata family, and is established as anembodiment of Adarsa (ideal) knowledge. He represents the Hemantatheseason, the sweet taste, theKa (guttural) group of letters, and themornings and evenings of the day".
1.

2*

Getty
Clark

:

GNB. p.

:

TLP. II. pp.

\

51
8,

11, 56,

197, 201.

BUDDHIST ICONOGRAPHY

54

When represented, Vairocana is white in colour, and his

two hands

are held against the chest with the tips of the thumb and forefinger of

each hand united.

His Vahana is a pair of Dragons or gryphons andhis recognition symbol is shown to be the Cakra or the Disc.

Instead of two, he may have many arms, and suchdescriptions arealso met with in the Nispannayogavall./ Some of his two-armed images

are reproduced here

and China

a

(Figs

images are found in Tibet

His

28, 29). /l/(Colour

ii

)

White

Faces

Arms

Four

Eight

When Vairocana is four-faced and eight-armed hecalledis

Vajra-

form he is described in the Vajradharu Mandala of
the Nispannayogavall with the following words
dhatu and in

this

:

"Vairocano

vajraparyankena

nisannahsubhrahsita-pita-rakta-

harita^caturvaktro astabhujahsavyavamabhyam dhrtasavajrabodhyangimudro* parabhyam dhrtadhyanamudro daksinabhyam aksamalasaradharo vamabhyarh cakracapabhrt".
NSP. p. 44"Vairocana is seated in Vajraparyahka and is whiteincolour.

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 rightfour 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.

Chinesefigure corresponds with the description given here andisillustrated in Fig 30.

LOCANA.
Colour

Arms

White

SymbolTwo

DiscusThe Dhyani Buddhas are a]J associated withcounterpart and an offspring or Bpdhisattva.

their

Sakti or female

into a separate
They
Vajra$attva is added. Locana belongs to thegroup 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 Getty: GNB, p. 34.
3.' Clark
Clark -TLP, II, pp 12, 57.
:;:

TIP. Vol. II, p. 115

DHYANI AND MORTAL BUDDHAS

55"Agneyakonadale candramandalopari sukla-Lom-karaja suklavarna
Locana cakra-cihna prthvidhatusvarupa Tathagatakulodbhava mo*

ADV. p. 42"On the disc of the moon on the petal in the Agni corner there isharakta".

Lom. J She

Locaria originating from the white germ syllableiswhite.

in colour, bears the recognition symbol of the discus, and is the embodi"1*1

em of t h e cosimc~eIenSnF"bT

She belongs to the Tathagata

Earth.

fanuTy^anHTs steeped in delusion".
Paintings and sculptures of this goddess are rare,

A Nepalese draw|inis31
Locanathehere
is representedofreproduced
goddessFig.
ing*

in Tibet.

SAMANTABHADRAWhiteColourI

The Dhy ani Buddhas are theand they have eacha spiritual

Cakra

Symbolprogenitors of thedifferent families

consort and spiritual son.

These spiri-

The Bodhisattvas beartual sons are called the Bodhisattvas.

the samecolour, and the same recognition symbol whether they sit or stand. The
Bodhisattva with the Cakra symbol is Samantabhadra and is thus
affiliated to the Dhayani Buddha Vairocana with the Cakraerect or sits in different sitting attitudes, such as

lotus on which the family symbol, the Cakra,
2

Samantabhadra is known in Tibet

isand China

Green

Mudra

VahanaGarudaSymbolorder.

One

is frequentlyof his images

AMOGHASIDDHI.

Colour

Nepalese
in

and

;i

Fig. 32.
4.

VTheDhyana, Lalita or

shown.

represented in the Buddhist countries of the North. |BuddhaHe

He usually holds the stem of a

Bhadra poses on a full-blown lotus.

is illustrated here insymbol.

When represented,! he either stands

belongs to the Tathagata Kula.

AbhayaVisvavajra

Buddhists consider him to be the
His

left

hand

lies

open onFifth

Dhyanithe lap and theHis form is desprotection ) mudra.
cribed in many places in Tantric works I but the one appearing in
the Advayavajrasahgraha appears to be the best and i$ quoted
exhibits

right

below

:

the

Abhaya(t"Uttaradale'moghasiddhih

syama-Kham-karajah syamavarnovisva-vajracihnabhayamudradharah Samskaraskandhasuryamandalopari

1.

Getty; GNB, p. 139.

2.

Getty

;

GNB. p- 47.

.

Clark

;

TIP, II, pp.

8, 9, 52,133

BUDDHIST ICONOGRAPHY

56

avabhavo

Varsarturupah[Karmakull]
pavargavisuddhah ardharatrasvabhavah."onispisitap(s?)ahtiktarastmakah
ADV. p. 41-42"Amoghasiddhi originates from the green syllable Kharh placed
the orb of the sun on thenorthern petal of the lotus, andorof green colour. /His recognition symbol'""(-, is the Visvavajra^>

double

the

mudra

and

,

He

the

exhibits

represents the cosmic

element

embodimentof theHeritotion ).

1C

thunderbolt.

the

is

demon by nature
represents the(protection )of Samskara(

confor-season and

rainy

is

a

to the Karmabelongs
family ] and he
the Pa (labial) group of letters and the

he

[

;

bitterAbhayataste,

middle part of the night."

When represented, his colour is green and he always faces theNorth.

VahanaHis

Garudaspair of

a

is

and

his

recognition

the double conventional thunderbolt.

Visvavajra orthesymbolSometimes a serpent with seven hoods forms the background andan umbrella. In front of his shrine, therefore, is found a small
square pit which is meant for the snake
isand

Statueslargeofpaintings

numbers in

Buddhist

allSome of them are reproducedin Tibet

BuddhaDhyanithiscountries

here

especially(Figs.

33,

found inof the North*are34 ). } He

ispopularand China a f

*

TARA.

|

Tara

ColourGreen

called

Tarim

also

PancSkarasectionKarma family

to

of

the

which

Symboltoaccordinga

UtpalaDhyana found

Advayavajrasahgraha
theevidently

Dhyanibelongs

Buddha

in

to

the

the

Amogha-The greencolour of Tara also suggest:that she is the spiritual consort of Amoghasiddhi of green colour
Her form and nature are given in the following passage
siddhiis

also

associated.

:"Atsanyarh candramandalopari kanakasyama-Tarh karaparinata TarinIsyamavarna

vayudhatusvarupasyamamlotpalacihna

Irsyarakta.""In theIsana cornerfromoriginatingon thethe germorbsyllable

Karmakula

ADV. p. 43.
of the moon there is TSrim

Tarnof golden green colour

Her recognitipn_ symbol is a green night lotus.
Sheembodiment of the element of Air/ SKe belongs tofamily andis1,

Gordon:I.

Clark:

full

ITL,

p.

of jealousy." 127,

Getty:

TLP, II, pp. 32, 56, 115,

GNB.

p.

42.

126, 128, 138, 144.

is

the

57

Fig.

ADI-BUDDHA, VAJRADHARA,

12(

From a Nepalese Painting )58

13
Vajradhara
Baroda Museum

Fig.

Fig.
(

Fig,

(

Side

View )

Vajradhara Yab-yum()

15 Vajradhara Yal>yum

14

Fig.

16

Nepal

)

Vajradhara (Six-armed)
Museum )Baroda
(

59

Fia.

17

Fig*

Buddha in different Muuia*

18

Buddha in((Java )

Fig.

Fig. 21

19 Amitlhha,

Padmapani(

Nef?alFig,

Fig.

20 Pandara,

22 Aksobhya.

QJL

3
I

s
o

62

CO

U
C

SP

PH

CTJ

00
r^l

db

,,,'WVK

g.
103

airt

> s
VO
<si

g

.2

di)

~

ffi

tl

63

c
03

o
O

2

4-

Ctf

SI
.&
s

O
DO

64

103

P

IOJ

H

.?
E

H3

GJJ

O
C
c

<

m
ac

OJ

co

O
S

*

65

CO

JQ

B

c

tJ
CO

00

E
ca
CO
CO

C

G*
ICO

a

cO

66

03
+-

*>
CO
CO
CO

>
(

V

I

^f
ei

io
03

a

,1

ON

e

1
Of

>
ti

g
m

*

>

6

1

68

Fig,

45

Seven Mortal Buddhas with Maitreya
Indian Museum )

Pig,
(

46
)

69

Ctf

ui
03

0*

C
co

8
ub
oo
^t-

ob

70

CO

s

71

2
ted
Qfc
led

filed

O,
cd

a
a

a
cd

O

72

a
10$

+CO
ICtf

OS

QO

ctf

<
o

E

DHYANI AND MORTAL BUDDHAS
The

same

remarks(Fig.

her images and paintings which
of her images is illustrated here
she is widely known.

apply toOne specimen

are rare in India*

and China 2

135 ), In Tibet

73

VISVAPANI
GreenColourSymbolVisvavajra.

i

Visvapani, as the name indicates, is the holder of the Visvavajraor the double thunderbolt which is the symbol of the Dhyani

Buddha Amoghasiddhi, whose
They all belong to what iscallederect orsometimes found,
Visvapani

is

in

sit

different

and oneknown

is

Tar a or Tarim.

Karmakula to which thethus is green in colour andthegreen colour is assigned. Visvapani
shows the Visvavajra on a lotus.
standconsortspiritualWhensitting

specimenishe may.
His
postures.
images areillustrated here ( Fig 36 ).
represented,

in

Tibet

5.

RATNASAMBHAVA.

r>

ColourYellow

Mudra

VaradaVahanaLion

SymbolJewel!

The Nepalese Buddhists regard him

as the Third Dh>uni Buddha
name may be found in thehismentionandearliestof
theorder,
Guhyasamaja which is believed to have been composed circa 300 A.D.
I

in

He is theprogenitor of the Ratnakula, and is described widely in the
Out of all descriptions the one given in

Buddhist Tantric works.

the Pancakara section of the Advayavajrasahgraha is perhaps theHere Ratnasambhava is described as under

:

besty

J

"Daksinadale suryamandalopari TranVkarajah pitavarno Ratnasam-bhavo ratnacihnavaradamudradharo vedanasvabhava'piiunasanrah raktatmako ratnakull samatajnanavan vasantarturupo lavanasanrah Tavar-

ADV, p. 41.

gavyap! trtlyacaturtliapraharatmakah".

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

cosmicelement of VedanSbSstnwing)

Mudra.

(sensation)and is the embodiment of slander (pisuna).

represents theHepresidesover the blood in the human system, and belongs to the Ratna (jewel)family of deities. He possesses the knowledge of Samata (equality)and presides over the spring season, the saline taste, the Ta (dental)
group of letters and the third and fourth parts of the day and night", \1.

Getty :

3.

Getty:

10

GNB,
GNB,

p.

127

p.

10 i

2

Clark:

TLP,

II,

pp.

60,

107,

171.

BUDDHIST ICONOGRAPHY

74

When represented, his colour is yellow* and he alwayvS faces theHis left hand rests on the lap with "opeiTpalm, and the TTgBt

South.

'exhibits the Varada Mudra or the gift

His Vahana

bestowing attitude.

is a pair of lions, and theTCTOgnition symbol is theJewel (Ratnacchata),
two
arms
and
more
than
in
such
forms
have
he is describedmayHe~Such forms alre also represented iti art."f"SomeoT"his two-armed forms are only illustrated here (Figs 37, 38), \ He
and China -./is widely known and represented in Tibet

in^lhe Nispannaybgavali.

1

VAJRADHATVI&VARI,^

Yellow

ColourJ

SymbolJewel/ Vajradhatvisvarl, according to a statement in the Advayavajrasam*graha is the deity of the centre surrounded by the four Buddhasaktis,

bocana, Tara, Pandara, andment of the

MamakLhighest truth inas

She is said to be the embodi-

Mahayana Buddhism whichandTathata,

is

named

so forth:tSunyata, 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 theother Buddhasaktis. / One of her Nepalese paintings is illustrated
here (Fig 39). / She is known in Tibet *./RATNAPANI

,

;

i

/
'

is

Yellow

Colour/SymbolJewel

Ratnapani, as the name signifies, belongs to the Ratnakula which
presided over by the Dhyani Buddha Ratnasambhava, whose

consortspiritual

Buddhathe Dhyani

natureasstandserect,

stalk

Vajradhatvisvan.

is

of a

or

lotus

different

sits

in

on

which

Ratnapani

when

and

postures.

sittingthe" Kulaappears

isofthe same

represented, heeitherHe

symbolJewel (Ratnacchata). He is represented sparingly in the
BuddTiist Countries of "the North, and a metal image of his foundhefe~thne

in

Nepal

is

illustrated

represented in Tibet

(Fig

40).

Ratnapaniisknown and.

6.

Colour

here

5

White

VAJRASATTVA.
Symbols

Vajra and Ghanta

Buddha, is regarded by the Nepal( Vajrasattva, the Sixth Dhyani
Buddhists as the priest of the Five Dhyani Buddhas. He is not repreGNB, p. 37.

1.

Getty

3*

ADV, p. 43.

5.

Getty

:

;

GNB, p

53,

54

2.

Clark : TLP, II, pp. 32, 57 119, 126.

4-

Getty

:

GNB, p. 139.

DHYANI AND MORTAL BUDDHAS

75

sented in the Stupa like the other Dhyani Buddhas, but independent
shrines are dedicated to his worship. His worship is always performed

and is not open to those who are not initiated into the mys-

in secretteriesof Vajrayana.

is

Vajrasattva

represented in two forms, single

and Yub-yum.

The notable
ornaments, rich

Dhyani Buddha is that he wears all
dress and a crown instead of the poor dress of theother

Buddhas consisting of three

feature of thisThusrags (tricivara).
than
a
be
a
Bodhisattva
moreto
Buddha.
Vajrasattva appears
DhyaniHe

Dhyanisits

cross-legged in the meditative pose like the otherDhyaniHe carries the Vajra in his

Buddhas, and exhibits no special Mudra.
right hand with palm

the lefthandupwards against the chest and the Ghanta (Bell) in
His form is repeatedly
resting against the left thigh.

described in Tantric works.

jThe description

vajrasafigraha is typical and is quoted

below

given

the

in

Advaya-:suklo

dvibhuja ekavaktro vajrasaradrtuvisuddho
vajraghantadharo Kasayarasasanrah
Yaralavadyatma"Vajrasattvastu Hurhkarajanma

kah ardharatratah prabhatakalaparyanto Dharmadhatuparanama",

ADV, p. 41.
"Vajrasattva originates from

He is two-armed andthe syllable

HUM andiswhite inand holds in his two
hands the Vajra and Vajra-marked Ghanta. |He represents the ascolour.

tringent taste, theAutumnone-facedseason,thelettersof the alphabetya,ra, la, and va, and the part of the night from midnight to day-break.
His second name is Dharmadhatu". \When represented singly, he is exhibited before the public. The
Yab"yum form is generally kept" secret. When represented in YabyumV'he is closely associated with his Sakti who is generally known
I

as Vajrasattvatmika.
He carries the Vajra and the Ghanta in thesame manner as when single, but the Sakti holds the Kartri in theright hand and the Kapala in the left (Figs. 41, 42). **He is represented widely in all Buddhist countries of the North.
Some of his single and Yab-yum forms are illustrated here (Figs. 43,44)*
'His

white

colourwhite colour.

suggeststhat his

Vajrasattva is widely represented in Tibet

GNB, p. 6

I.

Getty

2;

Clark :TLP. II. p. 138.

:

spiritual

sire

is

Vairocana of

His position amongst the Dhyani Buddhas is anomalous.
land China f

BUDDHIST ICONOGRAPHY76

VAJRASATTVATMIKA.
ColourWhite

Symbol

Arms
As

/

even
Sakti.

all

Kartri and Kapala

Two

the Dhyani Buddhas have a Sakti each attached to them,so the Sixth Dhyani Buddha Vajrasattva also can claim a
Vajrasattvatmika thus is the spiritual consort of the Sixth

Dhyani Buddha Vajrasattva. Hejr Dhyana is rarely found, in.. Tanfrom the images wheretrie literature, but her form can Tie seen
she is in close embrace with Vajrasattva in Yab-yum. In such cases
she carries the Kartri in the right hand and Kapala in the left. /GHANTAPANIWhiteColourGhantaSymbolDhyani Buddha Vajrasattva and his consort VajrasaThe recognition
ttvatmika claim Ghantapani as their Bodhisattva.
symbol of this Bodhisattva is the Ghanta or the Bell Like hisbe white in colour.
Ghantapani is rarely
spiritual sire he must
and
his
are
rare
in Buddhist countries.
imagesvery
represented,

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
isnor auspicious marks known as "external characteristics" as enumerated in the Dharmasarhgraha, attributed to Nagarjuna. He musthave in addition, three kinds of mental characteristics, namely, theten Balas or forces, eighteen Avenika Dharmas or peculiar properties,

and

the

four

Vaisaradyasorpointsofself-confidenceorassurance.

The Hmayanists, evenintheir earlier stages,

recognised

bygone Buddhas, each having a peculiar Bodhi tree.
Mahayanists also give several lists, though not systematically anddifferent names have been recovered.
The last seven
thirtyjjwp
andare designated by the Mahyani*
Jathagatas are well known,aT^MTOtlsi or^ Mortal Buddhas.
These are, Vipasyin, Sikhi,
sts
four

Krakucchanda, Kanakamuni, Kasyapa and Sakyasimha.
historicity of these Buddhas is still uncertain excepting of course

Visvabhu,

The

that of the last, but there are good
grounds for thinking that
Kanakamuni and Krakucchanda really w^re^ historical personages*
Attempts have been made to establish a fantastic connection
between the last five Mortal Buddhas and the five Dhyani Buddhas

and

their

Bodhisattvas

by holding that

theDivineBodhisattvas

DHYANI AND MORTAL BUDDHAS
discharge

their duties

of77

creation through the agency of the five

The theory may be current in Tibet it may
establish a new connection and may find strong support

portal Buddhas.
ingeniouslyfromscholars,

;

but

it

is

againstall

Tantric traditions of India.

When represented, the last seven Mortal Buddhas appear all alike; I

they are of one colour and one form, usually sitting cross-legged,with the right hand disposed in the Bhumigparsa

touching attitude)", which is^the MudrOpeculiar to Aksobhya andas^a matter ot t'act, it is not possible to identify a sculpture of
the latter unlessispresent.

In

it

is

coloured orno otherifmarkidentification

paintings, the Mortal Buddhas have -usually a yellow

The only possible chance of identifying
them is when they appear in groups of seven.
Sometimes they are represented as standing, in which case they
appear under a distinguishing Bodhi Tree and with a distinguishor golden complexion.

1

Mudra. The Indian Museum image No* B, G, 83 (Fig. 45) is
an image of this kind. It may be noted, however, that Maitreya,
the future Buddha, has been added to this group.
ing

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, thelastfascination of Indian sculptors for

Buddha images

seems never toInnumerable images of Buddha in innumerable
attitudes and with, innumerable expressions have been discovered
in India, as in those other countries which came under the influhave diminished.

ence of Buddhism,

Images of Buddha, therefore, are an

indepen-dent study by themselves.

The Sadhanamala furnishes us with several descriptions of Buddha
Vajrasana

sitting

the

in

hand
one of the Sadhana

Vajraparyahka

displaying the Bhumisparsa pose.
isquoted below

attitude,with

The Dhyana,as

his right

given

in

:

"Savyakarena Bhusparsamudram utsahgasthitavasavyahastam kiisaya-

vastravagunthanam mlagauraraktasyamacatur-Maropari visva-padmavajrSvasthitarh santam laksanavyanjanenanvitagatram.
Tasya Bhagavato
daksineMaitreya^Bodhisattvam gauram dvibhujarh jatamukutinam
savyakarena camararatnadharinam avasavyena nagakesarapuspacchata^dharinam,1*

Tatha vamato Lokesvarram suklam daksinakarenacama-

Colossal images of the Seven Mortal Buddhas representing them with the Bhu-mi^parla mudra appear in one of cave temples at Ellora.

Templet of India, p. 383.

Fergusson and Burgess:

Cave

78

,

BUDDHIST ICONOGRAPHY

radhararh vamakarena kamaladhararh Bhagavanmukhavlokanajparau ca
tau bhavayet.
Iti

Vajrasanasadhanarh samaptam"

Sadhanamala,

24-

p.

"The worshipper should meditate himself as (Vajrasana) who dis*
plays the Bhusparsa Mudra in his right hand while the left restson the lap. He is dressed in red garments and sits on the Vajramarked double lotus placed on the four Maras of blue, white, redand green colour. He

is peacefulin appearance
and his body isendowed 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), andcarries the chowrie-Jewel in the rightin thehand, and the Nagakesara flower

left.

"Similarly, to the left of the principal God

is

Lokesvara of white

complexion, carrying in his right hand the chowrie and the lotus in theleft.

'These two gods should be meditated upon as looking towards theface of the (principal) god"Here ends the Sadhana for Vajrasana"
Images of this divinity are found in overwhelming numbers in almost
The Indian Museum image (Fig. 46)
all Buddhist centres in India.
of
form
of
this
Gautama.
anisexampleBuddha Sakyasirhha was conceived in another form which was calledby the name of Durgatiparisodhana. This particular form of Sakya*simha is described in the Nispannayogavali of Abhayakara Gupta.

DURGATIPARISODHANA.
ColourArms

Yellow

Two

Face

One

Mudra

Dharamacakra

Sakyasimha, the embodiment of Mahavairocana, is the principal deity
He hasin the Durgatiparisodhana Mandala of the Nispannayogavali.
been described in a short sentence:"Cakrasya vedyam visvasarojasthasimhopari snoakyasirhhoBhagavan
Mahavairocanah suvarnavarno dhrtadharmacakramudrah,
p. 66.

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

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

DHYANI AND MORTAL BUDDHAS79

MORTAL BUDDHA&AKTIS
Like the Dhyani Buddhas, the Mortal Buddhas have also their respective Buddhasaktis through whom they obtained the seven

Bodhisattvas.

The Buddhasaktis are
1.

Kakudvatl

4.

2.

Vipasyanti
SikhimalinI

5.

Kanthamalini

3.

Visvadhara

6.

Mahidhara

7.

Mortal:Yasodhara

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

Only

*

.

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

1.

2.

3.

Mahamati

Sakamangala
Kanakaraja

4

Ratnadhara
Akasagan a
j

7.

5.

Dharmadhara

6.

AnandaL>

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

The

relation

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

BUDDHIST ICONOGRAPHY

80

MAITREYA, THE FUTURE BUDDHA.
It

would

out of place to mention here

not be

the

name

of

Maitreya who partakes of the nature of a Mortal Buddha, though
he is not a Buddha yet. He is supposed to be passing the life of
a

earth

in

human

form.

after the4000 years
deliverance ofItisbeings.

into the mysteries of Tantra.

worshippedof

AsahgaisTusita heaven and to have

Maitreya in thealikeimages can become to earth full
Buddha Gautama for thesaid that he will

disappearance

sentientalltopreparatory to his descent

Bodhisattva in the Tusita heaven,

He is

said

to

have visited

been initiated by him

the only

Bodhisattva

who

is

by the Hinayanists and the Mahayanists and hisfrom the Gandhara School down to thetracedpresent time/ Hiuen Tsang records the existence of Maitreya in
Udyana (U-chang-na). The sculptor, in order to ascertain his correct

form,

is

believed to have gone several times to the Tusita

before carving

heavenit.

may be represented as a standing figure, adorned withornaments and holding in his right hand the stalk of a lotus
He is distinguished from Padmapani mainly by the figure of asmall Caitya which he bears on his crown. Getty remarks that in
Maitreyarich

Indian sculpture he shows in his hands the usual Dharmacakramuin the left there is a vase, round, oval or pointed, or theredra;

may be the stems of flowers which support his two characteristic
symbols, the vase and the wheel. Maitreya may also be represented seated as a Buddha,

down.

His colouriswith legs either

yellow, andhisinterlocked

imagesorsometimes

danglingbear theon the aureole behind.
Dhyani Buddhas,
The small Caitya on the crown of Maitreya is said to refer to themount Kukkutapada near Bodh-Gayabelief that a Stupa in the
When Maitreya
covers a spot where Kasyapa Buddha is lying.
would descend to earth he would go direct to the spot, which would
open by magic, and receive from Kasyapa the garments of a
figures

of

the

five

Buddha.

The Sadhanamalawith only one description ofandseveral others in which he isdivinityminor god. When as a minor god, he accompafurnishes us

Maitreya as a principal
represented as anies others, he generally carries the chowrie

the Nagakesara flower in theprocedure of his worship has

left.

The

Dhyana:inthe right

Sadhanahand and

describingtheDHYAN1 AND MORTAL BUDDHAS

81

Pita* MamYkaraparina tarn visvakamalasthitam trimukham

caturbhujarh krsnasukladaksinavamamukham suvarnagauram

sattvaparyahkinam vyakhyanamudradharakaradvayam aparadaksi*

navamabhujabhyam varadapuspitanagakesaramanjarldharamnanalahka 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,of blue and white colour.

are

His right and left faces respectively
His complexion is yellow like thatof gold. He sits in the Paryanka attitude on an animal
His twohands are engaged in exhibiting the Vyakhyana Mudra and heshows in his other right and left hands the Varada Mudra and afull-blown Nagakesara flower withits

branches

He is decked in many

Meditating thus ..

ornaments.

This is the Sadhana for Maitreya.''

A Nepalese drawing (Fig. 47) represents 'this form of Maitreya which
follows thein all .details except thevehicle.
Maitreyaand his images are found in abundance in China 1',

Dhyanapopular in Tibet

11.

Gordon ITL, pp. 104, 107; Getty

2.

Clark

11

:

:

:

GNB, pp. 22, 23.

TLP, II, pp. 1, 9, 59, 143, 195.

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 'thus connoteelements.

dial

all

the

ryale

deitiesof the Buddhist pantheon, while their female counterparts are known
by the generic name of Saktis. These Saktis should be distinguishedfrom the Buddhasaktis who are fhe queens of the five Dhyani Buddhas-.
The Bodhisattvas are sometimes represented in the company ot their
Saktiswho are seatedembrace.

Althoughbeside themeitherallor on their laps or in closethe male deities of the Buddhist pantheon canbe called the Bodhisattvas, they are ncveitheless separated in iconographic studies as an independent group. Thus, in the Nispannayogavali,
three distinct groups of sixteen Bodhisattvas are mentioned and it isnecessary to refer to them here along with their iconography as foundin this excellent book.
Amongst the Bodhisattvas, Avalokitesvara
popularity not only in thiscountry, but also in other Buddhist countries such as Tibet, China andai^Maniyin are the chief and have wide

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

altogether ihree sets

1

Some namesof sixteen Bodhisattvas.

one or two or all the three lists, which when analysed,
give an account of twenty-five Bodhisattvas in all. These three
two others bylists are headed in one by Samantabhadra and in
occur in

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

byWalter

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

are actually
List No.

1

Samantabhadra, Aksavamati, Ksirigarbha, Akasagarbha,

Ganganaganja, Ratnapani,

Sagaramati,

Vajragarbha,

Avalokitesvara,

Mahasthamaprapta, Chandraprabha, Jalimprabha, Amitaprabha,
tibhankuta,
1.

Sarvasokatamonirghatamati,

NSP, pp. 46, 50, 67.

Pra-

Sarvanivaranaviskambhin.

THE BODHISATTVAS
List No. 2

Manjusri, Gandhahasti, Jnanaketu, Bhadra-

Maitreya,

Sagaramati,

pala,

83

Pratibhanakuta,

Aksayamati,

Mahasthamaprapta,

Sarvapayanjaha, Sarvasokatamonirghatamati, Jaliniprabha, Candraprabha, Amitaprabha, Gaganaganja, Sarvanivaranaviskambhin.
List No. 3

Amoghadarsin,

Maitreya,

Surangama,

Gaganaganja,

Candraprabha,

Bhadrapala,Jaliniprabha,

Sarvasokatamonirghatamati,

Amitaprabha,

Jnanaketu,

Apayanjaha-Saivapayanjaha,

Gandhahasti,

Vajragarbha, Aksayamati, Pratibhanakuta, Samantabhadra.

SAMANTABHADRA

1.

Yellow and Blue

Colour/1

SymbolJewel

The Bodhisattva Samantabhadra (Universal Goodness) is importantthe leader of the sixteen Bodhisattvas and thus is not a whit lessasimportant than the Future Buddha Maitreya who is at the head of thetwo other lists of Bodhisattvas. Samantabhadra 's popularity isfurther exemplified by frequent mention of his name in the Nispanna*
Samantabhadra is popular both in Tibet and China where
yogavali.

numerous.

his images are frequent and/ He is described several times in the Nispannayogavall and in several

places his form is identical with that of his sire.

where

But there are places

independent forms are described which are important forthe purpose of iconographic studies. These are mentioned here./his

In the Dharmadhatuvagisvara Mandala Samantabhadraisdescribed

as follows :Samantebhadrah pltahsavyenavarado vamena utpalakhadgadharah.

NSP, p. 58.
Samantabhadra is yellow in colour, shows the Varada (boon) in theright Rand and holds on the left the sword on lotus." /*'In the Durgatiparisodhana Mandala he is described as :/|Samantabhadrah suvarnavarno ratnamanjaribhrddaksinapanih
katisthavamamustih.

"Samantabhadra

isNSP, p. 67.
colour, holds a bunch of jewels in theof golden

right hand", while the left rests on theI

hip,',' fOnce again Samantabhadra is described in the Kalacakra Mandala.

There he is described as

Samantabhadrah
kapala*Brahmasirarhsi

:

/

nllah

savyairvajrakartriparasun

dadhanah.

Brahmasirahsthane,vamah>ghanta>
utpalam

NSP, p. 85.

va*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*1.

For a full description see Hetty:

GNB, p. 47, f.

BUDDHIST ICONOGRAPHY

84

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

I

Although images of Samantabhadra are not rare in India, the bulk

1of his images are to be met with in China, At least five images of theBodhisattva are found in Peiping alone. l
Fig. 48 is a Nepalese drawing\of the deity.

SamantabhadraI

one description of his
described as

:

the

in

popularisavailable.

isIn

Sadhanamala, although only
the Lokanatha Sadhana he is/Samantabhadrah pitabho ratnotpalavarapradah
Sadhanamala, p. 49"Samantabhadra is of yellowish colour, holds the jewel on a lotus andexhibits the Varada Mudra in his two hands." /AKSAYAMATI

2.

fo
\:

ColourYellow

SymbolSword or Jar

Aksayamati (Indestructible mind) and
Aksahis name is widely known in the Buddhist ritualistic literature.
IThe second Bodhisattva

isyamati is described thrice in the Nispannayogavall.^In the Manjuvajra Mandala Aksayamati is described as :Aksayamatih suvarnavarno vamamustim hrdyavasthapya savyena
varadamudrah.
NSP, p. 50.

leftof golden complexion, and shows the clenched
theexhibits the Varada mudra in
hand against
chest, andtheright/'/''Aksyamati

isI

the Dharmadhatuvagisvara Mandala, he/ In
differentlyisdescribed somewhat

as :/khadgamvamenaabhayakamalam
NSP, p 58.
/ "Aksayamati is yellow in colour and flourishes the sword in
the right hand, while he exhibits in the left hand the Abhayarnudra and the Kamala." jAksayamatihpitahsavyenabibharti.

I

A third description of this Bodhisattva occurs* inparisodhana Mandala and he

Aksayamatih sito

the Durgatidescribed in the following wordsis:h^stabhyarh jnanamrtakalasadharl

NSP, p. 67.
/"Aksayamati is whiteincolour and with his two hands holds

the bowl containing the nectar
1.

Clark

:

TLP, II, pp. 8, 9, 52, 133, 274.

of knowledge." /THE BODHISATTVAS

A

85

depicts him in the form of the Dhyani
Buddha Amoghasiddhi with the right hand raised against the chestin the Abhayamudra and the left resting on the lap. | Fig. 49 is a(

Chinesestatuetteofdrawing

Nepalese1

thedeity.

50

Fig.

illustrates

Chineseaspecimen.

KSITIGARBHA

3.

Yellow or Green

ColourThe*

Kalpa Tree on Jar

Symbolthird Bodhisattva Ksitigarbha (matrix of theHerepresented.

one, hedescribed twice inisisidentical with

In another,isKsitigarbha

earth) is rarely

described in the following words

NSP, p. 58.
is"Ksitigarbha
the

in

:

krtabhusparso vamenabjastha*kalpa''

drumadharah.

mudra

In

Nispannayogavali.

Vairocana with the Cakra symbol.

his sire

daksinena

Ksitigarbhah pito

theyellow

incolour,hand, and

right

shows

a lotusearth -touchingthewith the wish-giving tree

(kalpavrksa) in the left."

Ksitigarbha
different

forms.

isillustrated

y

He is

four times in the Peiping

alsofound in Tibet.

1

Fig.

collection
a

51

is

a

furtherin

Nepalesedrawing of the deity.

Under Lokanatha Sadhana

Bodhisattva Ksitigarbha.

occurs of thecription

cribedin verseas

the Sadhanamala

inHere heisdesdes-:

Ksitigarbhah syamavarnah kalasam cabhayaiii tatha.

Sadhanamala, p. 49.
isof green colour, and shows in his two hands"Ksitigarbha
and the Abhaya mudra/'

the

jar

AKASAGARBHA'

4.

Green

ColourSymbolJewel

The Bodhisattva Akasagarbha (essence of ether) is also known
by the name of Khagarbha, the words "Kha" and "Akasa" signify the
lives

in

same thing "Sky"

womb

the

Akasagarbha

isAkasagarbha

of the sky.
described in

1.

Clark:

2

For further information see Getty

3.

Clark

4.

Gordon5.

For futher information see Getty

:

TLP,

TLP,
:

II,

p.

the

is

depicted132.

II. pp. 8. 9,

Bodhisattva

whothe Dharmadhatuvagisvara Mandala

His formof the Nispannayogavali.

is:GNB. p. 90, et, seq.

56, 274.

ITL, p. 60.
:

GNB, p. 101.

in

the

followingBUDDHIST ICONOGRAPHY

60

words

:

Akasagarbhah syamah savyena sarvaratnavarsl \amena ciritamaniNSP, p 58.

bbrt.

"Akasagarbha is green in complexion, with the right hands
he showers all kind of jewels and with the left, he holds the
Cintamani (wish-giving) jewel."
Altogether four illustrations of Akasagarbha appear in the two
Lamaistic Pantheons. In China, he is represented in three distinct
forms.

1

Two statuettes show the lotus in the right

Varada mudra

in

the

The thirdshows the jewel

while the fourth

mudra with the jewel
the

left.

in the left.

in

hand and theand Mx-armed
the right hand and the Varadaisthree-faced

Fig. 52 isa Ncpalcseofdrawing

deity.

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

Khagarlho nabhahsyamabho cintamanivarapradah.
asthe sky, holds thegreen"Khagarbha
one hand and exhibits the Varada mudrais5.

Colour/in

Sadhanamala, p. 49
Cintamani jewel
the

in'

other."GAGANAGANJAYellow or Red

The Bodhtsattva Gaganaganja

Symbolis

Kalpa Treedescribed

four

times

in

the

Nispannayogavall. His colour is yellow showing his affiliation to
Ratnasambhavh of yellow colour with the Varada mudra and the jewel.

Manjuvajra Mandala he is described as:/Gaganaganjah suvarnavarno vame vajramustim garvena katyam
NSP, p. 50*
nyasya daksinam gagane bhramayan.
In the/"Gaganaganjaisof golden yellow colour.

the Vajra with in clenched hand whichisIn

the left he holds

proudly placed on thehip,upwards in the sky." */ The
Dharmadhatuvagisvara Mandala describes him with the followwords
ing

while the rightisflourished';

Gaganaganjah pirah savyena Cintamanibhrd-vamena bhadraghatavalambitakalpavrksam dadhanab.
NSP, p. 58.
"Gaganaganja is yellow and shows the Cintamani jewel in the
In the left, he holds the auspicious bowl from whichright hand.
Iissuspended a Kalpa (wish-giving) tree."
1.

Clark

:

TLP, II. pp. 8, 9, 56, 273.

I

Also NSP. introduction p

25.

TH BODHISATIVASS?

A third description of Gaganaganja occurs in

/

There

sodhani Mandala.
Gaganagnnjah

form

his

is

savyenasitapitah

under:

asthe/padmasthadharmaganjadhanilh

katisthdvamahastah.
I"Gaganaganja

Durgatipari*

NSP, p. 67

iswhitishyellowin

He holds thecomplexion.

Dharmaganja on lotus in the right hand, while his left hand rests on thehip/ //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 is of the same form as his sire Ratnasam'bhava,)

Fig.

53

is

a Nepalese drawing of the Bodhisattva.

not unknown to the SaJhanamala.

In

the Loknatha

Sadhana, a iJhort description of the deity is available.

Itruns as follows:

Bodhisattva Gaganaganja

I

is

(

Gaganaganjo raktavarno mlotpalavarapradah
Sadhanumala,.

p. 49.

Gaganaganja of red colour, holds the blue lotus and exhibits the

Varda rnudra in his two hands."
6.

I

RATNAPAN1

ColourGreen

Symbol2

Jewel or the Moon

(Jewel bearer) is described only once in

The Bodhisattva Ratnapani

the Dharmadhatuvaglsvara Mandala of the Nispannayogavall.
is described asHere he:Ratanapanih syamo daksinapanina ratnam vamenabjastha-candra-

mandalam bibhranh.

NSP, p> 58,
jewel in the right hand,"Ratnapani is green in colour, holds thethe disc of the moon on lotus in the left hand/'and

He is the Bodhisattva of the Dhyani Buddha RatnasamHrava and assuch, he is sometimes represented in Nepal and Tibet

foundin the Chinese collection.

Fig. 54 is

His image is not

Nepalese drawing of theaBodhisttva.
7.

ColourBodhisattva

Nispannayogavali.

SAGARAMATIWhite
Sagaramati

Symbol(ocean mind

Sea Wave or Conch)is twicedescribed inthe

In the Manjuvajra Mandala, he is described as:

Sagaramatih sito hastadvayaprasaritah sarvahgulibhistaran^abhinayi

NSP, p. 50.
1,

Clark : TLP, II. p. 136.

2.

For futher information see Gettyt

GNB, p, 53, $4.

BUDDHIST ICONOGRAPHY

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

In the Dharmadhatuvagisvara"

Mandala he is once again described as :Sagaramatih sitah savyena samkhamvamena vajrakhadgam dadhanah.
"

NSP, p. 58.
white in colour, holds in the right hand the conch,"Sagaramati
inandthe left a sword marked with a Vajra."is

55 is a Nepalese drawing of Sagaramati.

Fig.

8.

Colour'VAJRAGARBHABlue or Bluish White

SymboljuMbdonuiiuKa Scripture

The Bodhisattva Vajragarbha (matrix of Thunderbolt) is described

twice in the NispannayogavalL

he is described as:

In the Dharmadhatuvagisvara Mandala

I

Vajragarbho mlotpaladalavarno daksmena vajram

vamena dasabhii'
NSP, p. 58.

mikapustakadharah.
''Vajragarbha

of the colour of the petal of a blue lotus and holds in thehand the Vajra and in the left the book called the Dasabhumika."

right
|

is

In the Durgatiparisodhana Mandala Vajragarbha's form

thus

is

depicted:

Vajragabho mlasitah savyena mlotpaladharah katinyastavamamustih.
'

NSP, p. 67.
"Vajragarbha is of bluish white colour and holds the blue lotus in theright hand while the clenched left rests on the hip." *His images are rare, and he is not represented in the Chinese collection.

Fig.

56 is a Nepalese drawing of Vajragarbha.
9.

(Colour

AVALOKITESVARA

White

Lotus

SymbolThe Bodhisattva Avalokitesvara (The Watchful Lord) also called
Padmapani (Lotus bearer) is the spiritual son of^ the Dhyani Buddha
Amitabha.

He is one of the most popular Bodhisattvas <pf the Buddhist

Pantheon having as many as 108 different forms. A separate chapter
Here only his special form
is devoted to this Bodhisattva in this work.
that occurs in the Nispannayogavali in thewill belistof Sixteen Bodhisattvas

referred to.

*

Avalokitesvara is described in the Dharmadhatuvagisvara Mandala as:

Avalokitesvarah subhrah savyena varado vamena sarojadharah.

NSP, p. 58.
"Avalokitesvaraiswhite in colour;

he displays the Varada mudra in

the right hand and in his left, he holds the lotus,"

THE BODHISATTVAS
Avalokitesvara]

PantheonsFig.

four times illustrated

is

the

in

Two

Lamaistic

57 is a Nepalese drawing of Avalokitesvara,

MAHASTHAMAPRAPTA

10.

White or Yellow

Colour89

SymbolSix Lotuses or Sword

The Bodhisattva Mahasthamaprapta (one who has obtained
strength)is described

great

twice in the Nispannayogavali. In the Manjuvajra-

Mandala he is described us

:

sito

Mahasthamapraptah

vamenasat-vikasitapadmadhari savyena

NSP, p.

varadah.

50.

"Mahasthamaprapta is white in colour and holds in his left hand abunch of six full-blown lotuses, while the right displays the Varada
mudra."In the Dharmadhatuvaglsvara Mandala, he is once again describedwith the following words:

Mahasthamapraptah

pltahsavyenadadhanah.
''Mahasthamaprapta is yellow in colour.
right hand, and the lotus in the left/'
In
Fij?.

the Chinesecollection,

He holds the sword in theMahasthamaprapta

1

occurs^ only once '.

58 is a Nepalese drawing of Mahasthamaprapta.

rIkhadgam vamena padmam
NSP. p. 58

11.

CANDRAPRABHA

White

SymbolBodhisattva Candraprabha (Light of theMoon on Lotus
Moon)

is

described thricein the NispannayogavalL In the Manjuvajra Mandala he is described as :Candraprabhah candravamo

vamenotpalastha'candramandaladharl

NSP. p. 50.

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

in his right. "fCandraprabha is described in the Dharmadhatuvaglsvara Mandala in
the following words \\:Candraprabhah subhrah savyena vajracakram vamena padmastha^
NSP. p. 58.
candramandalam dhatte.
He
in
holds
in
his
is
colour.
white
right hand theI "Candraprabha
discus marked with a Vajra, and in the left the disc of the moon ona lotus." i
1.

Clark

:

TLP, Vol. II, p. 7, 11, 161, 195.

For further information on Avaloki-

te^vara and his forms in Tibet, China and Japan, see Getty :2*

Clark:TLP,

GNB, p. 115.
12

II.

p

160.

For

further information

GNB, p. 55 f.

on the deity see Getty,:BUDDHIST ICONOGRAPHY

90

In the Durgatiparisodhana Mandala hefollows:

described

isdifferentlyasI

Candraprabhah subhrah savyena padmasthacandrabimbam bibhri'
NSP. p. 67
nah katisthavamamustih.
I "Candraprabha is white in colour. He holds the moon on a lotus in
the tight hand while the clenched left rests on the hip." 1

Thus the recognition symbol of Candraprabha is the moon on
1
In the Chinese collection Candraprabha occurs only oncea Nepalese drawing of Candraprabha^

lotus.

Fig, 59.

is

JALINTPRABHA

12.

Colours-Red

Sun*disc

SymbolThe Bodhisattva Jaliniprabha(Light of the Sun)isknown byalso

the name of Suryaprabha and he is described three times in the Nispan^In the Manjuvajra Mandala he is described asnayogavali.

Jaliniprabho

rakto"Jaliniprabha

isJalimprabha

Mandala as:issavyena

NSP. p. 50.
He holds the disc of the sun on aof red colour.

lotus in the left hand while the right displays theI]vamenotpalastha-suryamandaladhari

varadah,
i

:

again

described

inthe

Varada mudrS.,
Dharmadhatuvaglsvara

1

Jalimprabhah sitaraktah savyenasirh vamenabjasthasuryarh'

NSP. p. 58.
'

1

Jalimprabha

is whitish

red in complexion.

He holds the sword

inthe right hand and the disc of the sun on a lotus in the left hand/'i

In the Durgatiparisodhana Mandala he is described further as :J

Jalimprabho raktah savyena vajrapanjararh bibhranah katisthavam-

NSP. p. 67,

amustih.
*'Jaliniprabha|^s

He holds thered in colour.

Vajrapanjara (Vajra

marked cage) in the right hand while the clenched left rests on the hip.)'
The symbol of Jaliniprabha is the disc of the sun and his red
Hcolour suggests that he is the spiritual son of the Dhyani Buddha
Amitabha. In the Chinese collection he is represented as Amitabha 2 J
Fig. 60 is a Nepalese drawing of Jalimprabha.
13.

Colour'AMITAPRABHAWhite or Red

The Bodhisattva Amitaprabha(

SymbolBoundless

Jar

Light)

also

spelt

as

Amrtaprabha (Light of Nectar) is described t^jice in the Nispannayoga~"1.

Clatk : TLP, II. p. 147.

2.

Clark

:

TLP, II, p, 132

THE BODHISATTVAS

91
t

vali.

Twice heismentioned as of white colour and only once as red.

Itthus 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, fjIn the Durgatiparisodhana Mandala, Amrtaprabha is described as:I

Amrtaprabhah subhrah mukutoparyamrtakalasabhrtsavyakarah katis*
thavamamustih.
NSP. p. 67.
is
white
in
colour. In his right hand he holds the jart "Amrtaprabhaof nectar on the crown of his head. His clenched left hand rests on
the hip."||

In the Manjuvajra Mandala he is once again described as :<Amitaprabhah raktah hastadvayena abhisekakalasadharl,
NSP. p. 50.
"
Amitaprabha is of red colour and holds in his two hands the jar|
required in the bath of initiation. '|In the Dharmadhatuvaglsvara Mandala a further description of theIdeity appears :lAmitaprabhah sitah savyena visvapadmarh vamenaNSP. p. 59.
bjasthakalasam bibhranah.
With
the
of
white
colour.
it>
hand
he holds theright"Amitaprabha
double lotus and with the left hand a jar on lotus. "I||

The jar of consecration

thus

is

the

recognition symbol of theBodhisattva.i
Fig. 61 is an illustration

14.

Colour*of a Nepalese drawing of Amitaprabha.

PRATIBHANAKUTA

Green, Yellow or Red

Whip

SymbolThe Bodhisattva Pratibhanakuta is described thrice in the Nispanna^

In one he is green in colour, in the second he is yellow andyogavali.
in the third red, thus affiliating himself to the families of Amoghasiddhi,

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

Pratibhanakutah syama utsangavamamustir-daksinena
chotikapradah.

NSP. p. 50.

.

("Pratibhanakuta is of green colour. His clenched left hand is placedon the lap, while he flourishes the whip with the right hand."/i

His description in the Dharmadhatuvaglsvara Mandala is as follows;

Pratibhanakutah pito daksinena chotikam vamena

NSP, p. 59.

padmasthakrpanam dhatte.
/^Pratibhanakuta

is of yellow

colour.

With the right hand he holds

the whip and with the left, a sword placed on lotus."/

BUDDHIST ICONOGRAPHY

92
J

The Durgatiparisodhana Mandala describes his form with the following words:fPratibhanakuto raktah savyenabjasthamukutadharl

NSP, p.

katisthavamamustih.
'

67.

"Pratibhanakuta is red in complexion.

With the right hand he holds

crown placed on a lotus, while

clenchedthehis

hand rests onleft

the hip."/He

is

not represented

in the Chinese collection, nor his images are62
isa
Nepalese drawing of Pratibhanakuta,
Fig.

found in India.

SARVASOKATAMONIRGHATAMATI

15.

ColourWhitish Yellow. Yellow or Red

This Bodhisattva

I'

SymbolStaff

who destroys all sorrows and inertia is described
He is given twice the yellow colour or

thrice in the Nispannayogavali

the colour of gold or whitish yellow and once the red.

Thus the Bodhisattva undoubtedly belongs to the family of the Dhyani Buddha Ratnasambhava, although red suggests Amitabha also.
The Durgatiparisodhana Mandala describes him as :|*d

Sarvasokatamonirghatamatih sitapltamisravarnah
NSP.
dandabhrtsavyakarah katisthavamamustih.
r<
I

is

Sarvasokatamonirghatamati
his right hand he holds theWithrests on the hip.

p.

of mixed white and yellow
staff

66.

colour.

while his clenched left hand

5 '1

The Manjuvajra Mandala describes him with the following words):

I

Sarvasokatamonirghatamatih kanakakantih

NSP. p. 50.
hastadvayasamputena praharabhinayi.
*
isofgolden 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,|

Sarvasokatamonirghatamatih kurhkumavarnah savyena
fel $P, p. 59.
pancasucikakulisam vamena saktim dadhanah.
|isSarvasokamonirghatamatiof the(vermillion).

and with the left, the Sakti ( javelin )J
In the Chinese collection, thisasredcolourof

Kumkuma

With his right hand he holds the Vajra with five thongs

Tamodghatamati andastBodhisattva

Sokanirghatamati

isillustrated

1

Fig.

.

63

twice

illustrates a

Nepalese drawing of Sarvasokatamonirghatamati.
16.

ColourSARVANIVARANAVISKAMBHIN

White or Blue

Sarvanivaranaviskambhin
1.

Clark:

is

TLP, II, pp. 192, 135.

Symbolthe

Sword and Book

Bodhisattva

who istheeffacer

THE BODHISATTVAS
of

all

93

Two independent forms of this Bodhisattva are describedsins.

the Nispannayogavall.
thus he is the spiritual

His

in

colourson ofeitheris

Aksobhyainblue or whiteandone psychic school

and of Vatrocana in another.
The Manjuvajra Mandala describes him as
Sarvanivaranaviskambhl mlah suklo va vamena bhusparsl daksine
NSP. p. 50.
mustitarjanyangusthau sammllya prasamabhinayi.
:"Sarvanivaranaviskambhl

isof either blue or white colour. With

the left hand he displays the Bhusparsa (earth-touching) mudra with
thumb\ind the index finger joined together in the clenched;theright hand he displays the act of pacification."In the Dharmadhatuvagisvara Mandala heing words

is describedin the follow-:

Sarvanivaranaviskambhl mlah krpanabhrtsavyapanih vamena visva-

NSP, p. 59.
vajrankapatakadharah.
"Sarvanivaranaviskambhl is blue in colour. With his right hand
he holds the sword and with the left the banner marked with adouble thunderbolt/'
This Bodhisattva is also known by his shorter name of Viskambhin,
and his statuettes occur at least four times in the Chinese collection
1.

He is popular also in Tibet-*

Fig. 64

is a

Nepalese drawing of theBodhisattva.

This

Bodhisattva

under hisalso in the Sadhanamala.
is

as undershortername Viskambhin appears

In the Lokanathasadhana his

description:

Viskambhl tu ksaravarno ratnottamavarapradah
Sadhanamala, p. 50.
"

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

I*

17.

MAITREYA

Golden Yellow

ColourSymbol^Nagakesara Flower

The Bodhisattva Maitreya who is supposed to be waiting in the
Tusita heaven in order to come down to earth as the Future Buddha]

described several times in the Nispamiayogavali
Maitreya heads
the list of Bodhisattvas in the Manjuvajra Mandala.
Although heistakes theform of his

spiritual

sires

Vairocana and Aksobhya twoof his independent forms are nevertheless available, //In the Manjuvajra Mandala he is described as
[
:

L

Clark

2.

Gordon

TLP,

:

:

II,

pp.

7,

Jl, 52,

ITL, p* 104 ; Getty :274

GNB, p. 107.

BUDDHIST ICONOGRAPHY

94

Maitreyah suvarnavarno dvabhyam krtadharmadesanamudro varadaNSP. p. 50
savyakaro vamena sapuspanagakesarapallavadharah.
"Maitreya is of golden colour. With the two principal hands(
he displays the Dharmacakra mudra. The other two hands show
the Varada mudra in the right and the twig of a Nagakesara withflower in the left."/
I In the Durgatiparisodhana Mandala his description is as under'"'

NSP. p. 66.
right hand thedadhanah.
"Maitreya

I

is

He

yellow in colour.

holds

/

:

vamena kundirh

Maitreyah pitah savyakarena nagakesarakusumarhin hisflower of Nagakesara and with the left the mendicant bowl/'//

In theand heisChinese collection

hisvariously represented

statuettes occur at least six times

The Nagakessra flower is1.

his chief

recognition symbol both in China and in India. He is found also
Fig. 65 is a Nepalese drawing of the Bodhisattva.

in Tibet"// In theSadhanamala his description is simple:/

Maitreyah pitavarnasca nagapuspavarapradah. Sadhanamala, p. 49.
"Maitreya is yellow in colour and shows the Naga flower and the
Varada mudra/'/'18

GoldenColourLike Avalokitesvara

and has

tries

a

V

MANJUSRI~>
SymbolSword and Book

worshipped in all Buddhist coun^
Manjusri has several names suchand so forth.
Dharmadhatuvagisvara

Manjusriisvariety of forms.

asManjuvajra, Manjughosa,His wide variety of forms, and his legendary origin deserve a separate
treatment in a later chapter.

As one of the

Manjusri is taken as second
group headed by Maitreya. Manjusri does not find mention
in the list headed by Samantabhadta.
sixteen Bodhisattvas

in theIn theManjuvajra Mandala Manjusri

comes

as

a Bodhisattva inthird circle of deities surrounding the principal god Manjuvajra

thewho is represented alongwith his

Prajna or

femalecounterpart.

According to Nispannayogavall, Manjusri should have the same for An
as the principal deity but he should have no Prajna,

Thus the form of Manjusri will be of the following description
Pltanllasuklasavyetaravaktrah

sadbhujo:

daksinaihkhadgavaradabanan vamaih prajnaparamitapustakanllabjadhanurhsi bibhranah.
*

NSP. p." 48.

__1.

Clark: TLP, II,

7,

9, 59, 143. 195, 202*

H L, p. 104, 1072.

Gordon3.

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::

THE BODHISATTVAS"Manjusri
white colour.

is95

blue andthree faced, with the three faces of yellow,

He is endowed with six arms

hands

in his three right;

he holds the sword, Varada mudra and the arrow, and in the threeleft shows the Prajnaparamita book, the blue lotus and the bow."

Next to Avalokitesvara, Manjusri is important in the Buddhist
pantheon as the God of Learning with the sword for destroying
ignorance and the book of transcendental wisdom, His images are
numerous, and the Chinese collection presents no less than fivedifferent statuettes

showing his great popularity

in

China

1

Fig 66,

illustrates a Nepalese drawing of the Bodhisattva,

Manjusri as one of the eight Bodhisattvas is recognised by thefavourite name of Manjughosa (soft voice) and under this name hedescribed

is

text

is

in

LokanathasadhanatheSadhanamalaof theThe:

Manjughosah kanakabhah khadgapustakadharakah*"Manjughosa

Sadhanamala, p. 49.
heholds in his two handsof golden colour andisthe sword and the book.

GANDHAHASTI

19.

/I

1

ColourGreen or Whitish Green

SymbolElephant's Trunk or Conch

The Bodhisattva Gandhahasti is mentioned in the Nispannayogavaligroup of sixteen Bodhisattvas headed by Maitreya
and is described in two independent forms. In one prominence is given
as belonging to theto the word 'Hasti' and in the other to 'Gandha'.
t'

In the Manjuvajra Mandala he is described as follows:/

Gandhastih syamo vamena kamalasthahastikaradhari

NSP. p. 50.

savye varadah.
/''Gandhahasti

is green

in colour and holds in the left hand the trunkof an elephant on a lotus.

mudra."
|

The

right

hand

exhibits

the Varada/

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

Gandhahastih sitasyamah savyena gandhasarhkhadharah

NSP, p. 66*

katisthavamamustih.
I"Gandhahasti is whitish green in colour.

the conch containing sandal paste.
the hip."

The clenchedI

1,

Clark:

TLP, II. pp.

7,

11,

53,

He holds in his right hand

198 199

leftisplaced~on

BUDDHIST ICONOGRAPHY

96

This Bodhisattva is represented only once in the Chinese collection.

1

His images are very

rare. / Fig.

1

67 illustrates a Nepalese drawing of

the Bodhisattva.

JNANAKETU

20.

Colourjewel
Symbol -Flag with Cintamaniu^llow or Blue\

The Bodhisattva Jnanaketu

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

Jnanaketuh plto vamena cintamanidhvajadharl
NSP.
savyena varadah.
I"Jnanaketu

in colour.

yellowisp. 50.

He holds in his right hand the flag
The left hand displays the Varada

marked with the Cintamani jewel.
mudra " /In the Durgatiparisodhana Mimdala he is described somewhat differ^
ently as:t

Jnanaketu nilah cintamanidhvajabhrddaksinapanih
NSP.
katisthavamamustih.
.

is**Jnanaketu

Iblue in colour.

marked with the Cintamani jewel.
the hip."

He hold& in his

p. 67.

right hand the flag

The clenched left hand

rests

on

/

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

BHADRAPALA

21.

Colour1

Red or White

SymbolJewel.

The name of Bhadrapala occurs in the second list of sixteen Bodhisheaded by Maitreya. At least two independent forms of thisattvasBodhisattva are to be found in the Nispannayogavall.
i/j

In the Manjuvajra Mandala his form is described with the following

words

:

i

Bhadrapalo raktavarno vamena ratnabhrd^daksinena varadah.""''

NSP. p. 50.

.

Bhadrapala is of red colour. He holds in his left hand the jewel,
while the right displays the Varada mudra." J/

I In theDurgatiparisodhana Mandala again he is described Vsomewhat

differently as :/Bhadrapalah subhrah savyena sajjvalaratnadhari
katisthavamamustih.
1,

Clark ; TLP,

2.

Clark

:

II,

p. 135.

TLP, II, p. 146,

NSP, p. 67

THE BODHISATTVASI "Bhadrapala

He holds in his right hand thewhite in colour.

is

97

"
glistening jewel, while his clenched left hand rests on the hipt

Bhadrapalaisthere his form/

represented only once in the Chinese collection andwith that of his sire AmitabhaFig, 69

is identical*/.

illustrates a Nepalese drawing of Bhadrapala,H

SARVAPAYANJAHA.

22.

White

ColourSymbolAct of removing sin or goad.

Bodhisattva Sarvapayanjaha (Remover of all miseries) is also knownby his shorter name of Apayanjaha and is described twice in the

Nispannayogavali in two independent forms.
In the

(

as

:

I

Manjuvajramandala this interesting Bodhisattva is described/

Sarvapayanjahah suklo hastadvayena papaksepanabhinayl.
'

NSP. p. 50.
v "Sarvapayanjaha iswhite in colour.

the act of removing all sins."

With his two hands he displays/

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

NSP. p. 66.
With both hands he carries the"Apayanjahah sveto'nkusabhrtkaradvayah.
L" ApayanjahaisAhkusa (goad)/'/of white colour.

represented twice in the Chinese collection. In one he isidentical with his spiritual sire Aksobhya with the Bhusparsa mudra

He is

I

and

in another his right hand with open palm rests against the chest
left

shows the act of forbidding.

identical withywhile theS%of removing

the act

drawing of tjae deity.

sin |

.

Perhaps this attitude isFig. 70 is a NepaleseFig. 71 illustrates his Chinese stautette.

23.

Colour

AMOGHADARSIN

Yellow

Symbol<</Lotus

The name of Bodhisattva Amoghadarsin appears in the third list of
sixteen Bodhisattvas headed by Maitreya in the Nispannayogavali. The
1

Durgatiparisodhanamandala contains the only one description as
available in the work.- There his form is described in the following

words

:

,

\

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

1.

Clark

2,

Clark: TLP, II, pp. 143, 169.

13:

TLP, II, p. 147-

-

,

j.

BUDDHIST ICONOGRAPHY

98'"Amoghadarsi

isyellow in colour.

In his right hand he holds thelotus with its central core, while the clenched left rests on the hip."/

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

White

Symbolname occurs

in the third listby

In the Nispannayogavali his name isis described inColour\ Surahgama's

headed.

SURANGAMA.

24.

attvas1

Maitreya.

Sword.
of the sixteen Bodhis*

referred to twice only and his single independent form
the Durgatiparisodhanamandala as under |:Surangamah subhrah savyena asidharah katisthavamamustih
NSP. p. 67.
"
V

Surangama

white in colour.

is

He holds the sword in the righthand, while the clenched left is placed on the hip."I/

In the Chinese collection Surangama is represented only once, andthat tooin a different form

l>

I

.

Fig.

73 illustrates a Nepalese drawingof the Bodhisattva Surangama.
25.

ColourVAJRAPANL

White

SymbolVajra.

The Bodhisattva Vajrapani although not included in the three listsof Bodhisattvas as available in the Nispannayogavali, is neverthelessimportant as one of the eight principal Bodhisattvas enumerated in the
Sadhanamala in Sadhana No. 18 for Lokanatha. This list of eight
Bodhisattvas is also headed by Maitreya and consists of:Maitreya5.

Manjughosa2.

Ksitigarbha

6.

Gaganaganja

3.

Vajrapani

7.

Viskambhin

4.

Khagarbha

8.

Samantabhadra

1.

The description of Vajrapani also occurs under the Lokanathsadhana
in the Sadhanamala.

A half verse here describes Vajrapani:

Vajrapanisca suklabho vajrahasto varapradah.

Sadhanamala, p. 49.
"Vajrapaniisof white colour, carries the Vajra in one hand anddisplays the Abhaya mudra in the other."1.

Clark :TLP, II, pp. 20, 143, 247.

2.

Clark : TLP. II, p. 135.

THE BODHISATTVAS

99

This Bodhisattva of the Dhyani Buddha Aksobhya is popular in
at least five statuettes are noted in the Two Lamaistic

China andPantheons, Vol.

lII.

Tibetan2

specimensof his image

are also

found.

GENERAL REMARKS,
This

Chapteron theBodhisattavas cannot be

closed without

to a very importantpassage in the Nispannayogawhere the Bodhisattvas are connected with their spiritual sires,
whose forms they assume. In the Vajradhatumandala 3 it is said thatreference

a

vali,

the four Bodhisattvas
1.

:

^^

Maitreya

Sarvapayanjaha

3.

4

Sarvasokatamonirghatamati
Amoghadarsi
have the same form as that of the eastern Dhyani Buddha Aksobhyaof blue colour.
2.

1.

The four Bodhisattvas
Gandhahasti \X"

2.

Surahgama */:3.

Gaganaganja

4.

Jnanaketu^

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

The fouj: Bodhisattvas

:

^

3.
Bhadrapala
Amitaprabha
4.
Jalimprabhs
Chandraprabha
have the same form as that of the western Dhyani Buddha Amitabha of1.

2.

red colour.

The four Bodhisattvas
1.

:

3.

Vajragarbha

Pratibhanakuta

Samantabhadra
4.
Aksayamati */have the same form as that of the northern Dhyani Buddha Amogha2.

siddhi of green colour.

Although this is a valuable iconographic information, it should,
however, be noted that these are not absolute laws, but the views of
only certain psychic schools of Buddhist Tantra. Be it noted, however,that the Central Dhyani Buddha Vairocana has no place in this classificationand none of the sixteen Bodhisattvas

isaffiliatedto him*Nevertheless, the information as given in the Vajradhatumandala of
the Nispannayogavali will be found to be of value in identifying someof the Chinese statuettes where Bodhisattvas are given Dhyani Buddha
forms.
1.

Op.

Cit.

pp.

8,

11,

pp. 5051.
2.

Gordon3.

NSP. p. 46.

ITL, p. 64.

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.
considerThey believe
greatest
worship of Manjusrl can confer upon them wisdom, reenables them tointelligence and eloquence, andthat thetentivememory,mastermany sacredscriptures.

It

no

is

wonder,therefore,

that

his worship became widely prevalent amongst the Buddhists of theNorth. They conceived him in various forms and worshipped

him with various mantras. Those who could not form any con^ception of him according to Tan trie rites, attained perfection only
by muttering his numerous mantras.
the
It is difficult to fix the exact time when Manjusrl enteredpantheon of the Northern Buddhists. His images are not foundin the Gandhara and Mathura schools of sculpture, and Asvaghosa,
Nagarjuna, Aryadeva do notname occurs for the firstmention

him

time

the

in

in

their works.

Aryamanjusrimulakolpa
then in theobviously a pre'Guhyasamaja work, andGuhyasamaja Tantra which is dated circa 300 A.D.

which

is

least

four

His

name

also

there arejuvajra.

1

at

In thisreferences to Manjusrl and three-occurs in

the

His

Sukhavati

Vyuha

to

or

work
Manthesmaller recension 8

which was translated intoA.D.
and
between417.
384
ChineseSubsequent Buddhist works
however give many references to Manjusrl, and in the accounts ofAmitayus Sutra in

its

Hiuen-Thsang, I*Tsing, Manjusri also
foreign travellers like Fa-hienaretobe found in the sculptures of Sarnath,His
mention.
finds
images1,

Magadha, Bengal, Nepal and other places.
Many details about Manjusri are to be found in the Svayambhu
Parana, dealing with the glories of the Svayambhuksetra in Nepal.

The Adibuddha manifested himself here in the shape of a flame of
it is called the Svayambhuksettra ( place of the Self- Born ).
fire, and soThis placeis consecrated with a temple of

Adibuddha, and close to it

Hill now known as the Sarasvatisthana.
is the Manjusri

The information

about Manjusrl as gleaned from the Svayambhu Purana is given below
in brief.
1.

Guhyasamaja Tantra, G. O. S. pp. 46, 69, 93, 133.

2

Ibid, pp. 51, 87, 121.

4.

There

3.

Sukhavatlvyuha, p. 92. App. II.

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

BODHISATTVA MA^JUSRf
It

is

said

therein that Manjusri hailed from China,

on mount Pancasirsa

living101(the Hill of Five Peaks).

where he was

He was a great

many disciples and followers, including Dharmakara, theking of the country. Receiving divine intimation one day that the
self-born Lord Adibuddha, has manifested himself as a flame of fire on
a lotus on the waters of Lake Kalihrada in Nepal, he forthwith set out
saint withfor that country along with a large

number of his

disciples,

his

two

wives and king Dharmakara, with the intention of paying homage tothe deity. When he came to the lake, however, he found a great
expanse of water surrounding the god rendering him quite inaccessible,

and it was with immense difficulty that he could approach the flame andobeisance. Having at last succeeded in doing so, however,in his mind for some means of making the god accessibleabout
he castto all and he began a circuit of the lake. When he reached the southoffer

his

ern barrier of hills, he lifted his sword and clove it asunder. The
hill was split into two, and the water rushed through that opening,leaving behind a vast strench of dry land, which is now known as the
The waters of the Baghmatl flow down even toas the Nepal Valley.

day through that opening, which"sword-cut".

this

is

still

called*'Kot-bar"orManjusri lost? no time in erecting a temple over the flame of firea hillpck nearby he made his own abode, and also a Vihara

and onmonastery) still known as the Manjupattana, for his disciples.
These and many
Lastly, he made Dharmakara the King of Nepal.
other pious deeds are ascribed to Manjusri in the Svayambhu Purana.
(or

Putting everything in proper order, Manjusri returned home and soon
attained the divine form of a Bodhisattva, leaving his mundane bodybehind >.

From above it appears that Manjusil was a great man who brought
He had apparently extraordinary
civilization to Nepal from China.
architect.
It is not definitely known
a
was
and
great
engineering skill,when he came down to Nepal from China, but there is no doubt thatin 300 A. D, he was well-known as a Bodhisattva. He wielded greaton the minds of the Buddhists, and the Mahayanists
worshipped him in various forms and in various ways. He is known
in almost all the countries in the continent of Asia where Buddhism
influence

had its sway* Various countries conceived various forms of Manjusri,
but there was a definite Indian tradition with regard to the conception
1.

will

An account of the story recorded in the Svayambhu Purana with many details
in Hodgson's
Sanskrit Buddhist Literature, pp. 249258

be found in R. Mitra:

Essays, p. 115 ft. and in Oldfield;:

Sketchesfrom Nipal, Vol. 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

has been

made abundantly clear that the Buddhists

believe that

gods and goddesses affiliate themselves to the families of the fiveDhyani Buddhas, and as such, various attempts were made to assign
ManjusrI to a particular Dhyani Buddha. Sometimes in the Sadhanas
he is made an offspring of Amitabha of red colour, and sometimes
theirof Aksobhya with the blue

Manjusri also shows several

colour.

colours showing his allegiance to several Kulas or families*
origin of Manjusri

The humanseems to be responsible for this kind of confusion.

ManjusrI seems to have been deified in the same manner as Asvaghosa,
Nagarjuna, Aryadeva, Asanga and many others were regarded as
Bodhisattvas in the time of Hiuen Thsang.

Forty-one Sadhanas in the SadhanamSla are devoted to the worshipof Majnusn, and in them are described several distinct forms of theBodhisattva. In finding out the names of the different varieties ofManjusri special

stresshas been laid on

the mantras rather thanonthe colophons of the Sadhanas. It should always be noted that indetermining the names of gods the mantras are the safest guides,
The different
especially when one deity has several divergent forms.

forms of Manjusri are describedinthe following pages one by one

having distinct iconographic peculiarities.
In his simplest form Manjusri carries the

Prajn5paramita manuscript in

his

sword

in his

right

hand

In

and therepresentations
sometimes the two symbols are placed on lotuses. Sometimes heisaccompanied only by Yamari, sometimes only by his Sakti or
female counterpart, sometimes by Sudhanakumara and Yamari andleft*sometimes again by the four divinities, Jalimprabha (also called Suryyaprabha), Candraprabha, Kesini and Upakesini. Though the last fourare required to be present with Arapacana, they are nevertheless foundin others also.

Under the general name of Manjusri several of his Chinese images
Two Lamaistic Pantheons
A remarkable
the
in
of
two
company
principal Hindu
specimen showing Manjusri
1

are noticed by Clark in his.

gods, Ganapati and Visnu is found in the Baroda Museum (Fig. 74).
1.

ColourVAJRARAGA

Mudra Samadhi
White
Asana Vajraparyahka

Vajraraga Manjusri is also

known by the two names of Vak andAmitabha Manjusri showing his allegiance to the Dhyani Buddha
Amitabha of red colour. Vajraraga is one-faced and two-armed. His
1.

Clark

:

TLP, II, pp.7,

11, 53, 198.

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 differsfrom the Dhyani Buddha in respect of his ornaments and dress. Imagesof this form of Manjusri are not altogether rare in India or in the
Buddhist countries of the North. The Sadhanamala describes his form
thein the following Dhyana :Dvibhujaikamukharh sitarh vajraparyankopari samadhimudrahastarh
asesakumarabharanabhusitarh pancaclrakarh Manjusrlbhattarakarh...
vajrajihvopari Buddharh Amitabharh vicintya.. Orh Vakyedarh namah iti japamantrah".
Sadhanamala, p. 129

nispadya.

'The worshipper should think himself as Manjusri Bhattaraka whois two-armed and one^faced and has white colour.
His two hands arejoined in forming the Samadhi mudra. He is decked in all princely
ornaments, wears the five pieces of monkish garments... thus meditatingv...he should think of the figure of Buddha Amitabha on the adamantine
tongue.. /Orh Vakyedarh namah' is the Mantra for muttering".
Fig. 75 illustrates a metal statuette of the god in the Baroda Museum.

Fig. 76 illustrates a Nepalesedrawing.

Vajraragaisknown in Tibet

1

2

and China.

2.

DHARMADHATU VAOI^VARA

ColourReddish White

Face

Four

Asana

Lalita

Arms

Eight

Stone or bronze images of Dharmadhatu Vagisvara are by no means
common, but paintings are still made of him by the Citrakaras in Nepal.

When represented he is white in colour with four faces, and eight arms,
and he bears five jewels on his diadem.

He is clad in celestial garments

and the leading sentiment displayed by him is one of Srhgara (amour).
The two principal hands carry the bow and the arrow, the second pairhas the noose and the goad, the third the book and the sword, and thefourth the Ghanta and the Vajra. He may also have another form,

Dharmacakra mudra in the first pair of hands insteadof the bow and the arrow, and in the second pair the arrow and thevessel instead of the noose and the goad. The Dhyana describing theformer is given below
exhibiting the:"...Astabhujarh

caturmukharh

mulamukharh raktagaurarh daksinarh

kumkumarunarh pascimarh padmaraktarh, uttararh pltaraktarh, dvabhy-

am hastabhyarh dhanurbanandhararh, aparabhyarh pasankusadhararh,
1.

Gordon

I.

Clark

i

:

ITL, p. 66 illustrates his statue under the general title of Manjusri.

TLP, II, pp.

120, 227.

BUDDHIST ICONOGRAPHY

104

punaraparabhyamPrajnaparamitapustakakhadgadharam,tathaparabhyam
ghantavajradharam maHaragasrngararasojjvalam lalitasanastham visva-

padmacandre divyavastrabharanam Amitabhajatamukutinam...
Sadhanamala, p. 128.

"The worshipper should think himself as the god DharmadhatuVagisvara who is eight-armed, four-faced and of reddish-white colour.
His right face is red, the face behind is of lotus-red colour, and the leftof yellowish-red colour.

is

He holds the bow and the arrow in one

pair of hands, the noose and the goad in another pair, the Prajnaparamita manuscript and the sword in the third and the Ghanta and the

Vajra in the fourth. He displays the sentiment of Srngara (amour), andHe issits on the moon on a double lotus in the Lalita attitude.

decked in celestial garments and ornaments and bears on his Jatamukuta(crown of matted hair) the effigy of Amitabha",(ii)

Golden Yellow

Colour

Arms
is

Four

Eight

the principal deity in the Dharamadhatuvagisvara

Manjughosa
Mandala of the Nispannayogavall.
follows

Faces

His form may be given briefly as:

pita-nlla-rakta-sita"Manjughoso Vajraparyanki. .suvarnavarnah
mula-savyapascimavamamukho astabhujo dvabhyam Dharmacakramudrah savyaih krpana-bana-vajrani vamaih prajnaparamitapustakaNSP. p. 54.
capavajra-ghanta vibhranah".
.

sits in the Vajraparyanka attitude
is of golden
show
the
faces
four
colourinHis
thecolouryellow
first, blue in
and
white
left.
He
is
the right, red behind,eight-armed. With the"Manjughosatwo pricipal hands foe exhibits the Dharmacakra Mudra. The remaining
the arrow and the Vajra, while the reright hands show the sword,
maining

left

carry

the

Prajnaparamita

themanuscript

bow

and

the bell".

Three of his images are known to the Chinese collection of Peiping.
He is also found in Tibet 2
3.

MANJUGHOSA.

ColourGolden Yellow.

Mudra

Vyakhyana

VahanaLion

SymbolLotus in the left.

Four

Sadhanas

in

1

the

Sadhanamala describe

thisvarietyof

Manjusri, which is known by the name of Manjughosa. When represented, he closely resembles Manjuvara, with the difference that the~~1.
2.

TLP, II p.
Getty

:

115, 124, 241, 262.

GNB, PL. XXXV, 6 is a good illustration of this form*

105

I

S
Tc5

14

106

I
CO

cO

CO

oi

CO

CO
4->

ICO

I"
O

O
-tf>

CO

VD
OJD

107

!*f-<

^
CO

co

3

108

103

u

103

tu

109

-rt

Ctf

05
J-.

CO

110

03
DJD

""O

,-rH

.52'

g

^ > 8

PL,

Ill

CTJ

CO
OJ

ICO

z

uu

112

2
03

00

E$

03
'"*'

^
vC/)

**

3

g

''So
\ti

C
00

^

^

E

oo
ci
co

o
CO
.2?

E

bo

-

c
r

BODHISATTVA MAN^USRI
lotus here does notbear the book.

It

113

may also be pointed out that

Manjughosa should have the lotus only in his left, but Manjuvara may
have it on either side bearing the book. His complexion is golden
yellow, he rides a lion, and is decked in all sorts of ornaments. He is
two-armed and displays the Vyakhyana mudra, and in his left there is
the lotus. He is sometimes accompanied by Yamari in the left andSudhanakumara in the right. The Dhyana as found in one of the
Sadhanas is given below"Manjughosarupam-atmanam pasyet simhastham kanakagauravarnarh:

sarvalankarabhusitam Vyakhyanamudravyagrakararh vamaparsve utpala*dharam Aksobhyamukutinam. Daksme Sudhanakumararh vame Yaman.
takam pasyet... man tram japet Om Vagjsvara Muh'* Sadhanamala p. 109
The worshipper should meditate himself as the deity Manjughosa

He is decked in all
his
in
and
hands
are
ornaments,
engagedforming the Vyakhyana
He displays the night lotus in his left, and bears(teaching) mudra.
the image of Aksobhya on his crown. On his right there is Sudhana^kumara and on the left Yamantaka ... The Mantra Om Vaglsvara Muh
who rides a lion, and is of golden yellow colour.

should be muttered*'.

Some of the Sadhanas mention that he should sit in Lalitasanaon the back of a lion while others are silent about the attitude or
Asana.

It is thus

possible to conclude that he may sit in other attitudes

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

4.

Colour

SIDDHAIKAVfRA.
Mudra

White

Symbolis^

VaradaLotus.

Four Sadhanas in the Sadhanamala describe the form of Siddhaika*
and in one of these he is said to bear the image of the Dhyani
Buddha Aksobhya on his crown (Mauli) thus showing the familyviraconnection with Aksobhya the progenitor of the Vajra family. When
represented, his left hand holds the blue lotus while the right displays

Varada mudra. The Dhyana in the Sadhanamala describes hisform in the following words"
Siddhaika viro
Bhagavan candramandalasthah
candropasrayahthe:jagadudyotakan dvibhuja ekamukhah
karabhusitahpancavlrakasekharah..

suklah vajraparyahki divyalannilotpaladharah daksine

vame

varadah.-.tato Bhagavato maulau Aksobhyam devatyah pujarh kurvanti".

Sadhanamala, p. 140.

"God
the

Siddhaikavira sits on the orb of the moon, is supported

moon, and illumines the world.
15

He is two-armed,byone^faced andBUDDHIST ICONOGRAPHY

114

of white colour.

five

He sits in the Vajraparyahka attitude, and is decked
His headornaments.

in celestialisdecorated with the effigies of the

Dhyani Buddhas....He carries the Utpala
Varada mudra

exhibits theinthe right.

hand andin the left

The goddesses pay homage

to Aksobhya who is on the crown of the God",In another Sadhana the description of theisgiven.

The godin

Mandala for Manjusri

the form of Siddhaikavlra is painted red andisplaced in the centre. He is accompanied by four deities, Jalimprabha,Candraprabha, Kasinl and Upaksinl. These four deities more often

Arapacana, another from of Manjusri which will be
described later, The Sadhanas are not generally explicit as to theaccompany

Asana of the god.

In

Saranath his

image

shown

is

in

a

standing

attitude (Fig, 77).

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

In that case the image would most likely beof Lokanatha, who happens to be widely represented.

mudra, the Varada pose.
identified as that

Images of Siddhaikavlra, it may be added, are extremely rare.
5.

VAJRANANGA.
ColourAsana

Pratyalidha.

Yellow

Hands

Six or Four.

This form of Manjusri bearing the image of Aksobhya on the crown
is

known

as Vajrananga,

Vasikarana, or bewitching

he

is

in

who is worshipped in the Tantric rite ofmen and women. His complexion is yellow,

the prime of youth, andhis crown.

The twobears the image of Aksobhya

principal hands hold the fully expandedon

bow of

The four remaining
hands carry the sword and the looking-glass in the two right hands,
while the two left carry the lotus and the Asoka bough with red flowers.
In another Sadhana the Asoka bough is replaced by Kankelli flowers.
flowers charged with the arrow of a lotus bud.

He may have an alternative form with four hands, in which case thehands carrying the mirror and the Asoka bough are dropped. The
Dhyana describing the six-armed variety of Vajrananga is given below:
Vajranahganama Arya-Manjughosam pltavarnam sadbhujam mula*bhujabhyam

akarnapuritaraktotpalakalikasarayukta-kusumadhanurdha-ram; daksinadvayena khadgadarpanabhrtarh vamayugalenendlvararaktasokapallavadharam;

Aksobhyadhisthita-jatamukutinarh

pratyalldha-

padam sodasavarsakaram mahasrhgaramurtim pasyet".
Sadhanamla, p. 124

BCDHISATTVA MANJUSRf

115"The worshipper should think himself as Arya-Mafijughosa in theform of Vajrananga with yellow complexion, and six arms. With the two
principal hands he draws to the ear the bow of flowers charged withan arrow of a red lotus bud; the two remaining right hands carry thesword and the mirror, while the two left hold the lotus and the Asokabough with red flowers. He bears the image of Aksobhya on his
Jatamukuta, stands in the Prat^alidha attitude, appears a youth of"
sixteen years and displays the intense Srngara Rasa

Vajrananga as the name implies, is the Buddhist God of Love, theprototype of the Hindu God Madana in the Buddhist Pantheon. The
flowery bow and the arrow of flowers are strikingly common to both.

Unlike the Hindu Anahga, however, several other weapons besides these
are also attributed to the Buddhist God of Love, andan accountisgiven below of how he makes use of them.
Itissaid in the Sadhanamala that in the act of bewitching a woman,

the worshipper should imagine himself as piercing her bosom with thearrow of the lotus bud. The woman falU flat on the ground in aswoon, whereupon the worshipper should visualise her legs as being
Then he should imagine thattied by the chain which is the bow.

the noose of the lotus stalk is flung round her neck, and she

is

drawn

Thereupon, he should think that he is striking her with
the Asoka bough, is frightening her with the sword, and subsequently
he has only to confront her with the mirror by which she LS completely
to his side.

]

subjugated.

Fig. 78 illustrates a Nepalese

6.

ColourFaces

NAMASANGm MANJUSRF

Reddish whiteThreedrawings of the deity.

Asana

Vajraparyaiika

Arms

Four

form of Manjusrl with the effigy of the Dhyani Buddha
Aksobhya on the crown is known as Namasahglti Manjusrl, to whom
In this Sadhana
only one Sadhana in the Sadhanamala is assigned
as bearing
he is described as three-faced andfour-armed, andthe image of Aksobhya on the crown. The first or the principal
face is red, the second blue and the third white. Of his four hands,
the first pair holds the bow and the arrow and the second thebook and the sword. He sits in the Vajraparyanka attitude onThis

the lotus.

The Dhyana describes him in the following terms

padmacandropari vajrapar>afikanisannah pratha*raktaih, daksinam nifam, vame suklam iti trimukham,"...Raktagauram

mamukham:;hastacatustayena yathayogam Prajnakhadgadhanurbanayoginam ratna1

Sadhanamala, p. 123

BUDDHIST ICONOGRAPHY

116

kiritinamdvatrimsallaksananuvyanjanavirajitarh kumarabharanabhusitarh

atmanamtadanuvibhavyasarva-Tathagatabhisekapurvakarh AksoSadhanamala p. 159*160

bhyamaulinarh atmanam vicintya ...
"The worshipper should meditate.

himself as

Aryanamasangiti,

who is reddish white in colour and sits in the Vajraparyahka attitude
on the orb of the moon on a lotus. His principal face is red, theblue and the

right

white

left

four hands he carries

theand thushethree-faced

is

the

Prajna(paramita),

In hisbow

thesword,and the arrow according to custom. He wears a bejewelled crownand is endowed with the thirty-two major and eighty minor auspicious
marks. He appears a prince with princely ornaments
Then theworshipper after offering Abhiseka to all the Tathagatas, should further
meditate himself as bearing the effigy of Aksobhya on the crown.'
1

Rare are the images of this form of Manjusria Nepalese drawing of the deity.
Namasangiti Manjusn
his statuette in China.

is

7.

known

China

in

Fig.

80

1

Fig.

.

79 illustrates

illustrates

VAGlSVARA

ColourRed of Yellow

Asana

VahanaLion

SymbolArdhaparyanka

Utpa lathe tutelary deity of the Nepalese Buddhists and is
The fact that innumerable prayerworshipped in Nepal.
isVaglsvara

widelywheels in Nepalese temples bear, in monumental Newari characters,
the mantra "Om Vaglsvara Muh" stands witness to his popularity.

One of the Sadhanas describes him

ascolour

red inwithall

on a lion in the Ardhaparyanka
princely ornaments, and as seatedHe carries the Utpala in his left hand, and the right is
attitude.
adisposed

in

which

known

is

gracefulasattitude.

theHe may haveyellowvariety,and the Dhyana
already been quoted and translated by

Maharajalila

ManjusrI,

describing that form has
Professor Foucher. The red variety of Vaglsvara

Dhyana thusaisdescribed in the:"Pancavirakasekharam kumaram sarvabharanabhusitarh kuhkumarunarh vamenotpalam daksinena Hlaya sthitarh sirhhasajiastharh atma*

nam kumararupena cintayet...Om Vaglsvara Muh".

is

Sadhanamala, p. 105'The worshipper should think himself as Vaglsvara whose head
beautified by the images of the five Dhyani Buddhas. He looks

a prince, is decked in all ornaments, and has the complexion of
Kunkuma. He carries the night lotus in his left hand while the
1.

Clark

:

TLP, II, p. 263.

H7

BODHISATTVA MANJUSRT
right is displayed

artistically.

He rides a lion andpossesses princely

Orh Vaglsvara Muh.

grace

The Indian Museum image (Fig. 81) of this divinity carries a bellTheright hand, and sits on a lion throne instead of a lion.

in theother image in bronze (Fig. 82) is a recent one, and represents thegod somewhat differently. Vaglsvara statuettes are found in Tibet
1.

MANJUVARA

8.

Golden Yellow

Mudra

Dharmacakra

Lalita or Ardhaparyanka

SymbolPrajnaparamita on lotus

Colour-Asana

Two Sadhanas in the Sadhanamala are devoted

to theworshipof Manjuvara who is widely represented. He is yellow in colour,
sits on the back of a lion, in the Lalita or the Ardhaparyanka attitude,
and displays the sentiment of Srngara (amour) lavishly. His two

hands

are

joinedagainst

the

chest

in

formingtheDharmacakra

mudra which is the eternal symbol of instruction on the secrets ofDharma. He holds the stalk of one or two lotuses on which appears
the Prajnaparamita manuscript. The text of the Dhyana in one of
the Sadhanas is givea below :"Taptakancanabhampancavirakakumararh

Dharmacakramudra-

samyuktarh Prajnaparamitanvitotpaladharinarh simhastharh lalitakseparh
sarvalankarabhusitarh...Orh Manjuvara Hum". Sadhanamala, p. 111.

"The worshipper should think himself as god Manjuvara of golden
yellowhead decorated with the images
His hands display the Dharmacakra

withcolourof thefivemudra andDhyani Buddhas.
He
the
lotus
manuscript.
blue
the
he shows
Prajnaparamita
bearinginallisdeckedandattitudein
Lalitatherides a lion, sits thereon
ornaments... Orh Manjuvara Hum".
According to a second Sadhana Manjuvara should have the lotus
He may sit in thein his left hand with the Prajnaparamita on it.
the fierce
Ardhaparyanka attitude and may be accompanied withface distorted with bare fangs
god Yamantaka of blue colour, whose
Yamantaka carries the staff in one of his hands
is terrible to behold.

and touches the feet of Manjuvara with the other.

The image (Fig. 83) discovered at Bara in the district of Birbhum inwith the miniatureprobably represents this form of Manjusn,
and of the two
the
over
head,
Buddhasfigures of the five Dhyani

Bengal2

ITL, p. 68 under the title of Maharajalila ManjusVl.
This image was first identified as that of the Hindu goddess, Bhuvanelvari
2,
Birbhum Bibarana ( in Bengali ), then as that of Simhanada Lokelvara in A. S. I.
theinof MaKjuIrl in
Eastern Circle, Annual Report. 192021, p. 27 and later on as that1.

Gordon;Ibid, Plate 1, Fig.

2

BUDDHIST ICONOGRAPHY

118

the right and left of him. The figure to the right probably
and the figure to the left is Yamantaka. The
Sudhanakumara
represents
heredisplays the Dharrnacakra mudra and from under his
principal god
left armpit rises a lotus which bears the Prajnaparamita manuscript as
required by the Sadhana. The lotus to the right is added in order todivinities tomaintain the balance with the lotus to the -left.

The

vehicle of Manjuvara is sometimes absent, and in laterlion

may be found sitting in the Paryahka or any other attitude
The lotus to the right which is not expressly required by(Fig. 84).
the Sadhana sometimes bears the book (Fig. 85), and sometimes theimages hesword in order to preserve the balance in a better way (Fig. 86).
One of the two Indian Museum images of Manjuvara has on either sideof the god two feminine figures which no doubt represent the two
wives of Manjusri, Kesini and UpakesinL Manjuvara is well knownin Tibet]

9.

MANJUVAJRA(

Colour

Arms

Red

i

)

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 aredescribed both in the Sadhanamala and the Nispannayogavali ofIn 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 isengaged 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 themoon supported by a lotus. The Dhyar.a is in verse and may be quoted
as follows :Kuhkumarunasanmurtir-nilasitatrayananahI

Bhujadvayasamaslista"svabhavidyadharasyadhrk

Khadgabanabhujancapa^mlotpalaparigrahah

II

I

Visvadalabjacandrasthah vajrasanasasiprabhahII

Sadhanamala, p. 163.
"...Hishandsome bodyis redlike Kunkuma and he is endowed withof (Kunkuma) blue and white colour. He embraces his
Svabha Prajna with two arms, of which one touches her face. He
carries the Khadga, the arrow, the bow, and the blue Utpala, sits on themoon on a double lotus in Vajrasana, and is radiant like the moon."

three faces

1.

pi.

GordonXXXV.

:ITL, p. 68 under the title of Dharmacakra Manjusri, Getty :GNB,

BODHISATTVA MANJUSRl}

Manjuvajra is represented in Tibet(ii)
Golden Yellow.

ColourArms
Manjuvajra

is

119

Faces

Three

Six.

Manjuvajra
deity of theHis form has been described thus

the principal

in the Nispannayogavali.

Mandala:"Shhhopari sattvaparyankanisanno Bhagavan Vairocanasvabhavo
Manjuvajrah kamanlyakanakakantih... pita-mla-sukla'Savyetaravaktrah
sadbhujo daksinaih khadgavaradabanan vamaih PrajnaparamitapustakaNSP, p. 48.
nllabjadhanumsi vibhranah.''"God Manjuvajra is seated on the back of a lion, is of beautiful
golden colour and resembles Vairocana, His three faces have yellow
blue and white colour. He is six-armed. In the three right hands
he holds the sword, the Varada mudra and the arrow. In the three left
likewise he carries the Prajnaparamita manuscript, the blue lotus andthe bow."(iii)
Colour

Arms

Red

Six

Manjuvajra is the principal deity in a second Mandala dedicated to
Manjuvajra in the Nispannayogavali. Here he is identified with the Sixth
Dhyani Buddha Vajrasattva. The Kulesa of this god is Aksobhya
according to a definite statement in the Mandala. He is described thus :"Bhagavan Vajrasattvo Manjuvajra-rupah kuhkumarunah krsnapradhanabhujabhyam
svabha'prajnalihgitosisa-

sitasavyetaravadanah

NSP, p. 2.
"The god Vajrasattva in the form of Manjuvajra is red like vermiHis right face is blue and the left white. With the two principal
llion.

rendivaracapadharo"...

hands he embraces his Prajna
arrow the lotus and the bow.";in the others he carries the sword, theUnder the name of Manjusri his different forms are to be foundathe Chinese collection

with theakti in the

.

Fig.

in

8? illustrates an eight-armed Manjuvajra

Baroda Museum.

Itisboth remarkable andbeautiful.
10.

Faces

MANJUKUMARA

Red

Vahana

Three

Arms

ColourAnimalSix

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

Only one Sadhanais1.

Gordon ITL, p. 66 with the Sakti under the title of Manjunatha.

2.

Clark : TLP, II, pp. 7, 11, 53, 198, 199.

:

BUDDHIST ICONOGRAPHY

120

on an animal. In his three left hands he carries the Prajnaparamita,
the Utpala and the bow while the three right show the sword, thearrow, and the Varada pose. The extract is given below^Manjukumararh trimukharh sadbhujarh kunkumarunarh mlasitada:ksinetaravadanarh sattvaparyankinarh Khadgabanavaradam daksinakaiatrayarh, Prajnaparamitapustakanilotpalacapavad-vamakaratrayam sasrn-

nanapuspamahasobhaciratrayaviraTathagataparamanu-parighatitarh atmanarh dhyatva..."garakumarabharananivasanadikam
jitarhSadhanamala,

is

151

p

"The worshipper should think himself as god Manjukumara, who
three-faced and six-armed, of red Kuhkuma, colour. His rightandhave (respectively) the blue and white colour.

faces

left

He

is

seated on an animaL

His three right hands hold the sword, thearrow and the Varada pose, while the three left carry the Prajnapara-He

mita, blue Utpala and the bow*and dress as

befitting the

Srfxgara

isdeckedin princely(amour) sentimentornaments

hre

displays.

He wears the three rags of amendicant, which are richly decorated
with various kinds of flowers. His body is composed of the parti-

Thus meditating..."cles of the Tathagatas

Manjukumara
paintings.

known

not

is

either in sculptures

11.

Colour

Asana

Four

Symbols

Book and Sword

which

is

sometimes

white and

the

form

of thissometimes

red.

He

always in the Vajraparyanka attitude, but when he sitsiscalled Prajnacakra.

Kesini,offiveancient

Vajraparyanka

Eight Sadhanas in the Sadhanamala describe

hein

ARAPACANAWhite or red

Companions

divinity,orFig. 88 illustrates a drawing from Nepal.

sits

on an animal

He is accompanied by the four divinities,

Upakesini, Candraprabha and Suryaprabha, and as the grouporiginates from the five syllables, 'A', 'R', 'P, 'C' and 'N',

Arapacana. When represented, the fourofArapacana resemble the principal god in all respects.
companions
the principal god is called

None of the formsof Manjusri is so widely represented bothbronze as Arapacana. He is accompanied by his
four attendants, but in some instances the companions are entirely
absent. In one of the sculptures ( Fig. 89 ) preserved in the Daccaandin stone

Museumin1

the four Dhyani Buddhas, Vairocana, Ratnasambhava,
Amitabha and Amoghasiddhi (besides the usual four companions)* are
pictured on the aureole behind, the centre at the top being occupied
1.

Bhattasali : 1BBS, p. Z8f, PI. VII, b.

BODHISATTVA MA*3)USRf

121

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

The.

The Nepal bronze

does not carry the book against theThelotus, which bears the book.

(Fig 91)

but holds the stem of achest,

Baroda bronze (Fig. 92) also does likewise.

Both these are without

companions.

Arapacana

also

is

bhava-Manjusrl.

decked inface, islotus incalledSadyonubhava-Arapacana,or

Sadyonu*

He is resplendent like the full moon, has a smilingall sortsof princely ornaments, and sits on a double

the Vajraparyanka attitude. He brandishes the sword in
the Prajnaparamita book against

his right hand, while his left holds

Jalimkumara (or Suryaprabha) is in front of him, Candra^
prabha behind, Kesini to the right and UpakesinI to the left. All
chest.

his

The Dhyana inthese four divinities are replicas of the principal god.

one of the Sadhanas describes the principal god in the following terms':.Khadgapustakadharinam

*. .

yutam

akuncitapancaclram, raktavastrayugasrngaravesadharinam smitavikasitavadanam Sasankakantjtulya-

sobharh visvadalakamalasthabaddhaparyahkam
arupam atmanam-ikseta".

Sadyonubhavarapacan^

Sadhanamala, p. 121.

'The worshipper should think himself as Sadyonubhava'Arapecana,

who carries the Khadga and thebook, and wears the five cirakas(rags)

His garments are of red colour, which
which
His face is radiant with a smile,
befits the Srfigara Rasa he displays.
and is resplendent like the moon. He sits on a double lotus in theareslightly folded.

Vajraparyanka attitude..."This Sadhana further adds that the principal god should originate
syllable "A", Jalimkumara from the syllable "R",fromP", 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. Allof them should have white colour and should be identical with thefrom thefirstprincipal god in appearance.
2
and China \ In Tibet his sword
popular in Tibet
in the right hand is replaced by the bell in a remarkable statuette.

Arapacana1.

isFirst publishedandidentified

as Manjusri in

Grunwedel:

Buddhist

Art inIndia, p. 199.
2.

Gordon:

ITL, p. 68.

with the Ghanta

in

Getty

:

GNB,

pi.

XXXV illustrates a unique image

the right hand instead of the sword.

By the sound of theholy gong ignorance seems to disappear.
Clark TLP, II, p. 199 illustrates an image of Arapacana
3.
:

ofManjus'ri.

16

under thetitle

BUDDHIST ICONOGRAPHY

122

12.

STHIRACAKRA.

ColourWhite

SymbolMudra

VaradaCompanion

Sword
Sakti

The Sadhana for the worship of Sthiracakra has one remarkable
which distinguishes
Sadhanamala, namely, thatfeaturestretch,

it

from

the

other

it

does

not

give

but the information about his form

Sadhanas
the

is

the

in

Dhyanaatascattered through-From the informationout the Sadhana, which again, is in verse.
about
his
Sadhana
form
from
the
it
appears that in one ofgleanedhis hands he carries the sword, which by radiating light destroys thedarkness of ignorance, while the other is engaged in bestowing boons ofkinds, or in other words, displays the Varda pose.

allwhite and heisHis colour

decked in garments of the colour of the bee;ishe sits on

moon, supported by a lotus, and wears the Cirakas which makes
He wears princely ornaments and displays thehis body resplendent.

thesentiment of passionate love.
beautiful,is

He is accompanied by adisplays the sentiment ofPrajna,passionate love andwholaughsprofusely.

Images of this form of Mafijusn are rarely met with. The Vahgiya
Sahitya Parisad (Calcutta) image No. C(d) 8/16 has a feint resemblancewith the description given above, and may quite conceivably represent
The special feature of this image is that the sword appears

Sthiracakra.

a lotus, the stem of which is held in the left hand of the god, whileon

the right hand exhibits the Varada pose. He sits in the Lalitasana on
the moon over a lotus, and is accompanied by his Sakti who according

Indianto(Fig. 93)

customoccupiesaposition

to

the

left

of her consort'.

Sthiracakra is represented in the Chinese Collection
13.

Asana

2 .

VADIRAT

Ardhaparyahka

Mudra

VahanaTiger

VyakhyanaThis form of ManjusrI is rarely to be met with either in stone or in
One Sadhana only is devoted to the worship of this divinity

bronze.

which shows that this form was not very popular amongst the Vajrayanists. Vadirat is of medium height, neither very short nor very tall,and appears a youth of sixteen years. He sits on the back of a tiger inThis image is described in the Hand book to the Scluptures in the Museum of the
Vangiya Sahitya Panshad, p. 33.
1.

2.

Clark : TLP, II, p. 261,

BODHISATTVA MANJUSRf
the Ardhaparyafxka

123

attitude with his left leg slightly raised.

He wearsand exhibits the Vyakhyana mudra. The
isinverse, describes the form of Vadirat in the follow*
Dhyana which

all

sorts

of ornaments,

ing terms :Svaccham sodasavatsarakrtidharam sarddulaprsthasthitam
Vyakhyavyakulapanipadmayugalam vamardhaparyankinam I
Dlrgahm napi na capi kharvamasamam saundaryarasyasrayam
Ratnasvarnamaniprakaravividhalankaramalakulam II
Sarimad-Vadirat-Sadhanarh samaptam. Krtiriyam Panditasri

Sadhanamala, p. 98.
Cintamani*Dattasya ".
''The worshipper should think himself as (Vadirat), who is hand-

some

in

appearance

sixteen years.

(lit.

pure or transparent), and appears a youth of

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, norslightly raised in the Ardhaparyahka attitude.

very short, is unparalled by any, is the receptacle of all beauties in theworld, and is decked in various ornaments consisting of jewels, gold,

gems and other valuables.
Here ends the Sadhanafor

Vadiratwrittenby

Sri Cintamani Datta."

Vadirat

1.

Clark

is

:

represented in the Chinese Collection

TLP, II, p. 262.

J
.

the

authorCHAPTER IV
BODHISATTVA AVALOKITESVARA
Avalokitesvara is famous in the Mahayana Pantheon as a Bodhisattva

emanating from the Dhyani Buddha, Amitabha and his akti, Pandara.
As Amitabha and Pandara are the presiding Dhyani Buddha andBuddhasakti of the present Kalpa (cycle), namely, the Bhadrakalpa,
Avalokitesvara is said to be the Bodhisattva who rules during theperiod between the disappearance of the Mortal Buddha, Sakyasimha,
and the advent of the Future Buddha, Maitreya. The Gunakaranda3

gives an account of his character, moral teachings and miracles
vyuha
and from it is learnt that he refused Nirvana, until all created beings

should be
is

still

in

possession of the Bodhi knowledge and to that end hesupposed to work and foster spiritual knowledge amongst

One of the passages in Karandavyuha 2

fellow creatures.

hischaracterises

him as taking the shape of all gods of all religions, nay, even the shapeof the father and mother, in fact, the form of the worshipped of any
and every worshipper, to whom he might impart knowledge of Dharma.

By a slow and gradual process, first human beings and then animals
and other creatures would advance spiritually to obtain salvation. For
these reasons Avalokitesvara

all

is

characterised as the best of theSangha, the Jewel of the Buddhist Church or Sahgharatna.

The

Sadhanamala

gives altogether thirty-eight Sadhanas which
describe a variety of forms of Avalokitesvara. Some of these forms

have already been described by M. Foucher in his Etude sur V Iconographie Bouddhique de Vlnde,

Vol

II

with translations in French of the

Sanskrit texts of the Sadhanas.

From the Sadhanamala and allied works it is possible to individualize
at least

fifteen different forms of Avalokitesvara.

All these forms aredescribed in the following pages one by one.

These fifteen by no means
exhaust the forms of Avalokitesvara since there is evidence that these

forms even numbered one hundred and eight, each of them bearing
distinct features and distinct names. In the Macchandar Vahal one of
the numerous Viharas of Kathmandu in Nepal, there are paintings inmany colours of one hundred and eight varieties of the Bodhisattva,
1.

R. Mitra2.

Karandavyuha:

Sanskrit Buddhist Literature, p. 95.
:

ed.

Samara ml, pp.

21*22.

BODHISATTVA AVALOK1TESVARA

125

wooden panel surrounding the main temple on three
These paintings appear to be at least two hundred years old,
and they bear inscriptions in old Newari giving the names of deities
executed on thesides.

they depict.

from the view point of antiquity, this discovery is of lesser
importance than the ones obtained from earlier Tantric works, but
as the overwhelming number of forms is likely to throw a flood oflight on the iconography of Avalokitesvara, a description of all theseClearly,varieties is given with

their respective illustrations in a separate Appen-

dix at the end of this volume.

Out of the fifteen different forms of Avalokitesvara mentioned
above fourteen bear the figure of Amitabha on the crown, thus clearlyThe

revealing their origin.

fifteenth,Vajradharma by name,

is

said

India

and

to bear the figures of the five Dhyani Buddhas on his crown.

Images of

Avalokitesvara

are

found

abundantly

in

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

Manidhara and Sadaksarl Mahavidya

Four Sadhanas in the Sadhanamala are devoted to the worshipof this form of Avalokitesvara, of which two describe him in a groupof three. In a third he is accompanied by Sadaksari Mahavidya,
and in the fourth he is single. In all these, the form of Lokesvara
Below is quoted the Dhyana of the Sadhany describing
is the same.

him in a group of three :-"Atmanamsuklavarnam
Lokesvararuparh sarvalahkarabhusitarh
daksinato'ksasutradharam
vamatah padmadhararh
aparabhyam hasta^bhyarh hrdi samputanjalisthitarh dhyayat. Daksine Manidharam tatta*

dvarnabhujanvitam padmantaroparistham. Vame tathaiva aparapadmastharh Sadaksarlrh Mahavidyarh".
Sadhanamala, p. 27.
''The worshipper should think himself as [Sadaksarl] Lokesvara
who is decked in all sorts of ornaments, white in colour, and four*

armed, carrying the lotus in the left hand and the rosary in the right.

L Gordon ITL, p, 44 illustrates a Tibetan drawing of Lokelvara with elevenheads and eight arms. This form is not described anywhere in Sanskrit. Getty::

GNB, pp. 60-64.
2.

References to statuettes from China are given at their appropriate places*

BUDDHIST ICONOGRAPHY126

The other two hands are joined in forming the mudra of clasped
hand against the chest. To his right is Manidhara, with the same
colour and the same hands, sitting on another lotus. To the left is
Sadaksari Mahavidya with identical form sitting on another lotus".
The Dhyana of this god has been extracted from the Karandavyuha
according to a statement in one of the colophons of the Sadhanas,

The Mantra assigned to this form of Avalokitesvara is the famous"Orh Manipadme Hum" consisting of six syllables which are here
When Lokesvara isdeified in the form of Sadaksari Mahavidya.
associated with the Great

Knowledge of the Six

Syllables, he is called94 ) depicting

the three deities of

Sadaksari Lokesvara.

An artistic sculpture
Sadaksari

the

group

(

is

Fig.

preserved

group, Sadaksari Lokesvara
Manidhara and the female
right is

this

is

MahSvidya.

It

may beinall

the SarnathMuseum].

In

the middle, the figure to thefigure to the left is Sadaksari

innoticed that under the seats of lotuses there

are four diminutive figures which represent none else than the four
guardians of the gates of the Sadaksari Mandala, as prescribed in
the Karandavyuha 2.

Another(Fig. 95) isartistic

now tobut mutilated image of the Sadaksari groupbe found in the Indian Museum, Calcutta. In

piece both Manidhara and Sadaksari Mahavidya
the peculiar attitude of sitting known as Virasana.
this

are

shown

in

A third image (Fig. 96) found in the district of Birbhum by
Mr, K. N. Dikshit* of the Archaeological Department is also of the
Sadaksari group, although it is mutilated beyond recognition. The
figuredepicting Sadaksari Lokesvara has lost two hands

centralbearing the rosary and the lotus, but the marks are still there on
the stone. The two hands exhibiting the Anjali mudra hold also

the jewel.

Images of Sadaksari Lokesvara both singly as well as in groups
abound in Nepal and almost every monastery in Nepal contains

A coloured image of this divinity appears in

one or more images.

the temple of Bodhnath a famous place of pilgrimage in Nepal.
Fig. 97

illustrates

the principal deity as single in a beautiful bronze

now preserved in the Baroda Museum.

When he appears in a group of two in the company of Sadaksari
Mahavidya, the goddess may have another form depicting her in
Vlrasana with yellow colour and two hands. Her right hand remains
1

Sarnath Catalogue, No. B (e) 6. PI

2.

Karandavyuha, p. 74*

3.

A. S. I* Eastern Circle, Annual Report, 1920-21, p, 27 and illustrated in pi. 1(2).

XIV (b;

*

BODHISATTVA AVALOKITESVARA

127

The Sarnath Museum image
must
althoughrepresent this form of Sadaksari
be
can
who
readily recognised by the peculiar Asana which
Mahavidya
holds the jewel.

empty, while theleft(Fig* 98)

mutilated,isuncommon in Buddhist iconography.

Another alternative is also prescribed in the Sadhanumala for all
the three deities, and the Sadhana adds''Sometimes in the Sadhana:of Sadaksan

Mahavidya, Lokesvara holds also the lotus bearing the
Manidhara may hold the jewel and the lotus but
should be without the book. Sadaksan may hold the book and thejewel and the book,lotus but should not have the jewel.
2.

SIMHANADA.

Colour

Asana

1

White
VahanaMaharajalila

Lion(i)Sword on lotus, (n) Trisula entwined by a snake

Symbols

Four Sadhanas also are devoted to the worship of Sirhhanada,

who is regarded by the Mahayanists

as thecurer ofHe

all diseases.

of the most popular forms of the Bodhisattva Avalokitesvara,
At Patan in Nepal, allare by no means rare in India,

is oneand his images
the

more

important monasteries

in stoneeitherorinbronze,have two

images of Simhanada,
the staircase leadingon either side of

He appears in many forms only slightlv different
from one another. The four Sadhanas alike describe him as follows

to the sanctum.

:"Atmanarh

Simhanada-Lokesvararuparh bhavayet, svetavarnarh
trinetrarh jatamukutinarh nirbhusanarh vyaghracarmaprabhrtarh sirhhasanastharhmaharajalilarh

candrasanarh

candraprabharhbhavayet.

Dak sine sitaphanivestitarh trisularh svetarh, vame nanasugandhikusuma*
paripuritapadmabhajanarh.

Vamahastat

uttharhpadmoparijvala-

Sadhanamala, p. 63.

tkhadgarh".

'The worshipper should think himself as Simhanada Lokesvaraof white complexion, with three eyes, and the jatamukuta (crown ofmatted hair). He is without ornaments, is clad in tiger-skin, andsits ona lionorb of thein theattitude of princely

ease.

moon and is radiant like her.

He is seated on the

In hisright thereisaleft there is awhite trident entwined by a white snake, andlotuS'bowl full of fragrant flowers. From his left hand rises a lotus

in hison which there is a sword burning like fire".
Images of Simhanada are by no means rare and are rather easy
to identify because of clear-cut symbols. Fig. 99 is the famous image
1

Sadhanamala, p. 36.

BUDDHIST ICONOGRAPHY

128

Mahoba carrying a rosaryof Simhanada from

1

Fig.

.

101

statue at the gate of a

100 is a Nepalesea sculpturemonastery. Fig.
from Magadha, while Fig. 102 is a small bronze of Simhanada without the lion, from Nepal.
Simhanada wears no ornaments and thisfeature of his images differentiates

illustrates

him from Manjusri when heon the back of a lion.
Simhanada is popular both in Tibet 2 and in China 8.

KHASARPANA

3.

Colour

White

Mudra

VaradaCompanionsisSymbol
Asana

Lotus

Lalita or Ardhaparyahka

Tara, Sudhanakumara, Bhrkuti, Hayagriva

Khasarpana is described in a number of Sadhanas in the Sadhanamala, which fact points to his popularity. The peculiar feature of

god is that he is invariably accompanied by the four divinities
Tara, Sudhanakumara, Bhrkuti and Hayagriva. The principal figure
theis the same as Lokanatha, two-armed, and one faced, carrying
the difference lies insame symbol and exhibiting the same Mudra
this;

two companions, Tara and Hayagriva
while Khasarpana has two in addition, namely, Bhrkuti and Sudhanathe fact that Lokanatha has only

kumara. He is of white complexion, and sits either in the Lalitaor the Ardhaparyahka attitude. Below is given a somewhat lengthy

Dhyana describing the god"Atmanam Bhagavantam dhyayat
himakarakotikiranavadatarh
visvanalinanisannam
Amitabhasekharam
deham, urdhvajatamakutam:sasimandale,ardhaparyahkanisannarh

sakalalankaradharavigraham

smeramukham dvirastavarsadeslyam daksine varadakaram vamakarena
sanalakamaladharam,

karavigalatpiyusadhat abhyavahararasikam

dhah samaropitordhvamukham mahakuksim atikrsam

Sucimukham

tarpayantam

snigdhavilokanarhtada^atisitivainarh

srimat-Potalakacalodaranivasinam karuna^srhgararasaparyupasitaih atisantam nanalaksanalah-

Tasya puratas-Tara daksinaparsve Sudhanakumarah.
Tatra Tara syama, vamakaravidhrtam sanalam utpalam daksina*
karena vikasayanti nanalahkaravati abhinavayauvanodbhinnakucabhara.
krtarii.

Sudhanakumarasca

krtanjaliputahkanakavabhasidyutih,

kumararu-

padhari vamakaksavinyastapustakah sakalalankaravan.
Pascime Bhrkuti Hayagriva uttare.
Tatra Bhrkuti caturbhuja hemaprabha jatakalapini, vame tridandlkamandaludharihasta daksine vandanabhinayaksasiitradharakara trinetra.
1.

First publishedby K.N. Dik shit. : Six

Memoir No. 8, pi. la, p 2.
3.

Clark

:

Sculptures fiom Mahoba in the A. S. I,
2,

Getty

:

GNB, pp. 60, 61, 69*

TIP, II, pp. 199, 265. For the Magadha specimen see JR AS, 1894t pi. 1.

BODHISATTVA AVALOKITESVARA

129

Hayagrivo raktavarnah kharvalambodarah urddhvajvalatpingalakesah
bhujagayajnopavitl kayilatarasmasrusremparicitamukhamandalah rakta*bhrkntikutilabhrukah

vartulatrinetrah

vyaghracarmambarah

danda-

yudhah daksinakarena vandanabhinayi.
Ete sarva eva svanayakananapreritadrstayo yathasobham avasthitas*
cintanlyah...
Iti

Sadhanamala, pp. 39-41

Khasarpanasadhanam''.

"The worshipper should think himself as the god (Khasarpana)from whose body radiate rays of a crore of moons* He wears the
Jatamukuta (crown of matted hair), holds the image of Amitabha on
his head, and sits on the moon over a double lotus in the Ardhapary-Hedecked in all sorts of ornaments, has a smilingface, 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
afika

attitude.

an expert

isdistributing the stream of nectar that

in

flows

from

his

uplifted face, ahand, and Sucimukha who
protruding belly and very pale appearance receives the same. He
resides in the womb of the mount Potalaka, looks beautiful withstands below with ancompassion, is full of the sentiment of Srngara (amour), is extremely
peaceful and is endowed with various auspicious marks"Before him is Tara and to the right is Sudhanakumara"Here Taraisgreen.

She causes to blossom with her right hand

the lotus flower with a stem held in her left.

She has many ornaments

and her breasts are oppressively heavy due to adolescence"Sudhanakumara, again, has his two hands joined(

anjali ),isresplendent like gold, and has the appearance of a prince. He
carries the book under his left arm-pit and is decked in all ornaments.

"To the West of the god is Bhrkun and to the North Hayagrlva"Here Bhrkutl has four arms, is resplendent like gold has matted
hair, carries the staff with three horns and the Kamandalu in the
two left hands. The two right show the mudra of bowing in
one and the rosary in the second. She has three eyes.
"Hayagriva is red in colour and is short, with a protruding belly.
His hair rises upwards in the shape of a flame, and he has a snake
His face is recognised by a deep brown pairhis sacred thread.
of moustaches; his eyes are red and round; his eye-brows are distorted

asfrown.

ain

Heclad inhas the staff as aweapon,and his right hand exhibits the act of bowing.
"All these deities should be meditated on as disposed in a befittingistiger-skin,manner, with their eyes directed towards the face ofHere ends the Sadhana for Khasarpana.'*
the principal deity.

andartistic

17

BUDDHIST ICONOGRAPHY

130

The

finestimage

late N. K. Bhattasali

The sculpture
art.

is

(Fig. 103)

of Khasarpana was discovered by thein thePargana Vikrampur in Eastern Bengal *.
recognized to be one of the best products of Bengal

Had the central figure beenwouldmutilated like the one reproduced

be possible to identify Khasarpana by meansof the four companions to the right and the left of the principal god.
2
and China *.
Images of Khasarpana are found in Tibet
in Fig. 104

it

still

LOKANATHA

4,

White

ColourSymbol

Mudra

Lotus

VaradaFour Sadhanas are devoted to the worship of the Lokanatha
form of Avalokitesvara. He is single in three Sadhanas and only
one Sadhana describes him as accompanied by Tara and Hayagriva.
The same Sadhana adds further that Lokanatha should be accompanied also by the eight Bodhisattvas:

Maitreya, Ksitigarbha, Vajrapaiji,

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:constitution of the whole

Mandala of Lokanatha.

has two hands and carries the lotus in the

The principal god

left hand and exhibits

the

Varada pose in the right, exactly like Khasarpana previously described.
The Sadhana which is in verse is given below:"Purvavat-kramayogena Lokanatham sasiprabharh I
Hrihkaraksarasambhutam jatamukutamanditam II
Vajradharmajatantahstham asesaroganasanam I
Varadam daksine haste vame padmadharam tatha

II

Lalitaksepasamstham tu mahasaumyam prabhasvaram

I

Varadotpalakara saumya Tara daksinatah sthita II
Vandanadandahastastu Hayagrivo'tha vamatah I

Raktavarno maharaudro vyaghracarmambarapriyah'

1II

Sadhanamala, p. 49,"Following the same procedure as before, the worshipper should
think himself as Lokanatha, resplendent like the moon, as
springingfrom the sacred syllable Hrih and wearing the Jatamukuta,"He has within his matted hair the figure of the god, Vajradharma,isthe destroyer ofright hand
1.

2.

diseases,

exhibits the

Varada tnudra

and carries the lotus in the left.

Bhattasali

Gordonall::

IBBS, p. 24f,

ITL, p, 66

PI.

VII,a.

3.

Clark

:

TLP, II, pp. 202, 264.

in theBODHISATTVA AVALOKITESVARA
"He

in

sits

his right is Tara,the Lalita attitude, is peaceful and resplendent. To
who has a peaceful appearance, exhibits the Varada

mudra and carries the lotus.
"To the left is Hayagnva, whoand carries the131

staff ingesture of bowing

displays thehis two hands.

He

is redin colour,

appears

terrible and is clad in the" garment of tiger-skin".

the Sadhana adds an account of theLater,

deities

keepers.

constituting

andthe Lokanatha

Mandala, including the Bodhisattvas
The relevant text is given below :the'Tadvaratakastadale padme Maitreyadirh ca vinyaset

I

II

Maitreyah pitavarnasca nagapuspavarapradah

Ksitigarbhah syamavarnah kalasarh cabhayarh tatha
Vajrapanisca suklabho vajrahasto varapradah

I

II

Khagarbho nabhahsyamabho cintamani-varapradah
Manjughosah kanakabhah khadgapustakadharakah
Gaganaganjo raktavarno nilotpalavarapradah

gate-

I

II

I

Viskambhi tu ksaravarno ratnottamavarapradah
Samantabhadrah pitabhah ratnotpalavarapradah
Dhupadicaturddevi ca Vajrankusyadidvaragah

II
I

II

Varnayudhe yathapurvarh mandalasyanusaratah I
Evamvidhaih samayuktarh Lokanathsrh prabhavayet

II".

Sadhanamala, pp. 49-50(t

On the eight petals of the lotus [on which the god sitsj should
and others.

the gods Maitreya

placedMaitreyacarries the Naga [kesara] flower and exhibits the

bha

is

pose.

is

be

yellow in colour

Varada pose.

Ksitigar-green colour, carries the Kalasa and exhibits the Abhaya
Vajrapani is whitish in colour, carries the Vajra and exhibitsof

Khagarbha has the colour of the blue sky,carries the Cintamani and exhibits the Varada mudra.
Manjughosaand carries in his two hands the sword andis of golden complexion
theAbhaya mudra.

the

book.

exhibits

Gaganaganja is of red colour, carries the lotus andVarada mudra. Viskambhin is ash-coloured, carries

thethe excellent jewel and exhibits the Varada mudra.
isyellowish

the Varada

in complexion,

mudra.

carries the

Samantabhadra
and exhibits

jewel on a lotus

The four goddesses Dhupa and others (accom-pany Lokanatha) and the (four goddesses) Vajrankusi and others
guard the gates, their colour and weapons being in accordance withthe canons the Mandala.

In thisway Lokanatha should be meditatedupon by the worshipper".

When represented, Lokanatha is generally alone and is occasionaccompanied by Tara and Hayapilva. In paintings of the complete Mandala alone all the companion deities are expected to be
ally

BUDDHIST ICONOGRAPHY

132

present.

Lokanathamay

different

Sadhanas

he may have the

;

sit

in

three attitudes

accordingto threethe Paryanka

Lalita,orthe

Out of all images of Lokanatha so far
the one from Mahoba is perhaps the best and the most

Vajraparyahka attitude.
discovered,Thereartistic (Fig. 105),

theBarodaMuseum.

is

The

a

bronze of Lokanatha (Fig 106) inSarnath image (Fig- 107) shows thefineminiature figure of Amitabha in the Samadhi mudra on the crown.
The Nepal image is made of pure ivory (Fig. 108). These last two
represent Lokanatha in the standing attitude,

5

HALAHALA

Colour

White

Faces

Hands

Six

Companion

Three
PrajnaThree Sadhanas in the Sadhanamala are devoted to the worship ofHalahala Lokesvara. Images of this divinity are rarely to be met within India, but in Nepal there are some, though they do not strictly follow

Sadhana.

theThe

distinguishing featureof Halahala

he

that

is

is

generally accompanied by his Sakti or female energy whom he carries
on his lap. The Sadhanas all enjoin the presence of the Sakti, but ina stone image from Nepal (Fig. 109), he is represented alone. According

to the Sadhana the god should be seated, but the image above referred
to represents him

in a standing attitude.

The Dhyana contained in oneof the Sadhanas is in verse and reads as follows"Hrlhkarabijanispannarh Halahalam:mahakrpam

I

Trinetrarh trimukham caiva jatamukutamanditarh

Prathamasyam sitam niladaksinam vamalohitam

II
I

Sasankardhadharam murdhni kapalakrtasekharam
Jatantahsthajinam samyak sarvabharanabhusitam
Sitaravindanirbhasam srngararasasundaram II

III

Sadbhujam smeravaktram ca vyaghracarmambarapriyam
Varadam daksine panau dvitiye caksamalikam II
Trtlye saranarttanam ca vame capadharaih tatha I
Dvitiye sitapadmam ca trtlye stanameva ca

IIIVamajanuna sitam Svabhadevlrh dadhanam. Vamena kamaladharam
daksinena bhujena Bhagavadalifiganaparam kusumasobhitajatakalapam,

Daksinaparsve sarpavestitam trisulam, vamaparsve padmasthakapalamnanasugandhikusumaih sampurnam,M
tam vibhavayet Bhagavantam.
1.

K. N. Dikshit :raktapadmacandre

Hlaksepasthi-

Sadhanamala, pp. 65-66.

Sx Scu!ptitfis from Mahoba, in the 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 bears on his head the crescent and the Kapala.
within his matted hair and he is decked inis

The Jma Amitabhaallornaments.

He is

resplendent like the white lotu.s and appears beautiful by the sentimentof passionate love he displays. He has six arms, a smiling face and isfond of garments of tiger-skin.

thethe second has the rosary, while the third flourishes

right hand,

first

He displays the Varada mudra in

The first

left hand carries the bow, the second the whiteandtheHe carries thelotus
third touches the breast (of his Sakti).

the arrow.

own creation on the left lap. She shows the lotus in thehand and the right is engaged in the act of embracing the god
Her

Sakti of his
left

Jata (matted

hair)

To theirdecorated with flowers.

is

right

the

is

Trisula entwined by a snake, and on the left is the Kapala on the lotus,

of fragrant flowers.

full

The god sits in the Lalita attitude on the red

1

lotus

'.

One image of Halahala is found in China

(I)

Face

.

PADMAN4RTTESVARA

6.

-

]

Eighteen

One

Armed
Arms

Eighteen

Asana

Dancing in Ardhaparyahka

SymbolDouble lotus in all hands

Three Sadhanasin the Sadhanamala are devoted to the worship

this variant of Avalokitesvara,allentirely

differentofand describing

widely different forms of the deity. It is, therefore, necessarythat all the three Dhyanas should be quoted and translated.
There isthreenodifficultyin taking the three to refer to Padmanarttesvara, because

all

doubt

set at rest by the fact that the

in

all

is

cases the same,

Mantra, where mentioned, isand that the Sadhanas always designate him as

Padmanarttesvara.

Images of Padmanarttesvara are rare in India. Fig. 110 illustrates
one good example from Nepal. It follows the Dhyana given below:'Tadmanarttesvaramnayena Arya-Avalokitesvara-Bhattarakarh atmanarh vibhavayet

ekamukham astadasabhujarh ardhaparyahkinam Ami*tabhajatajutamandalamsarvakarair-visvapadmadharinam,yoginlvrnd-

aparivrtam, daksinavamaparsvasthita-Tara-Sudhana-Bhrkuti-Hayagrlvam

divyalahkaravastrabhusanam
1.

Clark : TLP, II, 265.

."

Sadhanamala, p.

77.

BUDDHIST ICONOGRAPHY

134"The worshipper should think himself as Bhattaraka Avalokitesvarain the form of Padmanarttesvara, who is one-faced andHeiseighteen^armed.
stands in the Ardhaparyahka attitude, and on his Jatamukuta there
an effigy of Amitabha. He carries the double lotus in all his

surrounded by a host of Yoginis. His rightand left sides are occupied by Tara, Sudhana, Bhrkuti and Hayagnva.
He is decked in all kinds of divine ornaments and dress".

hands and(eighteen)is

The Asana prescribed in the Sadhana is the Ardhaparyanka. This
Asana may have two \arieties the ordinary, which is also called the;cases of Vaglsvara and Simhanada, and the dan-

Maharajalila, as in thecing variety,(ardhaparyankena natyastha) as in the cases of Heruka,

VajravSrahi and others. As the word 'narttesvara' means the "God ofDance or the "God in a dancing attitude" the Asana of Pad man antes7 'vara may be taken as the dancing variety of Ardhaparyanka, and this isborne out by the fact that the Nepal image illustrated in Fig. 110 shows
the god in this particular attitude.

This image hails from the Sarasvatl-sthana or thethe god

Manjusri Hill at Svayambhuksettra in Nepal. Though
here represented with only two of the companion deities,

isyet the principal

figurecorresponds

into theall details,

description

given in the Sadhanamala.

One statuette of this god
statuette is illustrated in Fig.

Red

Mudra

Sue!

found

in

China

This

l
.

Chinese

111.

(II)

Colouris

Two-Armed
Companion

VahanaSakti

Symbol Lotus
AnimalAnother form of Padmanarttesvara is described in a second Sadhana.
and the Dhyana contained therein runs -as follows:

atmanam"Padmanarttesvaram
bhavayet sattvaparyankanisannarii
dvibhujaikamukham raktam sakalalankaradharam Amitabhamukutam
vamaparsve Pandaravasinlsamaslistam
alinganabhinayasthitavamabhu'
jena raktapadmadharam, narttanabhinayena Sucimudraya vikasayadaSadhanamala, p. 75.
paradaksinakaram...".
'The worshipper should think himself as Padmanarttes\ ara, who
is seated on an animal, is two-armed and one-faced.
His colour is red,and he is decked in all kinds of ornaments he bears the effigy ofAmitabha on the crown and is embraced by Pandaravasinl in the left.
;

His left hand, which carries the lotus, is raised in the(the Sakti ),while therightshows theact of embracing

SucimudraJdancing... \
1.

Calrk

:

""

TLP, II, 193.

in theactof

BODHISATTVA AVALOKITESVARA

135

The same Sadhana which contains the Dhyana quoted above, gives
description of the Mandala, and adds the information that the lotusaon which the god sits has eightpetals. The petals contain one goddess
For instance, on the East petal there is Vilokinl, white in colour

each.

and carrying the red lotus.

The South is occupied by Tara of green
Bhurim is in thecolour, holding the Palasa and the lotus flowers.

yellow in complexion and carries the Cakra and the blue lotus*
Bhrkuti is in the North, with white colour holding the yellow

West,

is

lotus.

In thecolour andNorth-East there

holds the red

is

who

Padmavasini,lotus.

The South-Eastisisyellow inoccupied by

Visvapadmesvari, who is sky-coloured and holds the white lotus. The
South* West is occupied by Visvapadma, who is white and carries thetheblack lotus.

In theNorh-West there is Visvavajra of variegatedcolour holding the double lotus].

112 illustrates a

Nepalese drawing of the principal deity
it
does
not
with
the Sadhana in all details.
although
agree
Fig.

(Ill)

ColourEight- Armed

Arms

Red

Asana

Eight

Dancing in Ardhaparyahka

One Sadhana in the Sadhanamalaof Padmanarttesvara.

describes an eight-armed form
The Dhyana contained therein is given below:"Namah Padmanarttesvaraya.
Tatra Visvapadmopari

ttesvaram

raktavarnam

candre rakta-Hrihkaraparinatam Padmanar-ekamukham jatamukutinam trinetram,

sarvalankarabhusitam

bhujamtandavam.

sarpayajnopavitam

Prathamabhujadvayena nrtyabhinayam, dvitiyadaksinabhu-

jena hrdi vikasayantam sucimudram, vamabhujena

dhrtam,asta-

ardhaparyahkena

trtlyabhujadvayena

raktapadmam

vajravaddandatrisuladharam,sirasicaturtha-bhujadvayena aksasutrakundikadharam, astadevlparivrram, evambhutarh
Padmanattesvaram Lokanatham bhavayet/'
Sadhanamala, p. 76.
4

Salutation to Padmanarttesvara!

Here theon theworshipper should think himself as Padmanattesvara,
moon over the double lotus, originating from the sacredsyllable Hrlh.

He is

red in colour with one face, the Jatamukuta,

He is decked in all sorts of ornaments,
wears the sacred thread of a snake, and dances in the Ardhaparyaftka

three eyes and eight arms.

The first pair of hands exhibits the dancing pose thesecond right shows the Sucimudra against the chest, the second left
holds a red lotus over his head.; the third pair carries the staff andattitude.

;

the Trisula, stamped with the Vajra ; while the fourth pair carries the1

Sadhanamala, pp, 7576.

BUDDHIST ICONOGRAPHY

136

and the water^pot. The principal god is surrounded by eight
goddesses. In such a manner the god Padmanarttesvara Lokanatha
rosaryshould be meditated upon".
7.

HARIHAR1HARIVAHANA
Arms

ColourWhite

VahanaSithha, Garuda and Visnu

The composition of theSix

so queer that great difficulty isexperienced in recognizing the images of this form of Avalokitesvara,
The Sadhana
called by the peculiar name of Harihariharivahana.
deity

is

description of the god, but is practically silent as ro why suchIndia
a special name is given to this particular variety of Lokesvara.
gives ahas not given uptil

now any image

rare even in Nepal.

There

and a bronze

in oneisof Harihariharivahana andonly one sculpture

it isat Svayambhuksettraof the monasteries at Pattan, and both of themfollow the Sadhana faithfully. The lion is lowermost, on it rides
Garuda. On the back of Garuda, again, rides the Hindu god Visnu

with the four symbols, the conch, the discus, the mace and the lotus.
On the shoulder of Visnu rides Lokesvara. The lion, the Garuda

and the god Visnu,

allvehicle of LokesvaraisacquirestheSaclhanamala

have 'Hari' as their synonym and because thecomposed of three 'Hari's, the principal god

name of Harihariharivahana.
aredevotedtotheworship

Two

Sadhanasof this

form

the

in

of

Arya

Avalokitesvara and the Dhyana in one of them describes the god in
the following terms :-Harihanharivahanodbhavam

Bhagavantarh

Arya-Avalokitesvaram

sarvangasuklam jatamukutinam santavesam daksinakarena Bhagavantarh
Tathagatam saksinam kurvantam dvitl>ena aksamaladharinam trtlyena

duhkuhakam lokam upadesayantam vamena

dandadharam dvitiyena
kamandaludharam
simha*garuda-visnu-

krsnajinadharam
trtlyena
skandhasthitam atmanam dhyatva..."Sadhanamala, p. 77"The worshipper should think himself as the Harihariharivahana formof god Avalokitesvara, white in all limbs, with the Jatamukuta (crownof matted hair) and clad in graceful garment?. He cites the Tathagata
as witness with oneof his right hands, carries the rosary in the second,and instructs deluded people with the third. He carries the staff in

one of hisin theleft hands,

third.

the deer-skin in the second and the Kamandalu

He sits on the shoulder of Visnu below whom

are Garuda and the lion.

Thus meditating..."there

BODHISATTVA AVALOKITESVARA
of Hariharharivahana

In the drawing

thereof 'Hari'

illustrated

in Sanskrit,

not required by the

Sadhana.

an actual elephant is seen.

In

the principal god in all details.

Appendix

113

Fig.

is

a

Nepalesedrawingin

one of the

left

of

hands,

other respects the drawing represents
This deity is also known in China
1.

TRAILOKYAVASANKARA

8.

Red

Colourthelion.

and here instead of the deer-skin

the godin

The snake also has the synonym
and that is how a snake is added, although it issnake below the

a

is

137

Asana

This variety of Lokesvara
or Oddiyana Lokesvara

isVajraparyanka

known byalso

the name of Uddivana

or Lokesvara as

which was, in the middle

worshipped in Uddiyana
great centre ofTantric learnmg.lt

ages, ahas already been shown that there are good grounds for identifying
this Uddiyana with the village of Vajrayogini in the Pargana Vikrampur
thein

district

Dacca nowofin

Eastern

Pakistan.

This form ofLokesvara does not seem to have been widely represented. Thereis a bronze image of the god in the Kva Vahal at Pattan in Nepal,
but it does not follow the Sadhana in all details. Two Sadhanas in
the Sadhanamala are devoted to the worship of Trailokyavasahkara
and the Dhyana contained in one of them is given below :-"Lokesvaiam

sarvahgamaharagaraktarh

ekamukham

dvibhujam

trinetram jatamukutamanditam vajrankitapasahkusahastam raktapadme

atmanamdiv^abharanavastravibhusjtam
Sadhanamala, p. 80

vajraparyahkanisarmam
vicintya".

"The worshipper should think himself as Lokesvara whose limbs
are reddened b> the intense sentiment of passion, ar d

who is one-faced,

two-armed and three*eyed. He w ears a crown of matted hair, andhis two hands the noose and the goad stamped with thercarries inHeon a red lotus in the Vajrapar>ahka attitude and"Thus meditating..
is decked in celestial garments and ornaments.
The Dhyana, it may be noticed, does not expressly mention thename of Trailokyavasankara which is given in the colophon. It
further says that the Sadhana is composed by the great Tantric savant,Sarahapada, famous in the Middle Ages as one of the eighty-four
Vajra.

isseatedMystics'.

Twoof Avalokitesvara occur in the

Two

Mahasiddhas'Greatillustrations

1.

Clark

Clark

18

:

TLP, II, p. 266
TLP, pp. 219, 266.

this

form

Lamaistic Pantheons of Clark 2

Fig. 114 illustrates one of the statuettes in China.

2.

of

*

BUDDHIST ICONOGRAPHY138

RAKTAIOKESVARA

9.

I

(

Armed

Four

)

Arms

Red

ColourFour

Tara and Bhrkuti

Companions

Two Sadhanas in the Sadhanamala are devoted to his worship, but
the two Dhyanas describe two widely different forms of the god. It isnecessary, therefore, to quote and translate both the Dhyanas.
of the Dhyanas describe him thusOne:

Tara-Bhrkutidevidvayasahitam"Daksinottaraparsve

Arya^Avalo-kitesvara-Bhattarakarh raktavarnam raktama.yambaranulepanarh pasah-kusadhanurbanadharamcaturbhujam,.raktakusumavatasokataroradhastat
avasthitam atmanarii vicintayet...

Sadhanamala, p. 83

Rakta-Lokesvarasadhanam""The

worshipper

should think himself as Arya^Avalokitesvara,

who is flanked in his right and left by the two goddesses Tara andBhrkuti. He is red in colour, wears red garments and is besmearedwith red unguents. He carries in his four hands, the noose, the goad,the bow and the arrow., and stands under the Asoka tree, which has
1 'blossomed into red flowers.
The colophon of the Sadhana attributes to him the name of RaktaLokesvara and this name is given simply because his colour is red.
Images of Rakta-Lokesvara are rare. A few can be seen in the Kva

Vahal at Pattan in Nepal. Statuettes of Rakta-Lokesvara are found in
China under the title of Caturbhuja Avalokitesvara *. This Chinese
statuette is illustrated in Fig. 115.

(

ColourII)

Two-Armed

Red

Mudra

SymbolLotus

Opening of the Petals

The second Sadhana in the Sadhanamala
form of the god Rakta-Lokesvara*

describes a two-armed

This two-armed form

with either in painting or in stone.

isnot metThe Dhyana contained in the

Sadhanamala describes this two-armed form in the following words'Raktavarnam Amitabhagarbha jatamukutadharam vamakaragrhita:*

raktapadmam

tacca daksinakarena vikasayantam vividhalankaravastra-

vibhusitam...".

Sadhanamala, p. 84"The worshipper should think himself as Rakta-Lokesvara of red
colour, having a Jatamukuta
1.

Clark

:

TLP, II. p. 219.

(crown of matted hair) bearing theeffigyBODHISATTVA AVALOKITESVARA

139

He carries the red lotus in the left hand, and opens itsof Amitabha.

petals with the right and is decked in various ornaments and dress../'A reference may here be made to the Dhyana of Vajradharma
another variety of Lokesvara, equally unrepresented, whose form will
be described later in this chapter. The forms of Rakta-Lokesvara andVajradharma are almost identical with the difference that the Sadhana
enjoins for Vajradharma, the Vahana of a peacock.

MAYAjALAKRAMA

10.

Faces

Five

Hands

TwelveAsana

Pratyalidha

ColourBlue

As the Sadhana for the worship of this particular formof Avalokit*

occurs originally in the Mayajala Tantra, this peculiar namehas been given to the deity. This is the only fierce form of Lokesvara
esvara,known to theIndian Buddhists, although fiercer forms are to be met

with in the Tibetan Buddhist Iconography.

The Dhyana given in the

Sadhanamala describes him in the following terms"Bhagavantam Arya-Avalokitesvaram krsnavarnam pratyalldhasthaih:pancamukham

suryamandalasthitarhtrinetram

dvadasabhujarh sita-

raktadaksinamukhadvayam tatha pitaharitavamamukhadvayam daksina"
bhujaih damaru-khatvanga-ahkusa-pasa"vajra'Saradhararh, vamabhujaih

tarjam-kapala'raktakamala'mani'cakra-capadharam darhstrakaralasakal'
avadanarh sanmudropetamsardramundamalalankrtasai Iram nagnam
sarvahgasundafarh atmanam jhatiti pratyakalayya..."Sadhanamala, p. 86"The worshipper should think himself as Arya^Avalokitesvara, whose
colour is blue. He stands in the Pratyalidha attitude, on the orb of thesun. He is five^faced, three-eyed, twelve-armed, with the two rightfaces of white and red colour, and two left of yellow and green colour.

He carries in his right hands the L
the goad,3.

4.

the noose,

Damaru, 2. the Khatvanga,
the Vajra and the 6. the arrow, and5.

in the left hands the1.

raised index finger, 2.

the jewel,5.

the discus, and 6.

lotus, 4.

terrible withbare fangs.

the Kapala, 3. the red
the bow. His faces look

He wears the six bone ornaments and hisheads. He is nude and appears

person is embellished by the garland ofThus quickly meditating..."
One illustration of this form of Lokesvara occurs

beautiful in all limbs.

Lamaistic Pantheons of

Svayambhuksettra.

A

Clark lthe Appendix.
1.

Clark V

in

the

Two

His statue can be seen in Nepal at
Nepalese drawing of this form is illustrated in

TUMI, p. 267

.

~~~

140

BUDDHIST ICONOGRAPHY.

NfLAKANTHA

11.

ColourYellow

Asana

Mudra

Samadht

SymbolCompanions

Vajraparvahka.

Bowl of Jewels

Two serpents on either side

One Sadhana only is devoted to the worship of this form of Lokesidentical with that of Amitabha, his sire, whose
image he bears on his head. Indeed, this mark of descent and thesacred thread he wears, constitute the only points of difference between
vara, which is almost

Amitabha being a Dhyani Buddha,

them.

has no father.

Nilakantha,

according to the Sadhana, is accompanied by two serpents. The Dhyana
isgiven below"Bhagavantam pitavarnam ardhacandrahkitajatamukutinam
bhopalaksitasirahpradesamcarmani vajraparyankinam

paladharinam

raktapadmoparisthitam;

Amita-

krsnasaraharina-

samadhimudropari

nanaratnaparipurnaka-

eneyacarmakrtayajnopavltinam,

vyaghracarmambara-

dharam nirabharanam Nilakantham nilagutikavisistakantham;

parsva-dvaye parasparabhisambaddhapuccha'Samaniphanavisista-Bhagavadavalo-

atmanamevarhkanaparordhvamukhakrsnasarpadvayopalaksitam
85-86
Sadhanamala, pp.
vibhavayet-..
"The worshipper should think himself as the god Nilakantha, who isyellow in colour and whose Jatamukuta is adorned with the crescent andthe effigy of Amitabha. He sits in the Vajraparyahka attitude on a red

on which is spread the skin of black deer. He exhibits theSamadhi mudra with his two hands carrying the Kapala (bowl) filled
lotus,of gems. His sacred thread is made of the deer-skinwears the tiger-skin, and bears no ornaments (on his
He(eneya-carma).
withavarietyperson). His throat shows the blue pill (of poison). The two sidesof the god are occupied by two cobras with jewels on their hoods andtails

entwined with each other. They look towards the god.

Thus

mediating..."Apparently, the conception of this god has been modelled on the
Hindu deity Siva, who is said to have saved the world from destruction

by swallowing the poison that issued from the mouth of Vasuki, thelord of serpents, while the gods and demons were churning the ocean

The poison, could it have entered Siva's stomach, would
have
destroyed him, but it remained in his throat, and as thesurelyofthecolourpoison is said to be blue, there is a blue spot in thewhite throat of the god. That is the reason why the name Nilakantha
together.

(Blue- throat)hasbeen given to

Siva.

As

this

particularform ofLokesvara has also the same name, it may well be that its origin was the

Hindu god Siva Nilakantha.

BODHISATTVA AVALOKITESVARA

141

A confusion is likely to arise in the identification of the images of
Nilakantha and Vajraraga, a variety of Manjusrl, if rheir respective
The only point of distinction in that casesires are not represented.
would be the total absence of ornaments and rich garments in the case
If the image bears princely ornaments and is richlyof Nilakantha.

clad, it must be identified as that of

ManjusrL

temple of Bodhnath in Nepal, a coloured image of thisfound, but here he is alone, without the serpents. The otherIn thegod

isimage, (Fig. 116) hails from the monastery at Sarnath. In this sculpture
two tiny figures carrying bowls are seen instead of two serpents.

One statuette of this deity occurs in the Chinese collection

White

Colourshort

Sadhana

Avalokitesvara.

.

SUGATISANDARSANA

12.

One

l

in

Arms

Six

the Sadhanamala describes this form of

The Dhyana for Sugatisandarsana describes his formin the following words :''Sugatisandarsana-Lokesvara-Bhattarakam

suklavarnarh sadbhujam

varadabhayaksamaladharam daksme, vame padmakunditridandidharamca ratnabharanabhusitarh vratasutradharinarh jatamukutarh padmopari
Sadhanamala, p. 88
candramandalasthitam saumyaruparh bhavayet".

The worshipper should think himself as Bhattaraka Sugatisandarsana
Lokesvara white in complexion, six-armed, showing the Varada and
Abhaya poses and the rosary in the three right hands, and carrying
the lotus, the water-pot and the staff with three horns in the three left

He is decked in ornaments and jewels, wears the sacred thread
and a crown of matted hair. He stands on the moon over lotus
hands.

and is peaceful in appearance'*.
Lokesvara
Fig. 117 illustrates a Nepalese drawing of Sugatisandarsana

which agrees with the Sadhana in major details.

PRETASANTARPITA.

13.

ColourOnly one Sadhana

in

White

Arms

the SadhanamalaSixdescribes this form of

The Dhyana describing the form of Pretasantarpita
brief and is worded as follows
Avalokitesvara.

is:"Jatamukutinarh sadbhujam prathamabhujadvayena varadau dvitlyabhujadvayena ratnapustakau trtiyabhujadvayena aksamalatridandikam,sarvalankarabhusitarh vratasutradharinam

saurnyamurtim, padmopari

candramandale sthitam svetavarnarh vibhavayet".
Sadhanamala, p. 89
1.

Clark : TLP,

II,

p. 267,

BUDDHIST ICONOGRAPHY

142"The worshipper should think himself as Pretasantarpita Lokesvara

who bears the Jatamukuta (crown of matted hair), is six^armed, exhibits
in the first pair of hands the Varada poses r carries in the scond pair thejewel and thebook, and in the third pair holds the rosary and the
Tridandi (staff with three horns).
He is decked in all sorts ofornaments, wears the sacred thread, has a graceful appearance, standson the orb of the moon on lotus, and is white in colour/'Fig.

118 illustrates a Nepalese drawing of Pretasantarpita Lokesvara.

SUKHAVATl LOKESVARA

14.

Faces

Three

Six

Asana

LalitaCompanion

Sakti

Colour

Arms

White

A description of the deity occurs in the Dharmakosasafigraha ofAmrtananda.

Nepal abounds in images of SukhavatI Lokesvaia bothbronze, though his images are not found in any other
Buddhist country of the North. The description above referred toin stone andinruns as follows:**Trimukhah svetavarnah sadbhujah dakse mudrah, saraksepa-japamala-varadani, vamesu dhanuh-kamala-Tarorusamarpanani lalitasanah
Vajratara-Visvatara-Padmatarabhih

kamalopari,

parivrtah.

Uparicaityah.

SukhavatI Lokesvarah""Sukhavati Lokesvara is three-faced, white in colour, and six-armed.

One of his right hands

is in the act ofshooting an arrow, the remainIn two of his left hands

ing two have the rosary and the Varada pose.

hecarries theof Tara.

bow and the lotus, and the third is placed on the thighHe sitsin

Lalitasanaon thelotus, and is surrounded by thegoddesses Vajratara, Visvatara, Padmatara and thelike.

There isaCaitya on the top".
Fig. 119

illustrates

SukhavatI Lokesvara.
is without thea sculpture from Nepal representing the deity
Here the god is in the company of his Sakti but

other companions as prescribed.
15.

VAJRADHARMA

ColourVahanaPeacock

Reddish White

SymbolLotus

One Sadhana in the Sadhanamala describes this form of Avalo*kitesvara.

peacock.

The distinguishing feature of this god is that he rides a
The Sadhana in question is entirely in verse, and theBODHISATTVA AVALOKITESVARA

143

relevant portion containing the description of the form of Vajradharma

below

is given'Tarn:sitarhraktavarnam tu padmaragasamadyutirh

1Pancabuddhamukutadharam harsenotphullalocanarh
Vamato spardhaya nalam dhrtva sodasapatrakam I

Padmam vikasayantanca hrdi daksinapanina

II

II

Mayuropari madhyasthe nisannam candramandale
Sattvaparyankamabhujya sasrngararasotsavam
Caityantahsthamahakarma-kutagaraviharinam

I

II
I

Bhavayet Vajradharmagryam nityam Bodhim avapnuyat."II

Sadhanamala, p. 33.

'The worshipper should conceive himself as excellent Vajradharma,of reddish white complexion, bright as the Padmaraga gem,bears the effigies of the Five Dhyani Buddhas on the crown.
eyes beam with delight

who
His

and he holds with pride the stem of a lotus
with sixteen petals in his left hand and with the right causes it toblossom against his chest. He sits on the moon overlotus on;the back of a peacock, enjoys his seat of the animal and displays
the delightful sentiment of amour. He moves in the sanctum of thetheCaitya,

place

for

great

He

performances.

(theworshipper )certainly receives the Bodhi who meditates (upon him) in this manner."Fig.

120 illustrates a Nepalese drawing of the deity.

also occurs in the Chinese collection

A statuette].

GENERAL
The conception of Avalokitesvara
B. C.

is

as

old as the third century

He was first ushered into existence by theabout the time of Asoka, in their work,

Mahasanghikas,

entitled, Mahavastu Avadana,

where he has been characterised as the "Bhagavan who takes theform of a Bodhisattva, whose duty it is to look round (Avalokita)
for the sake of instructing the people and for their constant welfareThis Avalokita Bodhisattva no doubt gave rise to
and happiness" 2
the concrete form of Avalokitesvara, even before the second century
A. D. and his images can be traced from the Gupta period onwards.
He first appears in the Sukhavati Vyuha 3 and a passage in the
Karandavyuha where he is said to manifest in all possible forms of.

,

godheadfor thesake of theignorant and to bring salvation to1.

Clark:

TLP, II, p. 265.

2.

Senart :Le Mahavastu, Vol. II, p. ,294

3.

This work was

firsttranslated into Chinese between A.D.

1

48 and 1 70 while

the smaller recension was translated into the same language between A.D. 384

and 417.

Max Muller:

Sukhavati Vyuha, introduction* pp. iii-iv.

BUDDHIST ICONOGRAPHY

144

mankind, accounts undoubtedly for thegreat number of his forms.

As

different people belonged to different faiths, this Compassionate
Bodhisattva wa* obliged to assume the shape of all gods of all faiths,
nay, even the shape of father and mother. Avalokitesvara thus isgiven no less than 108 forms which

Macchandar Vahal atKuthmandu
purpose of identification.

by an expert Nepalese
Appendix.

To this aof Avalokitesvara.

Allare painted

on the walls of thewith inscriptions for thethese paintings have been copied out
in Nepaland arebook in anreference mav be made for the numerous forms
artist,illustrated

in

this

CHAPTER V
EMANATIONS OF AMITABHA
GODS
I.

Besides Avalokitesvara and a few forms of Manjusn already des*cribed, only two male divinities in the Sadhanamala emanate from

Dhyani Buddha Amitabha. These are Mahabala and Saptasatika
Hayagrlva. Their parental Dhyani Buddha, it may be remembered, isdistinguished by his red colour, the family symbol of lotus, and theSamadhi mudra he displays. His offsprings Mahabala and Hayagrlva
belong, therefore, to the lotus family and should show the signs
theof the family.

characteristic

They

are

studiedbelow in the orderof their importance.
1.

Colour

MAHABALA

Red

Asana

Arms

Pratyalidha

Four

Only one Sadhana in the Sadhanamala is devoted to the worshipof Mahabala- a fierce emanation of the Dhyani Buddha Amitabha

The Dhyana is given below:"Mahabalarh ekamukharh

caturbhujarh

sarvangaraktam

urdhva-pingalasarpavabaddhakesarh daksinabhujabhyarh sitadanda-sitacamaradhararh vamabhujabhyarh vandanabhinaya-sapasatarjamkararh \yaghra-

carmanivasanarh sarpabharanarh pratyalldharh

damstrakaralavadanam

suryamandalaprabhumalinarh Amitabhamukutinarh dhyatva..."Sadhanamala. p. 507.
worshipper should think himself as Mahabala with one
His brown hair rises upwards
face, four arms and red complexion.
and is tied by a snake. He carries in his two right hands the white'The

and the chowrit while the two left show the mudra of bowing
and the raised index finger. He is clad in tiger-skin, wears ornaments
His face looksof snakes and stands in the Pratyalidha attitude
He
terrible with bare fangs and he is bright like the orb of the sun.
staff

holds the effigy of Amitabha on the crown".

Two statuettes of Mahabala are known to the Chinese collection
at Peiping

Clark-19l.

TLP II,pp. 49, 217.
t

BUDDHIST ICONOGRAPHY

146

SAPTASATIKA HAYAGRIVA

2.

Red

ColourSymbols

Special Feature

Vajra and Danda

Horse-head

Hayagriva has several other forms and these will be described at
One of these forms is said to bear the effigy
their appropriate places.
Iof Amitabha on its crown This particular form of Hayagriva, therefore,should refer to the spiritual son of Amitabha with the red colour and

The present Sadhana describing his form
colophon that it is restored from the Saptasatika Kalpa.
This particular form of Hayagriva, therefore, is designated as the
Saptasatika Hayagriva. \The Dhyana contained in the Sadhana isgiven below
theSamadhi mudra,states in the:"Raktavarnarh mahabhayanakarh trinetrarh
kapilasmasruraudrarh
brhadudararh damstrakaraimarh dantausthakapalamahnarh jatamukutinarh Amitabhasiraskarh,hayananarh

Dvitlyamukharh bhimabhayanakarh nilarh
Brahmandasikharakrantarh dvitlyena

hihikaranadinarhbhavagraparyantarh astanagopetarh kharvavamanakararh vyaghrcarmanlvasanarh sarvalankarabhusitarh sakaladevasurarh tarjayantarh grhita-

Sadhanamala, p. 509*

vajradandarh...vicintayet".

V'The worshipper should conceive himself as (SaptasatikaJHayagnva)of red complexion, whoand a brown beard. Heist erFiBIy a w e ^inspirTng

is angry,with three-eyes,
His faceand has protruding belly.

appears terrible with bare fangs ; he wears a garland of skulls withteeth and lips, is crowned with his Jata and the figure of Amitabha.

His second facedistorted like that

is

of

a

horse, which is blue inHe tramples on the top of the wqrld
with one leg and the bottom of the world with the other. He wears
ornaments of eight serpents, is short and dwarfish, is clad in tiger-

colour and neighs incessantly.

all ornaments.
He threatens all the gods and
and
the
staff
holds
the
and
Vajra
(in his two hands)".
Asuras,theisthat
not clear about the number
benoticedIt mayDhyanaof hands and faces but it seems from the description that Hayagriva

skin and decked in;isendowed with athere isface, terrible in appearance, over which
This horse's head over the principal face,

principal

the horse's head.

is found only in case of Hayagriva, and distinguishes him from allother Buddhist deities. But when, as a minor god, he accompanies
others, the horse's head is not seen as a rule. In such cases, theDanda orthe staff

Dhyanaalso

itservesasappears that hethe identification mark.
is

From thetwo-armed and carries the Vajra

and the Danda, the Vajra being generally held in the right hand, while

EMANATIONS OF AMITABHA
Danda

the

colophon

is

is

147

in the left.
About the name, however, theand it asserts that this Sadhana has been restored

carriedcertain,from the Saptasatika Kalpa, that is to say, a ritual work consisting ofletters that can make up seven hundred verses in the Anuscubh metre.
Images of Hayagriva are found in Tibet

J

and China -.

The female divinities that emanate from the Dhyani Buddha
Amitabha are three in number, the most important and popular among
them being Kurukulla, to whose worship no less than fourteen

Two Sadhanas are devoted
to Bhrkuti and one Sadhana only to Mahasitavati. who is also included
Sadhanas are devoted in the Sadhanamala.

in theof the Pancaraksa deities or the Five Great Protectresses.

list

These goddesses as a rule are not represented in stone or bronze
paintings, however, are made by the Nepalese artists even in modern;

times.

3.

KURUKULLA

She is one-faced and may have two, four, six or eight arms.
sheis six -armed,

on her crown.

when

she bears theeffigiesof the five Dhyani

When
BuddhasWhen two-armed, she is called Sukla Kurukulla, andby the names of Tarodbhava
Kurukulla, Uddiyana Kurukulla, Hevajrakrama Kurukulla and Kalpokta
shefour-armed she

iscalledis

Kurukulla.

Kurukulla is said to confer success in the Tantric rite of Vasikarana
enchanting men, women, ministers, even kings. Someof the Sadhanas contain many interesting methods of casting spells

or theonrite ofThe mantra

different people.

Hum Hnhtimes, mi merilffe~~T?ewitched.

subduesufficient tonoless thana lakh.

of KurukullaisWhen this mantra is muttered

Svaha".

aminister,ten

thousandThirty thousand times would prove
but the subjugation of a king requires

She can even confer on her devotees the powerof subduing all ministers and kings.

Images of Kurukulla are foundin Tibetix

and China 4 and she isvery popular in these countries. The different forms of Kuiukulla asavailable in the Sadhanamala are dealt with in the following pages.

GNB, p. 163 as Hayagriva.

).

Gordon2.

Clark : TLP, II, pp. 59, 164, 172, 198 under the title of Hayagriva.

3.

Getty
Clark

4.

:

ITL, pp. 90, 93;:

GNB, pp. 126, 127.

:

TLP, II, 105, 239,

Getty

:

Also Gordon;

ITL, p. 75.

BUDDHIST ICONOGRAPHY

148

SUKLA KURUKULLA(1)

ColourWhite

Symbols

VahanaAnimalAsana

Rosary and the Bowl of Lotus

Vajraparyahka

Only one Sadhana in the Sadhanamala states the method whereby
be propitiated. The Dhyana contained therein is a long
one and runs as follows

she should:"AtmanamBhagavatlrh

aksasutrotpalamrtakundim savyavasavya-

panibhyam dadhanam, trinetram Padmadhrkpramukhaih sarva-Tathagataih

Vmadisodasadevlbhir-abhisiktam Amitabha-virajitananapuspo-

kincit-savyapanipallavapasobhitajatamukutam srhgaradirasopetam,
sthaksasutramalokamanam, ksirambhodhisvetavarnabjastham-amrtafxko*
pari

sattvaparyahkasanastham, kahkana^keyura-kundala-nupuramukta-

haradivyavastradivibhusitam nllanantabaddhakeslm

kikrtaharam,

rakta-Taksakakitakarnograkundalam,piyusavarna-Vasu-

durvasyama-Kar-kkotakakrtayajnopavltam, sukla-Padmanagendrakrtaharam,

mrnalavar-

dhuma
pita-Sankhapalakrtakankanam,na-Mahapadmakrtanupuram,bhravat-Kulikakrtakeyuram, subhravarnam sravadamrtavigraharh karunardracittam bhavayet.
Sukla-Kurukulla'Sadhanam".

Sadhanamala, pp. 362-363"The worshipper should think himself as the goddess (Kurukulla),

who carries

the rosary and the cup of Utpala full of nectar in theleftandhands respectively. She is three- eyed and is offeredrightbathing water by (the Bodhisattvas) Padmapani and others, by all the
Tathagatas and the sixteen damsels beginning with Vina. She wears

the

which

Jatamukuta

miniature figure of
ate love,iswith various flowers and theShe displays the sentiment of passion-

decorated

Amhabha.

and other sentiments, and turns slightly to have a look at therosary which she carries in her leaf-like hand. She sits on an animal
and rests on the nectar- like lap of the white lotus, that rises fromthe ocean of milk. She is decked in bracelets, armlets, ear-rings,
Her hairanklets, pearl-necklace, and is clad in celestial garments.
is tied up by the serpent Ananta of blue colour, her necklace is formedby the milk-coloured Vasuki, and her prominent ear-ornament(Kundala) by red Taksaka, her sacred thread is the green Karkkotaka,
her girdle is the white Padma the lord of serpents, her Nupura (anklet)isthe serpent

Mahapadmaof thecolour of thelotus stalk, her

Sahkhapala, her armlet is Kulika of the colour
She is white in colour, and seems to diffuse nectar.

bracelet is the yellowof smoky clouds.

She possesses a heart which is melting with compassion."

EMANATIONS OF AMITABHAThis lengthy descriptionissufficient149

to give

one avivid pictureof the form of Sukla-Kurukulla, which has many features in common
with the other varieties to be described briefly hereafter. It is notnecessary to quote and translate all the Dhyanas given in the Sadhanamala, because that would only serve to increase the bulk of thebook unnecessarily.
(II)

TARODBHAVA KURUKULLA

Asana

Arms

Red

ColourVahanaVajraparyanka

Four

Kamadeva with wife on Rahu

Five Sadhanas differing but slightly from one another describe thisform 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 andthe seat of a red lotus. She has four arms. The two left hands
show the Abhaya mudra and the arrow, and the two right carrythebow andthe redShe

lotus.

sitsinthe Vajraparyanka attitude

and under the seat appear Kamadeva and his wife riding on thedemon Rahu. She has a red aureole behind her, she wears the effigy
of Amitabha on the crown, and resides in the Kurukulla mountain.

She is in the fulness of youth and displays amorous sentiments.
Sometimes she is seen charging a flowery arrow on the flowery bow,ready to strike.
Fig. 121 illustrates a recent Nepalese drawing(Ill)Appearance
Asana

UDDIYANA KURUKULLA
Terrible

Ardhaparyahka

ArmsThis form of Kurukulla
or Kurukullaof the deity.

isColourRed

VahanaCorpseFourcalled in Sadhanas

Uddiyana Kurukulla
This form

as worshiped in Uddiyana (mod. Vajrajogini).

of the goddess looks rather fierce, with the garland of heads, the fiveskulls on the head, protruding teeth and tongue, garments of tiger-skin,and brown hair rising above her head in the shape of a flame. Her eyes,
She is four-armed thered, round and moving, are three in number.
hands
in
is
to
of
the full the flowery
engageddrawingprincipal pair;bow charged with an arrow of red lotus, while the second pair holds thegoad of flowers and the red lotus.. She is red in colour and sits in the
Ardhaparyahka attitude on a corpse.
Fig. 122 illustrates one of her statuettes found in Peiping. Here the

Vahana of corpse is present.

BUDDHIST ICONOGRAPHY

150

(

IV

ASTABHUJA-KURUKULLA

)

Arms

Eight

ColourRed

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
This Sadhana is attributted in the colophon to the great

worship.

Siddhacaryya Indrabhuti, who flourished about 700 A. D. and who hada daughter even more illustrious than himself, Laksmmkara by name,in the doctrines of both Vajrayana and Sahajayana.
The
in
this
Sadhanaisdescribed
notterriblelikesix-armed
thegoddess
Mayajala Kurukulla or the four-armed Uddiyana Kurukulla, but iswell-versed

mild, youthful and compassionate

Sadhana

us

that

it

The most important feature of thegives the description of a complete Mandalawhich

comprises the principal goddess and twelve surrounding divinities. Fora better understanding of the form of this goddess and of the constitution of the Mandala, it is desirable that the Dhyana should be quoted
in extenso and translated:"Kurukullam Bhagavatim astabhujam raktavarnam raktastadalapadmasuryye Vajraparyankanisannarh kutagaramadh^anivasinirii prathamakaradvayena Trailokyavijayamudradharam, avasistadaksinakaraih
ankusarh akarnapuritasaram varadamudram dadhanam. parisistavamabhujaih

pasam

capam

dadhanam,

utpalamsakalalankaravatlm

bhavayet.

Purvadale Prasannataram, daks nadale Nispannataram, pascimadale
Jayataram,

uttaradale

Karnataram,

Aparajitam, nairrtyadaledhyayat. 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

Aksobhyamukutam, daksinahastabhyarh tarjany-ankusadharam, vama*
karabhyam vajraghantapasadharam
Daksinad\'are Aparajitam pltavarnam Ratnasambhavamukutam daksinahastabhyam
dharam.

dandahkusadharam,

vamahastabhyam

ghantapasa-

urdhvakesam

lambodaram

Pascimadvare Ekajatam krsnavarnam
dantavastabdhaustham Amitabamukutam,

daksmakarabhyam vajrahk-

sadharam vamakarabhyam ghantapasadharam.
Uttaradvare VajragSndhanm kanakasyamarii Amoghasiddhimukutam

vikrtamukhim lambodaram, daksinabhujabhyam

khadgankusadharaih

EMANATIONS OF AMITABHA

151

vamabhujabhyarh ghantapasadharam vicintayet.
Sadhanamala, pp. 351-352

Etascatasra alldhapadasthah""The worshipper should think himself as goddess Kurukulla, who
is eight-armed, red in colour, sits in the Vajraparyahka attitude, on theorb of the sun over the lotus with eight petals and resides in the
sanctum she displays the Trailokyavijayamudra in her first pair ofhands, 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,thebow and the Utpala

;

she

is

decked inallkinds ofornaments.

On the east petal is Prasannatara, on the south is Nispannatara, onon the north Karnatara
on the north-east petal
is Cunda, on the east Aparajita, on the south-west Pradlpatara, and on
the west Jayatara,;

the north-west is Gauritara.
five Dhyani Buddhas on

All these deities have red colour and thetheir crowns.

They

sit

in theVajraparyahka
and show in the two right hands the boon and the arrowdrawn up to the ear, and in the two left hands the Utpala and the bow.
attitude

In the eastern gate is Vjijravetali, who has a

protruding belly, distortted face, red complexion, the effigy of Aksobhya on her crown, andcarries in the two right hands the Tarjani and the goad, and in the twoleft the Vajraghanta and the noose.

In the southern gate is Aparajita, who is yellow in colour and has
the effigy of Ratnasambhava on her crown she carries in her two right;hands the staff and the goad, and in the two left the bell and the noose.
In the western gate is Ekajata, who is blue in colour with hair rising

upwards over head, anda protruding belly ; she bites her lips with
her teeth, bears the image of Amitabha on her crown and carries inher two right hands
bell and the noose.

the Vajra and the goad, and in the

In the northern gate

is Vajragandhari,

two left the

golden in complexion,

bears the image of Amoghasiddhi on her crown, has a

distorted

who
face

and portruding belly, and carries in her two right hands the sword andthe 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

152l

now lost

Mayajala Tantra by the Tantric author Krsnacarya
This form of Kurukulla is six-armed. In accordance with the Sadhana
she sits in the Vajraparyafika attitude, on the sun over the red lotus
the.

of eight petals. She is red in colour and is clad in red garments.
She exhibits the Trailokyavijaya mudra in the first pair of hands,
shows the Abhaya mudra and the sprout of a white Kunda flower
second, and the rosary and the Kamandalu in the third. She
bears the images of the five Dhyani Buddhas on the crown, and sits

in theon the back of the serpent Taksaka. She has another form with six
arms, which is not expressly called the Mayajala Kurukulla, and is
describedinanother

Sadhana.

exhibits the Trailokyavijaya

According to

mudra

in

the

first

that

Sadhana,shepair of hands, andAnkusa and the red lotus in the second pair, and the fulldrawn bow charged with an arrow in the third. Images of Kurukulla

carriesare rare.
4.

ColourBHRKUTf
Arms

YellowFouranother goddess emanating from the Dhyani Buddha,
Amitabha of red colour. She is already familiar as a companion of

Bhrkutiisminor goddess. When she accompanies Khasarpana she is yellow in colour and four^armed. She carries in her
two left hands the Tridandi and the Kamandalu. One of the two
attitude of bowing, while the otherright hands is raised in the
Avalokitesvara asacarries the rosary.

and two Sadhanas

Bhrkutiin theis also worshipped as a principal goddess,
Sadhanamala are devoted to her worship.

She is described in the following words:"Caturbhujaikamukhirh
pltarh trinetrarh navayauvanarh Varadaksasutradharadaksinakaram tridandikamandaludhaiavamakararh Amita-bhamudritam padmacandrasanastharh Bhagavatlrh
dhyatva...
Sadhanamala, p 341.
1

Bhrkutisadhanarh.'"The goddess Bhrkuti should be conceivedasfour-armed, one-

faced and yellow in colour, three-eyed and as

blooming with youth.
She shows the Varada mudra and the rosary in her two right hands,
and carries the Tridandi and the Kamandalu in the two left. Her

crownis stampedwith theof the moon over a lotus.

ineffigy of

Amitabha.

She

sits

on the orb

Thus meditating.,.."

Another Sadhana adds the information that she should be peacefulappearance and should wear a crown of matted hair. Images of1.

Sadhana No. 181, Sadhanamala p. 372.

EMANATIONS OF AMITABHA
Bhrkuti are rare, but they are

known in Tibet]

153

and China 2

.

123

Fig.

illustrates one of the Peiping images.
5.

MAHASITAVATl.

Colour- Red

Arms

Asana

Ardhaparyanka

Four

All the five goddesses constituting the Pancaraksa group are said toemanate from one or another of the Dhyani Ruddhas.
affiliated to her parental Dhyani Buddha Amitabha.

describing her form is as follows

Mahasltavatl

isThe short Sadhana:"Mahasita (sicsita) vati caturbhujaikamukhi rakta daksinabhujadvayeaksasutiavaradavati

vanJlrhbija

vamabhujadvaye vajrankusahrtpradesasthapustaka-

Amitabhamukutl

ardhaparyahkasthita

nanalahkaravatl

1

one-faced,

Sadhanamala, p. 401
and red in colour.

right hands the rosary

and the Varada pose,suryasanaprabha ceti '.
"Mahasitavati js four-armed,

She shows in her two.

and in her two left hands the Vajra and the Book against the chest.
She originates from the syllable 'Jim', bears the effigy of Amitabha on
the crown,sits inornaments.

the Ardhaparyanka attitude, and is decked in various

She sits on the orb of the sun ynd glows like the sun".
"and China 4

Images of this goddess are found in Tibet

2.

Getty: GNB, pp, 124-125.
Clark: TLP, II, pp. 160 171, 288.

3.

Getty : GNB, p, 139.

4.

Clark

1.

20

t

:

TLP, II. pp, 206 and 275 under the title of SttavatL.

CHAPTER V
EMANATIONS OF AKSOBHYAGODSI.

The number of deities emanating fromthe Dhyani Buddha Akso-bhya is quite large, larger than that of the emanations of any otherDhyani Buddha. The blue colour of Aksobhya is associated withthe terrible deities in the Sadhanamala and with the gruesome rites
in the Tantras,

are generally

and thedeitiesemanating from this Dhyani Buddhaof blue colour and terrible in character both in deedWith the exception of Jambhala, the God ofin appearance.
Wealth, all the male emanations of Aksobhya have a terrible appearance with distorted face, bare fangs, three blood-shot eyes, protruding
andtongue, garland of severed heads and skulls, tiger-skin and ornamentsof snake.

Amongst the deities emanating from the Dhyani Buddha Aksobhya
Heruka stands pre-eminent. Heruka and his yab-yum form Hevajra
are the chief gods in this group and they have numerous forms,

many with different names. For the sake of clarity and convenience
these forms have been separated for treatment, especially when acharacteristic name is supplied by the Sadhanas to such forms. The Four
GuardiansofGates treatedlater

Deities' are of fierce appearance andunder the Chapter
figure:'Collective

prominently

amongstthe offsprings of Aksobhya. The deities coming under the Vajra Familyof Aksobhya are described below one by one.

CANDAROSANA.

1.

ColourYellow

Symbols

Arms Two

Sword and Tarjanipasa

Candarosana is also called Mahacandarosana, Candamaharosana
Four Sadhanas are devoted to his worship and he isalways represented in yab-yum. Prabhakarakirti is said to be theand Acala.

author of one of the Sadhanas the major portion of which is ia verse.
Another Dhyana describing the god runs as follows:.

"rI-Candamaharosanam Bhagavantam atasipuspasaftkasamLAcala-paranamanam dvft>htrjaih kekaraksaih damstravikliralamahaghoravada-namratnamaulinaih

damstraniplditadharam

mundamalasiraskam

EMANATIONS OF AKSOBHYA

155

araktacaksurdvayam daksine khadgadhararh tarjampasahrdayasthavama-

vyaghracarmanivasanam nanaratnaviraciisadunnatadaksinacaranambhumilagnavamacaranam

kararh sitasarpayajnopavltarhtabharanarh

atrnanarh

suryyaprabhamalinarh

vicintya.. Aksobh^amukutinarh

Sadhanamala, p. 172.

dhyayat.""The worshipper should think himself as Sri-Candamaharosana,
like that of the Atasi flower and whose second name
He is one-faced, two-armed and is squint-eyed. His faceis Acala.
whose colour is

his

bites

and wears on

lips

He wearswith bare fangs.

appears terrible

his crownaajewelled head-dress,

garland of severed heads.

His eyes are slightly red, and he carries the sword in his right hand
and the noose round the raised index finger against the chest intheHis sacred thread consists of a white snake

left.

tiger-skin andhe wears jewels.

His

he

;

is

clad inleg touches the groundHe is radiant as the sun and.. bears
left

while the right is slightly raised.
hiscrown the effigy of Aksobhya.

onThus the god should be

meditated upon".

should be noticed that the Dhvana

Itwhose embraceinBuddhistpriestsissilentabout the Sakti

the god should remaininyab-yum,

be believed andifthe testimony of the

are

to

but

if

the

Nepalese Citrakaras has any value, it must be assumed that Candaro*sana is always represented in yab-yum and should not be represented

Candarosana is the most important figure in the celebrated
His worship
Candamaharosana Tantra dedicated to his worship.
secludedfromis always performed in secret and the god is
kept
singly.

public gaze.

Even if there be a bronze image it is practically inacces-

sible to any one except the initiated.

124 illustrates a Nepalese drawing of the deity.
Acala-Vajrapani he is popular in Tibet
Fig.

As Acala and

'

.

2.

ColourSymbolsHERUKA

Blue
Vajra and Kapala

Arms
Variety

TwoSingleHeruka is one of the most popular deities of the Buddhist pantheon
and a regular Tantra, the Heruka Tantra, is devoted to his worship.

Herukaworshipped singly as well as in yab-yum.
yab-yum he is generally known as Hevajra and inisWhen he isthis form hepopular in Tibet, Many of his forms aie described in the Sadhanamala in its numerous Sadhanas, arid the additional ones are derived

inisfrom the Nispannayogavall of Abhayakara Gupta.
1.

Getty:

GNB, pp. 52 and 170.

~

-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

the Sadhanamala describes his form in the following words
Savastharfa ardhaparyahkam

naracarmasuvasasam;

I

Bhasmoddhulitagatranca sphuradvajranca daksinam
Calatpatakakhatvahgam vame raktakarotakam I

Satardbamundamalabhih krtaharamanoramam
Isaddamstrakaralasyam raktanetrarii vilasinam

II

II
1

Pihgorddhvakesam Aksobhyamukutam karnakundalam
AsthyabharanavSobham tu siralvpancakapalakam

III

Buddhatvadayinam dhyayat jaganmaranivaranarh II
Sadhanamala, p. 473.

'The worshipper should conceive himself as the god (Heruka) who
stands on a corpse in the Ardhaparyahka attitude. He is well clad inhuman skin and his body is besmeared with ashes. He wields the Vajra
and from his left shoulder hangs the Khatvahga withflowing banner, like a sacred thread. He carries in his left handin thearight hand

the Kapala full of blood. His necklace is beautified by a chain of
His face is slightly distorted with barehalf-a- hundred severed heads.

His brown hair rises upwards and forms
fangs and blood-shot eyes,
He wears a Kundala
into a crown which bears the effigy of Aksobhya.

and

is

skulls.

decked in ornaments of bones. His head is beautified by five
He bestows Buddhahood and protects the world from theMaras (wicked beings)'

5.

In another Sadhana

for theworship of

thisparticularkind of

Heruka the Khatvahga is described as being marked with a Vajra offive thongs and decorated with a banner with jingling bells, humanheads and double lotus, the lower part of the Khatvahga resembling
the Vajra with one thong. The Sadhana does not mention the numberof heads in the necklace, but says simply that they are strung with
His left leg rests on the double lotus (and not on the corpse)
guts.
while the right is placed on the left thigh in a dancing attitude.

The image

(

Fig.

125

)

discovered by

Mr. N. K. Bhattasali anddeposited in the Dacca
tion given above.

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 dancingthat the right wielded the Vajra

the chest.

The attitude in

attitude in Ardhaparyahka.

His head-dress in decorated withskulls and the effigy of Aksobhya.

banner attached to
be seen.

it,

and

five

The Khatvahga has an overflowing

at the endof the banner small bells can

EMANATIONS OF AKSOBHYA
3.

157

HEVAJRA.

Hevajra Mandala of the Nispannayogavall, Heruka ij> theprincipal deity, thus showing that their is only a very thin line ofWhen Heruka
demarcation between the two, Heruka and Hevajra
In

the

,

accompanied with his Prajna, he begets the name of Hevajra. In
the Mandala no less than four distinct forms of Hevajra are described.
is

In all these Hevajra is accompanied with his

Sakti whose

namediffers

according to the numbers of his hands.
(

Colouri

Two-Armed

)

Face

One

PrajnaNairatma

Blue

Two

Arms

When two-armed, Heruka gets the name of Trailokyaksepa and hisform is described in the following words

Ardhaparyanki ..ekamukho

krsno"Trailokyaksepah:

Jvibhujo

vajrahkitaraktapurnakapalabhrd-vamakarakrodita... Nairatma.. Vajrodd-

NSP, p. 14

andasavyabhujah."4'Trailokyaksepa (Heruka)

isArdhaparyahka attitude... He is

hand carrying the skull cup, full of blood andleft

Vajra, heisblue in colour anddancesone-faced and two-armed.

m theWith themarked with aembraces his Prajna Nairatma... The right holding the Vajra

raised*".

The same form

again described in the Sadhanamala which gives
the additional information that the Sakti carries the Kartri in the rightishand and the Kapala in the left(n)Colour

Arms

]
.

Four

Blue

Four

Armed,
Face

One

PrajnaVajravarahi

When four-armed, Hevajra shows all the characteristics of the twoarmed variety with the difference that here the Prajna is known by thename of VajravSrahi. His description in the Nispannayogavall is shortand is worded thus:

"Athava caturbhujo dvibhujavat.
varahisamalingita ityeva visesah".

Aparabhujabhyam savabha-VajraNSP, p. 14"Or, he may be four-armed and appear similar to the two-armed
form. In the two other hands he embraces his Sakti VajravarUhl of
his own creation.
1.

This is the only difference".

Sadhanamala, p. 462*

BUDDHIST ICONOGRAPHY

15tt

In the Sadhanamala, one Sadhana is also devoted to the worship ofHere also Hevajra is four-armed andis embraced by his Sakti who is identical with him in all respects/
Hevajra carries in his four hands the blue Vajra, the sword, the Khat>vahga and the jewel. The Khatvanga does not however hang from his
this particular formof Hevajra.

shoulder but is carried in one of his hands.
(ill)ColourSix-Armed
Three

Face

Blue

Arms -Six

Vajrasrnkhala

PrajnaWhen Hevyjra is six-armed and in yab-yum his main form remains
the same, with the difference that here heisthree-faced and six-armed,

He is described thus

carrying additional symbols.

:"Athava Sadbhujah krsnah krsnasitaraktatrimukhah...Vamair-vajra'
ghantam dhanuh kapalam ca dadhanah savyair-vajram banam trisulam'

ca vajravajraghantanvitahastabhyam

svabha-Vajrasrhkhalamalihgitah.

NSP. p. 14.
"Or, he (Hevajra) may be six-armed and blue in colour. The
In
principal, the right and left faces show blue, white and red colour.
bow
the
a
Vajra,
the three left hand& he holds the bell marked withand the skull-cup. In the three right hands he carries the Vajra, thearrow and the trident. He embraces with the two hands carrying the
Vajra and the Ghanta the Prajna Vajrasrhkhalaj^f his own creation''.

ColourVBlu

Arms

SixtenLegs

PrajnaNairatma

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 liesinwith his four legs he tramples
standing

uponahaving eight faces and four legs ;upon four Hindu gods instead ofhiscorpse as in the three others.

His form is described

rather elaborately in the Mandala in question as under:"Caturtho Hevajrah sodasabhujo Aksobhyamudrito Nairatmasamapannah. Kintvasya catvaro marah praguktasavasthane. Tatra Skandha-

Klesamaro Visnuh krsno, Mrtyumaro
Mahesvarah subhro, Devaputramaro Sakrah gaurah. Tesu Bhagavan

maro rupato Brahma

pltah,

dvabhyam Ardhaparyafikavan aparabhyam Alidhastha iti catuscaranah
krsno
astasyah. Mukhantu mulam krsnaifa hasat savyam suklam,

EMANATIONS OF AKSOBHYA

vamam raktam, urddhvam

159,

vikatadamstram sesam krsnani. Daksina-

bhujesu vajram khadgam banam cakram casakam trisulanvankusarh
vamesu ghantam, padmam, dhanur-udyatakhatvahgam, kapalam,ca;tarjanipasam ca."
"Hevajra of the fourth* classcrown(NSP, pp. 14-15).
isthe effigy of the Dhyani Buddha Aksobhya.

Sakti Nairatma.

on
He embraces

sixteen-armed andunder his legsInstead of the corpse

bears

as

his

his

aforesaid,

The first is Skandha Mara in
the form of Brahma of yellow colour, the second is Klesa Mara in
the form of Visnu of blue colour, the third is Mrtyu Mara in theform of Mahesvara of white colour, and the fourth is Devaputra Mara
On them the four-legged god
in the form of Sakra of white colour.
stands with two legs arranged in Ardhaparyanka and two others in
Alldha. He is blue in colour and has eight faces. The principal

he has four Maras under his four legs.

face

is

fourth

blue,

on

is

the right has a smile and is white, the left is red, thethe top of his head with distorted teeth. All otherIn the right hands he carries

faces are blue in colour.
2.

the sword,

1.

3.

the arrow,

the Tusula,

7.

staff,

the bell,skull-cup,

and

2.

the lotus,

6.

the jewel,

4-3.

the discus,

the goad.

8.

5.

In

1,

the Vajra,

the wine-glass,the bow, 4. the raised Khatvahga,
the7.

raised6,

thethe left hands the holds

index

finger

and

5.

the

8.

the

noose-..",

Hevajra is popular in Tibet

and China -.

BUDDHAKAPALA

4.

Arms
Sakti

]

Colour- Blue

Four

Citrasena

Asana

Dancing in Ardhaparyanka

Only one Sadhana gives the description of this god, who is, in allprobability, 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 thefour-armed variety of Heruka as the following Dhyana in the Sadhana
;

will

show

:

"Mahaviro ghorasamharakarakah mlavarno mahavapuh asthyabharanam-afdhaparyahkanrtyastham mundamalavibhusitam mukute Akso*
bhyadharinam ekavaktram caturbhujam, vame Khatvahgakapalam,daksine kartridamarukam Prajnalihgitam
vame Citrasena matta;

nagna muktakesi sarvabhayarahita devi.""

lr -Getty *2.

GNB, 142, 1431

TLP, II, p. 236.

A Tibetan image

is"illustrated in Gorden : ITL, p. 83.

BUDDHIST ICONOGRAPHY

160

Srimato Buddhakapalasya Sadhanam"

Sadhanamala, pp. 501-502"The worshipper should think himself as(Buddhakapala)whogreat hero, the supreme destroyer, of blue complexion andHe has ornaments of bones, stands in Ardhapagigantic stature.
isaryahka inadancing attitude,

bears the effigy ofisdeckedin

Aksobhya on the crown,isof heads,
garlands
one-faced and four-

armed. He carries the Khatvanga and the Kapala in the left
hands and the Kartri and the Damaru in the right, and is embraced in thewhoby the Prajna, Citrasena by name,"cated, nude, and fearless, Thus meditating..
left

is

intoxi-The same Sadhana later on gives the details of the Mandala,and goes on to say that Buddhakapala is surrounded by twenty four goddesses arranged

Sumalim(blue)

in(green)

the

in

the

three

in

The

circles.

Kapalim (yellow)

east,

west and Duija>a(white)incirclefirsthas

the noith, Bhima

inthe south.

The next

circle has Subhamekhala (east), Rupim (north), Jaya
(west) and
KaminI
Mahodadhi (north-west)
Kauven (south)(north-east),
Karim (south-west) and Marini (south-east). The outermost circle
has
Bhimadarsana (east) Ajaya (north), Subha (west) OstarakI,(south)Suraksmi,

Vikalaratri(north-east),(north-west),

Mahayasa(south-west) and Sundari (south-east). Besides these, there are the
Sundara (east) Subhaga (north), Priyafour guardians ofgates:

dar&ana (west) and Nairatmaof the innermost

circle,all(south).

Exceptingthe goddesses have

the

four

blue

colourdeitiestwohair rising upwards
face, ornaments of bones, brownbut no garlands of heads. They carry the Kapala in the left andthe Kartri in the right, and dance in the Ardhaparyahka attitude*arms, oneFig.

126 illustratesa

Nepalese drawing of the principal god in theembrace of his Sakti Citrasena but without attendants.

Buddhakapala
Chinese collection at Peiping
He is also
represented singly in a remarkable statuette in the Baroda Museum.

isrepresented

in

l

the

.

(Fig. 127).
5.

SAMBARA(i)

Two-Armed

ColourBlue

Asana- Alidha

VahanaKalaratri

Symbols

PrajnaVajra and Ghanta

Vajravarahi

One Sadhana only in the Sadhanamala describes the procedure forthe worship of Sambara who is only another form of Hevajra- He is
1.

TLP, II. pp. 103, 237,

EMANATIONS OF AKSOBHYA
two-armed

andone-faced,andbears the161

effigyAksobhya onofHe appears terrible with his garment of tiger-skin, thehis crown.
garland of heads, a string of skulls round the head, three eyes
and the Alidha attitude, in which he tramples, upon KalaratrL
The Dhyana is in verse and describes the god in the following terms"Lalatasthakapalani candrardham murdhni dharayet

Sanmudra-mundamall ca visvavajri trilocanahvisvaksaravivartinim

:

I

II

Alidhapadavinyaso
Sabhairavam Kalaratrimarudho vyaghracarmabhrt
I

Aksobhyasekharah kubjo vajraghantajatanvitah

1

Viro'sau Vajravarahl vajrasrkpurnakapalabhrt

II

II

Khatvangamekhala rakta trmetra mundamalim I
Pancamudra muktakesl digvastra Buddhasekhara II"

Dvibhuja-Sambaropadesah samaptah
Sadhanamala, p. 504"The worshipper should think himself as Sambara with a stringof skulls over his forehead and the crescent moon on the top.

He wears the six auspicious ornaments and a necklace of heads.
He shows the Visvavajra [on his head-dressj and is three-eyed. Hestands in the Alidha attitude and originates from a combinationof

He trample** upon Bhairava andKalaratri and is clad in tiger-skin. He shows the effigy of Aksobhya
on his crown and is blue in colour. He carries the Vajia and thethe letters of theall

Ghanta
Sakti

Her

;

alphabet.

and is embraced by his
the Kapala full of blood.

has matted hair, displays heroism

Vajravarahi holding the Vajra andgirdleisthe Khatvahga, her colour is red and sheisthree-eyed,garland of severed heads, is endowed with the fiveauspicious symbols, has dishevelled hair and no garment. She shows

bhe

wears

a

the image of Buddha (Vairocana)on her crown."

Sambara has another form with four faces and twelve
this form he is mentioned in the(ii)

Sambaraarnii>

andin

Nispann ay OE avail.

Twelve- Armed

ColourBlue

Arms

Twelve

Faces
Sakti

Four
Vajravarahl

the principal deity in the Sambara Mandala of the
HispannayogavalL The Sakti of Sambara is Vajravarahl. Sambara thus*is

BUDDHIST ICONOGRAPHY

162

is only another form of the great god Heruka.
Here he is four-faced
and twelve^armed. The description is quoted below in brief:**Bhagavan...BhairavakalaratryavalIdhacaranabhyam akrantah krsnah

krsnaharitaraktapitapurvottaradi-caturmukhah...Dvadasabhujah savajravajraghantabhujayugmalingita-Vajravarahlko bhujabhyam...saraktaprasr>
tadaparaih damaru-parasu-kartri-trisulani vibhrat,tagajacarmadharah

vamairwajrankitakhatvafiga-raktapuritakapalaih
rasca

navanatyarasarasih."vajrapasam BrahmasiNSP, P. 26"God (Sambara) ..stands in the Alidha posture on the prostrate formsof Bhairava and Kalaratri. He is blue in colour and his four faces on
the east, south, west and north are blue, green, red and yellow inWith the two principal hands carrying
colour.. He is twelve-armed.
the Vajra and Vajra-marked bell, he embraces his

Sakti Vajravarahi.

skin from which blood

With the second pair... he carries the elephant

In the remaining four right hands he holds thetrickles down.

the axe, the Kartri

and the trident.

Damaru,The four left hands showthe

Vajra-marked Khatvahga, the skull cup full of blood, the Vajra-marked
noose and the the severed head of Brahma... He displays in full thenine dramatic sentiments".

The parental Dhyani Buddha of Sambara is Aksobhya andVajravarahi

Vairocana according to a statement containedisaforesaid Mandala

the

.

6.

Three

Asana

Alidhaof Hevajra'.

SAPTAKSARA

Faces

varietyinJ

Sambara is popular in Tibet 2 and China

Thisthat of

is

Arms

Six

PrajnaVajravarahi

or 'seven-syllabled'
Like Dvibhuja-Sambara

called Saptaksara

because his Mantra consists of seven syllables.

embraced by Vajravarahi, who in all
Like Sambara this god also tramples
holds
and
the
Visvavajra on the crown. He has also
upon Kalaratri
mentioned above,

he is

also

respects resembles her consort.

the crescenton

his head, is endowed with the six suspicious symbols,

and stands in the Alidha attitude on the orb of the sun* He has three
faces of blue, yellow and green colour and carries the Vajra, theGhanta and the human skin in the three left hands and the Kapala
the Khatvahga and the TrisQla in the three right.
1.

MSP, p. 28.

2.

Two images oi Sambara are illustrated in

See also Getty
3.

:

A, K. Gordon:

ITL, pp. 83, 84.

GNB, pp. 145. 150

As Sambararaja Buddha he is mentioned in Clark;

TLP, II, pp. 80 and 90.

EMANATIONS OF AKSOBHYA163

The Sadhana further adds that on each of the six spokes of thewheel 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 dishevelledhair,fierceappearance, three eyes

and

the

quartersasgarments. They carry the resounding Damaru and the Ghanta in thefirst pair of hands, and the human skin in the other pair. They stand on
the orb of the sun placed on a corpse. Their head-dresses are decorated with rows of skulls, and they stand in the Alidha attitude.
In another Sadhana devoted to the worshipofSaptaksara, a slight
In it, it is said that the god carries, in the firstvariation is noticed.
pair of hands, engaged in embracing the Prajna, the Vajra and the

Ghanta;m the second pair, the human skin only, and in the third

Kapala and the Trisula. The Khatvunga hangs from hisshoulder as usual. Vajravarahi is identical with
the Prajna men*tioned before, with this difference that she should have in her second
pair thepair of hands the bow and the arrow instead of the human skin.

MAHAMAYA

1.

Colour

Arms

Blue

Four

FacesFour
PrajnaBuddhdakinl''Mahamayahvayam devam caturmukham caturbhujarh

Ahke yasya tatha devi catasro diksu caparah"The godI

M
II

called Mahamaya is four-faced and four-armed.

He hason his lap a goddess and four others in the four cardinal directions''.
Hevajra takes the name of Mahamaya when he is embraced by his
Sakti BuddhadakinI and remains with her in yab-yum. This variety of
Heruka, as the verse above indicates, has four faces and four arms andaccompanied by four goddesses in the four cardinal points. Two
Sadhanas (Nos. 239, 240) in the Sadhanamala are devoted to theworship of the deity, one of which is attributed to Kukkuripada
celebrated as one of the eighty- four Mahasiddhas who flourishedisin early times.

Below is given a summary of the description of the

Mandala of Mahamaya.
appearance. His body is besmeared withashes and his hair streams upwards in the shape of a flame of fire.

Mahamaya is terrible in

He is blue in colour andskulls.

hishead-dressisdecorated witharow 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 torqueround the neck and bracelets on his wrists*

He is clad in humanskin,

BUDDHIST ICONOGRAPHY164

has three eyes in each head, and flames offireradiate

from

his

body.

He appears beautiful in his sentiment of mixed anger and delight, andstands in the Ardhaparyanka in a dancing attitude. He is embraced by
Buddhadakim, who is red, carries the same weapons and has the same
appearance and symbols as those of Mahamaya.
red, yellow, white and green.

Her four faces

The four petals in the four cardinal directions of the lotus

are

seat

occupied by the following goddesses,
(1)

are

'

VajradakinI in the east, who is blue in colour with four facesof blue, yellow, ,white and green colour, and carries the

Khatvahga and the Ghanta in the two left hands and the Vajra
and the Kapala in the two right.
(2)

RatnadakinI of yellow colour is in the south, with four facesof yellow, blue, red and green colour.

She

carriestheflag

and the jackal in her two left hands and the Trisula and thejewel in her two right.
(3)

Padmadakim in the west
four

faces

carries the

of

red,

of reddish white colour, hasblue and green colour, andyellow,isbow and the Kapala in her two left hands arid* thearrow and the double lotus in the two right.
(4)

Visvadakim in the north, of green colour, who has four facesof green, yellow, red and blue colour, and who carries the
Pasa and the Kapala in her two left hands and the Khatvanga(or the sword) and the Damaru in the two right.

These four deities exhibit wrath, have their heads decorated withanumber of skulls, have garlands of heads still wet with blood, threeeyes and portruding teeth. Their brown hair stream upwards in the
shape of a flame, and flames of fire radiate from their {persons.
In the Nispannayogavali,

Mahamaya also

finds

mention and thedescription given therein is quoted below :"Mahamayahva-Herukah

krsno-'rkaprabho.. nilapkasvetaharita-

mulasavyapascimavama-caturmukhah. .savyabhujabhy amkapalasarau
vamabhyam khatvahgadhanusi dadhanah...ardhaparyahkena tandavi.".

NSP.p.*22.
4*The form of Heruka called Mahamaya is blue in colour and resem-

bles the dazzling sun.... He is four-faced

the principal face is blue, theright yellow, the one behind is white and the left green. ...He holds in;

his two right hands the skull cup and the arrow, and in the two left the

Khatvanga and the bow... He dances the Tandava
paryahka".

dance in Ardha*

EMANATIONS OF AKSOBHYA
Mahamaya is known both in Tibet

165

and in China]'.

HAYAGRIVA

8.

Colour

Red

Faces

Three

Arms

Eight

Asana

Lahta

Terrible.

Appearance[One form of Hayagrlva, as an emanation
been discussed
the godthatin theof Amitabha, has alreadybutthere is another form ofprevious chapter,emanates from the Dhyani

Dhyana describing him runs as follows

trimukharh

raktavarnurh"Arya-Hayagrivarh

Buddha Aksobhya.J The:

astabhuiarh

prati-

mukharh trinetrarh nilasitadaksmetaravadanarh sarpabharanam lahtaksepapadanyasarh sakrodhadrstmiriksanam, prathamamukharh smerarh
lalajjihvarh, daksinamukharh darhstravastabdhaustharh,

vyaghracarmam-.vasanarh vajra-danda^karanamudra-sarodyatadaksinakaracatustayarh tar*janika-svakucagraha-padma-dhanurudyatavamakaracatustavarh Aksobh-

Sadhanamala, p. 508.

yamaulinarh dhyayat/'[The worshipper should conceive himself as Arya-Hayagriva of
red colour, with eight arms and three faces, each face with three eyes.
His right and left faces are blue and white respectively and he has snakes
His legs are arranged in the Lahta attitude and he
His first face has a smiling appearance, the right hasfor ornaments.

looks wrathful.
aprotruding tongue and he bites his lips in his

He

left.

is

clad

in

tiger-skin and shows in his fourright hands the Vajra, the staff, theKarana pose and the raised arrow. Of the four left hands, one has theraised index finger, the second touches the breast and the two remain-

He bears the effigy of Aksobhya

ing ones hold the lotus and the bow.

on his crown".
Fig.

I

128 illustratesa

Nepalese drawing of the deity. It vanes ain the Sadhana, /The hand that ought

little from the description given

to be touching his own breast displays a different

mudra and the handthat ought to display the raised index finger only has a noose

round

it.

Nevertheless, the sketch is important as it shows a miniature head ofa horse on the head, to show that he is really Hayagrlva"Horse-neck".

The rare Karana pose shown in the picture is noteworthy.
4
Hayagrlva is popular both in Tibet and in China
trates a Chinese statuette of Hayagrlva.
:i1.

A. K. Gordon

2.

Clark

:

:

1TL, p. 83

;

Getty

:

.

Fig.

GNB, p. 144.

TLP,II, pp. 82, 237.

3.

A. K. Gordon

4.

Clark : TJLP, II. pp. 59. 164, 172, 198.

:

ITL, pp. 90, 93.

Sec also Getty : GNB, p

163

129

illus-

BUDDHIST ICONOGRAPHY

J66

RAKTAYAMARI

9.

Colour

Red

Arms

Two

One

Face

YatvYum

Varietyin

Sadhanas in the Sadhanamala describe the manner
which the deity should be worshipped. In one of the Sadhanas, it

\s

said

Severalthat the colour of the deity varies inaccordance with the

For instance, in the Santikavi"

different functions he has to discharge.

inof pacification) the deity is white and faces the east
in Vasyavidhi (rite ofPaustika rite he is yellow and faces the northsubdviing) he is red and faces the west, and in Akarsana (attraction) he

dhi

(rite

;

;

is

blue and faces the south, and so on.

most popular

blue are the;Of these varieties the red andother words, his worship is mostlyinperformed with a view to enchanting men and women and to forcibly
subduing them and bringing them to the worshipper. When Yamantaka^
red

is

he

is

Krsnayaman.

Raktayaman and when he is blue he is called
Yamari or Yamantaka may either be worshipped alone

calledor in conjunction with his
buffaloon

hisshoulders

Prajna.

He

andshouldshould have the head of arideabuffalo.

l

Getty
tradition current in Tibet which gives the origin of thisrecords a
fearful god.

There was once a holy man who lived in a cave in deep meditation
for fifty years after which he was to enter Nirvana.

On the night of

the forty-ninth year, eleventh month and twenty-ninth day two robbers

entered the cave with a stolen bull and slaughtered it there.
they discovered the presence of anbeheaded him and lo!

ascetic,a

his body assumed the ferocious

and taking up the bull's head he

set

it

up on

But whenwitness to their crime,

hisform of Yama,

headless shoulder.

He then killed the two robbers and drank their blood fiom the cup
made out of their skulls. In his fiery and insatiable thirst for victims
he threatened to depopulate the whole of Tibet. The Tibetans appealed
to their Tutelary deity, Manjusri, who thereupon, assumed the fierce
form of Yamantaka and defeated Yama in a fearful struggle
Whatever might be the truth of the tradition, it sufficiently explains
the presence of eulogies of Manjusri, in the Sadhanas for Yamantaka.
is absolutely silent
It may be noted, however, that the Sadhanamala
about Yama, both as a principal deity or as an opponent of Yamantaka.
Yama is the god of Death amongst the Hindus. The Buddhists createda killer of Yama in Yamantaka and it must have been an achievement
I.

Getty

:

GNiB, pp. 152-153.

EMANATIONS OF AKSOBHYA
Under the title of Yamantaka he is known

then.

167

in

Tibet

l
.

Under

the title of Yamantakavajra he is found in China -.
Six Sadhanas are devoted to the worship of thisvarietyof

Yaman-

He is one*faced and two-armed and is embraced by the Prajna
The Dhyana describing ins form is as
his own creation.

taka.

who

is

follows :**Atmanarh Yamantakarh ekamukharh dvibhujarh pratyalidhapadarhraktaparipurnakapalavamakararh
sardrapitamundankitasitadandadaksinakararh nagabharanavibhusanarh pihgalordhvakesarh vyaghracarmambaradhararh
Aksobhyamukutinam svabha-Prajnahhgitam mahisopari
visvadalakamalasuryastharh
khirh,

vicitrabharanarh

vyaghracarmamsukam Bhagavata

dvibhujaikamumaduvihvalarh skhalad-

Bhagavatmcadhya> at.

alidhapadasthitarhsSaha

samputayogena pratyalidhena-

vasthitarh evaih vicintya..."Sadhanamala p. 530.
**The worshipper should tlnnk himself aj> Yamantaka, one-faced andtwo-armed, who stands in the Pratyiidha attitude, carries the Kapala
blood in the left hand and the white staff surmounted by ahead
He is decked in ornastill wet with blood, in the rightyellow
full ofiiair rises
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 sunments of snakes and his brownover the double lotus on the back of a buffalo. He (the worshipper)
should also meditate upon the Bhagavati (Prajna) who is one-faced,
two-armed, and has variegated ornaments. She stands in the Pratyalidha attitude, is intoxicated with wine, wears garments of tiger-skinwhich slips down her waist and remains in yab-yum with the god, bothstanding in the Pratyalldha attitude.
10.

ColovnThus meditating... ".

KRSNAYAMAR1

Blue

Varieties

Four

Eight Sadhanas in the Sadhanamala describe his different forms.
He may have one face and two arms, or three faces and four arms,

or threecribedor six faces and six arms.

also in the Nispannayogavali.

singly as well as in yab^yum.

one in the following sections.
1,

2.

Getty GNB, p. 164.
Clark : TLP, II, pp. 52, 73.
:

One six-armed variety is des-Krsnayamari is represented
His different forms are dealt with one by

BUDDHIST ICONOGRAPHY

168

(i)

T wo*- Armed

Colour

Blue

Arms

Two
SymbolOne

Face

Variety

SingleStaff

This twoarmcd form of Krsnayamariiswithout any companion.

The Dhyana in the Sadhanamala describes his form thus
"Yamarim vicintayet atmanam pratyalldhapadasthitam ekamukham:

dvibhujaifo nilavarnarh

kare tarjampasam hrdi,

daksinakare vajrankitodyata-niladandam vama-

evambhutam Yamarim. visvadalakamalopari

Sadhanamala, p. 547
suryasthamahisarudham bhavayet/"The worshipper should conceive himself as (Krsna) Yaman who
stands in the Pratyalldha attitude, is one-faced, two-armed and of blue

He brandishes the staff marked

Vajra with the righthand, and shows the raised index finger with the noose against theshould be meditated uponchest in the left. In this form Yamaricolour.

as

with

a

standing on the orb of the sun on a double lotus and as riding abuffalo/'

Four- Armed(ii)

AppeatanceTerrible

Arms

Faces- -Three

Companion

Yab-yum

Variety

Four

Prajna.

The form of Yamari with three faces and four arms looks
and awe-inspiring. He is represented
describes his form in verse as follows'*

interribleyab-yum, and the Dhyana:..Yamariratibhisanah

1

Kathoravarhikanthabhah savyasuklarunetarah

II

Krodhaparyahkayogena visvabjaravisamsthitah
Svabhavidyadharasvadarasayanamahasukhah

I

II

Kadarordhvajjvalatkesah pingabhrusmasrulocanahPhamndravrndanepathyo mrnaladhavaladvijaih
Mudgarasidharah savye vame rajivaratnadhrk"

I

II

II

Sadhanamala, p. 544
4'Yamari is terribly fierce, is of deep (blue) colour like that of thethroat of a peacock, and his right and

left

faces

are

of white and red

colour (respectively). He stands on the orb of the sun on a double
lotus in an angry mood.
He enjoys the bliss of partaking the nectar
from the lips of the Prajna of his own creation. His hair stands on hishead in the shape of a flame of fire, and his beard and the eyes are ofbrown 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

^

o

6 1W
!3

oj

"S,
'S-

a
o
V-(

O
03

as
u
PL,

it
>

174

led

co

73.
CS

3?

2
cd

o
-I

s

"B

S

CQ

D

O

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

twice-born serpents who are white like stalks of lotuses.

He

carriesin his right hands the Mudgara and the sword, and in his left the lotus

and the jewel".
Six-Armed

(iii)

Asana

AlidhaArms

Three or Six

Faces

Six

Variety

The form of Yamari with

three

faces

appearance as the previous ones, and is single.
his

faces

show

a

protrudingSingle

and

six

arms,

is

fiercein

He is three-faced, and all

tongue, canine teeth, three eyes, andHe has a big belly, is short and dwarfish m appearance and wears a garment of tiger-skin. He carries the Vajra, thecontorted brows.

sword and the Musala in his three right hands and the goblin (Vetali)
m his three left According to another statement in the Sadhana, he carries the sword, the Mudgara and the
Vajra in the three right hands and the Ghanta, the Vajrapasa and thethe axe and the lasso

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

and six-legged variety of Yamantaka:"Yamantakam kruddham urdhvakesarh

krsnarhsanmukharh sad-bhujam satcaranam mahisarudham pratyahdhasthitaih naramundarundairvibhusicam atihhayanakakararh vyaj*hracarmamvasanam daksine
khadga-mudgara-vajrani, vame ghanta-vajrapasa-musalan dharayantam

mukute Aksobhyam vibhavayct".

Sadhanamala, p. 546*The worshipper should conceive himself as Yamantaka, with anangry mood whose hair rises upwards and who is six-faced, six-armed
and six-legged. He rides a buffalo, stands in the Pratyalldha attitude,embellished with severed human heads, and has a very ferocious

isappearance.

He is clad in garments of tiger-skin, carries

inthe threeright hands the Khadga, the Mudgara and the Vajrd, and in the three left

the Ghanta,

the

Vajrapaba
Aksobhya on the crown/*

and

the

Musala.

He bears the effigy of

Yaman of blue colour is the principal deity in the Yamari Mandalaof the Nispannayogavali.

Here his form is three-faced and six*armed

like the one previously described.

thus

The description may be briefly given:"Krsna-sita-rakta'mula-savya-vamavadanah sadbhujahkartrikapa-

svabhaprajnasarnalihgitahsavyabhyam
NSP, p. 36
vajrasi vamabhyam cakrabje vibhranah".

lancita-Sdvyetarakarabhyam

23

BUDDHIST ICONOGRAPHY

178"Yamari's three faces show the blue, white and red colour in theprincipal, the right and the

left.

He

is

six-armed.

In the principal

hands carrying the Kartri and the Kapala he embraces the
In the two remaining right hands he
Prajna of his own creation.
carries the Vajra and the sword, and in the two left he carries thepair ofdiscus and the lotus."

As Yamantakavajra he is known in China
and two
his are illustrated in Two Lamaistic Pantheons of Clark.
l

11.

of

JAMBHALA
Arms

Three

Faces

statuettes

VarietySix

Yab-Yum

Jambhala has undoubtedly a greater antiquity behind him than thatof the five Dhyani Buddhas. Jambhala again is a Yaksa and thatindicates his non-Buddhist origin.

This may be one of reasons

why

he could not be assigned to any one as parental Dhyani Buddha. In
other words Jambhala is similar to ManjusrI whose sire also could not
be definitely determined. In the Sadhanamala the parental Dhyani

Buddha of Jambhalaof JambhalaiseitherRatnasambhava or Aksobhya. Images
the Gandhara, Mathura, Sarnath,

are to be met with in

Bengal and Nepal sculptures. For the purpose of thissection, however, the form emanating from Aksobhya is important.

Magadha,Here he is three-faced and six-armed and is represented in yab-yum.
Though the Dhyana does not mention the colour, it can be presumed
that his colour is blue which is the colour of the Dhyani Buddha
Aksobhya from whom he takes his origin. Jambhala as the god of
wealthcommanded great respect amongst the Buddhists, and received

worship in various forms in all Buddhist countries. The Dhyana
the Sadhanamala describes his six-armed form as follows

in:"Jambhalarh trimukharh sadbhujarh Aksobhyajatamukutinarh daksinatribhujaihmatulunga-nkusa-banadharam

prathamavamabhujaikena

vama-parsvasthita-Prajnalingitam aparavamabhujabhyarh sapasanakuli-

karmukudhararh atmanarh nispadya../'Sadhanamala p. 564'The worshipper should conceive himself as Jambhala, three-faced
on whose matted hair there is an image ofand six-armed,
in his three right hands the citron, thecarriesHe
Aksobhya.
goad
and the arrow. He embraces the Prajna with the first left hand, carries
the mongoose tied round with a lasso and the arrow respectively inthe second and the third. Thus meditating...".
1*

TLP, Vol. II, pp. 52, 73.

For a Tibetan specimen see Gordon

:

ITL,

p. 90

EMANATIONS OF AKSOBHYA179

Two statuettes of the six*armed
Jambhala is known in Tibet
collection at Peiping -.
theChinese
in
be
found
are
to
Jambhala].

12.

UCCHUSMA-JAMBHALA
VahanaKuvera vomitting jewels

Terrible

Appearance

Asana

Pratyalidha

Dimbha, being a variety of Jambhala, bears
also the imag^ of Aksobhya on his crown. He may however, have theimage of Ratnasambhava instead, and as an emanation of Ratnasanv

Ucchusmaalsocalledbhav a Jambhala will be described later. Several Sadhanas are devoted
to his worship, and the Dhyana describing him with the image of

Aksobhya on his crown runs

"AtmanamBhagavantam

as follows :Ucchusmam

pancavarsakumarakrtim

kharvarhvisvapadmastham candropari sarpabharanabhusitarh ratna-*
mukutim muncad^ratnamukhapitahgasupta-Dhanadasya lalatam daksinena caranena caranadvyarh vamenakrantamurtim pratvalidhapadam;

lambodaram

urdhvalihgarh

nagnarh

nakapalabhimukhadrstim

garyyadhomukhanakullm

;

;

hrdi

daksinapanistharaktapur-

vamajahghasaktavamakarena ratnacchatod'
aviddhadhollakarnadvayarh ardhendu [sekha-ram] damstrakaralavadanam raktavarttulatrinetrarh

krtabhrkuti lalatamMpihgordhvakesarh Bhusparsamudra'nil'Aksobhyamunimastakarh...
Sadhanamala, p. 577.
u

The worshipper should meditate himself

asthe god Ucchusma,

who appears a child of five years and is dwarfish. He stands on adouble lotus on the moon, is decked in ornaments of snakes and has
He stands in the Pratyalidha attitude anda jewelled headdress.
presses with his right leg the forehead of the sleeping Dhanada of yellow

colour with his mouth vomitting out jewels.

two legs (of Dhanada).
upwards.

He hasHis left leg rests

He is nude, and his membrum virileison thepointedprotruding belly, and has his eyes fixed on theof blood which he carries in his right hand against the

Kapalafull

chest.

He holdsain his left hand the mongoose

vomitting out jewels,
His ears are large and unpierced and he has a crescenton his left thigh.
on his crown. His face is distorted with bare fangs, and his three eyesHis brows are distorted, and his brown hair rises
are red and round.
upwards. He bears on his crown the image of Aksobhya of blue
colour displaying the earth-touching attitude*'.
1.

2,

Getty
Clark

:

GNB, p:

TLP, II, p. 310 under the title of Sadbhuja Jambhala, and on

Sadbhuja Jambhala vajra.

159.
p. 203asBUDDHIST ICONOGRAPHY

180

The Sarnath image (Fig. 130) illustrates this form of Jambhalastanding on Dhanada or the Hindu god of wealth. Streaks of jewels
may be noticed as coming out of Kuvera's mouth. The peculiarfeature of this sculpture is that here Dimbha is accompanied by his
Sakti Vasudhara.
13.

Asana

VIGHNANTAKA
ColourPratyalidha

SymbolsBlue

Tarjanlpasa and Vajra

Vighnantaka is closely associated with three other gods, Padmantaka,
Yamantaka, and Prajnantaka, who are generally represented as
guardians of the gates in the Mandala. Vigtmantaka is represented
various forms. The name is significant as the word "Vighna" orin"obstacle" refers to the Hindu god Ganesa.

Only one short Sadhana

in the Sadhanarnala describes his form in the following terms :"Atmanarh pratyalldhapadasthitarh ekamukharh dvibhujarh
rnarh varnakarena tarjanikapasam, daksinakarenodyatavajrarh

nilava-bhayana-karh pihgalordhvakesam.

Sadhanarnala, pp. 558-559.

Vighnantakasadhanam.''"The worshipger should conceive himself
stands in theincolour.

as (Vighnantaka)

who

one-faced, two-armed, and blue
Pratyalidha attitude,
He carries in his left hand the Tajampasa, and wields theis

Vajra in the right. He is terrible in appearance and his brown hairrises upwards. His seat is on the orb of the sun placed on a lotus".

This Sadhana

he tramples undersilent about the prostrate figure of

hisfeet, thereby giving significanceGanesato hiswhomname as

may bepointed out here that the god Ganesa,
the Hindus consider to be the remover of all obstacles, isalready indicated.

whom

is

It

As to theregarded as the most dangerous obstacle by the Buddhists
origin of this god there runs a Nepalese legend that at a certain time an!

Odiyana Pandit was performing a Tantric rite on the bank of theBaghmati river near Kathmandu in order to obtain Siddhi (perfection).
-Ganesa, it is said, being strongly opposed to the idea, began throwing
dangerous obstacles in the way of the due performance of the rite.
The Odiyana Pandit finding himself helpless, invoked the god Vighnantaka, the destroyer of all obstacles, and lo
Vighnantaka appeared ina fierce and terrible form, armed with destructive weapons and gave
hot chase to Ganesa, who was by this time, flying in terror, and in 'notime overcame the latter.
!

EMANATIONS OF AKSOBHYA

18 1

In the statuette illustrated in Fig. 131 it may be seen how Vighnantaka

trampling heavily on Ganesa and the latter, in order keep up the
dignity of his godhead, exhibits the Abhaya pose even in his agony!
The form in which Vighnantaka is said to have appeared before theisOdiyana Vajracaryya has six arms. He carries in his two principal
hands the Kartn and the Kapala against the chest the rest carry theDamru and the goad in the right, and the Trisula and the noose with;

the TarjanI in theleft,

The original image is in the Baroda Museum

collection.

taka is known also to the Chinese collection at Peiping
14*.

VAJRAHUNKARA(i)

Appearance

Vighnan-l

Two-Armed

Terrible

Symbols

Vajra and Ghanta

Mudra

Vajrahuhkara

Arms Two

Asana

Pratyalidha

VahanaSiva

Only one Sadhana in the Sadhanamala describes the form of thegod Vajrahuhkara, who is so-called because his two hands carrying the
Vajra and the Ghanta exhibit the Vajrahuhkara mudra. The Sadhanasays that the god originates from the sacred syllable 'Hum' which isirresistible like the Fire of Destruction, is blue in colour, and dazzlmgly
The Sadhana adds further
bright.
:"Tadutpannam maharaudrarh Vajra hunk ara-samjnak am
Attahasarh maharaudrarh ksepayantarh tridhatukarh

Ghantavajraprayogena mudrabaddhakaradvayarh
Pratyalldhapadenaiva Bhairavakrantabhlkararh"

I

II

I

II

Sadhanamala, p. 506''The worshipper should conceive himself as thewhooriginates

fromthat syllable

He laughs horribly,(Hum) andgod Vajrahuhkara,isterriblyfierceinwrathful, und disturbs the threeappearance.
His two hands carrying the Ghanta and the Vajra are locked
worlds.
He tramples upon Bhairava, in thein the Vajrahunkara mudra.
isPratyalidha attitude, and inspires awe."may be pointed out that though Vajradhara also displays the
Vajrahuhkara mudra and carries the Ghanta and the Vajra in exactly
the same way as Vajrahuhkara does, there are many differences between
It

Vajradhara sits in the Vajraparyahka attitude on a lotus
and has a peaceful and graceful appearance, while Vajrahuhkara stands
their forms*~~

T~ Clark;

TLP, II, pp. 217, 311*

BUDDHIST ICONOGRAPHY

162

the Pratyalidha attitude,in

Hindu god Siva, and hasatramples upon Bhairava, a form of the
No connection can,appearance.

terrible

therefore, be established between the two.

Vajrahunkara images are known to the Chinese collection at Peiping
although they are not generally found in India.
Six-armed(ii)

Colour

l

Blue

Faces

Arms

Three

Six

Vajrahunkara is the principal deity in the Vajrahunkara Mandala of
the Nispannayogavali, andisthree-faced and six-armed.

With his two

He iswith Trailokyavijaya,

identified

principal hands arranged inmudra and holding the Vajra and Ghanta he
the Trailokyavijaya
embraces the Prajna of his own creation. With the two remainingL>right hands he holds the goad and the noose, and withshows the skull-cup and the Khatvanga

thetwo left he:>>

As Vajrahunkara and Trailokyavijaya he is known m China
15.

Colour

Arms

4

BHUTADAMARA

Black as collyrium

Appearance

Mudra

Four

Bhutadamara.

Three Sadhanas in the Sadhanamala describe thedamara, who is terrible and awe-inspiring,
canine teeth, and garlands of skulls.

"Atmanarh pasyet raudram

Terribleform of Bhutd-with ornaments of snakes,

The Dhyana runs as follows
jvalamalakulaprabhamCaturbhujam rrahakrodharh bhinnanjanasamaprabham
Daksine vajramullalya tarjayan vamapamna I
Damstrakaralavadanam nagastakavibhusitam II
nasanam I
trailokyam api
Kapalairfalamukutam
Attahasam mahanadaih trailokyadhisthitam prabhum
Pratyalldhasusamsthanam adityakotitejasam

:

1

II

II

I

Aparajitapadakrantam mudrabandhena tisthati II
Bhutadamara*sadhanarh."
Sadhanamala, p. 521(%

The worshipper should conceive himself as (Bhutadamara) who

isperson radiates fiery flames. He
and is bright like a broken lump ofwrathful in appearance and whoseisfour*armed,

terribly

angry,

L

Clark: TLP, II, pp, 238, 314

1,

Probably themudra see Gordon
3.

4.

:

fame as the Vajrahunkara mudra*
ITL, p. 22

NSP, p. 24
Clark: TLP, II, pp. 238, 314

For a description of thisEMANATIONS OF AKSOBHYA

183

He weilds the Vajra in the right hand and shows the Tarjam

collyrium.

His face appears terrible with barein a threatening attitude in the left.

fangs and he is decked in ornaments ofeight

He hasserpents.

garland of skulls on the crown and is capable ofthedestroying the three

He stands firmly in the Pratyalidha attitude and is resplendent like myriads of suns. He tramples under his feet, the god
Aparajita, and exhibits his special mudra/
From the Dhyana above quoted it will appear that the two principal
worlds.

hands of the god exhibit the Bhutadamara or the Damara mudra
while the other two carry the menacing Vajra in the right and thelTarjam in thesame Sadhana.

The

left.

description

of

this

mudra appears

in theBhutadamara is the principal deity in the Bhutadamara Mandala ofHert he tramples upon the prostrate form of

the Nispannayogavali.

Aparajita, and is violent in appearance.

the Vajra in the right hand raisedHe

He is four-armed.

m a menacing attitude.

he shows the Tarjam and the noose.

wieids
the

In

left

With the two principal hands, heshows the Damara mudra -.
ofAccording to statement in the Nispannayogavali the spiritual father
Bhutadamara is Aksobhya (Atra cakresasya kuleso'ksobhyah,

NSP.p.

74).

He is known in China under the name of Bhutadamara Vajrapani J
16.

.

VAJRAJVALANALARKA

Colour

Blue

Faces

Four

Arms

Eight

Asana

AlidhaVahanaVisnu and his wife.

Only one Sadhana in the Sadhanamala describes

his

form.

He is

and tramples
blue in colour

four-faced, eight-armed, stands in the Alidha attitude,

upon Visnu,
and hasa

who is accompanied by his

terrible appearance.

following terms

wife.

He is

The Dhyana describes him

in the:"Vajrajvalanalarkarh mlavarnam

kham astabhujam

jvalamalakulaprabhamcaturmu-

srfxgara-vira-bibhatsa-karunanvitacaturmukham,ca-turbhir-daksinakarair-vajra-khadga-cakra-banadhararh

caturvamakarair-

ghanta-capa-pasa-khatvahgasaktavicitrapatakadharamjvaladanalakapila-

sikhakalapamatibhlsanamahahivalaya-kankana-katisutra-nupura-"kanthi^
1.

For a description of this mudra see Gordon:

ITL, p. 20 and for a picture,ibid, p. 62.
2.

For further information on the subject, see Bhattacha^yya, B

Bhutadamara in the Proceedings of Patna Oriental Conference.
3.

Clark: TLP, II, pp. 242, 152;

The Cult of

BUDDHIST ICONOGRAPHY

184

ka-kundala-mukutabharanam mahamayacakraracanacaturam sapatmkair
Visnum-alidhapadena akramya avasthitam bhavayet."
Sadhanamala p. 512"The worshipper should conceive himself as Vajrajvalanalarkaof

He is four-faced andblue colour, whose person radiates fiery flames*

eight-armed, and his four-faces display the sentiments of love, heroisnij
disgust and compassion. He carries in his four right hands the Vajra,
the sword, the Cakra and the arrow, and in the four left the Ghanta,

the bow, the noose and the Khatvanga surmounted by a banner of varie-gated colour*-.

His brown hair resembles a burning flame and heisdecked in ornaments of bracelet, armlet, girdle, nupura, torque, ear-ringand crown consisting of the(eight)

great

lords

of thefrightful ser-He stands in the Alidha attitude and tramples upon Visnu
pents.
with his consort who are clever in enveloping everything with theirgreat Maya (deception).
17.

ColourTRAILOKYAVIJAYA
Blue

Asana

ArmsEight
VahanaPratyalidha

Gauri and Siva

Trailokyavijaya is also of blue colour,
awe-inspiring.

Four

Faces

terriblem

Foucher, one from Java and the other preserved
the

Hindu

appearance, andin

Two images of this divinity have been noted

Mohant at Bodh Gaya.

in the following words

The Dhyana

by Prof.
the monastery ofform

describes his:''Trailokyavijaya-Bhattarakam rnlam

caturmukham

astabhujam;

prathamamukham krodhasrhgaram, daksmam raudram, vamarii bibhatsarh, prstharh virarasam
dvabhyam ghantavajranvitahastabhyam hrdi;

daksinatrikaraih
vajrahunkaramudradhararh
dharam, vamatrikaraih capapasavajradharam

khatvahgankusabana-;;pratyalidhenavama*padakranta-Mahesvaramastakam daksinapadavastabdha-Gaunstanayugalam
Buddhasragdamamaladivicitrambaiabharanadhannam atmanam;

Sadhanamala, p. 511.

vicintya...""The

worshipper

shouldmeditate himself

asBhattaraka of blue colour, four- faced and eight-armed.

Trailokyavijaya
His first facedisplays the sentiment of wrathful passion, the right rage, the left
He exhibits
disgust, and the face behind the sentiment of heroism.

the Vajrahuhkara mudra with the two hands bearing the Ghanta andthe Vajra against the chest.

He carries in his three right hands

Khatvanga, the goad and the arrow, and in the three

left

the

the bow, theEMANATIONS OF AKSOBHYA

185

He stands in the Pratyalldha attitude, tramples
the head of Mahesvara with his left leg, while the right presses

noose and the Vajra.

upon
upon the bosom of Gauri.

He wears garments of variegated colours,
and garlands assigned to the Buddhas. Thusand many ornaments
meditating..."This god is known in Tibetland China -.

PARAMAVA

is.

Faces

Four

Arms

Legs

Four

VahanaEight

Four gods andfourgoddesses
It has already been said
that Paramasva "Great Horse" is anotherform 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

Brahmamukha, or the face of Brahma, who is credited with four faces.
The other peculiar feature of this god is that he has four legs, eachtrampling upon two deities. The Dhyana contained in the Sadhanamalais quoted

below

:

'Taramasvam

caturmukham;

prathamamukham krodhasrhgararh
vamam Brahmamukham murdhni lalitoddhulitosthamharitasvamukham;

raktamastabhujam catuscarnam
trilocanam, daksinam raudram,

ekena daksinatripatakadharakatena visvavajrasahitenottisthabhinayam
kurvantarh ekena vamakhetakahastena visvapadmam dharayantam pu;;

nardaksinatripatakakarena uttisthabhinayam kurvantam punarvamakarena saktim dharayantam
punardaksinakarabhyam khadgam bananca,;

avasistavamakarabhyarh dandam capanca dharayantam.

Pratyalldhena

daksinapadaikena Indramm Sriyanca akramya sthitam, dvitiyodaksinacaranena Ratim Pritinca vamaprathamapadena Indram Madhukaranca,

vamadvitlyapadena

Jayakaram Vasantanca, ityatmanam
Sadhanamala, pp. 510-511.
-

dhyayat...""The worshipper should think himself as Paramasva, of red colour
The first face with three eyes
four^faced, eight*armed and four-legged.
displays angry passion, the second depicts wrath, the thirdisof Brahma, and the fourth on the top is green, distorted likewith its lower lip beautifully protruding.

the faceahorse

He weilds the double

Vajra,

in one of his right hands with three fingers erect (TripatakaJ and inof his left hands carries the

staff

1.

Gordon J ITL, p. 60

2,

Clark : TIP, II, pp. 116. 168.

24;with theSee also Getty GNB, p.

doublelotus.

one

AnotherBUDDHIST ICONOGRAPHY

186

right hand, with three fingers erect, is raised upwards, and the othercarries the Sakti

The remaining two(dart).

leftright hands carry the
carry the staff and the

Khadga and the arrow, and the remaining left
bow. He stands in the Pratyalldha attitude, and tramples with one of
his right legs upon Indram and Sri, and with the second Rati andPrltiwith one of the left legs Indra and Madhukara, and with the;other left Jayakara and Vasanta".
132 illustrates a Nepalese drawing of the deity Paramasva. In
the picture the horse-head is noteworthy, which also occurs in the caseFig.

of another god, Hayagnva.

YOGAMBARA.

19.

Colour

Blue

Arms

Faces

Six

Variety

oakti

Three

Yab-Yum

Jnanadakini

God Yogambara is the principal deity of the Yogambara Mandala or
the Nispannayogavall.

words

His formisthere described in the following:

visvambhojacandre ardhaparyarikanisanno Bhagavan
krsnah krsna-sita-rakta-mulasavyavamamukhatrayah.
sadbhujo vajravajraghantabhrdbhujabhyam krsnam suklam va Jnanastanabanau
dakinimpltabhujangabhusanamalihgitah savyabhyarh"Simhopari

Yogambarah. .

vamabhyarh abjabhajanadhanusl dadhanah"

NSP, p. 32.

"Yogambara sits in Ardhaparyanka on the moon on a double lotus
placed on a lion. He is blue in colour and is three* faced. His
principal face is blue, the right white and the left red. He is six^armed.
In his two principal hands carrying the Vajra and the Vajra-marked

he embraces his Prajna Jnanadakini who is either blue or white
In the remaining
in colour, and is decked in ornaments of snake.
two right hands he holds the breast and the arrow, and in the two leftbell"

he shows the lotus bowl and the bow
The blue colour of the deity shows that Yogambara belongs to thefamily of the Dhyani

China '.

Buddha Aksobhya. Yogambara

is

known

in

His Chinese statuette is illustrated in Fig. 133.
20.

Colour

KALACAKRA.

Blue

Faces

Four

Arms Twenty-four
Kalacakraisthe principal deity in the Kalacakra Mandala of the

NispannayogavalL
1.

The famous Tantra of the Buddhists

Clark :TLP, II, pp. 239, 81, 103calledthe

EMANATIONS OF AKSOBHYA

187

Kalacakra Tantra introduces the cult of Kalacakra into

Vimalaprabha

is

the

Buddhism.
ontheKalacakra Tantra which iscommentary

to in the Nispannayogavall. It is thus probable that the cultof Kalacakra came into vogue in the 10th century. According to the
Kalacakra Tantra, the cult was given the name of Adibuddhayana or
referredFrom the Vimalaprabha it is evident that by introducing theworship of Kalacakra, the circle of time, an attempt was made tobring the warring communities of the Hindus and the Buddhists under
Adiyana.

the same banner, and unite themagainst the culturalfrom the Westernof the Mlechhasborders of India

penetration
where thefollowers of Islam were daily growing strong and were destroying old

and ancient civilizations.

The form of Kalacakra as described in the Nispannayogavall iselaborate and somewhat grotesque. But it is necessary to give an ideaof his form as briefly as possible. He is here described thus:

"Uttananahgarudrahrdayayoralidhena nrtyan

Bhagavan Kalacakrah

krsno.,..vyaghracarmambaradharo dvadasanetrascaturmukhah....trigrlvo

bhagavan.

satskandho'sau. .dvadasabahurupabahutah

vimsatisahasrah.

.

Tatra daksinau dvau bahu miaucatur-

prabhrti

dvau raktau dvau

suklau tatha vamau evam karascatvarah.-.savya vamasca...

Daksinesu karesu krsnesu vajra^khadga-trisula-kartrikah
vagni*bana*vajr'5nkusah

Vamesu krsnesu
raktapurna-kapalam

kam ca;;;raktes-suklesu cakra^kunta-danda-parasavah.

ca vajra-ghantaphalake vikasitamukhakhatvahgaihca ;raktesu kodandapasau maniratnaih pundarl-

suklesu darpana'vajra'Srhkhala'Brahmasirasca.''

NSP, pp. 83^84.

"God Kalacakra dances in Alidha attitude on the bodies of Anahga
and Rudra lying on the back. He is blue in colour. He wears tiger-skinand has twelve eyes and four faces. He is endowed with three necks
and six shoulders. With the principal twelve hands on each sideand the subsidiary hands, the total number of his hands is twenty-four
thousand. Two of his right hands are blue, two red and two white.
The hands are similar in the left. Thus along with subsidiary hands,
four are blue, four red and four white.

They occur bothin theright

and in the left.
In the four right hands of blue colour are held the Vajra, the sword,

the Trisula and th^ Kartri.

In thefour hands of red colour are fyeld

the arrow, the Vajra and the Ahkusa. And .in the threewhite hands are shown the discus, the knife, the rod, and the axe.
the

Fire,

BUDDHIST ICONOGRAPHY

188

In

the four left hands of blue colour are 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.
there are the mirror,

In the four hands of white colour,

the Vajra, the chain and the severed head ofBrahma/'Kalacakra is known to the Chipese collection and a presentation ofform is given in the Two Lamaistic Pantheons. Images or paintingshis

aspf 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 blue colopr of the god suggests that his spritual sire is Aksobhya.

1.

Getty :

GNB, p. 146.

A full description and a fine picture are given in Gordon

ITL, pp . 84, 85.
2,

Clark

:

TLP, II, pp. 49, 233*:

CHAPTER VII
EMANATIONS OF AKSOBHYA (CONTINUED)II.

GODDESSES

Compared to the other Dhyani Buddhas the number of goddesses
emanating from the Dhyani Buddha Aksobhya is large. Some of thegoddesses are well known and popular in the Buddhist countries of thenorth but many Sadhanas are not assigned to them.
outpointedrule,

terrible

has already been

emanations of this Dhyani Buddhathat theinIt

appearance

andawe-inspiring

in

are,

as

a

The

character.

goddesses emanating from Aksobhya are likewise blue in colour, andpartake of the fierce nature of the male divinities. The genuinely
peacefuland benign

deitiesare exceptions to the rule.

such as Prajnaparamita and Vasudhara

The goddesses emanating from the Dhyani

Buddha Aksobhya are described below one by one.
1.

/

MAHACINATARA ^Asana

Pratyalidha

Appearance

VahanaCorpseArms FourTerrible

Two Sadhanas are devoted to the worship of Mahacinatara or Taraof Mahacina (Great China) and two Dhyanas, one in prose and theother in verse describe one and the same form of the goddess. She is also
known in Buddhist Tantric literature as Ugratara, andtemple at Sanku

the Vajrayogini

in Nepal, contains in the sanctum a figure of Ugratara.

This Ugratara or Mahacinatara of the Buddhists has been incorpora^ted in the Hindu pantheon under the name of Tara, and is now regard-

The Dhyana
ed as one of the ten Mahavidya goddesses.
Sadhanamala describes her form in the following versesin:"Pratyalldhapadarh ghoram mundamalapralambitam

Kharvalambodaram bhimam nilanirajarajitarh

I

II

Tryambakaikamukharh divyam ghorattahasabhasuram
Suprahrstam savarudham nagastakavibhusitam II
Raktavarttutanetranca vyaghracarmavrtam katau

I

Navayauvanasampannam pancamudravibhusitamII

Lalajjihvam mahabhimam sadamstrotkatabhisanam

I

I

Khadgakartrikaram savye vamotpalakapaladharh II
Pihgograikajatam dhyayat maulav-Aksobhyabhusitam II
Mahacinatara- Sadhanam",
Sadhanamala, p, 210

theBUDDHIST ICONOGRAPHY

190'The worshipper should conceive himself as (Mahacma-Tara) who
stands in the Pratyalldha attitude, and is awe-inspiring with a garlandof heads hanging from the neck. She is short and has a protruding

Her complexion is like that of theblue lotus, and she is three-eyed, one-faced, celestial and laughs horribly.
She is in an intensely pleasant mood, stands on a corpse, is decked inbelly, andher looks are terrible.

ornaments of snakes, has red and roundtiger-skin round her loins, is in youthfulwears the garments ofbloom, is endowed with theeyes,

and has a protrudiug tongue. She is mostbare canine fangs, carries the sword andwithterrible, appears fierce,
five suspicious symbols,

the Kartri in the two right hands and the Uptala and the Kapala in the
two left. Her Jatamukuta of one coil is brown and fiery and bears theimage of Aksobhya within it."This is the Dhyana in the Sadhanamala, theearliest manuscriptofwhich belongs to A. D. 1165. According to the colophon, the Sadhana
for Mahaclnatara has been restored from the Mahacina-Tantra, whichshould therefore be earlier than theearliest

As

verse

Sadhanamala.

the

Sadhanaisattributed to

Sasvata-quoted, was not in existence
Now, in the Tararahasya of Brahmananda, whovajra it is certain that the Dhyana,

before Sasvatavajra.

inextant manuscript of thejustflourished in the middle of the 16th century and in the Tantrasara of
Krsnananda Agamavaglsa an almost identical Dhyana is stated describing a goddess of the name of Tara:

"Pratyalidhapadam ghoram mundamalavibhusitam

I

Kharvam lambodanm bhimam vyaghracarmavrtam katau
Navayauvanasampannam pancamudravibhusitam I
Chaturbhujam lolajihvam mahabhimam varapradam
Khadgakartrisamayukta-savyetarabhujadvayam
Kapalotpalasamyuktasavyapaniyuganvitarh

II

II

I

II

Pingograikajatam dhyayenmaulav-Aksobhyabhusitam

Balarkamandalakaralocanatrayabhusitam II
Jalaccitamadhyagatam ghoradamstram karalinim

Savesasmeravadanam stryalahkaravibhusitam
Visvavyapakatoyantah svetapadmoparisthitam

I

I

II
I

Aksobhyadevlmurdhanyastrimurtirnagarupadhrk"

II

Tantrasara, p 415 et sqq.

A comparison of the two Dhyanas will at once reveal how theoriginal composition of Sasvatavajra has been modified

sara by a Hindu Tantric author.

Dhyana andinthe Tantra-

Some lines have' been added totheThis isgrammatical errors are rectified.
themethodofaevidently
recognized
Hinduizing Buddhist Tantric deity.
original

allfEMANATIONS OF AKSOBHYA (CONTINUED)

191

It is remarkable that the Hindus retained in their
Dhyana the effigy
of Aksobhya bespeaking as it does, the Buddhist origin of the goddess,for it is well known that the Hindu gods or goddesses

are not in the

habit of wearing a miniature figure of their sires on the crown.
over, Aksobhya is unknown in the

borrowed from the Buddhists, and the Hindus faildesirability of putting his figure on the crown of Tara.
isto explain theFigs. 135, 136 illustrate the Buddhist form of Tara or

and shows in what different forms sheMore-pantheon except when he

Hindu

is

Mahacmatara,in

represented

Nepal

in

modern times. It may be pointed out that the corpse under the feetof the Hindu Tara is not a corpse properly speaking, but it is theprostrate form of Mahadeva to whom she is attached as a Sakti.

jANGULf2.

,

the Buddhists as a goddess
prevents it. According to a Sahglti
in the Sadhanamala she is as old as Buddha himself, and the secret of
Jahguli is widely worshipped amongst

who cures snake-bite and even

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

These foursnake^bitten.

Sadhanas describe three entirely different forms of Jahguli, two with
one face and four arms and one with three faces and six arms. Imagesof Jahguli are found in Tibetland China -.
(i)ColourWhite

SymbolMudra
In

Snake, or Vina

Abhayatwo Sadhanas Jahguli is described as having one
In both cases she is alike inarms.

she carries in her hands.

followsall

In one offacerespects except for

the Dhyanas she

and fourthe weapons
isdescribed as:"Atmanarh Arya*JahguIiruparh sarvasuklarh caturbhujarh ekamuk^
ham jatamukutinim suklam suklavasanottariyam sitaratnalahkarabhusitarh suklasarpairvibhusitarh sattvaparyahke upavistarh mulabhuja-bhyarh vmarh vadayantlrh dvitiyavamabhujena sirasarpadharimrh apara*
daksinenabhayapradam candrarhsumalimrh dhyayat..."Sadhanamala, p. 253*
1,Z.

Getty: GNB, p. 123
Clark ; TLP, II, pp. 204, 217, 28 1

BUDDHIST ICONOGRAPHY

192'The worshipper should meditate himself as Arya Janguli who

isfour-armed, one-faced, wears the Jatamukuta
She is decked in white ornaments of gems and white

all white in complexion,

and a white scarf.

serpents and rests on an animal. She plays on the Vina with the two
principal hands, carries the white snake in the second left and exhibits

the Abhaya mudra with the second right, and is radiant like the moon."
In a second Sadhana she is said to exhibit the Varada mudra in thesecond right hand.

Fig.

137 illustrates a Nepalese drawing of the two-

armed form of Janguli.
(ii)

Colour

Mudra

Green

AbhayaTrisula, Peacock's feathers and Snake.

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

Arms

Three

VahanaSnakeColourfollows

Yellowand six arms. Twoandthe other in verse,
prose,The Dhyana contained in one of these runs as

The third variety of Jahguii has three
Sadhanas in the Sadhanamala, one
describe this form.

Six

faces

in

:

"Arya-Jahgulirh atmanam jhatiti nispadayet pltam, trimukhamnllasitadaksinetaravadanam kbadgavajrabanadaksinahastasadbhujarh

trayamsatarjanipasavisapuspakarmukavamakaratrayam
namandalasirahsthamsarvadivyavastrabharanabhusitam

sphltaphakurrari-laksanojjvalam Aksobhyakrantamastakam dhyatva..."Sadhanamala, p. 248"The worshipper should quickly conceive himself

who is yellow in colour, three-faced, and six-armed;asArya-JahgulI,

Her facesto theShe carries the swordj the Vajra andright and left are blue and white.
the arrow in the three right hands, and the Tarjani with the noose,the blue lotus and the bow in the three left hands; She rStfe : on the

expanded hood of the serpant,isdecked in celestial ornaments andmarks of a virgin, and bears

dress, is resplendent with the auspicious

the image of Aksobhya on head.
1.

Thus meditating,.."Sadhana No. 121, Sadhanamala p. 251.

EMANATIONS OF AKSOBHYA (CONTINUED)
The Hindu goddess Manasa or Visahari hasa193

marked resemblance

to the appearance of Janguli and some of the Dhyanas in the Hindu
Tantric works for the goddess distinctly give her the epithet of"Jahgull".

EKAJATA.

3.

ColourBlue

Appearance

AttitudeTerrible

Pratyalldha

one of the most powerful goddesses in the VajrayanaisItsaid in the Sadhanamala that if a person listenspantheon.
to her mantra but
once, he is at once freed from all obstacles
Ekajataandisattended always with good fortune, his enemies are destroyed
and he becomes religiously inclined, even attaining the level of aisFour Sadhanas

Buddha.

in theSadhanamala dovoted to the worshipof Ekajata, describe three different forms of the goddess.
have one face with two, four or eight arms.

The mainfeatures of thegoddessaie

one ofSadhanaingiven

She maythe

Sadhanas, the Colophon of which asserts that the
been restored from Tibet ( Bhota ) by Arya Na^arjuna,famousin

who wasone of the eighty-four Siddhapu*

the mediaeval ages asrusas of India.

The

general description

the Sadhana is as follows

hasof thegoddess

given

in

:

"Krsnavarna matah sarvah vyaghra-carmavrtah katau
Ekavaktrah trinetrasca pihgordhvakesamurdhajSh II

Kharva lambodara raudrah pratyalidhapadasthitah
Sarosakaralavaktra mundamalapralambitah

I

I

II

Kunapastha mahabhima Maulav-Aksobhyabhusitah

Navayauvanasampannah ghoiattahasabhasvarah

I

II

Visvapadmopari suryye cintamyah prayatnatah" II
Sadhanamala p. 266.
"All these (three) forms (of Ekajata) are of blue colour, havethe tiger'skin round their loins, are one-faced and three*eyed, and havebrown

hair risingon

upwards

their head.

bellied, wrathful and stand in the

They areshort,

pot-

Pratyalldha attitude,

they

have

with garlands of heads hanging fromon corpses, are terrible in appearance andbear the image of Aksobhya on the crown. They have youthfulbloom and laugh horribly and they should be conceived on thewith anger

faces

distorted

theirnecks, they rest;

orb of the sun over the double lotus."
25

BUDDHIST ICONOGRAPHY

194

This general description oaly applies to the following threeforms of Ekajata with one face and two, four or eight arms:

When two-armed, she carries

4(i)(skull-cup)
(ii)

in

her two hands

the

and

Kartrithe

Karota

138).

(Fig.

When four-armed, Ekajata carries the arrow and the sword

two right hands and the bow and the skull in the two
In two other Sadhanas describing the four-armed variety, her
left.
in theappearance undergoes a slight modification. Here she holds
inthehands the Kapala and the Kartri, while the otherhold also thepair shows the Utpala and the sword. She may
rosary instead of the sword (Fig. 139).
pair of

first

(iii)

When eight-armed,

she carries the sword, the arrow,theVajra and the Kartri in the four right hands and the bow, the Utpala,the Parasu and the skull in the four left hands.

Images of Ekajata are found in almost all Buddhist countries ofas well as in China
She is known in Tibetlthe North.

L>

.

"^

VIDYUJJVALAKARALL

4*

Faces

TwelveArms

Twenty-fourColour

Blue

Asana

-Pratyalldha

VahanaIndra, Brahma,

SYMBOLS

Visnu and Siva
:

Left

Right

Khadga

7.

Dart

1.

Bow

7.

Wine-glass

2.

Vajra

8.

Mudgara

2.

Noose

8.

Utpala

3.

Cakra

9.

Musala

3.

Bell

4.

Jewel

Kartri4.

TarjamBanner

9.

10.

10.

Parasu5.

Ankusa11.

Damaru

5.

Mace

11.

Brahmasiras

6.

Arrow

12.

Rosary6.

Trisula12.

KapalaAnothervarietyof1.

Ekajata

is

known

as

Vidyujjvalakarali,

who is said to have originated from the sweat of Buddha.

This
faces
and
twelvewithistwenty-four arms,
form of Ekajata,
rarelymet with in sculptures either in stone or in bronze. The Dhyanaisrather long and it describes the goddess vividly thus:

"Dvadasamukham mahakrsnavarnam caturvimsatibhujam caturmarasamakrantm svetakapalopari pratyalldhapadam mahapralayagnisamaprabham vivrtasyam hahakaram lalajjihvam sarosam vikrtakoti*
bhimabhrkutltatodbhrunetracaladvartulam
1.

Gordon:2.

Clark:

ITL, p. 76, Getty:

TLP, II. p. 284

GNB, pp.

bhayasyapi
125-126

bhayahkarlm

EMANATIONS OF AKSOBHYA (CONTINUED)
sirasikapalamSla

195

bhusitam vyadairalafikrtam sanmudropetam pratha-mamukharh mahakrsnam

tatha

daksinamukhapancakam

sitapitaharita-

raktadhumravarnanca, vamamukhapancakam raktasitapitaharitasitaraktanca, urdhvamukham dhumram vikrtam kruddham, sarvamukhani
damstrakaralavadanani, trinetrani, jvalitordhvapihgalakesani sarosam
kharvalambodarirh pmonnatapayodharam vyaghracarmanivasanam dak,

sinadvadasabhujesu khadga-vajra-cakra-ratnacchat-ahkusa-sara-sakti'inuvamadvadasabhujesu dha-

dgara-musala-kartri'damaru'aksamalikafica,asirah-kapalanca.

Suprahrstam savarudham nagastakavi bhusitam I
Navayauvanasampannarh hahattahasa-bhasuram II
Pihgograikajatam dhyayat maulav-Aksobhya' bhusitam
Iti Vidyujjvalakaralinamaikajatasadhanam

II"

Sadhanamala, p. 257"The worshipper should conceive himself as

who has twelve faces,

deep

blue colour(Vidyujjvalakarali)

andtwenty-four arms,
Maras (Brahma, Visnu, oiva and Indra),

she tramples upon the, fourstands on white skulls in the Pratyalldha attitude, is terrible likethe Fire of Destruction, has a wide open mouth from whichcomes

the sounds of 'ha' *ha'.

She has protruding tongue, is wrath-

has eyes round and moving, and her forehead is distorted
ful,
owing to the frequent contortions of the brows. She is more aweinspiring than Awe itself, and her head is decorated with a garlandof skulls she is decked in ornaments of snake, and is endowed;

six auspicious symbols
her first face is of deep blue
colour and the five faces to the right are white, yellow, green,
the five faces to the left are of red,
red and smoky in colourwith the;;white, yellow, green and whitish red colour. The face on the top
AH heris of the colour of smoke, distorted and displays anger.
faces
rise

her brown hairlook terrible with bare fangs and three eyes
she is short and has aupwards in the shape of a flame;;

protruding

belly.

in tiger-skin,
2. theandHerbreasts are full andcarriesinheaving

her twelve right hands,

thunderbolt, 3. the discus,

4- 'the jewel,

5.

she

;

1.

clad

is

the sword,the6. the arrow, 7. the dart, 8.

elephant*goad,the hammer, 9. the pestle, 10. the saw, 11. thedrum and 12. the rosary

and in her twelve left hands she has

;

1.

the

bow, 2. the noose, 3. the raised index finger, 4. the flag, 5. the mace, 6. thetrident, 7. the wine-glass, 8. the blue lotus, 9. the bell,

the severed hea*d of BrahrtiS, 12. and the skull.

10..the axe,

11.

In an extremely happy

BUDDHIST ICONOGRAPHY

196

isyouthful, appears resplendent withawears
terrible laugh,
Jatamukuta, which is brown and fiery andwhich bears the image of Aksobhya on it."

irtoodshe rides a corpse,

Here ends the Sadhaha for Vidyujjvalakarali, anocher

form

of

Ekajata."(5.

ColourArms

PARNASABARI.

Yellow

Fa cesT hreeVahanaSix

Asana

The worship of Parnasabari,VighnasPratyalldha
itisbelieved,iseffective

in

pre-

venting out-breaks of epidemics and in assuring safety to the terrorstriken, The epithet Tisac? given in the mantra shows that she

was regarded as one of the demi-gods, half human, half divine. Two
Sadhanas in the Sadhanamala describe two forms of the goddess,
one with the image of Aksobhya on the crown and the other^ith that of Amoghasiddhi. In one, her faces are lit with pleasant
Smiles, and in another she smiles but has an irritated expression
ill the same.
Curiously enough, the two images that have been
discovered in Eastern Bengal, both have the effigies of Amoghasiddhi
on the crown. The Dhyana describing Parnasabari of yellow colourwith the image of Aksobhya on her crown, runs as follows:"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*

padmacandrasane pratyalldhastham, hrdvamamustitarjanyadho vighnaganan santarjya daksinavajramustipraharabhinayam ..bhavayet.
Parnasabarl-Sadhanam"

Sadhanamala, pp. 306-307.

worshipper should conceive himself as (Parnasabari) of
yellow complexion, with three faces, three eyes and six arms. Her**The

first face is blue,

the right white and the left red, and she smiles in apleasing manner.

She is decked in all sorts of ornaments, bears a gar-ment of leaves, is arrogant in her youthful blopm, is stout

in appearthe
ance and carries in her right hands
Vajr?, the Parasu and the arrow,and in her left the Tarjam with the noose, the cluster of leaves andthe bow. Her Jatamukuta is decorated with flowers and the image of-

Aksobhya ; she has the effulgence of the sun as her aureole, standsinEMANATIONS OF AKSOBHYA (CONTINUED)

197

the Pratyalldha attitude on the moon over the white lotus, tramplingunder her feet the Vighnas. She threatens the host of (otherj Vighnas

with the clenched fist of the left hand exhibiting the TarjanI against thechest, and shakes her right fist at (the host of the Vighnas) .."The mutilated image (Fig. 140) in the IndianMuseum, withthree

faces and six arms trampling upon Ganesa, probably represents thisform of Parnasabarl, as the word 'Vighna' in the Sadhanamala often
The above-mentioned Sadhana, further states thatrefers to Ganesa.
Parnasabarl may have an alternative form with four arms and the imageof Aksobhya on the crown, in which case she will carry the Vajra andthe Parasu in the two right hands, and the TarjanI with the noose, andthe cluster of leaves in the two left, omitting the bow and the arrow.
Images of Parnasabari are also found in Tibet and in China ~.
!

6.

Prajnaparamita

is thePRAJNAPARAMITA
embodiment of the Mahayana Scripture of

the same name which was, according to the Buddhist tradition, restoredfrom the nether regions by

Nagarjuna in the second century A. D.

Buddha is said to have entrusted this Book of Transcedental Knowledge
to the care of the Nagas in the nether regions, as in his time people
were not sufficiently intelligent to grasp the true meaning of the doc-

The worship of Prajnaparamita was very popularamong the Buddhists, and Arya Asahga is credited to have composed
one of the Sadhanas for her worship which is said to confer wisdom
Nine Sadhanas in the Sadhanamala
and erudition on her devotees
describe the procedure of her worship, and of these only two are assigned to the kula of the Dhyani Buddha Aksobhya. She too, like Manjusri,
trines it contained.

could not be assigned to any one of the Dhyani Buddhas because the
Prajnaparamita scripture was chronologically earlier than the Dhyani

The two Sadhanas describe the white and the yellow forms
8of Prajnaparamita are found in Tibet
andof" the goddess. Images
Buddhas.

4

China

s
.

SITAPRAJNAPARAMITA(i)

ColourWhite
Symbols

Asana Vajraparyahka
Lotus and Book

Only one Sadhana in the Sadhanamala describes the form of white
Prajnaparamita with the image of Aksobhya on the crown. She is two*
1.

Gordon

2.

Clark

3.

See Bhattasali : IBBS, p. 42.

f*:

ITL, p. 71

Getty
TLP, II, p. 278
:

;

:

"

4.

5,

Getty: GNB, pp. 131-132.
Clark TLP, It, pp. 140, 160.
:

GNB, pp. 134-135.

BUDDHIST ICONOGRAPHY

198

armed, one-faced, sits in the Vajraparyanka attitude on a white lotus,
and carries the red lotus in the right hand and the Prajnaparamita

Book in thebeautiful

Aksobhya.

She is decked in all sorts of ornaments, has aand pleasant expression, unlike other emanations of

left.

face

The Dhyana runs as follows:"Dvibhujam ekavadanam sitavarnam manoramam

I

Ardhacarcarakesanca svetambhoruhasarhsthitam

II

Padmam daksinahaste tu raktavarnam vibhavayet

I

Prajnaparamitam vame vajraparyahkasamsthitam

II

Sarvalahkarasampurnam bhavayennabhimandale I
Ankarajnanasambhutam paramanandakarinim II.

Aksobhyamudrita ceyarh
Sukla*Prajnaparamita-Sadhanam'\

Sadhanamala, pp. 310-311.

The worshipper should meditate on the navel the form of Sitaprajnaparamita, as two-armed, one-faced, white in colour, and beautiful
in appearance, with half curly hair, as sitting on the white lotus, carrying in her right hand the red lotus, and the Prajnaparamita Book in her
left.

She sits in the Vajraparyahka attitude, and is decked in all sorts of
She originates from the knowledge of the letter *Am' andornaments.

releases immense delight...

This goddess is stamped with the image of

Aksobhya (on the crown)."(ii)

ColourPlTAPRAJNAPARAMITA
Mudra

YellowDistinctive Mark

VyakhyanaBook on lotus to the left.

The yellow variety of Prajnaparamita with theeffigyof

Aksobhyaform with the one described above, except with regard
andthe rnudra. She is yellow in complexion, bears thecolourto theisidentical inimage of Aksobhya on her Jatamukuta, wears celestial ornaments, andher two hands display the Vyakhyana attitude* On a lotus to her left
rests the scripture Prajnaparamita

1.

The celebrated image of Prajnaparamita (Fig. 141) ofJava belongs
to this variety, and tallies in all details with the description given in the

Dhyana.
1.

SidhanaNo.

158, Sadhanamala, p. 321

EMANATIONS OF AKSOBHYA (CONTINUED)(iii)

Colour

199

KANAKAPRAJNAPARAMiTA
GoldenAsana

Mudra
Vajraparyanka

Book onSymbolDharmacakra

lotus

on two sides.

This form of Prajnaparamita is identical in all respects with oneof the forms described previously. The difference lies in the fact that
although she

exhibits theDharmacakra mudra with her two hands,

there are two books on two lotuses rising from under her two arm-pits.

The Java figure of Prajnaparamita illustrated previously has only one lotus bearing the book in her left, but theShe is golden in colour l.

Indian Museum image (Fig. 142) with two lotuses oneither side,

bearing a manuscript, may definitely be identified with

this

each

varietyof

Prajnaparamita.
7.

VAJRACARCIKA

Asana

Dancing in Ardhaparyahka

Arms

ColourRed

Distinctive feature

Emaciated body

VahanaCorpseAppearance

Six

Terrible

Only one Sadhana in the Sadhanamala describes the form of
Vajracarcika and the Dhyana contained therein runs as follows:"Vajracarcikam

trinetrarh

ekamukhim

ardhaparyahkatandavam

damstrotkatabhairavarh
narasiromakrsangim
lavibhusitakanthadesam asthyabharanavibhusitam pancamudradharimm
mrtakasanastharh,

Aksobhyamukutinirh vyaghracarmanivasanam muktakesim sadbhujam
daksine vajrakhadgacakradharinlm vame
kapalamanikamaladharamraktavarham karmanurupatah sukladivarnayuktanca dhyatva"
Sadhaiiamala, p. 395.
4

The worshipper should conceive himself as Vajracarcika, who isthree^eyed and one^faced, dances in the Ardhaparyahka attitude on acorpse, is emaciated in appearance and looks terrible with bare fangs.

embellished by a garland of human heads, and she isdecked in ornaments of bones, is endowed with the five auspicious
symbols, bears the image of Aksobhya on the crown, is clad in

Her neckisgarments of tiger<skin and has dishevelled hair.

She is six-armed andand the Cakra
the
the
and
the
lotus.
She is red in
left
three
her
in
jewel
and
Kapala,
and
white
to
coloursinaccordance withother
colour but changes
carries in her three right hands the Vajra, the sword,

the different purposes for which she is invoked.

r Sadhana No, 154, Sadhaaamala, pp. 313-314

Thus meditating..."BUDDHIST ICONOGRAPHY

200

The accompanying sketch, (Fig. 143) gives a vivid idea of her terrible
form, with the skeleton of her fleshless body showing through the
all its nakedness, and her vulture-like claws
enhancing theskin infierceness of her appearance.

A statuette of this goddess is found in China
8.

}

.

M AHAM ANTRANUSARINL

Colour

Arms

Blue

Mudra

Four

VaradaThe remarks made in the case of Mahasltavati, an emanation ofAmitabha and one of the Pancaraksa goddesses, apply to the case ofMahamantranusarim also. This goddess is another of the Pancaraksa
goddesses, and as her colour is blue, she affiliates herself to thefamily of the Dhyani Buddha Aksobhya
Only one short Sadhana describes

her form, and theDhyana contained therein is as follows:"Mahamantranusarim caturbhujaikamukhi krsna daksinabhujadvaye
vajravaradavati vamabhujadvaye parasupasavau Humkarabija Aksobhya-kintim suryyasanaprabha ceti"

Sadhanamala,p. 401.

1'Mahamantranusarim is four-armed and one- faced, is blue incomplexion, shows in her two right hands, the Vajra and the Varada
mudra and in her two left the Parasu and the noose. She originatesfrom the syllable "Hurh'\ bears the image of Aksobhya on the crown,sits on and glows like the sun."Images of this deity are known in Tibet
9.

*

J

and China*'.

MAHAPRATYANGIRA

Colour

Arms

Blue

Six

One short Sadhana only is assigned in the Sadhanamala
The Dhyana describing her form is as follows

pratyafigira.

to

Maha-

:

*'Mahapratyahgira krsna sadbhujaikamukha khadgankusavaradadaksinahasta raktapadmatrisula-hrdayasthasapasatarjamyuktavamahasta

Humblja Aksobhyamukuta sarvalahkaravati rupayauvanasampanna".
SSdhanamala, p. 402.
1.

Clark

2.

Gordon ITl, p. 76
As Mantramidharanl she occurs in Clark

3.

:

TLP,

II,

p. 269.

::

TLP, II, pp. 205*275.

EMANATIONS OF AKSOBHYA (CONTINUED)"Mahapratyahgira

shows

is

201

blue in colour, six-armed, and one-faced.

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
inagainst the chest,

the red lotus and the trident"Hum",

the syllable;

she originates fromon her crown, isbears the image of Aksobhya

decked in all sorts of ornaments, and is young and beautiful.
144 and 145

Figs.

illustrate two

conform

Nepalese drawings of the goddess
to the description

Mahapratyangira. They
given in the
Sadhana. The ivory image from Nepal (Fig 146) with innumerable heads
This goddess is found also in
is also worshipped as Mahapratyangira.

China

!
.

10.

DHVAJAGRAKEYURA

Two Sadhanas in the Sadhanamala describe two widely different
forms of Dhvajagrakeyura. In one the effigy of Aksobhya on the crownisexpressly mentioned, but in the other, the Dhyani Buddha is absent.
are also different, and in one case she is three-faced and

The weapons

in the other four-faced.

In all other respects, however, theforms areidentical.

Images of Dhvajagrakeyura are found in China -.
(i)Three-Faced.

Colour

Blue

Faces

Arms

Four
Asana

Pratyalidha

Three

Appearance

Terrible

The Dhyana describing Dhvajagrakeyura, with threearms and with the effigy of Aksobhya, runs as follows"Dhvajagrakeyura krsna

vamamukhi

trimukhl caturbhuja

khadgapasadharidaksinakaradva^ afaces

and four:raktasyamadaksina^

vajrankitakhatvahgaca*

kravamahastadvaya urdhvapifigalakesi suskapancamundalahkrtasiraska
vyaghrajinavasana damstrakaralamukhl pralambodari pratyalidhapada
suryasanaprabha pltavastrakancukim Humbija Aksobhyamukuta."
Sadhanamala, p. 403"Dhvajagrakeyura is blue in colour, three-faced, and four-armed,
with the right and left faces of red and green colour (respecShe 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
l7 Clark : TLP II, pp. 200, 289.
2.

26

Clark : TLP II, pp. 200, 289.

left,

202

BUDDHIST ICONOGRAPHY.
,,

has brown hair rising upwards on her head whichembellished by a
She wears garments of tiger-skin, and has

row of five shrivelled heads.

isShe has a protruding belly, stands inon and glows like the sun, wears
yellow garments and jacket, originates from the syllable 'HunY andbears the image of Aksobhya on the crown".
faces distorted with bare fangs.

the Pratyalidha attitude, has her seat

Four

(ii)

Faces

Arms

Four

ColourAs already pointed

Faced

out,

Four

Yellow

Dhvajagrakeyura has another form, withfour faces and four arms carrying the sword and the Cakra in the tworight hands, and the Tarjanipasa and the Musala, marked within the two left.

A Trisula hangs from her left shoulder.

is yellow, left red,right white, and theof the colour of smoke.

face

above

is

a

Vajra,Her first

face

distorted andis

In all other respects her form is identical withthe one described above.

147 illustrates a Nepalese drawing of the goddess.

Fig.

11.

Mudra

VASUDHARA

VaradaColourSymbolEars of Corn

Yellow

Vasudhara figures in the pantheon of the Mahayana Buddhistsasthe 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

The two others assign her to the Dhyani
may be noticed, by the way, that Vasudhara is of a greater antiquity than the Dhyani Buddhas themselves.
The Dhyana describing the goddess with the figure of Aksobhya on thecrown runs as follows
bear the image of Aksobhya.

Buddha Ratnasambhava.

It:"Vasudharam Bhagavatim dhyayat, kanakavarnam sakalalankarava*
tim dvirastavarsakrtim daksinakarena varadam, vamakarena dhanyamanjaridharam Aksobhyadharinim. Purato Bhagavatim Srivasundharam
daksinato Vasusriyam pascimatah Srivasumukhim, vamato Vasumati-sriyam;etascadyaksarabijah svanayikasamanarupascintaniyah.''

Sadhanamala, p. 421"The worshipper should conceive himself as the goddess Vasudharaof golden complexion and decked in all sorts ofornaments.

pears a young girl of twice eight years, exhibits the Varada
1.

Sadhana No. 210 in the Sadhanamala, pp. 415, 416.

She

ap-

mudra

in

EMANATIONS OF AKSOBHYA (CONTINUED)

203

the right hand, carries the ears of corn in the left, and bears the_ imag<
the crown) ." In front ofThe goH3ess should be con
jof

Aks^tmjon

ceived SrlvasunBhara, in the right Vasusri, in the west Srivasumukhi, anc

These four goddesses originate from the firs
and
of
their
are identical in form with the principa
names,
syllablesin the left Vasumatisn.

goddess' '.

Images of Vasudhara are foundNorth including Tibet

in theBuddhist countries of

th<

l

.

12.

VahanaNAIRATMA.

Asana

Dancing in Ardhaparyahka

ColourBlue

Appearance

Corpse lying on its back.

Symbols

Terrible
Kartri and Kapala.

Two Sadhanas in the Sadhanamala describe her form, which is inmany respects, similar to the form of Vajravarahl with the

Kartri and

the Kapala, the principal point of difference

being the position of theit
When lies on its chest it is Vajra-

corpse which forms their Vahana,
There arevarahl, but if it lies on its back the goddess is Nairatma.
For instance, Vajravarahl being another distinguishing features alsoemanation of Vairocana, should bear the image of Vairocana on the

crown

;

while Nairatma, being an emanation of Aksobhya, should bearMoreover, the excrescence near the
Nairatma.
In all other respects there is a remarkable resemblance between the two.

the image ot

Aksobhya instead.

the right eai of Vajravarahl must be absent in the case of

The Dhyana in one of the two Sadhanas describe the form of Nairatma
in the following termsp:"Savahrccandrasthardhaparyahkanatyasthitam

Nairatmam krsnam

ekamukham urdhvapiiigalakesam Aksobhyamukutmim

damstrakaralay
vame
daksinenakartridharimm,
lalajjihvam,
kapalakhatvahgadharimm,
raktavartulatrinetram pancamudravibhusanarii (dhyayat)."'Sadhanamala, p. 451
4The worshipper should conceive himself as Nairatma

in the Ardhaparyahka in a dancing attitude on thewho stands

moon over the chest

She is blue in colour, has brown hair rising upwards, andbears the image of Aksobhya on her crown. Her face looks terribleof a corpse.

with bare fangs and protruding tongue, and she carries the Kartri in theright hand and bears the Kapala

andthe Khatvahga in the

left.

Her

tbi&e eyes are red and round, and she is endowed with the five auspi*
cious symbols."
1.

Gordon : ITt, p. 72;

Getty : GNB, p. 174.

BUDDHIST ICONOGRAPHY

204

The word 'Nairatma' means 'no-soul* and is another name for Sunya,merges on the attainment of Nirvana. Gra-in which the Bodhisattva

dually, the conception of Sunya took the form of a goddess

in

whose

embrace the Bodhisattva is said to remain in eternal bliss and happiNairatma gets the blue colour, because the colour of Sunyaness,according to the Buddhist tradition, is like the colour of the sky, which
is

blue.

The Indian Museum image No. 3941 (Fig. 148) is the only image ofthis goddess which conforms to thejust quoted.

Here the goddess,

description given in the Sadhanawith the Dhyana, hasin accordancea terrible appearance with canine teeth, garland of heads and threeeyes

She stands on the corpse lying on its back, anddances in the Ardhaparyahka attitude* Burning flames radiate fromher person, and her hair rise upwards in the shape of a flame. She isdecked in the five auspicious symbols, the Kanthika (torque), Rucaka
rollinginanger.

(bracelets), Ratna (jewels), Mekhala (girdle), and Bhasma (ashes) orthe

She bears theSutra (sacred thread) in the form of a garland of heads.

image of her sire Aksobhya on her crown and carries the menacing
The left hand holding the Kapala is broken.
as
The Khatvafiga,
usual, hangs from her left shoulder.
Kartri in the right hand.

shows the above
It is lost in the same way as
characteristics, but the Khatvafiga is lost.
andTibetanbronzes are often foundinsmall weapons
Nepalese
in
China
is
popularmissing. Nairatma

The Vangiya Sahitya

Parishat bronze

(Fig.

149)

1

.

13.

ColourArms

JNANADAKINL
Faces

Three

KulesaAksobhyaBlue
Six

Jnanadakini is the principal deity of the Jnanadakim Mandala of the
Nispannayogavali.

She is described thus

"Jnanadakim nilasya...savyam:

suklarh...vamam

raktasrhgaraih...

daksinabhujatraye urdhvikrtakhatvangam parasurh vajranca vamatraye
NSP, p. 12
ghantaraktapurnakapalakhadgah.""Jnanadakini has a blue face.. .the right is white... the left is red andamorous... In the three right hands she carries the raised Khatvanga,
the axe and the Vajra. In the three left there are the bell, the cup full of

blood and the sword/'
Jnanadakini is represented in the Chinese collection

TLP II. pp. 61, 238

1.

Clark:

2.

Clark : TLP, II, p. 237

f2,

EMANATIONS OF AKSOBHYA (CONTINUED)
14.

VAJRAVIDARANi

VajravidaranI is described in the Dharmakosasangraha oftananda as follows

;

Amiv

:

"Vajravidarani pancamukhi dasabhuja
vajra-varada

205;

dakse ankusa-khadga-sara-

vame pasa-carma-dhanU'dhvaja'abhaya pratyalidhasana".

Dharmakosasahgraha Fol. 44A.
ten-armed, carries in the right hands
the goad, the sword, the arrow, the Vajra, and the Varada mudra, andin the left the noose, the shield, the bow, the flag and the Abhaya pose.
"Vajravidaraniisfive^faced,

She stands in the Pratyalldha attitude".
Fig.

150 illustrates a miniature painting of the goddess in the collec-

tion of Dr. Evans-Wentz.

CHAPTER VIIIEMANATIONS OF VAIROCANA
According to the Sadhanamala all the deities that emanate from the
Buddha Vairocana have generally the white colour or thethe Dhyani

colour assigned to Vairocana. Several goddesses have the images *of
Vairocana on their crowns, thus showing that they are all emanationsof this particular Dhyani Buddha. Some of the deities are expresslyin the Sadhanas to be "Vairocanakulodbhava" or "born of thestatedThe deities emanating from this Dhyani Buddha

family of Vairocana"are said to reside in the interior of the Caitya, since Vairocana,

it

may

be remembered, is the lord of the sanctum of the temple or the Stupa.

Among the deities emanating fiom Vairocana Marici seems to the firstinofimportance and popularity. She is even regarded as the consort
Vairocana. Vairocana is distinguished from the other Dhyani

Buddhas by his white complexion and the Dharmacakra mudra heplays in his two hands.
1.

ColourArms

dis

NAMASANGITI
White

Face

Asana

TwelveOne
Vajraparyanka

Pandit Amrtananda's Dharmakosasahgraha gives the description ofThis descriptiona mostinteresting god, named as Namasahgiti.
enables the students of iconography to identify a large number of his
images that he scattered throughout the Nepal valley and other Buddhist
countries.

This deity should be distinguished from the Namasangiti

Manjusri who has already been described as one of the varieties of theBodhisattva Manjusri. Like the goddess Prajnaparamita who is theembodiment of the Prajnaparamita literature, Namasangiti

also seems

to be the deification of the Namasangiti literature of the Buddhists.

Buddha but fromwould appear that he is a

Pandit Amrtananda characterises Namasangiti as a
the description andthe illustrationit

The elaborate ornaments, the fierce symbol of Khatvanga
as also other Bodhisattva symbols do not befit a Buddha. Although
the parental Dhyani Buddha of Namasangiti is not expressly mentioned
Bodhisattva,

in the description of Amrtananda, he is brought here under Vairocana

because of his white colour*

EMANATIONS OF VAIROCANA

207

Images of Namasahglti are to be found in large numbers in Nepal
either in stone or in bronze and he is popular also in Tibet and China.

erroneously labels this deity as a "Dogmatic Form of Avaloki*
and the names given to the various mudras exhibited by
the deity are also inaccurate. The Dhyana as given in the Dharma*

Getty

1

tesvara"kosasangraha is quoted as follows:"Namasangmnama (Bodhisattvah).
Ekavaktrah svetavarnah dhyananayanah smerananah Jatamukutadharah nanalahkaralankrtah sanmudralahkrtah dvadasabhujah prathama-bhyam
savyadaksabhyarh
hrdayapradeseabhayamudradvayam,
dvayabhyam mukutopari krtanjalimudram, daksatmyena visvavajropari
khadgam savyavamacaturthabhyam tarpanamudradvayam, savyavamapancamabhyam patrasthamrtaksepanamudrarh sasthasavyavamabhyam
sapatradhyanamudrarh

vamatrtiyena

savajrakhatvangam

dadhanah,

kamalopari vajrasanah."

Dharmakosasahgraha (A. S, B. MS.) FoL 91
u

The (Bodhisattva) Namsangiti.

"He is one-faced, white in colour, has eyes (half-closed) in meditation,asmilingisdeckedcountenance,
intheJatamukuta

andvarious ornaments,

auspicious ornaments, and twelve^armed. Hepair of right and left hands the two Abhaya

the six

exhibits in thefirstmudras against the chest;

and in the second pair the

Arijali(claspedhand) mudra over the crown. The third right hand carries the sword
on the double Vajra. The fourth pair exhibits the Tarpana mudras,
the fifth pair shows the mudra of sprinkling nectar from the vessel(Ksepana), and the sixth pair exhibits the SamaJhi mudra on whichis thevessel (of nectar); the third left hand carries thethe Vajra;

Khatvahga withand he sits in the meditative pose on the lotus".

The image reproduced by Getty has lost the sword on the double
Vajra and the Khatvahga with the Vajra carried in the third pair ofhands by the deity.
Fig. 151 illustrates a Nepalese statuette of the deity.
2.

MARICfMaricI is invoked by the Lamas of Tibet about the time of sun-rise,

which shows her connection with the sun. She too, like the Hindu
Sun^god, has a chariot. Her chariot is drawn by seven pigs, whilethat of the sun is drawn by seven horses. Again, the charioteer ofAruna, who has no legs, but that of MaricI is either agoddess with no legs, or Rahu only the head without a body.

the sun1;isGetty : GNB, pp. 66, 67.

BUDDHIST ICONOGRAPHY

208

There

is

a

theory that Marici and Vajravarahi are the same, but it
for, whereas Vajravarahi is actively associated incannot be supported;

yab-yum with her consort Heruka, or Samvara an emanation of Aksobhya, Marici invariably appears singly, and her consort is Vairocana
himself, and not any"emanation of a Dhyani Buddha. Again, Heruka
rides acorpse lying on its

chest, and accordingly, such a Vahana has

been given to Vajravarahi, but Marici is never known to tread upon acorpse, or even the prostrate body of a man. The images of Vajravarahi always represent her as one-faced with an excrescence near theright ear, but Marici, even when represented as one* faced is not known

have any excrescence on her face.
Vajravarahi
according to
must
but
Maricihave either
four
have
the Dhyana,
arms,
may

to

two, eight, ten or twelve
isalwayssaid

arms

to reside in the

being an abbess, may resideaccordingtotheSadhana. Marici

womb of a Caitya, whereas Vajravarahi,
The mantra for Vajravarahi

anywhere.

is"Om Sarva-Buddhadakimye Vajravarnanlye hum hum phat phat svaha""Om Vajravetall hum phat". Santideva gives the Dharani fororMarici 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 ina chariot,

but she is never in the dancing attitude.

Last

but not the least, Vajravarahi has been called a Dakini, that is, an abbess

who hadattained

perfection,(

siddhi)and hadbecomeadeifiedwoman, but Marici is a goddess, first and last.
In view of these wide differences in form,character and accoutre-

ments, the identity of the two goddesses Marici and Vajravarahi, can
not be established. The only points of agreement between them arethat both of them are emanations of Vairocana,and both sometimes

have two arms and two legs.
Sixteen Sadhanas in the Sadhanamala describe six distinct forms of

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
VarallVarttall, Vadall,
Marici.

or twelve arms.

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 andImages of Marici are rather common in India.
of Asokakanta she accompanies Khadiravani
her
form
In
two-armed
eyes of the wicked.

Tara; amongst other varieties of Marici, the form with three faces andEMANATIONS OF VAIROCANA
eight arms, is extensively met with in sculptures

are found in Tibet

L>and China

209

J

Images of.

Marici*.

Goddess Marici is the principal deity in the Marici Mandala of the
Nispannayogavali. The form described here is three-faced and sixarmed.
Marici

Sasvataor

Vairocana

said

is

to

be

the

spiritual sire of

4.

ASOKAKANTA(I)

VahanaAsana

PigStanding

Distinctive feature

ColourYellow

Mudra

VaradaLeft hand touching the Asoka bough

Ordinarily, Marici has two arms and one face. She is called A&oka*
kanta when she holds the bough of an Asoka tree in the left hand andexhibits the

Varada mudrain the

right

hand

;

but shecalledisshe carries the needle and the string in her two hands.
The Dhyana describing the form of Asokakanta is stated below

Arya-Marlci if:"Hemabhasukaraiudham taptakancanabhasvaram

I

Lilayordhvasthitarh candrabimbambhoruhasamsthitam

Asokavrksasakhagravilagnam vamapanina

II

I

Bibhratim varadakaradaksinakarapallavam II
Diptaratnopasobhena maulina Buddhasekharaih

I

Svetavastram namasyami Maricim abhayapradam"II

Sadhanamala, p. 306

bow to Marici who rides the sow of golden

colour, whose com*moltenin a sportiveShe
standsgold.
plexionattitude on the mocn over the lotus, and holds with her left hand the"Iislike the colour ofbough 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 is referred to by Alice Getty 5
1.

Bhattasali

Z.

Getty
Clark

3.

4
5.

27

:

IBBS. p. 43f and PI. XIII-XIV:

GNB, p. 133:

TLP, II, pp. 207, 286, 189, 20

NSP:pp. 40, 41
Getty GNB, p. 133.
:

1.

BUDDHIST ICONOGRAPHY

210^

(II)

ARYA*MARlCf.

Symbols

Needle andString.

Arya-Markl is identical with Asokakanta except for the symbols she
As already stated, Asokakanta has the Asokabough and the Varada pose, but Arya-MaricI carries the needle andbears in her hands.

the string l

.

(III)

Faces

MARlcfPICUVA.

Three

Arms

Eight

Marlcipicuva is also called AstabhujapIta^Marici or Samksipta-MaricI.

These two names denote two distinct varieties of Marici, although bothare endowed with three faces and eight arms and carry similar weapons
in their hands.
One Sadhana only is devoted to Marlcipicuva, and it
does not mention whether she should be accompanied by the four
goddesses as usual. She holds the needle and the string in the first pair'of hands, the Ahkusa and the noose in another pair, the bow and thearrow in the third pair, and the Vajra and the Asoka flower in the
fourth pair. She has three faces, each displaying a mixture of threedifferent sentiments (Rasa),u

The Dhyana in verse runs as follows

Srhgaravirasaddharsair-jambunadasamaprabham

I

Madhyendranllavarnasyam bhayablbhatsaraudrakaih
Karunadbhutasantaisca sphatikendvitarananarh I

IITrivimoksamukhaistryaksam dharmasambhoganirmitam
Pltabharanasadvastram mayukhasukhavasinim I
Sucyaksasyani sivantlm badhnantim mukhacaksusi II

Hrdgalenkusapasabhyam bindhantim banakarmukaih
Vajrena dusthrdbhitvasokenasecanapararh

I

II

Sadhanamala pp. 297-298.

*'The worshipper should conceive himself as Marlcipicuva

plays the sentiments of Srngara, Vira, andwhich is of the colour of Jambunada (gold).
is of

II

II ...

Prajnopayapadakrantam Mandril bhavayedvratl
Maricipicuva'Sadhanarh".

:

who dis-Harsa in one of her

faces,In the middle face which

the colour of the Indranlla gem, the sentiments of Bhaya, Bibhatsa,

and Raudra are displayed and in the third face of crystal colour, thesentiments of Karuna, Adbhuta and oanta appear. She has three eyes;in each one of her three faces, which give freedom from the three great
evils.
1.

Her essence is made of Dharmakaya and Sambhogakaya.
Sadhana No. 147 in the Sadhanamala, p. 305.

She

EMANATIONS OF VAIROCANA
is

III

clad in garments of yellow colour and resides happily in the mass ofShe sews up the eyes and the irouths of the wicked with therays.
needle and secures them with the string. She strikes their hearts with
the Ankusa, draws them by the neck with the noose, pierces them withbow and the arrow, and shatters their hearts to pieces with thethe

Vajra, and then sprinkles water with the leaves of Asoka... She tramples

under her feet Prajna and Upaya."Astabhuja-Marici or Sarhksipta-Marici is yellow in colour, wears
red garments, is decked in various ornaments, bears the image ofVairocana on the crown and resides within the cavity of a Caitya. Her
three faces display three different sentiments. The first, or the principal
and is of the colour of gold. The

face displays passionate love,second, or the left face is distorted, sow-like, has the colour of the Indranlla gem, displays wrath and looks terrible with bare fangs

The third or theand protru-

of deep red colour, glows
ding lips.
She rides
in heavenly splendour and displays the sentiment cf Santa.
aright faceisdrawn by seven pigs, stands

chariot

inthe Alidha attitude, andBelow the seven sowsof youth.
appears
She is suris the fierce Rahu, who devours the sun and the moon.
a virgin in the fulness

rounded by the four attendant goddesses, Varttali, Vadali, Varali and
Varahamukhi.
Varttali has red complexion,(i)the sow-face and four arms.

She wears red garments, is decked in all

sorts

of ornaments,

and carries the noose and the Asoka in the two left hands andthe Vajrahkusa and the needle in the right.
(ii)

Vadali has many features incommon with

but her

Varttali,colour is yellow and she carries the noose and the Vajra
the two left hands and Asoka and the needle in the right,
(iii)

in

Varali is identical with Vadali, except that she holds the

Vajra and the needle in the two right hands and the noose
and the Asoka in the left.
(iv)-

Varahamukhi wears the same garments and the same ornaments as Vadali and Varali, but her complexion is ruddy, andshe carries the Vajra and the arrow in the two right hands andthe Asoka and the bow in the left,-

It is very curious that almost all the

belong "to thisactualIti

Variety.
:>

may sometimes be fnet withretaintheeight-armed

charioted

as'images,instead
'

*

well

as

variety of Ttffcndu areimages of Marlcl known so .far,a leglessof Rahu,

Rahu.
in

the

lady charioteer

while spine

Two*

imagesimages oftheDacca Museum,-twoBUDDHIST ICONOGRAPHY

212

Museumare in the Indian(Fig. 154) whichis(reproduced153 ) Calcutta, and the one

152,

Figs.

in many works of art, was discovered

Sarnath and is now deposited in the Lucknow

Museum, while

a

at

sixth

Besides these, several other images ofhas been discovered in Orissa.

Rajshahi and Sarnath. All
these images are three- faced and eight-armed, and some of them are

MaricI are available in the museumsatvery fine specimens of art. In the more artistic and accurate images thethree sentiments have actually been depicted by the sculptors. A studyof these images will show that though the sculptors generally follow
the Sadhana in all details, yet they are not always so scrupulous in
the case of

the four attendant goddesses

who

are sometimes two-

armed, and sometimes, though four-armed, do not carry the symbols
prescribed by the Sadhanamala.
(IV)UBHAYAVARAHANANA

Faces

Three

Arms

Asana

AlidhaDistinctive markTwelveTwo Sow*faces

She has been given this name because, unlike all other three-facedof MaricI, both her right and left faces are like that of a

forms

She

has

red complexion, a jewelled
headdress, a red scarf and is decked in all sorts of ornaments. She

sow.

is

clad in tiger-skin,resides within thewomb of a Caitya, stands in the Alidha attitude, andis endowed with three faces, each with three eyes, and twelve arms.
The principal face smiles with delight, is peaceful in expression anddisplay the emotion ot love, while the two side ones are distorted sowThe face to the left is red, and is paid homage to by a deity carrylike.
the face to the right has a reddish effuling the Vajra and the Mudgara;

Saindhava salt, and is paid homage to by Purandara
whocarriesthe Vajra and the noose. In her six left hands she(Indra)gence like that ofagainst the chest, the Asoka bough, the Vajrahkusa, the Kapala, the head of Brahma and the vessel, and in the sixshows the Tarjam

right hands the needle, the Afikusa, the Bhindipala

the Kartri and the Staff

stampedwith a(spear ), the sword,

She bears

Vajra.

theimage of Vairocana on her crown, and tramples under her feet the
Hindu gods, such as Hari (Visnu), Hara (Siva), Hiranyagarbha (Brahma)

and others*

The guardians of the quarters

all

pay homage tothisgoddess.
It

may be pointed out here that the Sadhana is reticent about thesows that run it, and about the four attendantlgoddesses, Varttali, Vadali, Varali and Varahamukhl
chariot, the seven.

1.

Sftdhana No. 145 in the Sadhanamala, pp. 299-30Z.

EMANATIONS OF VAlROCANA

(V)

213

DASABHUJASITA-MARICf.
White

Faces

Five

ColourArms

Ten

Legs - Four

Two Sadhanas in the Sadhanamala describe her form which is tenThe most important feature of this variety
She has five faces. The pnn*

armed, and white in colour.
isthat she is endowed with four legs.

cipal face issow-like,white, the rightthe face behind

is

is

blue,

green,

and bears the Trisikha (three tufts offive right hands hold the sun,the leftisred and distorted

and the face above
hair)

is

yellow

The

and the Jatamukuta.

the blue Vajra, the arrow, the goad andthe needle while the five left hands carry the moon, the bow, the Asokabough, the noose with the Tarjam and the string. She rides a chariot
drawn by seven pigs, and tramples under her feet the four Hindu gods
Indra, Siva, Visnu and Brahma.

She bears theeffigyof Vairocana on

her crown,

The Sadhanas further add that she should be accompanied by threeother goddesses of whom the first is blue in colour, and rides upon a
Makara. Her face is mis-shapen like that of a sow, and she carries the
Vajra in one hand and the Tarjam in the other.

The second goddess appears to the right of Marici
ornaments, isruddy in colour with

,

wears

one face mis-shapen

likecelestialthat ofa sow.

The third goddess appears to the

left

of

colour, with one face mis-shapen like that of

Marici.
aShe

isof redsow, and four arms.

The two principal hands are engaged in drawing to the full the bow
charged with an arrow, while the remaining two hold the Vajra in theright and the Asoka bough in the left.
Below che seven pigs drawing the chariot are the Navagrahas or theNine Planets, and various diseases and disasters in human shape lie flaton the groundl.

The Sadhanas do not give the names of the attendant deities, which
are only three in number.

bers of the Varttali group.

It is possible that these three

this variety of Marici.
1.

are themem-

Fig. 155 illustrates aNepalese drawing

Sidhana No. 139 in the Sidhanamala, pp. 285-286.

ofBUDDHIST ICONOGRAPHY

2 14

(VI)

VAJRADHATSTi^VARlMARICL

Faces

Asana

Six

Arms Twelve

When

AlldhaTerrible

Appearance

and twelve-armed, MaricI is invoked in threedifferent forms and under three different names:VajradhatvIsvari Marici.
Uddiyana MaricI, and Vajravetali. These three forms are classed to^gether here because of their marked resefnblance. They differ however
six*facedin minor details and in respect ofthein their

weapons they carryhands.

The features that are common to all the three may be summarised
from the Sadhanas as follows. They are all endowed with six faces andtwelve arms. The first five faces are respectively of red, blue, green,
yellow and white colour. The face on the top is mis-shapen like thatof a sow, and is blue in colour.

All the three are said to reside in thewomb of a Caitya; they stand in the Alidha attitude and bear the imageof Vairocana on the crown.

They presentaterrifying spectacle withthree eyes, protruding tongue, bare fangs, serpents for ornaments andgarments of tiger-skin.
Vajradhatvlsvarl carries in her six right hands, 1. the sword, 2. theMusala, 3. the arrow, 4. the goad, 5. the Vajra and 6. the Parasu,
and in the six left 1. the noose, 2. the Kapala, 3. the Asoka bough,.

4.

the severed head of Brahma,

5.

the bow and 6.

the Trisula,

Uddiyana MaricI holds the Cakra in one of her right hands, insteadof the goad, and the Khatvanga-Kapala in one of the left hands insteadof only the Kapala.

Vajravetali in one of her right hands holds the

crossed double thunderbolt instead of the goad or the Cakra, and in
one of the left the noose instead of the Kapala or the Khatvafiga-

Kapala.

All the other hands carry the same weapons inallthe threecases \
3.

Colour

USNfsAVIJAYA

White

Faces

Three

Identification

mark

Buddha on lotus

Arms

Eight

Like Marici, Usmsavljaya is also said to bear the image of Vairo<^ feet crown and to reside within the womb of a Caitya. She is
one of the most-pqpular deities of the pantheon, and almost every
canacontains her image. The most
however, belongs to the Indian Museum, Calcutta.

temple in Nepal

artistic

specimen,A miniature Caitya''

1.

Sadhana No- 136 in the Sldianamate, p. 280

*

^

-

-

-I

EMANATIONS OF VAIROCANA

215

on the top of the image of Usmsavijaya signifies that she is an offspringof Vairocana who resides in the centre of the Caitya. It is not improbable that Usnlsavijaya is the deified form of the Dharim of the same
name included in the group of twelve Dharim goddesses. She may

thus represent the deified form of the Usmsavijaya Dharim.

SeveralSadhanas describe her form and the Dhyana contained in one ofthese is given below:"suklam trimukham

trinetrarh

astabhujam Bhagavatlm cintayet;

navayauvanam nanalankaradharam

pitakrsnadaksinetaravadanam;

daksi-

nacaturbhujaih visvavajra-*padmastha-'Buddha'bana'*varadamudradharam,

vamacaturbhujaih

capa-tarjanlpasa-abhayahasta'purnakumbhah
yaguhagarbhasthitam, Vairocanamukutinirh nispadya..."

;

cait-

Sadhanamala, p. 394

Usmsavijaya'Sadhanam."'The worshipper should conceive himself

as(Usmsavijaya}

who iswhite in complexion, three^faced, three-eyed, youthful and is deckedin many ornaments.
Her right and left faces are respectively of yellow

and blue colour. Her four right hands display the Visvavajra. Buddha
on lotus, the arrow and the Varada pose, and her four left hands show
the bow, the noose with the Tarjani, the Abhaya pose and the wellfilled water* vessel.

She resides in the womb of the Caitya, and bears

the image of Vairocana on the crown.

Thus meditating..."

The statuette(Fig. 156) of Usmsavijaya in the Indian Museum,in all details with the description given in thealmostCalcutta, agrees
Sadhana. The attitude in which she sits here is the Vajraparyafika

attitude.

The other illustration (Fig. 157)

the reproduction of a painting
contained in an illuminated manuscript of Pancaraksa in the possessionof Dr. W. Y. Evans- Wentz.

is

In it, the right hand which ought to havecarried the Visvavajra or the crossed thunderbolt,
instead.

the jewel

carries

In all other respects the painting follows the description of

the Sadhana most accurately.

Images of this deity are also found in Tibet
4.

land China 2.

SITATAPATRA APARAjITA

Faces

Arms

Three

ColourSix

White

One Sadhana only is devoted to the worship of this deity. The
word "Vairocananayakam" In the Sadhiaiia shows that she also belongs
i

1.

2.

.._..-.

.

Getty: GNB, p. 135,
Clark : TLP, II, p. 286^***

BUDDHIST ICONOGRAPHY

216

to the 'family of the Dhyani Buddha Vairocana.

form in the following manner

She is mildinnatureThe Dhyana describes her

except for the eyes, which display anger*:

Bhagavatim trimukham sadbhujarh, pratisuklam
nllarunadaksinavamamukhim, cakran*trinayanam,kusadhanurdharadaksinakaram sitavajrasarapasatarjamdharavamakaram"Sitatapatraparajitam

mukhtmsakrodhadrstikamsarvagrahavidhvamsinim

divyalankaravastravatim
Sadhanamala, p. 395

Vairocananayakam dhyatva...""The worshipper should conceive himself as goddess
Aparajita, who is three*faced, six armed, and has three eyes

her faces.

Her faces to the

She is of white colour.

respectively of blue and red colour.

She

carriesrightinSitatapatraineach ofandleft

her three

are

right

hands the Cakra, the goad and the bow, and in the three left the white
She has angry looks,
Vajra, the arrow and the noose with the Tarjam.
destroys all sorts ofe\ilspirits(Grahaslit.

Planets),

wears

celestial

Thus meditating...

ornaments and garments, and is led by Vairocana.

This goddess is called Sitatapatra Aparajita "The Invincible Goddess
with the White Parasol" and should be distinguished from the other
Aparajita who has an entirely different form and is yellow in colour.
Fig.

158

illustratesa

Nepaleasedrawingof the deity Sitatapatra

Apatajita *,As Sitatapatra this deity is known in Tibet 2 and China 3
5.

.

MAHASAHASRAPRAMARDANIColour

White

Arms

Six

Mahasahasrapramardam is another goddess of the Pancaraksa
group, and is assigned to Vairocana exactly in the same way as Mahasitavati and Mahamantranusarim are affiliated respectively to Amitabha
and Aksobhya. Her form is different from that in which she isworshipped in the Pancaraksa Mandala. Here the Dhyana describes
her form in the following terms:**MahasahasrapramardanIm atmanam dhyayat
daksinatribhujesu
sadbhujam
bhujesu dhanuhpasaparasavah;

suklam ekamukhim

khadgabanavaradamudrah;;

vicitralahkaradharam

vamatri*rupayauvana*srfigaravatim Vairocanakirltayuktam padmacandrasanaprabham''.

Sadhanamala, p. 400
1.

Bhattasali : 1BBS, p. 53, PI. XVIII.

2.

Gordon : 1TL, p. 27
For Sitatapatra Apatajita see Getty : GNB, p. 136.
Clark : TIP, II, pp. 190, 202 under the title of SitatapatrS,

3*;

EMANATIONS OF VAIROCANA

217"The worshipper should conceive himself

as Mahasahasrapramarof white complexion, one-faced and six-armed. She
carries in her three right hands the sword, the arrow and the Varadapose, and in the three left the bow, the noose and the Parasu. Shedani

who isdecked in variegated ornaments,isisyoung andbeautiful, displays
the sentiment of amour, bears the figure of Vairocana on her crown,sits on the moon over a lotus, and is radiant like the moon".

Images of this deity are found in Tibet

and China ".

VAJRAVARAHI

6.

Asana

]

Dancing in Ardhaparyahka

Characteristic feature

Excrescence near the right ear.

The union of Vajravarahl with Heruka is the cult ofthecelebrated

Cakrasamvara Tantra. One of the Sadhanas gives her the epithet of "Sri'<l
Herukadevasyagramahisi" or the first queen of the god Sn-Heruka".

She is also called a Dakini and in the Buddhist Tantra this
Sakti withwhom the Yuganaddha(yab->um) worship may be per-It will not be out of place toformed.

mention here that Heruka

also associated with Vajrayogini and then union

great Heruka Tanti a, but Vajravarahl differs

yogini in form.

signifies any

is

the

subject

ot

is

the

from VajraHeruka, there is no

considerably

If Vajravarahl is the first queen ot

reason to suppose that Vajrayogini may not be anothei. In fact, it
has already been shown that Heruka in yab-yum lotni used to be
associated with other goddesses, such ys
as well.

Nanatma andVajiasrnkhala,
Vajravarahl is represented as nude and as displaying intenseand passionate love.

The

name

Vajravarahi

or Adamantine

the simple reason that she has

for

sow'

is

given

near

an excrescence

to

her

her
right

which resembles the face of a sow. It is far more likely that
Getty's story about Yun-gar's attack on the abbess and the monasteryrefers to Vajravarahl than to Marici; for while Mai ici has one face whichear

may be distorted

sow-like, Vajravarahl has a natural

excrescence justnear 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 associated with four other Dakmls, she

may quite easily be an abbess, and therefore,aand not a goddess. But Marici is decidedly a goddess
dhatvlsvari and the consort of a Dhyani Buddha.
1*

Gordon

2.

Clark

28

:

:

1TL, p. 76

TLP, II, p 275

woman deified,

Siddha;sheis

Vajra-

BUDDHIST ICONOGRAPHY

218

Several Sadhanas, both long and short, describe two distinct formsof Vajravarahl. who is also known as Buddhadakim and Vajravairo*

She is either two-armed or four-armed.

cam.

Even when two-armed

she may have several forms according to weapons she carries in her two
In one Sadhana only is she said

hands.

from the family

to emanateof Vairocana, and bear the double Vajra on her head, but

the others

are silent as to her sire.

Images of this very popular goddess are found

China 2inTibet 1

and

.

(I)

VAJRAVARAHI

Appearance Nude
Arms Two
Asana Pratyalldha
Symbols Vajra-Tarjam and Kapala.
ColourRed

Several Sadhanas in the Sadhanamala describe two-armed

Vajravarahl.

her form

Below is quoted a Dhyana which givesaforms ofgeneral idea of:

Atmanam Bhagavatlm Vajravarahim dadimakusumaprakhyam

dvi-

daksinakarena vajratarjanikakararh vamena karotakhatvangadharam ekananarh trinetrarh muktakesam sanmudramudritam digambhujarii

bararfa pancajnanatmikam sahajanandasvabhavam,
ta- Bhairava-Kalaratrikam

pratyalldhapadakran-sar dramundam alalahkrtagatr am sra vadrudhi-

ram pibantim bhavayet.

Sadhanamala, p. 425.

"The worshipper should think himself as goddess Vajravarahl whose
colouris

red like the pomegranate flower andexhibits in her right hand the Vajra along with theistwo-armed.

Sheraised index finger,

and shows in the left the Kapala and the Khatvahga. She is one- faced
and three*eyed, has dishevelled hair, is marked with the six auspicious
symbols and is nude. She is the essence of the five kinds of knowShe stands inledge, and is the embodiment of the Sahaja pleasure.
the Pratyalidha attitude, tramples upon the gods Bhairava and Kalaratri,wears a garland of heads still wet with blood which she drinks/'

The Sadhana further adds that the four petals of the lotus on which
she stands are occupied by the four goddesses Dakini, Larna, Khandaroha and Rupini in the four cardinal directions beginning from theright.

The four companions are of blue,

respectively,

and they areallgreen, red and white colour

one-faced and four-armed.

carry the Khatvanga, the Kapala in the left hands and thethe Kartri in the two right hands.
1.

Gordon:2.

Clark : TLP, II, p. 238.

ITL, p. 80; Getty:

GNB, pp. 131, 132.

They

all

Damaru andEMANATIONS OF VAIROCANAVASYA-VAJRAVARAHl(II)

Symbols

219

Kami and Kapala
VahanaAsana

Dancing in Ardhaparyahka

Corpse lying on backThis form of Vajravarahl is invoked in those rituals which are per*formed with the specific purpose of bewitching men and women, and isvery popular in Nepal and other Buddhist countries. This form isalmost identical with the one described above with the difference
that here the goddess wields the Kartri in the right hand instead of the
Vajra, along with the raised index finger. The left has the Kapala likethe previous one. The Khatvanga as usual hangs from her left shoulder just as it is seen in the Heruka and Nairatma images. She stands
in the attitude of dancing in Ardhaparyanka on a corpse instead of

showing the Pratyalidha as in the previous case
Fig.

l
.

159 illustrates a Nepalese drawing of the goddess.

statutre of Vajravarahl

is

(III)

Appearance

A beautiful

preseived in the Baroda Museum (Fig. 160).

ARYA-VAJRAVARAHI
Asana

Terrible

Arms

Four

The four-armed form of Vajravarahl
mentioned before, and is

Alidhais alsosimilar to the forms

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, andin the two left the Kapala and the Tarjani with the noose.
She isone-faced and three-eyed, and appears terrible with contortions ofeye-brows, the adamantine excrescence, and the protruding tongue,teeth and belly.

She stands in the Alldha attitude on the corpse, unlike

the other forms ofshoulder as usual 2

Vajravarahl.

7.

Colour

CUNDA

White

SymbolFace

Arms

The Khatvahga hangs from her left.

Two, Four,Book on Lotus.

One

Sixteen, Eighteen and Twenty'six.
scontained in the Nispannayop aAccording to a definite statement
vail under the Manjuvajra Mandala, Cunda is affiliated to the Dhyani
1.

Sadhana No. 220 in the Sadhanamala p. 433.

2.

Sadhana No. 224 in the Sadhanamala, pp. 437, 438.

3.

Nispannayogavall, p. 52.

Here Manjbvajia is the seme as Vairocara.

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.

The name of the deity is spelt variously as Cunda, Cundra, Candra,
Canda, and Cundra. She is also called Cundavajri. The spelling ofCunda as adopted by Foucher appears to be correct since her mantra
as given in the Sadhanamala "Om Gale Cule Cunde Svaha contains
the word Cunda in the vocative as Cunde
Under the circumstances
the correct spelling and the name of the deity as Cunda may be taken:

as certain.

From the Sadhana it is not possible to ascertain the character of thedeity or her origin.

But fromareference in the NispannayogavaliJappears probable that the deity Cunda is the embodiment of the
Buddhist Dharini work called the Cundadharinl to which a referenceitismade by Santideva.

The Nispannayogavali acknowledges altogether
and gives their descriptions. These Dharims

twelve Dharini deities

look ahke when represented and they are usually two-armed, holding
the Visvavajra in the right hand and their special symbols in the left.

The names of the twelve Dharims as given in the Nispannayogavali
3.
Marl
1.
4Sumati, 2. Ratnolka,
Usnisavijaya,
Anantamukhi
8.
6,
Cunda 9. Pra7.
Parnasabari,
Jahgull

are these
5.

:

10.

jnavardhanl

anda andSarvakarmavaranavisodhani
Sarvabuddhadharma-Kosavati.

12.

11.

Aksayajfianakar-

These

Dharims

collectively assigned to the Dhyani Buddha Amoghasiddhi, andareare des-cribed later in this book.

The Dharims

areapeculiarkind of Buddhist literature which is

supposed to generate great mystic power if repeated continually for a longtime. They are short works mostly composed of meaningless syllables,

sometimes revealing traces of a language now defunct.

cation of books
this

is

the deity

Mahayana

The deifiTheunknown
best example ofPrajnaparamita, who is the embodiment of the great

is notin Buddhism.

scripture, the Prajnaparamita, which is believed to have been

rescued from the nether regions by Nagarjuna the Pontiff.

Amongst the Dharini deities Usnisavijaya, Janguli, Parnasaban
and Cunda are popular, and there are Sadhanas and images of these
But they represent nothing more than the respective
deities in art.
Vidyas or mantras of which they are the embodiments,
1.

p. 57.

See thelistof Dharini deities in the Dharmadhatu-Vagisvara Mandate, NSP,

EMANATIONS OF VAIROCANA

221

Cunda thus is the embodiment of the Cunda Dharim or the Cunda
The Buddhists believe that when the Dharim is repeated in

mantra.

deep meditation for a long time with concentration and faith, the mantra
vibrations grossen themselves in the concrete form of a deity which theworshipper visualizes, and thus obtains Siddhi or success. Once realized,
the deity neverleaves the worshipper

and gives him everything that

he desires.

With regard to the antiquity of Cunda in the Buddhist pantheon,
may be said that the very first mention of her name Candra which isconsidered to be the same as Cunda, appears in the Manjusrimulakalpa,
the composition of which is usually placed cir. 200 A. D. As Cundait

vajri,

she finds mention in one of the earliest Tantric works, the Guhy-

asamaja which was written most probably in the time of Asahga, cir.
300 A. D, Cunda is also mentioned in the Siksasamuccaya of Santideva
in the 7th century.

mita

Cunda images are found in illuminatedPrajnapara-

MSS of the llth century and several Sadhanas are dedicated toher in the Sadhanamala, the earliest MS of which bears a date which
equivalent to A. D. 1165.

Earlier, sheisismentioned in the Nispannayo-

gavall of Abhayakara Gupta (C 1130. A. D.j.

So far only three Sadhanas of Cunda are known, and they are all to
be found in the printed edition of the Sadhanamala as Nos. 1 29,
There is a further description of the goddess inand 131.
where Cunda is included as a minor deity
book
same
the
of Astabhuja-Kurukulla. Three more descriptionsin the Mandala130,

are available in the NispannayogavalL

The three Sadhanas in the Sadhanamala describe the principal
and ofdeity Cunda in one form only. She is four-armed, one-faced
below
iswhite complexion. The Dhyana
given^Saraccandrabham caturbhujarh daksinena varadam, vame pustaka:nkitapadmadharam karadvaye patradharam sarvalankarabhusitam"
Sadhanamala, p. 271,

"She is of the colour of the autumn moon, and is four-armed. She
shows the Varada mudra in the right hand and holds the book on a
She is decked
lotus in the left. The two other hands hold the bowl.
in all ornaments."

Only one image of Cunda (Fig. 161) of this description was in theof America. The illustra*collection of the late Mr. W. B. Whitney
1tion is from a photograph kindly supplied by the owner.
1.

of Art.

Also illustrated in Gordon

:

ITJL,

p. 74.

It is

no* in the famous Freer Gallery

BUDDHIST ICONOGRAPHY

222

The Sadhanamala also makes Cunda a c'ompanion deity of Astabhvr
ja

Kurukulla in Sadhana No. 174, p. 352.

In the Isana corner of the

Kurukulla Mandala on a lotus petal sits Cunda while the other petals

by Prasannatara in the east, Nispannatara in the south,
Jayatara in the west, Karnatara in the north, Aparajita in the Agni
corner, Pradipatara in the Nairrta corner and Gauritara in the Vayu
are occupied

All the deities including Cunda look alike and are described ascorner,follows:"Etasca sarva raktavarnah pancatathagatamukuta vajraparyankanisa-

nna daksinabhujabhyam varadamudra-akarnapuritasaradhara vamabhuSadhanamala, p, 352.
jabhyam utpala-capadharah.""All these deities are red in colour.
They wear a crown withthe figures of the five Dhyani Buddhas, and sit in the Vajraparyahka
With the two right hands they show the Vaiada mudra andattitude,arrow drawn to the ears.

the

They carry in their two left hands theblue lotus and the bow."

Nispannayogavali there are altogether three descriptions ofIn the Kalacakra Mandala, Cunda is the consort of Takkiraja

In theCunda.

who is similar to Ratnasambhava in appearance
is given*below

The relevant passage:'Cunda sukla savyabhyam mudgara-kuntau vamabhyarh padma^dan^

dau vibhrana".
u

Cunda

is

NSP, p. 89
white in colour.

Mudgara (club) and theKunta (knife) and in the two(lotus) and the Danda (staff)

Cunda

In the two right hands she carries
left

the

the

Padma

"

mentioned in the Dharamadhatuvaglsvara
Mandala. In this Mandala her form is described in the following wordsisonce again:"Cunda sukla aksasutravalambita^kamandaludhara"
NSP, p. 57"Cunda is white in colour. She carries in her two hands the"to which a Kamandalu is suspended.

rosaryA third form of Cunda is described in the Nispannayogavali in the
Manjuvajra Mandala. It is an elaborate description of Cunda who
is here endowed with as many as twenty-six arms.
The relevant extract
quoted below"Cunda candravarna sadvimsatibhuja pradhanabhyam hrdi mulamudram daksinairabhayam khadgam ratnadama bljapuram sararh parasum gadam mudgaram ahkusam vajram tripatakabhinayarh aksasutramcavamaiscintSmanidhvajam padam kamandalum pasarh capam saktim
cakram khadgam tarjanam ghantam bhindipalam prajnaparamitapusta*
is

:

;

karh ca vibhrati.

NSP, p 49

EMANATIONS OF VAIROCANA"Cunda is moon*white in colour.

223.

thunderbolt, 11.

hands she shows theremain-In theing right hands she shows the 1. Abhaya mudra, 2. sword,land of jewels, 4. citron, 5. arrow, 6. axe, 7. club, 8. hammer,
10.

With

She has twenty-six arms.

the two principal hands she exhibits the chief mudra l

3.

gar-

9.

goad,

Tripataka and 12* rosary. In the remaining left
marked with Cintamani jewel, 2. lotus, 3.

1. flag

Kamandalu, 4. noose, 5. bow, 6. javelin, 7. discus, 8. sword, 9. Tarjam
12.
the Prajna(raised index finger), 10. bowl, 11.
Bhindipala andparamita Scripture".

Although images of Cunda with twenty^six arms are not available,
there are several images of Cunda with sixteen arms. These can be
identified with the help of a miniature painting of sixteen-armed(Fig. 162) available in the manuscript No. Add

This miniature bears

in the Cambridge University Library.

old Newari characters which reads as

Cunda

1643 of PrajnSparamita
a

label

in

:

"Pattikere Cundavarabhavane Cunda""Cunda in the excellent temple of Cunda at Pattikera/This inscription leaves no room for doubting the identification of
the sixteen-armed image as that of Cunda. In this figure also theprincipal pair ofhands exhibits against the chest the mudra whichiscalled in the Sadhanaas the Mula mudra which is akin if not equal to theDharmacakra mudra.

Foucher has given a description of the miniatureof Cunda in his L'Iconographie Bouddhique, part I, p. 199.
to him the two principal hands

exhibit themudra of

Accordingteaching.

The

remaining seven right hands show the 1. Varada mudra, 2. thunderbolt,
3, discus, 4. club, 5.
dagger, 6, (indistinct) and 1. rosary. In the sevenleft hands she carries
6.

(indistinct) and7.

the 1. vessel, 2. axe, 3. trident,
sceptre.

4.

bow, 5. dagger,

Dr. N. K. Bhattasali 2 gives a slightly

different description of the same miniature.

Thus it is apparent that there was an image of Cunda in the Cunda
temple at Pattikera which is identified by Dr. Bhattasali with theremains on the Lalmai hills in Tippera in East Bengal The miniatureof the Prajnaparamita manuscript obviously depicts the sixteen-armed
image of Cunda, and thus becomes instrumental in identifying severalof her unidentified images.

The Baroda Museum image (Fig. 163) is one such image and is asmall and very artistic piece made of the usual octo-alloy of the Nepaleseschool.
1.

Thinly covered in the front part with a golden leaf or polishThis mudra may be called the Cundamudra which ismudra displayed by Vairocana.
2.

Bhattasali:

1BBS, p. 13.

akin to the Dharmacakra

BUDDHIST ICONOGRAPHY

224

which has faded out at many places, on a pedestal there is the prostrate
In the Paryahka Asana the deity sits
figure of a man lying on his back.
She is richly dressed andon the prostrate figure.

isdecked in orna-

ments such as necklace, chain, tiara, ear-rings, bracelets, armlets, anklets
and girdle. She is sixteen-armed. The two principal hands are arrangedin the form of a mudra which isakin to Dharmacakra

The remaining

seven right hands show downwards from the top the L sword, 2. Damaru(broken), 5.

knife, 4.

(kettle-drum), 3.
7.

Abhaya mudra.

1.

discus, 2.

hammer,6.

garland of

jewels,

The remaining seven left hands show likewise thebell, 3. noose, 4. dagger, 5.

goad, 6. arrow ard

Vara-

7,

The deity is one-faced.

da mudra.

The Baroda Museum image has therefore to be identified with Cunda,
although there is some minor variation. Similarly, the Bodh Gaya image
found in the Hindu monastery (Fig. 164) has also to

Cunda with sixteen arms.

be identified with

One more stone image of Cunda is illustrated

in the History of Bengal, Vol. I, pi. xxvi, 64.

Here Cunda has eighteen

arms instead of sixteen as in the miniature.

The special feature of the Baroda Museum imageison the prostrate figure of a man.

in all other images of Cunda so

But this seat appears

metal.

images whichit,be a special

which

seat
is

absentthe Cunda
Cunda is saidfeature of

not against the direction of the Sadhana.

in the Sadhana to be seatedits

discovered either in stone or in

far

to

is

This kind of special seaton a Sattvaparyahka or a seat spread on'Sattva' which usually means a man or an animaL This particularabronzegives the indication that Sattvaparyahka is a seat that is placed on amanlying on his back.

Cunda is popular both in Tibet
8.

-.

GRAHAMATRKA
Three

Arm s

Six

Dharmacakra

Asana

Vajraparyahka

Faces

Mudra

and Chinal

She has been described in the Dharmakosasangraha in the following

words

:

"Grahamatrka trimukha svetapitarakta sadbhuja dakse dharmacakramudia-vajra*sara;vame kamala'Capa;sahasradalapadme vajrasana".

Dharmakosasafigraha. fol, 44A.
1.

Gordon

2.

Clark

:

ITL, p 74 Getty GNB, pp.
TLP, II, pp. 285, 222, 284.
:;:

129, 130.

EMANATIONS OF VAIROCANA

225"Grahamatrka has three faces of white, yellow and red colour, andsix-arms, displaying the Dharmacakra mudra (in the principal pair ofhands) and carrying the Vajra and the arrow in the two right hands,
and in the two left the lotus and the bow* She sits in the Vajrasona on
a lotus of a thousand petals".
Fig. 165 illustrates a

EvanS'Wentz

]

.

29

Getty

:

miniature painting in the possessionl.

GNB, illustrates a similar miniature on plate LXI, p. 474.

of Dr.

CHAPTER IXEMANATIONS 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 thesignal 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 theorder of their importance,
1.

VAJRAMRTAGreenColour

Faces

Arms

Three

Six

Vajramrta is the principal deity in the

Vajramrta Mandala of the

He is described thus in the text

Nispannayogavall.

:"SriAfajramrtah sattvaparyanki priyangusyamah sitaraktamulasavya-vamamukhatrayo.

. . .

sadbhujahsavajraghantabhujayugmalingitasvabha'prajnah savyabhyam cakrasi vamabhyam pasankusau vibhranah."

NSP, p. 18.
and
is
a
on
like
the Priyangu
Sattvaparyanka
green
Vajramrta sits
flower. He is three- faced, the right and left faces show the white andred colour. He is six-armed. The two principal hands holding the"

Vajra, and the Ghanta, embrace the Prajna of his own creation. The
two other right hands carry the discus and the sword, and the two leftshow the noose and the goad."
Vajramrta is represented in China.

KHADIRAVAMTARA

2.

Colour

l

Mudra

Green

v/

Varada*Symbol UtpalaCompanions Asokakanta and Ekajata.
Tara

is

the

common name applied to a large number of feminine

deities in the Buddhist pantheon.

saban. Mahaclnatara,
1.

Ekajata

Clark : TIP, II, p. 236,

In the Sadhanamala, Jahguli, Parna-and many others are~~calledTaras,

EMANATIONS OF AMOGHASIDDHI

227

including Khadiravam, who is endowed with two hands, showing the
Varada mudra in the right and the Utpala in the left. She can berecognized by the figures of the two attendant deities, Asokakanta
Marlci and Ekajata. One Sadhana in the Sadhanamala contains a
Dhyana which describes her form thus :"Haritam Amoghasiddhimakutim varadotpaladharidaksinavamakaram Asokakanta* Marlcy-Ekajatavyagradaksinavamadigbhagam divyaku*

manm

*
. . .

dhy atva'

Khadiravam-Tara-Sadhanam"

Sadhanamala, p. 176"The worshipper should conceive himself as KhadiravanT'Tara ofgreen colour, who bears the image of Amoghasiddhi on her crown,
and shows the Varada mudra and the Utpala in the right and left hands

To the right and left of her appear Asokakanta Marlci"and Ekajata, and she appears a celestial virgin... Thus meditating

respectively.

She

is

commonly known

colour, and as

because of her green
Syama-Tarathe Sadhana does not mention any particular A.sana she]as

may be represented in any attitude, either sitting (Fig. 166) or standing
A beautiful statuette in the Baroda Museum shows the(Fig. 167).
goddess in the Lahta attitude (Fig. 168)

Images of Khadiravam Tara are found in Tibet

and China

MAHASRI TARA

^

Green

Arms

Two

Vyakhy ana

Companion

3.

Colour

Mudra

-

i>

Four

Another deity emanating from the Dhyani Buddha Amoghasiddhi
of green colour is Mahasri Tara "Saviouress of Great Beauty". A single
Sadhana in the Sadhanamala describes her form along with her four
companion deities, such as Ekajata, Asokakanta Marlci, Aryajangull
and Mahamayurl. The Sadhana describes her form as follows:

Mahasritaram candrasanastham syamavarnarh dvibhujam hastadva*
yena vyakhyanamudradharam ekavaktram sarvalahkarabhusitam pars^
vadvayenotpalasobham suvarnasimhasanopari apasrayadisobham nana*
puspSsokacampakanagesvaraparijatakadibhirajitarh-Amoghasiddhimuku**
Sadhanamala, p. 244-245

tinlm.

"Mahasn Tara sits on the seat of the moon, and is green in colour;

she is endowed with two hands which exhibits the Vyakhyana mudra.
She is one-faced and is adorned with ornaments. Two lotuses beautify
1.

IBBS : p. 56, PL XXI-XXII.

2.

Getty:GNB,p.

3.

Clark : TIP, II, p. 267.

125

BUDDHIST ICONOGRAPHY

228

her sides. She sits on a golden throne furnished with beautiful cushions.

She is decked in a variety of flowers like the Asoka, Campaka, Nagesvara

She bears on her crownand Parijataka.

a smallof Amogha-

figuresiddhi."the Sadhana gives a description of the four
deities. Here Ekajata who is stationed apparently to theLater,

central deity,isof the following description

companion
leftof the:"Ekajatarh ardhaparyahkopavistam nllavarnam kartrikapaladharam

sakrodharh lambodaram pihgalajatavibhusitam vyaghracarmambaradharam."
Sadhanamala, p. 245'Ekajata sits in the Ardhaparyahka, is blue in colour, holds the Kartri

the Kapala (skull), and is angry-looking with a protruding( knife ) andbelly.

Her hairisof fiery red colour and matted, and she wears a

garment made of tiger-skin."
In the corresponding right side appears Asokakanta who is describedin the following words:

Daksine parsve Asoka kantarh pitavarnam ramamukutinim vajiasokadharam."
Sadhanamala, p. 245.

"Towards the right is Asokakanta who is yellow in colour, wears
crown of jewels, and carries the Vajra and the Asoka flower."a

The goddess Arya-JahgulI also appears on the further left, behind thefigure of Ekajata, and is described here as follows :"Purnarvame Arya-Jangullm syamavarnam sarpavaradahastam.''
Sadhanamala, p. 245.
"Further to the left there is-Arya-Jahguli of green colour showing in
her hands the snake and the Varda mudra."In the extreme right there is another goddess called
She is given the following form in the Sadhana

Mahamayurl.

:"Daksine Mahamayurim mayurapicchavaradahastam".
Sadhanamala, p. 245.
"In the right there is Mahamayurl showing the peacock's feathers andthe Varada mudra,*

The mantra of thedhana ascentraldeity Mahasri Tara is given in the Sa-:"Om Tare Tuttare Ture dhanam dade Svaha".
The mantra evidently makes her a goddess of wealth, and as suchthe deity must have been worshipped by the Tantric Buddhists, According to a further statement she sits in the Rajalila Asana or the pose ofprincely ease.

EMANATIONS OF AMOGHASIDDHI
Only onestatuette of the deity has been

now in the Indian Museum,Calcutta(

discovered so

169 ),

Fig.

229

far.

It is

In conformity with

the Sadhana the principal deity Mahasn Tara is shown as one-faced
and two*armed exhibiting the Vyakhyana or the Dharmacakra mudrcu

There are two night lotuses on either
in theRajalilapose on a lion-throne

The principal deity sits
and bears on her crown theside.

miniature figure of Amoghasiddhi with the Abhaya mudra.

To her left is the fierce figure of Ekajata, sitting in the Ardhaparyan*
ka attitude and holding the Kartri and the Kapala in the two hands. She
has a protruding belly, garment of tiger-skin, and she bears a wrathfuldemeanour which is clear on the stone.

To her right similarly, sits Asokakanta Marie! who wears a bejewelledcrown, and carries the Vajra and the A soka flower according to thedirection of the Sadhana*Thestatuette also

depicts Arya-Jahguli towards the extreme left ofthe deity and shows the snake and the Varada mudra in accordance withthe direction of the Sadhana.

The

also

statuette

includes the small figure of Mahamayuri to theSheextreme right of the principal goddess.
feathers and the Varada mudra.

shows theThe Indian Museum image seems to be the only image

representing

Mahasn Tara where the sculpture does not deviate even a
the description given in the Sa Jhanamala

peacock's

little

from

l
.

**J

Vasyatara,

one

SadhanaAsana

VASYATARA
4.
Bhadr asana
Sy m bol

Lotus

Mudra

VaradaColour

Green

also

known by

is

in

the

the Sadhanamala

name
is

of Aryatara,

assigned toher.

and only
There isdifference between her form and that of Khadiravam-Tara in as much as both display the Varada mudra in theBoth have green colour,
right hand and carry the Utpala in the left.
and both bear the image of Amoghasiddhi on their crowns. In thecase of Khadiravam-Tara, however, no mention is made regarding
practicallynothe attitude in which she should stand orsit,

but hereitisexpressly

mentioned that Vasyatara should be seated in the Bhadrasana, which
resembles the European fashion of sitting with both legs dangling below
1.

For anarticleMadras, p. 257 et. seq,

on thesubject see Proceedings of the Third Oriental Conference,

Identification of an IndianMuseumthere are some miniature paintings depicting Mahalrltara.

Statuette.

Besides this

BUDDHIST ICONOGRAPHY

230

This Asana, or the attitude of sitting alone distinguishes Vasystara from
6fdinary Taras carrying the Utpala in the left and exhibiting thein the right.
The other point of difference between

othetfVarada mudra

Khadiravam-Tara" and Vasyatara is, that the former is accompanied by
the two goddesses, Asokakanta Marici and Ekajata, whereas the latter is

without companions. Khadiravam may sit or stand in any attitude,
but the Sadhana prescribes the Bhadrasana only for Vasyatara.

The accompanying sketch (Fig. 170) represents Vasyatara

as sheispictured in Nepal, and its special importance lies in its depiction of the
Bhadrasana attitude in which the goddess sits
1

.

5.

.

ColourFaces

SADBHUjA SIT AT AR A

White
Three

Asana

Ardhaparyahka

Arms

Six

There are many Sadhanas for Sitataras, or the Taras of white colour
but in none of them are they mentioned as bearing the image of

Amoghasiddhi on

their crowns.

of the Dhyani Buddha

expressly mentioned.

the imageThis White Tarais:

"Sitatararh trimukharh

timukham

It is only in this case thatsix*armed, and the Dhyana describes her form in thethree-faced andfollowing terms

issadbhujam pitamladaksinetaramukhim pra-trinetram varada-ksasutra-saradharadaksinatrikaram utpala-padma'Capadharavamapanittayam ardhaparyankanisannarh candrasanaca~
ndraprabham jatamukutasthit-Amoghasiddhiih pancamundavibhusitamastakarii ardhacandrakrtasekhararh nanalankaradharam dvirastavarsakr*
5tirh astasmasanamadhyasthitam.. vicintya/

Sadbhuja'Sukla-Tarasadhanam

Sadhanamala, p. 216"The worshipper should conceive himself as Sitatara, who is threefaced, and six-armed. Her right face is yellow and the left blue in colour,and the faces are endowed with three eyes each. Her three right hands
show the Varada mudra, the rosary and the arrow, and the three left
carry the Utpala, the lotus and the bow. She sits in the Ardhaparyanka
attitude, sits on and shines like the moon, and bears the effigy of Amoghasiddhi on her crown of matted hair. Her head is embellished by five
severed heads and the crescent moon. She is decked in many ornaments,
is twice eight years

grounds.

old, and resides in the midst of the eight cremation

Thus meditating..."

The accompanying sketch (Fig. 171) shows how she is represented in
Nepal.
I.

It tallies

in allrespects with the description given in the

For the Sadhana, see Sadhtnamala, p. 173.

EMANATIONS OF AMOGHASIDDHI

231

Sadhana, except that here she is represented in Vajraparyahka instead of

Ardhaparyanka

as requiredby the Sadhana.

She is known to the Chinese collection at
PeipingArms
Dhanada-Tara

is

Four

Colourone of the four-armed

special features of this,/

DHANADA^TARA

6.

2

Green
varieties

Theof Tara.

goddess are that she rides an animal, and like

Vajratara, is surrounded by eight goddesses,
syllables

originating from the eightof the famous mantra "Om Tare Tuttare Ture Svaha". The

symbols that are held in her four hands are also different from all othervarieties of four-armed Tara.
The Dhyana describing her form runs asfollow :"Tara-Bhagavatim atmanath bhavayet
sattvaparyankasthaih, haritasyamam;

candrasanaprabham saumyarh

ekavadanam dvilocanam

catur*

bhujamvicitravastralankaravaaksasutravaradotpalapustakadharamtirh-Xocanadibhir-devibhlr-abhisiktam atmanam Amoghasiddhimukutarn dhyayat."

Dhanada-Tara Sadhanam."

Sadhanamala, p. 219,

'The worshipper should conceive himself as goddess Dhanada Tara,

who is seated on and has the radiance of the moon, is benign in appearon an animal, has green complexion, one face, two eyes,
and four arms showing the rosary, the Varada pose, the Utpala and theance, sits

book. She wears variegated ornaments and garments... The worshipper
should further conceive himself as receiving homage from the goddesses,

Locana and others, and as bearing the image of Amoghasiddhi on thecrown/'
Images of Dhanada Tara are found in Tibet*

and China 3

.

Fig.

172

illustrates a Nepalese drawing.

SITATARA

7.

Colour

White

Mudra

Arms

Four

Utpala Mudra

Sitatara, as the name implies, is a

Tara of white variety with one
She is accompanied by two goddesses Marici and
Mahamayun. It may be remembered that Khadiravam also is accompanied by Marici and Ekajata but the difierence is that Khadiravam

face and four arms.

;

1.

Clark:

2.

Getty GNB, p. 123.
Clark ; TLP, II, p. 283

3.

:

TLP, II, p. 282

BUDDHIST ICONOGRAPHY

232
is two-armed whereas

Sitatara

isform in the following terms

The Dhyana contained

four-armed.

in the only Sadhana for her worship in the

Sadhanamala describes her:"Tarabhagavatlm suklam trinetram caturbhujam Panca'Tathagatamukutim nanalahkaram, bhujadvayena utpalamudram dadhanarh, daksmasarvasattvanam asambhujena cintamaniratnasamyuktavaradam,pari*purayantirh, vamenotpalamanjarim vibhranam dhyayat.

Tasya daksinaparsve

Mariclrh

pitarhcandrasanam

vamena raktasokapallavadharam,

daksinena

dvibhujam
dharam raktakancukabharanam.
;

nilambaramsitacamara';

Vamaparsve Mahamayurim priyangusyamam dvibhujam;

vamenamayurapicchadharam, daksinena camaradharam, evam vicintya..."Sadhanamala, p. 215.

'The worshipper should

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 invisualiseasmany ornaments, exhibits the Utpala mudra with the first pair of hands,
displays the Varada mudra along with the Cintamani jewel in the secondright, and carries the Utpala

bud

in

the second

and

left,

fulfils

theprayers of all beings.

To her right is MancI whoisyellow in complexion,

sits

on themoon, is clad in blue garments, is two^armed, and carries the boughwith red Asoka flowers in the left hand and the Camara in the right.
She wears a red jacket and ornaments.

To her left is Mahamayuri of green colour, like the Priyahgu fruit,
who is two- armed and carries the peacock's feathers in the left hand
and the Camara in the right.

Thus meditating...".
1

Images of Sitatara ar^ found in Tibet>/
ColourVahana-8.

and China -.

PARNASABARI

Green

Diseases (in 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

Amoghasiddhi, from whom she is said to emanate, is of that colour.
The Mantra calls her 'PisacP and also 'Sarvamariprasamani' or **thedestroyer of all diseases and epidemics". She is almost identical
'

1

2,

Getty: GNBp. 122.
Clark TLP, II, pp 189,216.
:

EMANATIONS OF AMOGHASiDDHI

233

with the form that has been described previously, except that here
her colour is green and she bears the image of Amoghasiddhi on hercrown, instead of that of Aksobhya. She carries the same weapons
asthebut theprevious one,

expressions of their faces are very
angry laugh. As thedifferent, there a pleasant beaming smile, here an

two specimens of Parnasabari discovered in East Bengal both bearing
the image of Amoghasiddhi on the crown, it is necessary to quote theDhyana in this case also, for a comparison of the details with theimages reproduced here:

'Tarnasabarim haritam trimukham trinetram sadbhujam krsnasukladaksinavamananam vajra-parasu-saradaksinakaratrayam karmuka-patrac*
chata-sapasatarjanivamakaratrayam sakrodhahasitananamnavayauvanavatim sapatramalavyaghracarmanivasanam isallambodarlm urdhvasamyaadho
takeslm
Amoghasiddhimukutim
asesarogamaripadakrantam

atmanarh jhatiti mspadya .."Sadhanamala, p. 308.

'The worshipper should conceive himself as Parnasabari, who has agreen complexion, three-faces, three eyes, and six arms. Her right andShe 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
in her three ri^ht

She is in the prime of youth, is decked in tiger*
of
and
a
skin
leaves, has a slightly protruding belly, and hairgarment
tied up above. She tramples under her feet various diseases and pestileThus
nces, and bears the image of Amoghasiddhi on the crownshow an angry laugh.

meditating.. ".

The two images of Parnasabari (Figs. 173 andcovered by Mr. N. K.

]

Bhattasali

Sadhana most accurately

in

all

.

174)

have been

dis-These twodetails;

images follow theangry laugh has beenthecorrectly depicted in the three faces, and the belly slightly protrudes.
To the right and left are two divinities, Hayagnva, the Hindu godof Fever, andSitala,inarerepresented
to escape the wrath of
the

feet

are

Hindu

the

the

goddessasofsmall-pox, and theyinopposite directions
flyingimagesThe
Parnasabari.
prostrate figures under

the Diseases

andPestilences,inhuman shape.

Thea man attacked with small-pox,
figure under the right leg, apparently, isall over his bodythe othermarks
as we can judge from the circular;

attacked with somefigure under the left foot, is probably

fataldisease.

Both the images of Parnasabari are decidedly very fine specimens of theBengal school of art,
l7~Bhattasali : IBBS, p. 58f. Plate XXIII.

30

BUDDHIST ICONOGRAPHY

234

Parnasabarl is represented in Tibet

and China 2

GreenColour.

MAHAMAYURI

9.

Arms

]

Six

Faces

Three

Asana

Ardhaparyahka

goddess of the Pancaraksa group, and isaffiliated to Amoghasiddhi in the same way as the other members of theMahamayun is anothergroup are affiliated to one or another of the Dhyani Buddhas. She isdifferent in form when worshipped in the Pancaraksa Mandala, which

When she bears the image of Amoghasiddhi
on the crown she is three-faced and six-armed, but she may have anotherform with one face, two arms and yellow complexion, in which caseshe will hold peacock's feathers in the rioht hand and display the Varada
mudra in the left. The three-faced and six-armed form of Mahamayun
will be described later.

has been described in the Sadhanamala as follows:"Mahamayurim haritavarnam trimukham
trinetram

krsnasukladaksinetravadanam

mam rnayurapiccha-bana-varadamudrah
tacapotsangasthakalasah

;

;

;

sndbhujarh pratimukham
daksinatnhastesu yathakra*tatha vamatrihastesu ratnacch-

vicitrabharanam,srhgararasam,

navayau*vanum, candrasane candraprabhavatim ardhaparyankimm Amoghasiddimukutirh bhavayet atmanam".
Sadhanamala, p. 400.

"The worshipper should visualise himself as Mahamayun, who hasa green complexion, six arms, and three faces, each endowedwith three

Her right and left faces are of blue and white colour respeceyes.
She shows in her three light hands the peacock's feathers, thetively.
arrow and the Varada mudra, and similarly, in the three left hands thewater-vessel on the lap. She is decked in
jewel, the bow, and thewonderful ornaments, displays the sentiment of passionate love, isyouthful, has her seat on, and the radiance of the moon, sits in the

Ardhaparyahka attitude, and bears the image of Amoghasiddhi on thecrown".
'

Mahamayun is popular in Tibet
found in these countries.

She is said

and China 4 andher images areto nullify the effect of snake-poison.
1.

Gordon: ITL, p, 71

2.

Clark:

TLP,

3.

Gordon

:

4.

II,

;

pp.

ITL, p, 74

Getty

:

GNB,

p. 134, 135.

207, 287 two-armed, 287.

Getty
Clark: TLP, II, pp. 206, 275.
;:

GNB, p, 136.

EMANATIONS OF AMOGHASIDDHI
10,

ColourArms

235

VAJRARNKHALA
Green
Eight

Faces

Three

Asana

LalitaChain

SymbolThree Sadhana^ in the SaJhanamala are devoted to the worship ofVajrasrnkhala. Her colour is green, and as she emanates from Amoghasiddi she bears the image ofthat

Dhyani Buddha on the crown.

1"Srnkhala' means a chain, and as the goddess carries a chain, marked

The chain,with a Vajra, she is called Vajrasrnkhala.

therefore,characteristic sign and should be paid particular attention

fying her images, if ever, thevwith Vajrasphota anothercome

She may

ro light.

One ofchain- bearing deity.

describes her form in the following manner

to,

in

is

her

identi-be compared
the Dh>anas:"Haritarh trimukharh astabhujam; prathamamukham Isaddhasarasarh;

daksmarh kapilarh kapilalocanarh cakaralarh;daksinesu catuhkaresu;

vumarh raktarh bhrkutidarhstra-

abhaya-vajra-srhkhala-saradhaiarii

vamacatuhkaraih rudhirapurnakapala-tarjani-pasa-capadharam
sepasanastharh,;

lalitak-;

Amoghasiddhibhusitoidhva-

marjjaracarmottariyam,

pingalakesam vicmtya...

Sadhanamala, p. 414.

Vairasrhkhaia-Sadhanam/'"The worshipper should

visualisehimself(Vajrasmkhala) ofas

Her first face isgreen compiexion, with three faces and eight arms.
is
with
brown
of
brown
colourface
eyes, and thegently smiling, rightleft is of

red colour and appears temble with contortions ot the browsShe shows in the fourand bare fangs.

hands the Abhaya pose,right

the Vajra, the Vajrasrhkhala and the arrow,andthe four

in

left,

the

Kapala full of blood, the Tarjani, the noose and the bow. She sits
in the Lalita attitude, ha^ a scarf of cat's skin, and her brown hair rises

upwards
meditating

and

is

decorated with the image of Amoghasiddhi.

Thus

.".

Vajrasrnkhala may, according to the Sadhanas, have another form
with three faces and six arms, in which case she carries the Vajra, theland the Tarjani,
Vajra srhkhala and the arrow in the three right hands
bow in the three left hands. The illustration (Fig.
;the noose and the175) shows this form of the goddess as drawn

of Nepal.

by the native Citrakaras

She is represented in China -.

1.

Sadhana No. 207 in the Sadhanamala, p. 413.

2.

Clark: TLP, II. pp. 19f, 311.

'

'

'

.'"":'

BUDDHIST ICONOGRAPHY

236

VAJRAGANDHARI

11.

Colour

Blue

Faces

Six

Arms

TwelveAsana

Pratyalidha

The name of Vajragandharl is already mentioned in connection with
the Mandala of the eight-armed Kurukulla, an emanation of Amitabha.
In thisMandala it is definitely said that Vajragandhan should bear theimage of his sire Amoghasiddhi on her crown.

isthus included

Vajragandhan is one of thein the family of Amoghasiddhi.

goddesses endowed withShe

six faces andtwelve arms.

terrible

A short Sadhana

in the Sadhanamala describes her form as follows :**Vajragandhari krsna sanmukhi dvadasabhuja urdhvapingalakesl
Daksina*pratyalldhapada darhstrakaralavadana pratimukham trinetra.

yathakramam va]ra vajraghanta-khadga-trisula-bana*cakrani
khatvahg ahkusa'dhanuh-parasu-pasa-hrttarjanyah
vamasadbhujesu
prathamamukham krsnam, aparani mukhani pancavarnani visvapadma*bhujesu;;

suryasana ceti".

Sadhanamala, pp. 403*404.

''Vajragandhari is blue in colour, six^faced and twelve-armed withShe stands in the Pratyalidha attitude, andbrown hair rising upwards.

her faces look terrible with bare fangs and three eyes.
six right hands

sword,

4.

six left hands 1.

Parasu,5.

1.

the Vajra,

the trident,

5.

2.

the noose andthe bell marked with a Vajra, 3. thethe arrow,

the Khatvafiga,
6.

She carries in her

2.

and

6.

the discus, and in thethe goad,3.

theface is blue, and the other five faces

show

five

different

thebow, 4.
Her

firstcolour.

She

the Tarjani against the chest.

rests on the sun supported by a double lotus".

The Dharani quoted in the Sadhanamala

gives her the epithets of
is
and
she
believed
to be the consort of theandBhismabhagini,
YoginI
Yaksa general, Candavajrapani by name.

Statuettes of this goddess

I.

Clark i TIP, II, pp. 196* 290.

arefound in ChinalCHAPTER XEMANATIONS OF RATNASAMBHAVA
GODS
I.

Ratnasambhava is comparatively unimportant in the pantheon of
the Northern Buddhists, as is evident from the small number of deities
that emanate from him.
It has already been pointed out that Jambhala
and Vasudhara were known long before the Dhyani Buddhas wereushered into existence and it appears, therefore, that Jambhala has been

assigned to Ratnasambhava at a late period. Jambhala is connectedwith wealth and is said to distribute gems, jewels and riches to his

Again Ratnasambhava means 'Jewel-born' and whom might
Jambhala, the god of wealth, call his sire if not the Dhyani Buddha
born of jewels ? If one or two forms of Jambhala emanate fromdevotees.

Ratnasambhava, it may be reasonably expected that at least one or two
forms of his consort, Vasudhara, should also issue from the same source.
Inspite of all this, the Buddhists were divided in their opinion as to the
sire

as

of Jambhala, the followers of the Aksobhya cult holding him

originating from

Aksobhya.

Mahapratisara, another of his emanations, belongs to the Pancaraksa
group, and affiliates herself to Ratnasambhava in the same way as theother members of the group affiliate themselves to one or another of the

Buddhas. Ratnasambhava is distinguished from the other
Buddhasby his yellow colour and the Varada mudrahe displays
Dhyanihand.
The male deities that emanate from Ratnasambhava
his
with
right
are Jambhala and Ucchusma-Jambhala, the latter being regarded as aterrible form of Jambhala.
five Dhyani

1.

JAMBHALA

Several of Jambhala's forms are noticed in the Sadhanamala, which

god may emanate either from Aksobhya, or from RatnaThe form that emanates from Akaobhya
The characteristic feature of Jambhala emanating fromstates that thesambhava.
de?cr 4H^

Ratnasambhava is that he carries the mongoose in his right hand and the
The mongoose is supposed to be the receptacle of
all gems and jewels, and when Jambhala presses the two sides of thecitron in the left.

mongoose it vomits the treasures within*

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 sits on the moon under which
there is a double lotus of eight petals.
his complexion is golden yellow

He wears all sorts of ornaments,jhj,^
protruding belly, He

and heand the mongoose in the n^ht and left hands respectively, wears a garland of yellow lotus, a Lid remains in yab-yum withcarries the citron

The eight petals of the lotus seat Jte occupied by theeight

Yaksas, to wit, Manibhadra, Purnabhadia^ Ohanada. Vaisrayana

Keli-

Vasudhara.

mall, Ciyikundali,

Sukhendra an3~lSarendtj 'who
Yaksa

Each

respects with the principal ""figure.

T

are identical inallaccompanied by a
Sakti with whom he remains in yab-yum in the vdme way as Jambhalaremains with Vasudhara, and the names oi tiK'se eight Yaksinis are
Citrakali, Datta, Sudgtta^^Ary^ SubhadriL. AJ.upta.r- Devi and Sarasvatl.
is:

The Yaksinis are identical in form with V jsuJhtha, who

is7

yellow

incomplexion, carries the ears of corn and show^ rhe Varada mudra in
her two hands.

When single, Jambhala is of golden complexion and carries themongoose in the left hand and the citron in the nght. The illustration(Fig. 176) shows a stone image from Nepal w huh was in the possessionof the late Pandit Siddhiharsa. Here the god is represented as sitting in
Two other specimen* (Hys. 177 and 178) fromthe Lalita attitude.

Vikrampur in Eastern Bengal, depict the god in the same attitude* andthey are some of the finest products of the IVn^al art of medieval times.
1,

There is another form of Jambhala whion is

two-armed, carries the

citron and the mongoose in his two hands jnJ tramples upon

divinetwo semiand
Sankhamunda
Padmamunda
beingsby name, apparently in

the Alidha attitude -.

(a)Colour

JAMBHALA (Yab-Yum)
White

Faces

Arms

Three

Six

Jambhala in yab-yum has another form with three faces, six arms andwhite colour. According to the Sadhana hus t\\o faces to the light andleft are red andblue respectively,

Jambhaia sits in the Vajraparyahka

attitude, and embraces his Prajfia Vasudhara ot his
1.

Bhattasali : IBBS, p. 34, PI. XI.

2.

Sadhana No. 287 in the Sadhanamala, p. 5b4

own

creation with

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 heholds the emerald and ihc lotus.

In all other respects

he is identicalwith the forms described previously *.

Images of Jambhala arc found in Tibetillustrates a Nepalese drawing ol
2.

Asana

and China

the deity in yab^yum.

;

w

179

Fig,

.

^x"'

UCCHUSMA JAMBHALA

Pratyahdhu

YahanaAppearance
KuveraTerribleThis Ucchusma Jambhala is identical in form with theone alreadydiscussed under the emanation of Aksobhya. | Here also Ucchusma
stands in the Pratyahdha attitude with his left leg stretched forward

on the forehead of Kuvera \\ hile the right tramples upon

He is terrible tobehold, withsnakes for ornaments.

protruding belly,

He holJ.s the Kapala

full

his

bare fangs

two

legs.

and theof blood against hischest in the right hand and looks eagerly at it with three eyes
The left
hand as usual holds the mon^oos^e.
Ucchusma Jambhala is rareh represented and his images are notknown except the one at barnaihjalready described under the emanaThis unique image shows all the characteristic
tions of Aksobhya.
Jasobtainedtrom the Sadhanas. The tigure showsofthefeaturesgod
his consort Vasudhara in the left, but the effigy of neither Aksobhya nor
Ratnasambhav a can be seen on his head. I It is Amitabha who is there.
7

Nevertheless, this is the onh h^ure known to students of iconography,
as representing Ucchusma Jambhala.

^Jambhala in his fierce form ol Ucchusma or Dimbha is not known
either in Tibet or in China, |11,

GODDESSES

Several Buddhist goddesses* emanate (rom the Dhyani Buddha Ratnasambhava with the yellow coloui and the Varada mudra as his recog*
nition symbol.

He preside*- over the Ratnakula or the collection

deities with the jewel at> their family symbol, andtheir family colour.

ofthe yellow colour as

ALL deities which are not specifically mentioned
Buddha can be_ assigned to, theas emanations of a particular Dh^ ani

Dhyani Buddha Ratnasanibhava, provi3e3 TKat they have yellow colour.
On this principle the undernotcd deities are brought under Ratnasambhava, and described one after another.
1.

Sadhalia No. 297 in the Sadhan^mala/p. 581

2.

Getty : GNB, p. 159
Clark TLP, II, pp^203

3.

:

,

(six-armed), p. 310

BUDDHIST ICONOGRAPHY

240

CColourVAJRATARA^

3.

^^cx

,

,

.

.

Golden Yellow

Faces

Arms

Four

Eight
l

According to a definite statement

contained inthe Vajratara

Mandala of the Nispannayogavali, the Dhyani Buddha Ratnasambhava
isShe is four-faced and eight^armed

the spiritual sire of Vajratara.

and her description is as under:"Bhagavati Vajratara suvarnavarna.

hemabha'Subhra-nila^lohitamu*la^savya-pascimottra-caturvaktra astabhuja savyair-vajram pasam saram
sankham ca vibhrati vamaih pitotpalam capam ankusam tarjanlrh ca."

NSP, p. 38"Goddess Vajratara

isof golden yellow colour.. She is four- faced.

The principal face is golden in colour, the right is white, the one behindisblue and the left red.

She has eight arms. In her four right hands sheshows the Vajra, the noose, the arrow and the conch. In the four left
she has the yellow night lotus, the bow, the goad, and the raised
Tarjani."

Vajratara is a popular deity in Buddhism and her images are foundIn thealmost everywhere in India. She is popular also in Nepal.
Chinese collection of statuettes at Peiping an image of Vajratara isfound under the title of Astabhuja Vajratara 2Here, at least one very peculiar image of Vajratara may be noted. It.

isin the Indian

Vajratarais

The Indian Museum bronze ofcomplete Man*

Museum, Calcutta.

in the form of a lotus, and represents thedala with all the attendant deities '*.

Itisso constructed that it can be

The petals are eight in number, and eachbears the image of an attendant deity. The Dhyana describing her form

opened and closed

at will.

in the Sadhanamala and explaining this particular image is as underMatrmandalamadhyastham Taradevim vibhavayet I
Astabhujam caturvaktrarii sarvalankarabhusitarh II
Kanakavarnanibham bhavyam kumarilaksanojjvalam
Pancabuddhamukutim vajrasuryabhisekajam II
Navayauvanalavanyarh calatkanakakundalam

Visvapadmasamasinarh

:

I

I

raktaprabhavibhusitamIIVa jra<-pasa~tatha-sahkha'Saccharody atadak sinam I
Vajrahkusotpaladhanustarjanl'vamadharimih

Vajraparyhkayogena sadhayet bhuvanatrayam

I
II

Sadhanamala, p. 179
1.

NSP

2.

Clark

3.

See also Bhattasali : IBBS, pp. 45f.

:

p. 3S Vajratarayah kulelo*Ratne^ah:

TLP, II, p. 210
pi.

XV, XVI, XVII.

EMANATIONS OF RATNASAMBHAVA

241"The worshipper should conceive himself as Vajratara, who is in the
midst of the circle of the Eight Mothers, is eight-armed, four-faced,
Her complexion is like the colour
and resplendent with the auspicious
marks of a virgin she bears the images of the five Dhyani Buddhas onher crown, and is born of the water of consecration of the Vajra andand decked inornaments.

alland sheof gold,

isgraceful;

the sun;sherings, sits on

iseffulgent inherblooming youth, has swaying

the double lotus, and radiates red-hued lightin her right hands the Vajra, the noose, the conch and

and

in

;

the swift

the left the Vajrankusa, the Utpala, the bow andThus conceiving her as

ear-

she carries

arrow,

the Tarjanl.

sitting in the Vajra paryahka attitude(

the wor-shipper) may conquer the three worlds-/'

The Sadhana further describes the deities constituting the Mandala.
In the four cardinal points there should be four goddesses on
petals ofthe fourthe lotus on which Vajratara sits,

Puspatara (East)

1.

"Purvena Puspataram tu sitavarnam manoramam

Omkaraksaranispannarh puspadatnakarakularh

I

I

Dvibhujam ekavaktranca sarvai?fikarabhusitarii

II"On the east is Puspatara, who is white and winsome, is born
syllable *Om', carries theof thegarland of flowers, is two-armed, one-faced

and decked in all ornaments.

Dhupatara (South)

2,"Daksme Dhupatararh tu krsnavarnam surupinim

1

Dhupasakhakaravyagram sarvalankarabhusitam''On the southisDhupatara,

who isot

IIblue colour, attractive,

carries the Dhupa (incenbe) &tick and i& decked in all ornaments."
3.

Dipatara (West)"Pascime Dipataranca dlpa\astik&rakuli I
Pltavarnam mahabhusarh calatkanakakundalariTII

On the west is Dipatara, who carries the torch in her

hands,

isofyellow complexion, profusely ornamented and has ear-rings swaying.
4.

Gandhatara (North)''Uttare Gandhataram tu gandhasahkhakarakulam

Raktavarnanibham devlm bhavayet garbhamandale"I

II

On the north is Gandhatara, who carries in her hands the conch ofscents, and has

31

red complexion

BUDDHIST ICONOGRAPHY

242i

All these (goddesses) should be situated in the inner circle/'

The Sadhana further says that the following Guardians of the Gates
shouldalso be meditated upon as around the principal goddess, but

apparently not in the same circle with the four described above.
5.

VajrankusI (East)"Purvadvare Vajrankusim ekavaktram dvibhujam vajrahkusotpalahastam vikrtavadanarh krsnavarnam".

"On the eastern gate there is
two-armed.

She carries

in

Vajra and the night lotus.
colour/'Vajrankusi

who is one-faced andher two hands the goad marked with a

She hasadistorted face and is blue in

Vajrapasi (South)

6.

"Daksinadvare Vajrapasim pitavarnam vikrtananam ekavaktram dvi-bhujam vajrapasahastam''.
u

On the southern gate there is Vajrapasi of yellow colour.

She

She carries in her two hands the noose marked

has one distorted face.
with a Vajra".

Vajrasphotl(West)

7.

"Pascimadvare Vajrasphotim raktavarnam
vikrtavadanam vajrasphotahastarh".

ekavaktram dvibhujam"On the western gate there is
one distorted face.

Vajrasphotl of red colour. She has
In her two hands she carries the chain marked witha Vajra".
8.

Vajraghanta (North)"Uttaradvare Vajraghantarh svetavarnam ekavaktram dvibhujam vik-

rtavadanam vajraghantahastam''.

"On the northern gate there is Vajraghanta of white colour. She has
one distorted

face.

In her two hands she carries the bell marked witha Vajra".
9.

Usmsavijaya (Above)

Goddess Usmsavijaya occupies the upper
10.

regions*

Sumbha (Below)

Goddess Sumbha occupies the lower reigons.
All these goddesses stand on the orb of the sun in the Alldha attitu-

de with the right leg stretched forward.

They are radiant like the Sungod and are surrounded with a fiery halo. They are decked in ornaments of snakes.

EMANATIONS OF RATNASAMBHAVA
These goddesses originate from the ten

243

different

lettersof themantra of Vajratara, which is "Om Tare Tuttare Ture Svaha", consistingEachgoddess, and thesegoddesses are said to be the embodiments of the ten Paramitas of the
Mahayana School.

of ten syllables.

syllablebrings forth a

The following are some of the instances in which
Vajratara might be applied with success.

themantra of

Let a knot be tied at

the endof a cloth over which the mantra has been recited seven times, andits

wearer can go even to the most inaccessible regions of the Vindhya
mountains without being molested. Tigers, thieves, crocodiles, lions,snakes, elephants,

buffaloes, bears, bulls and the like will flee

be destroyed, at the mere recital of theor evenname of thehundred and eight lotuses are offered into the fire
will be enough to subdue any woman born of man.

goddess. If one
with this mantra, it

Thefeather of acrow over which this mantra has been recited thirty-two times, if kept
concealed within the house of an enemy, will destroy it mysteriously in
There is no need to multiply instances.

the course of a week.

Itisenough 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
popular among the Vajrayanists,
Fig.

180 illustrates the IndianMuseum image of Vajratara enclosed

within a lotus, surrounded by all the ten deities of the Vajratara Mandala. Fig, 181 is the Orissa image of Vajratara illustrated in N.N. Vasu's

Mayurbhanj Archaeological Survey.
discovered

at

Fig.

182 is the image of Vajratara

the Sarasvatisthan close to theSvayambhu Temple

in

Nepal.
Fig.

183 illustrates the Peiping statuette of Puspataia, one of theattendants of Vajratara.
4.

Varieties

MAHAPRATISARA
1.

Three-Faced, Ten-Armed

2.

Four-Faced, Eight-Armed!

Mahapratisara is the principal goddess in the Pancaraksa group,and her worship is widely prevalent amongst the Tantric Buddhists.
She is represented either singly or in a Mandala in the company of fourother Pancaraksa deities. She is generally yellow when worshippedindependently, and white when worshipped in the Mandala of the fivegoddesses. She may be represented with four faces and eight arms,
or with three faces and ten arms, in accordance with the Sadhanas, but
in actual representations she may have three faces and eight arms.
The
1.

See also Bhtttasali:

IBBS, p. 61 and PL XXIVBUDDHIST ICONOGRAPHY

244

form with three faces and eight arms, is said to bear the image ofRatnasambhava on the crown, and the other yellow form may also be
assigned to this Dhyani Buddha. The Sadhana describes the former inthe following terms:"Mahapratisara pita tnmukhi pratimukham trinayana dasabhuja
krsnasitauaksinetaravadana daksmapancabhujesu yathakramam khadgavajra'bana'varada'hrdayasayihasta&thacchatiani rath a vamapancabhujesu
capa-dhvaja-ratnacchata-parasu-sankhah Ratnasambhavamukuti krsna-

kancukaraktottariya ca ardhaparyanka-lalitaksepa
divyabharanavastrabhusita ceti."
Sadhanamala, p. 401-402.

"Mahapratisara

hasand ten arms

three eyes,

yellow complexion, three faces, each withher right and left faces are of blue and;She carries in her five light hands the sword
the Vajra, the arrow, the Varada mudra and the parasol held against
white colour respectively.

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
Ardhaparyahka in the Lalita attitude, and wears celestial ornaments andgarments' '.

The form with four faces and eight arms is described under

the five

Raksa deities. But there is another form which is worshipped independently, and which is almost identical with the preceeding one, exceptthat here she is endowed with four faces and eight arms. The principal face is yellow, the right white, the left red, and the face behind blue.
She carries in her four right hands the sword, the Cakra, the Trisulaand the arrow, and in the four left the Parasu, the bow, the noose andthe Vajra.

Two photographs (Figs. 184, 185) represent this form of the goddess,
and these tally with the Sadhana in all other respects except that they
have only three faces instead of four.

The goddess is popular in Tibet
5.

ColourArms

land China -.

VASUDHARA

Yellow

Two

Face

One

SymbolEars of Corn

Vasudhara is the consort of Jambhala and bears the image of either
Aksobhya or Ratnasambhava on her crown. Several Sadhanas in\

the Sadhanamala describe her form which is invariably two-armed.
1,

Gordon

2.

Clark

:

:

ITL, p. 76

TLP, II, pp. 289 (two-armed)

As

EMANATIONS OF RATNASAMBHAVA

245

none of the Sadhanas mentions the Asana, she may be represented

in

any attitude, standing or sitting, V"he is richl y decked in ornaments andaccompanied by her attendants. Her complexion is always
yellow, and she carries in her left hand the ears of corn with the vesselisinvariably

hand exhibits the Varada mudra.

that showers gems, while the right

The short Sadhana describing her is as follows

dvibhujaikamukhirh pitam navayauvana^'Tita^Vam-karaparinatarhbharanavastravibhusitarh:

dhanyamanjarmanaratnavarsamanaghata\'ama*

hastarh daksinena varadam anekasakhijana'panvrtarh visvapadmacandia-

sanastharh Ratnasambhavamukutimm...nispadya''.

Sadhanamala, p. 422*3.

"The worshipper should conceive himself as (Vasudbara) who ori'
She is two^armed, oneginates from the yellow germ syllable VanY.
4

faced, of yellow complexion,
all sorts of ornaments andears of corn on aisin thegarments.

prime ot >outh and is decked in
She carries in her left hand theshowering gems, while the right exhibits the
Varada mudra. J She is surrounded by many lady friends, rests on thevesselmoon over the double lotus, and bears the image ot Ratnasambhava on
the crown../'.

Images of Vasudhara are not generally met with in sculpture*
She accompanies Ucchusma in the unique Sarnath image already referred to. The other image from Sarnath is mutilated beyond recognition.
In both cases, however, she is represented standing.) Fig. 186 illustrates
a Nepalese drawing of the goddess.
|

Vasudhara is sometimes represented as one^ faced and six-armed, andas sitting in the Lalita attitude.

hands she exhibits

In the three rightthe Namaskara mudra, the Varada mudra and the ears of corn.
The first left hand has the book, the second the ears of corn, and thethird on the lap carries thevessel containing jewels.

Herhair rises

upwards in the shape of a flame, she is beautifully decked in ornaments

and her expression is truly peaceful. | Fig. 187 represents this varietyof the goddess and is a fine specimen of Newan art. Fig. 188 illustrates
a beautiful bronze image of Vasudhara in the Baroda museum.
of Vasudhara are found in Tibet but not in China. \I Images*

6.

APARAjITA

ColourIdentification Mark

Mudra

Yellow
Trampling upon Ganesa

Capetadana (Slapping)

The name of Aparajita occurs in the Dhyanakulla already quoted and translated.

Gordon ITL, p. 72:;

Getty : GNB, p. 131.

There shefor Astabhuja Kuruis

said

to

bear theBUDDHIST ICONOGRAPHY

246

image of Ratnasambhava on her crown, and to carry in her four hands
the staff, the goad, the bell and the noose,

Aparajita is an interesting Buddhist goddess. She tramples uponGanesa, and one of her hands is raised in the attitude of dealing a slap,\

while her parasol, according to the Sadhana, is held by important
Hindu gods. A very short Sadhana is devoted to her worship, andthe Dhyana contained in the Sadhana describes the form of Aparajita
thus:"Aparajita pita dvibhujaikamukhl nanaratnopasobhita Ganapatisamakranta capetadanabhinayadaksinakara, grhltapasatarjanikahfdayasthi-

tavamabhuja

asesamaranirdalani

atibhayahkarakaralaraudramukhl

Brahmadidustaraudradevataparikarocchritacchatra ceti.

"

Sadhanamala, p. 403.
"Aparajita is yellow in complexion, two^armed, one-faced, is deckedin various gems, and tramples upon Ganesa.
Her right hand is raised,displaying the act of dealing a slap, while the left carries the noose
round the raised index finger against her chest.
Her face is awful,terrible and ferocious. She is the destroyer of all wicked beings, and herparasol is raised over her head by the host of wicked and ferocious gods,

Brahma and others".
In the Sadhana one epithet of the goddess deserves special notice.

"Who tramples upon Ganapati". The
Qanapatisamakianid
word 'akranta' is derived from the original root 'kram' to 'trample'. On
Itisthe strength of this epithet of the goddess the Nalanda fragment (Fig.
189) showing only the lower half of the full image is identified with
In it, the figure to the right of the principal goddessthat of Aparajita.
appeals to be Indra and the rod held bj him seems to be the handle ofthe parasol required to be held over her head by the gods beginningwith Brahma.
lpst>

Had

it

The upper part of the Nalanda image is unfortunately
been complete, it would have been possible to find the

Capetadana mudra in the right hand of the goddess and the noose withthe raised index finger in {he left, and a parasol over her head in continuation of the broken handle.

This identification was confirmed when subsequently the IndianThis image is only slightly

Museum image (Fig. 193) was discovered.

mutilated but is complete, and resembles the Nalanda fragment in thelower portion, while the whole image follows with precision, the directions given in the Sadhana quoted above.

Thisno room for doubt regarding the identification.
Aparajita is
1,

known in China *.

Clark : TLP, II, pp. 208, 290.

\

newdiscovery leaves

EMANATIONS OF RATNASAMBHAVA
7.
(I)

ColourVAJRAYOGINf
HEADLESS FORM

Yellow

Companions Two
Symbols

247

Asana

AlldhaArms

Two

Kartri and severed head

another of the important and popular goddesses whodoes not seem to bear the image of any of the Dhyani Buddhas on the
Vajrayogini

isFour Sadhanas describe her forms, which are three in number
and conform to two distinct types, very different form each other. In
one case, she has no head on her shoulder, but carries it in her hand,and in another, she has her head intact. The former form is identicalcrown.

in appearance with the Hindu goddess

Cchinnamasta belonging to theisItthereforeoftenpossible to conclude that
Mahavidyas.
group
this Buddhist goddess was borrowed and incorporated wholly into
She is always accompanied by the two
their pantheon by the Hindus.

Yogims on either side of her, who are called Vajravairocani and Vajravarnanl. The Sadhana describing her headless form is as follows:"Bhartarikarh Vajrayogmlrh...puavarnam svayameva svakartri4cartita-svamastaka-vamahastasthitam daksinahastakartrisahitam, urdhvavis^

trtavamabahum, adhonamitadaksinabahum, vasahsunyam, prasantadak'sinapadam sahkucitavamapadam, bhavayet, Kavandhannihsrtyasrkdha"'ubhayoh parsvayogmyor-mukhe pravisati

ra svamukhe pravisati, apareitibhavayet.

Vamadaksinaparsvayoh

syamavarna-Vajravarnanl-pitavarna^Vajra-

vairocanyau vamadaksinahastakartrisahite,daksinavamahastakarppara-sahite, prasaritavamapadaprasaritadaksinapade

takesyau bhavayet

Ubhayohparsvayoh,sankucitetarapade muk*ubhayor-yoginyor-madhyeantarikse atibhayakulam smasanam bhavayet."

Sadhanamala, p. 452-*453.

'The worshipper should conceive himself as Bhattarika Vajrayogini
yellow colour, who carries in her left hand her own head severed
with her own Kartri held in her right hand. Her left hand isherselfbyraised upwards while the right is placed below. She is nude, and her
He (the worshipper)
right leg is stretched while the left is bent down.
should also meditate on the streams of blood issuing from the severed
body as falling into the mouth of the severed head and into the mouthsof the two Yogims on either side of her.
...of

He (the worshipper) should also, conceive the two Yoginis toleft and right (of the principal goddess), the green Vajravarnam

yellow Vajravairocani, both of whom carry the Kartri in their

theand theleft andBUDDHIST ICONOGRAPHY

248

right hands respectively, and the cup made of a skull

the right andinleft hands respectively.

Their left and right legs respectively are stretched forward, while the other legs are bent, and they have dishevelled

hair.
is

On all sides, between the two Yoginls and in the firmament there

the awful cremation ground'*.

RED FORM

(II)

Red

ColourSymbols

VahanaVajra and Kapala

CorpseAsana 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 primeof youth, and has red complexion. She rides the corpse, is nude, has
three eyes, red and round, contorted brows, protruding belly andtongue, and is endowed with the six auspicious symbols. She carries
the Kapala in the left hand and the Vajra in the right, while the Khat-

vanga hangs from her

left

This form of Vajrayogini is
Nairatma and Vajra*

shoulder.

similar in many respects to the forms of bothvarahi, so much so, indeed, that a confusion
If an image

identification of their images.

islikelyto arise in theshows the dancing attitude
as Nairatma or Vajravarahi,

Ardhaparyanka, it may be identified
but if it shows the Alidha attitude, it may have to be identified as Vajra*inyogtni.

The excrescence near the right ear arid the corpse lying on

its

while the absence of the excres-chest is peculiar only to Vajravarahl ;cence and the corpse lying on its back point to Nairatma.

The Alidha

attitude is peculiar only to Vajrayogini.

YELLOW FORM

(Ill)

ColourSymbolshave

Arms Two

Yellow

Kartri and Kapala

Yellow

when

according to the
Sadhana, she will carry the Kartri ard the Kapala, but in other respects

She

may

also

a

form,

Another Sadhana adds
blood of theDevas (gods) and the Asuras (demons) and that the hand carrying thewill be identical with the one just described

the information that the Kapala should be

filled with the

Kartri may show the Tarjani also

Vajrayogini is one of the consorts of Heruka, who remains with her
in yab-yum, and their union is the subject of the celebrated Heruka*

The temple of Vajrayogini at Sanku (Fig. 191) in Nepal does
not contain an image of any of these varieties of Vajrayogini. It con*Tantra.

tains the image of Ugrataia, more popularly known as

Mahaclna-Tara,

which is believed to have been carried over there by

Bengali priests

EMANATIONS OF RATNASAMBHAVA
from a place of the same name in theDistrict249

of Dacca, about A. D.

1350, when the Muhammadans led their victorious armies overEastern

Bengal*Images of Vajrayogim are found in Tibet.

PRASANNATARA

8.

Colour1

Yellow

Faces

Eight

Arms- Sixteen
Prasannatara is mentioned twice in the Sadhanamala, once as a com*panion of Astabhuja Kurukulla and once again as a principal deity in
As a companion of Kurukulla she is red, but her indepen*
dent form shows the vellow colour. Thus in the absence of more de-the Sadhana.

finite information, she has to be assigned to the family of the Dhyani
Buddha Ratnasambhava of yellow colour. The Sadhana devoted to her
independent foim gives her the epithets of Amrtamukhi and Amrtalocana and there is no doubt that except for the face on the top all her

seven faces are represented as having charmingly sweet expression.
But she is not benign and peaceful. She is fearful like Vidyujjvalaka*rail, a form of Ekajata.

ing terms

The Dhyana describes her form m

the follow-:"Hemavarnarh

mahaghoram Taradevirh maharddhikam

Trinetram astavadanam

bhujasodasabhusitamIIIsardrasatardhamundamalakrtaharam.

Ordhvapingalakesam

Pratyalldhapadopetarii

jagattranarhmahabalarii

Vicitravastranepathyarh hasantim navayauvanam

IIIpitam daksinam dvitiyam nilarii, trtiyam syamam
caturtham gaganasyamam, vame kundasannibhaih, dvitiyam raktam, trti*

Pradhanamukharh

yamgaganasyamam urdhvasyam dhumravarnabham mahaghoram vikatotkatam;

daksma-karesu khadga'Utpala-sara-vajra"ankusa-danda-kartri'

abhayadharam;

vamabhujesu sapasatarjanl-kapala'dhanuh-khatvahga'
visvapadmacandrastham

vajrapasa-Brahmasirah-ratnakalasadharam;

vamapadena Indtarh, daksinapadena Upen^suryyaprabhavibhusitam
RudramBrahmanam cakramya sthitam, sarvadram, padadvayamadhyevaranavinasamm bhavayet.
:

Prasantiatara-Sadhanarh.

51

Sadhanamala, p. 241.

"The worshipper should conceive himself as(Prasannatara)

whogolden complexion, of terrible appearance, bestows prosperity,
Her broun hair rises
is three*eyed, eight-faced and sixteen-aimed.
upwards and her necklace is made of half-a-hundred heads wet with

is of

1.

32

Gordon: TLP, p. 81.

BUDDHIST ICONOGRAPHY

250

blood.

She emancipates the universe and is

terribleto behold.

She

stands in the Pratyalldha attitude, has smiling faces, is in the fulness of

Her first face isyouth and her garments are of variegated colour.
is
the
to
the
third
blue,
right
green, and the fourthyellow, the second
blue like the sky;

the face to the left is white like thethe second red, and the third blue like the sky

Kunda

flower,the face on the top;

isof the colour of smoke, terrible in appearance, distorted and disfigured.
the Khatvanga, 2. the Uptala, 3. theIn her eight right hands are 1:

the Vajra,

5.

arrow,

4.

and 8.

theAbhaya pose

Tarjam,2.

the Kapala,Vajra,

6.

the noose,7.

.

the Ankusa,
;

and

in

6.

the

the
left

1.

staff,

7.

theKartrithe noose with thethebow, 4. the Khatvanga, 5. thethe head of Brahma, and 8. the vessel of3.

gems. She stands on the moon over the double lotus, is radiant withthe glow of the sun, tramples under her left foot Indra, under the right

Upendra, and presses Rudra and Brahma between the two, and destroys
the veils of ignorance".
Fig.

192

illustrates a Nepalese drawing of the goddess

with the Sadhana in major details.

whichtalliesCHAPTER XICOLLECTIVE 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 andIteven the desires into gods and goddesses, with forms, colour, poses ofIn this manner the ten directions, eight kinds
sitting, and weapons.
of head-dress, thedifferent kinds of protection, the dances,musicalinstruments, components of the door, four kinds of light, importantanimals, and various other things were all deified with form, colour andweapons.

In

thischapterthesecollective

deitieswillbebriefly

described.
I.

TEN GODS OF DIRECTION

The process of deification was appliedin

Vajrayana to the four

cardinal directions, North, South, JEast and West, and the four intermeWith the top-Aid
diate corners, such as Vayu, Agni, Isana and Nairrta.

bottom the quarters numbered ten, and thus the Buddhist Tantras
added ten gods of the quarters to the already numerous gods in their panthetheon. The deities of the ten quarters are not, however, the monopoly of
the Buddhists, and it is believed that the Buddhists were indebted to the

Hindus for the deification of the quarters.

Amongst the Hindus theeight Dikpalas are commonly found in the Puranas and Tantric works.
The Dikpalas are supposed to guard the ten quarters, and are said to be

the presiding deities of these directions, or in other words, they are
regarded as the embodiments of these quarters in the form of deities.

The Buddhists improved upon the original ideas of the Hindus andshowed in an artistic style their origin in an Assembly of the Faithful
Samadhis (meditations), andwhere the Highest Lord sits in different#+
the rays issuing out of his body Condense themselves first into syllables^(Hfwhich give rise to the different Guardians of the Gates
deification is described in the first chapter of theThis process of

Guhyasamaja a resumeof which is already given in this book in the very first chapter.

These deities of the ten quarters are frequently mentioned in the
In the Mandates of the Nispannayogavall they are invariably

Sadhanas.

BUDDHIST ICONOGRAPHY

252

present and their places are accurately stated. They are always collectively mentioned in the Mandalas or Circles of deities where the directions play an important part.

Their chief function

sorts of obstacles for the protection

The tendeitiesistoremoveallof Dharma.

of the quarters arein thedescribed differently

in the Nispannayogavali, and they are sometimes
withtheir Saktis often in close embrace.
They arerepresented alonghere
to deal
it
is
and
not
in
often violent
possible
althoughappearance,

different

Mandalaswith all their forms,

it is

not reasonable to omit a reference to them inthe present state of our knowledge of the Buddhist pantheon.

The

ten

therefore, described here one after another in their recognized order, with the relevant passages from the Nispannayogavali desdeities are,cribing their forms

YAMANTAKA

1.

Colour

Blue

Faces

Three

Arms

Six

Direction

Yamantaka presides over the East and

is

East

one of the popular

deities

He is also known as Yamari who is often
endowed with two forms known as Krsna- Yamari and Rakta- Yamari.
Some of his forms and Sadhanas have alredy been dealt with in anof the Buddhist pantheonearlier chapter.

As

Independant Tantras are also ascribed to his worship.

guardian of the Eastern quarter Yamantakaaisdescribed in the

Manjuvajra Mandala of the Nispannayogavali, along with his nine othercolleagues. He is described there as:"Tatra purvasyam arayam Yamantakahkrsnah krsnasitaraktamukhah

NSP, p. 1

krsnavajramudgara-khadga-mani-kamaladhari".

"On the Eastern spoke of the wheel there is Yamantaka of blue
His three faces have blue, white and red colour. He holds incolour.

hands the hammer marked with the blue Vajra, the sword,
the jewel and the lotus."
his four

4

Yamantaka is six-armed like all other Krodha deities of the quarters.
All the Krodha deities including Yamantaka embrace their Saktis with
their two principal hands.
In the Vajrahufikara Mandala his second namedanda.

His images are found in China

1.

Clark ; TLP, II, pp. 52, 73

2,Gordon:

ITL, p. 90

;

l

is

given as Vajra-

as also in Tibet 2

Getty : GNB, p. 164.

COLLECTIVE DEITIESPRAJNANTAKA

2.

The second

253

Clour

White

Faces

Arms

Six

Direction

Three

deity in the series is PrajnantakaSouth

who presides over the

He is described in the same Mandala as

Southern direction.

"Daksinasyam Prajnantakah:sitah [ska] krsnaraktamukho

Vajrahki-

NSP, p. 2

tasitadandasimanipadmadhari/'"In the South, there is Prajnantaka, who is white in colour having
In his four handb he shows
three faces of white blue and red colour*>

the whitestaff

marked with a

Vajra, the sword, thejewel

and thelotus."The two other hands hold the Sakti. In the Vajrahunkara Mandala
his second name is given as Vajrakundali.
His images are found in
China '.
3.

Arms

PADMANTAKARedColour

Six

Three

Faces

West

Direction

The third Lord of the quarters is Padmantaka who is described in the
Nispannayogavali with the following words"Pascimayam Padmantako raktah raktamlasitasyo raktapadmasima:

nicakradhari"

NSP, p. 2"Padmantaka is in the West and is red in colour with three faces of
He holds the red lotus, the sword, thered, blue and white colour.
jewel and the discus."

The two principal hands hold theembrace.

Sakti inhuhkara Mandala he is known by the name of Vajrosmsa.
yare found in China

In the Vajra-

His images.

4.

ColourArms

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 thisbook. Vighnantaka as the lord of the North appears in the Nispannayo*
gavall as follows:"Uttarasyam Vighnantako haritah haritasitaraktamukhah karSlavaj*
NSP, p. 2

rasimanipadmadharl."

L

Clark : TLP, II, p, 59

2.

For his statuette in China as Vajro$ni?a, see Clark;

TLP, II, pp. 65* 49*

BUDDHIST ICONOGRAPHY

254"Vighnantaka

isin the Northandgreen in colour. His three
the fearful Vajra,isHe holds

faces show green, white and red colour.

the sword, the jewel and the lotus."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.

Three

Colour

Blue

Faces

Arms

Six

Direction

Agni

Takkiraja as the guardian of the Agni corner is very frequently
He is described as

referred to in the NispannayogavaK.

:"Agneyyam Takkirajo nilah mlasitaraktasyo mladandakhadgaman'
NSP, p. 2

yabjadhan."'Takkiraja
faces

are

is

in the Agni corner and is blue in colour.

His three

He holds the blue staff, the sword, theblue, white and red.

jewel and the lotus/'

The two principal hands hold the Sakti as usual.
In the Vajrahuhkara Mandala his namemadhatuvaglsvara Mandala hefound in China 2

isIn the Dhar~

is Vajrayaksa.

Vajrajvalanalarka.

His images are.

6.

ColourArms
The sixth

NfLADANDA.

Blue
Six

Faces

Direction

deity in the series is Niladandaof the Nairrta corner.

Three
Nairrta

who is the presiding deity

His form is described as:"Nairrtyam Niladandah krsnah krsnasitaraktasyo niladandakhadga*

NSP, p.

mariyabja'dhan.""In the Nairrta corner appears Niladanda

2.

who is of blue colour

having three faces of blue, white and red colour.
staff, the sword, the jewel and the lotus."

He holds the blue

The two principal hands hold the Sakti.
Mandala his name is Vajrakala.
Mandalahis name is Herukavajra.
Dharmadhatuvaglsvara
are found in China *.
In the Vajrahuhkara

But in theHis images

L

Clark

2.

Clark : TLP, II, p. 303 (as Takkiraja) pp. 66, 145, 269 (as Vajrayaksa).

3.

Clark : TLP,:

TLP, II, pp. 217,311
II, p.

49 (as Nifadaijda); and p. 75 (as Vajrakala),

COLLECTIVE DEITIESMAHABALA

7.

Colour

Blue

Arms

255

Three

Faces

Direction

Six

Vayu

deity in the series is Mahabala, who is the presiding
His form is described in thedeity of the intermediate corner of Vayu.

The seventh

Nispannayogavall in the following words:"Vayavyam Mahabalah krsnah krsnasitaraktamukhah trisulasimanik'
NSP, p. 2*

amaladhari."

Vayu corner appears Mahabala of blue colour with three
faces of blue, white and red colour.
He holds the Trisula, the sword,"In thethe jewel and the lotus.

"

As usual, with the principal hands he holds the Sakti.
In the Vajrahuhkara Mandala he is given the name of Mahakala. But
in theDharmadhatuvagisvara Mandala he is known as Paramasva.

images are found in China

.

ACALA

8.

Colour

Arms
Acala

is

His

1

Blue

Faces

Six

Three

Direction

Isana

the eighth deity in the series, and is regarded as the presid-

His form is several times described ining deity of the Isana corner.
the Nispannayogavall. It is probable that this deity is the same as
Acala who is known as Candarosana and is described already in an
earlier chapter.

The description of his form is given below"Aisanyam Acalo mlakekarah":nilasitaraktasyah* khadgavajramanipa-

dmadhari."

NSP, p. 2"In the Isana corner there is Acala with blue complexion. His three
faces are blue, white and red.

and the lotus.

He holds the sword, the Vajra, the jewel"

In the two principal hands he holds the Sakti in embrace.

name of Vajrabhisana,
but in the Dharmadhatuvagisvara Mandala his name is Trailokyavijaya.
In the Vajrahuhkara Mandala heis given theHis images are found in China 2 .

L

Clark : TLP, II, pp. 49, 217 (as Mahabala)

2.

Clark

:

TLP, II, p, 116 (as Trailokyavijaya)

p. 75 (as Mahakalavajra)

BUDDHIST ICONOGRAPHY

256

9.

Colour

USNFSA

Yellow

Arms

Faces

Three

Direction

Six

Up

The ninth deity in this series is Usmsa who is also known as Usmsacakravarti, and presides over the sky above.

in the Nispannayogavali

His form is described thus:

"Ordhve Usmsacakarvarti pitah pltanilaraktasyah pitacakrakhadga^
NSP, p. 2

manipadmadhari."uln the upper region there is Usmsacakravarti of yellow colour. His

three faces are yellow,

blue and red.

He holds the yellow discus, thesword, the jewel and the lotus/'
His two principal hands hold the Sakti as usual.

found in China

His images are].

SUMBHARAjA

10.

Colour

Arms

Blue

Faces

Three

Direction

Six

Down

The tenth deity in this series, is Sumbharaja who is the embodimentof the Nether regions.
as follows

His form is described in the Manjuvajramandala:"Adhah Sumbharajo nibh nilasitaraktasyo vajrakhadgamanikamala"
NSP, p. 2

bhrt.""Below

who is blue in colour. His three faces are
He holds in his four hands the Vajra, the sword,

is Sumbharaja

blue, white and red.

the jewel and the lotus."

With the two principal hands he holds the Sakti in embrace.
In the Vajrahuhkara Mandala he is known by the name of Vajrapata-

He is not represented in the Chinese collection.

la.

II.

SIX GODDESSES OF DIRECTION

Just as there are ten gods of the quarters for all the

Mandalas ofprincipal gods, even so there are six goddesses presiding over the six
quarters, with different names and different weapons in their hands.

An account of these goddesses is not only interesting but

also

very

important for the purpose of identifying deities of the Buddhist pantheon. Their names and weapons are recorded in the Mandala of Vajratara in the Nispannayogavali (p. 38) as also in the(p*.

185) in the Sadhanamala.

If

Vajratarasadhanam
Puspa, Dhupa, Dipa and Gandha are~added, the number will be ten for the directions.
1.

Clark : TLP, II, p. 76

257

Fig.

103 Khasarpana(Vikrampur, Dacca)

33

258

Fig,

105 Lokanatha(Mahoba)

259

3

VO

'tJ

2

14

03

a

3

260

tf
i-l

>

M

^

c3

CO

J3

S x-'
J2 ^
B A
^r
ON 2
O ^
2P

E

:

261
C*
OS

J3
irt

.,
et

a
M
U
cd
cd

s

262

tuD

2
03

263

as

s,
|CS

1
C/5

ON

PL,

I

OO

EDp

C
03
.22
*3

I

CO

DJD

E

264

C

Op

$=

*S

O
r-4

265

05

03

2

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

d

ICT5

CJD

tOJ

H

VO

OJD

led

H

cfl

**U
103

I

270

O

W

S

PLi

a I
00

271

irt

CO

u

2

OJO

272

IOJ

10*

OS
J-J

P-4

OJ

>*
4_>

03

273

,

\

Fig.

148 Nairatmi(Indian

35

Museum)

274

"5rt

I
~r

&

W) '~K/>

'2
ID

2

DC

Q
fs^tr~t

50

275

Fig,

152 Astabhuja Marici(IndianMuseum)

276
o
"C

cd

^^

II

277

y

Fig.

156 Usnisavijaya(Indian Museum)

278

ICtf

icd

*-

<M
03

Q*
cd
*led
*-*

CO
00

IC3

>
cd

03

Q

279

_C

2
IOS

*

o\
DJO

280

led

H3

ij

281

Fig.

166 Khadiravanl Tara

(Mahoba)
36

282

"I'i
i

oo

ica

H
2
^5-

a

_

las

as
*-.

db

2

O

284

J
Q

CUD

e

ICti
i-i

ICQ
4-f

.g
c/5

O)

ios

OJ

^
o

285

Fig.

173 Parnasaban(Vajrayogini, Vikrampur)

286

C9
r

I

rt

287

Fig.

177 Jambhala(Vilcrarnf>wr, Dacca)

288

^

IOJ

S

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

w

03

ON

OD

S

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

G

c
CO

DJD

c
03

2
CO
CO

~C
ICO

CO
ICO

o\
.

PH

'2
CO
.22
wu>

2

ex
rctf

ca

tE

295

Ig

H
ctf

tJ
as

s
led

|
led

i
ON

a
^s

296

CO

6

COLLECTIVE DEITIESVAJRANKUSI

1.

White

Colour

Face

Two

Arms

297

One

Direction

East

Goad

SymbolThe first goddess in the series is Vajrahkusi who
deity of the Eastern direction. Her form is as follows

the presidingis;"Purvadvare Vajrankusi (sukla) suklankusahkasav^akara".

NSP, p. 38.

"On the Eastern gate is Vajrankusi white in colour holding in her
right hand the white Goad".

The left hand shows like the rest the raised index firmer. Her ixrages
are found in China

*

.

2.

ColourVAJRAPAsf

Yellow

Face

Two

Arms

SymbolOne

Direction

South

Noose

The second goddess in the seiies is Vajrapasi who is
Her form is as follows
deity of the Southern quarter.

the piesiding:"Daksine Vajrapasi pita pasabhrt-savyapanipallava*'.

NSP, P''In the South is Vajrapasi, yellow

in

.

38.

colour holding in the righthand the Noose".
Her image isShe shows the raised index linger in the left band.
J
One
in
China
of
the
Chineseisstatuettes
illustrated in
found.

Fig. 193.
3.

VAJRASPHOTA

Colour

Red

Arms

Two
SymbolFace

One

Direction

West

Chain

The third goddess m the series is Vajrasphota as theof the Western direction. Her form is given as underpresiding deity:"Pascime Vajrasphota rakta vajrasphotahkasavyakara"

NSP, p. 38.
1.

Clark

:

TLP, II. p. 64

2.

Clark

:

TLP, II, p. 64

38

BUDDHIST ICONOGRAPHY

298

holding in her"In the West, there is Vajrasphota, red in colour,
right hand the Chain marked with a Vajra".

The left hand as usual displays theChinastatuettes of this deity inl.

raisedOne

There areindex finger.

of the Chinese statuettes

isillustrated in Fig. 194.

4.

VAJRAGHANTA
GreenColour

Face

Two

Arms

One

Direction

Symbol

North

Bell

The fourth deity in the series is Vajraghanta, who is the embodimentof the Northern direction and is described as follows :"Uttare Vajraghanta syama vajraghantahkadaksinabhuja''.

NSP, p. 38"In the North there is Vajraghanta, green in colour, holding in her
right hand the Bell",

The left hand of the goddess displays as usual the raised index finger.

A statuette of this goddess occurs in the Chinese collection
5.

ColourArms-.

USNISAVIJAYAFaceOneWhiteTwo
S y mbolDirection

Up

Discus

The fifth goddess in the series is Usmsavijaya who is the presiding
Her form is described thus

deity of the Upper region.

:"Urddhve Usmsavijaya sukla cakrabhrtsavyabhuja".
NSP, p. 38"In the upper region there is goddess Usnisavijaya, white in colour,
holding the Discus in her right hand".

The left hand of the goddess displays as usual the raised index finger.

A statuette of this deity occurs in China
u

Qark:

2.

Clark : TLP, II, p. 286.

3.

Clark

:

TLP, II

p. 65.

3.

COLLECTIVE DEITIES6.

SUMBHAOne

Colour

Blue

Arms

Two

Direction

SymbolNoose of SnakeFace

The sixth and the last goddess in the seriespresiding deity ot

299

the Nether

region.

Down

Sumbha whois

Her form

is

is

the

described asunder :

"Adhah Sumbha nila savyena nagapasadhara"
NSP, p. 38"Below is Sumbha blue
Nocse made of a snake

in colour,inholding

her

left

hand the1'.

Her left hand as usual displays the raised index finger.

She

is

not

represented in the Chinese collection.
III.

EIGHT USNISA GODS

In Vajrayana there is a class of gods going under the generic nameof Usmsas. The word Usmsa means 'the crown' but the deities havenothing to do with the crown. They are usually placed like the gods of
Direction, in the four principal directions and the four intermediate

These eight Usmsa gods seem to be an extension of the four
Dhyani Buddhas, and they show their characteristic symbols andmudras. They are nevertheless popular in Tantric works, and theirHence it is necessary to make a passing
statues are found in China.
corners.

reference to these Usmsa gods briefly, for without an account of thesethis chapter is likely to be incomplete.

Below is given a description ofthese special deities in the same order as they

appear in the Durpati-

The Usmsa deities
parisodhana Mandala of the Nispannayogavall,andtwo-armed
areMandalaone-faced. Theyofthedeitiesotherlike allcrown.
wear rich dress and ornaments, and a bejewelled
They sit onhuman beings*
1.

VAJROSNISAWhite

ColourDirection

SymbolEast

The first deity in this Usmsa series of gods
form

is describedthus

Bhusparsa

isVajrosmsa and:"Purvare Vajrosnisah suklo Bhusparsamudrah".

NSP, p. 66

hisBUDDHIST ICONOGRAPHY

300"On the Eastern spoke there is Vajrosmsa of white colour.
shows the Bhusparsa (Earth-touching) mudra".

A statue of this god is found in the Chinese collection

l

He

Fig.

195

The second deity in the Usnisa series of gods is Ratnosmsa andhis.

illustrates this Chinese statuette.

RATNOSNISA

2.

ColourBlue

SymbolDirection

form is described as under

VaradaSouth:"Daksinare Ratnosmso nilo Varadamudrayanvitah".

NSP, p. 66.

"On the Southern spoke there is Ratnosmsa who is blueand shows the Varada mudra".

incolour

His statuette is not found in the Chinese collection.

3.

Colour

PADMOSNlSA

Red

SymbolDirection

DhyanaWest

The third deity in the series of eight Usnisa gods
smsa and his form is described as underiscalledPadmo^:"Pascimare Padmosmso rakto Dhyanamudrayanvitah"

NSP, p. 66"On the Western spoke there is Padmosmsa who is red in colour
and shows the Dhyana mudra".

He is not represented in the Chinese collection.
4.

ColourVISVOSN1SA

Green
Direction

SymbolAbhayaNorth

The fourth deity in the series of eight Usnisa gods

iscalledVisvo-

snisa and his form is described as under :"Uttarare Visvosmso harito Abhayapradah".

NSP, p. 66.
1.

Clark

:

TLP, II, p. 65

COLLECTIVE DEITIES301"On the Northern spoke there is Visvosnlsa who is green
and shows the Abhaya mudra".

colourin

He is not represented in the Chinese collection.
5.

ColourTEJOSNISA

Whitish red

Sun

SymbolDirection

Agm

The fifth deity in the series of the eight Usmsa gods
snisa, and his form is described as underiscalled Tejo-:'Agneyare Tejosmsah sitaraktamisravarnah
katisthavamakarah".

suryabhrddaksinapanih

NSP, p. 66
41

On the spoke in the Agni corner there is Tejosmsa of whitish red
In his right hand he holds the disc of thecolour.

sun while

the

left

rests on the hip".

A statuette of his is found in the Chinese collection under the titleof Tejorasyusmsa *.
6.

Colour

DHVAJOSNTsA

Reddish blue

SymbolDirection

Cintamani Banner

Nairrta

The sixth deity in the series of eight Usmsa gods is called Dhvajosmsa, and his form is described in the"Nairrtyare

Dhvajosmso

following words

raktamisrakrsnah

rah karabhyam":

Cintamanidhvajadha'
NSP, p. 66"On the spoke in the Nairrta corner there is Dhvajosmsa who is
reddish blue in colour.

He holds in his two hands

the Cintamani

banner"He is not represented in the Chinese collection.
7.

Colour

Sky*green

TIKSNOSNISA
SymbolSword and Book

Direction - Vayu

The seventh deity in the series of eight Usmsa gods is called Tiksnosmsa, and his form is described in the following words:"Vayavyare TIksnosnIso nabhahsyamo daksinapanina krpanarh vibh*rano vamena pustakarh."
NSP, p. 66
1.

Clark

:

TLF, II, p. 158

BUDDHIST ICONOGRAPHY

302"On the spoke in the Vayu corner there is Tlksnosmsa of sky-green
He holds in the right hand the sword and in the left hand acolour*manuscript.''

His statuette is found in the Chinese collection
8.

Colour.

CHHATROSNISAWhite

SymbolParasol

Isana

Direction

The eighth andl

the last deity in the series of eight Usnlsa gods

called Chhatrosnisa, and his form is described thusis:"Isanare Chhatrosmso subhro bhujabhyam chhatram vibhranah.

NSP, p. 66''On the spoke in the Isana corner there is Chhatrosnisa who is ofwhite colour, and holds in his two hands the Chhatra (parasol).

He is not represented in the Chinese collection,
IV.

The

FIVE PROTECTRESSES

Raksa deities as they are called in
Tantric works, are popular and well-known amongst the Mahayana
Buddhists, particularly of Nepal. A manuscript copy of the Pancaraksa describing the five Raksa deities, their worship on different occasions and their powers, is to be found in almost every Buddhist household in Nepal. Such manuscripts are often very artistically written andthey bear miniature pictures of not only the five Raksa deities but alsoof other Buddhist deities such as the Dhyani Buddhas and their Saktis*
That their worship was much in vogue is evident from the fact thatfiveprotectresses or thetheir images either in stone or in metal are met with in almost all mona-

The miniatures reproduced here are from a manuscript ofPancaraksa in the possession of Dr. Evans Wentz.
steries.

The reason why the five Raksainthe

Sadhanamala

deities are

Accordingpopularisbe foundtoto this authority the

five

Raksa

when worshipped, grant long life. They protect kingdoms,
andmeadows. They protect men from evil spirits, diseases andvillagesfamines, and from all possible dangers that may befall mankind. The
deities,

Pancaraksaisrecitedin all varieties of domestic difficulties,

such

as,

illnesses, adversities, loss of wealth, cattle, etc.

All the five deities are worshipped either singly or collectively in a

Mandala.

A description of the Pancaraksa Mandala occurs both in

the Sadhanamala and the Nispannayogavall.
1.

Clark

:

TIP, II, p. 131

Inboth Mahapratisara

COLLECTIVE DEITIES
is the303

central or the principal deity while the four others

occupy the
Below is given a description of the five Raksa

four cardinal directions.

deities as it appears in the Nispannayogavali.

MAHAPRATISARA

1.

ColourArms

Yellow

Four

Faces

TwelveSymbolJewel

The place of Mahapratisara is in the centre of the Mandala, andher form is described in the Nispannayogavali in the following words"
Mahapratisara pitabharaktaprabhamandalacaturmukha, mulamukharh
pitam, savyam sitam, pascimarh mlam, vamam raktam. Daksine ratna*:

Vamair^vajram pasam tri-

cchata-cakra-vajra'sara-khadga^varadamudrah.

dhanuh parasum sankham ca

sularhbibhratlti

dvadasabhuja.

lankrtasiraska vajraparyankasma".

Caitya-NSP, p. 42"

Mahapratisara has a yellowish red halo and is four-faced. The
first face is yellow, the right is white, the face behind is blue and the
left
2.

is

In her six right hands she holdsof red colour.

the discus,

the Vajra,

3.

the

4

arrow,
Varada mudra. In the six left hands she displays1.

:

the jewel,

the sword and

5.
:

1.

the Vajra.

6.

the

2.

the

the trident, 4. the bow, 5. the axe and 6, the conch.
Thus the deity is twelve-armed. Her head is beautified with a Caitya,
noose,

3.

and she sits in the Vajraparyahka attitude".

The form described in the Sadhanamala is somewhat different. In
this work she has only eight arms instead of twelve.
Fig. 196 illustratesaminiature of Mahapratisara in the collection of Dr. Evant> Wentz.

She

is

also popular in Tibet

collection of Peiping2.

land her statuette occurs in the Chinesea.

MAHAsAHASRAPRAMARDANl

Colour

Arms

White

Faces

Ten

SymbolFour
DiscusMahasahasrapramardani is the second deity in the group of five
Raksa deities and she is assigned to the eastern direction. Her form is
described in the Nispannayogavali in the following words:"Purvasyam disi Mahasahasrapramardani visvambhojacandre lalitaksepena nisanna sukla candraprabhamandala caturmukhl. Mulam sitam,savyam krsnam, prstharh pitam, vamam haritam. Savyabhujaih padmasthastaracakram varadam ankusam banam krpananca. Vamairvajram
NSP, p. 42.
tarjaniih pasarh dhanuh pasanceti dasabhuja."
1.

For a Tibetan specimen see Gordon

2.

Clark

:

:

ITL, p. 76.

TLP, II, pp. 190, 216, 276 as Pratisara.

BUDDHIST ICONOGRAPHY

304"In the East there

Mahasahasrapramardani sitting in the Lalita
moon placed on a double lotus. She isawhite in colour, has halo of the white moon and is fouivfaced. Herisattitude on the orb of theprincipal face is of white colour,

the right blue, the face behind is
In her five right hands she shows

yellow and the left is of green colour.

the eight*spoked wheel on a lotus,

1.

goad,

4.

the Varada mudia,

2.

the

3.

the arrow and 5. the sword. In her five left hands she exhibits

1

the Vajra,

4.

the bow and 5.

the noosethe raised index finger (Tarjam), 3.
the nooseThus she is ten-armed".

2.

The Sadhanamala describes her form somewhat differently
Here
Her images are widely
known in Nepal, and in Tibet and China her statuettes are ioundthe deity has only eight arms instead of ten.

l

.

Fig.

197 illustrates a miniature in the collection of Dr. Evans Wentz

MAHAMANTRANUSARlNl

3.

Colour

Blue

Faces

Arms

TwelveSymbol

Three
Vajra

The form of this third Raksa deity is described
gavali in the following

words

in

the Nispannayo-

:

u

f

Daksinasyarh visvambhojasurye suryaprabha Mahaman tranusarinl
Dvadavajraparyankini krsna krsnasitarakta-mula- avyavamamukhi.
sabhuja.

Savyetarabhyam dharmacakramudiam bibhrana aparabhyam

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

Mahamantranusanm with the halo of the sun.
paryahka

attitude and is blue in colour

the right is white and the left is red.
pairof hands

she

Her

She

displays the2.

another pair of hands she exhibits theShe sits

exhibit9.

isthe Vajra*

principal face

is

blue,

With one
Dharmocakra mudra.
With
Samadhi mudra. In the
4istwelve-armed.

remaining four right hands she shows 5. the Vajra,
the Abha>a mudras.
the Varada and 8,The7.
left hands

inthe Tarjam with the noose,6.

the arrow,remaining four

10. the bow, 11

the1

jewel and 12. the jar marked with a lotus '.

Like the other deities of the Pancaraksa group Mahamantranusarinl
is also1,

widely represented.

She was probably known

For Tibetan specimens, see Gordon

:

ITL

p. 76

;

Getty

:

in

China under

GNB, p. 138.

COLLECTIVE DEITIES
the title of Mantranudharini l

.

Fig.

305

198 illustrates a miniature of thegoddess in the collection of Dr. Evans Wentz.
Sadhanamala the goddess is twelve-armed. 2

Here as well as

the

in

.

MAHA&TAVATI

4.

Colour

Red

Arms

Eight

Thi eeSymbol Lotus
Faces

The fourth deity in the series of five Raksa goddesses
Mahasitavati to whom the western direction is assigned.
described in the Nispannayogavali thus

named

as

Her form

is

is

:

"Pascimayarh
Mahasitavati

ardhaparyahkanisanna suryaprabha
visvabjasurye
rakta rakta-sita-krsnamulasavyetaravaktra.
Astabhuja.

Savyaih sapadmabhayarh, saram,

vajrarh,khadgam.

Vamais*tarjam-

pasarh, capam, ratnadhvajarh, hrdi pustakam ca bibhrati".

NSP, p. 42
*'ln

the

West onthe orb of the sun

on a double lotus there is

Mahasitavati sitting in the Ardhaparyahka attitude with the halo ofof the sun. She is red in colour, and her faces show the red, the white

and the blue colour in the first, the right and the left faces respectively.
She is eight-armed. In the four right hands she displays 1. the lotus with
the Abhaya mudra, 2. the arrow, 3. the Vajra and 4. the sword. In
the four left hands she shows 1. the noose with the Tar jam, 2. thebow, 3. the jewel banner and 4. the manuscript against the chest".
In the Sadhanamala she is six-armed and green

incolour.

She

iswidely represented in Buddhist countries. Under the title of Sitavati
she is known to the Chinese collection at Peiping B
Fig. 199 is an
4
illustration of her miniature in the collection of Dr. Evans Wentz
.

*

5.

Arms

MAHAMAYUR1

GreenColour

Eight

Three
Symbol Mendicant on
Faces

Bowl

Mahamayuri is the fifth and the last deity of the Pancaraksa Mandalaof the Nispannyogavall. Her form is described in the following words:"Uttarasyam visvabjacandre candraprabha sattvaparyahkl Mahamayuri harita harita-krsna-sukla-mulasavyetaravaktra.

Astabhuja.

Savyair-

Vamaih patroparimayiirapiccham banam varadarh khadgam ca.
bhiksum capam utsahgastharatnacchatavarsighatam visvavajraratnankadhvajam ca bibhrana."
1.

Clark : TLP, II, pp. 205, 275.

2.

For a Tibetan specimen, see Gordon

3.

Clark : TLP,

4.

For a Tibetan specimen, see Gordon

39

II,

NSP, p. 42
1TL, p. 76.

:

pp. 206, 275.
:

ITL, p. 76

BUDDHIST ICONOGRAPHY306"In the North on the orb of the moon on a double lotus, with thehalo of the moon and sitting on a man, there is Mahamayurl. She
the white andis green in colour, and her three faces show the green,
the blue colour in the first, the right and the left faces respectively.
is eight-armed.

In the four right hands she holds

1.

the

2.

jewel,Shethethe Varada mudra and 4- the sword. In the four left hands

3.

arrow,
she shows1.

the medicant on the bowl,

the lap showering jewels, and 4

the bow, 3. the jar on
marked with the double2.

the banner

Vajra and the jewel".

The description of the goddess in the Sadhanamala is somewhat
Here she is endowed with the yellow colour* But in bothdifferent.
Like the other Raksa deities Mahamayurl isisknown in Tibet and in the Chinese collecShewidely represented.
2
illustrates
a miniature in the collection of200
tion at Peiping
Fig.
places she is eight-armed.

l.

Dr. Evans Wentz.

According to a statement in the Nispannayogavali any one of the five
Raksa deities may become a leader in the Mandala and occupy thecentral position.

All the other deities in that casewill

become her

subordinate companions.

TARAS OF FIVE COLOUR

V.

Strictly speaking, only those deities can be called Taras tomantia:whom theOm Tare Tuttare Ture Svaha is assigned. In the simplest form

Taras carry the night lotus in thelefthand and exhibit the Varada

Some of them bear the miniature image of Amoghasiddhi on their crowns, but others may not have any effigy of themudra in the right.
Dhyani Buddha.

It is therefore

difficult to identify theircularly in stone where no definite colour can be seen.

images, parti-

Special attention

should therefore be paid not only to the particular pose in which thedifferent Taras sit but also to their companions in order to arrive at acorrect identification.

In

this

an attempt

sectionwillbemade toindicate the characteristic features of the numerous Taras described in

the Sadhanas for the purpose of differentiation.
In the Tantric works there are sothat it is physically

impossibletoreference to their peculiar colour.

many

different varieties ofclassify

Tarathem correctly without

Taras are therefore brought
From the colour of thesection.
All

together under one head in thisdifferent Taras it will be possible to refer them to their respective Kulas

or families presided over by the five Dhyani Buddhas.
1.

For Tibetans specimen, see ITL, pp.

2.

Clark

:

TLP, II, pp. 206, 275.

74,

76

;

Getty

:

GNB, pp. 137-138

COLLECTIVE DEITIESGREEN TAR A

A,

307

'

Khadiravam Tara shows the Varada mudra in the right hand and1.

the night lotus in the left.

She can be

identified

by the presence of

Asokakanta Marici and Ekajata.
Vasyatara has as her characteristic feature the Bhadrasana or2.

the European fashion of sitting.
isIt

may bedescribed as single and as such is notnoticed however that she

accompanied by any god or

goddess.
3.

Aryatara.

The characteristic feature of this form of Taraisthat she sits in the Ardhaparyahka attitude and like Vasyatara is entirely

alone.

Mahattari Tarabe distinguished by the Vajraparyahka
attitude in which she sits, and also by the fact of her being represen4.

may

ted without any companion whatsoever (Fig, 210).

Varada Tara sits5.

m the Ardhaparyanka attitude like Aryatara
the presence ofbut she can be easily recognised by

Asokakanta Marici, Mahama^uri, Ekajata

four goddesses

and Janguli.

(cf.

MahasriTara).
6.
lotus
has
for
DurgottarinI Taragreen complexion, theher seat, and garments of white colour; she has four arms and she

carriesm the first pair of hands the noose and the goad and displays inthe second the lotus and the Varada mudra.
7.

Dhanada Tara

carriesthebook and the rosary

pair of hands, while the second paircarries

in

the

first

objects similar to thoseShe has an animal for her Vahana, is accom*
panied by eight goddevsses originating from the eight syllables of her
mantra and bears the image of Amoghasiddhi on the crown.
held by DurgcttarmL

8.

emanates

Jahgulifrom

Aksobhya

and

may

have

three

When green, she is fouiv
yellow, white and green.
armed, and carries the Trisula, the peacock's feathers and a snake in
different colour,

three hands and exhibits the Abhaya mudra in the fourth.

when green,
9.
Parnasabanemanates 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, have fourgreen variety

is that all the

arms

also.

The

peculiarity of thethree faces depict irritated smile (sakrodha-

hasitananarh).
J

.

Getty

:

GNB, p.

123 gives a list of Taras of green colour.

BUDDHIST ICONOGRAPHY

308

B.

WHITE TARA'

Astamahabhaya Tara. The distinguishing feature of this formof Tara is that she sits in the Ardhaparyahka attitude and is surroundedby ten goddesses originating from the ten syllables of the Tara
1.

mantra:Om Tare Tut tare Ture Svaha.

These ten deities are identicalin appearance with the principal deity.
2.

Mrtyuvancana Tara.

The

distinctive feature of thisTara is that she bears a wheel on her chest.

form of

She is absolutely unatten-

ded and sits in the Vajraparyaiika attitude.
3.
Caturbhuja-Sitatara. Her form has already been described as
an emanation of the DhvSni Buddha Amoghasiddhi. She has fourarms and exhibits in the first pair of hands the Utpala mudra, and the
She may be recognizedlotus, 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.

Visvamata.

She

has been described in the Sadhanamala as

one-faced, with the white complexion of the moon, white garments andShe carries the white lotus in the left
a white serpent as her Vahana.

hand and exhibits the Abhaya pose in thedescribed as bearing any image of her sire.
6.

right.

She has not been

Kurukulla as an emanation of Amitabha of red colour generally

assumes the red colour, but when two-armed, she has, according to the

Sadhanamala the white colour. She carries the rosary and the bowl ofand her Vahana is an animal.

lotus,
7.

Janguli as an emanation of Aksobhya ought to be of blue colour,

but according to the Sadhanamala sheyellow or green.

may have three

colour, white

When white she is one-faced and four-armed, playson the Vina with the first pair of hands, and shows the white serpent
and the Abhaya pose in the second.
C.

YELLOW TARA*

She is yellow, has four faces and eight arms andDhyani Buddha Ratnasambhava on her crown*
Forms of Vajratara have been described previously. She is accom1.

Vajratara.

bears the image of thepanied by ten goddesses when worshipped in the Mandala.

L

Getty

;

2*

Getty

:

GNB, p. 122 gives a list of Taras of white colour.
GNB, p. 124 gives a list of Taras of yellow colour.

COLLECTIVE DEITIES309

2.
The yellow variety of Jahguli has three faces and six
Jangull.
arms and bears the image of the Dhyani Buddha Aksobhya on hercrown. This form has already been described.

When

Parnasabari.

3.

yellow

Parnasabari

isan emanation of

Aksobhya, has three faces and six arms, and a pleasant smile instead ofan irritated expression on her faces.
This form of Parnasaban has
also been described under the female emanations of Aksobhya.
and emanates from Amitabha. She is oneshows the Varada mudra and the rosary in thetwo right hands and carries the Tridandl and the Kamandalu in the two
Bhrkuti4.

is yellow

faced and four-armed,

left.

D.
1.

Ekajata.

BLUE TARA]

She may have several forms with blue colour, and bhebears the image of her sire Aksobhya on her crown inallcases.

All

her forms have been described previously along with the other emanations of the Dhyani Buddha

Aksobhya including the terrible form which
of
name
the
goes byVidyujjvalakarali of blue colour, with twelve faces
and twenty-four arms.

Mahacma Tara.

2.

She also bears the image of Asobhya on hercrown, and has already been described as one of the female emanations ofthat Dhyani Buddha. She is called Mahacina Tara because she is believed
to have comefrom Mahacma, the place where she was originally wor-

She is the subject of the Mahacinakrama-Tantra, and has been

shipped.

incorporated wholly into the Hindu Tantric pantheon.
E.

RED TARA-

There are not many Red Taras in the Sadhanamala, Kurukulla being
the only one belonging to the red variety. As she bears the image ofAmitabha on the crown, she inherits from him as his emanation, her

Kurukulla may also bear the image of the five Dhyani
Buddhas on her crown, but that will make no difference as to the colourof her complexion. She will be white when two-armed, and red when
red complexion.

or

six

four,

eight-armedAll

her forms

been describedhavepreviously.

VI.

The

EIGHT GAURl GROUP

eight deities of the Gauri

group of goddesses

are extremely

Vajrayana and are found described in several places

popular in

the Sadhanamala as well as in the NispannayogavalL
1.

Getty:

2.

Getty

:

GNB, p. 125 gives a list of Taras of blue colour.
GNB, p. 126 gives a list of Tras of ted colour

both in

These goddesses

BUDDHIST ICONOGRAPHY

310

are represented also in the Chinese collection of statuettes in the city of

Although it is not necessary to describe their different forms
extensively, it is however desirable that at least one form should berecorded here to stimulate interest in their iconography and identification.
Below is therefore given the description of the eight deities of the Gaurl
Peiping.

group in the same order as it appears in the Pancadaka Mandala of
the Nispannayogavali. All the deities are violent in character withornaments, and garlands of heads. They dancein Pratyalldha and show the raised index finger with clasped fist against
fearful appearance andthe chest, as the common gesture.

GAURl

1.

Colour

Arms
Goad

White

SymbolThe first in the series is Gaurl.
daka Mandala where thegod Vajradaka.
%(

Two

Her form is described in the Panca-

Gaun group of deities surround the principal

GaurFs description is as under:1

NSP, p. 75

Guuri sita savyenankusadharmr''Gauri is white and holds in her right hand the goad".
In the left hand she shows the Tarjani against the chest which

common gesture.

found

Three statuettes of this goddess are

Chinese collection at Peiping

in the

.

CAURl
Arms

Yellow

SymbolTwo

Noose

The second goddess in the Gaun group is Cauri whose form iscribed in the Pancadaka Mandala as follows
tk

the

l

2.

Colour

is

des-

:

Caun pita pasadhara"

NSP, p. 75"Cauri is yellow in colour and holds in her right hand the noose".

She shows the raised index finger in the left like all other deities ofthis group*

Only one statuette of this goddess is found in China
3.

ColourRed

Symbol2.

VETALl
Arms

Two

Chain

the Gaurl group is Vetall whose form
described in the PaScadaka Mandala in the following words"
Vetall rakta bhujabhyam sphotabhrt."
NSP, p, 75

The third goddess of

:

1.

Clark

:

TLP, II, pp. 72, 92, 105

2.

Clark

:

TLP, II, p. 92.

isCOLLECTIVE DEITIES

311*'Vetali is red in colour and holds in her two hands the chain."

A statuette of this goddess under the name of Vajravetali is foundin the Chinese collection at Peiping

l

.

Fig.

202 illustrates this Chinese

statuette.

GHASMARl

4.

Colour

Two

Arms

Green

SymbolBell

The fourth goddess of the Gaurl group is Ghasmari whose form
described in the Pancadaka Mandala as follows;"Ghasmari harita vajraghantadhara""Ghasmari is green
17marked with a Vajra,

isNSP, p. 75

in colour and holds in her righthand thebell

The left shows the common gesture of Tarjani.

Two statuettes of this obscure goddess are found in the Chinese
One of the two statuettes is illustrated in Fig. 203.

collection %PUKKASl

5.

ColourBlue

Symbol

Arms

Two

Bowl

The fifth in the series of the Gauri group of goddesses is Pukkasi whose
form is described in the Pancadaka Mandala in the following words"Pukkasi nila Bodhicittaghatahasta."
NSP, p. 75:"Pukkasiisblue in colour and holds in the right hand the bowl ofBodhi mind."
The left shows the Tarjani against the chest as a common gesture,

Two statuettes of this obscure goddess occur in the Chinese collection:}.

One of the two statuettes is illustrated in Fig. 204.
6.

ColourSABARl
White

Arms

Two

Mem

SymbolThe sixth goddess in the series of eight deities of the Gaurl group
described in the Pancadaka Mandala in the following words"abarl sita Merudhara"
NSP, p. 75

is:is white"Sabariin colour and holds in her

right

hand the Meru

mountain.'*

The left exhibits the common gesture, the Tarjam.

Two statuettes of this goddess are found in the Chinese collection
1.

Clark

2.

Clark: TLP, II, pp 96, 100.

3.

Cark

4.

Clark

:

:

:

TLP, II, p. 62.

TLP, II, pp. 91, 100.
TLP, II, pp. 92, 100.

4.

BUDDHIST ICONOGRAPHY

312

7.

ColourCANDALl
Arms

Blue

Sym bol-TwoFire-pot

The seventh deity among the eight goddesses of the Gauri group is
known as Candali and her form is described in the Pancadaka Mandalaas follows :"Candali nila vahnikundabhrt",

NSP, p. 75"Candali is blue in colour, and holds a fire-pot in her right hand".

The left shows the common gesture of Tarjani.

Two statuettes of thiscollection

goddess

be

found

Arms

Two

are tointhe Chinese

J
.

8.

DOMBl

ColourMixed
BannerSymbolThe eighth and the last goddess in the group of deities headed by
Gauri is described thus in the Pancadaka Mandala
Vajradaka

as an

associate of:"Dombi visvavaina mahadhvajapatakam dhatte".

NSP, p. 75"Dombl is of mixed colour and carries in her right hand the highflag andbanner".

The left hand displays the common

gesture of the Tarjanl against

the chest.

She is represented only once in the Chinese collection as Dombinl

L>.

Fig. 205 illustrates this Chinese statuette.

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 theracter.
staging of a drama or inentertainments.

All

these

four

deitiesarepantheon and are described times without
as well as in the NispannayogavalL
Sadhanamala
boththenumberin

popular in the Vajrayana

In the Chinese collection at Peiping statuettes of these deities are found.

Although it is not possible to describe all their forms here, an endeavour will be made at least to describe one typical form of each for theBelow is given an account of the four
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 with garland ofsevered heads,

and danceinPratyalidha.

show the Tarjani against the chest as the common gesture.
1.

Clark : TIP, II, pp. 96, 110.

2.

Clark

:

TIP, II, p. 96.

They
~~

COLLECTIVE DEITIES

LASYA

1.

Two

Red

Arms

SymbolLasya dance

Colour

313

The first deity of the Lasya group is Lasya who
following wordsisdescribed in the:1"Lasya rakta sagarvarh lasyabhinayobhayabhuja'

NSP, p. 76.

"Lasya is of red colour and with pride she arranges her two handsin the Lasya act''.

Two statuettes of Lasya are found in the Chinese collection

3
.

One

of the statuettes is illustrated in Fig. 206.

MALA (MALYA)

2.

Two

Arms

Red

ColourSymbolGarland

The second deity of this group is Mala who is described as follows"Mala rakta karabhyarh ratnamalabhrt':

1

NSP, p. 76.

"Mala is of red colour and holds in her two hands thegarland of

jewels".

Three statuettes of this goddess under the slightly different name of*

Malya occur in the Chinese collection of images
3.

Colour

J
.

G1TA
Arms

Reddish white

Symbolat Peiping

Two

Indian Gong

The third deity of this group is Gita who is described in the Panca*
daka Mandala as under:"Gita raktasita bhujabh>arh karhsike vadayanti"

NSP, p. 76.

"Gita is reddish white in colour, and with her two hands she

isengaged in playing on the Indian gong (Karhsi).

Three statuettes of this goddess occur

in the Chinese

One of these three statuettes is illustrated in Fig, 207.
1.

Clark

:

2.

Clark

:

3.

Clark

:

40

TLP, II, pp. 63, 145,
TLP, II, pp. 63, 103, 145,
TLP, II, pp. 63, 94. 146.

collection*.

BUDDHIST ICONOGRAPHY

314

4.

Colour

NRTYA
Arms

Mixed

SymbolTwo

Vajra

The fourth and the last goddess in the Lasya groupform is thus described in the Nispannayogavallis

Nrtya whose:"Nrtya visvavarna savajrabhujabhyam nrtyanti",

NSP, p. 76.

"Nrtya is of variegated colour and she dances with her two hands
holding the Vajra".

Three statuettes ofthis goddess are noted in the Chinese collection 1 .

One of the three statuettes is illustrated in Fig. 208*

FOUR MUSICAL INSTRUMENTS

VIII.

There

a

furtherofgoddesses representing the fourmusical instruments and are often

mentioned in the Sadhanas and

is

group

Mandalas as companions of important deities. When everything else isdeified there is no reason why these musical instruments should not also
be deified. These four Musical Instruments are named as Vamsa (flute)

Vina (violin), Mukunda ((kettle-drum) and Muraja (drum) and we findthem all deified with human form, colour, faces, hands and symbols.
In the Vajradaka Mandala they are collectively described as nude, violent
in appearance, wearing garlands of skulls and severed heads and dancing

They display the different instruments as their special
They are described below in the same order in which theyin Pratyalidha.

symbols.

appear in the Pancadaka Mandala.
1.

ColourVAMSA

Red
Symbol

Arms

Two

Flute

The first in the series of deities representing the musical instruments
is called Vamsa whose form is described in the following terms in the
Pancadada Mandala:"Vaihsa rakta karabhyam dhrtavamsam vadayanti".

"Vamsa is red in colour.
plays on it/'She holds the flute in her two hands and

She is not represented in the Chinese collection.
1.

Clark

:

NSP, p. 76

TLP, II, pp. 64, 93, 143.

COLLECTIVE DEITIES

VlNA

2.

Colour315

Arms

Yellow

Two

Vina Instrument

SymbolThe second goddess representing musical instruments is called Vina,and her form is described in the following words:"Vina pita vmavadanakaradvaya/'

NSP, 76

With her two hands she"Vina is yellow in colour.
musical instrument, the Vina."

plays

on theIn the Chinese collection she is represented as goddess Vmadharais the same as Vina
This Chinese statuette is illustrated in

which

l

.

Fig. 209.
3.

MUKUNDA
Arms

White

ColourTwo

Mukunda Instrument

SymbolThe third goddess in this series is the goddess Mukunda who playson the instrument called the Mukunda. Her form is described thus in
the Nispannayogavali:"Mukunda sita karabhyarh Mukundarh vadayanti.""Mukunda is white in colour.

NSP, p. 76

She plays on the instrument called

the Mukunda with her two hands",

One statuette of Mukunda is found in the Chinese collection under
the name of Mukundadhara, who is the same as Mukunda -* This
Chinese statuette is illustrated in Fig 210.
4.

ColourMURAJA

Smoky

SymbolArms

Two

Muraja Instrument

The fourth and the last deity in the series of goddesses of musicalinstruments is the goddess Muraja whose principal symbol is the Muraja

on which she plays.

Her form is described as under:"Muraja dhumravarna murajavadanaparabhujadvaya."
NSP, p. 76''Muraja is of the colour of smoke, and she is engaged with her two
hands in playing on the Muraja instrument."

She is not represented in the Chinese collection.
TLP, II, p. 107

1.

Clark

2.

Clark ; TLP, II, p

:

107.

BUDDHIST ICONOGRAPHY

316

IX.

FOUR DOOR GODDESSES

The doorits

is an important item in household
furniture, because ofofpower
giving protection against thieves and animals and unpleasantintruders. The door planks, the lock, the key, and the curtain, all thefour are important articles, and thus these are all deified in Vajrayana.

are given

They

human

form, colour, faces, arms and symbols.

are found described in the Pancadaka Mandala of the

They

Nispannayogavall.

Collectively they are described as nude, dancing in Pratyalidha, withand awe-inspiring ornaments. They are described
below in the same order in which they are treated in the Mandala. They

fearful appearance,

hold their special symbols appropriate to their names,
1.

ColourTALIKA

White

Arms
Lock

SymbolThe first in the list of door
cribed as follows

T wo

goddesses,

is Talika.

Her form is des-:"Talika sita talikahasta"

NSP, p. 77"Talika is white in colour and holds in her two hands the Talika or
the Lock."A statuette of this most obscure but interesting deity
the Chinese collection.

In this collection her name isently stated as Dvaratalakadhara'.

Fig. 211

is found insomewhat differ-illustrates her

statuetteinChina.

2.

ColourKUNCI

Yellow

Symbol

Two

Arms
Keys

The second goddess in this series is called Kunci fromHer form is described as underthat she holds.

the

keys

:

"Kunci pita kuncikahasta",

NSP, p. 77"Kunci is yellow in colour and holds the Keys in her two hands/'

A statuette of this goddess occurs in the Chinese collection under
the title Kuncikadhara.
1.

Clark : TLP, II, p. 108.

2.

Clark

:

TLP, II, p.

108,

She is of the same description as above L'.

COLLECTIVE DEITIESKAPATA

3.

Red

ColourPlanksthird deity in the series of the four

Her form is described as follows

Kapata.
*

Two

Arms

SymbolThe

317

door goddesses'Kapata
Planks.

iscalledNSP, p. 77'Kapata rakta kapatadhara".

*

is

:

of red colour and holds in her two hands the Door

1 'A statuette of this goddess is found in the Chinese collection underthe

The two are identicalof Dvaradhara.

title

]
.

Fig,

212 illustrates

her statuette found at Peiping.
4.

ColourPATADHARINl
Arms

Blue

SymbolThe fourth and thelast goddess

Curtainseries of four deities of thein thedoor is called by the name of Patadharim.
the Pancadaka Mandala as underTwo

Her form is describedin:"Patadharim krsna karabhyarh kandapatam vibhrati."

NSP, p. 77"Patadharim
curtainisblue in colour.

(Kandapata)She holds in her two hands the.

A statuette of this goddess occurs in China under the title of Vita*nadhara where Vkana means a curtain.
X.

The two are identical J.

FOUR HOOT GODDESSES

There are four goddesses of Light in the Vajrayana pantheon. They
are named as Suryahasta, Dlpa, Ratnolka and Taditkara and describedin the Pancadaka Mandala of the Nispannayogavall.

are conceived as nude, and as violent inskulls and severed heads.

Collectively, they
appearance with garland of

They dance on a corpse in the Pratyalidha
marks of recognition in their hands.

attitude and hold their special

They are described below in the order
Pancadaka Mandala.
1.

Clark

:

TLP, II, p, 108

2.

Clark

:

TLP, II. p. 108

inwhich they appear

in

the

BUDDHIST ICONOGRAPHY

318

SURYAHASTA

1.

Arms

White

ColourTwo

Sun

SymbolSuryahasta is the first deity in the series of four goddesses of Lightand her form is described in the following words:

NSP, p. 76"Suryahasta sita suryamandaladhara".
hands
the disc of
in
her
and
she
holds
colourisofwhite''Suryahasta
the Sun".

One statuette of the goddess

found in the Chinese collection
The two are identicalislunder the tide of Suryadhara.

.

2.

DIP A

Blue

Arms

SymbolLight stick

ColourTwo

The second Light deity 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.

ColourArms

Yellow

Symboltwo

Jewel

The third in the series of four goddesses of Light is called Ratnolka.
She is described as under"Ratnolka pita ratnadhara".
:

NSP, p* 76"Ratnolka is yellow in colour and holds the jewel in her hands*'.

She is represented in the Chinese collection under the name of
Ulkadhara. This statuette is illustrated in Fig. 2144.

Colour

TADITKARA
Arms Two

Green

SymbolLightening

The fourth and the last in the series of four goddesses ofcalled Taditkara (Lightening Bearer).

following words'Taditkara harita vidyullatadhara".
:

1.

Clark : TLP, II, p.

2.

Clark

:

TUMI, pp.

88,

67*90.

Light isin theHer form is described__COLLECTIVE DEITIES

319'Taditkara is green in colour and holds in her hands the creeperlike lightening''.

A statuette of this goddess occurs in the Chinese
The image answers
The two are therefore identical

the title of Vidyuddhara.

collection

under

the description inall!

details.

FOUR ANIMAL-FACED GODDESSES-

XL
There

a

is

set

of four very interesting deities described in thethey all have animal faces and have several forms.

Nispannayogavall
They are given each a different direction in the Mandala.
;

Their names

Hayasya, Sukarasya, Svanasya, and Simhasya, according to theanimal face they bear. To this number, in the Kalacakra Mandala, four
more deities with birds f?ces are added for the intermediate corners.
are:

These birds

deities(vultur effaced),

All these are

are

named

as

Kakasya (crow-faced), Grdhrasya
Garudasya (Garuda-faced) and Ulukasya (owl-faced).

described in the text as violent in appearance,

nude,

dancing on a corpse, and wearing garlands of severed heads. They carry
the Kapala (skull-cup). A
in their hands the Kartri (chopper) andKhatvahga (magic stick) hangs from their shoulders. They are sometimes two-armed and at others four-armed. When four armed, the four
represented like the goddesses of the VajiankusIWith regard to the face, it may be noted that the principal

chief deities aregroup.

human or of an animal. When it is human, theanimal face is shown over the head or on the crown. Normally, there
face

is

eitherare four goddesses in this group, but the series of goddesses foundonly in the Kalacakra Mandala are without adequate description. The
group of four goddesses of the Nairatma Mandala is here described.
It

may be noted that their images are also popular in the Chinese collec-

tion of Peiping, although a few are available in India also.

1.

Colour

HAYASYA

Whitish Blu

SymbolArms

TwoHorse-face

The first in the series of goddesses with animal faces is Hayasya(horse-faced) and her form is described in the Nairatma Mandala in thefollowing words:'Turvadvare Hayasya sitamla"

NSP, p. 16"On the Eastern gate there is Hayasya of whitish-blue colour".
~

I.

Clark

:

TLP, II, p. 88.

~~

BUDDHIST ICONOGRAPHY

320

Like all other deities of the group she displays in her two hands theKami and the Kapala.
In the Hevajra Mandala of the Nispannayogavali (p. 15)

she is des-cribed as four-armed and four- faced and as similar in appearance to

Vajrankusl.

She is not represented in the Chinese collection,
2.

Colour

SUKARASYA

Yellowish BlueTwo

Sow-face

SymbolThe second in theArmsof four goddesses with animal faces is
Sukarasya (sow-faced) and her form is described in the Nairatma
Mandala thus
series:

NSP, p. 16"Daksine Sukarasya pltanila".

"On the South there is Sukarasya with yellowish-blue colour"
Like all other goddesses of the group, she also holds the

Kartriin

She is also described as four-armed and four-faced, and as similarinthe right hand and the Kapala in the left.

appearance to VajrapasI].

She is not represented in the Chinese collection.
3.

ColourSVANASYA

Reddish Blue

Arms

Two

Dog- face

SymbolThe third goddess in the series of four goddesses with animal faces
is called

Svanasya (dog-faced) and is described in the Nairatma Mandala

as :
<fc

'

NSP, p. 16

Pascime Svanasya raktanlla""On the West there is Svanasya of reddish-blue colour
Like all other goddesses of the group she holds the Kartri in theright hand and the Kapala in the left.

In the Hevajra

Mandala she

isdescribed as four*faced and four-

armed and as similar in appearance to Vajrasphota.
She is not represented in the Chinese collection.
1.

A remarkable specimen of the four-armed variety of the goddess is illustrated

in Gordon r ITL, p. 80 under the title of Vajravarahl.

'

COLLECTIVE DEITIES
4.

Colour

SIMHASYA
Arms

Reddish Blue

m bol

Sy

321

Two

Lioi>fa ce

The fourth and the last deity in the series is called Simhasya
faced) in the Nairatma Mandala. Her form is described thus

(lion-:"Uttare Simhasya raktanlla"

NSP, p. 16"On the North there is Simhasya of reddish blue colour".
Like all other deities of the group she also holds the Kartri in theright hand and the Kapala in the left.

She is described in the Hevajra Mandala as four-faced and fourarmed, and as similar in appearance to Vajraghanta.

Under the title of Simhavaktra she appears in the Chinese collecShe was also known in Tibet *. Figs, 215, 216 illus-

tion at Peipingl.

trate a very artistic specimen of Simhasya with human face with the faceof the lion overhead. This image is in the collection of Dr. Moghe ofKhar (Bombay).

FOUR DAKINI GROUP

XII.

Usually in this group of goddesses are included the names of Dakini
Lama, Khandaroha and Rupim who are widely mentioned in the Tantric

works of rituals. In the Sumbara Mandala of the Nispannayogavallnames are mentioned as companion deities of Sambara. Again,in the Satcakravarti Mandala they are mentioned as companion deities.
But their forms are found described only in the Sadhanamala. Accordtheiring to this authority they are all alike in appearance holding identicalsymbols. Only in colour they differ. In the Vajravarahi Sadhana(No. 217) they are described as follows:^Pakml-Lama-Khandaroha-Rupimh krsna-syama-rakta-gaurah. Eta
ekavaktrah caturbhuja vame kapalakhatvafigakapalahastah daksine
damarukartrikah trinetra muktakesa nagna alidhasanasamsthita pancaSadhanamala p. 425
of blue, green, red andareandKhandaroha"Dakim, Lama,
Rupim

mudravibhusita bhavayet."white colour respectively.

They

are

one-faced andfour-armed andin their left hands the Kapala-marked Khatvanga and thecarry

Kapala,and in the two right the Damaru and the knife. They are three-eyed,
have dishevelled hair, stand in the Alidha attitude and are decked in
the five bone ornaments. Thus they are to be meditated upon".
1.

Clark :TLP, II, p. 314.

2.

Gordon

Getty

:

41

:

II L, p.

80 illustrates a two-armed image of

GNB, pp. HO, 150.

the deity.

See alsoBUDDHIST ICONOGRAPHY

322

Two statuettes of Dakim occur in the Chinese collection *. The
names of three others do not find mention in China. In Tibet, Lama*dakim belongs to this group, and a remarkable and perhaps uniquestatuette of the goddess from the W.B. Whitney collection in the Freer
2
Gallery of Art is illustrated in the Iconogrphy of Tibetan Lamaism.

Fig.

217 illustrates the Chinese statuette of Dakim, andis a Nepalese picture of1.

2.

Lama Dakim.

Clark : TLP, II, p. 96,110
Gordon: ITL,p. 81

Fig*

218

CHAPTER Xli
PHILOSOPHICAL DEITIESIn the Nispannayogavali of Abhyakara Gupta mention is made of anumber of deities who are designated here, for the sake of convenience,as philosophical deities.

In Buddhism, the Twelve Paramitas are consi-

dered to be the perfections of cardinal virtues which entitle one to
They are deified in human form with colour, andBuddhahood.
weapons.

Similaristhe case with the others, such as the Twelve

Vasitas or spritual disciplines, the Twelve Bhumis or the successive
the Twelve Dharims or sacred chain of words, theFour Pratisamvits or the four branches of logical analysis. All thesespiritual spheres,

belong to the realm of philosophy and abstract ideas and, therefore,
they are brought together here under a separate chapter as a matterof logical necessity.

These

deities are rarely represented.

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 therefore necessary to indicate their forms
from original Sanskrit texts so that the statuettes on the one hand andthe Sanskrit texts on the other may mutually enlighten each other.

In Buddhism, importanceisgiven to the Paramitas or perfections.

These

are certain cardinal human virtues carried to perfection

birth.

Itissaid that

Lord Buddha

in

in

one

each of his previous births

one or another of the virtues and carried it to perfection,and because of that he obtained enlightenment in his last birth. These

practisedParamitas are usually ten in number, but the Vajrayanists raised thenumber to twelve.

In Vajrayana the craze for deificatian

led to theconception of the Twelve Paramita goddesses in human form, for the
purpose of worship. One of the Paramtta deities, Prajnaparamita is
the most important and popular in Buddhist countries.

Prajnaparamita
or transacendental intuition was taught in the Prajnaparamita scripture
which is supposed to have been rescued from the Nether regions by

Nagarjuna. In the Dharmadhtuvagisvara Mandalaofthe Nispannayogavalian account of the iconography of rhe Twelve Paramita deities is given,

BUDDHIST ICONOGRAPHY

324

and it is stated briefly here in the same order as found in the Mandala.
Such a description of all the Paramita goddesses cannot be met with inany other published literature on Buddhism. The twelve deities collectively have their spiritual father in Ratnasambhava.
They are widelyinthecollectionatwhich
Chineseseems to haverepresented
Peipingbeen profoundly influenced by India in general, and the Nispannayogavail

in particular.

These Paramita deities are described in detail in thefollowing sections.

RATNAPARAMITA

1.

ColourRed

Symbols

Arms

Two

Moon on Lotus

Ratnaparamita heads the list of the Paramita deities and is described
as

:

"

Ratnaparamita rakta padmasthacandramandaladhara"

NSP, p. 56"Ratnaparamita is red in colour and holds the disc of thea lotus in her hand."moon onAccording 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 in che left their special symbols.
exception since she has two more hands.

Prajnaparamita

The passage is

is

an

:

"Dvadasaparamita dvibhujah savyena Cintamanidhvajam vamena
svasvacihnadharah Prajnaparamita tvadhikakaradvaya."

NSP, p. 56"The Twelve Paramitas are two-armed and hold in the right handthe flag marked with the Cintamani jewel, and in the left their own
symbols. But Prajnaparamita has two more hands."
Ratnaparamita thus holds in the right hand the Cintamani flag and in
the left the moon's disc on a lotus. She is not represented in the

Chinese collection,

DANAPARAMITA

2,

ColourWhitish Red

SymbolArms

TwoEars of Corn

Danaparamita is second in the series of Twelve Paramita goddesses
and has been described as
:

4

^^

'Danaparamita skaraktavarna
nanadhanyamanjarihasta."
T''

NSP, p. 56

PHILOSOPHICAL DEITIES"Danaparamita

is

325

whitish red in colour and holds in her left handvarious kinds of ears of corn."
In the right she displays the Cintamani banner.
in China

Her statue is foundl.

SILAPARAMITA

3.

SymbolTwo

Arms

Colour -White

Flowery Discus

Sila'paramita is the third in the series of Paramita goddesses and herform has been described thus:

"Silaparamita sveta sapallavagaurakusumacakradhara".

NSP, p. 56"Silaparamita is white in colour and holds in her left hand the dis"cus made of white flowers and leaves

The right hand holds the Cintamani banner asof this deity occurs in China ~\usual.

A statuette

KSANTIPARAMITA

4,

ColourTwo

Yellow

Arms

SymbolWhite Lotus

Ksantiparamita is the fourth in the series of Paramita goddesses
and her form has been described thus"
"Ksantiparamita pita sitabjadhara:*'Ksantiparamita

of yellow colour and holds in her

is

left

hand

the white lotus."

hand as usual holds the Cintamani banner,
this deity is to be found in China -\

Her

right

5.

ColourVlRYAPARAMITA
Green

SymbolViryaparamita
described thusisA statue of

Arms

Two

Blue Lotus

the fifth Paramita goddess and her form has been:

NSP, p. 56"Viryaparamita marakatavarna mlotpaladhara",
Viryaparamita is of the colour of emerald and holds in her left*'

hand the blue lotus.""1.

Clark : TLP, II, p. 120

2.

Clark: TLP, II, p. !20

3.

Clark

:

TLP, II, p. 120

BUDDHIST ICONOGRAPHY

326

She holds the Cintamani banner asfound in China

A statue of this deity is

usual.

l.

DHYANAPARAMITA

6.

SymbolTwo

Arms

Sky Colour

ColourWhite Lotus

The sixth Paramita goddess in the series
form is described as underisDhyanaparamita whose:

NSP, p. 56"Dhyanaparamita gaganasyama sitabjahasta."
Dhyanaparamita is of sky colour and holds in her left hand the"white lotus"

The right hand asot thisgoddessisusual carries the Cintamani banner.

found in China a.

A statuette

Fig. 219 illustrates this Chinese

specimen.

7.

ColourPRAJNAPARAMITA
Arms

Yellow

Four

Manuscript on Lotus

SymbolThe seventh goddess in the series is the famousmita.

As the embodiment ofdeity Prajnapara-

the Prajnaparamita literature,

she hasHere she will be described as an embodiment of transcendental intuition and as part ofIn the Nispannayogavall her forma collection of deities in a group.
been dealt with in detail in a previous chapter.

has been described as:'Trajnaparamita kamaniyakanakakantih padmastha-Prajnaparamita-

pustakadhara karadvayena dhrta-Dharmacakramudra*\

NSP, p. 65.

In her left hand
"Prajnaparamita is of delightful yellow colourshe holds the Prajnaparamita book on lotus. The two principal hands

display the Dharmacakra mudra".

The right hand as usual holds the Chintamani banner.
This goddess has been treated in a previous chapter, and her statues
are found in several places.
collection at Peiping 6
1

Clark

:

2.

Clark

:

3.

Clark

:

.

TLP, II, p. 127.

TLP, II, p. 127
TIP, II, pp. 208,

290.

She

is

represented also

inthe Chinese

PHILOSOPHICAL DEITIES327

UPAYAPARAMITA

8.

Colour

Two

Arms

Green

Vajra on Lotus

SymbolThe eighth goddess in the series is Upayaparamita
described in the Nispannayogavali thus

who

has been:"Upayaparamita priyahgusyama pitapadmasthavajrabhrt."

NSP, p. 16"Upayaparamita is green like the Priyahgu flower and holds

in

her

left hand the Vajra on a yellow lotus".

The right hand carries the Cintamani banner as usual.
found in China

Her statue is

l

.

9.

PRANlDHANAPARAMIlA

Colour

Blue

Arms

Two

Sword an Lotus.

SymbolPranidhanaparamita is the ninth in the series of the Paramita groupof goddesses, and her form has been described as under:"Pranidhanaparamita nilotpalavarna nllotpalasthakhadgadhara".

NSP, p. 56
4'Pranidhanaparamita is of the colour of the blue lotus, and she
holds in her left hand the sword on a blue lotus".

The right hand as usual displays the Cintamani banner. Her statuetteis foundin China 2

Fig. 220 illustrates this Chinese statuette.

,

10.

BALAPARAM1TA
Red

Arms

SymbolManuscript

ColourTwo

Balaparamita is the tenth goddess of the Paramita

form has been described thusgroup and her:

NSP, p. 56"Balaparamita rakta Prajnaparamitapustakadhara".
"Balaparamita is red in colour and holds the book Prajnaparamita
1in her left hand '.

The right hand as usual holds the Cintamani banner.
isfound in China 3
1.

Clark :TLP, II, p. 117.

She is kno.vn here by the name of Upayakaulalya

Paramita.
2.

Clark

3*

Clark : TLP, II, pp. 1 96, 3 1 1:

Her statue.

TUP, II, p. 117.
.

BUDDHIST ICONOGRAPHY

328

11.

Colour

JNANAPARAMITA
White

Arms

SymbolBodhi Tree

Two

"Jnanaparamita is the eleventh in the series of the Paramita goddes*
u\ rses, and her form has been described as(:?

"Jnanaparamita subhra nanaratnaphalalankrta'Bodhivrksadhara.-**NSP, p. 56"Jnanaparamita

iswhite in colour and holds in her left hand theBodhi tree which is adorned with various kinds of jewels and fruits","

The right hand displays the Cintamani .^bannerof this goddess is found in China
12.

Colourusual.

as

1
<

.

^

A statue,v

VAJRAKARMAPARAMITA
VariegatedSymbolArms

TwoVisvavajra on Lotus

Vajrakarmaparamita is the twelfth and the last of the group of
Paramita goddesses and her form has been described thus in the

Dharmadhatuvagisvara Mandala":

Vajrakarmaparamita visvavarna nilotpalastha-visvavajradhara'\

NSP, p. 56"Vajrakarmaparamita is of variegated colour and holds
hand the Visvavajra (double thunderbolt) on a blue lotus'

in her left'.

The right hand as usual holds the Cintamani banner.
(II)

TWELVE VA&TA GODDESSESThe Vasitas according to Buddhism, are the controls or disciplines
which lead to the spiritual regeneration of its followers. The Vajrayanists recognized twelve Vasitas, each with a special

ceived them in the form ofspecial symbols.
tual daughtersname and con-with heads- arms, weapons andThese Vasitas are collectively taken to be the 3piri'
deitiesof the Dhyani Buddha Amitabha.

Below

is

given adescription of the twelve Vasita goddesses in the same order in which

they appear in the Dharmadhatuvagisvara Mandala of tKe Nispahna*
yogavall. The description of the Vasita goddesses is not found in
the existing original literature and thus it is of unusual interest. Their
iconographjc interest becomes all the more attractive since in Chkia
there are statuettes in metal which correctly represent the Vasita
1.

Clark : TLP, II, p. 121

PHILOSOPHICAL DEITIES

329

goddesses. Statues of these are not found anywhere in India, but
their statuettes in the Chinese collection of Buddhist deities at Peiping
are illustrated in the Two Lamaistic Pantheons of W. E. Clark.

AYURVAITA

i.

Arms

Whitish Red

ColourTwo

Image of Buddha

SymbolThe twelve Vasita goddesses are described collectively as two-armed,
holding in their right hands the lotus and in the left proudly bearing
their special symbols,

DvadasVvasita dvibhuja

daksinenambhojabhrto vamena sagarvam svasvacihnadharah, op. cit p. 56). Ayurvasita
form has been describedis the first goddess of the series and her
thus

(cf.

:

sitaraktavarna''Ayurvasita

Amitayur-Buddhabimbadhara."

padmaragamanisthasamadhimudra'
NSP, p, 56
colour and holds in her left hand

"Ayurvasita is whitish red in
the image of the Buddha Amita>us in the Samadhi mudra on the

Padmaraga jewel
The right hand displays the lotus
Her statue is found in China
.

as

in

all

other Vasita

deities.

].

2.

CITTAVASITA
Sym bol

The second goddess
described as

in

Two

Arms

White

ColourVajra

the seriesisCittavasita,

who hasbeen:

NSP, p. 56
colour and holds in her left hand the red"Cittavasua sita raktapancasucikavajradhara""Cittavasita is white in

Vajra with five thongs.

The right hand as usual holds thelotus.

Her image

is

found

in

China *.
3.

Colour

PARISKARAVA&TA
Yellow

Two

Arms

Symbol -Cintamani Banner

The third in the series of Vasita goddesses
is described in

words

is

who

:

"Pariskaravasita pita Cintamanidhvajadhara".
1.

Clark : TLP, II, p. 136

2.

Clark

42

Pariskaravasita

the Dharmadhatuvaglsvara Mandala in the following:

TLP> II, p. 136

NSP, p. 56

BUDDHIST ICONOGRAPHY

330"Pariskaravasita is yellow in colour and holds in her left hand the

Cintamani banner"*

The right hand displays the lotus as usual.
China

Her statuette is found inl.

KARMAVA&TA

4.

Green

Arms

SymbolVisvavajra

Colour

The fourth in thetwoseries of Vasita goddesses is Karmavasita

who isdescribed in the Dharmadhatuvagisvara Mandala as under :NSP, p. 56"Karmavasita harita visvavajradhara""Karmavasita

isgreen in colour, and holds in her

left handtheVisvavajra (double crossed thunderbolt).

The right hand displays
in

China

Her statuettethe lotus as usual.

is

found

a
.

UPAPATTI VASITA

5,

Colour

Mixed

Arms

SymbolCreepers

Two

The fifth goddess in the Vasita series is Upapattivasita who iscribed in the text as follows

des-

:

"Upapattivasita visvavarna vividhavarnajatilatahasta."

NSP, p. 56"Upapattivasita is of variegated colour and holds in her

left

hand

is

found

various kinds of creepers of variegated colour/'The right handin China*.

displays the lotus as usual. Her statue
illustrates this Chinese specimen.
221
Fig.

6.

RDDHIVA&TA
Arms

Two

ColourGreen

SymbolSun and Moon on Lotus

The sixth goddess in the Vasita series is Rddhivasita whose form
described as follows

is:"Rddhivasita nabhahsyama padmastha-suryacandra^mandaladhara."^
1.

Clark : TLP, II, p. 136

2.

Clark; TUP, II, p. 137

3.

Clark : TLP, II, p. 133~

NSP, p. 57

PHILOSOPHICAL DEITIES

331"Rddhivasita is green as the sky and holds in her left hand the discsof the sun and the moon on a lotus.

The right handin China1.

Her statue is founddisplays the lotus as usual.

Fig. 222 illustrates this Chinese specimen.

ADHIMUKTIVA&TA

7.

Two

Arms

White

ColourPriyangu flower

SymbolThe seventh goddess in the same series
form is described in the text as follows

isAdhimuktivasita and her:"Adhimuktivasita mrnalagaura priyangukusumamanjarldhara/

5

NSP, p. 57"Adhimuktivasita is white like the stalk of a lotus, and holds in her
left hand the buds of the flowers ofPriyangu*"

The right hand displays the lotus as usual.

She is not represented in

the Chinese collection.

PRANIDHANAVA&TA

8.

ColourSymbolThe eighth goddess inArms Two

Yellow

Blue Lotus

the seriesisPranidhanavasita whose form is

described in the following words :NSP, p. 57

Pranidhanavasita pita nilotpala-hasta.""Pranidhanavasitaisyellow in colour and holds in her left handthe blue lotus/'

The right handChinadisplays the lotus as usual.

Her statue is found

in

2

9.

Colour

JNANAVASITA

Whitish Blue

SymbolArms Two

Sword on Lotus

Jnanavasita is the ninth in the series of Vasita goddesses and herform is described in the text of Nispannayogavall as follows:

NSP, p. 57"Jnanavasita sita nilotpalasthakhadgadhara.""Jnanavasita is whitish blue in colour and holds in her left hand thesword on a blue lotus."

The
China 3right displays thelotus as usual.

^

.

1.

Clark; TLP, II, p. 133

2.

Clark : TLP, II, p. 134

3.

Clark

:

TLP, II, p'. 137

Herstatue

is

found

in

BUDDHIST ICONOGRAPHY

332

10.

Colour

DHARMAVA&TA
White

Two

Arms

Bowl on Lotus

SymbolThe tenth goddess in the Vasita series of goddesses
whose form is described in the text as underisDharmavasita:"

Dharmavasita sita raktavarnapadmasthabhadraghatahasta."

NSP, p. 57"Dharmavasita

iswhite in colour and

holds

in

her

hand

left

the Bhadraghata (auspicious bowl) on a lotus of red colour/'The right hand displays the lotus -as usual,isfound in China

A statue of this goddess

l
.

11.

ColourTATHAT A VASITA
White

Arms

Two

Bunch of Jewels

SymbolThe eleventh deity in the group of Vasita goddesses
whose form is described in the following termsisTathata:"Tathata sveta svetasubhrambhojabhrddaksinapanir*vamena

NSP, p 57

manjaridhara".

"Tathataisratna-She holds in her right hand the white

white in colour.

lotus and in the left the bunch of jewels/'

Her statue is found in China 2
12.

.

BUDDHABODHIPRABHA-VASITA
ColourYellow

SymbolArms

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:"Buddhabodhiprabha kanakabha savyenapitapadmasthapancasuci'
kavajradhara vamena Cintamanidhvajopari cakradhara".
NSP, p. 57"Buddhabodhiprabha is of yellow colour. She holds in her righthand a Vajra with five thongs on a yellow lotus, and in the left thediscus on the Cintamani banner".
1.

Clark :TLP, II, p. 137

2,

Clark

:

TLP, II, p. 107

PHILOSOPHICAL DEITIES333

TWELVE(Hi)In Buddhism the Bhumis are recognized as different spiritual spheres

through which a Bodhisattva moves in his quest for Buddhahood andomniscience. They are recognized as ten in number to which the Vajrayana added two to make it twelve. As the Bodhisattva progresses in spiritual path, he develops certain special

move towards the higher Bhumis.
in a regular order with the last atwhich

qualities

him

entitleto

They are arranged one upon anotherthe top which when reached, makes

the Bodhisattva equal to a Buddha and he attains omniscience.

These Bhumis or

spheres also received the attention of

spiritual

Vajrayana, and in no time they were deified, and were given different
forms. Statues were prepared and many of them were found represented in China.

These twelve Bhumis are now describe^ in the same orderas givenin the Dharmadhatuvagisvara Mandala of the Nispannayogavall,They
hand the Vajra and in the left
(Dvadasabhumayo dvibhuja daksine

are two-armed and hold in the righttheir

own weapons orsigns.

vajradharinyo vamena svasvacihnadharah, p. 55).
1.

ADHIMUKTICARYA
Arms

Red

ColourSymbolTwo

Red Lotus

The first of the twelve heavens is the Adhimukticarya Bhumi anddescribed in the following words in the Nispannayogavall

is:"Adhimukticaryabhumih padmarakta raktapadmadhara",
NSP, p. 55"Adhimukticarya Bhumi is of the colour of a red
in her left hand the red lotus'*.

The right hand as usual holds the Vajra which isof all Bhumi goddesses.

lotus,

theand holds

common sign

She is not represented in the Chinese collection at Peiping,
2.

Colour

PRAMUDITA
Red
Symbol

Arms

Two

Jewel

The second goddess in the series "of Bhumi
Her form is described in the following words

deitiesisPramudita.

:"Pramudita rakta Cintamanibhrt".

NSP, p, 55

BUDDHIST ICONOGRAPHY

334"Pramudita is red in colour and holds in her

left

hand the Cinta^

mani jewel".

The right hand displays the Vajra which is the common sign.
Her statue is found in the Chinese collection '.
3.

White

Arms

SymbolWhite Lotus

Colour

The third goddess

VIMALA

in

Two

Bhumi

the series ofVimala and hei form is described as under

deities"Vimala sukla sukla-kamaladhara".
"

NSP, p. 55

Vimala is white in colour and holds

lotus

known asis:in her left

hand the white.

The right holds the common symbol, the Vajra.
Her statue is found in the Chinese collection a4.

PRABHAKARIRedColour

.

Two

Arms

Symbol - Sun on Lotus

The fourth goddess in the series of Bhumi
whose form is described in the following words

deitiesPrabhakariis:"Prabhakari rakta visvapadamasthasuryamandaladhara"

MSP, p. 55"Prabhakari is red in colour and holds in her left hand the disc of
the sun on a lotus*'.

The right hand shows the Vajra or the common symbol.
goddess is represented in the Chinese collection of Peiping 3
5.

Colour

ARCISMATI

Green

SymbolArms

TwoBlue Lotus

The fifth goddess in the series of Bhumi

deitiesiscalled Arcismati

and her form is described in the Nispannayogavali as follows"Arcismati marakatavarna mlotpaladhara".
"~~
1*

Clark

:

TLP, II, p. 123

I,

Clark

;

TLP, II, p. 123

3.

Ckrk: TLP, II, p. 123

This

.

:

NSP, p. 55

PHILOSOPHICAL DEITIES

335"Arcismati is of the colour of an emerald and holds in her

left

hand the blue lotus".

The right holds the common symbol*
She is not represented in the Chinese collection.
6,

ColourSUDURJAYA

SymbolTwo

Arms

Yellow

Emerald

The sixth goddess in the series of Bhumi deities
and her form is described as underiscalledSudurjaya:"Sudurjaya pita utsafigasthottanapanina marakatamanidhara".
"

NSP, p. 55"Sudurjaya is yellow incolour and carries an emerald on her open

palm on the lap"

The right holds the common symbol, the Vajra.
She is not represented in the Chinese collection.
7.

Yellow

Arms

SymbolManuscript

Colour

The seventh goddess indescribed as follows

ABHIMUKHI

the series

Two

Abhimukhi.

called

is

She

is

:

"Abhimukhi hemavarna padmopari Prajnaparamitapustakadhara''.
NSP, p. 55"Abhimukhi is of the colour of gold and holds on a lotus the Prajna^
paramita manuscript".

The right hand displays the common symbol.

A statuette of this goddess is found in China
8.

ColourSymbol!

.

DURANGAMA

Green

Arms

Two

Double Vajra on Double Lotus.

The eighth in the series of Bhumi goddesses is known byof Durafigama and is described as follows

the

name

:

"Durafigama gaganasyama visvapadmopari visvavajradhara".

NSP, p. 55

77 ClarkTrLP,

II, p.

121

BUDDHIST ICONOGRAPHY

336"Durangama is green like the sky and holds in her left hand the
Visvavajra (double thunderbolt) on a Visvapadma (double conventional
lotus).

The right hand displays the common symbol.

A statuette of this goddess is found in China

.

ACALA

9.

Two

Arms

White

Colour]Vajra on Lotus

SymbolThe name of the ninth goddess in
Acala whose form is described thus

the seriesof Bhumi

deitiesis:"Acala saraccandrabha

candrasthapancasucikavajrankitapahkajasya
NSP, p. 52

nalam sagarvam vibhrati","Acala is of the colour of the moon in autumn, and holds withpride in her left hand the stalk of a lotus over which is placed the five-thonged Vajra on the disc of the moon".

The right hand displays the common weapon, the Vajra.
Her statue is found in China 2

SADHUMATl

10.

Arms TwoWhite

ColourSymbolThe tenth.

Sword on Lotus

deity in the series of

Bhumi goddesses is Sadhumatl.

Her form is described thus
"Sadhumatl sita khadgankitotpaladhara":

NSP, p. 55"Sadhumati is white in colour and holds in her left hand the sword

on a night lotus'*.
The right hand holds the common weapon, the Vajra.

A statuette of this deity is found in China
11.

.

DHARMAMEGHA
Blue

Arms

SymbolManuscript

Colour

8Two

The eleventh goddess in the series of Bhumi deities
megha whose form is described in the following words

isDharma-:"Dharmamegha dharmameghaparikalita-Prajnaparamitapustakadhara".
NSP, p. 55
1.

Clark: TLP, II, p. 118

2.

Clark: TLP, II, p. 118

3.

Clark: TLP, II, p. 118

PHILOSOPHICAL DEITIES

337"Dharmamegha holds in her left hand the Prajnaparamita manuscript which is composed of the clouds of Dharma".

A statuette of this goddess is found in China
thislFig. 223.

illustrates

Chinese specimen.
12

S AMANTAPRABH A

A tms Two

Red

ColourSymbolImage of Amitabha

The twelfth and the last in the series of Bhumi goddesses is SamantaHer form is as follows

prabha.

:"Samantaprabha madhyahnadityavarna
dhisucaka-Amitabha-Buddhabimbadhara".

padmopari samyaksamboNSP, p. 56"Samantaprabha is of the colour of the sun at noon, and holds in
her left hand the image of Amitabha Buddha which indicates Perfect
Enlightenment".

The right hand displays the common symbol, the Vajra.

A statue of this goddess is found in China
(iv)

-.

(TWELVE DHARI^JS)

The Dharmadhatuvagisvara Mandala describes another set of interes*ting deities, twelve in number, called theDharims. InTantric Buddhism,

there is a class of literature which is known by thename of Dharanls,
or Dharinis, and in the Nepal Durbar Library there are collections of

Dharam works

The Dharanls are
Brhaddharamsangraha *.
which
are
required to be kept inmostly unmeaning strings of words
calledmemory, so that they may be repeated at will for the purpose of deve^
The Dharanls sometimes reveal traces of aloping psychic powers.
unknown.
now
SeveralDharanls are recorded in the Sadhanalanguage
4
malaNispannayogavali spells the word somewhat differently as.

DharinI and recognizes a group of Twelve Dhannis.

In the process ofdeification these Dharinis also became deities with form,

symbols.

The Dharinis collectively are placedincolour andthe family oftheDhyani Buddha Amoghasiddhi of green colour.

When conceived in the form of deities, the Dharinis are endowedwith one face and two arms.

They

all

hold in their right hand the

double thunderbolt or the Visvavajra, while in the left they carry their~

2.

Clark: TLP, II, p. 118.
Clark: TLP, II, p. 118.

3.

H. P. Sastri, Nepal Catalogue Vol. II. p. 25 1 ff.

4.

Sadhanas, Nos. 21, 23, 41, 116, 147, 150. 216, are all Dharanls.

1.

43

BUDDHIST ICONOGRAPHY

338

The form, colour, and special symbols of
own special symbols
all the Dharim deities are given below in the same order as it appears
1.

Mandala of Dharmadhatuvaglsvara.

in the Nispannayogavali under the

SUM ATI

1.

Yellow

Arms

SymbolEars of Corn

ColourTwo

The first in the series is Sumati whose form is described below"Sumati pita dhanyamanjarldhara".
NSP, p. 57:

4'Sumati is yellow in colour and holds in her

left

hand the

ears

of

is

not

corn"*The right holds the common symbol, theVisvavajra*She

represented in the Chinese collection.

RATNOLKA

2.

Colour

Arms

Red

SymbolTwo

Cintamani Banner

The second deity in the series of Dharim goddesses iswhose form is described as underRatnolka:''Ratnolka rakta Cintamanidhvajadhara'*.
tl

NSP, p. 57

Ratnolka is red in colour and in her left hand she holds the Cinta-

mani banner".
In the right hand she holds the common weapon, the Visvavajra.
She is not represented in the Chinese collection unless some of thedeities like Ratnagni or Ratnarcis is a mistranslation in Sanskrit from

Chinese 2

USNISAVIJAYA

3.

ColourWhite

SymbolJar ofArms

Two

Moonstones.

The third in the series of the Dharim goddesses is Usnisavijaya who
popular deity in the Buddhist pantheon, and as such, has alreadybeen described in a previous chapter. As a Dharim goddess, Usnisa-

is avijaya is described as:"Usnisavijaya sita candrakantamani-kalabahasta".
"Usnisavijaya is white in colour and holds in her
full of Moonstones".

NSP, p* 57
left

hand

a jar

The relevant text is "Dvadasadharinyo dvibhujah savyena visvavajram vibhrana
1.
vameha sagarvam svasvacUmabhrtah. NSP, p. 57
2.

Clark

:

TLP, II, pp. 245, 24o.

PHILOSOPHICAL DEITIES339

Her right hand displays the Visvavajra, as usual.
T
the Chinese collection

She

known to

is

.

MARl

4.

Symbols

The fourth

Two

Arms

Reddish WhiteColourNeedle and String

deity in the Dharim series of goddesses is

described in the following words

Man who is:"Marl raktagauravarna sasutrasucldhara."

NSP, p. 57

"Marl

left

hand theThe right hand holds the common weapon, the Visvavajra.

Man isisreddish white in colour and holds in her

needle with string/'

not represented in the Chinese collection.

PARNASABARI

5.

SymbolParnasabari

the

is

Two

Arms

Green

ColourPeacock's Feathers

fifth in the list of Dharim deities in the

nayogavali, and her form is described therein as follows"Parnasabari syama mayurapicchadhara"'.
"Parnasabari is green in colour and holds inpeacock's feathers/

The

right

popular in all

her

Nispan^:NSP, p. 57
hand theleft

7

hand shows the common weapon, the Viivavajra She is
Buddhist countries and several six-armed forms of her

The text of the Dharim is given in thehave already been notedlParnasabari images are found in Tibet and Chinain
Sadhanamala
numbers.
fairly large
'*.

<J

.

6.

jANGULl
Arms

White

ColourTwo

Flowers

Symbol

the Dharim series of goddesses is the well-known
whose
deity Jahgull
iconography has been dealt with earlier. As aform
her
is as follows
Dharim deity

The sixth

in:

NSP, p. 57"Jahgull sukla \dsapuspamanjaridhara."
1.

Clark: 'ILP, II, p. 286

2.

See Supra
Sadhana No. 150, p 308.

3.

A Tibetan specimen of the six-armed form is illustrated in Gordon ITL, p. 71
4.
A two-armed form is illustrated in Clark TLP, p. 267, and in the same volume two::

six-armed specimens are shown on pp. 207, 287.

;II,

See also Getly:

GNB, pp. 134

r

135.

BUDDHIST ICONOGRAPHY

340"Jafxguliiswhite in colour and holds in her

left

hand buds ofpoisonous flowers."

Her right hand as usual holds the common weapon, the Visvavajra.
She is represented in the Chinese collection and her statuettes have been
noted

}

.

The text of the Janguli Dharam is given in the Sadhanamala 2.

Jahgull Dharinl is said to be effective against snake poison.

ANANTAMUKHI

7.

Arms Two

Green

ColourSymbolJar

The seventh goddess in the series of twelve Dharim deities is Anan*tamukhl whose form is described in the following words:"Anantamukhi

priyangusyama

ahasta".

raktabjasthaksaya*mahanidhikalas*
NSP, p. 57"Anantamukhl is green as the Priyangu flower and holds in her left
hand the jar full of inexhaustive treasures, on the red lotus."

The right hand displays the common symbol, the Visvavajra.
is not represented

in the Chinese

8.

She

collection.

CUNDA
Arms

Two

ColourWhite

SymbolRosary with Kamandalu

The eighth deity in the series of twelve Dharim goddesses is thewell-known Cunda whose iconography and antiquity have already been
dealt with in detail in an earlier chapter. As a Dharini goddess her form
is described in

the following words :''Cunda sukla aksasutravalarnbitakamandaludhara''.

NSP, p. 57"Cunda is white in colour and holds the
Kamandalu is suspended

rosary from which a"

The right hand as usual shows the common weapon, the Visvavajra.

Cunda is popular in the Chinese collection, and several of her statue3
Cunda is also popular in Tibet *.
ttes are found there.

1.

Clark: TLP, II, pp. 204, 217

2.

SadhanaNo. 118, p. 247

3.

Clark; TLP. II. pp. 222, 283, 284

The Cunda image in the collection of the late W. B. Whitney is illustrated in
4.
Gordon ITL, pp 74. It is a four'armed image. See also Getty GNB, pp. 129, 130::

PHILOSOPHICAL DEITIES341

PRAJNAVARDHANl

9.

Arm s TwoWhite

ColourSymbolSword

The ninth in the series of twelve Dharim goddesses is Prajnavardhani whose form is described in the following text:

"Prajnavardham sita nllotpalakhadgadhara".

"Prajnavardham

white inis

NSP, p. 57

and holds

colourin herleft

hand

the sword on a blue lotus".

The

right

hand

as

usual

displays thecommonweapon, theVisvavajra.

She is not represented in the Chinese collection.
10.

SARVAKARMAVARANAVISODHANIColour

Two

Arms

Green

SymbolVajra

The tenth in the series of twelve Dharim goddesses is Sarvakarma^varanavisodhani whose form is described in the following words:"Sarvakarmavaranavisodham"

haritatrisucikavajrahka*sitakamala~dhara".

NSP, p. 57"Sarvakarmavaranavisodhani
left hand the Vajra withisgreen in colour and holds in her

three thongs on a lotus' '.

The right hand displays the common weapon, theShe

Visvavajra.

is not represented in the Chinese collection.

11.

AKSAYAJNANAKARANDA

ColourRed
SymbolArms

Two

Basket

The eleventh deity in the series of twelve Dharim goddesses is Aksayajnanakaranda, whose form is described in the following words:"Aksayajnanakaranda rakta ratnakarandadhara.""Aksayajnanakaranda

isNSP, p. 57

of red colour and holds in her

left

hand

the basket full of jewels.*'

The right displays as usual the common weapon, the Visvavajra. Sheisnot represented in the Chinese collection.

BUDDHIST ICONOGRAPHY

342

12.

SARVABUDDHADHARMA-KOSAVATIColourYellow

Symbol

ses

Two

Arms
Trunk

The twelfth and the last deity in the series of twelve Dharim goddesform is described in theis Sarvabuddhadharma-KosavatI whose

following text:

"Sarvabuddhadharmakosavatiplta padmasthananaratnapetakadhara/'

NSP, p. 57''Sarvabuddhadharma-Kosavati is yellow in colour and holds in
her left hand the trunk full of various kinds of jewels on a lotus".

The right hand displays the common weapon, the Visvavajra* She is
not represented in the Chinese collection.
(V)

FOUR PRATISAMVITSIn Buddhism Four Pratisamvits are acknowledged as the branches oflogical analysis, and these are named as

Dharma(nature),Artha (anaTheselysis), Nirukti (etymological analysis) and Pratibhana (context).

abstract ideas also received the attention of the Vajra>anists and were

duly deified withhuman form, colour, weapon, and symbols.

Inadeified form these four Pratisamvits are found described in the Dharma-

dhatuvagisvara Mandala of the Nispannayogavali. These are described
below with necessary details in the same order in which they appear
in the Mandala.

1.

Colour

DHARMA PRATISAMVIT
Whitish Red

SymbolArms

Two

Goad and Noose

The first in the series of Pratisamvit deities is Dharma Pratisamvit
whose form is described in the text as follows:

1

Turvadvare

Dharma-Pratisamvit

sitarakta

vajrankusapasabhrd-

bhujadvaya".

NSP, p. 5?'"On the Eastern gate there is Dharma Pratisamvit of whitish red
colour, holding in her two hands the goad and the noosemarked withthe thunderbolt".

A statue of this obscure Buddhist deity is found in the Chinesecollection l
1.

.

Clark: TLP, II, p. 134.

PHILOSOPHICAL DEITIES

343

ARTHA PRATISAMVIT

2.

Two

Arms

Green

ColourNoose

SymbolThe second goddess in the series of four Pratisamvit deities is Artha
Pratisamvit whose form is described thus in the text:

"Daksinemarakatavarna

Arthapratisamvit

savyetarabhujabhyarh

NSP, p. 57

ratnapasabhrt".
"In the South, there

Artha

is

of

Pratisamvit

the

an

colour of

emerald and holding in her two hands the jewel and the noose.

A statuette of this obscure deity is foundtion.

N1RUKTI PRATISAMVIT

3.

Arms

Red

ColourTwo

Chain

Symbolisthe Chinese collec-

in]

The third in the series of four goddesses of the Pratisamvit group
Nirukti Pratisamvit whose form is described in the text as follows:"Pascime

Nirukti'Pratisamvit

rakta

bhrdbhuiadvaya".

haddhapadmantasrfikhalaNSP, p. 58"In the West there is Nirkuti Pratitamvit of red colour, holding in

her two hands the chain from which a lotus is suspended".

A statuette of this obscure deity is found in the Chinese collectionof Peipmg 2

.

Fig.

4.

224 illustrates this Chinese specimen.

PRATIBHANA PRATISAMVIT

ColourBell

SymbolThe fourth and the last goddess indeities of the Buddhist pantheonisthe series of Fourdescribed

gisvara Mandala in the following words*'Uttare Pratibhanapratisarhvit

ghantavyagrakaradva>a".

Two

Arms

Green

in

Pratisarhvit

the Dharmadhatuva*:

marakatasyama trisucikavajrahkitaNSP, p, 58"On the North there is Pratibhana Pratisamvit of the colour of
emerald (green), holding in her two hands a bell marked with

a

an

Vajra

with three thongs"

A statuette of this extremely obscure deity is found in the Chinesecollection at Peiping \1.

Clark: TLP, II, p 134

2.

Clark

:

TLP, II, p. 134

3.

Clark

:

TLP, II, p. 135

Fig.

225 illustrates this Chinese statuette.

CHAPTER XIIIHINDU GODS IN VAJRAYANA
that Hindu gods were unknown in the Buddhist
the
or
that
Buddhist pantheon wholly consisted of Buddhist
pantheon
It is not a fact

gods.

It

Sarasvatl

gods
deitiesinthat several Hindu gods especiallyis already well-known
and Ganapati were given independent forms as principal

the

or as

Sadhanas, besides a large number as companion
Vahanas or vehicles of important Buddhist deities.

They were also given humiliating roles to be trampled upon by
A perusal of the Nispannayogavali andangry Buddhist gods.
Dharmadhatuvagisvara Mandala will show what a
Hindu deities was incorporated in the Mandala, andnumberoflarge
how this large number was tackled intelligently and fitted into thescheme of the Buddhist Mandalas. How these Hindu gods were
especially theclassified and how directions and colours

were assigned to them, andhow they were put under a Dhyani Buddha family, represent a study
interesting to the extreme.
this aspect of

It isnecessary to make a brief reference to

Buddhist Iconography.

That these Hindu

deitieswere

fully converted to Buddhist Faith is also evidenced by the fact that a
number of their statuettes is actually found in the purely
large
Buddhist atmosphere of China in the Chinese collection of statuettes
at Peiping.

The collection although exists

in

fectly Indian, as image after image follows thein the Nispannayogavall or in the

China,

its

description

spirit isper-given either

Sadhanamala.

Several series of Hindu gods are found in the Buddhist pantheonand they are described below under appropriate heads with relevant

quotations.

Amongst the Hindu deities incorporated into the Buddhist pantheon,
These are Mahakala
great importance.
the prototype of Siva Mahadeva with the Trisula as the recognition
symbol, Ganapati the elephant-faced god, and Sarasvatl the Goddess of

three deities appear to be of

Learning with her characteristic Vina.

Separate Sadhanas are assigned

to all of them, and even independent shrines for them are not wanting
in the Buddhist countries of the North.
1.

MAHAKALAIn the Sadhanamala as well as in the Nispannayogavall there areseveral descriptions of the ferocious

Hindu god, Mahakala.

He hasHINDU GODS IN VAJRAYANA

345

been given a variety of forms in these two works. He may have one
face with two, four or six arms, or eight faces with sixteen aims. He
is one of the many terrible deities of the Buddhist pantheon withornaments of snakes, canine teeth, protruding belly and garment of
The different forms of Mahakala are described belou
tiger-skin.
.

(I)

Colourvariety of Mahakala.

Arms

Blue

Symbols

At least six Sadhanas in

TWO-ARMED
Two

Kartri and Kapala

the Sadhanamala describe the two-armed

One among them is quoted here.

"Srl-Mahakalabhattarakam

dvibhujarh

ekamukhfeih kr&navarnam

trinayanam mahajjvalam kartrikapaladharinam daksinavamabhujabh^ammundamalalahkrtorddhvapingalakesopari pancakapaladharorh damstrabhimabhayanakam bhujahgabharanayajnopavitarh kharvaruparh srava*
Sadhanamala, p. 585.
drudhiramukharh atmanam jhatiti mspadya.. ".

"The worshipper should conceive himself as Sri Mahakala Bhattaraka who is two-armed and one-faced and has blue colour. He is threethe Kapala in his
eyed, has fiery radiance, and carries the Kartri andand left hands respecti vely. He bears five skulls on his brownrighthair which rises up on his head and is decorated

with a chain of severed

heads. He looks terrible with bare fangs, and is decked in ornamentsof serpents and a sacred thread made out of a snake. He is short andfrom his mouth trickles forth blood. Thus quickly meditating...".

Mahakala carries the Trisula in his right
Images of Mahakala abound in Nepal and are foundin large numbers in Buddhist temples, monasteries and even in theFig. 226 illustrates one
streets. Sometimes the head only is represented.
Instead of

the Kartri,

hand in some cases.

of the finest specimens of Mahakala beloniug to the collection of
Pandit Siddhiharsa Vajracarya of Nepal. Here the god tramples upontwo
representing two human corpses as required by the Sadhana.
figures

He weilds the menacing Kartri in the right hand and the Kapala full of
blood in the left.
Tibet
1.

'

Images of Mahakala are also found in abundance inand China *.

Gordon: 1TL, p. 90 in which four images of Mahakala

are represented.

also Getty : GNB, PL XLIX where four more illustrations are available.
2.

44

Clark : TLP, II, pp. 101, 299, 301 and 75

SeeBUDDHIST ICONOGRAPHY

346

(II)

ColourSymbols

FOUR-ARMED
Arms FourBlue

Kartri and Kapala, Sword and Khatvahga

When four-armed he resembles the two-armed one in all details
except in the number of arms and the symbols he displays in his
hands* Here he carries the Kartri and the Kapala in the first or the principal pair of hands, and the sword and the Khatvanga in the second pair.

(III)

ColourSIX-ARMED

Blue

Symbols

r.
1.

Arms

Kartri, Rosary,

Six

DamaruKapala, Sula, Vajrapasa

When six-armed the form of

Mahakala resembles the two-armed
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 andvariety already described, with the difference that here he

the Vajrapasa in the left.

(IV)

ColourFaces

SIXTEEN-ARMED
Blue

Eight

Arms

Sixteen

Legs

Four

When sixteen-armed, he is eight-faced and is represented in yab-yum
in the embrace of his Sakti, and what is really strange, helegged.

isalso four-

The Sadhana describes his form in the following words"Atmanam Bhagavantam sodasabhuja-Mahakalam bhavayet
vadanam caturvimsatinetram catuscarnam sodasabhujam

;

:

;

asta-

daksinakaraih

kartri-vajra-gajacarma-mudgara-trisula-khadga-yamadandah, vamakaraih

raktapurnakapala-gajacarma-ghanta-ahkusa-svetacamara-damaru-narasiro
dadhanam sesabhujabhyarh Prajnalingitam kharvakrsnam hahahihi*;

hehepuritamukham maharaudrarh trikayatmakam panca-Buddhamukutinam naramundamalabharanam bhayasyapi bhayankaram",
Sadhanamala, p. 598"The worshipper should conceive himself as sixteen-armed Mahakala with eight faces, twenty-four eyes,

four legs, and sixteen arms.

He carries in his (seven) right hands the Kartri, the Vajra, the elephanthide, the Mudgara, the Trisula, the sword and the staff of Yama,

and inthe (seven) left hands the Kapala full of blood, elephant-hide, the 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 shortand 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 deckedin garlands of heads as ornaments, and is more awe-inspiring than Awe
itself."The Sadhana further adds that Mahakala should be surrounded byseven goddesses, three in the three cardinal points, (the fourth being
occupied by his own bakti) and the other four in the four corners.

To the East is Mahamaya, consort of Mahesvara, who stands intheShe has four arms, of which the twoleft hands carry the Kapala and the Damaru, and the two right the Kartri
and the Mudgara. She is blue in complexion, has dishevelled hair,
three eyes and protruding teeth.
Alidha attitude and rides a lion.

To the South is Yamaduti, who is of blue complexion and has four
She carries in her two right hands the staff of lotus stalk andthe Kartri. and in her two left the bowl of blood and the fly^whisk. She
stands in the Alidha attitude on a buffalo and has dishevelled hair.
arms.

To the West is

Kaladuti,

who carries in her two left hands the

Kapala and the Cow's head and in the two right the Mudgara and the
Trisula. She stands in the Alidha attitude on a horse, has red complexion and dishevelled hair.
All these deities are terrible in appearance, with protruding teeth

and ornaments of serpents.

The four corners are occupied by the following goddesses. Kalika
in the SE corner is blue in complexion, has two arms carrying the
Kapala and the Kartri, and stands on a corpse in the Alidha attitude.

SW corner has red complexion, carries the Kartri andCarcika in thethe Kapala in her two hands and resembles Kalika in all other respects.
corner has yellow complexion, carries in her
Candesvan in theNW

two hands the grass and the deer, and stands in the Alidha attitude on acorpse.

Kulisesvarl in the NE corner has white complexion,

carriesthe Vajra and the staff, stands in the Alidha attitude on a corpse. Thesefour deities are nude, and look terrible with bare fangs, three eyes anddishevelled hair.

Surrounded by all these deities Mahakala should be meditated uponas trampling upon Vajrabhairava in the form of a corpse.

god who is generally worshipped in thethe destruction of enemies, Mahakala
andforMaranaTantric
was also regarded as a terrible spirit, and was calculated to inspire awe in

Mahakalaisrite ofa ferocious

BUDDHIST ICONOGRAPHY

348

the minds of those Buddhists, who were not reverential to their Gurus,

and did not care much for the Three Jewels. He is supposed to eat theseculprits raw, and the process of eating has been minutely described inalmost all the Sadhanas. The Sadhanas generally contain the following
verses in order to show the terrible nature of Mahakalat

Acaryye yah sada dvesi kupito Ratnatrayepi yah
Anekasattvavidhvamsl Mahakalena khadyate II
Cchedayet svangamamsani pivedrudhiradharaya
Sirasi vinivesyaiva tilamatranca karayet

1

I

II

Sadhanamala, p. 586uHe who hates his preceptor, is adversely disposed to the Three
Jewels, and destroys many animals is eaten up raw by Mahakala.
He, (Mahakala) cuts his flesh to pieces, drinks his blood, and (after)
entering into his head breaks it into small bits."2.

Colour

GANAPATIRed
Vahana

Asana

Arms

TwelveMouse

Dancing in Ardhaparyahka

Only one Sadhana in the Sadhanamala describes the form of Gana*
He is twelve-armed and one-faced and rides his favourite Vahana,pati.
the Mouse. 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;

vamabhujesu musala-capa-khatvahga asrkkapala'1 'phatkanca raktapadme musikopari sthitam iti
Sadhanamala, pp. 592-593"The worshipper should concieve himself as god Ganapati of red
complexion, bearing the Jatamukuta, decked in all ornaments, having
twelve arms, a protruding belly and one face. He stands in the Ardha-

Heparyahka in a dancing attitude, is three-eyed and has one tusk
hands the Kuthara, the arrow, the goad, the Vajra,

carries in his rightthe 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 andPhatka. He rides the mouse on a red lotus."
Fig. 227

isan Indian image of the four-armed Ganapati which

the

is

described later in this chapter. This image is in the possession of
Dr. Moghe of Khar, Bombay. Fig. 228 is another image with twelve

HINDU GODS IN VAJRAYANA

349

arms in the possession of the Dowager Maharani Chimanabai Gaekwad
Both the pieces are Buddhist in character.

of Baroda.

Ganapati images are also noticed in Chinaland in painted bannersof Tibet.

GANAPATIHRDAYA

3.

Asana

Arms

Dancing

MudrasTwo

Abhaya and Varada

Like Ganapati himself Ganapatihrdaya who is in all probability is his
Sakti or female counterpart, cannot be easily assigned to any particular

Dhyani Buddha. Her form is described in the Dharmakosasangraha ofAmrtananda in the following words:"Ganapatihrdaya ekamukha dvibhuja varada abhaya nrtyasana".
Dharmakosasangraha, Fol. 43"Ganapatihrdaya

one-faced, two-armed, exhibits in her two hands

isthe Varada and Abhaya poses, and shows the dancing attitude ".
Fig. 229 illustrates a miniature in the possession of

Dr. W. Y. Evans^

Wentz.

SARASVATl

4.

Sarasvati is the name of an ancient river now filled up by the sandsof Rajputana on the banks of which the Vedic Aryans originally settled
As the banks of the river were occupied

after their migration to India.

by the Vedic Aryans who composed many hymns, and were the scene ofmany sacrifices, the river was, later on, in the Pauranic age deified as the
The Buddhists borrowed this Hindu goddess,
when shewas equally popular with the Hindus and the Buddhists, and modified
her form in various ways. The Buddhist Sarasvati may have one facewith two arms, or three faces and six arms. When two-armed, she has
four different variations. As her worship is widely prevalent among thethe Goddess of Learning.

incorporated her bodily into their pantheon in the Tantric age

Buddhists owing to the belief that like Manjusri and Pro jnaparamita, she
confers wisdom, learning, intelligence, memory, etc. a comparatively
large number of Sadhanas is assigned to her in the Sadhanamala.
(I)

Symbols

MAHASARASVATlr.

Varada Mudra

Colour;1.

Lotus.

White

She has white complexion, shows the Varada pose in the right hand
1.

Clark: TLP, II, p. 153

BUDDHIST ICONOGRAPHY

350

in the following terms":

Mahasarasvatlm

Bhagavatlm

describes her form

The Dhyana

and carries the white lotus in the left.

anuvicintay etsitakamalopari candramandalastham;

saradindukarakaram

daksinakarena varadam, vamena

sanalasitasarojadharam smeramukhlm atikarunamayam svetacandanaku*
sumavasanadharath muktaharopasobhitahrdayam nanaratnalankaravatlih

dvadasavarsakrtim muditakucamukuladanturorastatlm sphuradanantagaSadhanamala, p. 329
bhastivyuhavabhasitalokatrayam.''"The worshipper should think himself as goddess Mahasarasvati,
who is resplendent like the autumn moon, rests on the moon over thewhite lotus, shows the Varada mudra in her right hand, and carries in thethe white lotus with its stem.

She "hasasmiling countenance, isextremely compassionate, wears garments decorated with white sandal
flowers. Her bosom is decorated with the pearl-necklace, and she isleft

she appears a maiden of twelve years, anduneven with half-developed breasts like flower-buds ;decked in many ornaments

bosom

her

is

;

she illumines the three worlds with the immeasurable light that radiatesfrom her body."
This is the general appearance of Sarasvati, and all the other varieties,
unless otherwise stated,

are identical in appearance with the

one

just

The distinctive feature of this goddess Mahasarasvati is thatshe shows like the ordinary Taras the Varada mudra in the right handdescribed.

andcarriesthe lotus in the left (Fig. 230), and is surrounded by four

deities identical inform with herself

Prajna is in front of her, Medha
These four divi-

to her right, Smrti to her left, and Mati in the west.

nities may also accompany other varieties of Sarasvati.
issilentAs the Sadhana

about the particular Asana, she may be represented in any

attitude, sitting or standing.

Sarasvati is a popular goddess both in Tibet 1 andis

China - where she

widely represented.

(II)

VAJRAVINA SARASVATIWhiteColourSymbolVina

Vajravlna Sarasvati like Mahasarasvati is also white in complexion,
peaceful and benign in appearance. She is also two*armed but the distinguishing feature in her case is that she carries in her two

hands theVina, a kind of stringed musical instrument, and plays upon
1.

2.

Gordon, ITL, pp. 72, 88 Getty
Clark : TLP, II, pp. 173, 181;:

GNB, pp. 127, 128

it.

She

HINDU GODS IN VAJRAYANA

351

may also be represented as accompanied by the four divinities as in theprevious case.
Fig, 231 illustrates her statuette at Peiping.

VAJRAARADA(iii)

Symbol

r.

Lotus

;

1.

Book

According to the Dhyana in the Sadhanamala she rests upon a pure
she is three-eyed andtwo-armed and carries the book in the left hand and the lotus in thewhite lotus, and a crescent decorates her crown;

The accompanying illustration (Fig. 232) shows how she is pictur^right.

ed by Nepalese artists.

She may, however, be accompanied by the four
andothers.
As the Sadhana is silent about theattendants, Prajna
she
have
attitude.
The Nalanda image (Fig. 233) which
Asana,
any
may
has been identified as Kotisri (?) is probably a stone representationof this goddess. Vajrasarada here sits in Bhadrasana, as do her companions. All the figures in the group are mutilated, but at least one
among them carries the Utpala and the book, in the right and left
hands respectively.
(iv)

SymbolArya Sarasvati

is

ARYASARASVATI
Prajnaparamita on Lotus

another variation of Sarasvati, and is also desig-

nated Vajrasarasvati, which seems to be the common name of Saras*

She appears a maiden of sixteen, is in
the prime of youth, has white complexion, and carries in the left handthe stalk of a lotus on which rests the Prajnaparamiia Book. The
vatlof theDhyana is

Vajrayanists.

silent about the symbol carried in the right hand, which may

may not remain empty. The Asana also is not mentioned whichshows that she may be represented in any attitude.
or

Fig.

234 illustrates a Nepalese drawing of Arya-Sarasvatl.
iV)

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

Three Sadhanas in the Sadhanamala areassigned to her worship, and according to these, she is red in colour,with the right and left faces of blue and white colour respectively*

attitudelotus.

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

lattervariety.

THE EIGHT DIKPALAS

5.

The

eight Dikpalas or the Lords of the Eight Quarters are describedin the Dharmadhatuvagisvara Mandala and other places in

the Nispan*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
below in the same order as they appear in the Dharmadhatuvagisvara
Mandala. Here only one typical form is given, although there aremany more, even with

their female counterparts.

1NDRA

(I)

The

first

in

who presides
follows

Two

ColourYellow

Arms

VehicleElephant

Direction

the series of Eight

East

Hindu gods of direction is IndraHis form is described asover the Eastern quarter.

:"Airavatarudhah Indrah pito vajram stanam ca dadhanah."

NSP, p. 61"Indra (of the east) rides on the Airavata elephant and is yellow incolour. He holds in his two hands the Vajra and the breast of awoman."
Under
Fig.

the

name of Sakra he appears in the Chinese collection].

236 illustrates his Peiping image.
(II)

Colour
Vehicle

YAMA

Blue

BuffaloArms

Two

DirectionSouth

The second in the series of eight deities of direction is called Yama
here as well as in Hindu scriptures.

words

Yama is described in the following:"Yamyarh Mahise Yamah krsno yamadandasulabhrt.""

NSP, p. 61
1.

Clark : TLP, II, pp. 89, 178

353

103
|*fM

_^

o '*?
si"! ^"
ti

o

-r

o

tS

Q-.S

o
(SI

45

S*
k*-

354

103

o
r-4

ICtf

1

led

^

x->
5-<

Z
oo

355

ICO

ft

h

rrt
4->-

res

a
to

C3
.

.

i-4

*S<

356

>>*

J
^

</)

ins
.jcs

^e
*-

a

-

o

^ o
g O
^
:

C/3

o
DJD

s

I!
bb

357

10$

P-.
03

I i
05
U<

ex.

o

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

G

OJ

.1
.2
4-

2

DO

*
Q-

360

c!

_O

O '5
*4^

OO

^

Q
H

C
O
*

o ^

IS

HINDU GODS IN VAJRAYANA

361"In the south, there is Yama riding on a Buffalo. He is blue incolour and holds in his two hands the staff of death and the Sula".

Yama, the God of Death is fairly popular in Tibet where his images
are foundl.

VARUNA(III)

TwoColour

White

Arms

VehicleCrocodile

DirectionWest

The third in the series of gods of direction is Varuna whose form is
described in the text as follows:"Varune makare Varunah svetah saptaphano nagapasasankhabhrt."
NSP, p. 61"In the west there is Varuna riding on a Crocodile.

colour and has seven hoods.

He is white in

He holds in his two hands the noose ofsnake and the conch".
His statuettes occur in the Chinese collection under the

Varuna (deva) 2

of

KUBERA(IV)

Arms

Yellow

Colour

VehicleMan
The fourth deity in thisis described

title

.

North

Direction

seriesin the text as follows

Two

Kubera of the North and his formis:"Kauberyarii nare Kuberah supltonkusagadadharah."

NSP, p. 61"In the north, there is Kubera riding on a man. He is of deep
yellow colour and holds in his two hands the goad and the Gada
(mace)",

Kubera is fairly well represented in Tibet b
(V)

.

1SANA
Two

Colour

White

Arms

VehicleBull

Direction

Isana

The fifth in the series of gods of direction is Isana the Lord of the
Isana corner, and his form is described in the following words:

Aisanyam Vrsabharudhah Isanah trisulakapalapanih jatardhacandraNSP, p. 61

dharah sarpayajnopaviti nllakanthah."46

1.

See for instance Gordon

2.

Clark : TLP, II, pp. 98, 178

3.

See for instance Gordon : 1TL, p. 90 also Getty : GNB, plate LII, b:

1TL, p. 90;

also Getty : GNB, PL XLVII, a and b.

BUDDHIST ICONOGRAPHY362"In the Isana corner there is isana riding on a Bull.

He is white incolour and holds in his two hands the Trisula (trident) and the Kapala(skull'cup).

On his matted hair appears the half-moon, on his bodya sacred thread of serpent and his throat is blue/'

As isana he is not represented in the Chinese collection.
(VI)

Two

ColourRed

Arms

VehicleGoat

Direction

The sixth in theAgni corner.

AGNI

series of direction gods is

His form is described thus

Agni

Agni the Lord of the:"Agneyyam Cchage'gnih raktah sruvakamandaludharah."
NSP, p. 61"In the Agni corner there is Agni riding on a Goat.

He is red incolour and holds in his two hands the Sruva (ladle) and the Kamandalu(water bowl)."

As Agnideva his forms occur twice in the Chinese collectionl.

Fig, 237 illustrates one of the two statuettes from Peiping.

(VII)

Colour

Arms

Blue

VehicleCorpse
The seventh

direction

god

ispresides over the Nairrta corner.

follows

NAIRRTI

Two
Nairrta corner

Direction
called by thename of Nairrti who

His form is described in the text as:"Nairrtyarh Raksasadhipo Nairrtih mlah save khadgakhetakabhrt."
NSP,' p. 61"In the Nairrta corner there is the Lord of the Raksasas (goblins)
called Nairrti who is blue in colour and rides on a corpse. In his two

hands he holds the sword and the Khetaka (stick)".

He is not represented in the Chinese collection.
(VIII)VAYU

ColourBlue

Arms Two

VehicleDeer

Direction

Vayu.

The eighth and the last deity in the series of direction gods is called
Vayu the Lord of the Vayu corner. His form is described thus:

"Vayavyam mrge Vayurmlo vataputadharah".
1.

Clark :TLP, II, pp. 87, 65

NSP, p. 61~

HINDU GODS IN VAJRAYANA

363"In the Vayu corner there is Vayu riding on a Deer and blue incolour. In his two hands he shows the Vataputa" (empty fold).

Under Vayudeva his

statuette occurs in the Chinese collectionl.

Fig. 238 illustrates this image.
6.

TEN PRINCIPAL HINDU DEITIESIn the Brahma group there are ten deities.

and their

India

They are popular

Chineseoccur in thestatuettes

collection.

in

Their

appearance in the Buddhist pantheon is almost the same as we findthem described in the Puranas and Tantric works of the Hindus. The
gods of the Brahma group are described with typical examples in thesame order as they appear in the Dharmadhatuvagisvara Mandala of
the Nispannayogavali.
(I)

Colour

BRAHMA
Arms

Yellow
VehicleThe first among the ten gods of this list
given in the following text

Four

Swan
is

Brahma.

His formis:"Harhse Brahma pitascaturbhujah aksasutrabjabhrt~savyetarabhyam
NSP, p. 61
krtanjalir-danda-kamandaludharah".

"On a Swan appears Brahma ofyellow

colour with four arms.

With the two principal hands carrying the rosary and the lotus, hedisplays 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

Four

Fig. 238

VISNU
VehicleGarudaThe second god in this series of ten principal gods of the Hindu
pantheon is called Visnu. His form is described as under:"Garude Visnus-caturbhujah
cakrasankhabhrtsavyavamabhyam
murdhni krtanjalir-gadasarngadharah".
NSP, p. 61"On a Garuda there is Visnu with four arms. With the two prin*cipal hands carrying the Cakra and the Sahkha

on his head.

he displays the AnjaliWith the two others he holds the Gada (mace) and thebow".

Two statuettes of Visnu occur in the Chinese collection 3
1.

Clark : TLP, II, p. 181

2.

Clark : TLP, II, pp. 100, 156, 179

3.

Clark : TLP, II, pp. 98, 156.

.

BUDDHIST ICONOGRAPHY

364

MAHESVARA

(III)

Arms

White

Colour

Four

Vehicle-Bull

The third in
Mahesvara.

this

ten principal gods of the Hindus

ofseries

His form is described thus

"Vrsabhe

Mahesvarah

sitah

is

:

sasikanakankitajatamukutas-catur
NSP, p. 62

bhujah sirasi krtanjalis-trisulakapalabhrt".

"Mahesvara sits on the Bull, and is whitein colour.

His crown ofmatted hair is beautified by the moon. He is four-armed. With the two
principal hands he displays the Anjali over the head, and with the twoothers he carries the Trisula and the Kapala".

One statuette of Mahesvara
It is illustrated

occurs in the Chinese collection].

in Fig. 240.

KARTTIKEYA(IV)ColourRed

Arms

Symbol

Hen

VehicleThe fourth god in thisseriesis

Six

Peacock

Karttikeya and his form

is

des*

cribed as follows :"Mayure Karttikeyo raktah sanmukhah savyabhyam saktim vajram
ca vamabhyarh kukkutam ca dadhano dvabhyam krtanjalih,"
NSP, p. 62*'Karttikeya rides a Peacock,is

red in colour, and has six faces.

With the two right hands he holds the Sakti (javelin) and the Vajra
and with the two left the hen. With two others he shows the Anjali".

One statuette of this deity is found in the Chinese collection 2(V).

VARAHI

ColourBlue

Arms

SymbolFish

VehicleFour

Owl

The fifth deity in this series is a goddess and is called here as Varahl.
Her form is described as follows:"Varahl

krsna pecakarudha caturbhuja savyavamabhyam rohitamatsyakapaladhara dvabhyam krtanjalih".
NSP, p. 62"
Varahl is blue in colour. She rides on an Owl and is four'armed.
In one pair of hands she shows the Rohita fish in the right and the
Kapala in the left. Two others are clasped in Anjali".

Two statuettes of the deity are represented in the
tion

*,

1.

Clark : TLP, II, p. 156

2.

Clark: TLP, II, p. 157

3.

Clark : TLP, II, pp. 72, 176

Chinese collec-

HINDU GODS IN VAJRAYANA(VI)CAMUNDARed

Colour365

Arms

Veh icle

Four

CorpseThe sixth deity in the series of Hindu gods is also a goddess and is
known by the name of Camunda. Her form is described as follows:"Pretopari

Camundarakca

krtSnjali".

caturbhuja kartrikapalabhrtsavyetara
NSP, p. 62"Camunda rides on a corpse and is of red colour. She is fourWith the first pair of hands she holds the Kartri in the rightarmed.

and the Kapala in the left.

In the second she exhibits the Anjali".

One statuette of this goddess occurs in(VII)Colourthe Chinese collection*,

BHRNGI
Arms

Blue

Four

The seventh deity in this series is Bhrhgi whose formin the Dharmadhatuvagisvara Mandala asfollowsis

described:"Bhrhgi krsriah krsnaksasutrakamandaludharah krtanjalih".

NSP, p. 62"Bhrhgi is blue in colour and he holds in the first pair of hands
the blue rosary and the Kamandalu. In the second pair the Anjali isshown'*.

Bhrhgi is not represented in the Chinese collection.
(VIII)GANAPATI

Colour

White

Arms

SymbolElephant-face

VehicleFour
Rat

Ganapati is a popular deity in the Buddhist pantheon.

He is des-cribed several times in the Nispannayogavall, and as already statedindependent Sadhana in the Sadhanamalaisdevoted toanhis worship.

In the Mandala of Dharmadhatuvagisvara his description is as follows

Musake Ganapatih

sitah

:

karivaktrah sarpayajnopaviti caturbhujahsavyabhyam trisulaladdukau vamabhyam parasumulake dadhanah.
NSP, p". 62"Ganapati rides on a Mouse and is white in colour. He has anelephant face and a snake forms his sacred thread. He is four-armed.
In the two right hands he carries the' Trisula and the Ladduka (sweetballs), and in the two left the Parasu (axe) and the Mulaka (radish).
"U

Cla^kl TLP, IT, p. 176

BUDDHIST ICONOGRAPHY

366

In the Bhutadamara Mandala, he is given four hands carrying the

Mulaka and the Parasu
Kapala in the two left

in thetworight,and the Trisula and theJ.

One statuette of his is recorded in the Chinese collection 2

.

It is

illustrated in Fig. 241-

(IX)

Colour

MAHAKALABlue

SymbolTwo

Arms
Trident

series of Hindu deities in
the Buddhist
this
in
who
is
both
Mahakalathe
Sadhanamala
popularpantheonas well as in the Nispannayogavall. His form is described as follows

The

ninth

in

is called:"Mahakalah krsnas-trisula-kapalabhrt".
"

NSP, p. 62

Mahakala is blue in colour and carries the Trisula and the Kapala

in his two hands".

One statuette of his occurs in the Chinese collection 3
cription in the Sadhanamala is more detailed.

.

His des-

The different forms of

Mahakala have already been discussed in an earlier section in this very
chapter.

NANDIKEVARA(X)

ColourBlue

Arms

SymbolMurajaVehicleTwo
MurajaThe tenth and the last in this series of Hindu gods is called NandiHis form is described thus in the Mandala of Dharmadhatu-

kesvara.

vagisvara:"Nandikesvarah krsnah Murajarudho Murajavadanaparah".

NSP, p. 62"Nandikesvara is blue in colour and sits on a Muraja drum andisengaged in playing on the Muraja".

Two statuettes of this deity occur in the Chinese collection
the title Nandisvara (deva) which is the same as Nandikesvara *.

_____

2.

Clark

3*

Clark : TIP, II, p. 101

4.

Clark :TLP, II, pp. 104, 153:

TLP> II, p. 153

under

HINDU GODS IN VAJRAYANA

367

NINE PLANETS

7.

From time immemorial people in
the planets either for evil or for good.

India

believed in the power ofThe

That belief is still current.

all these
Hindus, Buddhists and Jainas alike shared in this belief, and in

three religious systems the planets were deified and they were given aform, weapon and colour. To compare the forms of the different
planetsin the three religious

systems

is itself

an independent and

It is not the purpose here to compare their forms,

stupendous study.
nor even to study their iconography extensively, but a passing andbrief reference to the planets is what can and should be given. As thestated below inplanets were deified in Buddhism also, their forms are
the same order and in the same manner as they appear in the Mandala ofDharmadhatuvagisvara of the Nispannayogavall*(i)

ADITYA
Arms

Red

ColourSymbolTwoDiscs 6f the Sun

Chariot of Seven Horses

Vehicleand hisAditya or the Sun-god heads the list of the Nine Planets,
form is described in the Nispannayogavall as follows:"Saptaturagarathe Adityo rakto daksinahastena vamena

ca padmas-

NSP, p. 62

tha-suryamandaladharah".

in"Aditya rides on a chariot drawn by seven horses. He is red
sun
the
discs
of
colour. Both in the right and in the left he holds theon lotuses".
In the Chinese collection, one statuette of this planet occurs
title of

the

under

Surya *.
(II)CANDRA

Colour

White

Arms

SymbolDiscs of the Moon

VehicleTwo
SwanThe second planet in this series is Candra or the Moon-god who is
described thus in the text:

"Hamse Candrah subhrah savyahastena vamena
candramandalabhyt".

ca kumudastha-

NSP, p. 62"Candra rides on a Swan, is white in colour and holds inand left hands the discs of the Moon on lotuses".

his right

As Candradeva this planet is popular in the Chinese collection
lT~Clark TLP, II, p. 176
Clark : TLP, II, pp. 89, 182
:

2.

2
.

BUDDHIST ICONOGRAPHY

368

MANGALA

(III)

Arms

Red

ColourSymbol 'Human head

Two
Goal

VehicleThe third in the series of Nine Planetjs is Mangala or the War*Lord
Mars whose form is described in the following words:"Chhagaleraktah savyetfa kattaram vamena ManusaNSP, p, 62

Mangalomundam bhaksanabhinayena dadhanah".
"

Mangala rides on a Goat. He is red in colour. In the right hand
he holds the Kattara (cutter) and in the left a severed human head in theact of devouring".

He is not found in the Chinese collection.

BUDHA

(IV)

Arms

Yellow

ColourSymbolTwo

Bow and Arrow

The fourth god in the series of Nine Planets, is Budha or Mercury
and his form is described as under:"Padme Budhah pitah saradhanurdharah"

NSP, p. 62'*On a lotus there is Budha who is yellow in colour and holds in
his two hands the arrow and the bow".

Budha is represented in the Chinese collection only once
(V)

Symbols.

BRHASPATI
Arms TwoWhite

Colour]Rosary and Kamandalu

VehicleFrog or Skull

The fifth god in the series of Nine Planets is Brhaspati or Jupiter*His form is described in the text as under:"Bheke Kapale va Brhaspatir'gauro'ksasutrakamandaludharah,"

NSP, p. 62"On a Frog or a skull there is

Brhaspati ofwhite colour.

carries the rosary and the Kamandalu in his two hands".

Brhaspati is not represented in the Chinese collection of Peiping.
1.

Clark

:

TLP, II, p. 83

He

369

-0
03

C-4

ob

CO
,1-

CO
10*

a
s?

47

1

370

rt

CO

03

cti

OJ

GO

103

-o

2
105

371

D

>*
103

23 .-9.
o Q
'"^

PL

DJD

2

uu

372

03

o,
as

g* "5

o s
.

."9<

Y-H

Ol

373

rJQ
4-

H
"g

^

> .S

2 t

le

tl'^fff

F^St^:'M:- ';!

^^T-^if'S

iv^^^K/--^]-^-)''

1t^'r^JVr

:

1
1

'-'

-

^

374

J2

D

H
i "5
CO

.*;

&t
E

375

Fig*

248 Mlna(Peking)

Fig.

249 Khadiravani Tara

(Dacca Museum)

376

Fig.

218

Lama

(Nepalese Painting)HINDU GODS IN VAJRAYANA
(Vi;

377

SUKRA
Arms

Two

ColourWhite

SymbolRosary and Kamandalu

The sixth in the series of Nine Planets is Sukra or Venus whose form
isdescribed in the text as under :"Sukrah suklah kamalastho'ksasutra-kamandalubhrt.''

NSP, p. 62"Sukra is white in colour. He sits on a lotus and holds in his two
hands the rosary and the Kamandalu/'
Sukra is not represented in the Chinese collection.

Two

ColourBlue

Arms

SymbolRod

VehicleTortoise

The seventh deity in the series of Nine Planets, is Sani, Sanaiscara or
Saturn.

His form is described in the following words:"Kacchape Sanaiscarah krsno dandadharah/'

NSP, p. 63

Sanaiscara rides on a tortoise and is blue in colour.

He holds therod".

Saturn is not represented in the Chinese collection. The selectionof the slowest animal tortoise for the slowest of the planets, Saturn, isvery significant,

RAHU(VIII)

ColourSymbolThe eighth deity indeity Rahu.

Arms

Reddish Blue

this

Two

Sun and Moonot Nine Planets, is the destructive

series

His form is as under:"Rahu raktakrsnah suryacandrabhrt'Savyetarakarah."
NSP, p. 63"Rahu is reddish blue in colour, and he holds in his two hands the
Sun and the Moon."
As Rahudeva heoccurs once

Chinese statuette is illustrated in Fig. 242
1.

48

Clark ; TLP, II, p. 153

Chinese collection.

in the1.

This

BUDDHIST ICONOGRAPHY

378

(IX)

KETU
Arms

Two

ColourBlue

SymbolSword and Snake-noose

The ninth and the last in the series of deities representing the Nine
Planetsis

Mandala

Ketu.

He is

described thus in the Dharmadhatuvagisvara:"Ketuh krsnah khadga-nagapasadharah".

NSP, p. 63"Ketu is blue in colour and holds the sword and the noose of snake*"

Under the name Ketugrahadeva, he occurs oncecollection'.

in theChineseFig- 243 illustrates this Chinese specimen.
8.

BALABHADRA GROUP

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 deityof Desire.

BALABHADRA(I)

Colour

White

Arms

SymbolPloughVehicleFour
Elephant

The first deity in this group is called Balabhadra who may be identiThese two pastoral deities offied with Balarama the brother of Krsna.

Hinduism broadly represented Agriculture and Dairying,under

is described as

Balabhadra:"Kunjare Balabhadrah sitah khadga-langaladharah."

NSP,"Balabhadra rides an elephant and is white in colour.

p.

63

He holds thesword and the plough."

He is not to be found in China.

JAYAKARA(II)

Colour(White)

Arms

Four

SymbolGarland

VehicleCuckoo Chariot

The second deity of this group is called Jayakara whose form

isdescribed as under :"Kokilarathe Jayakaras-caturbhujah (sitah) savyabhyam puspamalam banam ca vamabhyarh casaka-dhanusl dadhanah."
.

'

'

'

p. 63
I.

Clark : TLP, II, p. 99

HINDU GODS IN VAJRAYANA

379"Jayakara rides a chariot drawn by cuckoos he is (white in colour)
and is four-armed. With the two right hands he carries the garland offlowers and the arrow and with the two left Casaka (wine-glass) and thebow".
;

He is not represented in the Chinese collection.

MADHUKARA(Ill)

Makara Banner

SymbolThe third

Arms

White

Colour

Four

Vehiclebuka Chariot

deity in this series of Hindu gods isform is described as under

Madhukara whose:"Sukasyandane Madhukaro gauras-caturbhujah savyabhyam makarMSP, p. 63

adhvajasare vamabhyam casakacapau vibharti".

"Madhukara
colour.

rides a chariot drawn

He is four-armed, andMakara banner and the arrow.

by Suka birds and is white in
his two right hands theholds inWith the two left hands hecarries thewine-glass (Casaka) and the bow".
(IV)

VASANTA

Colour

White

Arms

SymbolWine-glass

VehicleFourMonkeyThe fourth and the last in this series of four Hindu
or the Spring-god.

gods is VasantaHis form is described in the following words in the

Dharmadhatuvagisvara Mandala:"Plavange Vasantah sitas-caturbhujah savyabhyarii bana-krpanabhrtNSP, p. 63
vamabhyam dhanus-casakadharah".

"Vasanta rides on a monkey and is white in colour. He is four-armed
and in his two right hands he holds the arrow and the sword. Withthe two left he carries the bow and the wine-glass''.

None of these four deities is represented in the Chinese collection.
9.

LORDS OF THE YAKSAS, KINNARAS, GANDHARVASAND VIDYADHARAS

In the Dharmadhatuvagisvara Mandala eight Lords

of

Yaksas aredescribed briefly. This list of Yaksa kings is important as it is not foundelsewhere

;

it is

not possible also to individualize them in their forms.

The Yaksas are a semi-mythical class of beings who are supposed topreside over treasures and shower wealth on mankind when propitiated.
Kubera is said to be the greatest among the Yaksas, who according to
the Hindus, lives in the North along with the Yaksa hordes. The nameof his capital is said to be Alakapuri adjacent to Mount Kailasa in the

Himalayan region.

BUDDHIST ICONOGRAPHY

380

(I)

YAKSA KINGS

The names of the eight Yaksa kings are;

1.

Purnabhadra

2.

Manibhadra

3.

Dhanada4.

Vaisravana

5.

Civikundali

6.

Kelimali7.

Sukhendra

8.

CalendraareTheysentenceall

described in the Mandala incollectively

one

brief

:

"Purnabhadradayo

Yaksadhipah b!japuraphala~nakulabhrt-savyetNSP,*p. 63

arakarah".

*'The Yaksa kings beginning with Purnabhadra hold in

their

the Bijapura (citron) and the Nakula (mongoose) in the right

hands

and

left

hands respectively".
In colour they differ. Purnabhadra is blue, Manibhadra is yellow,
Dhanada is red, Vaisravana is yellow, Civikundali is red, Kelimali isgreen, Sukhendra and Calendra are yellow.

The citron and the mongoose are the natural symbols of Jambhala
the Buddhist god of wealth, and as such, he is of the Yaksa group.
In theExcept Jambhala these Yaksas are rarely represented.
Chinese collection there are two illustrations one under the title ofYaksadeva and another under Yaksa Purnabhadra
They referl.

evidently to this group of deities.
statuettes which are designatedsenadhipatis.

Besides them therewith the generalisaseriesofof Mahayaksa^

title

They carry the citron and the mongoose.

Allied to the Yaksas are the Kinnaras, Gandharvas, and Vidyadharas.

They are all semi^mythical beings next to gods, who have power toconfer benefit when propitiated. Some information about their kings
the Dharmadhatuvagisvara Mandala of the Nispannayois found ingavalL

Their forms are described below in the order in whichitisfound*(II)KINNARA KINGThe Kinnara king is not named here but his form

isgiven in thefollowing words :"Kinnararajendro raktagauro vinavadanaparah""The Kinnara king is reddish white in colour andplaying on the musical instrument called the Vina".
1.

Clark

:

TLP, II, pp. 102, 313

NSP, p. 63
isengaged inHINDU GODS IN VAJRAYANA

381

GANDHARVA KING(III)

The Gandharva king is known by the name of Pancasikha andform is described as follows

his:"Pancasikho Gandharvarajendrah pito vmam vadayati".

NSP, p. 63"Pancasikha the king of the Gandharvasisyellow in colour and heplays on the Vina instrument".

VIDYADHARA KING(IV)

The king of the Vidyadharas is named
form is described as below

asSarvarthasiddha and his:"Sarvarthasiddho Vidyadhararajendro gaurah kusumamalahastah".

NSP, p. 63"Sarvarthasiddha the king of

the Vidyadharasiswhite in colour

and holds in his two hands the garland of flowers".
10.

TWENTY-EIGHT CONSTELLATIONSThe Zodiac is divided into 27 or 28

constellations or Naksattras.

These are called the Lunar Mansions.

These Lunar Mansions are

believed to exercise great influence on human beings and their affairs.
They are constantly bringing good or bad effects and are supposed to be

power. It is no wonder, therefore, that in
Buddhism these Naksattras should be deified with colour, faces andgreat store-houses of

The Naksattras are described collectively in the DharmadhatuIn this Mandala thevagisvara Mandala of the Nispannayogavall.
andface
two arms, which are clasped against
Naksattras are given one

hands.

the chest in the Anjali mudra.

In colour, however, they differ.

The Naksattras have the following features in common:"Asvinyadayo devyasca ratnakancukiparidhanah krtanjalayah".

NSP, p. 65"The deities beginning with Asvinl are decked in bejewelled
and they all show the Anjali mudra".

They differ in colour.

Their distinctive

colourisjackets

given below inthe order in which it is found in the Mandala :1.

AsviniWhite

3,

Krttika

Green

4.

Blue

6.

1.

Mrgasira
Punarvasu

9.

Aslesa5.

Yellow

White

2.

8.

10.

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.

Sravana23.

Dhanistha

Blue

24.

Satabhisa

25.

Purvabhadrapada
Green

26.

Uttarabhadrapada

27.

Revati-- White

28.

Abhijit19.

Green
Visakha-Blue

Jyestha- Yellow
Purvasadha Blue

20.

White

*

Yellow
Yellow

Green

TIME DEITIES

11.
(I)

MONTHS

Another set of interesting Hindu deities is described in the Kalacakra Mandala as Lords of the Twelve Months of the Hindu Calendar.

As they are rarely represented, it is not necessary to deal with themin detail.
here.

Only a brief and passing reference is all that is necessary

There are altogether twelve months having twelve deities and theirnames are given below in the same order as it is given in the Kalacakra
Mandala:1.

Caitra3.

Phalguna

NaiirtiYama

2.

Vaisakha

4.

10.

Agni
Pausa Kubera
Karttika -Brahma
Sravana Samudra

12.

Magha

5.

AsadhaSanmukha

6*

7.

Asvina

Sakra

8.

9.

Margasirsa

11.

Bhadrapada

Rudra
GanesaVayu

Jyaistha

Visnu

These twelve gods, at least most of them, are described previously.
But the forms in the Kalacakra Mandala are somewhat different. Hetethey are all accompanied with their Saktis, mostly four-armed and havetheir distinctive vehicles.

DATES

(II)

The Tithis or the

distances between the sun and the moon are also
but
these
cannotbe properly determined in the absence of
deified,definite iconographic information.

Some of these Tithis (dates) arefound represented in the Chinese collection at Peiping *.
and 245 illustrate the Navami and DasamI Tithis.
I.

See for instance Clark

:

TLP,

Navami and DasamI are illustrated.

II,

p. 84

where theTithis,

Figs.

224

Saptaml, Astami,

HINDU GODS IN VAJRAYANA
(III)

383

ZODIACAL SIGNS

Besides these, there are the Twelve Signs of the Zodiac, named in

Hindu books on Astrology as Mesa, Vrsabha, Mithuna, Karka,It
Sirhha, Kanya, Tula, Vrscika, Dhanu, Makara, Kumbha and Mina.

thenot beenhaspossible to trace

any

Sanskrit text

from Buddhist

Tantric literature which mentions the

Dhyana or even a tolerable
But the Rasis are longdescription of these Signs of the Zodiac,believed in India to be the store-houses of mystic power, and it is but

to expect that these Twelve Signs should be deified withcolour, form, weapons and the rest. It is also natural that these deities

naturalshould be assigned to one or another of the families of the Dhyani
Buddhas so that they may be fitted into the Buddhist pantheon. When

more literature on the subject is published, only then it will be possible
to find descriptive texts. It is however desirable at this stage to referto the excellent statuettes of the different Signs of the Zodiac that havebeen discovered in China and illustrated by Professor Clarke in his Two
Lamaistic Pantheons, Vol. II,].

Figs. 246, 247 and 248

illustrate the three Signs, Tula,

Kumbha and

Mina.
(IV)

SEASONSThe seasons of the year wore
form, colour, weapons, and were

Dhyani Buddhas.

likewiseaffiliated to

and were given
one or another of thedeifiedDescriptions of seasons are also not available in the

Buddhist Tantric literature, but their images and2
3
discovered both in Tibet and China

statuettes

have been.

1.

See for instance, Clark : TLP, II, p. 102 for Kanya Devi, p. 101 for Tula Devi,p. 87 for Kumbha Deva, and p. 86 for Makara Deva.
f2 & 3.

For instance, Gordon : ITL, p. 82 where goddesses for Vasanta, Sarad andHemanta seasons are illustrated. Also Clark : TLP, II, p. 308 for Sarad and Hemantaand p. 307 for Vasanta and Varsa seasons.

CHAPTER XIV
CONCLUSION
The foregoing

is anaccount of the iconography of Buddhist gods

and goddesses as reconstructed from Sanskrit texts of the Buddhist
Tantric literature. The study confines itself to the iconography of gods
and goddesses only, excluding all other favourite themes of the Buddhists carved on stone or painting, suchas the scenes from Buddha'slife,

the Jataka stories, the Avadanas and others, representations of which,are available from Bharhut, Sanchi, Amaravati, Gandhara or even the

cave temples of Ajanta.

This book does not refer to them nor makes

an attempt to identify them by hunting out the original Sanskrit texts
which are illustrated on stone in the form of stories. It is a practicalhandbook for the guidance of Museologists who have to handle large
number of images of gods and goddesses with strange faces, weapons
and poses. It is a work giving indications as to how such images
should be studied, analyzed, and finally identified with the help oforiginal Sanskrit texts such as are quoted in this book at every place. An

image is nothing but a symbol, and it is the business of the students of
iconography to find out how the image was made, by whom it was

made, and what philosophical and cultural background was necessary
for the production of such an image.

In this work, therefore, problems
such as these have been treated and enough information is given inorder to understand a Buddhist image from different view-points. The

scope of this work thus is limited, and it does not claim to unravel themystery of all stones on which something is carved. But within thelimited scope, it has enough information of the highest practical value
to the students of iconograghy, and this value is enhanced by the
inclusion of photographs of excellent sculptures, bronzes and original

Nepalese drawings procured with difficulty and at high cost.

The Buddhist pantheon as such did not exist before cir. 300 A. D.
which is the approximate time of the composition of the famous
Tantric work the Guhyasamaja. The pantheon got a good start fromembodiment of the fivecosmic forces, Rupa, Vedana, Samjna, Samskara and Vijnana. The
pantheon further got a fillip from the theory of the Kulas (families) of
the Dhyani Buddhas and their Saktis or female counterparts* The
Dhyani Buddhas thus became the Kulesas or progenitors or heads ofthe theory of the five Dhyani Buddhas, theCONCLUSION
families,

and theinfamiliesare385

seen multiplying until they become

And along with numerical strength, thenumber.

overwhelming
excellent and meritorious

artists went on producing such wonderfulofwere backed by the religious inspiration ofwhich
specimens
imagesThe pantheon became extremely attrac*
tive, and all including the Hindus and Jainas started building theirpantheons and adding to their gods and goddesses. In the meantime

the most transcedental type.

other Buddhist countries like Tibet, China, Japan and the rest werestruck by the wealth of gods and sculptures of the most bewildering
variety, andstartedconstructing theirown pantheons according totheir own national and cultural genius.

The pantheon of the Buddhists
created in India thus became world property, although Buddhism as areligion vanished from India the land of its birth long long ago.

The teachings oftheGuhyasamaja remained dormant

for

some

300 years, and was handed down secretly from Gurus to disciples, butlater, when it became popular, gradually the process of deification
newer and newer gods and goddesses.
Eachrapidly grew withimage received and absorbed cultural currents and cross-currents, andas a living organism took newer and newer forms according to timeand according to space.
It has now become so unwieldy and its
ramifications have been so intricate and vast, that it has become a highly
specialized study requiring experts to handle the gods and goddessesof Buddhism. The study is fascinating to the extreme, and the interestin the subject is bound to grow with thetime and with the
publication of the original MSS on the subject, such as the Vajravali,
lapse of

Kriyasamuccaya, the original Tantras like the Kalacakra Tantra, Heruka

and Hevajra Tantras, Vajrayoginl and Vajravarahi Tantras, vast in
number and voluminous in extent. Let us hope that India will takecare of these pricelessoriginal manuscripts,

preserve them in good

libraries, and gradually through publications make them available toworld of Buddhists comprisinga thirdtheof the population of the globe.

present moment however, for unravelling the mysteriesof the Buddhist images of gods and goddesses, there are only two
books of outstanding value.
These are the Sadhanamala and theJust at the

Nispannayogavali both published in the Qaekwad's Oriental Series forthe first time. The Sadhanamala was composed in A. D. 1165 since
the earliest manuscript of

the

work

bears a date in the Newari era

which is equivalent to 1165 A. D. Nispannayogavali was written by the
famous Buddhist author and mystic Mahapandita Abhayakara Gupta

whose time is co-eval with that of the Pala king Ramapala who flourished in A, D. 1084-1130. Both these works were written at a time when49

BUDDHIST ICONOGRAPHY

386

the psychic phase of Buddhism reacheddestroyed by the sword ofIslam.

itsBothvery zenith, before being
Sadhanamala and thethe

Nispannayogavall therefore record faithfully the highest developmentof the psychic phase of Buddhism in the 12th century.

The Sadhanas in the Sadhanamala were composed by men distingue
The Dhyanas
mediaeval age as great Tantric authors.

shed in thecontained in the Sadhanas laid down the essential features of different
gods, and the sculptors and artists prepared images with the help of

The Dhyanas left much scope for the exercise
of imagination on the part of the sculptors, and the products of theirchisels were also very greatly influenced by the spirit of the age inthese general directions.

which they flourished, as well as by the geographical situation in which
they worked. The ornaments, dress and even facial expressions of theimages reflected local conditions to a great extent, while the particularTantric rites in which the images were used had also a modifying in*fluence.
It hasbeen pointed out several times that the most important factor

in the identification of images is theminiature figure of the Dhyani
Buddha on their crowns. When, however, the parental Dhyani Buddha
is not present, other marks of identification have to be sought for.
Moreover, difficulties may arise even when the Dhyani Buddhas arepresent. In cases where all the Dhyani Buddhas are present on the
aureole, the Buddha right on the top of the head is to be taken as theparental Dhyani Buddha. The standing figure of Khadiravam Tara in
the Indian Museum, Calcutta or the Vikrampur figures of Parnasabari
are the cases in point. They are both emanations of Amoghasiddhi,

above the heads of the goddesses. The
figures of all the other four Dhyani Buddhas are not required either
by the Sadhana or for identification. Their presence can only be ex-

whose effigy appears

rightplained 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 thecase of the Dacca Museum image of Arapacana Manjusri. The Javasurrounded by four companions, identical inappearance with himself, but in the Dacca Museum image there are
figure of Arapacana isfour Dhyani Buddhas in addition, on the aureole although the central
position just above the head of the principal deity is occupied by oneof the attendants of Arapacana. The Dhyani Buddhas, here are notrequired by the Sadhana and are, therefore,
otherwise.

more ornamental thanBut the most serious difficulty arises when instead of the Dhyani
Buddha prescribed by the Sadhana some other Dhyani Buddha appears

CONCLUSION

387

on the crown of any figure. For instance, the Sarnath image of
Ucchusma Jambhala should have shown in accordance with the Sadhana
the figures either of Aksobhya or Ratnasambhava on its crown, but
the effigy of Amitabha is shown instead. Again, when a reference ismade to the Lucknow figure of Marici, who according to the Sadhanashould have shown the figure of Vairocana on her crown, shows
Amitabha instead. Again the Indian Museum image of Usmsavijayashows the figure of her parental Dhyani Buddha as Aksobhya instead ofher own sire Vairocana.

True reasons for these discrepancies can hardly be given at this state
The most reasonable suggestion seems to be thatthe original texts are not stil] known in their entirety. It must be remembered that the Sadhanamala and the Nispannayogavall are notof our knowledge.

It is quite likely that new
the only texts produced in Vajrayana.
Sadhanas will be forthcoming when further material is published. It is
Marici ordifficult, however, to believe that a new Sadhana for either

Usmsavijaya

will

be available.

Inthe Sadhanamala itself a large

number of Sadhanas is published, but nowhere there is any mentionof any other parental Buddha than Vairocana. Thus the possibility of
discovering further Sadhanas prescribing parental Buddhas other than
Vairocana seems to be remote.

Anotheralternative suggestion presupposes the existence of^another of the Dhyani Buddhas
1
The Buddhists ofis believed to be the principal or the Adi-Buddha

fferent cults accordingas

one or

.

Nepal even now are divided into so many different cults, some regard^
ing Amitabha as the Adi-Buddha, and others acknowledging either
Vairocana or Aksobhya as the Adi-Buddha. Now though the Sadhanasprescribe the figure of the Dhyani Buddha Vairocana for both Marici*

and Usmsavijaya, the followers of the Amitabha cult are

at liberty toassign them to that Buddha whom they consider to be the ,Adi'Buddha.
Jambhala being regarded as the offspring pf
Similarly, Ucchusma
Amitabha, is made to bear an image of that Dhyani Buddha on hiscrown in the Sarnath figure already alluded to. It is not necessary tomultiply

instances.

This

is

the onlyreasonable explanationitispossible to offer at the present state of our knowledge.
In identifying Buddhist images the student of iconography should

guard himself against taking unnecessary figures in the image for principal ones, or necessary figures for unnecessary ones. A fulLfledgejd
The theory of Adi-Buddha

originated in the Nalanda monastery about the
and
was
10th
of
the
accepted first in the Kalacakrayana, a later form
century
beginningof Vajrayana. See Csoma de Koros : The Origin of the Theory of Adi-Buddha in
1.

J.

A. S. B., Vol. II (1833),

JBORS, March, 1923.

p.

57f.

See also Bhattacharyya : Buddhist Iconography inBUDDHIST ICONOGRAPHY

388

Buddhist icon shows in the first place, the principal god, an effigy ofsireonhis crown,
andtheDhyani Buddhas on the
aureole. The icon may further show miniature figures of the companions of the principal god, some worshippers, mythical figures andhisthe three, seven, or sixteen jewels or sacred objects of Buddhism.

Thefigure of Vajrasattva seems to be a favourite decoration with the artists.

He appears on many Buddhist images andis perhaps conceived as aof
BuddhismandBuddhist worship. For
general guardian
purposes of identification the principal figure, the figure of the Dhyani

sort of

Buddha on the top, and the companions are the indispensable parts of
the image. When, again, a reference is made to the Dacca Museum
image of Arapacana Manjusn in which besides the four companions
there are present four Dhyani Buddhas Vairocana, Aksobhya, Amitabha

and Ratnasambhava, two mythical figures supporting the lotus seat,and two worshippers to the extreme left of the pedestal.
All these
figures are redundant for the purpose of identification, and theirabsence in the Java figure of Arapacana in no wise

affects

it.

But

if,

for instance, the companions are confused with the worshippers theidentificationmust be regarded

as incorrect.

The figures flanking

Vajrasana, for instance, are clearly Maitreya and Avalokitesvara accor^

ding to the Sadhana, but if they are described as worshippers, as has
been done previously, the identification of the whole image becomesvitiated.

Another difficulty in identificationariseswhen

the lettersof theMantra of the god are deified and appear on the image. This isfound in the case of Vajratara who is surrounded by ten goddesses
who originate from the ten syllables of the Mantra "Om Tare Tuttare
Ture Svaha". It has also been pointed out previously how from thefive letters of the name of Arapacana Manjusri originated the five deities
Candraprabha, Jalimprabha, Kesinl, and UpakesinI, and the principal
deity Manjusri. The Dacca image of Khadiravam Tara (Fig. 249) is aremarkable instance of the deification of the Tara Mantra. The main
figure in accordance with the Sadhana carries the Utpala in the left
hand and shows the Varada mudra in the right, and she is flanked oneither side by Asokakanta and Ekajata. But on the aureole there areeight female figures identical in appearance withthe principal figure*
They obviously represent none but the eight syllables of the Tara
Mantra "Orh Tare Tuttare Ture", the two others, Usmsavijaya andSumbha, being omitted.
Sometimesof Buddhist gods and goddesses wenotice the presence of Ganesa, who is regarded by the Hindus as"Siddhidata" or the Bestower of Perfection or success in Tantric rites.
in

the images

CONCLUSION

389

The Buddhists as a proof of their aversion to the followers of theBrahmanical faith, made their gods trample upon Ganesa. Thus in the
Indian Museum images of Parnasabari and Aparajita, and in the Baroda

Museum image of Vighnantaka, etc., the deities have been represented
as trampling Ganesa under their feet.

In thetwo Vikrampur imagesof Parnasabari and in the Dacca Sahitya Parisat image of Mahapratisara,Ganesa appears below the lotus seat lying prostrate on the groundcrushed under the weight of Buddhist deities. Thus did the Buddhists
manifest their animosity against the Hindu god, Ganesa, giving him theepithet of Vighna or Obstacle.

Their animosity may be further

trated by the following features of the Sadhanas.

illus-

The four Hindu gods,

Brahma, Visnu, Siva and Indra have been designated uniformly as thefour Maras or Wicked Beings, and several Buddhist gods have been
described as trampling them under their feet.
The Sadhanas of
Prasanna-Tara, Vajrajjvalanalarka, Vidyujjvalakarall, and the like, areinstances in point. Trailokyavijaya has been represented as trampling

upon the prostrate forms of Siva and Gauri Narayana has been madea Vahana or vehicle by Harihariharivahana.
Poor Brahma has been
most severely handled by the Buddhists. The severed head of Brahma;

is a favourite trophy inthe hands of Buddhist deities

According to

Hindu traditions, Brahma should be very old with grey beard, and fourheads, and the Buddhist deities mercilessly hold the heads by thematted hair and flourish them in their hands. This is how the Buddhists
attempted to exhibit the superiority of their gods over those of theBrahmanical faith. It is a matter of satisfaction, however, that the

Hindus never disgraced any gods belonging to the alien faith in thismanner. On the contrary, they placed Buddha among the ten Avatarasof 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 thatan 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 penetrationof the Mlecchas.

The later

history showed,

however, that the attempt proved futile.

A deep spiritual significance is attached to the colour, weapons, and
the Asanas ofinyab-yum.

Buddhist gods

whoare either represented singly or

The conception of yab-yum

images, however,

is

much

more complicated than the single ones.
It

has been stated in the Sadhanamala that a single deity

may takeany colour according to the particular Tantric rite in which he is invoked.
For instance, in the Santikavidhi or propitiatory rite the god takes thewhite or the yellow colour. In Paustikavidhi or protective rite theBUDDHIST ICONOGRAPHY

390

yellow colour is taken by the deity. Similarly, in Vasyavidhi (bewitching) and Akarsana (attraction) he may take yellow, green or red colour.
In Ucatana (total destruction)
generally blue.

and in Marana(killing)

the god

may be pointed out here that the word 'Krsna

It

1

is

in

Sadhanamala always signifies the blue colour, and not black.
Buddhist gods are rarely black, not because the Buddhists had noperception of the black colour, but because there seems to have beensome prejudice against using the black colour in the paintings of gods.

theIt may further be pointed out that whenever a deity gets the blue
colour his appearance becomes terrible with protruding teeth andtongue, garland of severed heads, ornaments of snakes and the garmentof tiger-skin.

With regard to colour it may be remembered that their stocknumber is usually five corresponding to the five cosmic elements. Thus
according to authoritative books, the element of Water is white incolour, Earth is yellow, Fire is red, Ether is green, and Air is blue.

Ofthese the two colours white and yellow representing Water and Earth are

benign, and the other colours red, green and blue are clearly malefic.

The earthy and watery gods are peaceful, while the gods of the otherthree elements are fearful in character.

Blue seems to be the mostviolent of all.

The Asanas have likewise a spiritual significance. The Vajraparyahka
attitude signifies meditation and introspection, the Ardhaparyahka shows
serenity, the Alidha heroism, the Pratyalidha destruction and disgust,and the dancing in Ardhaparayanka displays wrath and horror.

A reference may be made here to the yab-yum representations.

The

Tibetan yab means 'the honourable father' and yum likewise signifies the
Therefore, the word yab-yum means the honourcompany of the honourable mother.
yab-yum'honourable mother'.
able father in theAimage has a deep spiritual significance. It signifies that the god, theembodiment of Sunya is perfect, having attained Karuna and therefore
the highest state of Nirvana.

The conception of Sunya in Vajrayana took the concrete shape of
Sunya took the shape of Heruka when a male god,
and became known as Nairatma when a goddess. That unya took
the form of a deity does not seem strange in Vajrayana, where we finda god and a goddess.

conceptions, such as Safigha, Dharma, Prajnaparamita, the twelve Paramitas, and the five Skandhas deified in the Buddhist pantheon. Thus
the conception of Sunya in the form of a god or a goddess is perfectly
When the Bodhi

in keeping with the tradition of the Vajrayana system.

Mind attains Nirvana it merges in Sunya and there remains in eternaland happiness. And when Sunya was made a goddess, it wasblissCONCLUSION

391

easily understood, how eternal bliss and happiness was possible after the

The yab-yum figures, representing Sunya in
the form of Heruka in the embrace of oiinya in the form of Nairatma,

attainment of Nirvana.

were held up before the mass as ideals, and they readily attracted themand helped them in their conception of a bright and definite spiritual
prospect.

Buddhists of the Vajrayana consider Sunya as the Ultimate Reality,
and they believe that the host of gods and goddesses, including theDhyani Buddhas, are ounya

inessence.

of theTheareinnumerable gods andallmanifestations of

Vajrayana pantheon
goddesses
Sunya. The gods have no real existence, the images have no real
existence, and therefore, it may be positively asserted that a true

Vajrayanist never worshipped an image or god. Naturally, since these,
paintings, images, or even the deities themselves have no real or inde-

pendent existence, they are merely manifestations in a variety of formsof the One, Undifferentiated Sunya. But it cannot be denied that theseimages were very useful, since the forms they presented, in accordancewith the Dhyanas, to the gaze of the worshippers undoubtedly helped
the latter to visualise the deities with whom they were asked to identify
themselves.

As they had norealexistence, these deities

had to be

attracted to the mind-sky from unknown regions in the firmament by
the luminous rays of light issuing from the BIja mantras uttered by theworshipper. The Sunya takes the form of a divinity in accordancewith the germ-syllable uttered, and exists only as a positive idea in themind of the worshipper who identifies himself with that transformationof Sunya.

The question may be raised as to the necessity of aand goddesses when one Sunya would have beenveriety of gods
In answer

sufficient.

to this a number of things have to be considered.

It

may be remember-ed that Sunya, which was identified with Compassion by the Vajrayanists was conceived as manifesting itself in diferent forms in accordancewith the different functions it had to discharge. For instance, if any
disease is to be cured, Sunya takes the form of Simhanada when it is;when destruction of
the wicked is needed, Sunya takes the form of MahSkala when again,
a question of snake-bite, Sunya becomes Janguli;;

and pestilences are to be prevented, Sunya is conceived as
Parnasabari ; for success in love-affairs, Sunya is invoked in the form
and when forcible submission is required in love-affairs,of Kurukulla
and when finally, Buddhahood is wanted bybecomes
Vajrananga,
unya
diseases;

the worshipper, he should conceive himself as Heruka*
it appears

that the conception

From the aboveof the multitude of Buddhist

deitiesBUDDHIST ICONOGRAPHY

392

emerges from the one grand conception of ounya in accordance withthe various functions it is supposed to discharge, as a mark of compassion towards the Buddhists.

Secondly, the number of gods and goddesses increases when Sunya
manifests in different forms the nine "Rasas" or dramatic sentiments.

For instance, Sunya will be Khadiravam or Lokanatha when benign(Karuna), Marici when Heroic (Vira), Vighnantaka, Heruka or Maha-

when awe-inpiring (Bhaya), Aparajita when wrathful (Raudra),
Vajracarcika in its moments of disgust and loathsomeness (Blbhatsa),
Prajnaparamita when peaceful (Santa), and so on.
kala

Thirdly, the numberof deities increases as objects

such asthephilosophical conceptions such as the Paramitas, Bhumis
or Pratisamvits literature such the Prajnaparamita, the Dasabhumika

Three Jewels;;

Sastra, the Dharims and the like ; desires such as forsleeping and the rest;

eating, drinking,the directions such as the north, south, east andthe musical instruments such as the flute, the violin, and thedrum ; and other innumberable ideas and objects, are required to be
worshipped in the forms of gods and goddesses, By these and various

west

;

other ways the number of deities in the Buddhist pantheon increased

phenomenally.

As all these deities centre round the one grand conception of Sunyaso also the host of weapons revolve round the one grand conception ofBodhicitta or the Will to Enlightenment. As these weapons are required
to discharge different functions, the Bodhicitta resolves itself into somany different forms of weaponsJ.

For instance, when the darknessof ignorance is to be dispelled Bodhicitta becomesthe veil of ignoranceiscut asunder.

asword by which

The sword is also to be usedtoMara hordes who disturb the worshippers. Bodhicitta
becomes the Ahkusa (goad) when the hearts of the wicked are to bepierced. It is conceived as a noose when the Mara hordes are to be
securely bound. It becomes a needle and a thread when the eyes ofdestroy thethe 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 arrowifthe distance be greater.
1.
Compare the statement in the Jnanasiddhi of Indrabhuti in the Two Vajrayana
Works (GOS), pp. SO, 81
Bodhicittam bhaved Vajram Prajna Ghanta vidtuyate I

Cakratn-ajnanacchedat ca Ratnantu durlabhadapi
Bhavadosair-aliptatvat jninam tat Padam-ucyate

II
I

Khadgah klearisamcchedat Utpaiam plavanat tatah

IICONCLUSION

393

The Mudras also are nothing but the manifestations of the Bodhicitta.

mudra

conceived as the Abhaya
when instruction
becomes Varada
it becomes Dharmacakra, and so on.

If protection is needed, Bodhicitta is;ifboon is desiredin Buddhist Law is requiredit;

The Bodhicitta, or the Will to Enlightenment, is that state of Mind
which has already acquired the potentiality of dissolving itself in Sunya.

As a matter of fact, Sunya or Nirvana would beunattainable without

the help of the Bodhicitta, which like Sunya exists only in the mind.
The Bodhi mind leads the aspiring soul into the very presence, so to
speak, of Sunya ;ultimately merges and loses itself completely initSunya.

The gods of the Buddhist pantheon

conceived ascarrying theBodhicitta in their hands, both being of the nature of Sunya
It iswith the help of this Bodhicitta that a god is supposed to confer
areTantric rite upon his worshipper. The
yab-yum conception of deities is still more sublime. The god Heruka,
the embodiment of Sunya, carrying weapons the embodiments of

Buddhahood or successBodhicitta also

inof the nature of Sunya,isembraced by

Nairatma,

whose essence is Sunya, carrying weapons also of the nature of Sunya.
Thus the Infinite with the Infinite commingles. In Involution, theMany become One. This is the highest state the Anupadhisesa*
Nirvana.

Krto vah sarvasattvarthahsiddhir-datta yathanuga

I

Gacchadhvam Buddhavisayarh
punaragamanaya Muh"Gods,
beings.

Ibidfarewell!

Ye have fulfilled

the desires of all

Ye have conferred the desired success. Go Ye toReturn Ye once again, Muh".

of the Buddhas.

50

Ye

II

the region

APPENDIX108

FORMS OF AVALOKITESVARA(In the Machhandar Vahal, Kathmandu, Nepal)
1.

Hayagriva

attitude on a lotus.

The god

Lokesvara.

in

sits

the

Vajraparyanka

He has four hands, out of which the two principal

ones exhibit the Vyakhyana pose.

The secondin the right hand and the lotus in the left.

pair holds the rosary

He is accompanied by six

other gods and a dragon.

Mojaghanjabala (?) Lokesvara. He stands in the Samabhahga
attitude on a lotus, with his two hands showing the Abhaya mudra in2.

the right and the noose in the left.
3.

Halahala Lokesvara.

with his Sakti on the lap.

He sits in the Lalita attitude on a lotus
He has three faces and six arms. The face

above represent probably the head of the Dhyani Buddha, whose effigy
he should bear on his crown. In his three right hands he shows thesword, the rosary and the Varada pose. In the three left hands he
The hand holding thecarries 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.
4.

Harihariharivahana Lokesvara.

Lowermost is thesnake,

on itis the lion, over the lion is Garuda, Narayana rides Garuda, and on
his shoulder sits Lokesvara. The Garuda has two hands in the Anjali

mudra.

Narayana has four hands, of which the

first

pair

is

engagedin forming the Anjali against the chest ; while the second pair has theLokesvara sits in
Cakra in the right hand and the Gada in the left.

Vajraparyanka and has six arms the right hands show the rosary, theCakra and the Varada pose, while the three left carry the Tridandi, the;noose and the Utpala,Mayajalakrama Lokesvara. He has five faces and twelve arms.
the top probably represents Amitabha. He stands
in the Alidha attitude, and wears the tiger-skin and the garland of
5.

The head onheads, but his faces do not present a fearful appearance.

The six righthands carry the Tridandi, the Khatvahga, the jewel, the Khadga, theVajra and the rosary, and the six left show the noose, the Kapala, theUtpala, the fruit, the Cakra and the lotus.

APPENDIX
6.

Sadaksarl Lokesvara.

395

He sits in the Vajraparyahka

attitude,

The principal pair of hands is joined
against the chest in forming the Anjali. The second pair carries thefie has four arms and one face.

rosary in the right and the lotus in the left.

Anandadi Lokesvara. He stands in the Samabhahga attitude,7.
and carries the lotus, the stem of which he holds in his right hand, while
the left displays the Varada pose.
8.
Vasyadhikara Lokesvara. He sits in the Vajraparyahka attitudeand carries the bowl in his two hands arranged in the Samadhi mudra.
9.

Potapada Lokesvara.

has four arms.
chest, while

He sits in the Vajraparyahka attitude, and

The two principal hands exhibit the Anjali against thethe other pair holds the rosary in the right and the noosein the left.

Kamandalu Lokesvara. He stands in the Samabhahga attitude,
and is endowed with six arms. His two principal hands are engaged
10.

in drawing the bow to

its full length.

The other four hands

carry theVajra and the Cakra in the two right andtheGhanta and the Kamandalu
in the two left.
11.

forming the Anjali.
the

two

the two

He is one-faced and six-armed andVaradayaka Lokesvara.

stands on a lotus.

The two principal hands

He shows

join against his chestinalso the rosary and the Varada pose inright hands, and the bookand a mudra (probably Karana ?) inleft.

Jatamukuta Lokesvara. He is four-armed and one-faced, thehead on the top representing the head of Amitabha. The two righthands show the rosary and the Varada pose, while the two left hold the12.

lotus and the water-pot.
13.

He is represented in a standing attitude.

Sukhavati Lokesvara.

He is one-faced, and six-armed, and sitson a lotus in the Lalita attitude.

The first pair of hands exhibits

theDharmacakra 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.
Pretasantarpana Lokesvara. He is one-faced and six-armed andstands on a lotus. In his threee right hands he displays the rosary, the14.

jewel and the Varada mudra, while the three left carry the Tridandi
and the book and exhibit the Varada mudra.

Mayajalakramakrodha Lokesvara. He presents a very fierce
appearance with five faces terrible with protruding teeth, and eyes rollHis hair rises upwards like flames of fire* He stands ining in anger.
15*

the Pratyalldha attitude and wears the tiger-skin.

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.

Sugatisandarsana Lokesvara. He is one-faced and six-armed
and stands on a lotus. In his three right hands he carries the rosaryand exhibits the Varada and Abhaya poses. The three left have the16.

Tridandi, the Utpala and the water-pot.
17.

Nilakantha Lokesvara.

sits on a lotus

in

He is

one-faced and two-armed, andHe carries the bowl of

the Vajraparyafika attitude.

gems in his two hands arranged in the Samadhi mudra.
18.

Lokanatha Raktaryyavalokitesvara.

He is one-faced and twoThe right hand displays

armed and sits in the Lalita attitude on a lotus

the Varada mudra while the left holds the stem of a lotus on his lap.

19

Trilokasandarsana Lokesvara.

He also is one-faced and two-

armed and sits in the Vajraparyafika attitude on a lotus. His right handis raised against the chest with outstreched fingers and palm turned
inwards. The other hand exhibits exactly the same pose (Karana ?) as
displayed by one of the left hands of Varadayaka Lokesvara.
20.

Sirhhanatha Lokesvara.

He is one-faced and four-armed andsits in Bhadrasana, or in the European fashion, on a raised seat placed on

the lotus.

In histwo

right

hands he carries the sword and the jewel,

while the two left hold the book and the noose.
21.

Khasarpana Lokesvara.

He is one-faced and two armed andsits in the Lalita attitude on a lotus.

His right hand exhibits the Varada
left
is
and
the
raisedthechest,
againstholding the stem of a lotus.
pose
22.

Manipadma Lokesvara.

sits in the Vajraparyafika

He is one-faced and four-armed andattitude on a lotus.

His two principal hands

are joined against his chest forming the Anjali and the other pair holds

the rosary in the right hand and the lotus in the left.
in form with No, 6 described above.
23.

Vajradharma Lokesvara.

sits in the Vajraparyafika

attitude

He is identical

He is one-faced and two-armed andon a lotus.

The right handdisplays

the Abhaya pose and the left on the lap holds the stem of the Utpala,He is one- faced and four-armed and sits inthe Vajraparyafika attitude on a lotus. One of his two right hands
carries the rosary while the other exhibits the Abhaya pose.
One ofthe two left carries the book and the other displays a mudra with the24.

Pupala Lokesvara.

index and little fingers pointing outwards (Karana ?).

APPENDIX
25.

397

He is one-faced and six-armed and sits

Ucnauti (?) Lokesvarain Bhadrasana on the raised seat of a lotus. His three right hands exhibit
the rosary, the Vajra and the Abhaya pose, while the three
the Kapala, the noose and the water-pot.
26.

left

carry

Vrsnacana Lokesvara. He is one-faced and six-armed and sitson a lotus. The three right hands display thein the Lalita attitude

Utpala, the arrow and the Varada pose, while the three left
book, the bow and the Abhaya pose.
27.

in

sits

Brahmadanda

He isLokesvara.

one-faced

His two right hands

theand four-armed,

the Lalita attitude on a lotus, and is accompanied

who sits on his lap.

show

by his Saktishow the Tridandi and the

Varada pose, while the two left show the Ratnakalasa (vessel containing
jewels) and a mudra with the index and little fingers pointing outwards
The Sakti displays the Varada pose in the right hand and the Abhaya
in the left.

He

one-faced and six-armed, and sits
His three right hands show thesword, the arrow and the Varada pose, while his three left hold the
Kartri and the bow a'nd display the Abhaya pose.
28.

Acata (?) Lokesvara.

in the Lalita attitudeonisa lotus.

29.
Mahavajrasattva Lokesvara. He is one-faced and eight-armed,
and sits in the Vajraparyanka attitude on a lotus. His four right hands
exhibit the sword, the rosary, the Cakra and the Abhaya pose, while his
four left hold the noose, the Tridandi, the conch and the bowl of gems

on his lap.
30.
in theVisvahana Lokesvara.
Vajraparyanka attitude on

He is one-faced and six-armed and sits
a lotus.

His three right hands holdthe sword, the arrow, and the Cakra, while his three left show the noose,the bow and the Abhaya pose.

He is one-faced and four-armed,
Sakyabuddha Lokesvara.
asona
His two right hands holdlotus.
standing
represented
the
while
his
two
left show the bow and
and
arrow
the
Khatvanga,

3L

and

is

the TarjanL
32.

Santasi Lokesvara.

He is one-faced and six-armed and stands

on a lotus. His two principal hands are joined against his chest in form*ing the Dharmacakra mudra. The other four hands show the rosary
and the Varada pose in the right, and the book and the Abhaya mudrain the left.
33.
sits in

Yamadanda Lokesvara.

He isthe Lalita attitude on a lotus.

one-faced and six*armed, andHis three right hands hold thesword, the lotus and the Vajra, while his three left display the fruit, thebowl of gems and an unspecified mudra (Karana ?).

BUDDHIST ICONOGRAPHY

398

34-

He is one-faced and six-armed, and is

Vajrosnisa Lokesvara.

represented as

standing on a lotus. His three right hands show the
the Abhaya pose, and his three left the book,rosary, the Tridandi andthe noose and the Varada pose.

Vajrahuntika (?) Lokesvara. He is one-faced and twelve-armed
and stands in Ardhaparyahka in a dancing attitude on a lotus. He
35.

holds the Utpala in all his twelve hands.
36.

Jnanadhatu Lokesvara.

stands on a lotus.

He is one-faced and eight-armed andTwo of his hands are joined against his chestinforming the Anjali mudra the second pair exhibits what is called theKsepana mudra. The remaining hands hold the rosary and the Tridandi;

in the right and the book and the noose in the left.
37.

Karandavyuha

He

Lokesvara.

isone- faced and two-armed

and sits in the Vajraparyahka attitude on a lotus.

He holds the Vajra

in his right hand and the book against his chest in the left.
38.

Sarvanivaranaviskambhl Lokesvara.

He is one-faced and two-

armed and sits in the Vajra paryahka attitude on a lotus. His righthand holds by its stem a lotus on which there is a sword, and his lefr
hand holds the Vajra against his chest.
39.

Sarvasokatamonirghata Lokesvara.

He is one-faced and four-

armed and sits in the Vajraparyahka attitude on a lotus. Each of his
two principal hands exhibits the Abhaya pose against his chest, while
the other two hands hold the rosary in the right and the Utpala in theleft.

He is one-faced and four-armed
and sits in the Vajraparyahka attitude on a lotus. He holds the noose
40.

Pratibhanakakuta Lokesvara.

against the chest with his right hand and the bowl of gems in his left.
41.
Amrtaprabha Lokesvara. He also is one- faced and two-armed
and sits in the Vajraparyahka attitude on a lotus. He holds the double
Vajra on his lap with his right hand, and the lotus on a water-vessel in

his left.

42*

Jaliniprabha Lokesvara.

He also is one-faced and two-armed
He holds the sword

and sits in the Vajraparyahka attitude on a lotus.

on a lotus in his right hand and the stem of alotus against his chestwith his left.
43.

Candraprabha Lokesvara.

He also is one-faced and two-armed
on a lotus.
He exhibits theand sits in the Vajra paryahka attitude

Vitarka mudra with' his right hand and holds the stem of a lotus against
the chest with his left*

APPENDIX
44.

399

He also is one-faced and two-armed andHe wields the sword in his right

Avalokita Lokesvara.

sits in the same attitude on a lotus.

hand and holds the stem of a lotus against the chest with his left*
45*

He also has the same number ofVajragarbha Lokesvara.

hands and faces as No.

He holds the Vajra in his right hand and44.

the stem of a lotus in his left.
46.

Sagaramati Lokesvara.

He

is

in

all

respecrs identical with

No. 44 except that he holds the double Vajra in his right hand.
Ratnapani Lokesvara* He also is identical with No. 44 in all
respects, except that he holds the sword in his left hand and displays47.

the Varada mudra with his right,
48.

Gaganaganja Lokesvara.

He also is identical with No. 44 in all

respects except that he exhibits the Vitarka

mudra

in his righthand

and the book in his left.
49.

He also is identical with No. 44 in

Akasagarbha Lokesvara.

all respects, except that here the god exhibits

the Varada pose intheright hand and the stem of a lotus in the left.
50.

Ksitigarbha Lokesvara.

He also is identical with No. 44 exceptthat here the god carries a tray of gems in his righthand and displays

the Varada mudra in his left.

He also is identical with No. 44,
Aksayamati Lokesvara.
except that he holds the rosary in his right hand and the lotus on a51.

water-vessel against the chest with his left.
52.

He is one-faced and two-armed and
He displays the Varada pose with his right hand,

Srstikanta Lokesvara.

stands on a lotus.

while his empty left hand rests near his navel. A large number offour-armed gods issue from various parts of his body, while Amitabha
appears over his head.

Samantabhadra Lokesvara. He is one-faced and two-armed andHe exhibits the Varadasits in the Vajraparyanka attitude on a lotus.
ofa lotus against the chest
and
holds
the
stem
his
with
hand,
right
pose
53.

with his left.

Mahasahastabhuja Lokesvara. In all respects he is identicalwith No. 53, with this difference that here the god wields the sword
in his right hand and displays the Varada mudra with his left.
54.

55.

He is three-faced and six-armed
He holds the fruit, the Utpala and the conch

Maharatnakirti Lokesvara.

and stands on a lotus*.

in his three right hands, and displays the bow, the whip and' the Namas'

kara mudra in his three left.

-

*

*

"

r

'

BUDDHIST ICONOGRAPHY

400

56.

Mahasankhanatha

He

Lokesvara.

isidentical in

all

res-

pects with No 55, except that he bears different symbols. Here thegod shows the Namaskara mudra, and the two Vajras in his three righthands, 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 the57.

rosary, the Cakra and the Varada pose in the three right hands

and theUtpala, the bow charged with an arrow, and the vessel in the three left*
This form of Lokesvara is very popular in Tibet.

Maharatnakula Lokesvara. He is three-faced and six-armed58.
The head on the top represents Amitaand stands on a lotus.
bha. He carries the sword, the Utpala and the rosary in his three righthands and the book, the lotus and the Utpala in the three left.
59.
Mahapatala Lokesvara. He is three-faced and six-armed
and stands on a lotus. He holds in his three right hands the Vajra, theVisvavajra and the Utpala, and in his three left, the banner, the Ghanta
and the Kamandalu.
60.

Mahamanjudatta Lokesvara.

In all other respects he is similar

to No. 59.

But he carries the Ghanta, the sword, and the Ratnapallava
in his three right hands, and the Vajra, the Ghanta and the Utpala in his
three left.

Mahacandrabimba Lokesvara. He is thiee-faced and six-armed
and stands on a lotus. He holds the arrow, the Utpala and the fruit in
his three right hands, and the bow, the Vajra and the Cakra in his three
The head on the top probably represents Amiiabha.
left.
61.

Mahasuryyabimba Lokesvara.

62

He is identical in all respects

with No. 61, except that here the god carries two Vajras and theCakra

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

exceptthat he holds

three right hands, andHe alsoissimilar inform

the Vajra, the sword and the Utpala

two Ghantas, and the book in his three

left.

64
Maha*Abhayakan Lokesvara. He also is similar in form to
No. 61, but the symbols in his hands are different. Here the god holds
the book against the chest with his two principal hands, the Vajra andthe rosary in his right, and the Ghanta and the Tridandi in his left.

401

Fig.

Fig.

3(A)

Halahala Lokesvara
51

Fig. 2 (A)

1(A)

Hayagriva Lokesvara

Mojaghanjabala LokesvaraFig.

4(A) Hariharihari

Vahana Lokesvara

402

6(A)

5(A)
Mayajalakrama Lokesvara

Sadaksan Lokesvara

Fig. 7(A)"Anandadi Lokesvara

Vasyadhikara Lokesvara

Fig.

Fig.

Fig.

8(A)

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 LokesvaraFig.

18(A) Lokanatha-

Raktaryyavalokitesvara

Fig.

20(A)

Siihhanatha Lokesvara

406

Fig. 21 (A)Fig 22(A)Khasarpana Lokesvara

Manipadma Lokesvara

Fig.23(A)Fig. 24(A)Vajradharma Lokesvara

Pupala (?) Lokesvara

407

Fig. 25(A)Ufnauti (?) Lokesvara

27(A)Brahmadanda Lokesvara
Fig.

Fig. 26(A)Vrsnacana Lokesvara

Fig. 28(A)Acata Lokesvara (?)

408

Fig. 29(A)Mahavajrasattva Lokesvara

Fig. 30(A)Visvahana Lokesvara

Fig. 31(A)Fig. 32(A)Sakyabuddha Lokesvara

Santasi Lokesvara

409

Fig.

33(A)

Yamadanda Lokesvara

35(A)Vajrahuntika Lokesvara
Fig.

52

Fig.

Vajrosmsa

34(A)Lokesvara36(A)Jnanadhatu Lokesvara
Fig.

410

37(A)
Karandavyuha Lokesvara
Fig.

Fig.

39(A)

Sarvasokata

monirghata LokesvaraFig.

38(A) Sarvanivarana-

Viskambhl Lokesvara

Fig. 40(A)Pratibhanakakuta Lokesvara

411

41(A)
Amrtaprabha Lokesvara

42(A)Jalimprabha Lokesvara

43(A)Cardraprabha LokesVara

Avalokita Lokesvara

Fig.

Fig,

Fig.

Fig.

44(A)

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)

Fig.

74(A)

Pindapatra Lokesvara

Sarthavaha Lokesvara

Fig. 75(A)Ratnadala Lokesvara

Visnupani Lokesvara

Fig.

76(A)

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

Fig.

91(A)

Vajradhatu Lokesvara

Fig.

90(A)

Dharmadhatu Lokesvara

Fig.

92(A)

Sakyabuddha Lokesvara

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 LokesvaraFig.

103(A)

Nityanatha LokeSvara

Fig. 102(A)Vidyapati LokesvaraFig.

104(A)

Padmapani Lokesvara

427

105(A)
Vajrapani LokesvaraFig.

107(A)
Vajranatha LokesvaraFig.

106(A)
Mahastbamaprapta Lokesvara
Fig.

Fig.

108(A)

Srimad-Aryavalokitesvara

BUDDHIST ICONOGRAPHY

428
65.

Mahamanjubhuta Lokesvara.

He also is similar to No. 61,

with this difference that here the god carries the sword, the Vajra andthe Kamandalu in his three right hands, and the rosary, the Utpala andthe 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.

Mahavajradhatu Lokesvara. He is identical with No. 66 in all
respects but the symbols differ. Here the god carries the Vajra, thebow, the Trisula and the sword in his four right hands, and the Ghanta,
the arrow, the Kamandalu and the noose in his four left.
67.

68.

Mahavajradhrk

He

Lokesvara*

also

identical

is

in

form

with No, 66, with this difference that here the god carries the sword,
the Vajra, the bow, and the Ankusa in his four right hands, and the
Utpala, the Ghanta, the arrow and the noose in his four left.

He also is

No. 66,
except that here the god carries the sword, the goad, the Gada, and therosary in his four right hands and the Cakra, the noose, the Utpala and69.

Mahavajrapani Lokesvara.

identical withthe book in his four left.
70.
Mahavajranatha Lokesvara. He is three-faced and eight-armed,
and stands on a lotus. He holds the rosary and the noose and displays
the Abhaya and Varada poses in his four right hands. The three left

shows the book, the Tridandi and thelotus, while theempty fourth

rests near the navel.

71.
Amoghapasa Lokesvara. He is four-faced and eight-armed
and stands on a lotus. He carries in his four right hands the Vajra,
the sword, the goad and the bow, while the four left carry the Ghanta,
the Ttidandl, the noose and the arrow.
72.

Devadevata Lokesvara.

He is similar to No.

difference that here the god carries the Vajra, theand the sword in his four right hands, and thejewel (?) and the noose in his left.

71,

with thisbow,

the Trisulabell, thearrow, thePindapatra Lokesvara. He is one-faced and two-armed andstands on a lotus. He holds the Pindapatra (the bowl) in his two hands
73.

near the navel.

Sarthavaha Lokesvara. He is similar to No. 73 in all respects,
that
here the god displays the Varada mudra in his right hand,
exceptand carries the Pindapatra (the bowl) in his left.
74.

APPENDIX
75.

Ratnadala Lokesvara.

429

He also is similar to No. 73, in allpects except that here he displays the Varada posein his right

res-

hand,

while his empty left touches his left shoulder.

He again is similar in form to No.

73,

except that here he carries the Trisula in his right hand and a lotus

bud

76.

VisnupSni Lokesvarain his left,

Kamalacandra Lokesvara. He also is similar to No* 73, exceptthat here he displays the Vitarka mudra in his two hands.
??

78.

He also is similar to No.

Vajrakhanda Lokesvara.

73 inrespects, except that here the god holds the lotus bud in his right

all

hand

and the book against his chest with the left.
79.

Acalaketu Lokesvara.

He also is similar to No.

73.

But hedisplays the Abhaya mudra in the right hand and the Pindapatra (thechowrie rests against his right shoulder,bowl) in the left.

A

80.

Sirisara (?)

Lokesvara.

He also is similar to No. 73 in all res-pects, except that here he wields the sword in his right hand and holds
the noose in his left.

Dharmacakra Lokesvara. He again is similar to No. 73, exceptthat here he carries the Vajra in his right hand and the axe in his left.
81.

82.

Harivahana Lokesvara,

He also is identical with No.

73,

with

the difference that here the god carries the Kamandalu in his right hand

and the chowrie in his left.
83.

Sarasiri (?) Lokesvara.

He also is identical with No.

difference is that here the god holds the Trisula in his rightThe
73.
hand andthe lotus in his left.

Harihara Lokesvara. He is identical with No. 73 except that84.
here he displays the Vyakhyana mudra with his two hands against thechest.
85.

Simhanada Lokesvara.

Similar to No, 73,

but here

the*

god

holds the chowrie against his shoulder with his right hand while theempty left rests near his navel.
Visvavajra Lokesvara. He also is similar to No. 73 with thedifference, that here the god displays the Varada pose with his right86.

hand and holds a snake in his left,
87.

Amitabha Lokesvara.

Similar to No. 73, except that here thegod holds the chowrie in his right hand and the wheel in his left,
Vrjrasattvadhatu Lokesvara. Similar to No. 73, except that
here he holds the Cakra in his right hand and the conch in his left.
88.

BUDDHIST ICONOGRAPHY

430

Visvabhuta Lokesvara. Similar to No. 73 in form,89.
he holds the rosary in his right hand and the lotus in his left*
90.

Dharmadhatu Lokesvara.

but here

Identical with No. 73 in form, buthere the god holds in his two hands the water-pot near his navel.

Vajradhatu Lokesvara. Identical with No. 73 except that here
the god displays the Varada mudra in his right hand and holds the91.

lotus in his left.
92.

Sakyabuddha Lokesvara.

Also similar to No. 73, except that

he carries the Vajra in his right hand while his empty leftisheld near

the navel.

Cittadhatu Lokesvara. Similar to No. 73 except that he holds
93.
the image of a Jina (probably Amitabha) in his right hand and displays
the Abhaya pose with his left.
94.

Also similar to No.

Cintamani Lokesvara.

73,

except that

here he carries the Caitya in his right hand while the empty left is held
near his navel.
95.

Similar to No. 73, with the difference

Santamati Lokesvara.

that he exhibits the Varada pose with his righthand and holds thebough of a tree in his left.
96.

Also similar to No.

Manjunatha Lokesvara.

73,

right hand and the bookthe god holds the rosary in his

but hereagainst hischest with his left.
97.

Similar to No. 73, except that here he

Visnucakra Lokesvara.

holds the Cakra in his right hand and the Gada in his left.
98.

Krtanjali Lokesvara.

Similar to No. 73 except that here thegod exhibits the Anjali against his chest with his two hands.
99.

He again is identical with No.

Visnukanta Lokesvara.

except that here the god displays the Varada
his right hand and the book against his chest in his left.
all respects,

100.

Vajrasrsta Lokesvara.

Identical with

No. 73,lies in the fact that here the god carries the chowrie

73 inmudra withthe differencein his righthand

and the lotus in his left.
101.

Sankhanatha Lokesvara.

Similar to No. 73, with the difier-ence that here the god holds the conch against his chest with his -righthand 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

Nityanatha Lokesvara. He is identical with No, 73, with thedifference that here the god holds the rosary in his right hand over the103.

book held in his left
104.

Padmapani Lokesvara.

He also is similar in form to No. 73,

with the difference that here the god displays the Varada pose withhis right hand and holds the stem of a lotus in his left,

Vajrapani Lokesvara. He again is identical with No. 73, in
all respects except that here the god holds the Vajra on his head with105.

his right hand, while the empty left is held near the navel.
in which he stands is also different*

The attitude

He shows the dancing attitudeinArdhaparyanka.
106.

Mahasthamaprapta Lokesvara.

He is similar in all respects

to Padmapani Lokesvara (No. 104).
Identical with No. 105, Vajrapani
Vajranatha Lokesvara.
thedifference
that here the god holds the lotus in
with
only
Lokesvara,107.

his left hand.
108.

Srfmadaryavalokitesvara.

and stands on a lotus.

isone-faced and two-armed

He holds the Vajra in his right hand which

rests against his chest while his

the'navel.

He

left

holds the stem of a lotus

near

GLOSSARY
Abhaya mudra, or the gesture of protection. The hand showing thismudra 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 thehand 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,

the string of beads such as is carried by the
Catholic priests. The beads consist of a kind of driediscalled in

Sanskrit, Rudraksa.

It

may be made withothermaterial also, such as crystals, etc.

Alldha, a particular Asana, or attitude of legs, in all respects similar to
the attitude adopted in drawing the bow charged with anarrow.

The right leg is outstretched while the left is slightly bent.

This attitude should be distinguished from the Pratyalldba attitudein which case the left leg is outstretched while the right is slightly

bent and placed behind.
Anjali, name of a mudra, also known as the Sarvarajendra mudra, or the

Samputanjali. It is the mudra in which the two hands are clasped
against the chest, palm to palm, both of which are extended

upward withcharacteristic

allfingers

erect or slightly

bent.

This

is

the

mudra of Sadaksari Lokesvara and is also exhibitedby Namasangiti.
See the weapon, for instance, in the image ofWhen the goad is surmounted by a Vajra, it isAnkusa, elephant goad.
Parnasabarl.

called Vajrankusa.

Anuvyanjanas, see Laksanas.

Ardhaparyahka, also called Maharajallla, is a particular Asana of sitting.
Both the legs are on the same pedestal one of the knee is raised;

while the otherisbent in the usual position of a Buddha.

This

Asana should be distinguished from the Lalitasana in which caseone of the legs is pendant, while the other is bent in the usual
position of a Buddha, When both the legs are pendant, the attitudeis 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 theseat of lotus.

Similarly, Simhasana means the lion^throne or theseat of a lion*

The word Sukhasana means any easy

attitude ofsitting.
may be the Paryankasana, Lalitasana or the Ardhapar*
yankasana. In fact, in the Sadhanamala, the word Sukhasana
It

When used in a technicalhas not been used in a technical sense.
sense Asanaisof various

kinds, such as

theParyafikasana,

Vajraparyankasana, Lalitasana, Ardhaparyankasana, Bhadrasana,
Alldhasana, Pratyalidhasana or the Natyasana, a variety of Ardhaparyanka.

Asoka,

the absence ofsorrow;

but the wordalwaysused towhich blossoms forth red

designate a particular kind of tree

From time immemorial, this tree is regarded as sacred inflowers.

It is believed thatIndia.
itiskicks at the tree by chaste women cause

to blossom.

Bana, see Sara.

Bhumisparsa, also called Bhumisparsana or the Bhusparsa, is the nameof a mudra. The right hand exhibiting this mudra has the palm
turned inward and the fingers outstretched, with the tips touching
the ground.

This mudra should be distinguished from the Varada

which case tips do not touch the ground and the palm
instead of being turned inward is turned outward. The deity
showing the Bhusparsa mudra must sit in the Vajraparyahka

mudra

in

attitude.

Bhutas, a class of mischievous spirits or hobgoblins who, without
any provocation whatever, are supposed to injure men anddestroy them mysteriously.
Bija,means a'seed'.

takes the form of

In Tantra

BIjapura, citron, a characteristic

Brahmakapala, or

it

the Germ-Syllable whichof meditation.

signifiesa deity in the course

symbol of Jambhala.

the Brahmasirah>isthe severed head of Brahma

who is credited with four faces with grey beards in all of themand the crownof matted hair.

The Buddhist gods,

carrying

triumphantly the severed head of Brahma, display the aversionof the Buddhists towards the Hindus, as well as, the superiorityof their gods to the gods of the alienfaith.

Brahmamukha, the face of Brahma containing four faces. The Brah*mamukha is superimposed on the head of Paramasva.
55

BUDDHIST ICONOGRAPHY

434

Brahma si rah see Brahmakapala.
which represents the Buddhist Universe, is the
Buddhist sanctuary, sometimes square and sometimes round, with

Caitya, or the Stupa,

on the capital.

spires or steps

Eachspire or step represents aheaven, the uppermost portion being a point which is supposed
to be the highest peak of Mount Sumeru, a mythical mountain,

whence the Bodhicitta loses itself in ounya. On the four sides of
the Caitya the figures of the Dhyani Buddhas appear. Vairocana issometimes present. The corners are occupied by the figures of theDivine Buddhasaktis or their symbolic representations in theform of Yantras. The Caitya may show further, in the four cardinalpoints,the Caturmaharajikas

or

the

Great

Rulersof theQuarters, namely, Vaisravana, Virupaksa, Vtrudhaka and Dhrtarastra.

Cakra,

See Stupa.

Wheel or disc.

Itisthe characteristic symbol of the

Hindu

God Visnu or Krsna.
Camara, Chowrie or the fly-whisk consisting of the tail of a Yak.
Capa, also called Dhanus, is the bow. It is generally carried in the left
hand. With the bow and the arrow Marlci inflicts pain to the
Mar as or wicked beings.
Casaka, Wine-glass.

Caturmudra

See Sanmudra.

Chintamani

the gem that satisfies all desires.

The jewel is sometimes

represented in the form of a small round object and sometimes inthe shape of a flame.

Dakini, same as Sakti.

See Sakti.

Damaru, small drum, such as is carried by the Hindu god Siva.
Danda, the staff or the mace carried by Hayagrlva. It cannot be- translated as the magic wand, as the Khatvanga serves that purpose.

When the staff

is^surmounted hy a Vajra, it is called Vajradanda.

Dharani or Dharim, meaningless conglomeration of syllables, occasionally containing one or two intelligible words, used as a charmor prayer. There are DharanvSangrahas or collections of Phara*
nis in the Nepal Library, with an astonishingly large nujnber of

Dharams devoted todifferent deities.

The Ikt giyen;iji

theNepal Catalogue Vol. II. App, p. 225, et sqq. may JbexpnsiiHed.
Dharmacakra, or. Vya.khyan* mudraris that gesture of hands. .exhibitedby Lord Buddha -while preaching his first sermon at ,3arnath.
This pose is depicted variously but the most artistic and correct

GLOSSARY

mudra is to be found in the celebrated

representation of thisPrajnaparamita image from Java.

Dhanus, same as Capa.

435.

See Getty:

GNB, p. 187.

See Capa.

Dhupa, incense stick, which when burns, emits fragrance.
Dhyana, meditation it refers generally to that portion of the Sudhana
in which instruction is given as to the description of the deity;with whom the worshipper is to identify himself.

Dhyana, or Samadhi mudra the position of hands while in meditation.
The hands with palm upwards lie one upon the other on the lap
with all fingers stretched. This is the characteristic mudra ofAmitabha.
;

Dhyanasana, or Vajraparyahkasana,

or Vajrasana, is the meditative
thetwolockedwith both the soles apparent,pose,
legs being firmly

the characteristic sitting attitude of the Dhyani Buddhas.

Some*times a small thunderbolt, shown on the seat of the god, indicates

Dhyanasana should be distinguishedfrom the Paryahka attitude in which case the legs are placed one
upon the other with both the soles invisible.
the meditative attitude.

Dlpa, lamp, the sacred lamp fed with ghee.
Gada, mace.

Garuda, mythical bird supposed to be the destroyer of all serpents.
The Hindus regard him as the Vahana of Visnu. Garuda isrepresented as a huge bird with a human body, two wings andsharp beaks, generally with hands clasped against the chest.

when the bell is surmounted by a Vajra, it is called Vajrais a symbol of Vajrasattva.
which
ghanta,Ghanta, bell;

Jatamukuta, the crown of matted hair. The hair is tied up above thehead in such a way as to resemble a crown or a tiara.
Kalasa,isthe ordinary water-vessel of metal or earth.

from the Kamandalu or Kundika, whichisIt

smalleris provided with a projecting pipe for discharging

isdifferent

in sizeandwater.

Kamandalu, see Kalasa
Kapala, either (i) severed head of a man, or (ii) the cup made of a skull,or (iii) a bowl. The skull cup is of two kinds when it is filled;with blood it is called Asrkkapala, and when with human flesh
iscalledMamsakapala.

The

deities are supposed toitpartake ofthe blood or the flesh carried in these cups.

Karana, mudra. Any hand showing this mudra is outstretched with theindex and the little fingers erect, while the thumb presses the tworemaining fingers against the palm of the hand.

BUDDHIST ICONOGRAPHY

436

Karppara, same as Kapala.
Kartri,See Kapala.

or Karttari signifies a small knife

uneven like the edge of a saw.
surmounted with a Vajra.

;Itsometimes the edge of itisiscalled Vajrakartri when

The sword in the hand of Manjusri is called the
Prajnakhadga or the Sword of Wisdom, which is believed to

Khadga, sword.

destroy the darkness of ignorance by the luminous rays issuingout of it.

Khatvanga, magic wand the stick is generally surmounted either by
Vajra or the Kapala, or the Trisula or the banner, or all of them.
;for a Khatvanga the skulls are necessary and it will

In any case,be so called even if nothing else is present.

The
Ksepana, the mudra of sprinkling, exhibited by Namasanglti.
two hands are joined palm to palm with fingers all stretched, theare turned downwards

tips of whichand enter into a vessel con^taining nectar.

Kundika, same as Kamandalu.
Laksanas, auspicious marks;

See Kalasa.

the thirty^two special marks of the Buddha,The
Dharmasahgraha attributed to Nagarjuna.
Anotherclass of minor marks is called Anuvyanjanas, eighty in number,also enumerated in the Dharmasahgraha.

enumeratedinLaksanas are also enumerated in Getty : GNB, p. 190.

See Aksamala.

Mala, same as Aksamala.

Mandala, the magic circle, containing mystic figures and diagrams, andIn thefigures 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.

Mantra, mystic syllables sometimes containing a few intelligible words,
but shorter than the Dharanls. The Mantras are believed to bea contracted form of the Dharams and aremeant for the mass to

obtain an easy salvation, by simply muttering them* In many
instances, the Mantra gives the name of the divinity or his attri*butes, and these are most important in determining the namesof different gods when the Colophons of Sadhanas are notenough.

Mayura, peacock,

Mudgara, hammer

and Mayurapiccha signifies feathers of a peacock,;it

may also mean a staff or a mace.

GLOSSARY

437

Mudra, mystic pose of hand or hands. Some of the Mudras can beshown by one hand, such as the Varada, Abhaya, Namaskara, etc,
others require both the hands such as the Anjali, Dhartnacakra,others. In the Sadhanamala there are descriptions ofand many

an overwhelming number of Mudras.

But it is very

difficulttocomprehend them unless actually explained by the priests*
Musala, pestle
Nagas, serpents. They have the character of water-spirits and are believed to dwell in the springs, lakes and tanks, and have the power
to bring or withhold rains.

hurl

But if they are roused to anger, they

down rocks from the mountain tops and destroy fair cities.

The gods of the Sadhanamalaarefond of ornaments of eightlords of snakes.

animal of Jambhala. The
the characteristicmongoosebeisthebelieved
toreceptacle of all gems and whenmongoosetheWealthGodoftheanimal, it vomits forth all thepressesNakull,;riches.

Namaskara, the mudra assumed by the Bodhisattvas, when paying
homage to the Buddhas or Tathagatas, or by the minor deities tothe principal one. The hand, slightly bent, is raised above in aline with the shoulder with

fingers outstretched orslightly

bentwith the palm turned upwards.

Nupura, anklet small bells are attached to the ornament so that when
the leg moves, it chimes melodiously.
Padma, lotus, which may be of any colour except blue. The blue lotus;

word

Utpala orworks the Padma is the day

lotus, whileisdesignated by the

Nllotpala.

In Tuntric

Utpala stands for theassacredItislotus.
especiallyby all classes ofregardednight
Indians. See Getty
GNB, p. 192. When the lotus shows petals
in both the upper and lower directions it is called the Visvapadmaor the double lotus. Padma indicates purity of descent.
:Parasu, axe.
Paryaixka, see Dhyanasana.
Pasa, noose or lasso ; when a Vajra is attached at theend of it,

itis

The noose iscalled the Vajrapasa or the adamantine noose.
required to bind the host of the Maras and all other wicked
beings.
Patra, begging bowl or bowl generally found in the images ofthe five

Sometimes the
Dhyani Buddhas and of Buddha 5akyasimha.
Kapala is used in the Sadhanamala to designate a bowl (SeeGetty records a Buddhist legend to show how a Patra
came in the possession of the Buddha. Getty GNB, p. 193,
Kapala).

:BUDDHIST ICONOGRAPHY

438

Prajna, see oakti.

means

Preta or Mrtaka or Sava, alwaysacorpse or ghost in Indian

Buddhist Iconography.
Pustaka,

bookin theform ofor

Prajnaparamita

Manuscript which represents theBook of Transcendental Knowledge.

theaNagarjuna is said to have restored the Scripture from the nether
The book is carried by several Buddhist gods, notably,
regions.
Prajnaparamita, Manjusrl,

Sarasvati and Cunda.

The word Triratna signifies the three Jewels, Buddha,Dharma and Sangha. Similarly, there are different groups ofRatna, jewel.

jewels, such as the seven jewels

or theFor thesixteen jewels.

enumeration of the seven jewels, see Getty
also Cintamani.

:

GNB, p. 194.

See

Sadhana, procedure of worship for the invocation of Buddhist gods,
and not *charm' as translated by C. Bendall. The Sadhanamalaor the Sadhanasamuccaya is a collection of 312 Sadhanas.
Sakti, or Prajna, Vidya, Svabha

Prajna or Svabha- Vidya, the femalea Bodhisattva.
All goddesses are regarded ascounterpart offemale counterparts ofone

or another of the Bodhisattvas.

The Saktis are either represented

or in yab-yum, i, e. in
the actual embrace of the god to whom she is affiliated as a Sakti.
singlyThis female counterpart is called Svabha' (ownprincipal god's own creation).

light, being

theShe sometinles carries the same

weapons as are carried by the principal god.
Samadhi, meditation;

the deepest

form ofabstract

meditation. Fora description of the Samadhi mudra see Dhyanamudra.

Sankha, conch-shell

;

it is

especially given as aas the sound viabrated through asymbol to the gods
far and wide.

shell penetrates

The conch-shell seems to have been extensively usedin warsbyancient Indians.

Sanmudra,thesix-mudras;

themeaning of

this

mudra

different from the mudra meaning mystic gestures.

It

is

quite

has beentranslated as auspicious ornaments or symbols. The six ornaments
are enumerated in the following verse in the Sadhanamala:"Kanthika rucakam ratnamekhalam bhasmasutrakamI

Sat vaipSramita eta mudrarupena yojitah" II"The torque, the bracelet, the jewel, the girdle, the ashes and thesacred thread are ascribed to the gods in the form of mudras(ornaments), which represent the six PSramitas".

GLOSSARY

439

These ornaments or symbols are generally of human bones, theKhatvanga being the sacred thread. When one of the six isabsent they are called Pancamudra, and Caturmudra, when two.
Sara, or the Sana, is the arrow. It is generally carried in the right hand,

while the corresponding left shows the Dhanus.
Sava, see Preta.

Siddhas, or Siddhapurusas are saints who have already attained Siddhi

and have acquired supgr-normal
powers. Two groups of Siddhas are generally recognized, one
consisting of nine and another of eighty-four* They were famousin the mediaeval age for their magical powers and prodigious
or perfection in a Tantricdeeds.

Simha, lion.

rite,

Most of them hailed from the East.

The word SimhSsana means the lion-seat or the lion-

throne, but does not designate a special attitude of sitting such
the Vajrasana, Ardhaparyankasana, and so forth. See Asana.

asSrnkhala, chain, also called the Vajrasrnkhala, (which is the characteristic symbol of Vajrasrhkhala), when the chain is surmounted

by a Vajra.
Stupa see Caitya.
Suci, mudra used generally in the act of dancing,seen in other cases also.

though

is

it

to be

All the fingers are stretched with thetips joining at the end, so as to resemble a needle fSuci).

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.

tion of the two, nor a negation

Vajrayana is identified with Compassion whichtransforms itself in the form of divinities, of the nature of Sunya,
This

unya

in

for the welfare and happiness of men.

In Vajrayana Sunya is thePrime 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 ; the pose of the raised index finger in a menacing
In the hand showing this mudra, the index finger only
attitude.
is raised while the other fingers arelocked up in the

Pasa or noose appears round the index finger it
pasa.

The word Vajratarjam signifies thfe Vajra -held

while the index is raised in a menacing attitude.

.

If

fist.

in the.,a

Tarjam*called

is

.

."

fist

Y

BUDDHIST ICONOGRAPHY

440

Tarjaniplsa, see Tarjam,

Tarpana, mudra of doing homage to the Departed Fathers the mudraof Namasangiti. Any arm showing this gesture is bent and is;raised upward in a line with the shoulder.
is turned

The palm of the handinward with fingers slightly bent and pointed towards

the shoulder.
Tathagatas, the Buddhas who have attained the highest state of perfection according to the Buddhists. In the Sadhanamala, the word
is invariably used in thefive Dhyani Buddhas,

pluralnumberwith reference tothebut does not even signify Vajrasattva or

The Buddhas

are innumerable and have a hierarcythedifferent
orders being Pratyeka, Sravaka, Samyakamong them,

Vajradhara.

Sambuddha, Jina, Arhat, Tathagata, and the like.
Trailokya, pertaining to the three worlds:

the divine, the terrestrial andthe infernal.
*

Trisula, trident.

and hence

The Hindu god Siva isitisbelieved to carry the trident,

popular among the Tantra symbols as most ofof a dialogue between Siva andthe Tantras are in the form

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;gods of an alien faith serve as Vahanas.
Vajra, thunderbolt.

When two thunderbolts are crossed, it is called a

Visva*vajra, or a double Vajra. In Buddhist Tantra the word
generally designates ounya or Void, which cannot be cut, cannot

be destroyed, but which destroys allevils.

Vajradanda, see Danda.
Vajraghanta, see Ghanta.

Vajrahunkara, mudra.

The wrists

are crossed at thechest withtwo

hands holding the Vajra and the bell, both of which are turned
inwards. But if the two symbols and the hands are turned out-

ward the mudra will be called the Trailokyavijaya mudra.
Vajrakartri, see Kami*

Vajrankusa, see Ankusa.
Vajraparyanka, see Dhyanasana.
Vajrasrhkhala, seernkhala.

VajratarjanI, see Tarjam.

GLOSSARY

441

Varada, mudra, the gesture of hands shown by gods while conferring
boons. The hand showing this gesture is pendant with its palm

outward andfingers

all

Sometimes

stretched*a jewelisseenstamped on the hand showing the mudra when it is known as the
Ratnasamyukta- Varada, that is, the gift'bestowing attitude together
with a jewel. The Mahoba figure of Khadiravam is an exampleof this kind.

Visvapadma, the double conventional lotus.
Visvavajra, the double conventional Vajra.
Vitarka,mudra assumed

in discussion.

See Padma.

See Vajra.
This mudra is altogether un-

known in the Sadhanamala and seems to be a later development.
It is, nevertheless, shown by a number of forms of Avalokitesvara
treated of in the Appendix all of which are more or less influenced

by Tibetan art and iconography.
the right arm bent,This mudra is represented withexcept either the index or the

all fingers erectring finger which touches the thumb so as to resemble a ring.

The

hand is extended forward with the palm outward.
Vyakhyana, mudra, see Dharmacakra.

Yab-yum, is a Tibetan word consisting of two particles yab and yum.
The word Yab' in Tibetan means the 'honourable father* and'yum' means the 'honourable mother'. The combined word,
therefore, means the father in the company of the mother, or incher embrace.

For the spiritual significance of the conception of

yab-yum, see Conclusion.
Yaksas, are mis-shapen dwarfs who guard the treasures of the Northern
mountains and their chief is Kubera, the God of Wealth. They
are usually malignant in disposition and they occasionally feed

human fleshon
But the benign influence of Buddha's teaching

makes them forego their cruel habits.

56

INDEX OF WORDS
Ahankara, 27, 30
Ajanta, 5, 39

Abhayakara Gupta, 3, 4, 47, 82, 155

Ajaya, 160, direction 160, form 160

Abhidhanottara Tantra, 4Abhimukhi

Bhumi,

symbol335,

335,

dhyanacolour335,

335,

described

Akanistha heaven, 34

Akarsana rite, 166
Akasagarbha Bodhisattva,

335, images 335

Acala 154, 155, colour 255, direction 255,

dhyana 255, described 255, Sakti 255,
images 255
Acala Bhumi, 336, colour 336, symbol 336,

dhyana 336, described 336, images 336

symbol85,

dhyana86,

85, colour 85,

described 86,

images 86, forms 86

Akasagarbha Lokesvara, described 399
Aksayajnanakaranda Dharini, 341, colour
341, symbol 341, dhyana 341, described

341

Acalaketu Lokesvara, described 429

Aksayamati Bodhisattva,

Arala Vajrapani, 155symbolAcata (?) Lokesvara, described 397

84,

dhyana 84

84,

colour 84,

described 84,

images 85

Adamantine sow, 217
Adherence to the Path, 20

Aksayamati Lokesvaro, 39>

Adhikarin, equipments of, 24
Adhimukticarya Bhurri 333, colour 333,

Aksobhya Dhyani Buddha, 51, colour

symbol333, dhyana

333,

described

333, images 333

331, dhyana 331, described 3 31, images

331

Adibuddha, 42, 43, manifestation of, 101,
cult of, 44
Adibuddha, Dhyani Buddhas as, 387, diover the flame of,described 51,

images51,

in52, dhyana 52, described 52
of 45, as a Tathagata, 34, 35,

origin;in theHindu pantheon 191, on the crown of
Hindu Tara 191, gods emanating froml54f, goddesses emanating from 189f.
Alchemy, 8
Amravati, 5lOOf,

Adibuddha theory, time and place of in367, colour

Amitabha, 14, 34, 49, dhyana 49,
49, vahana 49, mudra 49

troduction 38 7n
Aditya,51,

Alakapuri, Kubera's capital 379

fferent cults with different, 387

templena

stupa 5 1 , direction 5 1 , family 5 1 forms
52, lord of the East 52 ; eight-armed form,

Adhimuktivasita, 331, colour 331, symbol

Adibuddha,

51,

vahana 51, nnidra 51, symbol 51, dhya-

367,

symbol367,

vahana 367, dhyana 367, described 367,
images 367

Adibuddhayana, 187
Adiyana, 187
Advaya, 30
Advayavajra, 9, 48

symboldescribed 49,

images 50, origin of, 45, sire of Avalokitesvara 124, gods emanating from

145f,

goddesses emanating from 147fAmitabha Lokeivara, described 429

Amitaprabha(also

Amjrtaprabha),

90f,

colour 90, symbol 90, dhyana 91, described 91, images 91

Advayavajrasahgraha, 25

Amitayus, 35Agni, 362, colour 362, vahana 362, direction 362, dhyana 362, described 362

Amuayus Sutra, 14, 15, 100.
Amoghadarsi Boddhisattva, 97, colour 97,

images 362

symbol 97, dhyana

97,

described 98,

BUDDHIST ICONOGRAPHY

444

Arya'Manjulrlmulakalpa, 100

images 96

55f,

Arya-Manci, 2 10, symbols 210, described
210

vahana55,

Aryatara, 229,

symbol 55, dhyana 55-6, described

56,

Amoghapala Lokesvara, described 428
Dhyani Buddha, 22,

Amoghasiddhi
colour

mudra

55,

55,

images 56, direction 56, place in stupa
56, origin of, 45, emanations of 226

name of Vas\atara 229,
sadhana 229, described 22, green 307,
special features 307

Arya-Sarasvatl, 351, symbol 351, described
351, images 351

Amrtalocana, 249

Amrtamukhi, 249
Amrtananda, 2, 3, 142, 205, 206

four-armed 219,

219,

Arya-Vajravarahi,

described 219, symbol 219

of 389, 390,

Analarka, 254

Asanas, significancements in 390

Ananda, 79, 191

Asanga, 8, 12, 13, 41, 197, deified 35,

Lokesvara, described 398

Amrtaprabha

Ascetic, 25
Asiatic Society's Library, 4Ananga VHJra, 12, 35
Anantamukhi Dharini,

340,

colour 340,

340, described 340.

Asokakanta Marici, 227, as a minor deity
227, as companion 228, described 209,
228, dhyana 209, 228, images 209, 229,

Animal-faced deities, 319, general description 319, deification of animals 319,
special featuresini-

tiated by Maitreya 81)

Anandadi Lokesvara, described 395
Ananga, 187, Hindu god of love 115

symbol 340, dhyana
Ananta, snake, 148senti-

vahana 209, colour 209

Asoka bough, 209
Assam, 6319

Animosity against Hindu gods, 389
Anjali mudra, 129, 207, of Sudhanakuma-

Astabhuja Kurukulla 245> 249, companionsof 249, colour 150, mudra 150, sadhana
150, dhyana 150, described 151, images151

ra 129Anupama Raksita, 20

Astabhuja Marici, 211, colour 211, residence 211, described 211, attendants

Anusmrti, 26
Aparajita, 183
Aparajita, 151, 222, colour 151,

described

151, direction 151, see also

Sitatapatra

211, images 212

Atamahabhaya

Tara,

white

308,

308,

special features 308

Aparajita
Aparajita, 245 f, colour

245,

mudra 245,

Astabhujaplta Marici, 210

dhyana 246, described 246, images 39,
246, Nalanda fragment 246, Indian

Astabhuja Vajratara, 240, name of Vajra-

Museum image 246

Astrology, 8

Astronomy, 8Appearances, 28
IZOf.

tara in Peiping 240, see Vajratara

name

120,

explained
Arapacana,colour 120, companions 120, symbols
120, described 120, images 120, originof 121, images 39, 121, 121n

Arcismati Bhurai, 334, colour 334, symbol
334, dhyana 334, described 334, images
335

Artha Pratisariivit, 343, colour 343, symbol

AsVaghosa, deified 35
Atila Dlpankara, 16

Avalokita Bodhisattva 143

Avalokita LokesVara, described 399

AvalokitesVarall, 14,30,34, 35, 38, 49,
origin of 143, ruler of BhadrakaJpa
124, his sire

Amitabha125, character

124,

qualities

124

specialsadhanas343

forms in the SadhanamalS 124,(108) forms in Nepal 6n. 88, 124, 144,

Arolik, 45

discovery of

Aruna, 207

125.

343, dhyana

Arya-JangulI,

343,

228,

described 343, imagesascompanion, 228,

dhyana 228, described 228, images 229

124,

AvalokitesVara
88,

symbol108

forms 125, images

Bodhisattva,
88,

dhyana88f, colour

88, describedINDEX OF WORDS
83, images 89

Ayurvasita, 329, colour 329, symbol 329,

dhyana 329, described 329, images 329
Balabhadra, 378, pastoral deity 378, colour

symbol 378, vahana 378,

dhyanaBalabhadra Group, 378, deities of the, 378,
their nature 378

327,

Blue colour, significance of, 154
Bodhicaryyavatara 5
Bodhicitta, 25, 27, nature of> 393

Bodhi knowledge

378, described 378

Balaparamita,

Bimba (icon'drcle), 26
Birbhum 38

Bodhi21

B
378,

445

colour327,

symbol1 1Bodhi

mind, 28, 29,
Karuna 31

charged30,

withBodhisattva, 11, 20, 27, 28, meaning of 82,

327, dhyana 327, described 327, images

class of deities 82, female

327

82, independent group 82, in Nispanna-counterparts

yogaval! 82, three sets of 16 deities 82,

Banerji, R. D. 39

Bendall, 35n

lists of, 82, with Dhyani

Bengal 5, 6, school of art 38, 39

99,

Bewitching, rite of, 115

group of eight 98

Bhadrakalpa, ruler of 49, 124

Bhadrapala Bodhisattva,

96, colour

symbol 96, dhyana 96, forms
cnbed 97, images 97

96,

96, des*companions

Buddha forms

of JLokanatha

130,

Bodhisattva, Padmapani, 49
Bodhi sattvay ana 8

Bodhnath, stupa of 32 (also Bauddh)

Borobudur temple 39

Brahma 27, 250, as Mara 159, 195, colour

Bhadrasana 229
Bhairava, 161, 162, as vahana 218

363, vahana 363, dhyana 363, described

Bharhut, 5, 31

3o3, images 363,

parasolbearer 246,

severed head of 162

Bhatgaon, monasteries n, 41
Bhattasali (Dr. Nalini Kanta),

1,

16,

39,

Bianniavawana Parana 18

Brahmadanda Lokesvara, described 397

130, 156, 223, 233

Bhima, 160, direction 160, form 160
Bhlmadars'ana 160, direction 160, form 160

Brahmananda 190
Brahmas, Four, 21

Bhismabhagini, 236

Brhaspati, 368,

Bhota 193

vahana 368, dhyana 368, described 368
Bronzes 5

Bhrkuti, 128, 129, 135,147, 152, colour 129*135, 152,

symbol 129,

135,

152, des-cribed 129, 135, 152 sadhana 152, Dhya-

na 152, forms 152, images 153, yellow
309, special features 309
Bhrhgi, 365, colour 365, dhyana 365, des-Bhumis, ten, 28
twelve 333, meaning 333,

definition 333, description 333, images

Vajratara 240, in

the formof a lotus 240

Buddha 20,

as god 32,
of31, 32
images

first

image

of

5,

Buddha's life, scenes from 5

Buddhas 20
Buddhahood 8, 29
Buddhadakini 163, 218, Sakti of Maha-

maya 164, described 164

333

Bhurim, 135, colour 135, symbol 135, des-Buddhakapaia, 159, colour 159, Sakti 159,

sadhanacribed 135

Bhutadlmaraofsymbol 368,

Buddha Sakyasimha 48

cribed 365

Bhumi deities,

Bronzecolour, 368,

182,

182, dhyana 182,

mudra,

182,

sadhana

described 182-3, sire

183, images 183, cult of 183

Bhutadamara VajrapSni, 183

159,

dhyana159,

described

160, mandala of, 160, images 160

BuddhabodhiprabhaVas'ita 332, colour 332,
symbol 332, dhyana 332, described 332

Buddhism, destruction of 39

Bhuvanesvarl 117n

Buddhist esoterism 10

Bihar 6

Buddhist god of love 115

BUDDHIST ICONOGRAPHY

446
Buddhist

Iconography

scope

384,

384,

Caurl,

310,

colour310,

Buddhist monasteries 4
Buddhist pantheon 384, in Guhyasamaja
384, first deifications 384, Kulas and
Saktis 384

Chariot of MaricI, 211

colour 302, symbol

302,

direction

dhyana 302,

302,

Buddhist universe 48

302,

Budha (planet), 368, colour

cribed 302, images 302

symbol368,

368, dhyana 368, described 368, images

Chinese, 1368

Chiromancy, 8

Buffalo vahana 166, 167, 168

Cintamani family, 32, 45

C

Cintamani Lokesvara, described 430

Caitya K), 211, 215, residence of MaricIof

Usmsavijaya 215,

special symbol of Maitreya 80

colour 365,

colour312,

Cittavisuddhiprakarana 47

vahana 365,

symbol 312,

312,

dhyana 312, described 312, images 312
Candarosana 154, 155, 255, colour 154,

names 154, sadhana155, symbols

154,

154,

Sakti

dhyana155,

154,

worship

155 images 155

Clark, (Professor Walter Eugene), 3
Collective Deities, 251, their nature 251

Colour, significance of 389, connection withelements 390, malefic and benefit 390

Comilla 38of Marici, 213, un-Companions, three

named 213, described

Confession of sins, 20

Candavajrapani 236

Constellations,companionofCompassion (Karuna), 21

Mahakala,

347, colour 347, symbol 347,

direction

347, described 347

Candra (planet), 367, colour
367, vahana 367,

367,

symboldhyana 367, described

367, images 367
89, 120,

121,

colour 89, symbol 89, dhyana 89, 90
described 89, 90, images 90

Candraprabha Lokesvara, described, 398
Capetadana mudra 245

companion

Caturbhuja Sitatara (white),
Catur-Maharfijikas, 35

Coomaraswamy {Dr. A. K.) 1, 31
Csoma de Koros (Alexander), 43
Cults, Buddhist, 387

Cunda 35, 220, spelling of the name 220,
Dharini220,

mantra of 220,

colour 151, 219, symbol 219, 223, sire
219f,

forms 219, as a minor deity 221 ,

222, place

in

the

mandala,308,

special222,

asconsort of Takkiraja 222, dhyana 221,
222, forms 222 ; twenty-six

of Mahakala, 347,

colour 347, symbol 347, direction 347,
described 347

features 308

twenty-eight, 381, deified

381, named 381f, described 381f

deifiedCandraprabha Bodhisattva,

Carcika,

213, colour 213,

form 213

Candamaharosana see Candarosana
Candamahawsana Tantra 4, 155
Candesvan,

symbol 329,

329,

dhyana 329, described 329, images 329

dhyana 365, described 365, images 365
Candall

Citrasena 159, described 160, image 160

Cittava^ita, 329, colour

Calcutta, Indian Museum at, 6, 38,]
365,

Citrakaras (of Nepal), 7

Cittadhatu Lokesvara, described, 430

Cakra (discus) as family symbol 54
Cakiasambara Tantra 217

Camundades-Chittagong 39
Cintamani Datta, author, 123

Buffalo head 166

residence

310,

Chhinnamasta 1, 17, 247, Hindu goddess
247, same as Vajrayogini 247
Chhatrosnisa,

Buddhist Tantra 9

211,

symboldhyana 310, described 310, images 310
Cave Temples of Western India, 39

purpose 384, value 384

described 151, 221,

armed 222,

223, symbols 223,

mudra 223, miniature

223, temple inPattikera 223, antiquity,

221, sadhana

221, images

221,

224,

image

symbols 224; Bodh-Gaya

224,

image 224

223,

BarodaINDEX OF WORDS
Cunda Dharinl

221, 340, colour 340,

220,

symbol 340, dhyana 340, described 340,
images 340

Cunda mairra 221
Cunda murira 223n

Dharani

44,7

(also

Avalokitesvara 29, Vajragandharl 236,

numberdeification 337, nature 337,

D

337,

Dakini, 218, described 218, 321, form 321,

220

images 321, 322, Vajra-

337,

description

character 220, power 220, enu-

meratednames of 220,

220,

of

sire

Dharma 10, 20, goddefas 32, Hindu 6
Dharmacakra Lokesvara, described 429

yoginl 217

Dakini group, four, 321,
tion 321,

general des-10,

sadhanas, 337n, ofin

Dharinis, twelve, 337, their

Dacca, o, museum 33, 156

dhyana 321,

Dharinl)

cription 338n,

of

list

general descrip*

deities,

321, appear-

ance 321, form 321, images 321

Dharmacakra Manjusri 118n
Dharmadhatu Lokesvara, described 430
Dharmadhatu Vaglsvara 103, colour 103,

Damara mudra 183

described 103f, dhyana 103, forms 103f,

Danaparamita 324, colour 324, symbol 324,

images 104, mandala 104, called Manju-

dhyana 324, described 325, images 325
Dance deities, four, 312, their nature 312,

ghosa 104, principal deity of thetheir description, 312, their images 312

Dalabhuja&ita Marlcl, 213, colour 213,
sadhana 213, described 213,
three

Dharmakara 101

Dharmakaya 210
Dharmaklrti, 12

Dharmakosasahgiaha 2, 205, 206, Sukhavuti
Lokesvara described 42

attendants 213

DasabHUmika-SMtra, 28

1Dates or Tithis, 382, deiiied 382, images

Dharmamegha

Bhumi

382

colour336,

images 337

Deification, process of 385, specialised
study 3*85, epidemic of 31, of books

220
Deities, number of 34,

forms ofin*47,

crease in number 392, objects as 392,
literature as 392, philosophical concepts
as 392, abstract ideas as 392,

392, interchange of,

evolutionofdesiresat*25,

natureof 24,

mantra person
29, realisation of 27, single 30, conden-

sation of words, 30,

DharmaPratisamvit

Dharma Vasita

332,

images332

Dhupa 256, and others in Lokanatha Man-

manifestation of

Dhupatara 241,

Dhvajagrakeyura 201,(n)

391, only
essence 391,

241,

described

forms 201, images

201, form (i) described 202,

an idea 391, Sunyaindhyana241

201,

three-faced

colour 201, dhyana 201
described

202,;

four-faced

/oim
202
;

images 202

Sunya manifests as 391

Dhvajosnisa 301, colour 301, symbol

Dependent origination 25
Devadevata Lokesvara, described 428

direction 301,

Devaputra Mara 159

301, images 301

301,

dhyana 301, described

Dhyana 21, 26, essential features 386, devi231, colour 231,

companions

231,

vahanamantra231,

dhyana 231, described 231, images 23 1
green 307, special features 307

Dharana 26

342,

colour 332, symbol

332, dhyana 332, described 332,

Sunya 391, no real existence

Dhanada 179
Dhanada Tara,colour342,

dhyana 342, symbol 342, described 342,
images 342

dala 1311

visualisation of 24, the

231,

336,

symbol 336, dhyana 336, described 337,

Death, god of, 166

Deity,man-dala 104

ations from 386, modified under local

conditions 386

Dhyanaparamita 326, colour 326, symbol
326, dhyana 326, described 326, images

326

BUDDHIST ICONOGRAPHY

448

Dhyani Bodhisattvas, illustrations of, 5 In
Dhyani Buddhas 44, 48, origin 45, productof Tantric sadhana 35309, images

Dikpalas, eight 352, their nature 352, their

two-armed

described

194,/our-armed

described

194, eight-armed

described

number 352, Hindu lords ofquarters

193,

sadhanas 193, dhyana 193, des-cribed 193, blue 309, special features
229, forms of

194,

194,

194, as a minor deity 227, as compani-251
Dikshit, Mr. K.

N 126

on 228, dhyana 228, described 228

Dimbha, another name of Ucchusma 179,
239

Ellora 5, 39, cave temples at, 77

Epidemics 196

Dinajpur 38

Dipa 256. 318, colour 318, symbol 318,
dhyana 318, described 318, images 318

Evans- Wentz (Dr. W. Y.),
225

50,

Excrescence, of Vajravarahi 217

Direction, Ten gods of 25 1

Extraordinary worship 21,

their natureF

general features 251, in Tantricliteiature251,

goddesses

theirforms 252f;sixof 256, their nature 256,297f

special features 256, their forms

Hindu gods of, 25;

Fa-Hien 35, mentions Manjus'ri 100
Fever, Hindu god of, 233
Fire-flies, sign of

26

First image of Buddha 5

1Disciples, qualifications of 94

Five cosmic elements 32

Diseases in human form 233

Five Dhvani Buddhas 11,

names 47,
mudras 47

Divination 8

Divine Bodhisattvas 47

colourFive families of deities, 47

Dogmatic Form of AvalokitesVara (?) 207

Five Kulas- 32

Dombi

Five Mudras 48

colour312,

symbol 312,

316, deification 316,

Dragons 54
Durangama Bhumi, 335, colour 335, symbol 335, dhyana 335, described 336,

name
mudra

Five senses 47

Flame of fire (Adibuddha), 43
Foucher (Professor A.) 1, 2, 5, 31

of78,

Friendship (maitri), 21

Durbar Library, Nepal 3, 4
later

42,
47,

Four Maras 195
Four Pithas (sacred spots), 15
Four Pratisamvits (logical analysis), 342
Freer Gallery of art, 221n

images 336

78,

38,

Five Skandhas (elements), 32, 48

characteristics 316, description 316f

Durgatiparisodhana 78,
Buddha 76, colour

32,

symbols

Five primordial cosmic forces 48

dhyana 312, described 312 images 312

Door goddesses, four

15,

47,

Dogmas 8
312,

215,

Excavations 5

Dipatara 241, dhyana 241, described 241

251,

205,

dhyana 78, described 78, images 78
Durgottarim Tara, 307, green 307, special

Future Buddha 93

Gfeatures 307

Durjaya 160, direction 160, form 160
Dvaradharu 317
Dvaratalakadhara 316

Qaekwad's Oriental Series, 2, 3, 19
Gaganaganja Bodhisattva, 35, 86, symbol
86, dhyana 86, described 86, 87 images
87

Dvesa family 32, 45
Dvesarati, queen of Aksobhya 46;

in Sadhanamala 87, in the

Lokanatha sadhna 131, colour 131, described
131

E
Earliest sadhana 35

Ekagrata (concentration), 26
Ekajata 151, direction 15 1, colour 151,
described 151, mantra of 29, power ofGaganaganja Lokesvara, described 399
Ganapati, 348, 365, symbol 348 365, vaha-na 348, 365, dhyana 348, 365, described
348 365, forms 366, trampled by Aparajita 246

INDEX OF WORDS

449

GanapatihrdayS 349, symbol 349, dhyana
349, described 349, images 349

Grdhrasya 319
Grunwedel, Professor Albert, 1

Ganapati Sastri, 14
Gandhahasti Bodhisattva

Gryphons 54

symbol95,

dhyana95,

95,

Gurdians of gates, four 154

colour 95,

described 95,

Quhyasamaja, 10, (also &risamaja), 12, 13n,
15, 15n, 24, 25, 25n, 26, 32, 34, 41,

images 96

Gandhara School of Art, 5, 32, 35

53, 73, 100, 251, Cunda inGanes*a 197, as Vighna 197, figure of 180,

ings of 385,

dormant

for 300 years,

385

trampled 197, presence of 388-9, humiliating role 389, often trampled under

Qukyctsiddhi, 12feet, 389

Qunakarandavyuha, 124;

45,

221, teach-

see Ganapati

H

Gandha 256
Gandhatara 241, dhyana

241, describedHalahala

241(Lokesvara),

companion

Gmdharva king 381, his name 381,

des-132-133,

cribed 381

132,

132,

colour132,

sadhana 132, images

dhyana 132, described 133,
133, Lokesvara describ-

Sakti described

Gandharvas, lords of, 379

ed 394Garuda vahana 136

Handwritten MSS, 5

Garudasya319
Gatha style 14
GaurL Hindu goddess 184

Hari 212, meaning of the word, 136
Harihara Lokesvara, described 429

Gaurl 310, colour 310, symbol 310, dhyana

Harihariharivahana 136, colour 136, speci-

Hara 212

310, described 310, images 310

al vahana 136, images
in Nepal
136,
dhyana 136, described 136, images 137,

Gaurl group, eight 309, listed 309, described 309f

Lokelvara, described 394

Gaurltara 151, 222, colour 151, described

Hariti35

Gautama 77

Harivahana Lokesvara, described 429
Hathayoga 8, 24, 26

Gaya 38, 35

Hayagriva 128, 129, 185, colour 129, des-151

Germ-syllable (Bija) 25
Getty,

cribed 129, symbol 129

Miss Alice 1,166,207,209

Ghantapani

Bodhisattva

76,

colour 76,

colour163,

cribed 131, symbol 131, mudra 131

Hayagriva (Hindu) 233, god of fever 233,
image 233

described

163

Hayagriva Lokesvara, described 394
Hayasya 319, colour 319, symbol

Glta 313, colour 313, symbol 313, dhyana313, described 313, images 313
God-realisation 17, 25

Gods, male and female, 390, Heruka andNairatma 390

described 156, images 156, male form

Graeco Buddhists of Gandhara 31

mudra

224,

of Sunya 390

225

57

HerukI 163, colour 163, described 163

dhyana224, symbols 225, described 225, images

319,

dhyana 319, described 319
Heruka 6, 39, 154, 155, 159, 208, 248,
colour 155, symbol 155, sadhana 155,
forms 155, worship 156, dhyana 156,

Godhead 23

Grahamatrka 224,

sadhana 165,;

dhyana 311, described 311, images 311
163,

another form:

dhyana 165, described 165, image 165
as companion of Lokanatha 131, des-Symbol 76, image 76, described 76
Ghasmari 311, colour 311, symbol 311,
Ghoracandi,;colour 165, forms 165,.

Heruka Tantra 4, 155, 217, 248
Herukavajra 254

BUDDHIST ICONOGRAPHY

450

Hevajra 154, 163, forms of 157, two-armed (i) 157, colour 157, PrajriS 157, dhya-

na

157,

described

157,

sadhana 157;

four-armed (n) 157, colour 157, dhyana
157, Prajfia 157, described 157, 15*,

sadhana 158,

six-armed;

colour 158, Prajna 158,
described 158

;

(tii)

dhyanasixteen-armed(iv)

Indra 1, 35, 186,

250

IndranI 186

158,

Infinite Spirit 25

Interchange of deities 1

colour 158, Prajna 158, dhyana 158,
described 159, vahana 159, symbols

Involution, process of 31

159, images 159

Is'ana 361, colour 361,

Irsyarati, queen of Ratnasambhava 46

vahana 361,

direc-

tion 361, dhyana 361, described 362

Hevajra TantM, 4I-Tsing 12, 35, mentions Manjulri 100

Hinayana 8
Hlnayanists 1 1
Hindus and Buddhists 187

J

Hinduizing, method of 190

Jagaddala 6, 41

Hindu pantheon 19

Jainas 1

Hindus 1

Jaiiniprabha Bodhisattvn

Hindu gods 158, 344, their parental Dhyani Buddha 344, position in the Mandala344, their Kulas

trampled

195, colour 352.

Indrabhuti 12, 16, 35, Siddhacarya 150

158,

158,

Mara

vahana 352, direction 352, dhyana 352,
described 352, images 352, as vahana

under344, humiliated 389,
feet

389,

animosity

against 389, superiority over 389

symbol,important deities 344
Hiranyagarbha 212

colour 90,

90,

dhyana 90

described

90,

images 90
Jalinikumara 121
Jaliniprabha Lokesvara, described 398

JambhalaHindu gods in Vajrayana 344f names 344,
number 344, nature 344, status 344,

90,

17,

35,

Yaksa 178,
forms

202, 244, asymbol 237, recognition
23 7f

;

single 238,

237,

images 238, described

238, variety 178, antiquity 178, sire 178,

Nepal of Wright, 51
Hiuen Thsang 12, 80, mentions Manju^riHistory of

100

image

39,

178,

described

178,

sadhanacolour 238, symbol

dhyana178,

Yab-yum

178,

238,

238,

Prajna 238,

described 238, companion 238 ; Man-

Hodgson, B. 2
Holy books 5dala 238, described 239, images 239

Jangull 1, Dharini deity 220

Horoscopy 8

form (i) 191,
colour 191, symbol 191, sadhana 191,

Horse-neck 165

dhyana 191, origin 191, forms of 191,;

power 191, described 192, images 191
192, mudra 192,;

I

form (u) 192, colour

Icon 25, 385, details 388, composition 388,
presence of Dhyani Buddhas 388, essential features 388,

non-essential features388

symbol 192, described 192
192, vahana 192,

colourimages 386, Dhyani

Buddhas important 386,

difficulties in

way of, 386,

figuresnecessary

387,

form

308

;

(in)

sadhana

192, dhyana 192, described 192 ;

308, special features

Identification 30, of

;

192,

white

green 307,

special features 307 ; yellow 309, special

features 309 ; in

Hindu Tantras 193

Jangull Dharini 339, colour 339, symbol

unnecessary figures 387, discrepancies

339, dhyana 339, described 339f, images

in 387, solution of problems 387

340

Illustrations (of Peiping statuettes) 4Japanese 1

Indian Museum, Calcutta, 2

Jar of consecration 91

Indifference (Upeksa), 21

Jataka stories* scenes from 5

Indonesia 39

JatSmuku$a LokesVara, described 395

INDEX OF WORDS
Java 5, image of irajnaparamita found
198

inJavanese Art 39

199,
Kanaka-Prajnaparamita 199, colour
mudra 199, symbol 199, described 199,

differentiated 199, images 199

Jaya 160, direction 160, form 160
Jayakara 186, 378, colour 378, dhyana 378,

described 379
Jayatara 151, colour 151, described 151
Jewel family of Ratnasambhava 48

Kapalini 160, direction 160, form 160

Kapata 317, colour 31 7, symbol 317, dhy5na 317, described 3 17, images 317

Karana pose 165
KaTandai'^u/ia

Jinajik 45

5,

11,

124,

143,

sadhanafrom 126

Jivatman 27

Karandavyuha Lokesvara, described 398

Jnanadakini, Sakti of Yogambara 186, 204,
colour 204, dhyana 204, described 204,

KarinI 160, direction 160, form 160

Karma family 56

images 204, Mandala 204
Jnanadhatu Lokesvara, described 398
96 3 colour
Bodhisattva
Jnanaketu

Karmakul! (Amoghasiddhi), 49
Karmavasita 330, colour 330, symbol 330,
dhyana 330, described 330, images 330

symbolimages96,%

dhyana96,

96, described 96,

Karnatara 151, 222 colour 151, described151

colour 328,

Jnanaparamita 328,

symbolKarttikeya,

364, colour 364, vahana 364,

328, dhyana 328, described 328, images

symbol 364, dhyana 364, described

328

images 364

Jnanapradipa, Samadhi 45

Jnanasiddhi 12, 16,Jnanavalita 331 colour 331, symbol 331,
dhyana 331, described 331, images 331

Joyousness (Mudita), 21

Karuna (compassion), 9, 28, 30, 43
Kasia 38
Kasyapa, Mortal Buddha 76, 80
of, 32Kathe Simbhu, stupa

Kathmandu, monasteries in, 7, 41
Kaulas 46
Kauberi 160, direction 160, form 160

K
Kailasa, mount 379

Kern (H.) 12, 31n

Kakasya319

Kes'im 120, 121

Kalacakra,

186,

colourdhyana187,

described

188, blue

colour

188,

364,

186,

form

187f,

187,

Ketu 378, colour 378, symbol 378, dhyana

images378, described 378, images 378
Khadiravani Tara 226, colour 226, symbol

an attemptatunification 389

226,

companions

226,

described 227,

Kalacakra Tantia 42, 187

images 227, also called Syamatara 227,

Kaladuti 347, companion of Mahakala 347,

preen 307, special features 307, images
39

colour 347, symbol 347, direction 347,

(same asAkalagarbha) 86,
dhyana 86, in the Lokanatha Mandala

Khagarbha

described 347

Kalaratn 161, 162, 218

131, colour 131,

Kalihrada 101
Kalika,companionof

Mahakala,

347,

colour 347, symbols 347, direction 347,
described 347

Kamadeva, as vahana 149

symbol131, described

131

Kharuiaroha 218,

described 218, anotherform 321, dhyana 321, described 321

Kb asarpana 128, sadhana 128,

colour 128,

Kamalacandra Lokesvara, described 429

symbol 128, companions 128, differentiated 128, dhyana 128f, images 39, 130,

Kamalaslla 15

described 129

Kamakhya 16, 17

Kamamialu 152, symbol of ShrkutI 129
Kamandalu Lokesvara, described 395
KaminI 160, direction 160, form 160
Kanakatnuni, Mortal Buddha 76

Khasarpana Lokes*vara, described 396
Khiching 6
Kinnara king 360, dhySna 380, described
380, symbol 380

BUDDHIST ICONOGRAPHY

452
Kinnaras, lords of, 379

308, special features 308

Kles'a Mara (Visnu) 159

Kurukulla mountain 149
Kva Vahal (Pattan, Nepal) 137, 138, images

Knowledge, essence of 23

Kotbar (sword-cut) 101

of Rakta-Lokesvara in 137

Krakucchanda, Mortal Buddha 76

Krodha deities 252
Krsnacaryya, Tantric author 152

KrsnSnanda Agamavagis'a190

Laksml 1

Krsnayamari 167

177,252 varieties 167,
sadhanas 167, forms 167 form i) two;

armed

168, colour

symbol168,

168,

form (u)dhyana 168, described 168
four-armed 168, colour 168, companion;

168, dhyana

168,

described

form (in) six-armed

dhyana177,

described

177,

168,

177

;

sadhana 177,

images177f,

178

Laksminkara, daughter of Indrabhuti, 150
Lalitapattan (also Pat an),monasteries

in,

41

Lama 218, 321, form 321, dhyana 321, described 218, 321, images 321, 322

Lamaist pantheon 3
Lasya 313, colour 313, symbol 313, dhyana313, described 313, images 313

Light (sign) 26

Krtanjali Lokelvara, described 430

Light goddesses, four, 317, definition of

Kriyasamuccaya 4

light 317, general character 317, appear-

Ksantiparamita 325, colour 325, symbol
325, dhyana 325, described 325, images

325

Ksepana mudra 207
Ksitigarbha 35, Bodhisattva 65, colour 85,
symbol 85, dhyana 85, described 85,

ance 31 7
Locana, Buddhasakti 54, colour 54 symbol
54, family 54, Sakti of Vairocana 54,

dhyana 55, described 55, images 55
Lokanatha 130, colour 130, symbol 130,

mudra

1

30, sadhana

130,

images 85, in the Lokanatha Mandala131, colour 131, symbols 131, des-ons 130, Asana in images

cribed 131

131, differentiated 128

Ksitigarbha Lokes*vara, described 399
Kubera 35, the greatest Yaksa 379, colour
361, vahana 361, direction 361,

dhyana361, described 361, images 361,

vahanaof Ucchusma 239

described 130, Mandaladhyana130,

130,

compani-

132,

imagesLokanatha

RaktaryyavalokitesVara, described 396

LokesVara, form with eleven heads, 125n,
Bodhisattva 78, companion of Vajra*

sana

78,

dhyana 77,

Kukkurlpada, Mahasiddha 163
Kukku{apada, mount 80

images 78
Lokottara 31

Kulacara 47

Lord Buddha 8, 191

described

78,

Kulas (families) 11, 42, 46, five 44

Lords of families (Kulcsas) 32

KuleJa 32, 42

Lotus family, of Amitabha 48

Kulika (snake) 148

Lotus, symbol of Amitabha 48, Pandara

KulilesVarl, companion of Mahakala 347,

colour 347, symbol 347, direction 347

Padmapani 48
Luipa (Siddhacaryya), 12

described 347

M

Kunci 316, colour 316, symbol 316, dhyana
316, described 316, images 316

Machhandar Vahal, Kathmandu

Kuncikadhara 316

Kurukulla

16,

147, 236, varieties147,

function 147, images 147, mantra 147 ;red 309,

special features 309 ;

6,

124,

144

Kurkihar 5, 35, 38

white

Madana (also Ananga), Hindu god of love
115

Madhukara 186, 379, colour 379, symbol

INDEX OF WORDS

453

379, vahana 379, dhyana 379, described

163, sadhana 163, dhyana 163,379

ed 163, images 165 , as companion ofdescrib-

Madhyamaka 8, 9

Mahakala

Magadha 5, school of art 35, 38
Magical practices 9, and Buddha 9, 10

347, direction 347, described 347

Mahamayur!

347, colour 347,

234,

RaksS

weapons

goddess

234,

described

colour 234, dhyana 234, described 234,

Maha-Abhayaphalada Lokesvara, described
400
Mahabala 145, colour 145, sadhana 145,

305, symbol 305, dhyana 305, described

Maha-Abhayakari

LokesVara,

400

another form 305, colour

images 234 ;dhyana 145, described 145, images 145
another form 255, colour;

255, direction

255, dhyana 255, described 255,

Sakti

255, images 255

Mahacandarosana 154

Mahacandrabimba;

see Candarosana

Lokesvara,

described

148

Mahapatala LokesVara, described 400
Mahapratisora 243, Raksa goddess 243,

forms

of

243,

colour 303,

symbol303, dhyana 303, described 303, images;

another form

244, dhyana244,

described 244, images 39, 244

Mahaclna Tantra 190
MahlcinaTara 1, 248, vahanana 189, dhyana

189, sadha189,

des-cribed 190. compared with Hindu

fara

imagesfeatures 309

described 228, 232, images 229

Mahapadma (snake)

303

40J
Mahaclna 189

190,

306, forms 306, images 306, as companion 228, 231, 232, dhyana 228, 232,

189,

191,

originblue

309,

specialMahapratyangira (also Pratyangira), 200,
sadhana 200, dhyana 200, described
201, images 201

Maharajallla ManjusrI 116, 117n

Maharatnakirti Lokes*vara, described 399

Maharatnakula LokesVara, described 400

Mahadeva 191

Mahasadhana 25

Mahakala 255, 347, nature 347, function
347, forms 345
form (i) two-armed,

Mahasahasrabhuja
399;

described

Lokesvara,345, described 345, images 345; form (u)

Raksa
217,
Mahasahasrapramardatt!
goddess 217, sadhana 216, colour 216,

four-armed 346, colour 346, described346
form (iii) six-armed 346, colour

another foim 303, colour 303, symbol

346, symbols 346, described 346

303, dhyana 303, described 303, images

345, colour 345,

symbols 345, dhyana

;

;

form

(iv) sixteen armed 346, colour 346, sym-

bols 346, dhyana 346, described 346,

companions

347 ;Hindu god

344f,

colour 366, symbol 366, dhyana 366,
described 366. images 366

Mahakalavajra, image 255u

Mahamanjubhuta

LokesVara,

303
described

Mahasahasrasuryya Lokesvara,
400

Mahasanghikas 13, 14, 143
Mahas'ankhanatha
LokesVara, described
Mahasarasvat!

349, colour 349, symbol

349, dhyana 349, described 350,

described
okelvara,
Mahamanjudatta
400
MahSmantranusarin! 200, Raksa goddess,I

200, colour 200, sire 200, dhyana 200,

described 200, images 200, another form

Mandala 304, colour 304, symbol

304, dhyana 304, described 304, images

304

MahamayS 164, Described 164, Mandala of
164,

;

400
described

428

indhyana 216, described 217, images 217

dhyana 164, colour 163, Prajnacom-

panions 350, images 350

Mahasiddha, Kukkurlpada 163

Mahasiddhas 12, 19, 35, 41, 137
Raksa goddess 153,
147,
colour 153, sadhana 153, dhyana 153,
described 153, images 153
ano-hcr

MahaTitavat!

,

colour 305,

symbol 305,
dhyana 305, described 305, forms 305,
fotm

305,

images 305

Mahalrl TSra 39, 227, colour 227, mudri

BUDDHIST ICONOGRAPHY

454
227,

227, sSdhana 227,

companions

313

dhyana 227, described 227, images 229,
miniatures 229, images of companions
229, companions described 228, mantra

Malya see Malaof 228, Rajallla asana 226, goddess ofimages 52

Mamaki 52, family 52, consort of Akso*bhyadhyana52,

described 52,

52,

Manasa 1, 193, (Hindu goddess)

wealth 228, green 307

Mahastbamaprapta Bodhisattva 89, colour
89, symbol 89, dhyana 89, described 89,

images 89

Mahasthamaprapta LokesVara,

described

Mandalas 2, 3, 9
Mangala (planet) 368, colour 368, symbol
368, vahana 368, dhyana 368, described
368

Manidhara 125, described 126

431

Mahasukha theory 9, 11
described

LokesVara,

Mahasuryyabimba
400
Mahnttari Taragreen 307, special

307,

Manipadma Lokesvara, described 396
Manjughosa 35, 113, Hindu 6, form of
Manjulri 104, colour 104, mudra 104,
symbol 104, vahana

images104,

113,

Mahavajradhatu Lokesvara. described 428

dhyana 113, described 113, asana 113,sire 113
in the Lokanatha sadhana

Mahavajradhrk Lokesvara, described 428

131, colour 131, symbols 131, described

Mahavajranatha Lokesvara, described 428
Mahavajrapani Lokesvara, described 428

Manjukumara 119, colour 119, vahana 119,features 307

Mahavajrasattva Lokesvara, described 397;

131

dhyana 120, described 120, images 120

Manjunatha Lokesvara, described 430

Mahavasttt Avadana 143

Mahavidya goddesses, ten 189
Mahavisvasuddha Lokesvara,

described

Maniupattana 101
Manjusri 35, 38, 43, god of learning 95,
117n, 166, 178, place in the pantheon

428

Mahay an a 8, two kinds 9, deities in 31
Mahnyana scripture (Piajnaparamita) 197
Mahayanasutra

100, worship of 100, time of introduc-tion 100, details of

life

100,

exploits

lOOf, images 100, an engineer and archi-

15

Maha^anaiutTtilunkara 8

tect

sire

102,

kula or

Mahayanists 11

family 102, sadhanas of102,

various

Mahayas*a 160, direction 160, form 160
Mahesvara (Mara) 159, 364, colour 364,

forms

Mahoba (Mahotsavapura), 132
Mahodadhi 160, direction 160, form 160
Maitreya 13, 35, 38, 77, as Future Buddha
80, described 80, colour 80, symbol 80,

stupa on the crown 80, image in Udya-

,

sana

of Bodhisattvas

ftoddhisattva form

93

colour 93,

dhyana94,

described

companionof Vajra-

symbol
94,

list

93,

images 94,
78,

images 78

dhyana,77,

described

as a minor god

80,

78,

dhyanain theimages 81
Lokanatha Mandela 131, colour 131,

81,

described 81,

102,

panions

simplest form

images

102,

com-

102,

95,

102, with

Manjusri Bodhisattva 94, colour 94, symbols 94, dhyana 94, described 94

364, images 364

na 80, heads thespiritual

Hindu gods 102

as vahana 364, dhyana 364 described

82

101,

;

symbol 131, described 131
Mala (also Malya) 313, colour313, symbol
313, dhyana 313, described 313,

imagesManjusr! hill (Nepal) 100
Maftjusrimiilakalpa 10, 14, 15, 32, Cunda in

221

Manjuvajra (fame as Vairocana) 219 ; three
distinct forms 118f; form (i) 118, colour
118, dhyana 118 described

118,

imagesform (u) 119, colour

119,

dhyana

119
119,

;

described

119;

form (m)119,

colour 119, dhyana 112, described 119,
images 119

Manjuvara

117,

colour 117, mudra 117,

symbol 117, vahana

117,

dhyana117,

described 117, companions 117, images

39117,118
Mantras 2, 28, power of 29, repetition of

INDEX OF WORDSof

29, letters deified 388, examples

fication

388, of Vajrataradei-243, appli-

455

394

Momentary consciousness 28
Monastery, Buddhist 16, 41

cation of 243

Mongoose 247, significance 237

Mantranaya 9,
Manranusarinl

Mahamantranusarini

see

304

their

Months, twelve 282, deified 389,
names 382, their deities 382

Mantrapurusa 27, 28,

Mortal Bodhisattvas 79

Mantras*astra 9,

Mortal Buddhas 76, marks 76, qualities 76,

Mantrayana

their Bodhi tree 76, described 77, images

14, 15

Maras, four 159, named 159, 195
Marlcika (sign) 26

Mortal BudJhas'aktis

MaricI 16, 35, 38, 217, time of invocation
207, connection with the sun-god 207,

named 79
Mrtyu Mara (Mahelvara) 159

of 77, attitudes 77, with Maitreya 77

chariot of pigs 207, forms 208, sadhana

208, attendants 208,

images 208, 209

Astabhuja images 212, as a companion
described 232, com-

23 If, dhyana 232,

pared with Vajravarahi 208, 217, Mandala 209

Maricipicuva 210, other names 210, sadhana 210, dhyana 210, described 210, com211
position of image 210, described

Marl Dharinl

339,

colour399,

symbols

399, dhyana 399, described 339

79,

enumerated

79,

Mrtyuvancana Tara 308, white 308 special
features 308

Mudita (Joyousness), 21

Mudras 9, significance of 393

Mukundacolour 315,315,

symbol315,

dhyana 315, described 315 images 315

Mukundadhara 315
Mulaghosa Vihara 15
Muraja 315, colour 315, symbol 315,

des-cribed 315

Musee Guimet 4

Mann! 160, direction 160, form 160

Museums of Eastern India 6

Mar- pa 6

Musical instruments, four 314, deified 314,

Mathura school of art 5, 32, 35,
Mati 350

Mysticism 8

description 314

Matsyendranatha 6
Mayadevi, dream of 31
Mayajala Tarura 139, 152,
Mayajalakrama 139, colour 139, sadhana
139, dhyana 139, symbols 139, described
139, images 139

N
Nagakesara, flower 94, symbol of Maitreya

94

Nagarjuna

Mayajalakrama Lokesvara, described 395
Mayajalakrama Kurukulla 151, colour 151,
sadhana 151, mudra 152, images 152,35,

rescued Prajnaparamita

Nagas35, 197
Nairatma 204, meaning of the word 204,

form offemaledescribed 152

12,197, 220, deified 35, Sidhhapursa 193

Sunya 390,

consortof Heruka 217, vahana 203, colour 203,

Mayurbhanj 6
Mayurl see Mahamayuri

character 203, sadhana 203, dhyana 203,

Medha 350

described 203, images 39, 204, direction

form

and

Medicine 8

160,

Meritorious deeds, result of 21
Mila-ras-pa 6

and Vajrayogini 248
Nairrti, 362

,

160,

Vajravarahl 203,

colour 362, v&hana 362, direc-

tion 362, dhySna 362, described 362

Miniature paintings 5

Naksattras, twenty-eight, 381, their number,

Mixed Sanskrit 14
Mlecchas 187

381f, described 381f, their colour 381f,

Moha family 32, 45

general description 38 If

Moharati, queen of Vairocana 46

MojaghSnjabala(?)

Lokesvara, described

Nalanda

5,

6,

35,

41,

43,

monastery 42

museum at 38, images 38, Adibuddha

BUDDHIST ICONOGRAPHY

456

Omniscience 28, 29

theory originated at 38 7ncolour 206,

Namasanglti 206,
206,

Buddha oraliterature

Bodhisattva

206,

images 207, dhyana 207, described 207,
and Manjusri 206

Namasanglti Manjusri 115, colour 115,
sadhana 115, sire 115, described 115,

dhyana Il5f, described 116, images 116
and Namasanglti 206
Nanda, half brother of the Buddha 3 1

Origin of Yam a and Yamantaka 166
Orissa 5, 39

Ostarakl KO, direction 160, form 160

Padma (snake) 148
Padmadakini

164,

colour164,

direction

164, described 164

Padmakul! 49

Nandikes*vara 366, colour 366, symbol 366,

dhyana 366, vahana 366, described 366,

Padmamunda 238
PadmanarttesVara 133, varieties 133f

images 366(i)Naropa 6

eighteen-armed

133,

foirn

;

sadhana 133,

images 133, symbols J33, attitude 133,

Nstha Yogin 6
Navagrahas 213

dhyana 133, described 134, companions
134t/brm (11) two-armed 134, colour 134,

Nepal 5, 6, 7,39
Nepalese art 39

mudra

Nepal Valley, originally a lake 101
Needle 210
Niladanda 254, colour 254, direction 254,

dbyana 254, described 254, Sakti 254,
images 254
Nilakantha, origin of 140, colour 140,

mudra 140, symbol 140, companion 140,
sadhana 140,

symbol

134,

vahana 134,

images 135 ; form (m) eight armed 135,sadhana 135, dhyana 135, described
135

Padmantaka 180, 253, colour 253, direction
253, dhyana 253, described 253,

images253, Sakti 253

described

dhyana 140,
and Vajniraga 141

Padmantakrt (western gate) 46

140, images 141,

Padmapani 35, 51,

Nilakantha LokesVara, described 396
Nimittt s (signs) 26

Pratisamvit

343,

88, colour

51,

symbol51, family 51, described 51, images 5 1

Padmapani LokesVara, described 431

Nine Dharmas, of Nepal 12
Nirukti134,

sadhana 134, dhyana 134, described
I34i Mandala of 135, companions 135,

colour343,

symbol 343, dhyana 343, described 343,
images 343
Nirvana 8, 1 1

Nispannatara 15 1, colour 15 1, described

151,222

Padmasambhava (Guru) 6
Padmavajra 12
PadmavasinI 135, colour 135, symbol 135,
described 135

Padmosmsa 300, colour 300, symbol
direction

dhyana300,

300,

300, described

300, imrges 300

NitfwniwyosSt'ali 3, 4, 47, 82, 385, importance 385, date 385, Cunda in 221

Pala period 19

Nityanatha Lokelvara, described 431
Nrtya 314, colour 314, symbol 314, dbyana

Pancaraksa group 216, 234, 302

314, described 314, images 314

O
Objects, external, 29

Odantapuri 5, 35, 41, Vihara 38
OdiySna Lokelvara 137, same as Rakta'lokesvara 137

Odiyana Pandit 180
O<Jiy5na Vajracaryya 181

Paftcaiaksa 5

Paneas*ikha

381,

king, 381,

name of the Gandharva

dhyana 381, described 381,

symbol 381
Pandara (Buddhas*akti)

Dhyani Buddha

124,

50, symbol

family50,

50, colour

50, dhyana 50, described 50, ^images

50

Pfindaravasini 50, Sakti 134

Pantheon 32, 41, Buddhist 385, numericalstrength 385, artistic representation 385
popularity 385, in Buddhist countries

INDEX OF WORDS
world pro-385, in other religions 385,

perty 385

ParamasVa 185, 255, sadhana 185, dhyana
185, vahana 185, meaning of 185, described 186, images 186, horse-head 186

457

Potalaka 129

Potapada LokesVara, described 395
Powers of the mind 18
Prabhakarakirti, Tantric author 154

Prabhakarl Bhumi 334, colour 334, symbol

Paramatman 27

334, dhyana 334, described 334, images

Paramitanaya 9334

Paramitas, ten 243, twelve 324,

commonfeatures 324, general description 323,
qualities deified 323,

their nature

323,

Parental Dhyani Buddha 34, 47, 49
329, dhyana 329, described 329, images

329
Parnasabarl 17, Dharinl deity 220, images
39, colour 196, vahana 196,

power

196,

dhyana 196, described 196, image 197
colour 232, vahana;

another form 232,

mantra 232,

233-4, as

Prajna (Sakti) 11, (knowledge) 26, 43,calleddescribed

Dhanni339,

Pis*aci

233,

colour232,

images339.

symbol 339, dhyana 339, described 339,
images 339 green 307, special features
307 yellow 309, special features 309;;

Prajnadhrk 45
Prajnantaka 180, 253, colour 253, direction
253, dhyana 253, described 253, images
253, Sakti 253

Prajnantakrt (of south gate), 46

Prajnaparamita 1, 5, 10, 32, 43, origin 197,
worship 197, sadhana 197, forms 1^7,

images 197;

another form

326, images 326;

described in

Prajnavardhani 341, colour 341,
341, dhyana 341, described 341

symbol333, dhyana 333, described 334, images

334

Pranabindu 26

Pattan (also Patan and Lalitapatan) 6

Pranayama 26
Pramdhana Paramita

Pattikera, remains of lalmai hill 223

327,

colour327,

symbol 327, dhyana 327, described 327,

Paustika rite 166
Peiping 3
Pestilences, in human form 233

ofPhilosophical deities,

323,

deification

323

and

philosophicalconcepts 323, their nature

323, theirimages 323

331

Prasannatara 151, 222, colour 151, describ-

198,

colour;another form 249,

colour249,

forms 249, sadhana 249, dhyana 249,
described 249f, symbols 250, images
250
PratibhSnakuta 91, colour 91, faymbol 91,
dhyana 91, described 91, images 92

Pindapatra Lokesvara, described 428
epithet of Parnalabarl 196

Pis*aci,

Pita-Prajnaparamita

images 327
Pranidhana Vasita 331, colour 331, symbol
331, dhyana 331, described 331, images

151

Philosophy 8
Phenomenal world, inherent purity of 21
Pigs, seven for Marlci 211

198,

mudra 198, symbol 198, described 198,
images 198
Planrts, nine 367, deified 367, their influ-

ence 367, their forms 367
Poison, blue pill of, 140, of Ni)akan{ha

58

Cunda

221

Patna 6, museum at 38

140

colour326,

326, symbol 326, dhyana 32b, described

Pramudita Bhumi 333, colour 333, symbol

Parvati 1

Patadharmi 317, colour 317, symbol 317,
dhyana 317, described 317, images 317

abstract ideas

168,

colour 167, described 167

Pariskara Valita 329, colour 329, symbol

232,

described

151,

350, trampled 211, of Raktayamari 167,

their images 324

dhyana 233,

colourPradlpatara 222,
151

Pratibhanakuta Lokelvara, described 398
Pratibhana Pratiaamvit 343, colour 343,
symbol 343, described 343, images 343
Pratibhasa (revelation) 26
Pratisari, see Mahapratieara 303

Pratisamvits, four 342, meaning 342,

deifi-

cation 342, description 342, source 342

BUDDHIST ICONOGRAPHY

458

166 rites 166, origin of

PratyahSra 26

166, worship

PratyekabuddhaySna 8

166, dhyana 167, described 167, images

167

Pratyekas 20

Ras*is, twelve (Twelve Signs of the Zodiac),

Pratyekayana 9
Prayer 21

383, deified

Preceptor 29

383, nature 383395
Pretasantarpana LokesVara, describedsadhanacolour141,
Pretasantarpita 141,

images141, dhyana 141, described 142,

383,

named

383, images

Rati 186

Ratnadakini

164, direction

colour164,

164, described 164

Ratnadala LokesVara, described 429

142

Hindu

Principal

deities,

ten

363,

their

Prlti (pleasure) 26,

Ratnadhrk 45
Ratnaketu (same as Ratnasambhava) 45,

nature 3t>3, their popularity 363

186

origin qf, 45

form 160
Priyadars'ana 160, direction IfcO,

Ratnakula 73

Process of evolution 30

Rarnakull (Ratnasambhava) 49

Ratnapani

Prognosis 8
Protectresses, five 302,

Raksa

deities

302,

Bodhisattva

colour74,

74,

family 74, sire 74, images

symbol 74

another form 87, colour 87, symbol

their nature 302, their images 302, their

74

302
popularity 332, their worship

87, dhyana 87, described 87. images 87;

Ratnapani Lokcsvara, described 399
324, colour 324, symbol

Psychic culture 18

Psychic exercises 2, 8, 17, 24

Ratnaparamita

Psychic power 17324, dhyana 324, described 324, images

Publication, of original MSS, 385

324

PukkasI

311,

dhyanacolour311,

symbol 311,

311,

described

images311,

311

Pupala LokesVara, described
Purandani 212

396

Ratnasambhava Dhyani Buddha 73, colour
73, mudra 73,

family

73,

forms

74*

vahana 73, symbol 73,

dhyana73,

described 73,

images 74, gods emanatingfrom 237f, their enumeration 237, theirgoddesses emanating from

Purnagiri 16, 17

nature 237

Puspa 256

239, enumerated 239, their nature 239

Puspatara 241, dhyana 241, described

241

R

;

Ratnolka 318, colour 318, symbol

Raga family 32
Ragarati, queen of Amitabha 46
Rahu 207, 211, as vahana 149; colour
377, symbol 377, dhyana 377, described

Ratnolka Dharini 338, colour 338,

Raj shah 6, 38, museum at 38
i

Ratnosnisa 300, colour 300, symbol 300,
direction 300, dhyana 300, described

Rajayoga 26
Rakhaldas (Banerji), 1

Rddhivalita 330, colour 330

Raksa deities* five 302, central 303, second

Religion 8

form (f)four-armed

symbol 330,

dhyana 330, described 331, images 331
Restraint of wrong deeds 20

303, third 304, fourth 305, fifth 305

Rakta-LokesVara,

symbol338, dhyana 338, described 338

300, images 300
Ravicandra 14

377, images 377

139,

318,

dhyana 318, described 318, images 318

forms

of,

139;

138, colour

138,

symbol 138, sadhana 138, dhyana 138,
described 138, companion 138, images
138; /orm(n) two-armed 138, colour
238, symbol 138, mudia

138,

sadhana

138, dhyana 138, described 139

Raktayamari 166, 252, colour 166, sadhanaRoyal Asiatic Society of Bengal 3
Rudra 187, vahana 250

Rupa (form)Skandha, 42

Rupa heavens 31
Rupini218,

described

218,

form 321,

dhyana 321, described 321, direction
160, form 160
Russian Academy of Sciences 4

INDEX OF WORDS

459

described 83, images 84
in the Lokanatha Mandala 131, colour 131, symbol
Sabari 311, colour 311, symbol 311, dhyatta
311, described 311, images 311

Samanya seva 25
Samasrami ed Karandavyuha 1 1

Sabaripa, (Mahasiddha) 35:

Sadaksari group, 127
38,

125,

coloursymbols

125,

compa-

Sadaksari LokesVara
125, mudrl 125,

6,

nions 125, forms 125, dhyana 125,des-cribed 126, 395, images 126, 39

Sadaksari Mahlvidya

125,

forms of126,

S a may a family 31, 45

Sambara 160f, varieties

Sadbhuja Jambhalavajra 179n

Sadhana 2, 18, 24, 25, 27, contents of

19f,

35,

com-

posed by eminent lantrics, 386,
tial parts of 386

essen-

literature

16,

19,

of 16120, its

161,

Sakti

lt>l,

161

Sambararaja Buddha 162n

Sambhogakaya 210
Samjna (name) 42
Samksipta Marlci 210, 211, colour 211,
residencedescribed

211,

atten-

211,

dants 211

impor-

Samskara (conformations) 42
Sanchi 5, 31

tance 385, its date 385

Sangha 20 and rules of discipline

Sadhanasamuccaya 2, 19

SadhumatI Bhumi 336, colour 336, symbol
366, dhyana 366, described 336, images

13,

as

god 32
Sanglti 12, 13, 15, 45, literature 14

Sani (planet), 377, colour 377, symbol 377,

336

vahana 377 dh>ana 377, described 377

Sadhus 18
Sagaramati Bodhisattva
87,

dhyanacolour87,

87, described

88,

87,

Sankhamunda 238
Sankhanatha Lokesvara, described 430

images 88
Sagaramati LokesVara, described 399

Sankhapala (snake)

Sahasrapramardani see

Sannyasms 18

Mahasahasrapra-

1

48

Sanku (in Nepal) 248
Santamati Lokt'svara, described 430

mardani

Santaraksita 9, 15, 28, 41

Sahet-Mahet 38

Santasi Lokesvara, dsecribed 397&akra (Mara) 159

Santideva 35, refers to Cunda 220

Sakti 9Sakya Bodhisattva 35

Santikavidhi 166

Sakya Buddha 35

Saptaksar

Sakyabuddha

LokesVara, described 397,

Sakyasimha (Mortal Buddha) 76

Bhumi 337, colour 337,

symbol 337, dhyfina 337, described 337,

146,

colour146,

images147
Saptasatika Kalpa 146, 147

Saraha (Siddhacaryya) 12, 16, 35, 137

images 337

Samantabhadra Bodhisattva 55, family 55,
55, described 55,

Hayagriva

symbol 146, special feature 146, sadhana146, dhyana 146, described 146,

Samadhi 26, visualisation 26
Samantaprabha

162,Piajna 162, mantra 162, des-cribed 162f, sadhana 163, forms of 163

Saptasatika

430

symbolanother form,

Sainbodhi 21

230 ; white 308, special features 308

SadhanamaJa 2, 3,

colour 160,

dhyana 162,
described 162, images lt>2, 162n

Sadbhuja Sitatara 230, colour 230, dhyana
230, described 230, images 230, sadhana

23,

160f,

vahana loO, symbols 160, Prajria 160,
dhyana 161, sadhana 161, describedcolourSadbhuja Jambhala 179n

symbolSamatata 16

161, forms

described 126

summary of

131, described 131

Samantabhadra Lokesvara, described 399

images 55,

heads a list of Bodhisattvas 62, colour
83, symbol 83, forms 83, dhyana 83, 84

Sarasiri (?) Lokesvara, described 429

Sarasvat! 1, 349, river deified 349, nature

349, goddess of learning 349, forms of349

BUDDHIST ICONOGRAPHY

460

Saranath (also Sarnath) 5, 6, 35, museum atdhyana 325, described 325, images 325

Simbhu (Svayambhunath) 6

38

Simhanada

SarthavSha Lokelvara, described 428

Sarvabuddhadharmakosavatl

342,

colour342, symbol 342, dhyana 342, described

35,

127, asana
127,

127, colour

127,

vahanasymbols127,

images127,

dhyana 127, described 127, images

127f, 39

342
Sarvakarmavaranavisodhani Dharinl
colour 341, symbol341,

dhyana341,
341,

Simhanada Lokesvara, 117n, described 429
Simhanada LokesVara, described 396
Simhasya 321, colour 321,

described 341

symbol 321,

colour92,

symbol 92, dhyana 93, described

93,

Simhavikridita 35

des-Sirisara (?) Lokesvara, described 429

Sarvanivaranaviskambhi

92f,

dhyana 321, described 321, images 321
Sirihatta 16, 17

images 93
Sarvanivaranaviskambhi

Lokesvara,

cribed 398

Hindu goddess of small-pox

Sitala, 233,

Sarvapayanjaha 97, colour 97, symbol 97,
dhyana 97, described 97, images 97
Sarvarthasiddha 381,

dhara king381,

name of the Vidyacolour

381,

dhyana,381, described 381, symbol 381

Sarva^okatamonirghatamati 92,

Sita-Prajnaparamita 197, colour

92,

images 92

sym-cribed 198
215,

colour 215,

sa-dhana 215, dhyana 216, described 216,
different from Aparajita 216, images 216
Sitatara, Caturbhuja 231, 308,

Sarvaokatamonirghatamati Lokesvara, described 398

197,bols 197, sadhana 197, dhyana 198, des-Sitatapatra Aparajita

colour 92,

symbol 92, dhyana 92, described

233, represented 233

mudra

231,

companions

232, describedcolour 231,
231

dhyana232, images 232 , Sad-bhuja 308

Sarvastivada 9

SasVatn 209, same as Vairocana 209

Sitavati, see Mahasltavati 153n. 305

Siva 184 (Mara) 195, vahana ofVajrahun-

asVatavajra, Tantric author 190

kara 181, and Nilakantha 140

Sattvaparyanka, meaning of 224
Sautrantika 8, 9

Sixteen Boddhisattvas 4

Schools of philosophy (Buddhist) 8

Skandhas 11, cosmic elements

42,(Mara)

Science 8

Brahma 59
Small- pox, Hindu goddess of233,

repre-

J

Seasons, six 383, deified 383, images 383n

sented 233

Sects, of Tantrics 44

Smoke (sign) 26

Sekanirnaya 9
SevS 25

Smrti 350

Siddhas 2, 18, 34, classes of 18, Mild19,

Middling 19, Best 18
Siddhacaryya, Indrabhuti 150
Siddhaikavlra 113, colour 113, mudra 113,

symbol 113, dhy&na 113, described 113,
mandala114,

companions

sire

113,

114,

images 114, compared to Loka-

r&tha 114

Snake poison 340, Janguli Dharim effective
against 340
Snake vahana 192

Sounds, gross forms of 47
Source books on Buddhism 4
Sravakas 20

Sravakayana 8, 9
Sri 186

Siddhis 18, 19, 24, eight 18, thirty-four 18

rImadaryyvalokitesVara, described 431

Siddhiharga VajracSryya 345
Sikh!, Mortal Buddha 76

Srivasumukhi 203
Srivasundhara 203

SiJqasamucc0;ya 35, Cunda in 221

Srhkhala 235, meaning of 235&la 21

Srstikanta Lokesvara, described 399&lapararoitfi 325, colour 325, symbol 325,

Stael Holstein 3

INDEX OF WORDS
Staff 129,

symbol of Hayagriva 129

of 22, various functions 392, various

Sthaviras 13

Sthiracakra 122,461

forms 392, as Nine Rasas (sentiments)
colour

122,

mudra

symbol 122, companion 122,

122,

392, different manifestations 391, takes

described

various forms 391, Heruka, male form

122, images 122

of,320, Nairatma, female form of 390,

and Nairatma 204

String 2K)

Strongholds of Tantric learning 5
Stupa, the Buddhist Universe 32, 48,

resi-dence of Vairocana 53

Sunyata 30, of all phenomena 22, qualities
of 11

Sunyavada 8, 9, 11

Subha 160, direction 160, form 160
Subhag 160, direction 160, form 160
Subhamekhala 160, direction 160, form 160
Sucimudra 135, of dancing 134
Sudhanakumara 118, 128, 129, described
129, colour 129, symbol 129

Supernormal powers 23
Superstition 8

Suraksini 160, direction 160, form 160

Bodhisattva

Surangama

symbol98,

dhyanacolour

98,

98,

98,

described 98,

images 98

Sudurjaya Bhumi 335, colour 335, symbol
335, dhyana 335, described 335, images
335

Sugatas 20

sadhana

Sugatisandars'ana 141, colour 141,

Suryadhara 319
Suryahasta 318, colour 318, symbol 318,
dhyana 318, described 318, images 318

Suryaprabha 120
Svabha Prajna 167

141, dhyana 141, described 141, images

Svanasya 320,

141

dhyana 320, described 320
Svayambhunatha, stupa of 32

Sugatisandars'ana Lokelvara, described 396

colour 320, symbol

Sukarasya 320, colour 320, symbol 320,
dhyana 320, described 320

Svayambhu Purana,

Sukha (happiness) 26

Symbols of the Buddha

Sukhavati heaven 34, 49

43,

100,

320,

contains anaccount of ManjusrI lOOf
31,

worship of31

Sukhavati Lokelvsra 142, colour 142, com-panions 142,

142,

described

another

form 395

dhyanaimages 142
described 395
142,

;

,

Sukhavati Vyuha 14, 34, 100, 143,

Taditkara 318, colour 318, symbol 318,
dhyana 318, described 319, images 319

Sukla Kurukulla 148, colour 148, symbols

Takkiraja 254

vahana 148, sadhana 148, dhyana148, described 148, wears ornaments of148,

snakes 148&ukra (planet) 377,

colour 377, symbol

377, dhyana 377, described 377,

colour 254, direction 254,

dhyana 254, described 254, Sakti 254,
images 254, Cunda, consort of 222
Taksaka (snake) 148
Talika 316, colour 316, symbol 316,

Sumalinl 160, direction 160, form 160

Tamralipti 39

Sumati Dharmi 338, colour 338, dhyana

Tandava dance 44, 164

338, described 338

Tangyur 19, 20

Sumbha 242, direction 242, colour
dhyana299, images 299

symbol 299,

dhylna316, described 316, images 316

299,

299,

described

Tantras 8, 9, 17, 24, 26, 34, original 13,
Tantrarahatya 190

Tantrasara 190

Sumbharaja 256, colour 256, direction 256,dhyana 256- described 256, akti 256

Tantric Buddhism, images of 38
Tantric literature 8

Sumedhas, deified 35
SundarS 160, direction 160, form 160

Tantric philosophy 2

Sundarl 160, direction 160, form 160

Tantrics, powers of 18

Sunya 10, 11, 17, 25, 27,

Tantric practices 10, 24

28,

42,

meaning

Tantric period 2, 4

14

BUDDHIST ICONOGRAPHY

462

Tantrism 12, godhead in 23, place of origin
15

TSra 1, 17, 20, 23, 38, 128, colour 129, described 129, symbol 129

another form;

135, colour 135, symbol 135,
135, companion ofcribed131,

epithet ofhymbol226

described

Lokanatha 131, des

mudra

131,

131,

buddha'sakti 56, colour;

56, symbol 56, family

dhyana 56,

56,

Taras 307f, of blue colour 309, of Green
colour 307, of Red colour 309, ofWhite colour 308, of Ywllow colour 308

Trisamayaraja 35
Tusita heaven, abode of Maitreya 80

Twelve Bhumis 4, 333
Twelve Paramitas4, 323
Twelve Vas*itas 4, 328

U
LJbhayavarahanana (Marlcl), 212, recognitian mark 212, described 212, sadhana
212, colour 212, residence 212

Taranath 12
Tarinl (same as Tara) 56

Tarodbhava Kurukulla

149, colour

149,

vahana 149, sadhana 149, described 149,

Ucchusma Jambhala 38, 245, image of 180,
vahana 239, described 239, S a mathimage 239

Uddiyana 16, 149, sameimages 149

Uddiyana Kurukulla 149, colour 149, vahana 149, described 149, images 149/place

Tathagatakull (Viarocana) 49

of origin 149

Tathagata Mandaia 45

Tathata Vas*ita 332, colour 332, symbol
332, dhyana 332, described 332, images
332

same as Rakca*

Uddij ana LokesVara, 137,
LokesVara 137

Uddiyana Marici 214, described 214
Ugratara 119, 248

Tattvaratnavali 9

Ulkadhara319

TiJtt*a*angraha 9, 28

Tejosnisa 301, colour
direction 301,

as village Vajra-

yogini 17

Tarpana muJra 207
Tathagatas, path of the 20

symbol 301,

301,

dhyana 301,

described

Upakelini 120, 121

Theories, four 9

Three Jewels, worship of 32, refuge in 20
Tibet(Bhota) 193
Tibetan I

Upaya (means) 25, 26, trampled 211
Upayaparamita 327,

colour 327, symbol

327, dhyana 327, described 327, images

Time, essence of 23327

monthsdeified382,

djtes deified 382, seasons deified 383, Zodiacal Signs deified 383

Trailokyaksepa 157
137,

16,

Upeksa (indifference), 21
Upendra 250, as vahana 250
Usnisa 256, colour 256,

Tithis (dates) 382, defied 382, images 382

137,330, dhyana 330, described 330, images

330

303, images 303

Trailokyaviis'ankara

Upapatti Vasita 330, colour 330, symbol

Upasadhana 25

Tiksnosnisa 301, colour 301, symbol 301,
direction 301, dhyana 301, described382,

Ulukasya319
Universe 23, goddess identified with 23
University Library, Cambridge 4301, images 301

Time deities,

Trilokssandarlana LokesVara, described 396
Tripitaka 185

Two Lamaisuc Pantheons 3

described 56, Hindu 189, 190

symbolTrayastrims'a heaven 31

Tridandi 152,

dhyanacolour137,

137,

describ-

direction

256,

dhyana 256, described 256, Sakti 256,
images 256
Usnisa gods, eight 299f, general character
299, appearance 299, sources 299

137

UsnisavijayS 214, colour 214* recognition

same as VajrahunkS-

ra 182, vahana 184, sadhana 184, dhyS-

214, residence 214, image 214, caitya onhead 215, sadhana 215, dhyana 215,

na 184, described

described 215, images 215 ; another formed 137, sadhanas 137, images ofTrailokyavijaya 255,

185, images

mudra 182, 182n, 152

185;

298, colour

298, direction 242, 298,

INDEX OF WORDS
dhyana 298, described 298 images 298

463

Vajradhatu Lokesvara, described 430

Usnisavijaya Dharin! 215, 220, 338, colour
338, symbol 338, dhyana 238, described

Vajradhatu Mandala 99; on Boddhisattvas
99

338, images 338
Utnauti (?) Lokesvara, described 397

Vajradhatvilvarl

embodiment

Ucpala Mudra 22
Uctama seva 25, 26

217,

of

Buddhas*akti

74,

truth

74,

highestcolour 74i symbol 74, family 74, images
74

U VahaHNepal)51n

VajradhatvisVarl Marlcl 214, forms 214,

sadhana 214, described 2J4,

symbols

214

Vadali 211, colour 211, described 211

Vajradhrk 45

Vadlrat 122, vahana 122, mudra 122,des-cribed 122, dhyana 133, images 123

VaglsVara 116, colour 116, vahana

symbol116,

116,

popularity

116,

dhyana116, described 116, images 117

151,

151,

descubed 151;

colouranother form 236,

colour 236, dhyana 236

described 236

Vajragarbha Bodhisattva 88,

symbol 88,

dhyana 88

colour88,

described 88,

images 88

Vaipulyasutras 14

Vairocana 45, origin 45, Dhyani Buddha
53, colour 53, mudra 53, vahana 53,

symbol 53, dhyana

53,

described

53;

dhyana 54, desemanations ofimages 54
54,

eight-armed form

;

206f

Vajragarbha LokesVara, described 399
Vajraghanta 242,

dhyana 242, described

242, direction 242

another form 298,
colour 298, direction 298, symbol 298,;

dhyana 2P8, described 298, images 298
Vajraghona 2 1 7

VaisVavana 35

Vajrahuhkara 182, form (i) two-armed, 181,

Vajra 17, 43, same as Sunya 10, qualities

of 11
Vajrabhairava 347, vahana

symbols 181, mudra 181, vahanasadhana 181, dhyana 181, images

181,
182,

of Mahakala

on Bhairava 182
form (n) sixarmed 182, same as Trailokyavijaya 182,

described

described 182, images 182, comparedwith Vajradhara 181

vahana 199,

Vajrahuntika (?) Lokesvara, described 398

347
Vajrabhaskarl 163, colour 163,
163

rides

;

Vajrahunkara Mudra 181, 182n, 184

Vajrabhlsana 255
Vajracarcika 199, colour 199,
peculiar

154

Vajragandhari 151, direction

symbols 23o, dharim 236, images 236

Vahyarthabhanga 8Vaibhasika 8, 9

cribed 54,

Vajra family, of Aksobhya 48,

feature199,

sadhana199.

dhyana 199, described 199, images 200
VajrScaryyas 34

VajrajvSlanalarka 183, 254, sadhana

Vajrakarmaparamita

Vajradakini 163, colour 163f,
I63f, direction 163f

described

183,

dhyana 183, described 184, vahana 134
328,

colour328,

symbol 328, dhyana 328, described 328,
images 328

Vajradanda 952

Vajrakhanda Lokelvara, described 429

Vajradhara 42, 43, forms of 44, dhyana 44,
described 44, and VajrahunkSra 181,

Vajrakula 254
Vajrakuli (Aksobhya) 49

Vajrakundali 253

images 43f
142, colour

VajrSmrta 226, colour 226, dhyana 226,
described 226, images 226, yab-yum 226
symbol 142, sadhana 142, described
142, dhyana 143, images 143, as sire of .Vajrananga (Buddhist god of love), 114,
colour 114, described 114, worship J14,
Lokanatha 130

Vajradharma 125,

139,

142,

Vajradharma LokesVara, described 396
Vajradhatu Buddha 54, same as Vairocana
54

dhyna 114, images 115
Vajranatha LokesVara, described 431

Vajrankufi 24 Z 320, dhyana 242, describedBUDDHIST ICONOGRAPHY

464
242,

direction 242 ; another form 297,

colour 297, direction 297, symbol 297,

235, described 235, forms 235, images

235, consort of Heruka 217

dhyana 297, described 297, images 297,

Vajrasrsta Lokesvara, described 430

in the Lokanatha Mandala 131

Vajratara 240, sire 240, dhyana 240, described 240, popularity 240, images 240,

Vajrapani 43, family 53, site 53, symbol
as Boddhisattva 98.
53.
images 53;

98, des-colour 98, symbol 98, dhyana
cribed 98, images 99

the Lokana-in;tha Mandala 1 3 1 , colour

symbols

131,

Indian241}

Museum image

companions

241,

240,

Mandalasadhana

24 1>

mantra 242 images of 243, yellow 308,
mandala 240,
special features 308,
origin of ten goddesses 243

131, described 131

Vajrapani Lokesvara, described 431
Vajrapanjara 90

Vajravairocani 218, dhyana 247, described

Vajrapasl 242, 320, dhyana 242, describedanother form 297,
242, direction 242

Vajravali nama Mandalopayika 4247;

colour 297, direction 297, symbol 297,

Vajravarahi 160, Sakti of Sambara 161,
162, Sakti of Saptaksara 162, colour

Vajrapatala 256, another name of Sunrbha

163, described 163 another form 218,
companions 218, colour 218, symbol

Vajraraga family (same as Raga) 45

sadhana 218, dhyana 218, described 218,

dhyana 297, described 297, images 297

form of Manjusr! 102,
colour 102, mudra 102, names of 102,

Vajraraga

102,

dhyana 103, described 103, images
and Nilakantha compared 141

103

form of77, later

Gautama 77, dhyana 77, described

77,

images 78

217,

compared with

with

Vajrayogini

Vajravarahi Tantra 4, 208

Vajravarnani 247, dhyana 247, described

247
Vajravetali 151, direction 151, colour 151,

Vajras*arada 351, symbols 351,

described

351, images 351, companions 351

Vajrasarasvati 351, described 351, sadhana352, colour 352,

symbols 352, images

352
Vajrasattva 17,38, 43, 48, Sixth Dhyani
Buddha 74 priest of the Five Dhyani

Buddhas 74, shrines of 75, forms of 75,
dhyana75,

worship

in75,

HerukaMarlci 208, 217, compared with Nairat243

Vajraraudrl 163, colour 163, described 163

Buddhamantra 208, special feature 217 connection withma 203, compared

Vajrarati 46, queen of Amoghasiddhi 46

Vajrasana 38,,

described 75, images
secretyab-yum

75,

form

75,

75,

form

singleSakti

75

Vajrasattvadhatu LokesVara, described 429

Vajrasattv5tmik5 75, Sakti of Vajrasattva
75, colour 76, symbol 76, form 76, described 76, images 76

described 15 1,2 14
Vajravidarani 205, dhyana 205, described
205, images 205

Vajravina Sarasvati 350, colour 350, symbol 350, images 350

Vajrayaksa 254
14, 31, 34, Buddhism 38, Pantheon 38, Buddhists 2,
origin of 12, and Yogacara 10, Hindu

Vajrayana 2, 7,8,9,11,

gods

m 344

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,;

Vajrasphota 297f, 320, colour 297, direction 297, symbol 297, dhyana 297, des-colour 248, vahana symbols 248, described 248, compared with Nairatma

cribed 298, images 298

ann Vajravarahi 248

dhyana 242, described
242, direction 242

248, colour 248, symbol 248, described

Vajraspho{!

242,

Vajras*snkhala 235, colour

235,

symbol235, sadhana 235, dhyana 235, described 235, symbol 235, sadhna 235, dhyana;

form (lii) yellow

248, consort of Heruka 248,

images249, temple 248

Vajrayogini 137, name of a village in Vik-

rampur 137, identified

as Uddyana 137

INDEX OF WORDS

465

Vajrosmsa 299, colour 299, symbol 299,

Vedana (sensation) 42

described

Veil of ignorance 30

direction 299,

dhyana 299,

300, images 300, statuette 25 ^ ?53n

Vajrosmsa Lokesvara 398'

Vak 6
Vams'aVeta1i310, colour 3 10, symbol 310, dhyana 310, described 310, images 311
Vibrations (sound) 2S, of word and letter

314, colour

symbol

314,

314,

29
Vicara (thinking) 26

dhyana 314, described 314

Vidya 24, embodiment of 220

Vanga 16
Vangiya Sahitya Parisat 122, museum at 38
Varada Tara 337, green 307, special features 307

Vidyadharapitaka 14

Vidyadharaking 381
Vidyadharas, lords of 37 C>

Varadayaka Lokesvara, described 395

Vidyapati Lokesvara, described 430

Varahamukhl 211, colour

Vidyujjvalaktirah 1^4, colour

described

211,

211

194, symbols 194,

Varahl 364, colour 364, symbol 364, vahana 364, dhyana 364,
images 364

described

364,

J94,

vahanadhyana 1^4f, describ-

ed 195f

Vighnas 197, meaning of 180, obstaclename given to Gane^a 3H9Vighnantaka IK), sadhana 180, dhyana 180,

Varali211,colour211, described 211
Varttali 211, colour 211, described 211

origin 180,

Varttali group 213

another /Orm 253f, colour 2^3, direction

Varuna 361, colour 361, vahana 361, direction

361, dhyana

described 361,

361,

images 361
Vasanta 186, 27^, colour 379, symbol 379,

vahana 379, dhyana 379, described 379
Va&ita goddesses, twelve 328, their natuie
328,

general328,

description

theirdescribed 254, Sakti

253, dhyana 253,

Vighnantakrt, (of the southern gatej 46

Vijnana 1 J,

consciousness 42

Vijnanavada 8, ^>, 10,11,

Vikalaiatri 160, direction 160,

form 160

Vikrampur 16, 3, 137

symbol 244,

cribed 1 35

Vimala Lhumi

colour 244,;

254, images 254

saJhana 202, 244, dhyana 245, described

38,

181, images 18]

Vikramasila 6, 41. monastery 3
Vilokim 135, colour 135, symbol 135, des-forms 328, their images 329

Vasubandhu 12
Vasudhara

described334. colour

334,

symbol245, images 245, foims 245, another form

334, dhyana 334, described 334,

images202, colour 202, symbol 202,

334

antiquity

202, dhyana 202, described 202f, companions 203, images 39, 203

Vasuki (snake) 140, 148

Vimalapxabha 187
Vma 315, colour 315, symbol 315, dhyana
315, described 315, images 315

Vasumatisri 203

Vmadhara315

VasusYi 203

Vasyadhikara Lokesvara, described 395

Vipasyi (Mortal Buddha) 76
Virabana 126, attitude of Sadaksari Mahi-

Vasyatara 230, differented 230, images 230,
Asana 229, symbol 229, colour 229;

Virman (Citrakara) 7

green 307, special features 307
Vas*yaVajravarahi

219,

vahana 219, purposes

Viryaparamita 325, colour 325, symbol 325,

symbols
219,

219,

described

colour 362, vahana 362, direc-

tion 362, dhyana

images 363

59

dhyana 325, described 325, images 326
Visahari 193, (Hindu) 193

Viskambhin 93, short name of Saravaniva-

219, images 21 9

Vayu 362,

vidya 126

362,

described 363,

ranaviskambhin

93, in the

Lokanatha

Mandala 131, colour 131, symbols
described 131

131

BUDDHIST ICONOGRAPHY

466

described 363,

Yaksims 238, eight, enumerated 238

images 363, Mara 159, 195, as vahana

Yama 35, origin of 166, form 352,

colour352, vahana 352, direction 352,

dhyanaVismi 363, vahana

363,

136

Visnucakra LokesVara, described 430

352, described 361, images 361

Yamantaka 6, 1 17, 1 18,166, 167, 180, colour

Visnukanta LokesVara, described 430
Visnupani Lokelvara, described 429
VisVabhu (Mortal Buddha) 76

252, direction 252, dhyana 252, described 252, Sakti 252, images 252

Visvabhuta LokesVara, described 430

VisVadakml 164, colour

164, direction 164,

Yamantakavajra 167
Yamantakrt 46, (of the east gate) 46

Yamadanda LokesVara, described 397

described 164

Visvahana Lokelvara, described 397

VisVamata 308, white 308, special features

Yamaduti 347, companion of

Mahakala

347, colour 347, symbol 347,

direction

347, described 347

308

VisVapadma 135, colour 135, symbol

135,

Yamari 252 (another name of Yamantaka)
Yanas 8, three 9

described 135

VisVapadmesvarl 135, colour 135, symbol
VisVapani Bodhisattva

Yasodhara 79

Yoga 8, 9, 17, 24, and its six limbs 26

135, decribed 135
73,

colour 73,

sire73, family 73, described 73, images 73

VisVavajra 135, colour 135, symbol 135,

Yogacara 8, 9, 28

Yogambara186, colour 186, variety

Sakti 186, dhyana

18t>,

186,

described 186,

images 186, sire 186

described 135
VisVavajra Lokesvara, described 429

Yo?ins 18

Visvosmsa 300, colour 300, symbol 300,

Yogini 236, epithet of Vajragandhari 236

direction

300,

dhyana 300,

described

Yoginis 247,

companions of Vajrayogini

247

301, images 301

Vitanadhara 317

Yogimjala Tantra 4

Vitarka (cogitation) 26

Yuan Chwang 35, see Hiuen 7 h sang

Vogel (J Pn.) 35n
Vrsnacana (?) LokesVara, described 397

Yun -gar's attack on monastery 217

Yugaraddha (yab-yum) 217

W
Zodiacal Signs (Ras*is) 383,

Waddell (Mr. L. A.), 1
Walter Eugene Clark, Professor 3

deified 383, images 383.

Weapons 392, their significance, 392, varity of 392, expression of Bodhicitta 392,

explanations of 391, -meanings of 392
Whitney (Mr. W. B.) 221

Will to Enlightenment 25

Yab-yum 43, form of the deity 30, meaningand significance 391, 393, Sunya commingled with

KaronS 390,

infinitemeetswith the infinite 393

Yaksas 35, eight, enumerated 238, lords of379, kings, eight 380, their names 380,
their

380

symbols 380, theirdescriptions

number 383,

INDEX OF ILLUSTRATIONS

Nepalese miniature in the collection of
Dr. W. Y. Evans-Wen'z 64, described

Acalaketu Lokesvara (Fig 79-A), eye copy

5oof painting in the Machhandar Vahal,

Amoghasiddhi

Kathmandu, 420, described 429
Acata (?) Lokesvara (Fig 28-A), eye copy

Dhyani

Buddha(Fig

34)

sculpture from a roadsidestupa at Kathmandu 64, described 56

Nepaleseof painting in the Machhandar Vahal,

Kathmandu, 407, described 397
Adibuddha Vajradhara (Fig 12), Nepalese

Amoghadarsm (Fig 72) Nepalese drawing

painting in a full-page picture 57, des-Amoghapas'a Lokesvara (Fig 71 -A) eye
copy of painting in the Machhandar

109, described 98

cribed 43

Vahal, Kathmandu, 4 IK, described 428

Agni (Fig 237), metal statuette in the Palace

Temple at Peiping 371. described 362
Akasagarbha(Fig 52),

Nepalese drawing,

41-A)

the

Machhandar

painting

Vahal, Kathmandu 413, described 399

in

eye

in

Machhandar Vahal,theKathmandu, 402, desciibed 395
Aparajita (Fig 18 )>, lower half

oi' a

C

drawing, 69, des-lated sculpture discovered atcribed 85

muti-

Nalanda291, described 240

Aksayamati (Fig 50), metal statuette in the

Aparajita (Fig 190) lull image in stone in

Palace Temple at Peiping, 70, described

the Indian Museum 292, described 246

85

Arapacana (Fig 92) Baroda

Aksayamati Lokesvara (Fig 51 -A), eye copy

Kathmandu 413, described 399
Aksobhya Dhyani Buddha (Figminiatureinthecollection

metal

Arapacana (Fig fc>9), full -page illustrationof a sculpture in the Dacca Museum22) Nepa-

Dr. W. Y. Evans-Went::, 60,

Museumstatuette, 172, described 121

of painting in the Machhandar Vahal,

lese

^Fig

copy of painting

Vahal, Kathmandu 41 1, described 398
Anandadi LokesVara (Fig 7-A) eye copy of70, described 86

LokesVara (Fig 49-A) eye
Akasagarbha
copy of painting in the Machhandai

Aksayamati, Nepalese

Amrtaprabha Lokesvara

171, described 120

ofArapacana (Fig 90), Javanese sculpture now

described

in the Berlin

52

Museum172,

described

Aksobhya Dhyani Buddha (Fig 2 3) Nepa-^
lese sculpture from a roadside stupa at

Arapacana (Fig 91), Nepalese metal statue-

Katbmandu, 61, described 52
Amitabha Dhyani Buddha (Fig 19), Nepa-

Arya-Sarasvati (Fig 234), Nepalese drawing

lese miniature in the collection121

tte 172, described 121of the goddess 370, described 351

of Dr.

W. Y. Evans- Wentz 60, described 50

Astabhuja Marie- i (Fig 152)in the Indian

Amitabha LokesVara (Fig 87-A), eye copyof painting in the Machhandar Vahal,Museumartistic

in

piece

a full-page'illustration 275, described 212'

Kathmandu 422, described 429
Amitaprabha

(Fig

61),

Nepalese drawing

105, described 91

Amoghasiddhi

DhyaniAstabhuja MaricI (Fig 153), Indian Muse*urn sculpture 276, described 212

Astabhuja

Buddha (Fig 33),

Mfcrlcl

(Fig

154,

Lucknow

Museum sculpture 276, described 212

BUDDHIST ICONOGRAPHY

468

Avalokita LokesVara (Fig 44- A), eye copyof painting in the Machhandar Vahal,

Kathmandu 411, described 399

of the deity in Yab-yum, 266, described
160

Buddhist Triad (Figs

Avalokitesvara (Fig 57), Nepalese drawing,

9, 10,

11)see

Triad,

Buddhist

72, described 89

B
Candarosana (Fig 124) Nepalese drawing

Baudh(Fig 7) a famous

stupa in Nepal,

37, described 32

depicting the deity in Yab-yum 265, des-cribed 155

Bhadrapala (Fig 69), Nepalese drawing 108,
described 97

Candraprabha

statuette in metal in

Candraprabha

Bhrkutl(Fig 123),

the Palace Temple at Peipmg 265, described 153

Bodhi Tree (Fig 2), Lord Buddha's symbolfrom the gateway at Sanehi, 33, des*cribed 31

Lokesvara (Fig 43-A) eyeof
cop3
painting in the Machhandar
Vahal, Kathmandu 411, described 398
7

Cintamani Lokc&vara (Fig 94-A) eye copyof painting in the Machhandar Vahal,

Kathmandu 424, described 430

Brahma (Fig 239) metal

statuetteof thethe swan vehicle in thedeity riding

Palace Temple at Peiping 372, described

363

Brahmadanda

Lokesvara(Fig

27-A) eyecopy of painting in the Machhandar
Vahal, Kathmandu 407, described 397

Buddha (Fig 10) Nepalese metal statuetteshowing Lord Buddha in the Bhusparsa
mudra in the collection of Pandit
Siddhiharfaha

Vajracaryya,

des-

40,

cribed 32

Cittadhatu Lokesvara (Fig 93-A) eye copy
ol painting intheMaohhandar Vahal,

Kathmandu, 424, described 430
Cunda (Fig 163) Baroda Museum statuetteof the sixteen-armed

deity,

280,

des-cribed 223f

Cunda (Fig 164) sculpture of the deity in
the Hindu monastery at Bodh Gaya
280, described 224

Cunda (Fig 162) miniature painting of thesixteen armed variety in MS No. Add
1643 (Prajnaparamita) in the University

Buddha in different mudras (Fig 17) panel
showing four figures of Lord Buddha
in four different mudras in the Nalanda

Museum 59, described 48
Buddha in different mudras
ning panel showing
different

Nepalese drawing(Fig 59;

105, described 90(Fig 18) run-

Library, Cambridge 280, described 223

Cunda (Fig 161) fine statuette of the four
armed variety in the collection of thelate Mr. W. B. Whitney of New York
297, described Z21

Lord Buddha inmudras, from Java 59,

des-cribed 48

Buddha's Footprints (Fig 4) on a Bharhut
Indianmetal statuette in the^Dakinl (Fig 217)
Palace Temple at Peiping 357, described

Buddha's Head-dress (Fig 3) or hairlock(?)
as it appears on Bharhut bas-relief pre-Dasabhujasita Marlci (Fig 155) Nepalesedrawirg of the ten-armed goddess 278,

preserved in theMuseum 36, described 31
bas-relief

served in the Indian322

Museum 36,

des-described 213

DalamlTithi (Fig 245) metal

cribed 31

BarodaMuseumBuddhakapala (Fig 127)
metal statuette without the Sakti 266,
described 160

Buddhakapala (Fig 126) Nepalese drawing

the Palace

Templestatuette in

at Peiping 374, des-cribed 382

Devadevata Lokesvara (Fig 72-A) eye copyof painting in the Machhandar Vahal,

INDEX OF ILLUSTRATIONS
Kathmandu 418, described 428
Dhanada Tara (Fig 172) Ncpalese drawingof the four'armed deity 284, described
231

Dharmacakra

Lokesvara (Fig 81 -A)

copy of painting

in thee^eMachhnndar

469

Ganapati, four-armed (Fig227) metal
image of the god in a dancing attitudein the collection of Dr. Mophe of

Khar(Bombay), 360, described 348
Ganapati (Fig 241) metal statuette showing
the deity with the Rat vehicle in the

Vahal, Kathmandu 421, described 429
Dharmadhatu Lokesvara (Fig 90-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 423, described 430

Ganapatttirdaya (Fig 229) Nepalese miniature in the collection of Dr. W. Y.

Dharmamegha (Fig 223) metal statuette of
the Bhumi goddess in the Palace Tem-

GanJhahasti (Fig 67) Nepjlese drawing 107

Evans-Wentz 360, described 349

Ghasmari (Fig 203) metal

statuetteinthe

Palace Temple ut Peiping 296, described311

cribed 202

Dhyana Paramita (Fig 219) metal statuettein the Palace Temple at Peiping 357,
described 326

Dipa (Fig 213) metal statuetie in the Palace

Temple at Peiping 355, described 318
(Fig

365

described Q6

ple at Peipini* 358, described 33t>

Dhvajagrakeyura (Fig 147) Nepaleso diawing of the four-armed goddess 274, des-

Dombi

Palace Temple at Peiping 372, described205) metal

statuette in

Gita (Fig 207) metal statuette in the Palace

Temple at Peiping 353, described 313
Grahamatrka (Fig 165) Nepalese miniaturein theof Dr. W. Y

collection

Evans-

Went:: 282, described 225

theH

Palace Temple at Peiping 353, described

312

Halahala (Fig 109) full-size stone image inDream, Maya's, see Maya's Dreama monastery at Kathmandu 260, described 132

Ekajata (Fig 138) stone figure as companion
the Indianof Khadiravanl Tara in

Halahala Lokesvara (Fig 3- A) eye copy of
painting in the Machhandar
Vahal,

Kathmandu 401
Harihara Lokesvara (Fig 84- A) eye copy ofMuseum 270, described 194
270,

Ekajata (Fig 139) Nepalese drawing
described 194

the Machhandar
Kathmandu 421, described 429

painting in

Vahal,

Harihariharivahana

(Fig
113)
Nepalesedrawing of the deity riding on Visnu,
Garuda and Lion 261, described 137

Footprints, Buddha's see Buddha's Foot-Harihariharivahana

Lokesvara

(Fig

4-A)

eye copy of painting in the Machhandar Vahal, Kathmandu 401, described

prints

Four-armed Ganapati, see Ganapati

394
Harivahana LokesVara (Fig 82-A) eye copyof painting in the Machhandar Vahal,

Gaganaganja (Fig 53) Nepalese drawing
described 87

71,

Gaganaganja Lokesvara (Fig 48-A) eye copyof painting in the Machhandar Vahal,

Kathmandu 412, described 399
Ganapati

(Fig

228)

twelve-armed

figure in the collection

metalof the Dowager

Maharani Chimanbai Gaekwad of Baroda 360, described 348

Kathmandu 421, described 429(Fig128) Nepalese di awing
showing the horse-neck on the head,

Hayagrlva

266, described 165

Hayagrlva (Fig 129) metal statuette in the
Palace Temple at Peiping 267, described
165

Hayagrlva LokesVara (Fig) 1-A eye copy of
painting intheMachhandar

Vahal,

BUDDHIST ICONOGRAPHY

470

Kathmandu 401, described 394
Head-dress, Buddha's see Buddha's Headdress

Heruka (Fig 125) Dacca Museum sculpture

Kamandalu Lokesvara (Fig 10- A) eye copyof painting in the Machhandar Vahal >Kathmandu 403, described 395
Kapata(Fig

statuette in the212) metal

Palace Temple at Peiping 355, described

265, described 156

317
1

Karandavyuha

Temple at Peiping 371, described 352
J

Jalinlprabha (Fig60),

drawing

Nepaleseof painting in the Machhandar Vahal,

in

(Fjg

176) finein thestono in the possession of Pandit

Siddhiharsha Vajracaryya 286, described

PalaceTempleat

Peiping 373,

described 378

Khadiravani

Tar a

(Fig

beautiful166)

bronze in the Baroda Museum without

companions 282, described 227

statuette

Nepal37-A) eyein Kathmandu, 37, described 32
Ketu (Fig 243) metal statuette of the planet

Kathmandu 411, described 398
Jambhala(Fig

Kathe Simbhu (Fig 1) medium sized stupa

105, described 90

Jalinlprabha LokesVara (Fig 42- A) eye copy

LokesVara

copy of painting in the Machhandar
Vahal 4 10, described 398

Indra (Fig 236) metal statue in the Palace

Khadiravani Tara (Fig 249) unique sculpture showing the eight deities of theTara mantra in the Dacca Museum, 375

238

described 388

Jam bhal(Fig 177) full page reproductionof an artistic specimen discovered at ai

Khadiravani Tara (Fig 167) Indian Museum
sculpture with Asokakanta and Ekajata

roadside shed near Rampal in Vikram-

pur 287, described 238
Jambhala (Fig ] 78) small statuette in .stone
discovered at a road-side &hed nearRampalin

Vikrampur

288,

282, ciesciibed 227

Khadiravani Tara (Fig 166) artistic specimen discovered at Mahoba and LOW
at Lucknow 281, described

238

Jambhala (Fig 179) Nepalese drawing of theyab-yum figure 288, described 239
Janguli (Fig137)

Nepalese drawing

Khasaipana

of painting in the Machhandar Vahal,
Kathmandu 403, described 395

Jnanadhatu Lokesvara (Fig 36- A) eye copyof painting in the Machhandar Vahal,inin thea full(Fig

104)

IndianMuseumsculpture 259, described 130

Khasarpana Lokesvara (Fig 21-A) eye copyof painting in the Machhandar Vahal,

Kathmandu 406, desciibed 396
Krtanjali Lokesvara (Fig 98- A) eye copy

painting in the

Kathmandu 409, described 398
Jnanaketu (Fig 68) Nepalese drawing 108,
described 96

discovered

page reproduction 257, described 130

Khasarpana

Jatamukuta LokesVara (Fig 12-A) eye copy

(Fig 103)

227

Pargana Vikrampur, Dacca

269*

described 192

Museumdeposited in the Provincial

described

Machhandar

of

Vahal,

Kathmandu 425, described 430
Ksitigarbha (Fig 51) Nepalese drawing of
the Bodhisattva 70, described 85

Ksitigarbha LokesVara (Fig 50-A) eye copyof painting in the Machhandar Vahal,

K
Kalacakra

(Fig

134)

Nepalese

Kathmandu, 413, described 399

drawing

showing this rare deity in yab-yum 268,

Kumbha (Fig

Kamalacandra LokesVara

copy(Fig 77- A) eyeof 'painting in the Machhandar

Vahal, Kathmandu 420, described 429

247)

metal statuette of the

Sign of the Zodiac in the Palace Temple

described 188.

at Peiping 374, described 383

Kurukulla (Fig 121) Nepalese drawing of
the deity showing the bow and arrow of

INDEX OF ILLUSTRATIONS
flowers 264, described 149
Kurukulla (Fig 122) metal statuette in the

Palace Temple at Peiping 264, described

471

LokesVara

Mahamanjubhuta

(Fig

65-A

eye copy of painting in the Machhandar Vahal,

Kathmandu

149

417,

described428

Lama (Fig 218) Nepalese painting of thegoddess in a full page illustration 376,
described 322

Lasya

(Fig

205)

metal

statuettein thePalace Temple at Peiping 353, described

313
(Fig

31)

Nepaleseminiature 63, described 55

Lokanatha (Fig 106) Baroda
tal statuette

Museum me-

259, described 132(Fig 198)
Nepaleseminiature in the colleuion of Dr. W.

Y. Evans- Wentz 294, described 305

Mahamayuri (Fig 200) Nepalese miniature

(Fig

105)

cribed 132

Mahapatala Lokf'Svara (Fig 59-A) eyo copyof painting in the Machhandar Vahal,
Mahapratisara (Fig 185) Dacca Museum''mage of the eight-armed deity 290,
described 244

Lokanatha (Fig 108) ivory imago invate collection in

a

pri-

Kathmandu (Nepal)

260, described 132

Mahapratisara (Fig 184) sculpture of thedeity in the

Dacca Sahitya Parisat 290,

described 244

Lokanatha (Fig 107) Torso in the SarnathMuseum 259, described 107
Raktaryyavalokitesvara
the18-A) eye copy of painting in

(Fig

Ma-

chhandar Vahal, Kathmandu 405, described 396

Mahapratisara (Fig 196) Nepalese miniature in the collection of Dr. W. Y.

Evans-Went: 294, described 303
Maharatnakirti Lokesvara (Fig 55-A) eye
copy of painting in the Macnhandar
Vahal, Kathmandu 414, described 399

Maharatnakula LokesvaraM

copy of painting

Maha-Abhayakari LokesVara (Fig 64-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 416, described 400

Maha-Abhayaphalada LokesVara (Fig 63-A)
eye copy of painting in the Machhandar Vahal,

W Y. Evans-of Dr.

Wentz295 described 305

Kathmandu 415, described 400

Mahoba sculpture
now in the Lucknow Museum 258, des-Lokanatha

Vahal, Kathmandu 415, described 400

MahamantranusarinIin the collection

Locana Buddhas*akti

Lokanatha

Mahamanjudatta LokesVara (Fig 60-A) eye
copy of painting in the Machhandar

Kathmandu 416, described(Fig 58-A)

in theeye

Machhandar

Vahal, Kathmandu 415, described 400

Mahasahasrabhuja

LokesVara(Fig 5 4- A)

eye copy of painting in the Machhan*
dar Vahal, Kathmandu 414> described399

LokesVara (Fig 61 *A)

Mahasahasrapramardani (Fig 197) Nepaleseminiature in the collection of Dr. W.
Y. Evans Went* 294, described 304

eye copy of painting in the Machhandar
Vahal, Kathmandu 416, described 400

Mahasahasrasuryya Lokesvata (Fig 5 7- A)
eye copy of painting in the Machhan-

400

Mahacandrabimba

Mahaclna Tara (Fig 135) Nepalese drawingof the goddess 269, described 191

Mahaclna Tara

(Fig 136) Nepalese drawingof the goddess 269, described 191

Mahakala

(Fig

226)

exceedingly

finespecimen of the two-armed form ofdar Vahal,

Kathmandu 415,

described

400

MahalankhanStha

LokesVara

(Fig

56-A)

eye copy of painting in the Machhandar Vahal, Kathmandu 414, described

400

tion of Pandit Siddhiharsha Vajracaryya

MahSsarasvati (Fig 230) Nepalese drawingof the goddess 369, described 350

of Nepal 359, described 345

Mahafitavati (Fig 199) Nepalese miniature

the violent god in stone in the collec-

BUDDHIST ICONOGRAPHY

472

W. Y, Evansto the collection of Dr.

Wentz 295, described 305

Kathmandu 406, described 396

MahSsri Tara (Fig 169) full-page reproduction of an artistic sculpture in theMuseum with the Dhyani
Buddha s and the four companions 283,

IndianMahasthamaprapta (Fig 58) Nepalese draw*ofManjukumara(Fig 88)

drawing

Nepalese

170, described 120

Manjunatha Lokesvara (Fig 96-A) eye copyof painting in the Machhandar Vahal,

Kathmandu 424, described 430

described 229

ing

of painting in the Machhandar Vahal,

the Bodhisattva

72,

described

89

Mahasthamaprapta Lokesvara (Fig 106-A)
eye copy of painting in the Machhan-

ManjusrI

Nepalese drawing 107,

(Fig 66)

described 95

ManjusrI (Fig 74) Baroda Museum metal
statuette with Ganapati and Visnu 110,
described 102

Kathmandu 427, described

Manjuvara (Fig 83) Birbhum sculpture 169*

Mahasuryyabimba LokesVara (Fig 62-A)
eye copy of painting in the Machhandar Vahal, Kathmandu 416, described

Manjuvara (Fig 84) Indian Museum sculp-

dar Vahal,

described 117

431

400

sculpture 169, described 118

Mahattarl Tara (Fig 201) beautiful Nepalese statuette in the collection of Pan*
dit fchddhiharsha

Vajracaryya of Nepal

295, described 307(Fig 67-A)

eye

copy of painting in the Machhandar
Vahal, Kathmandu 417, described 428

Mahavftjradhrk LokesVara (Fig 68-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 417, described 428

Mahavajranatha Lokesvara (Fig 70-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 418, described 428

Mahavajrapani Lokesvara (Fig 69-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 418, described 428

Mah&vajrasattva LokesVara (Fig 29-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 408, described 397

Mahavisvasuddha LokesVara (Fig 66 A) eye

copy of painting

in

the

Machhandar

Vahal, Kathmandu 417, described 428

Mahesvara (Fig 240) metal

statuette with

the Bull vehicle in the Palace

Temple at

Peipmg 372, described 364(Fig 65)

Nepalese drawing 107,

170, described 118

Maitreya (Fig 47) Nepalese drawing

69,

described 81

Buddh&s'akti (Fig 24)(Figtuette in the86)

Nepalese metal staof Pandit Si-

collection

ddhiharsha 170, described 118

Manjuvajra (Fig 87) Baroda Museum metal
statuette 170, described 119

Maya's Dream (Fig 1) bas-relief on the
Bharhut railings in the Indian Museum
thedepictingphant

Buddhaas

White Ele-

into

the

womb

enteringofMayadevi 83, described 31
Lokesvara (Fig 5A) eyeof
copy
painting in the Machhandar

Mayajalakrama

Vahal, Kathmandu 402, described 394

Lokesvara
Mayajalakramakrodha
15-A) eye copy of painting in

Machhandar Vahal,

(Fig

the

Kathmandu 404>

described 395

Mina

(Fig

248) metalof thestatuette

Sign of the Zodiac in the PalaceTem-

ple afc Peiping^W, described 383

Mojaghanjabala (?) Lokesvara (Fig 2-A)
eye copy of painting in the Machhandar Vahal,

Kathmandu 401, described394

described 94

MamakiManjuvara (Fig 86) Nepalese metal statuettein the collection of Pandit Siddhiharsha

Manjuvara

Mahavajradhatu Lokesvara

Maitreyature 169, described 118

Manjuvara (Fig 85) second Indian Museum

Nepalesedrawing 61, described 52
Manipadma Lokelvara (Fig 22-A) eye copy

Mortal Buddhas, seven (Fig 45) withMaitreya in an Indian Museum sculp*
ture 69, described 77

Mudras, Buddha indifferent see

in different Mudras

BuddhaINDEX OF ILLUSTRATIONS
Mukunda (Fig 210) metal statuette in the
Palace Temple at Peiping 354, described

Padmapani Bodhisattva (Fig. 21)

full

size

bronze figure in a monastery at Kath-mandu 60, described 51

315

Padmapani Lokesvara (Fig. 104-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 426, described 431

N
Nairatma (Fig 1 48) Indian Museum sculp273, described

ture, slightly mutilated

204
Nairatma (Fig 149) metal statuette with thethe Vnngiya Sahitya

lost Khatvanga in

Parisat Museum 214, described 204

Nepalese

79)

Namasangiti Manjusri(Fig. 80)

metaltuette in the Palace

Templeat Peipingsta-Navami Tithi (Fig 244) metal statuette of
the Time deity in the Palace Temple at(Fig. 132)
Nepalese drawing
showing the horse-head 268, described186
dian Museum 270, described 197
Parnasabari (Fig.

173) full page reproduc-

yogini in

specimen at Vajra-

Vikrampur

285,

described

Parnasabari (Fig

174)

fine sculpture dis-bv Dr.

covered in Vikrampur

N K.

Museumsculpture 262, described 141

Nilakantha LokesVara (Fig. 17' A) eye copyof painting in the Machhandar Vahal,

Kathmandu 405, described 3%(Fig.

73-A) eye copyof painting in the Machhandar Vahal,.

atPotapada (?) Lokesvara (Fig 9-A) eye copyof painting in the Machhandar Vahal,

Kathmandu 403, described 395
Prajnaparamita (Fig 141) the mostartistic

sculpture from Java now in the Leiden224) metal statu-

TemplePindapatra Lokesvara (Fig

Kathmandu 419, described 428

Peiping 373, described 382
Nilakantha (Fig. 116) Sarnatha

the Palace

Paramasva

Bhattasali 286, described 233

112, described 116

in

Nepalese

233

drawing 111, described 116

Nirukti Pratisamvit

20)

(Fig.

miniature 60, described 50

tion of an artistic

harsha 151, described 207

Namasangiti Manjusri (Fig

Pandara Buddhasakti

Parnasabari (Fig 140) sculpture in the In*

Namasangiti (Fig 151) metal statuette of
Nepal in the collection of Pandit Siddhi-

ette

473

PeipingMuseum 271, described 198
Frajnaparamita (Fig 142) IndianMuseumsculpture 271, described 199

359, described 343

Nityanatha LokesVara (Figcopy of painting in the

103-A) eye

Machhandar

Vahal, Kathmandu 426, described 431

Nrtya (Fig- 208) metal statuette from the
Palace Temple at Peiping 354. described

Pranidhana Paramita (Fig 220) metal statuette in the Palace Temple at

Peiping 357,

described 327

Prasannatara (Fig 192) Nepalese drawingof the eight-headed and sixteen-armed
deity 292, described 250

314

Pratibhanakuta (Fig 62) Nepalese drawingof the Bodhhisatt va 106, described 92

Padmanarttasvara

drawing in

(Fig

112)

Nepalesethe company of the Sakti

artistic

ture at Saiasvatisthan near

sculp-

Simbhu in

Nepal 260, described 133
Padmanarttesvara (Fig 111) metal statuettein the Palace Temple at Peiping 261,

described 134

60

Vahal, Kathmandu 410, described 396

Pratibhaua

261, described 135

Padmanarttesvara (Fig. 1 10)

Pratibhanakuta LokesVara (Fig 40- A) eye
copy of painting in the Machhandar
Pratisamvit(Fig225) metal

statuette in the Palace Temple at Peiping

359, described 343

Pratyangira see Mahapratyangira
Pratyangira (Fig 144) Nepalese drawing 272,

described 201
Pratyangira (Pig

145)

Nepalese drawing

BUDDHIST ICONOGRAPHY

474

Ratnolka (Fig 2 14) metal statuette in272, described 201

Pratyangira (Fig 146) Nepalese image witharms in a private
innumerable heads&

thethe Palace Temple at Peiping 356, described 31 8

collection in Nepal 272, described 201

Pretasantarpana Lokesvara (Fig 14-A) eye
copy of painting in the Machhandar

Vahal, Kathmandu 404 described 395
Pretasantarpita (Fig 118) Nepalese drawingof the deity showing two goblins 263,

Sadaksari group (Fig 96) Birbhum sculpture 174, described 126
Sadaksari group (Fig 95) IndianMuseumsculpture 173, described 126

described 142

Pukkas! (Fig 204) metal statuette in the

Sadaksari group (Fig 94) SarnathMuseumManidhara

andPalace Temple at Peiping 296, described

sculpture

311

Sadaksari Mahavidya in full form

Pupala (?) LokesVara (Fig 24- A) eye copy of
Vahal,
painting in the Machhandar
Puspatara (Fig 183) metal statuette in the
Palace Temple at Peiping 289, described173,

described 126
Sadaksaii Lokesvara (Fig 97) Baroda

seum

Kathmandu 406, described 396

showingMu-

metal statuette 174, described

126

Sadaksari Lokesvara (Fig 6-A) eye copy ofin the Machhandar Vahal,
Kathmandu 402, described 395

243

painting

R

Sadaksari Mahavidya (Fig 98) Sarnath Mu-

seum sculpture 174, described 127

Rahu (Figmetal statuette242)

of theplanet showing the Buffalo chariot, in
the Palace Temple at Peiping 373, described 377

Rakta-LokesVara (Fig 115) metal statuettein the Palace

Templeat

Peiping 262,

eye copyof painting in the Machhandar Vahal
Ratnapani Bodhisattva (Fig 40) full
in a

size

monastery at

Kathmandu 66, described 74
Rddhi Vas*ita(Fig 222)

Nepalese drawing 71,

Sagaramati Lokesvara (Fig 46-A) eye copyof painting in the Machhandar Vahal,

Sakyabuddha

Lokesvara (Fig 33 -A)

copy of painting

in themetal statuette in

the Palace Temple at Peiping 358,

des-Ratnapani (Fig 54) Nepalese drawing
described 87

71,

Ratnapani LokesVara (Fig 4 7- A) eye copyof painting in the Machhandar Vahal,

Kathmandu 412, described 399
Ratnasambhava DhySni Buddha

397

Sakyabuddha LokesVara (Fig 92-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 423, described 430
Samantabhadra (Fig 48) Nepalese drawing
69, described 84

Samantabhadra Bodhisattva (Fig 32)

cribed 330

eye

Machhandar

Vahal, Kathmandu 408, described

419, described 429

bronzeSagaramati (Fig 55)
described 88

Kathmandu 412, described 399

described 138

Ratnadala LokesVara (Fig 75- A)

Nepalese

Sadbhuja Sitatara (Fig 1711 Nepalese drawing 284, described 230

size Nepalese bronze in a

a

full

monastery at

Kathmandu 63, described 55
Samantabhadra LokesVara
copy(Fig 53- A) eyeof painting in the Machhandar

Vahal, Kathmandu 414, described 399(Fig 37)

Nepalese miniature in the collectionof Dr. W. Y. Evans- Wentz 65, described 74

Ratnasambhaba Dhyani Buddha (Fig 3 8)
Nepalese sculpture from a road-side
stupa at Kathmandu 65, described 74

Sangha (Fig 11) Nepalese metal statuetteof the four-armed deity in the collection of Pandit Siddhiharsha

40,

des-

cribed 40

ankhanatha

LokesVara (Fig 101-A) eye

copy of painting in the Machhandar
Vahal, Kathmandu 426, described 430

INDEX OF ILLUSTRATIONS
Lokesvara

Santamati

(Fig

eye

95-A)

the Machhandar

of

Vahal,

Simhasya (Fig 215) unique metal statuette

Lokesvara (Fig 83-A) eye copyin the collection of Dr. Moghe of Khar
Bombay 356, described 321

inVahal, Kathmandu 424, described 430
Santasi Lokelvara (Fig 32-A) eye copy

Machhandar

the

in

painting

Kathmandu 408, described 397
of painting in the Machhandar Vahal,

Kathmandu
Sarthavaha

Lokesvara

(Fig

74-A)

eye

Sarvanivaranaviskambhi (Fig 64) Nepalesedrawing of the Bodhisattva 106, described 93

Lokesvara

3 8- A) eye copy ofMachhandar Vahal,

(Fig

in

the

Kathmandu

410,

painting

Sarvapayairjaha (Fig 70) Nepalesedrawing

image showing
collection of Dr.

the

ot"

Khar

(Bombay) 356, described 321
Sirisara (?) Lokesvara(Fig 80-A)

eyecopy of painting

in

Moghe

the

Machhandar

Vahai, Kathmandu 420, described 429
Aparajita (Fig 158) Nepalesedrawing of the six armed deity 278,
described 216

Sarvapayanjaha (Fig 71)
tho Palacemetal

statuette

Temple at Peiping

109,

described 97

Sarvasokatamoiarghatamati (Fig 63)

drawing oi

Nepa*

the Bodliisattva

106,

described 92

chhanddr Vahal, Kathmandu 410, described 398

Siddhaikavira (Fig 77)

Sarnathsee

theMachhandar

of

copy

painting in the Machhandar Vahal,

Kathmandu 413, described 399
Sthiracakra (Fig 93) sculpture in theVan-giya Sahitya Parisat Calcutta

des-

173,

cribed 122
three famous

stupasof Nepal illustrated 37, described 32

Stupa of Bauddh (Fig 7) in Nepal
ted 37, described 32

illustra-Stupa of Kathc Simbhu (Hg 8) in Nepal
illustrated 37, described 32

Stupa of Simbhu (I ig 6) in Nepal

Museumillustra-ted 37, described 32
Sugatisandars'ana (Fig. 117) Nepalese draw-

statue 111, described 114
6)in theVahal, Kathmandu 427, described 431

Stupas (Figs 6, 7, 8)

Sarvasokatamonirghatamati Lokesvara (Fig39-A) eye copy of painting in the Ma-

Seven Mortal Buddhas with Maitreya
Mortal Buddhas, Seven

108-A) eye

Srimad-Aryavalokitesvara (Fig

Srstikanta Lokesvara (Fi$ 52 A) eyeof the Bodhisattva 108, described 97

(Fig

of

upper view216)

copy of painting

described 398

Simbhu(Fig

Sitatapatra

Sarvanivaranaviskambhi

lese

Simhasyathe lion head in the421, described 429

copy of painting in the Machhandar
Vahal, Kathmandu 419, described 428

inKathmandu 422, described 429
Simhanatha

Lokesvara(Fig 20A)
eye
of
copy
painting in the Machhandar
Vahal, Kathmandu 405, described 396

copy of painting

Sarasiri (?)

475m^st famous Stupa

ing 262, described 141

Sugatbandars'ana Lokesvara (Fig 16-A) eye

in Nepal 37, described 32

Simhanada (Fig 9) full page illustration of
the Mahoba image now in the Lucknow

Museum 175, described 127

copy of painting

inthe Machhandar

Vahal, Kathmandu 404, described 396
fcukhavati LokesVara (Fig 1 19) one of the

Simhanada (Fig 101; sculpture from Ma-

many sculptures of the deity found ingadha 176, described 128
Simhanada (Fig 100) Nepalese metalin Nepal 262, described 142

tuette with a large size

lion

sta-

176, des-(Fig 1 3- A) eye copyof painting in the Machhandar Vahal,

Kathmandu 404, described 395

cribed 128102) Nepalese metaltuette 176, described 128

Simhanada (Fig

Simhanada LokesVaraof painting

SukhavatI Lokesvara

in

sta-

(Fig 85-A) eye copy

the Machhandar Vahal*

Surangama (Fig 73) Nepalese drawing of
the Bodhisattva 109, described 98

SymbolWorship (Figs. 3, 4, 5) Threefrom
Bharhut
Railings

bas-reliefs

BUDDHIST ICONOGRAPHY

476

Museum,preserved in the IndianCal-

private collection 112, described 117

Vairocana Dhyani Buddha

cutta 36, described 31(Fig 28)

lese miniature in the collection

Nepaof Dr.

W. Y. Evans-Wentz 62, described 54
Talika(Fig211) metal statuette inthe

Palace Temple at Peiping 355, described

Vairocana Dhyani Buddha (Fig 29) Nepalese bronze in the private collection in

Kathmandu 62, described 54
Vairocana-Vajradhara (Fig 30) metal

316
TSra Buddhasakti (Fig 35), Nepalese minia-

in

sta-

the Palace Temple at Peiping

63, described 54

ture 64, described 73

Trailokyavas'ankara (Figtuette1 14)

a statuette in

Vajracarcika (Pig 143) Nepalesedrawingdes-showing her emaciated form 271, described 200

Triad, Buddhist (Figs 9, 10, 11) three metal

Vajradhara-Adibuddha see Adibudda Vajradhara

the Palace Temple at Peiping262,

cribed 137

collection of Pandit

statuettes in the

Vajradhara (Fig 13) Baroda

Siddhiharsha 40, described 32

Trilokasandarsana

Lokesvara(Fig 19-A)

eye copy of painting in the Machhandar Vahal, Kathmandu 405, described

396

des-

cribed 44

Vajradhara Yab-yum (Fig 14) 58, front
view of a Nepalese metal statuette in

Tula (Fig 246) metal statuette of the Sign

the collection ofof the Zodiac in tha Palace Temple at
Peiping 374, described 383

58, described 43

U

Museum sta-tuette showing his single form 58,

PanditSiddhiharsha

Vajradhara Yab-yum (Fig 15) side view ofa Nepalese metal statuette in the collection of Pandit Siddhiharsha 58, des-cribed 43

Ucchusma Jambhala
sculpture showingon

Kubera and

(Fig

130)

uniqueUcchusma standing
in thecompany of

Vasudhara, in the Sarnath Museum 267,
described 180

Upapati Vasita (Fig 221) metal statuette in
the Palace Temple at Peiping 358, described 330

Usnisavijaya (Fig 156) full page illustration of an artistic specimen in the

Usnisavijaya (Fig 157) Nepalese miniaturein the collection of Dr. W. Y. Evans-

Wents 278, described 215(?)

LokesVara

copy of painting

in

(Fig

the

25-A)

described 43

Vajradharma(Fig 120) Nepalese drawingof the deity showing the Peacock vehicle

264, described 143

Vajradharma Lokesvara (Fig 23 -A) eye copyof painting in the Machhandar Vahal,

Kathmandu 406, described 396
Vajradhatu- Vairocana
tuette in the Palace

Indian Museum 277, described 215

Utnauti

Vajradhara (Fig 16) six-armed statuette ofthe deity *in the Baroda Museum 58,

eye

Machhandar

Vahal, Kathmandu 407, described 397(Fig 30)

metal

Templeat Peipingsta-63, described 54

Vajradhatu Lokesvara(Fig 91 -A)
eyecopy of painting in the Palace Temple
at Peiping 423, described 430

VajradhatvisVar!

Buddhasakti(Fig 39)

Nepalese miniature 66, described 74
Vajragaibha (Fig 56) Nepalese drawing of
the Bodhisattva 72, described 88

VaglsVara (Fig 81) an Indian
sculpture 112, described 117

MuseumVagilvara (Fig 82) Nepalese bronze from a

Vajragarbha Lokesvara (Fig 45-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 412, described 399

Vajrahuntika (?)

LokesVara

(Fig

35-A)

INDEX OF ILLUSTRATIONS
the Machhan-eye copy of painting indar Vahal,

Kathmandu

409,

described

398

477

Siddhiharsha 67, described 75
Vajrasattva Yab-yum (Fig 44) side view

Vajrakhanda Lokelvara (Fig 78-A) eye
copy of painting in the Machhandar
Vahal, Kathmandu 420, described 429

of Pandit Siddhiharsha

67,

described

75

Vajrasattvadhatu LokesVara (Fig 88- A) eye

Vajrananga (Fig 78) Nepalese drawing 111,

copy of paintinginMachhandarthe

Vahal, Kathmandu, 422. described 429

described 115

Vajranatha Lokesvara(Fig 107-A) eye
copy of painting in the Machhandar

Vajrasphota (Fig

Vahal, Kathmandu 427, described 431

cribed 298

Vajrapani Bodhisattva (Fig 26), Indian Museum sculpture of the Bodhisattva 62,

194)

metal statuette in

the Palace Temple at Peiping

293, des-Vajrasrnkhala (Fig 17*>) Nepalese drawingof the six-armed deity 2N6, described

235

described 53

Vajrapani Bodhisattva (Fig 27) sculpturein the Nalanda Museum 62, described

Vajrasrsta Lokesvara (Fig 100- A) eye copyof painting in the Machhandnr Vahal,

Kathmandu 425

53

Vajrapani Bodhisattva (Fig 25)

full

Nepalese bronze in a monastery
Kath-nandu 61, described 53
Vajrapaniofthe Nepalese bronze in the collection

Lokesvara(Fig

105-A)

size

Vajratara (Fig 182) sculpture at Sarasvatis-

attan near Svayambhunath in Nepal 289,
described 243

eyecopy of painting in the Machhandar
Vahal Kathmandu 427, described 431
Vajrapasi (Fig 193) metal statuette in the
Palace Temple at Peipmg 293, described

Vajratara (Fig 18J) Orissa sculpture

covered in the State of
289, described 243

Vajrataia (Fig 180) Indian Museum bronze
in the formof a lotus with eight petals

showing the principal

297
Vajraraga (Fig 75) Baroda

Museummetal

theMuseumsculp-

two

companions
showing
LokesVara and Maitreya illustrated 68,

ture

in centre

deitywith eight companions 288, described243

stauette 110, described 103

Vajraraga (Fig 76) Nepalese drawing 110,
described 103

Vajrasana (Fig 46) Indian

dis-

Mayurbhanj

Vajravarahi(Figbeautiful160)

statuette in the Baroda

bronzeMuseum 279,

described 2 19

Vajravarahi

Nepalese drawing(Fig 159;

depicting the excrescence near the rightear 279, described 219

described 78

Vajrasarada (Fig 232)
369, described 351

drawing

Nepalese

Vajrasarada (Fig 233) sculpture showing
the central deity wfrh her four com-panions in the SarnathMuseum 370,

Vajravidaranl (Fig 150) Nepalese miniaturein the collection of Dr. W. Y. Evans-

Wentz 274, described 205
Vajravina Sarasvat! (Fig 231) metal statuette in the Palace Temple at

Peiping 369,

described 350

described 351

at

Sanku

VajrasarasvatI (Fig 235) Nepalese drawingof the goddess 370, described 353

Vajrayogini Temple

inVajrasattva (Fig 41) Nepalese sculpture
described
Kathmandu
at66,
a monastery

Vajrosnlsa (Fig 195) metal statuette in theMuseum bron*
Vajrasattva (Fig 42) Baroda
ze illustrated 67, described 75

bronze191)

Palace Temple at Peiping 293, described

300

75

Vajrasattva(Fig

illustrated 292, described 248

Yab-yum
in

the

(Fig

43)

collection

Nepaleseof Pandic

Vajrosnisa LokesVara (Fig 34' A) eye copyof painting in the Machhandar Vahal,

Kathmandu 409, described 398
Varadayaka LokesVara (Fig 11 -A) eye copy

BUDDHIST ICONOGRAPHY

478

of painting in the Machhandar

Vahal,

Vahal,

Kathmandu

425,

described

430

KatJbmandu 403, described 395

Vasudhara

Kepalese drawing(Fig 186)of the deity with two arms 290, des-Visnupani Lokesvara (Fig 76-A) eye copyof painting in the Machhandar Vahal,

Kathmandu 419, described 429

cribed 245
fine

sculpture of the

Visvabhuta Lokesvara (Fig 89-A) eye copy

six armed form of thedeity 291, des-of painting in the Machhandar Vahal,
Kathmandu 423, described 430(Fig 188) metal statuette of the

Visvahana Lokesvara (Fig 30-A) eye copy

Vasudhara(Fig 187)

cribed 245

Vasudharasix

armed form of the deity

the

in

Museum 291, described 245

BarodaLokesVara

VasVfidhikara

copy of painting

(Fig

8-A)

Kathmandu 408, described 397
eyeMadhhandarin theVahal, Kathmandu 402, described 395
VasVatara (Fig 170) Nepalese drawing 284,
described 230

Vayu

Palacemetal statuette in thea(Fig 238)

at

TemplePeiping 371, des-cribed 362
Vetall(Fig 202)

matalof painting in the Machhandar Vahal,

statuette in the

Palace Temple at Peiping 296, described

VisVapani

Bodhisattva

Nepalese bronze

Kathmandu 426, described 430
Vighnantaka (Fig 131) bron/e statuette in
the Baroda Museum 267, described(Fig 36)afullmonasterysize
atKathmandu 65, described 73
VisVavajra Lokesvara (Fig 86-A) eye copy

Machhandar Vahal,
Kathmandu 422, described 429
of painting in the

Lokesvara (Fig 26- A) eyeof
painting in the Machhandar
copy
Kathmandu 407, described
Vahal,

Vrsnacana (?)

397

W

31J

Vidyapati Lokesvara (Fig 102-A) eye copyof painting in the Machhandar Vahal

in

Wheel-of-the-Law(Fig 5)symbol of
Lord Buddha appearing on a bas-relief
on the Bharhut railing in the IndianMuseum 36, described 31

181

Vina

209)

metal

Templeat(Fig

Palacestatuette

Peiping

in

354,

the
des-

cribed 315

Visnucakra Lokesvara (Fig 97-A) eye copy

Machhandar Vahal,
Kathmandu 425, described 430

of painting in the

Visnukanta

Lokfsvara(Fig 99-A)

copy of painting in theeyeMachhandar

Yamadanda Lokesvara (Fig 33-A) eye copyof painting in the Machhandar Vahal,
Kathmandu 409, described 397
Yogambara(Fig 133) metal statuette in the

Palace Temple at Peiping

depicting his

yab-yum form 268, described 186