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The Indian Buddhist Iconography, Mainly Based on the Sadhanamala and Other Cognate Tantric Texts of Rituals c10: Chapter I

The Indian Buddhist Iconography, Mainly Based on the Sādhanamālā and Other Cognate Tāntric Texts of Rituals c10

Language
English

Contents

Chapter I

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The pantheon of the Northern Buddhists revolves round the theory of the five Dhyāni Buddhas. The Buddhists believe that the world is composed of five cosmic elements or Skandhas. The five Skandhas are Rūpa (form), Vedanā (sensation), Saṁjñā (name), Saṁskāra (conformation) and Vijñāna (consciousness). These elements are eternal cosmic forces and are without a beginning or an end. These cosmic forces are deified in Vajrayāna as the five Dhyāni Buddhas. In the course of time they were regarded as the five primordial gods responsible for this diversified creation, and thus Vajrayāna took a polytheistic form, although polytheism can hardly apply to a system which considers Śūnya as the One, Indivisible and Ultimate Reality. But so long as form could not be given to Śūnya as an anthropomorphic deity, the system of five Dhyāni Buddhas certainly had the flavour of polytheism. The priests and the Vajrayāna authors were conscious of this shortcoming, especially in view of the fact that all the six Hindu systems of philosophy tended to develop a highly monistic philosophy. They tried at first to cure this defect by the theory of the Kulas (families), and Kuleśas (lord of families) of gods and men, and thus divided everything into five groups. For each group, a particular Dhyāni Buddha becomes the Kuleśa or the primordial lord, all other groups taking their origin from him. Another grand conception of the Vajrayāna Buddhism is the theory of the highest god Vajradhara, also called Ādibuddha, the primordial monotheistic god who is the embodiment of Śūnya to whom even the Dhyāni Buddhas owe their origin. The theory originated in the Nālandā monastery in about the 10th century.¹ Thereafter, a large number of images of Vajradhara must have been made in the different schools of art. The special Tantra dedicated to Ādibuddha is the Kālacakra Tantra which appears to be the original Tantra in which the doctrine of Ādibuddha was for the first time inculcated. The Kālacakra Tantra thus is a product of the 10th century. Vajradhara was particularly popular in Nepal and Tibet where numerous images of this primordial god are to be met with. Alexander Csoma de Koros places the introduction of this conception of Ādibuddha in Central Asia in the latter half of the 10th century. It originated at Nālandā according to him in the beginning of the 10th century, and no mention of the Ādibuddha cult is made by any writer prior to this time. Homage is paid to Ādibuddha in the shape of a flame of fire which the priests consider as eternal, self-born and self-existent. It is said in the Svayambhū Purāṇa that Ādibuddha first manifested himself in Nepal in the form of a flame of fire, and Mañjuśrī erected a temple over it in order to preserve the flame. This ancient temple is known as the Svayambhū Caitya.

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

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The conception of Vajradhara presupposes Ādibuddha and, therefore, is later than the first half of the 10th century. Vajrasattva, being a regular development of the Bodhisattva Vajrapāṇi emanating from the Dhyāni Buddha Akṣobhya, is a little earlier, although the conception of Vajradhara and Vajrasattva are sometimes inextricably mixed up. In Vajrayāna, Ādibuddha is regarded as the highest deity of the Buddhist pantheon, the originator even of the five Dhyāni Buddhas. When represented in human form, he begets the name of Vajradhara and is conceived in two forms, single and Yab-yum. When single, he is bedecked in jewels, gaudy ornaments and dress, sits in the Vajraparyaṅka or the attitude of meditation with the two feet locked with soles of the feet turned upwards. He carries the Vajra in the right hand and the Ghaṇṭā (bell) in the left, the two hands being crossed against the chest in what is known as the Vajrahuṅkāra Mudra (Fig 12). The Vajra (thunderbolt) here is the symbol for the ultimate reality called Śūnya while the bell represnts Prajñā or wisdom the sounds of which travel far and wide. Sometimes the symbols are shown on a lotus on either side, the Vajra being on the right and the Ghaṇṭā in the left (Fig 13). In Yab-yum, his form remains the same as when single except that here he is locked in close embrace by his Śakti or the female counterpart whose name according to Getty is Prajñāpāramitā. The Śakti is somewhat smaller in size, is richly dressed and bedecked in ornaments, carrying the Kartri (knife) and the Kapāla (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 Kapāla stands for oneness absolute, while the double form Yab-yum represents that the distinction between duality and non-duality is unreal, and the two mix themselves into one as salt mixes in water. The deity Vajradhara is an embodiment of the highest reality, Śūnya, while Prajñāpāramitā represents Karuṇā (compassion) and in close embrace they turn into one Śūnya in which Karuṇā merges, and the duality ceases. Vajradhara is widely represented in Tibet. ¹

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¹ Getty -- GNB, p. 5

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

Vajradhara

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Colour—Reddish White. Faces—Three. Arms—Six. Pose—Tāṇḍava Dance.

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Vajradhara is the principal deity in the Vajrasattva Maṇḍala in the Niṣpannayogāvalī. He is described thus :—

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"Kūṭāgāragarbhe Vajradharaḥ...īṣadraktānu-viddhasitavarṇaḥ...trimukho nīla-raktasavyetaravaktraḥ...ṣaḍbhujo vajra-ghaṇṭāvirājitabhujābhyām āliṅgitasvābhaprajñā......savyakarābhyāṃ kṛpāṇāṅkuśavarau vāmābhyāṃ kapālapāśabhṛt...........ardhaparyaṅkena navanāṭyarasais-tāṇḍavī." NSP. p. 8.

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"In the innermost chamber of the Maṇḍala there is Vajradhara. His colour is reddish white. He is three-faced. The right face is blue and the left is red. He is six-armed. With the two principal hands carrying the Vajra and the Ghaṇṭā he embraces the Prajñā. The two other right hands show the excellent sword and the Aṅkuśa. In the two remaining left hands, he carries the Kapāla and the noose. He stands in the Ardhaparyaṅka and dances the Tāṇḍava dance exhibiting the nine dramatic sentiments".

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Fig. 16 represents a three-faced and six-armed Vajradhara image without the Sakti in the Baroda Museum.

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But Vajradhara was not universally accepted as the Ādibuddha or the first creative principle. When the theory of Ādibuddha was fully established the Buddhists seem to have ranged themselves into so many sects as it were, holding different views regarding specific forms which the Ādibuddha should take. Some considered one among the five Dhyāni Buddhas as the Ādibuddha, some acknowledged Vajrasattva as the Ādibuddha. Many others were content to regard the Bodhisattva such as Samantabhadra or Vajrapāṇi as the Ādibuddha. Thus the cult of Ādibuddha was widely distributed amongst the different schools, which gave rise to as many different sects amongst the Tāntric Buddhists.

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Vajradhara or the Ādibuddha is supposed to be the originator of the five Dhyāni Buddhas, the progenitors of the five Kulas or families of Buddhist gods and goddesses. Next to Vajradhara the Dhyāni Buddhas or the Tathāgatas are important in Buddhist iconography and, therefore, requires treatment in detail. The Guhyasamāja Tantra (Tantra of Secret Communion) was the first to reveal their existence in a Saṅgīti (holy assembly) which is supposed to introduce new ideas into Buddhism.

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In the Guhyasamāja¹ the Dhyāni Buddhas are given a Mantra, a colour, a Śakti, a direction, and a guardian of the gate. As these Dhyāni Buddhas are of primary importance in Buddhist iconography, it is necessary to deal with their origin in some detail here. The Guhyasamāja opens in a grandiloquent style with the description of a monster assembly of gods, Tathāgatas, Bodhisattvas, Śaktis, and various other divine beings. The Tathāgatas present in the Assembly requested the Lord Bodhicittavajra to define the Tathāgatamaṇḍala or the magic circle of the five Dhyāni Buddhas and in response to their request, the Lord sat in a special Samādhi (meditation) called the Jñānapradīpa (lamp of knowledge), and his whole form started resounding with the sacred sounds of VAJRADHṚK which is the mantra of the Dveṣa family. No sooner the words came out, the sounds transformed themselves into the concrete shape of Akṣobhya with the earth-touching signal (Mudrā).

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¹ Guhyasamāja, chapter 1 is entirely devoted to the formation of the Dhyāni Buddha maṇḍala.

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Then the Lord sat in another meditation and soon became vibrant with the sacred sounds of JINAJIK, the principal mantra of the Moha family. The sounds condensed themselves into the concrete form of Vairocana with the Dharmacakra Mudrā and was placed in his front in the East.

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Next with a third Samādhi (meditation) the Lord became resonant with the word RATNDHṚK the principal mantra of the Cintāmaṇi family and soon became condensed in the human form of Ratnaketu with his favourite signal of Varada (gift bestowing) and was placed to the south of the Lord.

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The Lord thereupon took a fourth Samādhi and became resonant with the sacred sound of ĀROLIK, which is the principal mantra of the Vajrarāga family. The vibrations soon grossened themselves in the human form of Amitābha with the signal of Dhyāna (meditation) and was placed behind the Lord in the west.

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Next, the Lord assumed another Samādhi and soon became resonant with the sacred sound of PRAJNADHṚK, the principal Mantra of the Samaya family. The vibrations after condensation gradually assumed the shape of Amoghasiddhi with his characteristic symbol of Abhaya (assurance), and was placed by the Lord in the north.

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Then the Lord sat in a series of special Samādhis, five in number, and became resonant with five different mantras. The vibrations in like manner were condensed in the form of five goddesses as female counterparts of the five Tathāgatas already named and were placed in their appropriate positions.

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Thus, the Lord in the first Samādhi became resonant with the sound DVEṢARATI which transformed itself into the form of his own queen and was placed on his own seat.

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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.

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Thereafter he became vibrant with the sound ĪRṢYĀRATI which took the shape of a goddess and was placed in the southern direction as the queen of Ratnasambhava.

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Next in another Samādhi the Lord became vibrant with the sound RĀGARATI which soon took the concrete shape of a goddess and was placed in the western direction as the queen of Amitābha.

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

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When all the Tathāgatas were associated with their female counterparts the Lord sat in four more meditations and through these created four guardians of gates for the four cardinal directions.

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First, he sat in the Mahāvairocanavajra Samādhi and became resonant with the sound YAMĀNTAKṚT. These sound vibrations soon assumed the concrete shape of a violent deity, fearful to the Tathāgatas, and was placed at the eastern gate.

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Next, he became vibrant with the sound PRAJNĀNTAKṚT. The sound vibrations soon assumed the form of a violent deity, fearful to the Vajra process, and was placed at the southern gate.

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In a third Samādhi the Lord became vibrant with the sound PADMĀNTAKṚT which soon took the form of a violent deity representing the speech of the Tathāgatas and was placed at the western gate.

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Finally, the Lord sat in another Samādhi called the Kāyavākcittavajra of the Tathāgatas, and became vibrant with the sound VIGHNĀNTAKṚT which soon took the shape of a violent deity representing the body, speech and the mind of the Tathāgatas, and was placed at the northern gate.

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The above account as recorded in the Guhyasamāja Tantra marks the beginning of the theory of the five Dhyāni Buddhas, their counterparts, their mantras and the guardian of the gates. The five Dhyāni Buddhas are the corner stones of Buddhist Iconography on which the whole edifice of the Buddhist pantheon is erected. The five Dhyāni Buddhas are the progenitors of the five Kulas or families of deities, and the community worshipping them were known as the Kaulas, and the process of worship was called Kulācāra or family conduct. These Dhyāni Buddhas further split themselves up in the form of Bodhhisattva and their female principles who are responsible for creating everything found in existence. The forms of deities are nothing but the gross forms of the different sounds, and thus the connection of the mantra with the deity is established.

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The five Dhyāni Buddhas who are the embodiments of the five Skandhas or primordial elements are the progenitors of the five families of deities constituting the whole of the Buddhist pantheon. The emanated deities of these Dhyāni Buddhas, as a rule, hold the miniature figure of the parental Dhyāni Buddha on their heads and are usually of the same colour as that of the Dhyāni Buddha and are placed in the same direction as is assigned to their sires. This very plan is followed most scrupulously in almost all the Maṇḍalas or magic circles as described in the remarkable work, Niṣpannayogāvalī of Mahāpaṇḍita Abhayākara Gupta.

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

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Jino Vairocano khyāto Ratnasambhava eva ca
Amitābhāmoghasiddhirakṣobhyaśca prakīrtitaḥ
Varṇā amiṣām sitaḥ pīto rakto haritamecakau
Bodhyaṅgī Varado Dhyānam Mudrā Abhaya-Bhūspṛśau.
Sādhanamālā, p. 568-9

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“The Jinas (victorious ones) are Vairocana, Ratnasambhava, Amitābha, Amoghasiddhi and Akṣobhya. Their colours are white, yellow, red, green and blue, and they exhibit the Bodhyaṅgī (teaching), Varada (boon), Dhyāna (meditation), Abhaya (protection), and Bhūsparśa (earth-touching) attitudes of hands respectively.”

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The Dhyāni Buddhas are a peculiar kind of Buddhas who are not required to pass through the stage of a Bodhisatta. They were never anything less than a Buddha. They are always engaged in peaceful meditation, and they voluntarily abstain themselves from the act of creation. To create is the work of their emanations, the Divine Bodhisattvas. As has been said already, the Dhyāni Buddhas are five in number to which a sixth Vajrasattva is sometimes added. The Guhyasamāja Tantra makes it clear that all the five Dhyāni Buddhas along with their female counterparts and the guardians of gates were known in circa 300 A. D. the time of the introduction of this new Tantra. That the five Dhyāni Buddhas might have owed their origin to the theory of the eternity of the five senses, seems to be borne out by a passage in the Cittaviśuddhiprakaraṇa ¹ of the Tāntric Āryadeva.

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¹ JASB, 1898. p. 178.

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But it may also be possible that the five Mudrās which Buddha Śākyasiṃha made sacred by using on memorable occasions and which were constantly depicted in the Buddhistic figures of the different schools of art, gave rise to the five Dhyāni Buddhas (Figs 17, 18). Advayavajra who flourished in the 11th century, has written in one of his short works that the five Dhyāni Buddhas took their origin from the theory of the eternity of the five Skandhas (elements), that is to say, that the Dhyāni Buddhas represented the five primordial cosmic forces which are responsible for creation. Vajrasattva, the sixth Dhyāni Buddha, who is generally regarded as the priest of the five Dhyāni Buddhas and is usually represented with the priestly symbols, the Vajra and the Ghaṇṭā, is an embodiment of the five Skandhas collectively, and undoubtedly a later addition to the pantheon of the Northern Buddhists.

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The Dhyāni Buddhas are always represented as seated on a full blown lotus, and in the meditative pose with legs crossed, the right foot crossing over and in front of the left, with the soles of both feet turned upwards. The hand that rests on the lap is sometimes empty, but in most cases holds the bowl. The head is bare, the thick clustering curls radiate effulgence like a flame of fire The eyes are half-closed in meditation showing the mind completely drawn inwards in perfect introspection. The dress consists of an undergarment reaching from the chest to the knee, and secured by a scarf. The body is loosely covered by the habit of a monk, leaving only the right arm bare.

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The Dhyāni Buddhas are generally represented on the four sides of a Stūpa which is the symbol of the Buddhist Universe, facing the four cardinal points. Vairocana is the deity of the inner shrine and is, therefore, generally unrepresented. But exceptions to this rule are by no means rare. He is occasionally assigned a place between Ratnsambhava in the south and Akṣobhya in the East. Independent shrines are also dedicated to each of the Buddhas.

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The five Dhyāni Buddhas are given each a special recognition symbol and a colour. The symbols are extremely important for the purpose of iconographical studies, because the female counterparts and the offsprings of the Dhyāni Buddhas invariably display these symbols in order to show their origin. Thus Amitābha is given the Lotus as the recognition symbol. His Śakti Pāṇḍarā and his Bodhisatta Padmapāṇi must exhibit the Lotus symbol in order to show that they are the emanations of Amitābha. Similarly, all the other Dhyāni Buddhas also have their own symbols and the name of the family is generally fixed from these symbols; for instance, Amitābha is the progenitor of the Lotus family, Akṣobhya is the leader of the Vajra family, Ratnasambhava is the embodiment of the Jewel family, and so forth.

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The Advayavajrasaṅgraha gave special epithets to the Dhyāni Buddhas to indicate their families, although these special epithets are not known from any other source. According to this authority, Amitābha is Padmakulī, Akṣobhya is Vajrakulī, Vairocana is Tathāgatakulī, Ratnasambhava is Ratnakulī and Amoghasiddhi is Karmakulī. The Kula in the case of Vajrasattva is not given for the simple reason that he has neither family nor a special element.

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Next to symbols, the colour of the Dhyāni Buddhas is important. Each Dhyāni 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 Dhyāni Buddha except the colour. On the ground of colour alone, and in the absence of positive mention of the parental Dhyāni Buddhas, several deities have been classified in this book in this manner.

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A detailed description of the Dhyāni Buddhas along with their female counterparts and their offsprings, the Bodhisattvas, now follows with relevant information regarding their forms and their statues and paintings. Descriptive quotations from Tāntric works have been incorporated to indicate the source of information wherever possible.

1. Amitābha

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| Colour—Red | Vehicle—Peacock |
| Mudrā—Samādhi | Symbol—Lotus |

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By far the most ancient among the Dhyāni Buddhas is Amitābha who is said to reside in the Sukhāvatī heaven in peaceful meditation. He presides over the current Kalpa (cycle) which is Bhadrakalpa. As a Dhyāni Buddha he does not create. It is his Bodhisattva Padmapāṇi, also known as Avalokiteśvara, who is responsible for creation. The form of Amitābha is described in the Pañcākāra section of the Advayavajrasaṅgraha thus:

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“Paścimadale Ravimaṇḍalopari rakta-Hrīḥkārasambhūto raktavarṇo Amitābhaḥ padmacihnaḥ samādhimudrādharaḥ samjñāskandhasvabhāvo rāgaśarīraḥ śukrātmakah padmakulī pratyavekṣaṇājñānalakṣaṇo griṣmarturūpāḥ mlarasaśarīraḥ ṭavargātmā pradoṣavān”. ADV. p. 41

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“On the western petal on the disc of the sun there is Amitābha of red colour originating from the red syllable Hrīḥ. He has a lotus as his sign and he exhibits the Samādhi Mudrā in his two hands. He is of the nature of the cosmic element of Samjñā (name), is an embodiment of attachment and belongs to the Lotus family. He stands for the vital fluid, and is endowed with the Pratyavekṣaṇā (looking after)

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

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When represented on the Stūpa, he always faces the West and the Nepalese Buddhists regard him as the fourth Dhyāni Buddha. His two hands with palm open lie on his lap, one upon the other forming the Dhyāna or the meditative mudrā. His colour is red and his Vāhana is a pair of peacocks. His recognition symbol is the Lotus.

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Images, sculptures, paintings and drawings of this description are found in all Buddhist countries including India, Tibet and China. One miniature painting of the Dhyāni Buddha is reproduced in Fig. 19. Besides the two-armed form various other forms are known of this and other Dhyāni Buddhas. It may be remembered here that all the five miniatures reproduced here belong to the collection of Dr. Evans-Wentz.

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Amitābha images are found in abundance in Tibet¹ and in China².

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¹ Gordon: ITL p. 27. Getty—GNB. pp. 38, 39.

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² Clark: TLP, II, pp. 32, 57, 142.

Pāṇḍarā

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Colour—Red Symbol—Lotus

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Pāṇḍarā is also called Pāṇḍaravāsinī. According to a Dhyāna in the Advayavajrasaṅgraha she belongs to the Lotus family which is also the family of the Dhyāni Buddha Amitābha. Pāṇḍarā thus is the spiritual consort of Amitābha. Her form and nature are described as under:—

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“Vāyavyāṃ candramaṇḍalopari Pāṃkārabījasambhūtā Pāṇḍaravāsinī raktā raktavarṇā padmacihnā tejodhātusvarupā padmakulā rāgaraktā.” ADV. p. 43.

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“In the Vāyu corner on the orb of the moon there is Pāṇḍaravāsinī originating from the (red) germ syllable Pāṃ. She is red in colour and has the Padma (lotus) as her recognition symbol. She is the embodiment of the element of Fire. She belongs to the Lotus family and is full of attachment.”

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

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Pāṇḍarā is represented in Tibet³ and China⁴. The illustrations of drawings of all the five Buddhaśaktis, Pāṇḍarā and others are reproduced from Wright's History of Nepal, Plate VI. These drawings are made by Nepalese painters.

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³ Getty: GNB p. 139.

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⁴ Clark: TLP, II, under the name of Pāṇḍaravāsinī, pp. 61, 106, 152, 164.

Padmapāṇi

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Colour—Red Symbol—Lotus

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Padmapāṇi is the Bodhisattva attached to the Padma ( lotus ) family which is presided over by the Dhyāni Buddha Amitābha whose spiritual consort is Pāṇḍarā or Pāṇḍaravāsinī. The Lotus is the symbol of this family and the colour assigned to this family is red. The Bodhisattva Padmapāṇi begets the red colour and a full-blown lotus as his symbol. Padmapāṇi is fairly well represented in the Buddhist countries of the North including Tibet ¹ and China. One of his images is illustrated in Fig. 21 ².

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¹ Getty : GNB. pp. 61, 62

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

2. Akṣobhya

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Colour—Blue Mudrā—Bhūsparśa Vehicle—Elephant Symbol—Vajra

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Next in importance and antiquity is the Dhyāni Buddha Akṣobhya who is mentioned as a Tathāgata in the smaller recension of the Amitāyus Sūtra which was translated into Chinese between A. D. 384 and 417. Akṣobhya is regarded as the Second Dhyāni Buddha by the Nepalese Buddhists. His description appears almost everywhere in Tāntric literature. The Pañcākāra section of the Advayavajrasaṅgraha perhaps gives the best description thus :

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“Sūryamaṇḍalastha-nīla-Hūṃkāraṇispanno dvibhuja ekamukho Bhūsparśamudrādharo vajraparyaṅkī...... ..vijñānaskandhasabhāvaḥ...... vajrakulī...... śīśiramadhyāhnakaṭuśruti-ākāśaśabda-cavargo Akṣobhyaviśuddhaḥ”. ADV. p. 40-41.

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Akṣobhya originates from the blue syllable Hūṃ which is placed on the orb of the sun. He is two-armed and one-faced, exhibits the Bhūsparśa (earth-touching) mudrā and sits in the Vajraparyaṅka (adamantine seat) pose. He represents the primordial cosmic element of Vijñāna ( consciousness ). He is the embodiment of the Vajra family and represents the winter season, noon-time, pungent taste, faculty of hearing, the element of Ether and Sound and the Ca (palatal) group of letters”.

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Images, sculptures, statuettes and paintings of Akṣobhya of this description are to be met with everywhere in Buddhist countries especially of the North. When represented in the Stūpa he always faces the East. His left hand rests on the lap while the right rests on the right knee with the tips of the fingers touching the ground with palm drawn inwardly. His Vāhana is a pair of elephants and his recognition symbol is the Vajra or the thunderbolt.

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Various other forms of Akṣobhya are found in Tāntric works, some four-armed, some six-armed, some standing and some sitting, some single and some in Yab-yum. Some two-armed specimens are reproduced here (Figs. 22, 23).

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He is popular in Tibet¹ and China²

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

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

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( ii )

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Colour—Blue Arms—Eight

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Akṣobhya is the principal deity in the Akṣobhya Maṇḍala according to Piṇḍīkrama in the Niṣpannayogāvalī. He is described thus :

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“Akṣobhyaḥ kṛṣṇo raudraḥ sitaraktasavyetaramukhaḥ savyakaraiḥ kulacakrapadmāni vāmair-ghaṇṭā-Cintāmaṇi-khaḍgān vibhrāṇaḥ svābha-Śparśavajrāliṅgitaḥ”. NSP. p. 5.

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“Akṣobhya is blue in colour and is angry-looking. The colour of his right face is white and that of the left is red. He holds in his right hands the Vajra (family symbol), the discus and the lotus. In the three left hands he carries the bell, the Cintāmaṇi jewel and the sword. With the two principal hands he embraces the Prajñā Sparśavajrā by name”.

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MĀMAKĪ Colour—Blue Symbol—Vajra

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According to a Dhyāna in the Advayavajrasaṅgraha, Māmakī belongs to the Vajra family and thus she is the spiritual consort of the Dhyāni Buddha Akṣobhya, the embodiment of the Vajrakula. The description is given below :

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‘Nairṛtyāṃ candramaṇḍalopari kṛṣṇa-Mām-kārābījasambhūtā Māmakī kṛṣṇavarṇā kṛṣṇavajracihnā abdhātusvabhāvā Vajrakulā dve-sarakta”. ADV. p. 43.

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“On the orb of the Moon in the Nairṛta corner there is Māmakī originating from the blue germ syllable Mām. She is blue in colour and has the blue Vajra as her recogntion symbol. She is the embodiment of the element of Water and she belongs to the Vajra family. She is full of enmity”.

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

Vajrapāṇi

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Colour—Blue Symbol—Vajra

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The Bodhisattva Vajrapāṇi with the Vajra symbol is the spiritual son of the Dhyāni Buddha Akṣobhya who is the progenitor of the Vajra family. His spiritual mother is Māmakī. Vajrapāṇi, when represented, either stands or sits and carries usually a lotus on which is placed the family symbol of Vajra. Sometimes he holds the Vajra against the chest in one of his hands. Some images of his are illustrated here (Figs. 25, 26, 27).

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He is known and widely represented in Tibet¹ and China².

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¹ Getty : GNB. p. 51

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

3. Vairocana

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Colour—White Mudrā—Dharmacakra Vāhana—Dragon Symbol—Discus

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Vairocana is mentioned along with the other Dhyāni Buddhas in the Guhyasamāja which is dated circa 300 A.D. He is regarded as the oldest and the first Dhyāni Buddha by the Nepalese Buddhists and his place is in the sanctum of the Stūpa where he is the master of the whole temple and its contents. Naturally, therefore, he cannot be represented outside the Stūpa, but exception to this rule is frequently met with in the important stūpas of Nepal where he is assigned a place between Akṣobhya in the East and Ratnasambhava in the South. His form is frequently described in Tāntric works, but the description occuring in the Pañcākāra section of the Advayavajrasaṅgraha is full. It is given below :

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"Pūrvadale candramaṇḍalopari Oṃkārajaḥ Śuklavarṇa-Vairocanaḥ śuklacakracihnaḥ Bodhyaṅgī-mudrādharaḥ rūpaskandhasvabhāvaḥ mohasvarūpo viṭaviśuddhaḥ tathāgatakulī ādarśatvena pratiṣṭhitaḥ Hemantaṛtuviśuddhaḥ madhurarasaśarīraḥ Kavargavyāpī prabhātasandhyātmakāyasvabhāvaḥ". ADV. p. 41

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"Vairocana originates from the white syllable Oṃ placed on the orb of the moon on the eastern petal of the lotus and is white in colour. His recognition symbol is the white Discus. He exhibits the Bodhyaṅgī mudrā and represents the cosmic element of Rūpa (Form). He is of the nature of Moha (delusion) and is without bad companions, he is the embodiment of the Tathāgata family, and is established as an embodiment of Ādarśa (ideal) knowledge. He represents the Hemanta season, the sweet taste, the Ka (guttural) group of letters, and the mornings and evenings of the day".

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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 Vāhana is a pair of Dragons or gryphons and his recognition symbol is shown to be the Cakra or the Disc.

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Instead of two, he may have many arms, and such descriptions are also met with in the Niṣpannayogāvalī. Some of his two-armed images are reproduced here (Figs 28, 29). His images are found in Tibet ¹ and China ²

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² Clark : TLP. II, pp 12, 57.

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( ii )

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Colour—White Faces—Four Arms—Eight

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When Vairocana is four-faced and eight-armed he is called Vajradhātu and in this form he is described in the Vajradhāru Maṇḍala of the Niṣpannayogāvalī with the following words :

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‘Vairocano vajraparyaṅkena niṣaṇṇaḥ śubhraḥ sita-pīta-rakta-harita-caturvaktro aṣṭabhujaḥ savyavāmābhyāṃ dhṛtasavajrabodhyaṅgī-mudro’ parābhyāṃ dhṛtadhyānamudro dakṣiṇābhyāṃ akṣamālāśaradharo vāmābhyāṃ cakracāpabhṛt’. NSP. p. 44.

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“Vairocana is seated in Vajraparyaṅka and is white in colour. His four faces show white, yellow, red and green colours. He is eight-armed. With the two principal hands holding the Vajra he exhibits the Bodhyaṅgī or the Dharmacakra mudrā. With the second pair of hands he shows the Dhyāna mudrā. The two remaining right hands hold the rosary and the arrow, and with the two remaining left he carries the discus and the bow”.

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

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¹ Gordon : ITL. p. 51 ; Getty : GNB, p. 34.

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LOCANĀ.

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Colour—White Arms—Two Symbol—Discus

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The Dhyāni Buddhas are all associated with their Śakti or female counterpart and an offspring or Bodhisattva. They fall into a separate group of five or six if Vajrasattva is added. Locanā belongs to the Tathāgata family to which the Dhyāni Buddha Vairocana also belongs. Thus Locanā is the Śakti or the female counterpart of the Dhyāni Buddha Vairocana. A short Dhyāna in the Advayavajrasaṅgraha describes her form thus :

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³ Clark : TLP. Vol. II, p. 115

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“Āgneyakoṇadale candramaṇḍalopari śukla-Loṃ-kārājā śuklavarṇā Locanā cakra-cihnā pṛthvīdhātusvarūpā Tathāgatakulodbhavā moharaktā”.

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“On the disc of the moon on the petal in the Agni corner there is Locanā originating from the white germ syllable Loṃ. She is white in colour, bears the recognition symbol of the discus, and is the embodiment of the cosmic element of Earth. She belongs to the Tathāgata family and is steeped in delusion”.

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Paintings and sculptures of this goddess are rare. A Nepalese drawing of the goddess is reproduced here in Fig. 31 Locanā is represented in Tibet. ¹

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¹ Getty; GNB, p. 139.

Samantabhadra

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Colour—White Symbol—Cakra

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The Dhyāni Buddhas are the progenitors of the different families and they have each a spiritual consort and spiritual son. These spiritual sons are called the Bodhisattvas. The Bodhisattvas bear the same colour, and the same recognition symbol whether they sit or stand. The Bodhisattva with the Cakra symbol is Samantabhadra and is thus affiliated to the Dhayāni Buddha Vairocana with the Cakra symbol. He belongs to the Tathāgata Kula. When represented, he either stands erect or sits in different sitting attitudes, such as Dhyāna, Lalita or Bhadra poses on a full-blown lotus. He usually holds the stem of a lotus on which the family symbol, the Cakra, is shown.

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Samantabhadra is known in Tibet ² and China ³ and is frequently represented in the Buddhist countries of the North. One of his images is illustrated here in Fig. 32.

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² Getty; GNB. p. 47.

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³ Clark; TLP, II, pp. 8, 9, 52, 133

4. Amoghasiddhi

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Colour—Green Mudrā—Abhaya Vāhana—Garuḍa Symbol—Viśvavajra

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The Nepalese Buddhists consider him to be the Fifth Dhyāni Buddha in order. His left hand lies open on the lap and the right exhibits the Abhaya (protection) mudrā. His form is described in many places in Tāntric works but the one appearing in the Advayavajrasaṅgraha appears to be the best and is quoted below :

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“Uttaradale sūryamaṇḍalopari śyāma-Khaṃ-kārajaḥ śyāmavarṇo-’moghasiddhiḥ viśva-vajracihnābhayamudrādharaḥ Saṃskāraskandhasvabhāvo Varṣārturūpaḥ [Karmakulī] piśitāp(ś?)aḥtiktarasātmakah pavargaviśuddhaḥ ardharātrasvabhāvaḥ.” ADV. p. 41-42

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“Amoghasiddhi originates from the green syllable Khaṃ placed on the orb of the sun on the northern petal of the lotus, and is of green colour. [His recognition symbol is the Viśvavajra or the double thunderbolt. He exhibits the Abhaya (protection) mudrā and represents the cosmic element of Saṃskāra (conformation). He is the embodiment of the rainy season and is a demon by nature; [he belongs to the Karma family] and he represents the bitter taste, the Pa (labial) group of letters and the middle part of the night.”

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When represented, his colour is green and he always faces the North. His Vāhana is a pair of Garuḍas and his recognition symbol is the Viśvavajra or the double conventional thunderbolt. Sometimes a serpent with seven hoods forms the background and an umbrella. In front of his shrine, therefore, is found a small square pit which is meant for the snake

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Statues and paintings of this Dhyāni Buddha are found in large numbers in all Buddhist countries especially of the North. Some of them are reproduced here (Figs. 33, 34). He is popular in Tibet ¹ and China ²

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¹ Gordon: ITL, p. 27, Getty: GNB. p. 42.

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² Clark: TLP, II. pp. 32, 56, 115, 126, 128, 138, 144.

Tārā

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Colour—Green Symbol—Utpala

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| Tārā also called Tāriṇī according to a Dhyāna found in the Pañcākāra section of the Advayavajrasaṅgraha belongs to the Karma family to which evidently the Dhyāni Buddha Amoghasiddhi is also associated. The green colour of Tārā also suggests that she is the spiritual consort of Amoghasiddhi of green colour Her form and nature are given in the following passage:

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“Aśānyāṃ candramaṇḍalopari kanakaśyāma-Tāṃ kārapariṇatā Tāriṇī śyāmavarṇā syāmanīlotpalacihnā vāyudhātusvarūpā Karmakulā īrṣyāraktā.” ADV. p. 43.

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“In the Īśāna corner on the orb of the moon there is Tāriṇī originating from the germ syllable Tāṃ of golden green colour Her recognition symbol is a green night lotus. She is the embodiment of the element of Air. She belongs to the Karma family and is full of jealousy.”

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Fig. 12 ĀDI-BUDDHA, VAJRADHARA. ( From a Nepalese Painting )

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Fig. 13 Vajradhara ( Baroda Museum )

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Fig. 14 Vajradhara Yab-yum ( Nepal )

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Fig. 15 Vajradhara Yab-yum ( Side View )

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Fig. 16 Vajradhara (Six-armed) ( Baroda Museum )

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Fig. 17 Buddha in different Mudrās ( Nalanda )

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Fig. 18 Buddha in different Mudrās ( Java )

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Fig. 19 Amitābha.

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Fig. 20 Pāṇḍarā.

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Fig. 21 Padmapāṇi ( Nepal )

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Fig. 22 Akṣobhya.

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Fig. 23 Akṣobhya (Nepal)

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Fig. 24 Māmakī.

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Fig. 25 Vajrapāṇi (Nepal)

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Fig. 26 Vajrapāṇi ( Indian Museum )

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Fig. 27 Vajrapāṇi ( Nalanda )

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Fig. 28 Vairocana

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Fig. 29 Vairocana ( Nepal )

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Fig. 30 Vairocana-Vajradhatu (Peiping)

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Fig. 31 Locanā

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Fig. 32 Samantabhadra (Nepal)

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Fig. 33 Amoghasiddhi

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Fig. 34 Amoghasiddhi (Nepal)

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Fig. 35 Tārā

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Fig. 36 Viśvapāṇi

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Fig. 37 Ratnasambhava

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Fig. 38 Ratnasambhava (Nepal)

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Fig. 39 Vajradhātviśvarī.

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Fig. 40 Ratnapāṇi ( Nepal )

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Fig. 41 Vajrasattva ( Nepal )

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Fig. 42 Vajrasattva (Baroda Museum)

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Fig. 43 Vajrasattva Yab-yum (Nepal)

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Fig. 44 Vajrasattva Yab-yum (Side View)

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Fig. 45 Seven Mortal Buddhas with Maitreya ( Indian Museum )

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Fig. 46 Vajrāsana ( Indian Museum )

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Fig. 47 Maitreya.

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Fig. 48 Samantabhadra.

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Fig. 49 Akṣayamati

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Fig. 50 Akṣayamati (Peiping)

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Fig. 51 Kṣitigarbha

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Fig. 52 Ākāśagarbha

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Fig. 53 Gaganagañja.

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Fig. 54 Ratnapāṇi

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Fig. 55 Sāgaramati

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Fig. 56 Vajragarbha.

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Fig. 57 Avalokiteśvara

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Fig. 58 Mahāsthāmaprāpta.

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The same remarks apply to her images and paintings which are rare in India. One specimen of her images is illustrated here (Fig. 35). In Tibet¹ and China² she is widely known.

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¹ Getty : GNB, p. 127

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² Clark : TLP, II, pp. 60, 107, 171.

Viśvapāṇi

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Colour—Green Symbol—Viśvavajra

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Viśvapāṇi, as the name indicates, is the holder of the Viśvavajra or the double thunderbolt which is the symbol of the Dhyāni Buddha Amoghasiddhi, whose spiritual consort is Tārā or Tāriṇī. They all belong to what is called the Karmakula to which the green colour is assigned. Viśvapāṇi thus is green in colour and shows the Viśvavajra on a lotus. When represented, he may stand erect or sit in different sitting postures. His images are sometimes found, and one specimen is illustrated here (Fig 36). Viśvapāṇi is known in Tibet³

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³ Getty : GNB, p. 101

5. Ratnasambhava

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Colour—Yellow Mudrā—Varada Vāhana—Lion Symbol—Jewel

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The Nepalese Buddhists regard him as the Third Dhyāni Buddha in order, and the earliest mention of his name may be found in the Guhyasamāja which is believed to have been composed circa 300 A. D. He is the progenitor of the Ratnakula, and is described widely in the Buddhist Tāntric works. Out of all descriptions the one given in the Pañcākāra section of the Advayavajrasaṅgraha is perhaps the best. Here Ratnasambhava is described as under :—

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“Dakṣiṇadale sūryamaṇḍalopari Trāṃ-kāraḥ pītavarṇo Ratnasambhavo ratnacihnavaradamudrādharo vedanāsvabhāva-piśunaśarīraḥ raktātmako ratnakulī samatājñānavān vasantaṛturūpo lavaṇaśarīraḥ Tavargavyāpī tṛtīyacaturthaprahārātmakaḥ”. ADV, p. 41.

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“Ratnasambhava originates from the yellow syllable Trāṃ placed on the orb of the sun on the southern petal. He is yellow in colour, his recognition symbol is the jewel and he exhibits the Varada (gift-bestowing) Mudrā. He represents the cosmic element of Vedanā (sensation) and is the embodiment of slander (piśuna). He presides over the blood in the human system, and belongs to the Ratna (jewel) family of deities. He possesses the knowledge of Samatā (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”.

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When represented, his colour is yellow, and he always faces the South. His left hand rests on the lap with open palm, and the right exhibits the Varada Mudrā or the gift bestowing attitude. His Vāhana is a pair of lions, and the recognition symbol is the Jewel (Ratnacchaṭā).

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He may have more arms than two and in such forms he is described in the Niṣpannayogāvalī. Such forms are also represented in art. Some of his two-armed forms are only illustrated here (Figs 37, 38). He is widely known and represented in Tibet ¹ and China ².

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² Clark : TLP, II, pp. 32, 57 119, 126.

Vajradhātviśvari

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Colour—Yellow Symbol—Jewel

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Vajradhātviśvarī, according to a statement in the Advayavajrasaṃgraha is the deity of the centre surrounded by the four Buddhaśaktis, Locanā, Tārā, Pāṇḍarā, and Māmakī. She is said to be the embodiment of the highest truth in Mahāyāna Buddhism which is named differently as Tathatā, Śūnyatā, Prajñāpāramitā and so forth ³. Vajradhātviśvarī thus can be taken as the spiritual consort of Ratnasambhava only, with the yellow colour and the jewel as symbol.

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³ ADV, p. 43.

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Images and paintings of this deity are still rarer than those of the other Buddhaśaktis. One of her Nepalese paintings is illustrated here (Fig 39). She is known in Tibet ¹.

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¹ Getty : GNB, p. 37.

Ratnapāṇi

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Colour—Yellow Symbol—Jewel

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Ratnapāṇi, as the name signifies, belongs to the Ratnakula which is presided over by the Dhyāni Buddha Ratnasambhava, whose spiritual consort is Vajradhātviśvarī. Ratnapāṇi is of the same nature as the Dhyāni Buddha and when represented, he either stands erect, or sits in different sitting postures. He holds the stalk of a lotus on which appears the Kula symbol which is here the Jewel (Ratnacchaṭā). He is represented sparingly in the Buddhist countries of the North, and a metal image of his found in Nepal is illustrated here (Fig 40). Ratnapāṇi is known and represented in Tibet ⁵.

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⁵ Getty ; GNB, p 53, 54

6. Vajrasattva

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Colour—White Symbols—Vajra and Ghaṇṭā

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Vajrasattva, the Sixth Dhyāni Buddha, is regarded by the Nepal Buddhists as the priest of the Five Dhyāni Buddhas. He is not represented in the Stūpa like the other Dhyāni Buddhas, but independent shrines are dedicated to his worship. His worship is always performed in secret and is not open to those who are not initiated into the mysteries of Vajrayāna. Vajrasattva is represented in two forms, single and Yub-yum.

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⁴ Getty : GNB, p. 139.

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

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