The Indian Buddhist Iconography, Mainly Based on the Sadhanamala and Other Cognate Tantric Texts of Rituals c12.s10: 11. Arapacana

The Indian Buddhist Iconography, Mainly Based on the Sādhanamālā and Other Cognate Tāntric Texts of Rituals c12.s10

Language: English

11. Arapacana

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Eight Sādhanas in the Sādhanamālā describe the form of this divinity, which is sometimes white and sometimes red. He sits always in the Vajraparyaṅka attitude, but when he sits on an animal he is called Prajñācakra. He is accompanied by the four divinities, Keśinī, Upakeśinī, Candraprabha and Sūryaprabha, and as the group of five originates from the five syllables, ‘A’, ‘R’, ‘P’, ‘C’ and ‘N’, the principal god is called Arapacana. When represented, the four companions of Arapacana resemble the principal god in all respects.

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None of the forms of Mañjuśrī is so widely represented both in stone and in bronze 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 Dacca Museum¹ the four Dhyāni Buddhas, Vairocana, Ratnasambhava, Amitābha and Amoghasiddhi (besides the usual four companions), are pictured on the aureole behind, the centre at the top being occupied by one of the companion deities resembling the principal god. The Java figure (Fig. 90) belongs to this class and shows the four companions as required by the Sādhana¹.

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¹ Bhattasali : IBBS, p. 28f, Pl. VII, b.

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¹ First published and identified as Mañjuśrī in Grunwedel : Buadhist Art in India, p. 199.

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The Nepal bronze (Fig 91) does not carry the book against the chest, but holds the stem of a lotus, which bears the book. The Baroda bronze (Fig. 92) also does likewise. Both these are without companions.

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Arapacana is also called Sadyonubhava-Arapacana, or Sadyonubhava-Mañjuśrī. He is resplendent like the full moon, has a smiling face, is decked in all sorts of princely ornaments, and sits on a double lotus in the Vajraparyaṅka attitude. He brandishes the sword in his right hand, while his left holds the Prajñāpāramitā book against his chest. Jālinīkumāra (or Sūryaprabha) is in front of him, Candraprabha behind, Keśinī to the right and Upakeśinī to the left. All these four divinities are replicas of the principal god. The Dhyāna in one of the Sādhanas describes the principal god in the following terms :

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“...Khaḍgapustakadhāriṇaṃ ākuñcitapañcacīraṃ, raktavastrayugayutaṃ śṛṅgāraveśadhāriṇaṃ smitavikasitavadanaṃ śaśāṅkakāntitulyaśobhaṃ viśvadalakamalasthabaddhaparyaṅkaṃ Sadyonubhavārapacanarūpām ātmānaṃ-īkṣeta”. Sādhanamālā, p. 121.

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“The worshipper should think himself as Sadyonubhava-Arapacana, who carries the Khaḍga and the book, and wears the five cīrakas(rags) which are slightly folded. His garments are of red colour, which befits the Śṛṅgāra Rasa he displays. His face is radiant with a smile, and is resplendent like the moon. He sits on a double lotus in the Vajraparyaṅka attitude...”

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This Sādhana further adds that the principal god should originate from the first syllable “A”, Jālinīkumāra from the syllable “R”, Candraprabha from “P”, Keśinī from “C” and Upakeśinī from “N”. Mañjuśrī should be in the middle, Jālinīkumāra in front, Candraprabha behind, Keśinī to the right and Upakeśinī to the left. All of them should have white colour and should be identical with the principal god in appearance.

Cites (1)

Sādhanamālā — Sanskrit