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The Indian Buddhist Iconography, Mainly Based on the Sadhanamala and Other Cognate Tantric Texts of Rituals c20: Chapter XI

The Indian Buddhist Iconography, Mainly Based on the Sādhanamālā and Other Cognate Tāntric Texts of Rituals c20

Language
English

Contents

Chapter XI

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It 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 and even the desires into gods and goddesses, with forms, colour, poses of sitting, and weapons. In this manner the ten directions, eight kinds of head-dress, the different kinds of protection, the dances, musical instruments, components of the door, four kinds of light, important animals, and various other things were all deified with form, colour and weapons. In this chapter these collective deities will be briefly described.

I. Ten Gods of Direction

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The process of deification was applied in Vajrayāna to the four cardinal directions, North, South, East and West, and the four intermediate corners, such as Vāyu, Agni, Īśāna and Nairṛta. With the top and the bottom the quarters numbered ten, and thus the Buddhist Tantras added ten gods of the quarters to the already numerous gods in their pantheon. 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 the eight Dikpālas are commonly found in the Purāṇas and Tāntric works. The Dikpālas 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.

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The Buddhists improved upon the original ideas of the Hindus and showed in an artistic style their origin in an Assembly of the Faithful where the Highest Lord sits in different Samādhis (meditations), and the rays issuing out of his body condense themselves first into syllables which give rise to the different Guardians of the Gates This process of deification is described in the first chapter of the Guhyasamāja a resume of which is already given in this book in the very first chapter.

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These deities of the ten quarters are frequently mentioned in the Sādhanas. In the Maṇḍalas of the Niṣpannayogāvalī they are invariably present and their places are accurately stated. They are always collectively mentioned in the Maṇḍalas or Circles of deities where the directions play an important part. Their chief function is to remove all sorts of obstacles for the protection of Dharma.

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The ten deities of the quarters are described differently in the different Maṇḍalas in the Niṣpannayogāvalī, and they are sometimes represented along with their Śaktis often in close embrace. They are often violent in appearance, and although it is not possible here to deal with all their forms, it is not reasonable to omit a reference to them in the present state of our knowledge of the Buddhist pantheon. The ten deities are, therefore, described here one after another in their recognized order, with the relevant passages from the Niṣpannayogāvalī describing their forms

1. Yamāntaka

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Colour—Blue Arms—Six Faces—Three Direction—East

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Yamāntaka presides over the East and is one of the popular deities of the Buddhist pantheon He is also known as Yamāri who is often endowed with two forms known as Kṛṣṇa-Yamāri and Rakta-Yamāri. Some of his forms and Sādhanas have alredy been dealt with in an earlier chapter. Independant Tantras are also ascribed to his worship. As a guardian of the Eastern quarter Yamāntaka is described in the Mañjuvajra Maṇḍala of the Niṣpannayogāvalī, along with his nine other colleagues. He is described there as :

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“Tatra pūrvasyāṁ ārāyāṁ Yamāntakaḥ kṛṣṇaḥ kṛṣṇasitaraktamukhaḥ kṛṣṇavajramudgara-khaḍga-maṇi-kamaladhārī”. NSP, p. 1

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“On the Eastern spoke of the wheel there is Yamāntaka of blue colour. His three faces have blue, white and red colour. He holds in his four hands the hammer marked with the blue Vajra, the sword, the jewel and the lotus.”

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Yamāntaka is six-armed like all other Krodha deities of the quarters. All the Krodha deities including Yamāntaka embrace their Śaktis with their two principal hands.

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In the Vajrahūṅkāra Maṇḍala his second name is given as Vajradaṇḍa. His images are found in China ¹ as also in Tibet ².

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¹ Clark : TLP, II, pp. 52, 73

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² Gordon : ITL, p. 90 ; Getty : GNB, p. 164

2. Prajñāntaka

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Faces—Three Arms—Six Direction—South

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The second deity in the series is Prajñāntaka who presides over the Southern direction. He is described in the same Maṇḍala as :

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“Dakṣiṇasyāṁ Prajñāntakaḥ sitaḥ [sita] kṛṣṇaraktamukho Vajrāṅkitasitadaṇḍāsi-maṇipadmadhārī.”

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NSP, p. 2

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“In the South, there is Prajñāntaka, who is white in colour having three faces of white, blue and red colour. In his four hands he shows the white staff marked with a Vajra, the sword, the jewel and the lotus.”

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The two other hands hold the Śakti. In the Vajrahūṅkāra Maṇḍala his second name is given as Vajrakuṇḍalī. His images are found in China ¹.

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¹ Clark : TLP, II, p. 59

3. Padmāntaka

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Colour—Red Faces—Three Arms—Six Direction—West

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The third Lord of the quarters is Padmāntaka who is described in the Niṣpannayogāvalī with the following words :

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“Paścimāyāṁ Padmāntako raktaḥ raktanīlasitāsyo raktapadmāsi-ṇicakradhārī”

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NSP, p. 2

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“Padmāntaka is in the West and is red in colour with three faces of red, blue and white colour. He holds the red lotus, the sword, the jewel and the discus.”

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The two principal hands hold the Śakti in embrace. In the Vajrahūṅkāra Maṇḍala he is known by the name of Vajroṣṇīṣa. His images are found in China ².

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² For his statuette in China as Vajroṣṇīṣa, see Clark : TLP, II, pp. 65, 49.

4. Vighnāntaka

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Colour—Green Faces—Three Arms—Six Direction—North

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The fourth deity in the series is Vighnāntaka who is already well-known and an account of whom appears in an earliar chapter of this book. Vighnāntaka as the lord of the North appears in the Niṣpannayogāvalī as follows :

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“Uttarasyāṁ Vighnāntako haritaḥ haritasitaraktamukhaḥ karālavajrāsimanipadmadhārī.”

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NSP, p. 2 “Vighnāntaka is in the North and is green in colour. His three faces show green, white and red colour. He holds the fearful Vajra, the sword, the jewel and the lotus.”

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The principal hands embrace the Śakti as usual. In the Vajrahūṁkāra Maṇḍala his second name is Analārka. His images are found in China ¹.

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¹ Clark : TLP, II, pp. 217, 311

5. Ṭakkirāja

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| Colour—Blue | Faces—Three |
| Arms—Six | Direction—Agni |

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Takkirāja as the guardian of the Agni corner is very frequently referred to in the Niṣpannayogāvalī. He is described as :

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“Āgneyyāṁ Ṭakkirājo nīlaḥ nīlasitaraktāsyo nīladaṇḍakhaḍgamaṇyabjadhārī.” NSP, p. 2

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“Ṭakkirāja is in the Agni corner and is blue in colour. His three faces are blue, white and red. He holds the blue staff, the sword, the jewel and the lotus.”

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The two principal hands hold the Śakti as usual.

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In the Vajrahūṁkāra Maṇḍala his name is Vajrayakṣa. In the Dharmadhātuvagīśvara Maṇḍala he is Vajravālānalārka. His images are found in China ².

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² Clark : TLP, II, p. 303 (as Ṭakkirāja) pp. 66, 145, 269 (as Vajrayakṣa).

6. Nīladaṇḍa

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| Colour—Blue | Faces—Three |
| Arms—Six | Direction—Nairṛta |

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The sixth deity in the series is Nīladaṇḍa who is the presiding deity of the Nairṛta corner. His form is described as :

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“Nairṛtyāṁ Nīladaṇḍaḥ kṛṣṇaḥ kṛṣṇasitaraktāsyo nīladaṇḍakhaḍgamaṇyabjadhārī.” NSP, p. 2.

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“In the Nairṛta corner appears Nīladaṇḍa who is of blue colour having three faces of blue, white and red colour. He holds the blue staff, the sword, the jewel and the lotus.”

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The two principal hands hold the Śakti.

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In the Vajrahūṁkāra Maṇḍala his name is Vajrakāla. But in the Dharmadhātuvagīśvara Maṇḍala his name is Herukavajra. His images are found in China ³.

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³ Clark : TLP, II, p. 49 (as Nīladaṇḍa); and p. 75 (as Vajrakāla),

7. Mahābala

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Faces—Three Arms—Six Direction—Vāyu

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The seventh deity in the series is Mahābala, who is the presiding deity of the intermediate corner of Vāyu. His form is described in the Niṣpannayogāvalī in the following words :

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“Vāyavyāṁ Mahābalaḥ kṛṣṇaḥ kṛṣṇasitaraktamukhaḥ triśūlāsimanikamaladhārī.” NSP, p. 2

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“In the Vāyu corner appears Mahābala of blue colour with three faces of blue, white and red colour. He holds the Triśula, the sword, the jewel and the lotus.”

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As usual, with the principal hands he holds the Śakti.

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In the Vajrahūṅkāra Maṇḍala he is given the name of Mahākāla. But in the Dharmadhātuvāgīśvara Maṇḍala he is known as Paramāśva. His images are found in China ¹.

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¹ Clark : TLP, II, pp. 49, 217 (as Mahābala) p. 75 (as Mahākālavajra)

8. Acala

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Colour—Blue Faces—Three Arms—Six Direction—Īśāna

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Acala is the eighth deity in the series, and is regarded as the presiding deity of the Īśāna corner. His form is several times described in the Niṣpannayogāvalī. It is probable that this deity is the same as Acala who is known as Caṇḍaroṣaṇa and is described already in an earlier chapter.

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The description of his form is given below :

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“Aiśānyāṁ Acalo nīlakekaraḥ nīlasitaraktāsyaḥ khaḍgavajramaṇipadmadhārī.” NSP, p. 2

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“In the Īśāna corner there is Acala with blue complexion. His three faces are blue, white and red. He holds the sword, the Vajra, the jewel and the lotus.”

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In the two principal hands he holds the Śakti in embrace.

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In the Vajrahūṅkāra Maṇḍala he is given the name of Vajrabhīṣaṇa, but in the Dharmadhātuvāgīśvara Maṇḍala his name is Trailokyavijaya. His images are found in China ².

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² Clark : TLP, II, p. 116 (as Trailokyavijaya)

9. Uṣṇīṣa

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Colour—Yellow Faces—Three Arms—Six Direction—Up

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The ninth deity in this series is Uṣṇīṣa who is also known as Uṣṇīṣacakravartī, and presides over the sky above. His form is described thus in the Niṣpannayogāvalī :

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“Ūrdhve Uṣṇīṣacakravartī pītaḥ pītanīlaraktāsyaḥ pītacakrakhaḍgamaṇipadmadhārī.” NSP, p. 2

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“In the upper region there is Uṣṇīṣacakravartī of yellow colour. His three faces are yellow, blue and red. He holds the yellow discus, the sword, the jewel and the lotus.”

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His two principal hands hold the Śakti as usual. His images are found in China ¹.

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¹ Clark : TLP, II, p. 76

10. Sumbharāja

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Colour—Blue Faces—Three Arms—Six Direction—Down

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The tenth deity in this series, is Sumbharāja who is the embodiment of the Nether regions. His form is described in the Mañjuvajramaṇḍala as follows :

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“Adhaḥ Sumbharājo nīlaḥ nīlasitaraktāsyo vajrakhaḍgamaṇikamala-bhṛt.” NSP, p. 2

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“Below is Sumbharāja who is blue in colour. His three faces are blue, white and red. He holds in his four hands the Vajra, the sword, the jewel and the lotus.”

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With the two principal hands he holds the Śakti in embrace.

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In the Vajrahūṅkāra Maṇḍala he is known by the name of Vajrapātāla. He is not represented in the Chinese collection.

II. Six Goddesses of Direction

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Just as there are ten gods of the quarters for all the Maṇḍalas of principal 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 Maṇḍala of Vajratārā in the Niṣpannayogāvalī (p. 38) as also in the Vajratārāsādhanam (p. 185) in the Sādhanamālā. If Puṣpā, Dhūpā, Dīpā and Gandhā are added, the number will be ten for the directions.

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Fig. 103 Khasarpaṇa (Vikrampur, Dacca)

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Fig. 105 Lokanātha (Mahoba)

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Fig. 104 Khasarpaṇa (Indian Museum)

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Fig. 106 Lokanātha (Baroda Museum)

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Fig. 107 Lokanātha (Sarnath)

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Fig. 108 Lokanātha (Nepal)

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Fig. 109 Halāhala (Nepal)

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Fig. 110 Padmanartteśvara (Nepal)

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Fig. 111 Padmanartteśvara (Peiping)

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Fig. 112 Padmanartteśvara

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Fig. 113 Harihariharivāhana

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Fig. 114 Trailokyavaśaṅkara (Peiping)

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Fig. 115 Rakta-Lokeśvara (Peiping)

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Fig. 116 Nīlakaṇṭha (Sarnath)

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Fig. 117 Sugatisandarśana

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Fig. 118 Pretasantarpita

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Fig. 119 Sukhāvatī Lokeśvara (Nepal)

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Fig. 120 Vajradharma

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Fig. 121 Kurukullā (Nepalese Drawing)

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Fig. 122 Kurukullā (Peiping)

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Fig. 123 Bhr̥kuṭī (Peiping)

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Fig. 124 Caṇḍaroṣaṇa

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Fig. 125 Heruka (Dacca Museum)

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Fig. 126 Buddhakapāla

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Fig. 127 Buddhakapāla (Baroda Museum)

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Fig. 128 Hayagrīva

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Fig. 129 Hayagrīva (Peiping)

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Fig. 130 Ucchuṣma-Jambhala (Sarnath)

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Fig. 131 Vighnāntaka (Baroda Museum)

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Fig. 132 Paramāśva

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Fig. 133 Yogāmbara (Peiping)

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Fig. 134 Kālacakra (Nepalese Drawing)

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Fig. 135 Mahācīna Tārā

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Fig. 136 Mahācīna Tārā

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Fig. 137 Jaṅgulī

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Fig. 138 Ekajaṭā (Indian Museum)

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Fig. 139 Ekajaṭā

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Fig. 140 Parṇaśabarī

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Fig. 141 Prajñāpāramitā (Leiden, Holland)

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Fig. 142 Prajñāpāramitā (Indian Museum)

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Fig. 143 Vajracarcikā

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Fig. 144 Pratyangirā

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Fig. 145 Pratyangirā

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Fig. 146 Pratyangirā (Nepal)

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Fig. 148 Nairātmā (Indian Museum)

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Fig. 147 Dhvajāgrakeyūrā

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Fig. 149 Nairātmā (Vaṅgīya Sāhitya Pariṣat)

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Fig. 150 Vajravidāraṇī

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Fig. 152 Aṣṭabhuja Mārīcī (Indian Museum)

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Fig. 151 Nāmasaṅgīti (Nepal)

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Fig. 153 Aṣṭabhuja Mārīcī (Indian Museum)

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Fig. 154 Aṣṭabhuja Mārīcī (Lucknow Museum)

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Fig. 156 Uṣṇīṣavijayā (Indian Museum)

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Fig. 155 Daśabhujasita-Mārīcī

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Fig. 157 Uṣṇīṣavijayā

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Fig. 158 Sītātapatrā Aparājitā

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Fig. 159 Vajravārāhī

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Fig. 160 Vajravārāhī (Baroda Museum)

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Fig. 161 Cundā (W. B. Whitney collection, New York)

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Fig. 162 Cundā (Miniature painting from a Cambridge Ms.)

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Fig. 163 Cundā (Baroda Museum)

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Fig. 164 Cundā (Bodh Gaya)

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Fig. 166 Khadiravaṇī Tārā (Mahoba)

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[Figure: Fig. 165 Grahamātṛkā Courtesy : W. Y. Evans Wentz]

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[Figure: Fig. 167 Khadiravaṇī Tārā (Indian museum)]

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[Figure: Fig. 168 Khadiravaṇī Tārā (Baroda museum)]

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Fig. 170 Vaśyatārā

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Fig. 171 Ṣaḍbhuja-Sitatārā

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Fig. 172 Dhanada-Tārā

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Fig. 173 Parnaśabarī (Vajrayogini, Vikrampur)

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174 Parṇaśavarī (Vikrampur, Dacca)

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175 Vajraśṛṅkhalā

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176 Jambhala (Nepal)

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Fig. 177 Jambhala (Vikrampur, Dacca)

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Fig. 178 Jambhala (Vikrampur, Dacca)

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Fig. 179 Jambhala

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Fig. 180 Vajratārā (Indian Museum)

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Fig. 181 Vajratārā (Orissa)

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Fig. 182 Vajratārā (Nepal)

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Fig. 183 Puṣpatārā (Peiping)

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Fig. 184 Mahāpratisarā (Dacca Sāhitya Pariṣat)

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Fig. 185 Mahāpratisarā (Dacca Museum)

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Fig. 186 Vasudhārā (Nepalese Drawing)

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Fig. 187 Vasudhārā (Nepal)

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Fig. 188 Vasudhārā (Baroda Museum)

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Fig. 189 Aparājitā (Nalanda)

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Fig. 190 Aparājitā (Indian Museum)

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Fig. 191 Vajrayoginī Temple at Saṅku (Nepal)

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Fig. 192 Prasannatārā

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Fig. 193 Vajrapāśī (Peiping)

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Fig. 194 Vajrasphoṭa (Peiping)

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Fig. 195 Vajroṣṇīṣa (Peiping)

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Fig. 196 Mahāpratisarā

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Fig. 197 Mahāsāhasrapramardani

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Fig. 198 Mahānantranusāriṇī

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Fig. 199 Mahāsitavatī

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Fig. 200 Mahāmāyūrī

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Fig. 201 Mahattarī Tārā (Nepal)

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Fig. 202 Vetālī (Peiping)

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Fig. 203 Ghasmarī (Peiping)

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Fig. 204 Pukkasī (Peiping)

1. Vajrāṅkuśī

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Face—One Arms—Two Direction—East Symbol—Goad

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The first goddess in the series is Vajrāṅkuśī who is the presiding deity of the Eastern direction. Her form is as follows :

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“Pūrvadvāre Vajrāṅkuśī (śuklā) śuklāṅkuśāṅkasavyakarā”. NSP, p. 38.

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“On the Eastern gate is Vajrāṅkuśī white in colour holding in her right hand the white Goad”.

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The left hand shows like the rest the raised index finger. Her images are found in China ¹.

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¹ Clark : TLP, II. p. 64

2. Vajrapāśī

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Colour—Yellow Face—One Arms—Two Direction—South Symbol—Noose

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The second goddess in the series is Vajrapāśī who is the presiding deity of the Southern quarter. Her form is as follows :

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“Dakṣiṇe Vajrapāśī pītā pāśabhṛt-savyapāṇipallavā”. NSP, p. 38.

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“In the South is Vajrapāśī, yellow in colour holding in the right hand the Noose”.

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She shows the raised index finger in the left hand. Her image is found in China ². One of the Chinese statuettes is illustrated in Fig. 193.

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² Clark : TLP, II, p. 64

3. Vajrasphoṭā

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Colour—Red Face—One Arms—Two Direction—West Symbol—Chain

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The third goddess in the series is Vajrasphoṭā as the presiding deity of the Western direction. Her form is given as under :

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“Paścime Vajrasphoṭā raktā vajrasphoṭāṅkasavyakarā” NSP, p. 38.

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“In the West, there is Vajrasphoṭā, red in colour, holding in her right hand the Chain marked with a Vajra”.

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The left hand as usual displays the raised index finger. There are statuettes of this deity in China ¹. One of the Chinese statuettes is illustrated in Fig. 194.

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¹ Clark : TLP, II, pp. 64, 163.

4. Vajraghaṇṭā

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| Colour—Green | Face—One |
| Arms—Two | Direction—North |
| Symbol—Bell | |

c20.s2.t4.2

The fourth deity in the series is Vajraghaṇṭā, who is the embodiment of the Northern direction and is described as follows :

c20.s2.t4.3

“Uttare Vajraghaṇṭā śyāmā vajraghaṇṭāṅkadakṣiṇabhujā”. NSP, p. 38

c20.s2.t4.4

“In the North there is Vajraghaṇṭā, green in colour, holding in her right hand the Bell”.

c20.s2.t4.5

The left hand of the goddess displays as usual the raised index finger. A statuette of this goddess occurs in the Chinese collection ².

c20.s2.t4.6

² Clark : TLP, II, p. 286.

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