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The Indian Buddhist Iconography, Mainly Based on the Sadhanamala and Other Cognate Tantric Texts of Rituals c22: Chapter XIII

The Indian Buddhist Iconography, Mainly Based on the Sādhanamālā and Other Cognate Tāntric Texts of Rituals c22

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English

Contents

Chapter XIII

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It is not a fact that Hindu gods were unknown in the Buddhist pantheon or that the Buddhist pantheon wholly consisted of Buddhist gods. It is already well-known that several Hindu gods especially Sarasvatī and Gaṇapati were given independent forms as principal gods in the Sādhanas, besides a large number as companion deities or as Vāhanas or vehicles of important Buddhist deities. They were also given humiliating roles to be trampled upon by angry Buddhist gods. A perusal of the Niṣpannayogāvalī and especially the Dharmadhātuvāgīśvara Maṇḍala will show what a large number of Hindu deities was incorporated in the Maṇḍala, and how this large number was tackled intelligently and fitted into the scheme of the Buddhist Maṇḍalas. How these Hindu gods were classified and how directions and colours were assigned to them, and how they were put under a Dhyāni Buddha family, represent a study interesting to the extreme. It is necessary to make a brief reference to this aspect of Buddhist Iconography. That these Hindu deities were fully converted to Buddhist Faith is also evidenced by the fact that a large number of their statuettes is actually found in the purely Buddhist atmosphere of China in the Chinese collection of statuettes at Peiping. The collection although exists in China, its spirit is perfectly Indian, as image after image follows the description given either in the Niṣpannayogāvalī or in the Sādhanamālā.

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Several series of Hindu gods are found in the Buddhist pantheon and they are described below under appropriate heads with relevant quotations.

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Amongst the Hindu deities incorporated into the Buddhist pantheon, three deities appear to be of great importance. These are Mahākāla the proto-type of Śiva Mahādeva with the Triśūla as the recognition symbol, Gaṇapati the elephant-faced god, and Sarasvatī the Goddess of Learning with her characteristic Vīṇā. Separate Sādhanas are assigned to all of them, and even independent shrines for them are not wanting in the Buddhist countries of the North.

1. Mahākāla

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In the Sādhanamālā as well as in the Niṣpannayogāvalī there are several descriptions of the ferocious Hindu god, Mahākāla. He has 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 arms. He is one of the many terrible deities of the Buddhist pantheon with ornaments of snakes, canine teeth, protruding belly and garment of tiger-skin. The different forms of Mahākāla are described below.

(I) Two-Armed

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Colour—Blue Arms—Two Symbols—Kartri and Kapāla

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At least six Sādhanas in the Sādhanamālā describe the two-armed variety of Mahākāla. One among them is quoted here.

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“Śrī-Mahākālabhaṭṭārakaṃ dvibhujaṃ ekamukhaṃ kṛṣṇavarṇaṃ trinayanaṃ mahājjvālaṃ kartrikapāladhāriṇaṃ dakṣiṇavāmabhujābhyāṃ muṇḍamālālaṅkṛtorddhvapiṅgalakeśopari pañcakapāladharaṃ daṃṣṭrābhīmabhayānakaṃ bhujāṅgābharaṇayajñopavītaṃ kharvarūpaṃ sravadrudhiramukhaṃ ātmānaṃ jhaṭiti niṣpādya..”. Sādhanamālā, p. 585.

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“The worshipper should conceive himself as Śrī Mahākāla Bhaṭṭāraka who is two-armed and one-faced and has blue colour. He is three-eyed, has fiery radiance, and carries the Kartri and the Kapāla in his right and left hands respectively. He bears five skulls on his brown hair 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 ornaments of serpents and a sacred thread made out of a snake. He is short and from his mouth trickles forth blood. Thus quickly meditating...”.

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Instead of the Kartri, Mahākāla carries the Triśūla in his right hand in some cases. Images of Mahākāla abound in Nepal and are found in large numbers in Buddhist temples, monasteries and even in the streets. Sometimes the head only is represented. Fig. 226 illustrates one of the finest specimens of Mahākāla beloning to the collection of Pandit Siddhiharṣa Vajrācārya of Nepal. Here the god tramples upon two figures representing two human corpses as required by the Sādhana. He weilds the menacing Kartri in the right hand and the Kapāla full of blood in the left. Images of Mahākāla are also found in abundance in Tibet¹ and China².

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¹ Gordon: ITL, p. 90 in which four images of Mahākāla are represented. See also Getty : GNB, Pl. XLIX where four more illustrations are available.

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² Clark : TLP, II, pp. 101, 299, 301 and 75

(II) Four-Armed

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Arms—Four Symbols—Kartri and Kapāla, Sword and Khaṭvāṅga

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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 Kapāla in the first or the principal pair of hands, and the sword and the Khaṭvāṅga in the second pair.

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(III) SIX-ARMED Colour—Blue Arms—Six Symbols—r. Kartri, Rosary, Ḍamaru l. Kapāla, Śūla, Vajrapāśa

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When six-armed the form of Mahākāla resembles the two-armed variety already described, with the difference that here he has six arms carrying six different symbols. In his six hands he exhibits the Kartri, the rosary and the Ḍamaru in the right and the Kapāla, the Śūla and the Vajrapāśa in the left.

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(IV) SIXTEEN-ARMED Colour—Blue Arms—Sixteen Faces—Eight Legs—Four

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When sixteen-armed, he is eight-faced and is represented in yab-yum in the embrace of his Śakti, and what is really strange, he is also four-legged. The Sādhana describes his form in the following words:

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"Ātmānaṁ Bhagavantaṁ ṣoḍaśabhuja-Mahākālaṁ bhāvayet ; aṣṭavadanaṁ caturviṁśatinetraṁ catuścaraṇaṁ ṣoḍaśabhujaṁ ; dakṣiṇakaraiḥ kartri-vajra-gajacarma-mudgara-triśūla-khaḍga-yamadaṇḍāḥ, vāmakaraiḥ raktapūrṇakapāla-gajacarma-ghaṇṭā-aṅkuśa-śvetacāmara-ḍamaru-naraśiro dadhānaṁ śeṣabhujābhyāṁ Prajñāliṅgitaṁ ; kharvakṛṣṇaṁ hāhāhīhi-hehepūritamukhaṁ mahāraudraṁ trikāyātmakaṁ pañca-Buddhamukuṭinaṁ naramuṇḍamālābharaṇaṁ bhayasyāpi bhayaṅkaram".
Sādhanamālā, p. 598

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"The worshipper should conceive himself as sixteen-armed Mahākāla with eight faces, twenty-four eyes, four legs, and sixteen arms. He carries in his (seven) right hands the Kartri, the Vajra, the elephant-hide, the Mudgara, the Triśūla, the sword and the staff of Yama, and in the (seven) left hands the Kapāla full of blood, elephant-hide, the bell, the goad, the white chowrie, the Ḍamaru and the human head. The two remaining hands are engaged in embracing the Prajñā. He is short and blue in complexion, utters laughing sounds, such as hā hā, hī hī, he he, and looks terribly fierce. He is the essence of the Three Kāyas, bears the images of the five Dhyāni Buddhas on his crown, is decked in garlands of heads as ornaments, and is more awe-inspiring than Awe itself.”

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The Sādhana further adds that Mahākāla should be surrounded by seven goddesses, three in the three cardinal points, (the fourth being occupied by his own Śakti) and the other four in the four corners.

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To the East is Mahāmāyā, consort of Maheśvara, who stands in the Ālīḍha attitude and rides a lion. She has four arms, of which the two left hands carry the Kapāla and the Ḍamaru, and the two right the Kartri and the Mudgara. She is blue in complexion, has dishevelled hair, three eyes and protruding teeth.

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To the South is Yamadūtī, who is of blue complexion and has four arms. She carries in her two right hands the staff of lotus stalk and the Kartri, and in her two left the bowl of blood and the fly-whisk. She stands in the Ālīḍha attitude on a buffalo and has dishevelled hair.

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To the West is Kāladūtī, who carries in her two left hands the Kapāla and the Cow’s head and in the two right the Mudgara and the Triśūla. She stands in the Ālīḍha attitude on a horse, has red complexion and dishevelled hair.

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All these deities are terrible in appearance, with protruding teeth and ornaments of serpents.

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The four corners are occupied by the following goddesses. Kālikā in the SE corner is blue in complexion, has two arms carrying the Kapāla and the Kartri, and stands on a corpse in the Ālīḍha attitude. Carcikā in the SW corner has red complexion, carries the Kartri and the Kapāla in her two hands and resembles Kālikā in all other respects. Caṇḍeśvarī in the NW corner has yellow complexion, carries in her two hands the grass and the deer, and stands in the Ālīḍha attitude on a corpse. Kulīśeśvarī in the NE corner has white complexion, carries the Vajra and the staff, stands in the Ālīḍha attitude on a corpse. These four deities are nude, and look terrible with bare fangs, three eyes and dishevelled hair.

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Surrounded by all these deities Mahākāla should be meditated upon as trampling upon Vajrabhairava in the form of a corpse.

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Mahākāla is a ferocious god who is generally worshipped in the Tāntric rite of Māraṇa and for the destruction of enemies. Mahākāla was also regarded as a terrible spirit, and was calculated to inspire awe in 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 these culprits raw, and the process of eating has been minutely described in almost all the Sādhanas. The Sādhanas generally contain the following verses in order to show the terrible nature of Mahākāla :

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Ācāryye yaḥ sadā dveṣī kupito Ratnatrayepi yaḥ ।
Anekasattvavidhvamsī Mahākālena khādyate ॥
Cchedayet svāngamāṃsāni pivedrudhiradhārayā ।
Śirasi viniveśyaiva tilamātrañca kārayet ॥
Sādhanamālā, p. 586

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“He who hates his preceptor, is adversely disposed to the Three Jewels, and destroys many animals is eaten up raw by Mahākāla.
He, (Mahākāla) cuts his flesh to pieces, drinks his blood, and (after) entering into his head breaks it into small bits.”

2. Gaṇapati

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Colour—Red Arms—Twelve

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Vāhana—Mouse

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Āsana—Dancing in Ardhaparyaṅka

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Only one Sādhana in the Sādhanamālā describes the form of Gaṇapati. He is twelve-armed and one-faced and rides his favourite Vāhana, the Mouse. The Dhyāna describes him in the following terms :

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“Bhagavantaṃ Gaṇapatiṃ raktavarṇaṃ jaṭāmukuṭakiriṭinaṃ sarvābharaṇabhūṣitaṃ dvādaśabhujaṃ lambodaraikavadanaṃ ardhaparyaṅkatāṇḍavaṃ trinetraṃ api ekadantaṃ savyabhujeṣu kuṭhāra-śara-aṅkuśa-vajra-khaḍga-śūlañca ; vāmabhujeṣu mūṣala-cāpa-khaṭvāṅga asṛkkapāla-phaṭkañca raktapadme mūṣikopari sthitaṃ iti”
Sādhanamālā, pp. 592-593

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“The worshipper should concieve himself as god Gaṇapati of red complexion, bearing the Jaṭāmukuṭa, decked in all ornaments, having twelve arms, a protruding belly and one face. He stands in the Ardhaparyaṅka in a dancing attitude, is three-eyed and has one tusk He carries in his right hands the Kuṭhāra, the arrow, the goad, the Vajra, the sword and the Śūla, and in his left the Mūṣala, the bow, the Khaṭvāṅga, the Kapāla full of blood, the Kapāla of dried meat and the Phaṭka. He rides the mouse on a red lotus.”

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Fig. 227 is an Indian image of the four-armed Gaṇapati which 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 arms in the possession of the Dowager Maharani Chimanabai Gaekwad of Baroda. Both the pieces are Buddhist in character.

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Gaṇapati images are also noticed in China¹ and in painted banners of Tibet.

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¹ Clark : TLP, II, p. 153

3. Gaṇapatihr̥dayā

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Āsana—Dancing

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Arms—Two

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Mudrās—Abhaya and Varada

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Like Gaṇapati himself Gaṇapatihrḍayā who is in all probability his Śakti or female counterpart, cannot be easily assigned to any particular Dhyāni Buddha. Her form is described in the Dharmakoṣasaṅgraha of Amṛtānanda in the following words :

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“Gaṇapatihrḍayā ekamukhā dvibhujā varadā abhayā nṛtyāsanā”. Dharmakoṣasaṅgraha, Fol. 43

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“Gaṇapatihrḍayā is one-faced, two-armed, exhibits in her two hands the Varada and Abhaya poses, and shows the dancing attitude ”.

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Fig. 229 illustrates a miniature in the possession of Dr. W. Y. Evans-Wentz.

4. Sarasvatī

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Sarasvatī is the name of an ancient river now filled up by the sands of Rajputana on the banks of which the Vedic Aryans originally settled after their migration to India. As the banks of the river were occupied by the Vedic Aryans who composed many hymns, and were the scene of many sacrifices, the river was, later on, in the Paurāṇic age deified as the Goddess of Learning. The Buddhists borrowed this Hindu goddess, incorporated her bodily into their pantheon in the Tāntric age when she was equally popular with the Hindus and the Buddhists, and modified her form in various ways. The Buddhist Sarasvatī may have one face with two arms, or three faces and six arms. When two-armed, she has four different variations. As her worship is widely prevalent among the Buddhists owing to the belief that like Mañjuśrī and Prajñāpāramitā, she confers wisdom, learning, intelligence, memory, etc. a comparatively large number of Sādhanas is assigned to her in the Sādhanamālā.

(I) Mahāsarasvatī

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Symbols—r. Varada Mudrā ; l. Lotus.

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Colour—White

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She has white complexion, shows the Varada pose in the right hand and carries the white lotus in the left. The Dhyāna describes her form in the following terms :

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“Bhagavatīṁ Mahāsarasvatīṁ anuvicintayet śaradindukārārāṁ sitakamalopari candramaṇḍalasthāṁ ; dakṣiṇakareṇa varādāṁ, vāmena sanālasitasarojadharāṁ smeramukhīṁ atikaruṇāmayāṁ śvetacandanakusumavasanadharāṁ muktāhāropaśobhitaḥṛdayāṁ nānāratnālaṅkāravatīṁ dvādaśavarṣākṛtiṁ muditakucamukuladanturorastaṭīṁ sphuradanantagabhastivyūhāvabhāsitalokatrayāṁ.” Sādhanamālā, p. 329

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“The worshipper should think himself as goddess Mahāsarasvatī, who is resplendent like the autumn moon, rests on the moon over the white lotus, shows the Varada mudrā in her right hand, and carries in the left the white lotus with its stem. She has a smiling countenance, is extremely compassionate, wears garments decorated with white sandal flowers. Her bosom is decorated with the pearl-necklace, and she is decked in many ornaments ; she appears a maiden of twelve years, and her bosom is uneven with half-developed breasts like flower-buds ; she illumines the three worlds with the immeasurable light that radiates from her body.”

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This is the general appearance of Sarasvatī, and all the other varieties, unless otherwise stated, are identical in appearance with the one just described. The distinctive feature of this goddess Mahāsarasvatī is that she shows like the ordinary Tārās the Varada mudrā in the right hand and carries the lotus in the left (Fig. 230), and is surrounded by four deities identical in form with herself Prajñā is in front of her, Medhā to her right, Smṛti to her left, and Mati in the west. These four divinities may also accompany other varieties of Sarasvatī. As the Sādhana is silent about the particular Āsana, she may be represented in any attitude, sitting or standing.

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Sarasvatī is a popular goddess both in Tibet ¹ and China ² where she is widely represented.

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¹ Gordon, ITL, pp. 72, 88 ; Getty : GNB, pp. 127, 128

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² Clark : TLP, II, pp. 173, 181

(II) Vajravīṇā Sarasvatī

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Colour—White Symbol—Vīṇā

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Vajravīṇā Sarasvatī like Mahāsarasvatī 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 the Vīṇā, a kind of stringed musical instrument, and plays upon it. She may also be represented as accompanied by the four divinities as in the previous case.

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Fig. 231 illustrates her statuette at Peiping.

(III) Vajraśāradā

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Symbol—r. Lotus ; l. Book

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According to the Dhyāna in the Sādhanamālā she rests upon a pure white lotus, and a crescent decorates her crown ; she is three-eyed and two-armed and carries the book in the left hand and the lotus in the right. The accompanying illustration (Fig. 232) shows how she is pictured by Nepalese artists. She may, however, be accompanied by the four attendants, Prajñā and others. As the Sādhana is silent about the Āsana, she may have any attitude. The Nalanda image (Fig. 233) which has been identified as Koṭiśrī (?) is probably a stone representation of this goddess. Vajraśāradā here sits in Bhadrāsana, 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) Āryasarasvatī

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Symbol—Prajñāpāramitā on Lotus

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Ārya Sarasvatī is another variation of Sarasvatī, and is also designated Vajrasarasvatī, which seems to be the common name of Sarasvatī of the Vajrayānists. She appears a maiden of sixteen, is in the prime of youth, has white complexion, and carries in the left hand the stalk of a lotus on which rests the Prajñāpāramitā Book. The Dhyāna is silent about the symbol carried in the right hand, which may or may not remain empty. The Āsana also is not mentioned which shows that she may be represented in any attitude.

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Fig. 234 illustrates a Nepalese drawing of Ārya-Sarasvatī.

(V) Vajrasarasvatī

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Faces—Three Arms—Six Āsana—Pratyālīḍha

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The name Vajrasarasvatī is given to this goddess in order to distinguish her from the other four varieties of Sarasvatī, with four different names given in the Sādhanas. It has already been said that Sarasvatī has a form with three faces and six arms. In all other respects her form is identical with that of Mahāsarasvatī. The difference here is that her hair is brown and rises upwards, and she stands in the Pratyālīḍha attitude on the red lotus. Three Sādhanas in the Sādhanamālā are assigned to her worship, and according to these, she is red in colour, with the right and left faces of blue and white colour respectively. She carries in her three right hands the lotus on which is the Prajñāpāramitā Book, the sword and the Kartri, and in the three left the Kapāla of Brahmā, the jewel and the Cakra. Instead of the book on lotus and Brahmakapāla she may also hold the lotus and the Kapāla only.

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Fig 235 illustrates a Nepalese drawing belonging to the latter variety.

5. The Eight Dikpālas

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The eight Dikpālas or the Lords of the Eight Quarters are described in the Dharmadhātuvāgīśvara Maṇḍala and other places in the Niṣpannayogāvalī. They are the Lords or rather the embodiments of the four principal directions and the four intermediate corners, and resemble the Yamāntaka group of deities of the Buddhists. Their forms are described below in the same order as they appear in the Dharmadhātuvāgīśvara Maṇḍala. Here only one typical form is given, although there are many more, even with their female counterparts.

(I) Indra

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Colour—Yellow Arms—Two Vehicle—Elephant Direction—East

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The first in the series of Eight Hindu gods of direction is Indra who presides over the Eastern quarter. His form is described as follows :

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“Airāvatārūḍhaḥ Indraḥ pīto vajraṁ stanaṁ ca dadhānaḥ.”
NSP, p. 61

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“Indra (of the east) rides on the Airāvata elephant and is yellow in colour. He holds in his two hands the Vajra and the breast of a woman.”

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Under the name of Śakra he appears in the Chinese collection ¹. Fig. 236 illustrates his Peiping image.

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¹ Clark : TLP, II, pp. 89, 178

(II) Yama

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Colour—Blue Arms—Two Vehicle—Buffalo Direction—South

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The second in the series of eight deities of direction is called Yama here as well as in Hindu scriptures. Yama is described in the following words :

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“Yāmyāṁ Mahiṣe Yamaḥ kṛṣṇo yamadaṇḍaśūlabhṛt.”
NSP, p. 61

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Fig. 205 Ḍombī (Peiping)

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Fig. 206 Lāsya (Peiping)

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Fig. 207 Gītā (Peiping)

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Fig. 208 Nṛtya (Peiping)

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Fig. 209 Vīṇā (Peiping)

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Fig. 210 Mukundā (Peiping)

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Fig. 211 Tālikā (Peiping)

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Fig. 212 Kapāṭā (Peiping)

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Fig. 213 Dīpā (Peiping)

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Fig. 214 Ratnolka (Peiping)

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Fig. 215 Siṃhāsya (Dr. Moghe's Collection)

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Fig. 216 Siṃhāsya (Upper View showing the lion-head)

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Fig. 217 Ḍākinī (Peiping)

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Fig. 219 Dhyāna Pāramitā (Peiping)

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Fig. 220 Praṇidhāna Pāramitā (Peiping)

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Fig. 221 Upapatti Vaśitā (Peiping)

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Fig. 222 Ṛddhi Vaśitā (Peiping)

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Fig. 223 Dharmameghā (Peiping)

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Fig. 224 Nirukti Pratisamvit (Peiping)

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Fig. 225 Pratibhana Pratisamvit (Peiping)

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Fig. 226 Mahakala (Peiping)

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Fig. 227 Four-armed Gaṇapati (Dr Moghe’s Collection)

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Fig. 228 Gaṇapati (Maharani Chimanabai Gaekwad collection)

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Fig. 229 Gaṇapatihṛdayā (Courtesy : W. Y. Evans-Wentz)

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“In the south, there is Yama riding on a Buffalo. He is blue in colour and holds in his two hands the staff of death and the Śūla”.

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Yama, the God of Death is fairly popular in Tibet where his images are found ¹.

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¹ See for instance Gordon : ITL, p. 90 ; also Getty : GNB, Pl. XLVII, a and b.

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(III) VARUṆA Colour—White Arms—Two Vehicle—Crocodile Direction—West

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The third in the series of gods of direction is Varuṇa whose form is described in the text as follows :

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“Vāruṇe makare Varuṇaḥ śvetaḥ saptaphano nāgapāśaśaṅkhabhṛt.” NSP, p. 61

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“In the west there is Varuṇa riding on a Crocodile. He is white in colour and has seven hoods. He holds in his two hands the noose of snake and the conch”.

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His statuettes occur in the Chinese collection under the title of Varuṇa (deva) ².

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² Clark : TLP, II, pp. 98, 178

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(IV) KUBERA Colour—Yellow Arms—Two Vehicle—Man Direction—North

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The fourth deity in this series is Kubera of the North and his form is described in the text as follows :

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“Kauberyāṃ nare Kuberaḥ supītoṅkuśagadādharaḥ.” NSP, p. 61

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“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 Gadā (mace)”.

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Kubera is fairly well represented in Tibet ³.

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³ See for instance Gordon : ITL, p. 90 also Getty : GNB, plate LII, b

c22.s5.t2.43

(V) ĪŚĀNA Colour—White Arms—Two Vehicle—Bull Direction—Īśāna

c22.s5.t2.44

The fifth in the series of gods of direction is Īśāna the Lord of the Īśāna corner, and his form is described in the following words :

c22.s5.t2.45

Aiśānyāṃ Vṛṣabhārūḍhaḥ Īśānaḥ triśūlakapālapāṇiḥ jaṭārdhacandra-dharaḥ sarpayajñopavītī nīlakaṇṭhaḥ.” NSP, p. 61 “In the Īśāna corner there is Īśāna riding on a Bull. He is white in colour and holds in his two hands the Triśūla (trident) and the Kapāla (skull-cup). On his matted hair appears the half-moon, on his body a sacred thread of serpent and his throat is blue.”

c22.s5.t2.46

As Īśāna he is not represented in the Chinese collection.

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(VI) AGNI Colour—Red Arms—Two Vehicle—Goat Direction—Agni

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The sixth in the series of direction gods is Agni the Lord of the Agni corner. His form is described thus :

c22.s5.t2.49

“Āgneyyāṁ Cchāge’gniḥ raktaḥ śruvakamaṇḍaludharaḥ.” NSP, p. 61

c22.s5.t2.50

“In the Agni corner there is Agni riding on a Goat. He is red in colour and holds in his two hands the Śruva (ladle) and the Kamaṇḍalu (water bowl).”

c22.s5.t2.51

As Agnideva his forms occur twice in the Chinese collection ¹. Fig. 237 illustrates one of the two statuettes from Peiping.

c22.s5.t2.52

¹ Clark : TLP, II, pp. 87, 65

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(VII) NAIRṚTI Colour—Blue Arms—Two Vehicle—Corpse Direction—Nairṛta corner

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The seventh direction god is called by the name of Nairṛti who presides over the Nairṛta corner. His form is described in the text as follows :

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“Nairṛtyāṁ Rākṣasādhipo Nairṛtiḥ nīlaḥ śave khaḍgakheṭakabhṛt.” NSP, p. 61

c22.s5.t2.56

“In the Nairṛta corner there is the Lord of the Rākṣasas (goblins) called Nairṛti who is blue in colour and rides on a corpse. In his two hands he holds the sword and the Kheṭaka (stick)”.

c22.s5.t2.57

He is not represented in the Chinese collection.

c22.s5.t2.58

(VIII) VĀYU Colour—Blue Arms—Two Vehicle—Deer Direction—Vāyu.

c22.s5.t2.59

The eighth and the last deity in the series of direction gods is called Vāyu the Lord of the Vāyu corner. His form is described thus :

c22.s5.t2.60

“Vāyavyāṁ mṛge Vāyurnīlo vātapuṭadharaḥ”. NSP, p. 61 “In the Vāyu corner there is Vāyu riding on a Deer and blue in colour. In his two hands he shows the Vātapuṭa” (empty fold).

c22.s5.t2.61

Under Vāyudeva his statuette occurs in the Chinese collection ¹. Fig. 238 illustrates this image.

c22.s5.t2.62

¹ Clark : TLP, II, p. 181

6. Ten Principal Hindu Deities

c22.s6.1

In the Brahmā group there are ten deities. They are popular in India and their statuettes occur in the Chinese collection. Their appearance in the Buddhist pantheon is almost the same as we find them described in the Purāṇas and Tāntric works of the Hindus. The gods of the Brahmā group are described with typical examples in the same order as they appear in the Dharmadhātuvāgīśvara Maṇḍala of the Niṣpannayogāvalī.

(I) Brahmā

c22.s6.t1.1

Colour—Yellow Arms—Four Vehicle—Swan

c22.s6.t1.2

The first among the ten gods of this list is Brahmā. His form is given in the following text:

c22.s6.t1.3

“Haṃse Brahmā pītaścaturbhujaḥ akṣasūtrābjahṛt-savyetarābhyāṃ kṛtāñjalir-daṇḍa-kamaṇḍaludharaḥ”. NSP, p. 61

c22.s6.t1.4

“On a Swan appears Brahmā of yellow colour with four arms. With the two principal hands carrying the rosary and the lotus, he displays the Añjali (clasped hand) mudrā, and the two other hands carry the staff and the Kamaṇḍalu”.

c22.s6.t1.5

Three statuettes of his occur in the Chinese collection ². Fig. 238 illustrates one of the three.

c22.s6.t1.6

² Clark : TLP, II, pp. 100, 156, 179

(II) Viṣṇu

c22.s6.t2.1

Arms—Four Vehicle—Garuḍa

c22.s6.t2.2

The second god in this series of ten principal gods of the Hindu pantheon is called Viṣṇu. His form is described as under:

c22.s6.t2.3

“Garuḍe Viṣṇus-caturbhujaḥ cakrasaṅkhabhṛtsavyavāmābhyāṃ mūrdhni kṛtāñjalir-gadāśārṅgadharaḥ”. NSP, p. 61

c22.s6.t2.4

“On a Garuḍa there is Viṣṇu with four arms. With the two principal hands carrying the Cakra and the Śaṅkha he displays the Añjali on his head. With the two others he holds the Gadā (mace) and the bow”.

c22.s6.t2.5

Two statuettes of Viṣṇu occur in the Chinese collection ³.

c22.s6.t2.6

³ Clark : TLP, II, pp. 98, 156.

(III) Maheśvara

c22.s6.t3.1

Colour—White      Arms—Four Vehicle—Bull

c22.s6.t3.2

The third in this series of ten principal gods of the Hindus is Maheśvara. His form is described thus :

c22.s6.t3.3

“Vṛṣabhe Maheśvaraḥ sitaḥ śaśikanakāṅkitajaṭāmukuṭaś-catur bhujah śirasi kṛtāñjalis-triśūlakapālabhṛt’’. NSP, p. 62

c22.s6.t3.4

“Maheśvara sits on the Bull, and is white in colour. His crown of matted hair is beautified by the moon. He is four-armed. With the two principal hands he displays the Añjali over the head, and with the two others he carries the Triśūla and the Kapāla’’.

c22.s6.t3.5

One statuette of Maheśvara occurs in the Chinese collection ¹. It is illustrated in Fig. 240.

c22.s6.t3.6

¹ Clark : TLP, II, p. 156

(IV) Kārttikeya

c22.s6.t4.1

Colour—Red      Arms—Six Symbol—Hen      Vehicle—Peacock

c22.s6.t4.2

The fourth god in this series is Kārttikeya and his form is described as follows :

c22.s6.t4.3

“Mayūre Kārttikeyo raktaḥ ṣaṇmukhaḥ savyābhyāṃ śaktiṃ vajraṃ ca vāmābhyāṃ kukkuṭaṃ ca dadhāno dvābhyāṃ kṛtāñjaliḥ.’’ NSP, p. 62

c22.s6.t4.4

“Kārttikeya rides a Peacock, is red in colour, and has six faces. With the two right hands he holds the Śakti (javelin) and the Vajra and with the two left the hen. With two others he shows the Añjali’’.

c22.s6.t4.5

One statuette of this deity is found in the Chinese collection ².

c22.s6.t4.6

² Clark : TLP, II, p. 157

(V) Vārāhī

c22.s6.t5.1

Colour—Blue      Arms—Four Symbol—Fish      Vehicle—Owl

c22.s6.t5.2

The fifth deity in this series is a goddess and is called here as Vārāhī. Her form is described as follows :

c22.s6.t5.3

“Vārāhī kṛṣṇā pecakārūḍhā caturbhujā savyavāmābhyāṃ rohita-matsyakapāladharā dvābhyāṃ kṛtāñjaliḥ’’. NSP, p. 62

c22.s6.t5.4

“Vārāhī 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 Kapāla in the left. Two others are clasped in Añjali’’.

c22.s6.t5.5

Two statuettes of the deity are represented in the Chinese collection ³.

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³ Clark : TLP, II, pp. 72, 176

(VI) Cāmuṇḍā

c22.s6.t6.1

Arms—Four Vehicle—Corpse

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The sixth deity in the series of Hindu gods is also a goddess and is known by the name of Cāmuṇḍā. Her form is described as follows :

c22.s6.t6.3

“Pretopari Cāmuṇḍā raktā caturbhujā kartrikapālābhṛtsavyetarā kṛtāñjali”.
NSP, p. 62

c22.s6.t6.4

“Cāmuṇḍā rides on a corpse and is of red colour. She is four-armed. With the first pair of hands she holds the Kartri in the right and the Kapāla in the left. In the second she exhibits the Añjali”.

c22.s6.t6.5

One statuette of this goddess occurs in the Chinese collection ¹.

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¹ Clark : TLP, II, p. 176

(VII) Bhr̥ṅgī

c22.s6.t7.1

Colour—Blue Arms—Four

c22.s6.t7.2

The seventh deity in this series is Bhr̥ṅgī whose form is described in the Dharmadhātuvāgīśvara Maṇḍala as follows :

c22.s6.t7.3

“Bhr̥ṅgī kr̥ṣṇaḥ kr̥ṣṇākṣasūtrakamaṇḍaludharaḥ kr̥tāñjaliḥ”.
NSP, p. 62

c22.s6.t7.4

“Bhr̥ṅgī is blue in colour and he holds in the first pair of hands the blue rosary and the Kamaṇḍalu. In the second pair the Añjali is shown”.

c22.s6.t7.5

Bhr̥ṅgī is not represented in the Chinese collection.

(VIII) Gaṇapati

c22.s6.t8.1

Colour--White Arms—Four Symbol—Elephant-face Vehicle—Rat

c22.s6.t8.2

Gaṇapati is a popular deity in the Buddhist pantheon. He is described several times in the Niṣpannayogāvalī, and as already stated an independent Sādhana in the Sādhanamālā is devoted to his worship. In the Maṇḍala of Dharmadhātuvāgīśvara his description is as follows :

c22.s6.t8.3

Mūṣake Gaṇapatiḥ sitaḥ karivaktraḥ sarpayajñopavītī caturbhujaḥ savyābhyāṁ triśūlalaḍḍukau vāmābhyāṁ paraśumūlake dadhānaḥ.
NSP, p. 62

c22.s6.t8.4

“Gaṇapati rides on a Mouse and is white in colour. He has an elephant face and a snake forms his sacred thread. He is four-armed. In the two right hands he carries the Triśūla and the Laḍḍuka (sweet balls), and in the two left the Paraśu (axe) and the Mūlaka (radish).

c22.s6.t8.5

In the Bhūtadāmara Maṇḍala, he is given four hands carrying the Mūlaka and the Paraśu in the two right, and the Triśūla and the Kapāla in the two left ¹.

c22.s6.t8.6

¹ NSP p. 72

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One statuette of his is recorded in the Chinese collection ². It is illustrated in Fig. 241.

c22.s6.t8.8

² Clark : TLP, II, p. 153

(IX) Mahākāla

c22.s6.t9.1

Colour—Blue Arms—Two Symbol—Trident

c22.s6.t9.2

The ninth in this series of Hindu deities in the Buddhist pantheon is called Mahākāla who is popular both in the Sādhanamālā as well as in the Niṣpannayogāvalī. His form is described as follows : “Mahākālaḥ kṛṣṇas-triśūla-kapālabhṛt”. NSP, p. 62 “Mahākāla is blue in colour and carries the Triśūla and the Kapāla in his two hands”.

c22.s6.t9.3

One statuette of his occurs in the Chinese collection ³. His description in the Sādhanamālā is more detailed. The different forms of Mahākāla have already been discussed in an earlier section in this very chapter.

c22.s6.t9.4

³ Clark : TLP, II, p. 101

(X) Nandikeśvara

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Colour—Blue Arms—Two Symbol—Muraja Vehicle—Muraja

c22.s6.t10.2

The tenth and the last in this series of Hindu gods is called Nandikeśvara. His form is described thus in the Maṇḍala of Dharmadhātuvāgīśvara : “Nandikeśvaraḥ kṛṣṇaḥ Murajārūḍho Murajavādanaparaḥ”. NSP, p. 62

c22.s6.t10.3

“Nandikeśvara is blue in colour and sits on a Muraja drum and is engaged in playing on the Muraja”.

c22.s6.t10.4

Two statuettes of this deity occur in the Chinese collection under the title Nandīśvara (deva) which is the same as Nandikeśvara ⁴.

c22.s6.t10.5

⁴ Clark : TLP, II, pp. 104, 153

7. Nine Planets

c22.s7.1

From time immemorial people in India believed in the power of the planets either for evil or for good. That belief is still current. The Hindus, Buddhists and Jainas alike shared in this belief, and in all these three religious systems the planets were deified and they were given a form, weapon and colour. To compare the forms of the different planets in the three religious systems is itself an independent and stupendous study. It is not the purpose here to compare their forms, nor even to study their iconography extensively, but a passing and brief reference to the planets is what can and should be given. As the planets were deified in Buddhism also, their forms are stated below in the same order and in the same manner as they appear in the Maṇḍala of Dharmadhātuvāgīśvara of the Niṣpannayogāvalī.

(I) Āditya

c22.s7.t1.1

Colour—Red Arms—Two Symbol—Discs of the Sun Vehicle—Chariot of Seven Horses

c22.s7.t1.2

Āditya or the Sun-god heads the list of the Nine Planets, and his form is described in the Niṣpannayogāvalī as follows :

c22.s7.t1.3

“Saptaturagarathe Ādityo rakto dakṣiṇahastena vāmena ca padmastha-sūryamaṇḍaladharaḥ”.
NSP, p. 62

c22.s7.t1.4

“Āditya rides on a chariot drawn by seven horses. He is red in colour. Both in the right and in the left he holds the discs of the sun on lotuses”.

c22.s7.t1.5

In the Chinese collection, one statuette of this planet occurs under the title of Sūrya ¹.

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