The Indian Buddhist Iconography, Mainly Based on the Sadhanamala and Other Cognate Tantric Texts of Rituals c23.5

c23.5

It has been pointed out several times that the most important factor in the identification of images is the miniature figure of the Dhyāni Buddha on their crowns. When, however, the parental Dhyāni Buddha is not present, other marks of identification have to be sought for. Moreover, difficulties may arise even when the Dhyāni Buddhas are present. In cases where all the Dhyāni Buddhas are present on the aureole, the Buddha right on the top of the head is to be taken as the parental Dhyāni Buddha. The standing figure of Khadiravaṇī Tārā in the Indian Museum, Calcutta or the Vikrampur figures of Parṇaśabarī are the cases in point. They are both emanations of Amoghasiddhi, whose effigy appears right above the heads of the goddesses. The figures of all the other four Dhyāni Buddhas are not required either by the Sādhana or for identification. Their presence can only be explained by the fact that in all kinds of worship the five Dhyāni Buddhas are the first to be invoked. Sometimes, however, the Dhyāni Buddhas appear on the image for artistic reasons only, as for instance, in the case of the Dacca Museum image of Arapacana Mañjuśrī. The Java figure of Arapacana is surrounded by four companions, identical in appearance with himself, but in the Dacca Museum image there are four Dhyāni Buddhas in addition, on the aureole although the central position just above the head of the principal deity is occupied by one of the attendants of Arapacana. The Dhyāni Buddhas, here are not required by the Sādhana and are, therefore, more ornamental than otherwise.