The Indian Buddhist Iconography, Mainly Based on the Sadhanamala and Other Cognate Tantric Texts of Rituals c25: Glossary

The Indian Buddhist Iconography, Mainly Based on the Sādhanamālā and Other Cognate Tāntric Texts of Rituals c25

Language: English

Glossary

c25.1

Abhaya mudrā, or the gesture of protection. The hand showing this mudrā should be slightly elevated and bent with the palm turned outward, the fingers being outstretched and elevated. This mudrā should be distinguished from the Varada mudrā in which case the hand is stretched downwards with the fingers, instead of being elevated, pointed downwards; and also, from the Capeṭadāna mudrā, which shows the right hand menacingly extended upwards, just as is done in dealing a slap.

c25.2

Akṣamālā or Mālā, is the string of beads such as is carried by the Roman Catholic priests. The beads consist of a kind of dried fruit, called in Sanskrit, Rudrākṣa. It may be made with other material also, such as crystals, etc.

c25.3

Ālīḍha, a particular Āsana, or attitude of legs, in all respects similar to the attitude adopted in drawing the bow charged with an arrow. The right leg is outstretched while the left is slightly bent. This attitude should be distinguished from the Pratyālīḍha attitude in which case the left leg is outstretched while the right is slightly bent and placed behind.

c25.4

Añjali, name of a mudrā, also known as the Sarvarājendra mudrā, or the Sampuṭāñjali. It is the mudrā in which the two hands are clasped against the chest, palm to palm, both of which are extended upward with all fingers erect or slightly bent. This is the characteristic mudrā of Ṣaḍakṣarī Lokeśvara and is also exhibited by Nāmasaṅgīti.

c25.5

Aṅkuśa, elephant goad. See the weapon, for instance, in the image of Parṇaśabarī. When the goad is surmounted by a Vajra, it is called Vajrāṅkuśa.

c25.6

Anuvyañjanas, see Lakṣaṇas.

c25.7

Ardhaparyaṅka, also called Mahārājalīlā, is a particular Āsana of sitting. Both the legs are on the same pedestal; one of the knee is raised while the other is bent in the usual position of a Buddha. This Āsana should be distinguished from the Lalitāsana in which case one of the legs is pendant, while the other is bent in the usual position of a Buddha. When both the legs are pendant, the attitude is called Bhadrāsana.

c25.8

Āsana, the word in Sanskrit may mean a seat, a mystic or any attitude exhibited in the lower limbs. The word Padmāsana means the seat of lotus. Similarly, Siṃhāsana means the lion-throne or the seat of a lion. The word Sukhāsana means any easy attitude of sitting. It may be the Paryaṅkāsana, Lalitāsana or the Ardhaparyaṅkāsana. In fact, in the Sādhanamālā, the word Sukhāsana has not been used in a technical sense. When used in a technical sense Āsana is of various kinds, such as the Paryaṅkāsana, Vajraparyaṅkāsana, Lalitāsana, Ardhaparyaṅkāsana, Bhadrāsana, Ālīḍhāsana, Pratyālīḍhāsana or the Nāṭyāsana, a variety of Ardhaparyaṅka.

c25.9

Aśoka, the absence of sorrow; but the word is always used to designate a particular kind of tree which blossoms forth red flowers. From time immemorial, this tree is regarded as sacred in India. It is believed that kicks at the tree by chaste women cause it to blossom.

c25.10

Bāṇa, see Śara.

c25.11

Bhūmisparśa, also called Bhūmisparśana or the Bhūsparśa, is the name of a mudrā. The right hand exhibiting this mudrā has the palm turned inward and the fingers outstretched, with the tips touching the ground. This mudrā should be distinguished from the Varada mudrā in which case tips do not touch the ground and the palm instead of being turned inward is turned outward. The deity showing the Bhūsparśa mudrā must sit in the Vajraparyaṅka attitude.

c25.12

Bhūtas, a class of mischievous spirits or hobgoblins who, without any provocation whatever, are supposed to injure men and destroy them mysteriously.

c25.13

Bīja, means a ‘seed’. In Tantra it signifies the Germ-Syllable which takes the form of a deity in the course of meditation.

c25.14

Bījapura, citron, a characteristic symbol of Jambhala.

c25.15

Brahmakapāla, or the Brahmaśiraḥ, is the severed head of Brahmā who is credited with four faces with grey beards in all of them and the crown of matted hair. The Buddhist gods, carrying triumphantly the severed head of Brahmā, display the aversion of the Buddhists towards the Hindus, as well as, the superiority of their gods to the gods of the alien faith.

c25.16

Brahmamukha, the face of Brahmā containing four faces. The Brahmamukha is super-imposed on the head of Paramāśva.

c25.17

Brahmaśiraḥ see Brahmakapāla.

c25.18

Caitya, or the Stūpa, which represents the Buddhist Universe, is the Buddhist sanctuary, sometimes square and sometimes round, with spires or steps on the capital. Each spire or step represents a heaven, the uppermost portion being a point which is supposed to be the highest peak of Mount Sumeru, a mythical mountain, whence the Bodhicitta loses itself in Śūnya. On the four sides of the Caitya the figures of the Dhyāni Buddhas appear. Vairocana is sometimes present. The corners are occupied by the figures of the Divine Buddhaśaktis or their symbolic representations in the form of Yantras. The Caitya may show further, in the four cardinal points, the Caturmahārājikas or the Great Rulers of the Quarters, namely, Vaiśravaṇa, Virūpākṣa, Virūḍhaka and Dhṛtarāṣṭra. See Stūpa.

c25.19

Cakra, Wheel or disc. It is the characteristic symbol of the Hindu God Viṣṇu or Kṛṣṇa.

c25.20

Cāmara, Chowrie or the fly-whisk consisting of the tail of a Yak.

c25.21

Cāpa, also called Dhanus, is the bow. It is generally carried in the left hand. With the bow and the arrow Mārīcī inflicts pain to the Māras or wicked beings.

c25.22

Caṣaka, Wine-glass.

c25.23

Caturmudrā—See Ṣaṇmudrā.

c25.24

Chintāmaṇi—the gem that satisfies all desires. The jewel is sometimes represented in the form of a small round object and sometimes in the shape of a flame.

c25.25

Ḍākinī, same as Śakti. See Śakti.

c25.26

Ḍamaru, small drum, such as is carried by the Hindu god Siva.

c25.27

Daṇḍa, the staff or the mace carried by Hayagrīva. It cannot be translated as the magic wand, as the Khaṭvāṅga serves that purpose. When the staff is surmounted by a Vajra, it is called Vajradaṇḍa.

c25.28

Dhāraṇī or Dhāriṇī, meaningless conglomeration of syllables, occasionally containing one or two intelligible words, used as a charm or prayer. There are Dhāraṇī-Saṅgrahas or collections of Dhāraṇīs in the Nepal Library, with an astonishingly large number of Dhāraṇīs devoted to different deities. The list given in the Nepal Catalogue Vol. II. App. p. 225, et sqq. may be consulted.

c25.29

Dharmacakra, or Vyākhyāna mudrā, is that gesture of hands exhibited by Lord Buddha while preaching his first sermon at Sarnath. This pose is depicted variously but the most artistic and correct representation of this mudrā is to be found in the celebrated Prajñāpāramitā image from Java. See Getty : GNB, p. 187.

c25.30

Dhanus, same as Cāpa. See Cāpa.

c25.31

Dhūpa, incense stick, which when burns, emits fragrance.

c25.32

Dhyāna, meditation ; it refers generally to that portion of the Sādhana in which instruction is given as to the description of the deity with whom the worshipper is to identify himself.

c25.33

Dhyāna, or Samādhi mudrā ; the position of hands while in meditation. The hands with palm upwards lie one upon the other on the lap with all fingers stretched. This is the characteristic mudrā of Amitābha.

c25.34

Dhyānāsana, or Vajraparyaṅkāsana, or Vajrāsana, is the meditative pose, the two legs being firmly locked with both the soles apparent, the characteristic sitting attitude of the Dhyāni Buddhas. Sometimes a small thunderbolt, shown on the seat of the god, indicates the meditative attitude. Dhyānāsana should be distinguished from the Paryaṅka attitude in which case the legs are placed one upon the other with both the soles invisible.

c25.35

Dīpa, lamp, the sacred lamp fed with ghee.

c25.36

Gadā, mace.

c25.37

Garuḍa, mythical bird supposed to be the destroyer of all serpents. The Hindus regard him as the Vāhana of Viṣṇu. Garuḍa is represented as a huge bird with a human body, two wings and sharp beaks, generally with hands clasped against the chest.

c25.38

Ghaṇṭā, bell ; when the bell is surmounted by a Vajra, it is called Vajra-ghaṇṭā, which is a symbol of Vajrasattva.

c25.39

Jaṭāmukuṭa, the crown of matted hair. The hair is tied up above the head in such a way as to resemble a crown or a tiara.

c25.40

Kalaśa, is the ordinary water-vessel of metal or earth. It is different from the Kamaṇḍalu or Kuṇḍikā, which is smaller in size and is provided with a projecting pipe for discharging water.

c25.41

Kamaṇḍalu, see Kalaśa

c25.42

Kapāla, either (i) severed head of a man, or (ii) the cup made of a skull, or (iii) a bowl. The skull cup is of two kinds ; when it is filled with blood it is called Asṛkkapāla, and when with human flesh it is called Māṃsakapāla. The deities are supposed to partake of the blood or the flesh carried in these cups.

c25.43

Karaṇa, mudrā. Any hand showing this mudrā is outstretched with the index and the little fingers erect, while the thumb presses the two remaining fingers against the palm of the hand.

c25.44

Karppara, same as Kapāla. See Kapāla.

c25.45

Kartri, or Karttari signifies a small knife ; sometimes the edge of it is uneven like the edge of a saw. It is called Vajrakartri when surmounted with a Vajra.

c25.46

Khaḍga, sword. The sword in the hand of Mañjuśrī is called the Prajñākhaḍga or the Sword of Wisdom, which is believed to destroy the darkness of ignorance by the luminous rays issuing out of it.

c25.47

Khaṭvāṅga, magic wand ; the stick is generally surmounted either by Vajra or the Kapāla, or the Triśūla or the banner, or all of them. In any case, for a Khaṭvāṅga the skulls are necessary and it will be so called even if nothing else is present.

c25.48

Kṣepaṇa, the mudrā of sprinkling, exhibited by Nāmasaṅgīti. The two hands are joined palm to palm with fingers all stretched, the tips of which are turned downwards and enter into a vessel containing nectar.

c25.49

Kuṇḍikā, same as Kamaṇḍalu. See Kalaśa.

c25.50

Lakṣaṇas, auspicious marks; the thirty-two special marks of the Buddha, enumerated in Dharmasaṅgraha attributed to Nāgārjuna. The Lakṣaṇas are also enumerated in Getty : GNB, p. 190. Another class of minor marks is called Anuvyañjanas, eighty in number, also enumerated in the Dharmasaṅgraha.

c25.51

Mālā, same as Akṣamālā. See Akṣamālā.

c25.52

Maṇḍala, the magic circle, containing mystic figures and diagrams, and figures of gods and goddesses constituting the Maṇḍala. In the Niṣpannayogāvalī Tantra, Kriyāsamuccaya and the Vajrāvalī-nāma-maṇḍalopāyikā there are descriptions of a great number of deities constituting the circle.

c25.53

Maṇi, same as Cintāmaṇi ; see Cintāmaṇi.

c25.54

Mantra, mystic syllables sometimes containing a few intelligible words, but shorter than the Dhāraṇīs. The Mantras are believed to be a contracted form of the Dhāraṇīs and are meant for the mass to obtain an easy salvation, by simply muttering them. In many instances, the Mantra gives the name of the divinity or his attributes, and these are most important in determining the names of different gods when the Colophons of Sādhanas are not enough.

c25.55

Mayūra, peacock, and Mayūrapiccha signifies feathers of a peacock.

c25.56

Mudgara, hammer ; it may also mean a staff or a mace.

c25.57

Mudrā, mystic pose of hand or hands. Some of the Mudrās can be shown by one hand, such as the Varada, Abhaya, Namaskāra, etc. others require both the hands such as the Añjali, Dharmacakra, and many others. In the Sādhanamālā there are descriptions of an overwhelming number of Mudrās. But it is very difficult to comprehend them unless actually explained by the priests.

c25.58

Mūṣala, pestle

c25.59

Nāgas, serpents. They have the character of water-spirits and are believed to dwell in the springs, lakes and tanks, and have the power to bring or withhold rains. But if they are roused to anger, they hurl down rocks from the mountain tops and destroy fair cities. The gods of the Sādhanamālā are fond of ornaments of eight lords of snakes.

c25.60

Nakulī, mongoose; the characteristic animal of Jambhala. The mongoose is believed to be the receptacle of all gems and when the God of Wealth presses the animal, it vomits forth all the riches.

c25.61

Namaskāra, the mudrā assumed by the Bodhisattvas, when paying homage to the Buddhas or Tathāgatas, or by the minor deities to the principal one. The hand, slightly bent, is raised above in a line with the shoulder with fingers outstretched or slightly bent with the palm turned upwards.

c25.62

Nūpura, anklet; small bells are attached to the ornament so that when the leg moves, it chimes melodiously.

c25.63

Padma, lotus, which may be of any colour except blue. The blue lotus is designated by the word Utpala or Nīlotpala. In Tāntric works the Padma is the day lotus, while Utpala stands for the night lotus. It is regarded as especially sacred by all classes of Indians. See Getty : GNB, p. 192. When the lotus shows petals in both the upper and lower directions it is called the Viśvapadma or the double lotus. Padma indicates purity of descent.

c25.64

Paraśu, axe.

c25.65

Paryaṅka, see Dhyānāsana.

c25.66

Pāśa, noose or lasso; when a Vajra is attached at the end of it, it is called the Vajrapāśa or the adamantine noose. The noose is required to bind the host of the Māras and all other wicked beings.

c25.67

Pātra, begging bowl or bowl generally found in the images of the five Dhyāni Buddhas and of Buddha Śākyasiṃha. Sometimes the Kapāla is used in the Sādhanamālā to designate a bowl (See Kapāla). Getty records a Buddhist legend to show how a Pātra came in the possession of the Buddha. Getty : GNB, p. 193.

c25.68

Prajñā, see Śakti.

c25.69

Preta or Mṛtaka or Śava, always means a corpse or ghost in Indian Buddhist Iconography.

c25.70

Pustaka, book in the form of a Manuscript which represents the Prajñāpāramitā or the Book of Transcendental Knowledge. Nāgārjuna is said to have restored the Scripture from the nether regions. The book is carried by several Buddhist gods, notably, Prajñāpāramitā, Mañjuśrī, Sarasvatī and Cundā.

c25.71

Ratna, jewel. The word Triratna signifies the three Jewels, Buddha, Dharma and Saṅgha. Similarly, there are different groups of jewels, such as the seven jewels or the sixteen jewels. For the enumeration of the seven jewels, see Getty : GNB, p. 194. See also Cintāmaṇi.

c25.72

Sādhana, procedure of worship for the invocation of Buddhist gods, and not ‘charm’ as translated by C. Bendall. The Sādhanamālā or the Sādhanasamuccaya is a collection of 312 Sādhanas.

c25.73

Śakti, or Prajñā, Vidyā, Svābhā Prajñā or Svābha-Vidyā, the female counterpart of a Bodhisattva. All goddesses are regarded as female counterparts of one or another of the Bodhisattvas. The Śaktis are either represented singly or in yab-yum, i. e. in the actual embrace of the god to whom she is affiliated as a Śakti. This female counterpart is called ‘Svābhā’ (own light, being the principal god’s own creation). She sometimes carries the same weapons as are carried by the principal god.

c25.74

Samādhi, meditation ; the deepest form of abstract meditation. For a description of the Samādhi mudrā see Dhyānamudrā.

c25.75

Śaṅkha, conch-shell ; it is especially given as a symbol to the gods as the sound viabrated through a shell penetrates far and wide. The conch-shell seems to have been extensively used in wars by ancient Indians.

c25.76

Ṣaṇmudrā, the six-mudrās ; the meaning of this mudrā is quite different from the mudrā meaning mystic gestures. It has been translated as auspicious ornaments or symbols. The six ornaments are enumerated in the following verse in the Sādhanamālā :

c25.77

“Kaṇṭhikā rucakaṁ ratnamekhalaṁ bhasmasūtrakaṁ I
Ṣaṭ vai pāramitā etā mudrārūpeṇa yojitāḥ” II

c25.78

“The torque, the bracelet, the jewel, the girdle, the ashes and the sacred thread are ascribed to the gods in the form of mudrās (ornaments), which represent the six Pāramitās”.

c25.79

These ornaments or symbols are generally of human bones, the Khaṭvāṅga being the sacred thread. When one of the six is absent they are called Pañcamudrā, and Caturmudrā, when two.

c25.80

Śara, or the Bāṇa, is the arrow. It is generally carried in the right hand, while the corresponding left shows the Dhanus.

c25.81

Śava, see Preta.

c25.82

Siddhas, or Siddhapuruṣas are saints who have already attained Siddhi or perfection in a Tāntric rite, and have acquired super-normal powers. Two groups of Siddhas are generally recognized, one consisting of nine and another of eighty-four. They were famous in the mediaeval age for their magical powers and prodigious deeds. Most of them hailed from the East.

c25.83

Siṃha, lion. The word Siṃhāsana means the lion-seat or the lion-throne, but does not designate a special attitude of sitting such as the Vajrāsana, Ardhaparyaṅkāsana, and so forth. See Āsana.

c25.84

Śṛṅkhalā, chain, also called the Vajraśṛṅkhalā, (which is the characteristic symbol of Vajraśṛṅkhalā), when the chain is surmounted by a Vajra.

c25.85

Stūpa see Caitya.

c25.86

Sūcī, mudrā used generally in the act of dancing, though it is to be seen in other cases also. All the fingers are stretched with the tips joining at the end, so as to resemble a needle (Sūcī).

c25.87

Śūnya, translated as ‘Void’ in the absence of a suitable and more expressive word. It signifies a state of the mind after Nirvāṇa, about which neither existence, nor non-existence, nor a combination of the two, nor a negation of the two can be predicated. This Śūnya in Vajrayāna is identified with Compassion which transforms itself in the form of divinities, of the nature of Śūnya, for the welfare and happiness of men. In Vajrayāna Śūnya is the Prime Cause of all manifestation.

c25.88

Sūryya. the sun or the disc of the sun which is held in one of her hands by Mārīcī and which is the seat of many Buddhist gods and goddesses. Rāhu is said to devour the sun and the moon.

c25.89

Svābhā Prajñā, see Śakti.

c25.90

Tarjanī, mudrā; the pose of the raised index finger in a menacing attitude. In the hand showing this mudrā, the index finger only is raised while the other fingers are locked up in the fist. If a Pāśa or noose appears round the index finger it is called Tarjanī-pāśa. The word Vajratarjanī signifies the Vajra held in the fist while the index is raised in a menacing attitude.

c25.91

Tarjanīpāśa, see Tarjanī.

c25.92

Tarpaṇa, mudrā of doing homage to the Departed Fathers; the mudrā of Nāmasaṅgīti. Any arm showing this gesture is bent and is raised upward in a line with the shoulder. The palm of the hand is turned inward with fingers slightly bent and pointed towards the shoulder.

c25.93

Tathāgatas, the Buddhas who have attained the highest state of perfection according to the Buddhists. In the Sādhanamālā, the word is invariably used in the plural number with reference to the five Dhyāni Buddhas, but does not even signify Vajrasattva or Vajradhara. The Buddhas are innumerable and have a hierarcy among them, the different orders being Pratyeka, Śrāvaka, Samyak-Sambuddha, Jina, Arhat, Tathāgata, and the like.

c25.94

Trailokya, pertaining to the three worlds: the divine, the terrestrial and the infernal.

c25.95

Triśūla, trident. The Hindu god Śiva is believed to carry the trident, and hence it is popular among the Tantra symbols as most of the Tantras are in the form of a dialogue between Śiva and Pārvatī.

c25.96

Utpala, see Padma.

c25.97

Vāhana, the vehicle or the mount of gods; the mount may be any animal including men, demons and corpses. Sometimes even the gods of an alien faith serve as Vāhanas.

c25.98

Vajra, thunderbolt. When two thunderbolts are crossed, it is called a Viśva-vajra, or a double Vajra. In Buddhist Tantra the word generally designates Śūnya or Void, which cannot be cut, cannot be destroyed, but which destroys all evils.

c25.99

Vajradaṇḍa, see Daṇḍa.

c25.100

Vajraghaṇṭā, see Ghaṇṭā.

c25.101

Vajrahūṅkāra, mudrā. The wrists are crossed at the chest with two hands holding the Vajra and the bell, both of which are turned inwards. But if the two symbols and the hands are turned outward the mudrā will be called the Trailokyavijaya mudrā.

c25.102

Vajrakartri, see Kartri.

c25.103

Vajrāṅkuśa, see Aṅkuśa.

c25.104

Vajraparyaṅka, see Dhyānāsana.

c25.105

Vajraśṛṅkhalā, see Śṛṅkhalā.

c25.106

Vajratarjanī, see Tarjanī.

c25.107

Varada, mudrā, the gesture of hands shown by gods while conferring boons. The hand showing this gesture is pendant with its palm outward and fingers all stretched. Sometimes a jewel is seen stamped on the hand showing the mudrā when it is known as the Ratnasaṃyukta-Varada, that is, the gift-bestowing attitude together with a jewel. The Mahoba figure of Khadiravaṇī is an example of this kind.

c25.108

Viśvapadma, the double conventional lotus. See Padma.

c25.109

Viśvavajra, the double conventional Vajra. See Vajra.

c25.110

Vitarka, mudrā assumed in discussion. This mudrā is altogether unknown in the Sādhanamālā and seems to be a later development. It is, nevertheless, shown by a number of forms of Avalokiteśvara treated of in the Appendix all of which are more or less influenced by Tibetan art and iconography. This mudrā is represented with the right arm bent, all fingers erect except either the index or the ring finger which touches the thumb so as to resemble a ring. The hand is extended forward with the palm outward.

c25.111

Vyākhyāna, mudrā, see Dharmacakra.

c25.112

Yab-yum, is a Tibetan word consisting of two particles yab and yum. The word ‘Yab’ in Tibetan means the ‘honourable father’ and ‘yum’ means the ‘honourable mother’. The combined word, therefore, means the father in the company of the mother, or in her embrace. For the spiritual significance of the conception of yab-yum, see Conclusion.

c25.113

Yakṣas, are mis-shapen dwarfs who guard the treasures of the Northern mountains and their chief is Kubera, the God of Wealth. They are usually malignant in disposition and they occasionally feed on human flesh But the benign influence of Buddha’s teaching makes them forego their cruel habits.

c25.114

The *fraternities* of the Middle Ages, which were so numerous and so varied in their objects, were not all of the same origin. Some were religious, some social, some charitable, and some industrial. The religious guilds, or *gilds*, as they were often called, were associations of laymen for the purpose of performing religious duties, such as the maintenance of a chaplain, the celebration of masses, or the support of a hospital. The social guilds were formed for the purpose of mutual aid and good fellowship, and often included in their objects the relief of the poor, the sick, and the aged. The charitable guilds were established for the purpose of supporting hospitals, almshouses, and other institutions of mercy. The industrial guilds, or *craft guilds*, were associations of men engaged in the same trade or industry, and were formed for the purpose of regulating the trade, protecting the interests of the members, and maintaining the quality of their work.

c25.115

The craft guilds, which became so powerful in the later Middle Ages, were the successors of the earlier *collegia* of the Roman Empire. The *collegia* were associations of artisans and tradesmen, which were recognized by the state and had a legal existence. When the Roman Empire fell, these associations were largely destroyed, but the idea of association for mutual protection and the regulation of trade survived. In the early Middle Ages, the *gilds* began to reappear, and by the twelfth century they were firmly established in many of the cities of Europe.

c25.116

The craft guilds were organized on a democratic basis, and every member had a voice in the management of the guild's affairs. The officers were elected by the members, and the rules and regulations were made by the guild as a whole. The guilds had the power to fix prices, to regulate the hours of labor, and to determine the conditions of apprenticeship. They also had the power to punish members who violated the rules, and to expel those who were guilty of serious offenses. The guilds were thus a powerful force in the economic life of the Middle Ages, and they played an important part in the development of the modern industrial system.

c25.117

The decline of the craft guilds began in the sixteenth century, when the rise of the factory system and the growth of international trade made it difficult for the small, local guilds to compete with the larger and more efficient industrial organizations. The guilds were also weakened by the growth of the power of the state, which began to regulate trade and industry directly, and by the rise of the capitalist class, which sought to break the power of the guilds and to establish a system of free competition. By the end of the eighteenth century, the craft guilds had largely disappeared, but their influence lived on in the trade unions and other labor organizations of the modern world.

Linked texts (3)

Sādhanamālā — Sanskrit
Dharmasaṃgraha — Nāgārjuna, Sanskrit
Niṣpannayogāvalī — Abhayākaragupta, Sanskrit