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The University of Nalanda c20: Appendix A. The Theory of Dhyāni Buddhas

The University of Nālandā c20

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English

Appendix A. The Theory of Dhyāni Buddhas

c20.2

The theory of Dhyāni Buddhas together with their different Śaktis, the various Yaugic and other means of worshipping them with a view to attain Buddhahood, constitute the kernel of Tāntrism or Vajrayāna.

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Now this theory and the various Tāntric practices are for the first time given in their complete form in the *Guhyasamāja Tantra*¹, though there are earlier works, *Mañjuśrīmūlakalpa*, for instance, which make some stray references to this theory. The *Guhyasamāja* is assigned to the 3rd century A.D.² So the theory of Dhyāni Buddhas dates back at least to that period.

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¹ Or *Tathāgataguhyaka*, G.O.S., No. LIII.

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² Bhattacharyya, *Ibid.*, Intro., p. xxxvii.

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The origin of the Dhyāni Buddhas and their Śaktis is given by the *Guhyasamāja* thus:—

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Once Buddha was sitting in an assembly, consisting of Bodhisattvas and others. He was requested by the assembly to reveal the *Guhyasamāja*. Thereupon, he sat in different *Samādhis* (meditations) and uttered different kinds of Mantras and transformed himself in different forms of Tathāgatas, called Dhyāni Buddhas, their Śaktis or female counterparts and the four guardians of gates.

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Thus he first created the five Dhyāni Buddhas, Akṣobhaya, Vairocana, Ratna Ketu, the Lord of the Lokeśvara Mahāvidyā or Amitabha and Amoghavajra, respectively.

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Then he brought out their female counterparts, Devasarati, Moharati, Īrṣyārati, Rāgarati and Vajrarati respectively.

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Finally he created the four guardians of the four gates, Yamāntaka, Prajñāntaka, Padmāntaka and Vighnāntaka.

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The Maṇḍala of the five Dhyāni Buddhas was now complete.

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“It may be seen from the above,” writes Bhattacharyya, “that the Maṇḍala is not an external object but the manifestation of one Lord in the different forms. The magic arch is nothing but a detailed mental exercise on the part of the Lord, for the instruction of the Tathāgatas and the Bodhisattvas assembled near him. The five Dhyāni Buddhas, as we know from other references in the Buddhist Tāntric literature, represent the five Skandhas or elements of which the whole creation is composed.¹ The Dhyāni Buddhas are again associated with their Śaktis which, on the one hand, show that the Skandhas develop power only when associated with their Śaktis, and, on the other hand, show that the Tāntrics who want to develop power should always be associated with their Śaktis or female counterparts.”²

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¹ Jñānasiddhi, Two Vajrayāna Works, G.O.S., No. XLIV, p. 41.

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² Bhattacharyya, Guhyasamāja, Intro., p. xix.

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After thus describing the Maṇḍala of the Dhyāni Buddhas, Guhyasamāja deals with the different kinds of Siddhis, and revolting and disgusting means—such as eating of flesh, use of wine, women, etc.—to achieve them.

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Besides these Dhyāni Buddhas and their Śaktis, Guhyasamāja mentions other deities: Mañjuśrī, Aparājitā, Jambhala and others.³

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³ See Ibid., pp. xxv-xxviii.

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Guhyasamāja, thus, seems to be the formulator of the Dhyāni Buddha theory and the unique Tantrayāna Pantheon.

c20.19

“This knowledge of the Tathāgatas,” as Jñānasiddhi says, “is what is known as Vajrayāna and one who is initiated in its mysteries is said to be invested with Vajrayāna.”⁴ Further, this knowledge is characterized as one that is not burnt by fire, or inundated by fire, or pierced by the sharpest instruments. It is unsupported like space, it pervades the universe and is devoid of all characteristics and is called the highest truth. It is known as Mahāmudrā (great woman), Samantabhadra (thoroughly auspicious), and the Dharmakāya (the spiritual body).”⁵

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⁴ Bhattacharyya, Two Vajrayāna Works, Intro., p. xix.

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⁵ Ibid., Jñānasiddhi, verses 46-50.

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