Bodhisattva With Mask

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The Bodhisattva with a Mask Author(s): Dorothy H. Fickle Source: Artibus Asiae, Vol. 54, No. 3/4 (1994), pp. 347-375 Published by: Artibus Asiae Publishers Stable URL: http://www.jstor.org/stable/3250062 Accessed: 19/11/2009 01:11 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=artibus. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access to Artibus Asiae. http://www.jstor.org

Transcript of Bodhisattva With Mask

Page 1: Bodhisattva With Mask

The Bodhisattva with a MaskAuthor(s): Dorothy H. FickleSource: Artibus Asiae, Vol. 54, No. 3/4 (1994), pp. 347-375Published by: Artibus Asiae PublishersStable URL: http://www.jstor.org/stable/3250062Accessed: 19/11/2009 01:11

Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available athttp://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unlessyou have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and youmay use content in the JSTOR archive only for your personal, non-commercial use.

Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained athttp://www.jstor.org/action/showPublisher?publisherCode=artibus.

Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printedpage of such transmission.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access to Artibus Asiae.

http://www.jstor.org

Page 2: Bodhisattva With Mask

DOROTHY H. FICKLE DOROTHY H. FICKLE DOROTHY H. FICKLE

THE BODHISATTVA WITH A MASK

T he Tibeto-Chinese collection of the Nelson-Atkins Museum of Art contains a small bronze

seated bodhisattva who holds a horned lion mask before his chest (fig. i).' The presence of this

mask has initiated this investigation into the identity of this bodhisattva and the meaning of the

mask. The bodhisattva sits upon a lotus pedestal with his legs crossed at the ankles and his body slightly

flexed at the hips, waist, and neck. His hair is piled high in a double knot topped with a jewel. His

five-leaf crown, his jewelry, his lower garment, and his posture and dimensions are all reminiscent of

Nepalese art, whereas his facial features, the ribbons attached to his crown, and the long scarf draped over his arms are Chinese characteristics. He wears the full complement of ornaments typical of

Buddhist bodhisattvas: earrings, a short and a long necklace, armlets, bracelets, anklets. Long streamers fall from his waistband over his ankles and thence over the pedestal. All the body parts of

this bodhisattva have been painted with cold gold, while the jewelry, dress, and pedestal are

unpainted. The only attribute possessed by this bodhisattva is the horned lion mask. This image bears an inscription at the top of the lotus pedestal (fig. z) which reads: Da Qing

Qianlong nian jing zao, "respectfully produced [in the] Qianlong period [of the] Great Qing," the standard seven-character mark of the Manchu emperor, Qianlong (reigned 1735-96). Stylistically the

image relates to the hundreds that were discovered in 1926 by Stael-Holstein in the Baoxiang Lou in

the Forbidden City, published by Clark in Two Lamaistic Pantheons.2 The images in that temple probably originated among the thousands that Qianlong is known to have given to his mother on her

sixtieth, seventieth, and eightieth birthdays in I75I, 1761, and I77I.3 Innumerable additional images were produced under this emperor's patronage to serve the Lamaistic temples throughout his empire. Many of these images have found their way into sculptural collections around the world.

Another inscription on the base of the image (fig. 2) gives the name of the bodhisattva, gang guang tongzi, "the youth with a shining net." But why does "the youth with a shining net" hold a mask instead of a net? What is the meaning of the mask? How did the idea of a net enter his iconography? These questions can be easily answered, primarily based on previous scholarship. There is another, more far-ranging question, however, which will be the main focus of this paper. Who is this

bodhisattva, and what is his function in Buddhist iconography? How has the problem about the

meaning of his name affected his interpretation in mandalas throughout the Buddhist world?

The Name

The Sanskrit name for this bodhisattva is Jaliniprabhakumara, which, as in the Chinese version above, is generally translated as "the youth (kumara) with a shining (prabha) net (jdlin)." Actually,

Accession no. 74-36/44. Height: I6.5 cm. 2 Walter Eugene Clark, Two Lamaistic Pantheons, (1937, reprint ed., New York: Paragon Book Reprint Corp., I965). 3 Ibid., xii-iii.

THE BODHISATTVA WITH A MASK

T he Tibeto-Chinese collection of the Nelson-Atkins Museum of Art contains a small bronze

seated bodhisattva who holds a horned lion mask before his chest (fig. i).' The presence of this

mask has initiated this investigation into the identity of this bodhisattva and the meaning of the

mask. The bodhisattva sits upon a lotus pedestal with his legs crossed at the ankles and his body slightly

flexed at the hips, waist, and neck. His hair is piled high in a double knot topped with a jewel. His

five-leaf crown, his jewelry, his lower garment, and his posture and dimensions are all reminiscent of

Nepalese art, whereas his facial features, the ribbons attached to his crown, and the long scarf draped over his arms are Chinese characteristics. He wears the full complement of ornaments typical of

Buddhist bodhisattvas: earrings, a short and a long necklace, armlets, bracelets, anklets. Long streamers fall from his waistband over his ankles and thence over the pedestal. All the body parts of

this bodhisattva have been painted with cold gold, while the jewelry, dress, and pedestal are

unpainted. The only attribute possessed by this bodhisattva is the horned lion mask. This image bears an inscription at the top of the lotus pedestal (fig. z) which reads: Da Qing

Qianlong nian jing zao, "respectfully produced [in the] Qianlong period [of the] Great Qing," the standard seven-character mark of the Manchu emperor, Qianlong (reigned 1735-96). Stylistically the

image relates to the hundreds that were discovered in 1926 by Stael-Holstein in the Baoxiang Lou in

the Forbidden City, published by Clark in Two Lamaistic Pantheons.2 The images in that temple probably originated among the thousands that Qianlong is known to have given to his mother on her

sixtieth, seventieth, and eightieth birthdays in I75I, 1761, and I77I.3 Innumerable additional images were produced under this emperor's patronage to serve the Lamaistic temples throughout his empire. Many of these images have found their way into sculptural collections around the world.

Another inscription on the base of the image (fig. 2) gives the name of the bodhisattva, gang guang tongzi, "the youth with a shining net." But why does "the youth with a shining net" hold a mask instead of a net? What is the meaning of the mask? How did the idea of a net enter his iconography? These questions can be easily answered, primarily based on previous scholarship. There is another, more far-ranging question, however, which will be the main focus of this paper. Who is this

bodhisattva, and what is his function in Buddhist iconography? How has the problem about the

meaning of his name affected his interpretation in mandalas throughout the Buddhist world?

The Name

The Sanskrit name for this bodhisattva is Jaliniprabhakumara, which, as in the Chinese version above, is generally translated as "the youth (kumara) with a shining (prabha) net (jdlin)." Actually,

Accession no. 74-36/44. Height: I6.5 cm. 2 Walter Eugene Clark, Two Lamaistic Pantheons, (1937, reprint ed., New York: Paragon Book Reprint Corp., I965). 3 Ibid., xii-iii.

THE BODHISATTVA WITH A MASK

T he Tibeto-Chinese collection of the Nelson-Atkins Museum of Art contains a small bronze

seated bodhisattva who holds a horned lion mask before his chest (fig. i).' The presence of this

mask has initiated this investigation into the identity of this bodhisattva and the meaning of the

mask. The bodhisattva sits upon a lotus pedestal with his legs crossed at the ankles and his body slightly

flexed at the hips, waist, and neck. His hair is piled high in a double knot topped with a jewel. His

five-leaf crown, his jewelry, his lower garment, and his posture and dimensions are all reminiscent of

Nepalese art, whereas his facial features, the ribbons attached to his crown, and the long scarf draped over his arms are Chinese characteristics. He wears the full complement of ornaments typical of

Buddhist bodhisattvas: earrings, a short and a long necklace, armlets, bracelets, anklets. Long streamers fall from his waistband over his ankles and thence over the pedestal. All the body parts of

this bodhisattva have been painted with cold gold, while the jewelry, dress, and pedestal are

unpainted. The only attribute possessed by this bodhisattva is the horned lion mask. This image bears an inscription at the top of the lotus pedestal (fig. z) which reads: Da Qing

Qianlong nian jing zao, "respectfully produced [in the] Qianlong period [of the] Great Qing," the standard seven-character mark of the Manchu emperor, Qianlong (reigned 1735-96). Stylistically the

image relates to the hundreds that were discovered in 1926 by Stael-Holstein in the Baoxiang Lou in

the Forbidden City, published by Clark in Two Lamaistic Pantheons.2 The images in that temple probably originated among the thousands that Qianlong is known to have given to his mother on her

sixtieth, seventieth, and eightieth birthdays in I75I, 1761, and I77I.3 Innumerable additional images were produced under this emperor's patronage to serve the Lamaistic temples throughout his empire. Many of these images have found their way into sculptural collections around the world.

Another inscription on the base of the image (fig. 2) gives the name of the bodhisattva, gang guang tongzi, "the youth with a shining net." But why does "the youth with a shining net" hold a mask instead of a net? What is the meaning of the mask? How did the idea of a net enter his iconography? These questions can be easily answered, primarily based on previous scholarship. There is another, more far-ranging question, however, which will be the main focus of this paper. Who is this

bodhisattva, and what is his function in Buddhist iconography? How has the problem about the

meaning of his name affected his interpretation in mandalas throughout the Buddhist world?

The Name

The Sanskrit name for this bodhisattva is Jaliniprabhakumara, which, as in the Chinese version above, is generally translated as "the youth (kumara) with a shining (prabha) net (jdlin)." Actually,

Accession no. 74-36/44. Height: I6.5 cm. 2 Walter Eugene Clark, Two Lamaistic Pantheons, (1937, reprint ed., New York: Paragon Book Reprint Corp., I965). 3 Ibid., xii-iii.

347 347 347

Page 3: Bodhisattva With Mask

however, the name should be translated as "the youth with a shining light," a reference to the sun. Jaliniprabhakumara is a sun bodhisattva. The jdlini element of his name is a synonym of the sun.

The earliest Sanskrit spelling for the name of this bodhisattva was Jvaliniprabhakumara.4Jvd/i(n) means "flame" or "bright light". Combined with prabha, "shining" or "bright", its meaning was intensified. Buddhist Hybrid Sanskrit tended to simplify the consonant clusters encountered so

frequently in Classical Sanskrit, such as the jv at the beginning of this word.Jvwlinf became simply jdlinf. To the first users of this altered expression, the intention surely remained the same.

Jaliniprabha still meant a "bright flame" or a "bright light", and the term was still a synonym for the sun. Gradually, however, the word came to mean something quite different. The metamorphosed form, jdlinz, had an alternate meaning, "net". Either internally in the Sanskrit-using Buddhist world, or as the original Sanskrit name for this bodhisattva began to be translated into other languages, the

meaning of his name became transformed into "the youth with a shining net". We have already seen that the Chinese name for this bodhisattva is translated in this way. The

Tibetan Jaliniprabhakumara is gZhon nu dra ba can gyi 'od. In practice, in both Sanskrit and Tibetan, the word meaning "youth" (kumara or gzhon nu) is often omitted, shortening the name to

Jaliniprabha or Dra ba can gyi 'od. This name is included on the list of bodhisattvas in the

Mahdvyutpatti (henceforth called MVY), a Sanskrit-Tibetan glossary of religious terms begun in the late eighth century and finished during the reign of the Tibetan king, Ral-pa-can, who ruled 815-36, designed to foster consistency in the translation of Buddhist terms from Sanskrit into Tibetan.s Alexander Csoma de Kor6s, in his English translation of MVY, rendered the name Jaliniprabha as

"illusory or ensnaring light". He was apparently translating gyi 'od (Skr. prabha) as "light" and dra hba (Skr. jalini) as "illusory or ensnaring", words which bear the connotation of "net". Based upon MVY, Edgerton, in his Buddhist Hybrid Sanskrit Dictionary, translated the jlinz or dra ba element of tlis

deity's name as "net", or dra ba can as "having a net".6 An occasional image of this bodhisattva does hold a sun, the proper attribute for Jaliniprabha.

More frequently, he holds a net, the result of the faulty translations of his name. The mask is unusual. I know of only two examples where this bodhisattva holds such a symbol. One of these is the Nelson- Atkins image. The other, also produced in North China during the Qianlong period, is reproduced in Clark.7 We shall see below that the mask, like the sun, is a proper attribute for Jalinprabha.

4 The orthographical problems connected with the name of this bodhisattva are discussed in Franklin Edgerton, Buddhist Hybrid Sanskrit Dictionary, (reprint ed., Delhi: Motilal Banarsidass, 1972), I5, no. 2.8; Anjali Mukhopadhyaya, "Traditional Lore

Regarding Manjusri," The Adyar Library Bulletin (n.s. II.i), i9, pts. 1-2 (May i955):32; Marie-Therese de Mallmann, Etude

iconographique sur Manjusri (Paris: Ecole Francaise d'Extreme-Orient, 1964), 27, n. 4; de Mallmann, Introduction a I'iconographie du tdntrisme bouddhique (Paris: Centre de Recherches sur I'Asie Centrale et la Haute Asia, 1975), 193, 204.

5 The Mahavyutpatti (MVY) was originally a Sanskrit-Tibetan dictionary. Gradually other languages were added, including two

Mongolian translations made in the eighteenth century. See Alexander Csoma de Koros, Sanskrit-Tibetan-English Vocabulary: the

Mahavyutpatti, Memoirs of the Asiatic Society of Bengal, 4, pt. I (I9IO):I-127; 4, pt. 2 (I9I6):I29-25I; 4, pt. 3 (1944):253-86; (reprint ed., New Delhi: Gaurav Publishing House, 199I); de Koros, Mahavyutpatti: Sanskrit-Tibetan-English Vocabulary, new ed., enlarged and corrected by Anil K. Gupta, Bibliotheca Indo-Buddhica, nos. 5-6 (Delhi: Sri Satguru Publications, 1980). For a thorough documentation of the various editions and translations, see Buddhist Text Infornation (BTI), 31 (March 1982), 6-13; 32 (June I982),

I-I2; 34 (December 1982), 5-6; 55-58 (1988), 49, 53-54. A good description of the original production of MVY can be found in Roberto Vitali, Early Temples of Central Tibet (London: Serindia, 1990), I9.

6 Edgerton, Dictionary, 242, who refers to early editions of MVY by Sakaki (Kyoto, I9I6) and Mironov (St. Petersburg, 1910-II). 7 Clark, no. 5 B 14.

however, the name should be translated as "the youth with a shining light," a reference to the sun. Jaliniprabhakumara is a sun bodhisattva. The jdlini element of his name is a synonym of the sun.

The earliest Sanskrit spelling for the name of this bodhisattva was Jvaliniprabhakumara.4Jvd/i(n) means "flame" or "bright light". Combined with prabha, "shining" or "bright", its meaning was intensified. Buddhist Hybrid Sanskrit tended to simplify the consonant clusters encountered so

frequently in Classical Sanskrit, such as the jv at the beginning of this word.Jvwlinf became simply jdlinf. To the first users of this altered expression, the intention surely remained the same.

Jaliniprabha still meant a "bright flame" or a "bright light", and the term was still a synonym for the sun. Gradually, however, the word came to mean something quite different. The metamorphosed form, jdlinz, had an alternate meaning, "net". Either internally in the Sanskrit-using Buddhist world, or as the original Sanskrit name for this bodhisattva began to be translated into other languages, the

meaning of his name became transformed into "the youth with a shining net". We have already seen that the Chinese name for this bodhisattva is translated in this way. The

Tibetan Jaliniprabhakumara is gZhon nu dra ba can gyi 'od. In practice, in both Sanskrit and Tibetan, the word meaning "youth" (kumara or gzhon nu) is often omitted, shortening the name to

Jaliniprabha or Dra ba can gyi 'od. This name is included on the list of bodhisattvas in the

Mahdvyutpatti (henceforth called MVY), a Sanskrit-Tibetan glossary of religious terms begun in the late eighth century and finished during the reign of the Tibetan king, Ral-pa-can, who ruled 815-36, designed to foster consistency in the translation of Buddhist terms from Sanskrit into Tibetan.s Alexander Csoma de Kor6s, in his English translation of MVY, rendered the name Jaliniprabha as

"illusory or ensnaring light". He was apparently translating gyi 'od (Skr. prabha) as "light" and dra hba (Skr. jalini) as "illusory or ensnaring", words which bear the connotation of "net". Based upon MVY, Edgerton, in his Buddhist Hybrid Sanskrit Dictionary, translated the jlinz or dra ba element of tlis

deity's name as "net", or dra ba can as "having a net".6 An occasional image of this bodhisattva does hold a sun, the proper attribute for Jaliniprabha.

More frequently, he holds a net, the result of the faulty translations of his name. The mask is unusual. I know of only two examples where this bodhisattva holds such a symbol. One of these is the Nelson- Atkins image. The other, also produced in North China during the Qianlong period, is reproduced in Clark.7 We shall see below that the mask, like the sun, is a proper attribute for Jalinprabha.

4 The orthographical problems connected with the name of this bodhisattva are discussed in Franklin Edgerton, Buddhist Hybrid Sanskrit Dictionary, (reprint ed., Delhi: Motilal Banarsidass, 1972), I5, no. 2.8; Anjali Mukhopadhyaya, "Traditional Lore

Regarding Manjusri," The Adyar Library Bulletin (n.s. II.i), i9, pts. 1-2 (May i955):32; Marie-Therese de Mallmann, Etude

iconographique sur Manjusri (Paris: Ecole Francaise d'Extreme-Orient, 1964), 27, n. 4; de Mallmann, Introduction a I'iconographie du tdntrisme bouddhique (Paris: Centre de Recherches sur I'Asie Centrale et la Haute Asia, 1975), 193, 204.

5 The Mahavyutpatti (MVY) was originally a Sanskrit-Tibetan dictionary. Gradually other languages were added, including two

Mongolian translations made in the eighteenth century. See Alexander Csoma de Koros, Sanskrit-Tibetan-English Vocabulary: the

Mahavyutpatti, Memoirs of the Asiatic Society of Bengal, 4, pt. I (I9IO):I-127; 4, pt. 2 (I9I6):I29-25I; 4, pt. 3 (1944):253-86; (reprint ed., New Delhi: Gaurav Publishing House, 199I); de Koros, Mahavyutpatti: Sanskrit-Tibetan-English Vocabulary, new ed., enlarged and corrected by Anil K. Gupta, Bibliotheca Indo-Buddhica, nos. 5-6 (Delhi: Sri Satguru Publications, 1980). For a thorough documentation of the various editions and translations, see Buddhist Text Infornation (BTI), 31 (March 1982), 6-13; 32 (June I982),

I-I2; 34 (December 1982), 5-6; 55-58 (1988), 49, 53-54. A good description of the original production of MVY can be found in Roberto Vitali, Early Temples of Central Tibet (London: Serindia, 1990), I9.

6 Edgerton, Dictionary, 242, who refers to early editions of MVY by Sakaki (Kyoto, I9I6) and Mironov (St. Petersburg, 1910-II). 7 Clark, no. 5 B 14.

however, the name should be translated as "the youth with a shining light," a reference to the sun. Jaliniprabhakumara is a sun bodhisattva. The jdlini element of his name is a synonym of the sun.

The earliest Sanskrit spelling for the name of this bodhisattva was Jvaliniprabhakumara.4Jvd/i(n) means "flame" or "bright light". Combined with prabha, "shining" or "bright", its meaning was intensified. Buddhist Hybrid Sanskrit tended to simplify the consonant clusters encountered so

frequently in Classical Sanskrit, such as the jv at the beginning of this word.Jvwlinf became simply jdlinf. To the first users of this altered expression, the intention surely remained the same.

Jaliniprabha still meant a "bright flame" or a "bright light", and the term was still a synonym for the sun. Gradually, however, the word came to mean something quite different. The metamorphosed form, jdlinz, had an alternate meaning, "net". Either internally in the Sanskrit-using Buddhist world, or as the original Sanskrit name for this bodhisattva began to be translated into other languages, the

meaning of his name became transformed into "the youth with a shining net". We have already seen that the Chinese name for this bodhisattva is translated in this way. The

Tibetan Jaliniprabhakumara is gZhon nu dra ba can gyi 'od. In practice, in both Sanskrit and Tibetan, the word meaning "youth" (kumara or gzhon nu) is often omitted, shortening the name to

Jaliniprabha or Dra ba can gyi 'od. This name is included on the list of bodhisattvas in the

Mahdvyutpatti (henceforth called MVY), a Sanskrit-Tibetan glossary of religious terms begun in the late eighth century and finished during the reign of the Tibetan king, Ral-pa-can, who ruled 815-36, designed to foster consistency in the translation of Buddhist terms from Sanskrit into Tibetan.s Alexander Csoma de Kor6s, in his English translation of MVY, rendered the name Jaliniprabha as

"illusory or ensnaring light". He was apparently translating gyi 'od (Skr. prabha) as "light" and dra hba (Skr. jalini) as "illusory or ensnaring", words which bear the connotation of "net". Based upon MVY, Edgerton, in his Buddhist Hybrid Sanskrit Dictionary, translated the jlinz or dra ba element of tlis

deity's name as "net", or dra ba can as "having a net".6 An occasional image of this bodhisattva does hold a sun, the proper attribute for Jaliniprabha.

More frequently, he holds a net, the result of the faulty translations of his name. The mask is unusual. I know of only two examples where this bodhisattva holds such a symbol. One of these is the Nelson- Atkins image. The other, also produced in North China during the Qianlong period, is reproduced in Clark.7 We shall see below that the mask, like the sun, is a proper attribute for Jalinprabha.

4 The orthographical problems connected with the name of this bodhisattva are discussed in Franklin Edgerton, Buddhist Hybrid Sanskrit Dictionary, (reprint ed., Delhi: Motilal Banarsidass, 1972), I5, no. 2.8; Anjali Mukhopadhyaya, "Traditional Lore

Regarding Manjusri," The Adyar Library Bulletin (n.s. II.i), i9, pts. 1-2 (May i955):32; Marie-Therese de Mallmann, Etude

iconographique sur Manjusri (Paris: Ecole Francaise d'Extreme-Orient, 1964), 27, n. 4; de Mallmann, Introduction a I'iconographie du tdntrisme bouddhique (Paris: Centre de Recherches sur I'Asie Centrale et la Haute Asia, 1975), 193, 204.

5 The Mahavyutpatti (MVY) was originally a Sanskrit-Tibetan dictionary. Gradually other languages were added, including two

Mongolian translations made in the eighteenth century. See Alexander Csoma de Koros, Sanskrit-Tibetan-English Vocabulary: the

Mahavyutpatti, Memoirs of the Asiatic Society of Bengal, 4, pt. I (I9IO):I-127; 4, pt. 2 (I9I6):I29-25I; 4, pt. 3 (1944):253-86; (reprint ed., New Delhi: Gaurav Publishing House, 199I); de Koros, Mahavyutpatti: Sanskrit-Tibetan-English Vocabulary, new ed., enlarged and corrected by Anil K. Gupta, Bibliotheca Indo-Buddhica, nos. 5-6 (Delhi: Sri Satguru Publications, 1980). For a thorough documentation of the various editions and translations, see Buddhist Text Infornation (BTI), 31 (March 1982), 6-13; 32 (June I982),

I-I2; 34 (December 1982), 5-6; 55-58 (1988), 49, 53-54. A good description of the original production of MVY can be found in Roberto Vitali, Early Temples of Central Tibet (London: Serindia, 1990), I9.

6 Edgerton, Dictionary, 242, who refers to early editions of MVY by Sakaki (Kyoto, I9I6) and Mironov (St. Petersburg, 1910-II). 7 Clark, no. 5 B 14.

348 348 348

Page 4: Bodhisattva With Mask

The Mask (fig. 3) The Mask (fig. 3) The Mask (fig. 3)

In Asia a lion mask can symbolize the sun. Napier in Masks, Transformation, and Paradox pointed out the link between the sun, fire, and the lion mask.8 A typical passage reads: "Agni,9 born of wood

and consumer of wood, is said to make the forest black with a lick of the tongue. Conversely, as a

beneficent force, Agni is the rising sun and the source of enlightenment. This complex solar imagery

of devastation and enlightenment - of an ambivalent deity who is a destroyer but also a source of

inspiration - underlies the notion of the third eye.'I This same imagery also assures the close

connection between the solar fire of Agni and the facial features of the lion since, from Rome to India,

the lion's wide-open mouth mythically accounts for the scorching heat of the sun."" This same view

was expressed earlier by Chevalier and Gheerbrant in Dictionnaire des symboles, who wrote that "le

masque, notamment sous ses aspects irreels et animaux, est le Face divine et plus specialement le face

du soleil, que traverse le rayonnement de la lumiere spirituelle."12 Again, "leface de Gloire'3 est la face

du soleil, par ou s'effectue la sortie du cosmos."'4 Yet again, "puissant, souverain, symbole solaire et

lumineux a l'extreme, le lion roi des animaux est charge des qualites et defauts inherents a son rang."15 Earlier scholars have also pointed out a link between the lion mask and the sun. Combaz in 1945

noted that in the classical mythology of the Eastern Mediterranean world, "les rapports entre le lion

et le soleil ne sont pas douteux."'6 Cammann in 1940 wrote that the Indians often referred to the lion

mask as Suryamukha, the Sun Face.'7 Coomaraswamy, the great interpreter of Indian symbolism, wrote in 1927 that the kirttimukha, the terrible Face of God, represents both the Sun and Death,

generating and devouring his children.'8 The form of the mask has varied from place to place and time to time. The earliest examples in

India appeared during the Gupta period (fourth to fifth century A.D.).'9 The Indian kzrttimukha, "face

of glory," originally depicted as a monster, gradually came to resemble the face of a lion. Usually the

mask had round, protruding eyes, set closely together, surmounted by arched eyebrows, which

originally extended into two horns, below which were the two ears. The horns usually rose upward.

Flying locks of hair were displayed, and the teeth, flanked by curving tusks, were prominent in the

open mouth. Gradually the lower jaw was eliminated. Sometimes from under the tusks emerged festoons of pearls or garlands which linked a number of kirttimukha together. These festoons

gradually evolved into stems connecting a central mask over a doorway with other monsters called

makara at either end of the arch. Sometimes there were arms and hands accompanying the face.20

This type of Indian mask travelled to Tibet, where it appeared as the zirdong, a lion face without a

lower jaw, dripping festoons, pendants, snakes, or an ornamental band from its mouth. This type has

8 A. David Napier, Masks, Transformation, and Paradox (Berkeley, Los Angeles, London: University of California Press, 1986).

9 The Indian god of fire. 1O A reference to the third eye of the Hindu god, Siva.

Napier, 146. Jean Chevalier and Alain Gheerbrant, Dictionnaire des symboles, rev. ed. (Paris: Robert Laffont, 1982), 489.

I3 A reference to the kirttimukha, the Indian version of the lion mask. I4 Chevalier and Gheerbrant, 379. rS Ibid., 456. i6 Gisbert Combaz, "Masques et dragons en Asie," Melanges chinois et bouddhiques 7 (945):44. I7 Schuyler Cammann, "Tibetan Monster Masks,"Journal of the West China Border Research Society, series A, 12 (I940):Io. 18 In Heinrich Zimmer, Myths and Symbols in Indian Art and Civilization (New York: Harper Torchbooks, 1962), I175 n.

I9 Combaz, 242-43. 20 O.C. Gangoly, "A Note on Kirtimukha," Rupam I (I920):I5.

In Asia a lion mask can symbolize the sun. Napier in Masks, Transformation, and Paradox pointed out the link between the sun, fire, and the lion mask.8 A typical passage reads: "Agni,9 born of wood

and consumer of wood, is said to make the forest black with a lick of the tongue. Conversely, as a

beneficent force, Agni is the rising sun and the source of enlightenment. This complex solar imagery

of devastation and enlightenment - of an ambivalent deity who is a destroyer but also a source of

inspiration - underlies the notion of the third eye.'I This same imagery also assures the close

connection between the solar fire of Agni and the facial features of the lion since, from Rome to India,

the lion's wide-open mouth mythically accounts for the scorching heat of the sun."" This same view

was expressed earlier by Chevalier and Gheerbrant in Dictionnaire des symboles, who wrote that "le

masque, notamment sous ses aspects irreels et animaux, est le Face divine et plus specialement le face

du soleil, que traverse le rayonnement de la lumiere spirituelle."12 Again, "leface de Gloire'3 est la face

du soleil, par ou s'effectue la sortie du cosmos."'4 Yet again, "puissant, souverain, symbole solaire et

lumineux a l'extreme, le lion roi des animaux est charge des qualites et defauts inherents a son rang."15 Earlier scholars have also pointed out a link between the lion mask and the sun. Combaz in 1945

noted that in the classical mythology of the Eastern Mediterranean world, "les rapports entre le lion

et le soleil ne sont pas douteux."'6 Cammann in 1940 wrote that the Indians often referred to the lion

mask as Suryamukha, the Sun Face.'7 Coomaraswamy, the great interpreter of Indian symbolism, wrote in 1927 that the kirttimukha, the terrible Face of God, represents both the Sun and Death,

generating and devouring his children.'8 The form of the mask has varied from place to place and time to time. The earliest examples in

India appeared during the Gupta period (fourth to fifth century A.D.).'9 The Indian kzrttimukha, "face

of glory," originally depicted as a monster, gradually came to resemble the face of a lion. Usually the

mask had round, protruding eyes, set closely together, surmounted by arched eyebrows, which

originally extended into two horns, below which were the two ears. The horns usually rose upward.

Flying locks of hair were displayed, and the teeth, flanked by curving tusks, were prominent in the

open mouth. Gradually the lower jaw was eliminated. Sometimes from under the tusks emerged festoons of pearls or garlands which linked a number of kirttimukha together. These festoons

gradually evolved into stems connecting a central mask over a doorway with other monsters called

makara at either end of the arch. Sometimes there were arms and hands accompanying the face.20

This type of Indian mask travelled to Tibet, where it appeared as the zirdong, a lion face without a

lower jaw, dripping festoons, pendants, snakes, or an ornamental band from its mouth. This type has

8 A. David Napier, Masks, Transformation, and Paradox (Berkeley, Los Angeles, London: University of California Press, 1986).

9 The Indian god of fire. 1O A reference to the third eye of the Hindu god, Siva.

Napier, 146. Jean Chevalier and Alain Gheerbrant, Dictionnaire des symboles, rev. ed. (Paris: Robert Laffont, 1982), 489.

I3 A reference to the kirttimukha, the Indian version of the lion mask. I4 Chevalier and Gheerbrant, 379. rS Ibid., 456. i6 Gisbert Combaz, "Masques et dragons en Asie," Melanges chinois et bouddhiques 7 (945):44. I7 Schuyler Cammann, "Tibetan Monster Masks,"Journal of the West China Border Research Society, series A, 12 (I940):Io. 18 In Heinrich Zimmer, Myths and Symbols in Indian Art and Civilization (New York: Harper Torchbooks, 1962), I175 n.

I9 Combaz, 242-43. 20 O.C. Gangoly, "A Note on Kirtimukha," Rupam I (I920):I5.

In Asia a lion mask can symbolize the sun. Napier in Masks, Transformation, and Paradox pointed out the link between the sun, fire, and the lion mask.8 A typical passage reads: "Agni,9 born of wood

and consumer of wood, is said to make the forest black with a lick of the tongue. Conversely, as a

beneficent force, Agni is the rising sun and the source of enlightenment. This complex solar imagery

of devastation and enlightenment - of an ambivalent deity who is a destroyer but also a source of

inspiration - underlies the notion of the third eye.'I This same imagery also assures the close

connection between the solar fire of Agni and the facial features of the lion since, from Rome to India,

the lion's wide-open mouth mythically accounts for the scorching heat of the sun."" This same view

was expressed earlier by Chevalier and Gheerbrant in Dictionnaire des symboles, who wrote that "le

masque, notamment sous ses aspects irreels et animaux, est le Face divine et plus specialement le face

du soleil, que traverse le rayonnement de la lumiere spirituelle."12 Again, "leface de Gloire'3 est la face

du soleil, par ou s'effectue la sortie du cosmos."'4 Yet again, "puissant, souverain, symbole solaire et

lumineux a l'extreme, le lion roi des animaux est charge des qualites et defauts inherents a son rang."15 Earlier scholars have also pointed out a link between the lion mask and the sun. Combaz in 1945

noted that in the classical mythology of the Eastern Mediterranean world, "les rapports entre le lion

et le soleil ne sont pas douteux."'6 Cammann in 1940 wrote that the Indians often referred to the lion

mask as Suryamukha, the Sun Face.'7 Coomaraswamy, the great interpreter of Indian symbolism, wrote in 1927 that the kirttimukha, the terrible Face of God, represents both the Sun and Death,

generating and devouring his children.'8 The form of the mask has varied from place to place and time to time. The earliest examples in

India appeared during the Gupta period (fourth to fifth century A.D.).'9 The Indian kzrttimukha, "face

of glory," originally depicted as a monster, gradually came to resemble the face of a lion. Usually the

mask had round, protruding eyes, set closely together, surmounted by arched eyebrows, which

originally extended into two horns, below which were the two ears. The horns usually rose upward.

Flying locks of hair were displayed, and the teeth, flanked by curving tusks, were prominent in the

open mouth. Gradually the lower jaw was eliminated. Sometimes from under the tusks emerged festoons of pearls or garlands which linked a number of kirttimukha together. These festoons

gradually evolved into stems connecting a central mask over a doorway with other monsters called

makara at either end of the arch. Sometimes there were arms and hands accompanying the face.20

This type of Indian mask travelled to Tibet, where it appeared as the zirdong, a lion face without a

lower jaw, dripping festoons, pendants, snakes, or an ornamental band from its mouth. This type has

8 A. David Napier, Masks, Transformation, and Paradox (Berkeley, Los Angeles, London: University of California Press, 1986).

9 The Indian god of fire. 1O A reference to the third eye of the Hindu god, Siva.

Napier, 146. Jean Chevalier and Alain Gheerbrant, Dictionnaire des symboles, rev. ed. (Paris: Robert Laffont, 1982), 489.

I3 A reference to the kirttimukha, the Indian version of the lion mask. I4 Chevalier and Gheerbrant, 379. rS Ibid., 456. i6 Gisbert Combaz, "Masques et dragons en Asie," Melanges chinois et bouddhiques 7 (945):44. I7 Schuyler Cammann, "Tibetan Monster Masks,"Journal of the West China Border Research Society, series A, 12 (I940):Io. 18 In Heinrich Zimmer, Myths and Symbols in Indian Art and Civilization (New York: Harper Torchbooks, 1962), I175 n.

I9 Combaz, 242-43. 20 O.C. Gangoly, "A Note on Kirtimukha," Rupam I (I920):I5.

349 349 349

Page 5: Bodhisattva With Mask

small horns which rise upward or the horns encircle the ears.2' Another type of lion mask in Tibet, the chimindra, is more monster-like, with a large head, sweeping horns, and usually lacking a lower

jaw. This type often has arms and hands which grasp snakes or bands which issue from the corners of its mouth, and is frequently combined with two deer, two dragons, or two nakara.22 The mask held

by the Nelson-Atkins bodhisattva represents a third type, described by John Clarke as Sino-

Mongolian. The jaw is squarer than on examples from Tibet, and it is distinguished "by its distinctive handle-bar shaped horns which curl downwards and outwards."23 The mask held by the

image in the Baoxiang Lou pantheon also has the handle-bar horns and the flat upper jaw similar to the Nelson-Atkins example.24

Why did these two images originating in North China in the eighteenth century employ a

symbol suggesting the original meaning of this bodhisattva whereas elsewhere his role in the pan- theon appears to have been forgotten? Are these two images which hold a mask, a symbol of the sun, connected with the few which hold the sun directly? In this paper I shall examine all the examples of

Jaliniprabha(kumara) known to me to determine how the faulty translation of his name has affected

his iconography and to isolate the instances where the artists included the correct attribute.

The Iconography ofJdliniprabha

The major work on the iconography of the bodhisattva Jaliniprabha has been undertaken by Marie-Therese de Mallmann. In Etude iconographique sur ManjuSri,25 she described the two different

roles assumed by this bodhisattva, as an attendant to Mafijusri, or as a member of a particular group of sixteen bodhisattvas. She treated him again in her Introduction a I'iconographie du tdntrisme

bouddhique.26 De Mallmann's sources were the Nispannayogdvali (hereafter called NSP),27 a text of the

late eleventh or early twelfth century by Abhayakaragupta, which outlines twenty-six major mandalas of Tantric Buddhism, the Sadhanaimald (SM),28 an iconographical compendium of the

seventh to ninth century, and the Krzyasamgraha (KS) by Kuladatta, date unknown.29 Benoytosh

Bhattacharyya also described this bodhisattva in the introduction to his edition of NSP and in The

Indian Buddhist Iconography.3? Snodgrass has described this bodhisattva as revealed in Japanese ma-

terials.3I In my study of Jaliniprabha, I shall go beyond these earlier scholars by consulting a greater

number of mandalas than they were able to do. More materials on Tibetan Tantric Buddhism are now

21 Cammann, Io and figs. I, 3. Cf. Pratapaditya Pal, Tibetan Painting (Basel: Ravi Kumar, 1984), pls. I8, 44.

22 Cammann, figs. 2A and 2B, and Valrae Reynolds, Catalogue of The Newark Museum, Tibetan Collection, Vol. I: Introduction (rev. ed.,

Newark: The Newark Museum, 1983), 75. 23 John Clarke, "A Group of Sino-Mongolian Metalwork in the Tibetan Style," Orientations 23, 5 (May I992):69. 24 Clark, no. 5 B I4. 25 De Mallmann 1964, 27, 30-31, 193-95, 78, 88, 139, I55, 225, 233. 26 De Mallmann I975, I93-95. 27 Abhayakaragupta, Nispannayogavali (NSP), ed. B.T. Bhattacharyya, Gaekwad's Oriental Series, vol. I09 (Baroda: Oriental

Institute, 1949). 28 Sadhanandald (SM), ed. B.T. Bhattacharyya, Gaekwad's Oriental Series, vols. 26, 41 (Baroda: Central Library, 1925, 1928). Each

sadhana is a description of a deity. This text contains 3Iz sadhanas. 29 De Mallmann used manuscripts at the Bibliotheque Nationale in Paris. For an edition see Kuladatta, Kriyasamngraha(panjika) (KS),

ed. Sharada Rani, Satapitaka series no. 236 (New Delhi: Sharada Rani, I977). 30 NSP, 27; Benoytosh Bhattacharyya, The Indian Buddhist Iconography (Calcutta: K.L. Mukhopadhyay, 1958), 90, I2I.

31 Adrian Snodgrass, The Matrix and Dianmond World Mandalas in Shingon Buddhisoz, 2 vols., Satapitaka series, nos. 354-55 (New

Delhi: Aditya Prakashan, I988), 382-83.

small horns which rise upward or the horns encircle the ears.2' Another type of lion mask in Tibet, the chimindra, is more monster-like, with a large head, sweeping horns, and usually lacking a lower

jaw. This type often has arms and hands which grasp snakes or bands which issue from the corners of its mouth, and is frequently combined with two deer, two dragons, or two nakara.22 The mask held

by the Nelson-Atkins bodhisattva represents a third type, described by John Clarke as Sino-

Mongolian. The jaw is squarer than on examples from Tibet, and it is distinguished "by its distinctive handle-bar shaped horns which curl downwards and outwards."23 The mask held by the

image in the Baoxiang Lou pantheon also has the handle-bar horns and the flat upper jaw similar to the Nelson-Atkins example.24

Why did these two images originating in North China in the eighteenth century employ a

symbol suggesting the original meaning of this bodhisattva whereas elsewhere his role in the pan- theon appears to have been forgotten? Are these two images which hold a mask, a symbol of the sun, connected with the few which hold the sun directly? In this paper I shall examine all the examples of

Jaliniprabha(kumara) known to me to determine how the faulty translation of his name has affected

his iconography and to isolate the instances where the artists included the correct attribute.

The Iconography ofJdliniprabha

The major work on the iconography of the bodhisattva Jaliniprabha has been undertaken by Marie-Therese de Mallmann. In Etude iconographique sur ManjuSri,25 she described the two different

roles assumed by this bodhisattva, as an attendant to Mafijusri, or as a member of a particular group of sixteen bodhisattvas. She treated him again in her Introduction a I'iconographie du tdntrisme

bouddhique.26 De Mallmann's sources were the Nispannayogdvali (hereafter called NSP),27 a text of the

late eleventh or early twelfth century by Abhayakaragupta, which outlines twenty-six major mandalas of Tantric Buddhism, the Sadhanaimald (SM),28 an iconographical compendium of the

seventh to ninth century, and the Krzyasamgraha (KS) by Kuladatta, date unknown.29 Benoytosh

Bhattacharyya also described this bodhisattva in the introduction to his edition of NSP and in The

Indian Buddhist Iconography.3? Snodgrass has described this bodhisattva as revealed in Japanese ma-

terials.3I In my study of Jaliniprabha, I shall go beyond these earlier scholars by consulting a greater

number of mandalas than they were able to do. More materials on Tibetan Tantric Buddhism are now

21 Cammann, Io and figs. I, 3. Cf. Pratapaditya Pal, Tibetan Painting (Basel: Ravi Kumar, 1984), pls. I8, 44.

22 Cammann, figs. 2A and 2B, and Valrae Reynolds, Catalogue of The Newark Museum, Tibetan Collection, Vol. I: Introduction (rev. ed.,

Newark: The Newark Museum, 1983), 75. 23 John Clarke, "A Group of Sino-Mongolian Metalwork in the Tibetan Style," Orientations 23, 5 (May I992):69. 24 Clark, no. 5 B I4. 25 De Mallmann 1964, 27, 30-31, 193-95, 78, 88, 139, I55, 225, 233. 26 De Mallmann I975, I93-95. 27 Abhayakaragupta, Nispannayogavali (NSP), ed. B.T. Bhattacharyya, Gaekwad's Oriental Series, vol. I09 (Baroda: Oriental

Institute, 1949). 28 Sadhanandald (SM), ed. B.T. Bhattacharyya, Gaekwad's Oriental Series, vols. 26, 41 (Baroda: Central Library, 1925, 1928). Each

sadhana is a description of a deity. This text contains 3Iz sadhanas. 29 De Mallmann used manuscripts at the Bibliotheque Nationale in Paris. For an edition see Kuladatta, Kriyasamngraha(panjika) (KS),

ed. Sharada Rani, Satapitaka series no. 236 (New Delhi: Sharada Rani, I977). 30 NSP, 27; Benoytosh Bhattacharyya, The Indian Buddhist Iconography (Calcutta: K.L. Mukhopadhyay, 1958), 90, I2I.

31 Adrian Snodgrass, The Matrix and Dianmond World Mandalas in Shingon Buddhisoz, 2 vols., Satapitaka series, nos. 354-55 (New

Delhi: Aditya Prakashan, I988), 382-83.

small horns which rise upward or the horns encircle the ears.2' Another type of lion mask in Tibet, the chimindra, is more monster-like, with a large head, sweeping horns, and usually lacking a lower

jaw. This type often has arms and hands which grasp snakes or bands which issue from the corners of its mouth, and is frequently combined with two deer, two dragons, or two nakara.22 The mask held

by the Nelson-Atkins bodhisattva represents a third type, described by John Clarke as Sino-

Mongolian. The jaw is squarer than on examples from Tibet, and it is distinguished "by its distinctive handle-bar shaped horns which curl downwards and outwards."23 The mask held by the

image in the Baoxiang Lou pantheon also has the handle-bar horns and the flat upper jaw similar to the Nelson-Atkins example.24

Why did these two images originating in North China in the eighteenth century employ a

symbol suggesting the original meaning of this bodhisattva whereas elsewhere his role in the pan- theon appears to have been forgotten? Are these two images which hold a mask, a symbol of the sun, connected with the few which hold the sun directly? In this paper I shall examine all the examples of

Jaliniprabha(kumara) known to me to determine how the faulty translation of his name has affected

his iconography and to isolate the instances where the artists included the correct attribute.

The Iconography ofJdliniprabha

The major work on the iconography of the bodhisattva Jaliniprabha has been undertaken by Marie-Therese de Mallmann. In Etude iconographique sur ManjuSri,25 she described the two different

roles assumed by this bodhisattva, as an attendant to Mafijusri, or as a member of a particular group of sixteen bodhisattvas. She treated him again in her Introduction a I'iconographie du tdntrisme

bouddhique.26 De Mallmann's sources were the Nispannayogdvali (hereafter called NSP),27 a text of the

late eleventh or early twelfth century by Abhayakaragupta, which outlines twenty-six major mandalas of Tantric Buddhism, the Sadhanaimald (SM),28 an iconographical compendium of the

seventh to ninth century, and the Krzyasamgraha (KS) by Kuladatta, date unknown.29 Benoytosh

Bhattacharyya also described this bodhisattva in the introduction to his edition of NSP and in The

Indian Buddhist Iconography.3? Snodgrass has described this bodhisattva as revealed in Japanese ma-

terials.3I In my study of Jaliniprabha, I shall go beyond these earlier scholars by consulting a greater

number of mandalas than they were able to do. More materials on Tibetan Tantric Buddhism are now

21 Cammann, Io and figs. I, 3. Cf. Pratapaditya Pal, Tibetan Painting (Basel: Ravi Kumar, 1984), pls. I8, 44.

22 Cammann, figs. 2A and 2B, and Valrae Reynolds, Catalogue of The Newark Museum, Tibetan Collection, Vol. I: Introduction (rev. ed.,

Newark: The Newark Museum, 1983), 75. 23 John Clarke, "A Group of Sino-Mongolian Metalwork in the Tibetan Style," Orientations 23, 5 (May I992):69. 24 Clark, no. 5 B I4. 25 De Mallmann 1964, 27, 30-31, 193-95, 78, 88, 139, I55, 225, 233. 26 De Mallmann I975, I93-95. 27 Abhayakaragupta, Nispannayogavali (NSP), ed. B.T. Bhattacharyya, Gaekwad's Oriental Series, vol. I09 (Baroda: Oriental

Institute, 1949). 28 Sadhanandald (SM), ed. B.T. Bhattacharyya, Gaekwad's Oriental Series, vols. 26, 41 (Baroda: Central Library, 1925, 1928). Each

sadhana is a description of a deity. This text contains 3Iz sadhanas. 29 De Mallmann used manuscripts at the Bibliotheque Nationale in Paris. For an edition see Kuladatta, Kriyasamngraha(panjika) (KS),

ed. Sharada Rani, Satapitaka series no. 236 (New Delhi: Sharada Rani, I977). 30 NSP, 27; Benoytosh Bhattacharyya, The Indian Buddhist Iconography (Calcutta: K.L. Mukhopadhyay, 1958), 90, I2I.

31 Adrian Snodgrass, The Matrix and Dianmond World Mandalas in Shingon Buddhisoz, 2 vols., Satapitaka series, nos. 354-55 (New

Delhi: Aditya Prakashan, I988), 382-83.

350 350 350

Page 6: Bodhisattva With Mask

available to us. I have located this bodhisattva in nineteen different mandalas. For each example, I

shall identify and examine the text which underlies the mandala, and compare the textual description of Jaliniprabha with a published example of the mandala. First I shall examine Jaliniprabha in his

role as an attendant to Manfjusri and then as one of the Sixteen Bodhisattvas. I shall also note his

location in each mandala and with whom he is associated, devoting particular attention to

Candraprabha, the moon bodhisattva, who frequently forms a pair with this sun bodhisattva. This

examination will demonstrate how this bodhisattva has actually been perceived in Buddhist art and

literature, and to what extent the altering of his name has affected his iconography.

GROUP ONE: JALINIPRABHA AS AN ATTENDANT OF MANJUSRI

Mandala no. I: The Japanese Mahdkarund Garbhadhdtu (Taizokai) Mandala

Of the seven mandalas which feature Jaliniprabha as an attendant of Manfjusri, the most widely known throughout the world of Buddhism is the Japanese Mahdkaruna Garbhadhdtu Mandala. This

mandala is also called the Matrix Mandala, the Mandala of the Womb World, or the Taizo-kai

Mandara.32 It is usually combined with another mandala, the Vajradhatu, which will be discussed in

Group Two below. The Japanese Garbhadhdtu and Vajradhdtu Mandalas are together known as the

Mandalas of the Two Worlds, or the Ryokai Mandara, the two most highly prized mandalas of the

Shingon sect. The basic text for the Garbhadhdtu Mandala is the Mahdvairocanasutra (henceforth called MVS),

originally composed in Sanskrit in India between A.D. 500 and 65o by an unknown author.33 The Sanskrit text is no longer extant. An abbreviated version of the MVS was translated into Chinese by Subhakarasimha and Yixing in A.D. 725.34 This version was taken to Japan by Kobo Daishi (A.D.

774-835) in the ninth century. In Japan the text is known as the Dainichikyo (DNK). In addition to

the text (MVS or DNK), the Japanese Garbhadhdtu Mandala is based upon commentaries by two

eighth-century Indian scholars, Subhakarasimha and Amoghavajra.35 The present orthodox form of the Garbhadhdtu Mandala, the Genzu Taizokai Mandara, has

resulted from a long process of evolution within Japan, beginning with the copy made in China in

A.D. 805 and taken to Japan by Kobo Daishi in 806.36 This original version is now lost.37 The first

32 Mandara is the Japanese word for mandala. 33 BTI 26:26; A.K. Warder, Indian Buddhism, 2nd ed. rev. (Delhi: Motilal Banarsidass, 1980), 489. For an edition of MVS, translated

into English from the A.D. 725 Chinese version, see Chikyo Yamamoto, Mahavairocana Sutra, Satapitaka series, no. 359 (New Delhi: International Academy of Indian Culture/Aditya Prakashan, I990). For a partial French translation, see Ryujun Tajima, Etude sur le Mahdvairocana-Sitra (Paris: Maisonneuve, 1936). For studies of the text and its mandalas, see Ryujun Tajima, Les Deux Grands Mandalas et la doctrine de l'esoterisme shingon (Tokyo and Paris: Presses Universitaires de France, I959); Snodgrass; and Ulrich H.R. Mammitzsch, Evolution of the Garbhadhatu Mandala, Satapitaka series, no. 363 (New Delhi: International Academy of Indian Culture/ Aditya Prakashan, I99I).

34 Taisho edition of the Chinese Tripitaka (henceforth called T): Takakusu Junjiro and Watanabe Kaikyoku, eds. Taisho shinshu

daizokyo, I00 vols. (Tokyo: Taisho Issaikyo Kankokai, I924-32), no. 848; Bunyiu Nanjio, A Catalogue of the Chinese Translation of the Buddhist Tripitaka (henceforth called NJ) (Delhi: Classics India Publications, 1989), 30; Lewis R. Lancaster, The Korean Buddhist Canon: a Descriptive Catalogue (henceforth called K) (Berkeley: University of California Press, 1979), 427.

35 See Mammitzsch, who also used several ritual handbooks in interpreting the various forms of this mandala. Also see Snodgrass, 171-86.

36 Mammitzsch, 26. 37 Ihid.

available to us. I have located this bodhisattva in nineteen different mandalas. For each example, I

shall identify and examine the text which underlies the mandala, and compare the textual description of Jaliniprabha with a published example of the mandala. First I shall examine Jaliniprabha in his

role as an attendant to Manfjusri and then as one of the Sixteen Bodhisattvas. I shall also note his

location in each mandala and with whom he is associated, devoting particular attention to

Candraprabha, the moon bodhisattva, who frequently forms a pair with this sun bodhisattva. This

examination will demonstrate how this bodhisattva has actually been perceived in Buddhist art and

literature, and to what extent the altering of his name has affected his iconography.

GROUP ONE: JALINIPRABHA AS AN ATTENDANT OF MANJUSRI

Mandala no. I: The Japanese Mahdkarund Garbhadhdtu (Taizokai) Mandala

Of the seven mandalas which feature Jaliniprabha as an attendant of Manfjusri, the most widely known throughout the world of Buddhism is the Japanese Mahdkaruna Garbhadhdtu Mandala. This

mandala is also called the Matrix Mandala, the Mandala of the Womb World, or the Taizo-kai

Mandara.32 It is usually combined with another mandala, the Vajradhatu, which will be discussed in

Group Two below. The Japanese Garbhadhdtu and Vajradhdtu Mandalas are together known as the

Mandalas of the Two Worlds, or the Ryokai Mandara, the two most highly prized mandalas of the

Shingon sect. The basic text for the Garbhadhdtu Mandala is the Mahdvairocanasutra (henceforth called MVS),

originally composed in Sanskrit in India between A.D. 500 and 65o by an unknown author.33 The Sanskrit text is no longer extant. An abbreviated version of the MVS was translated into Chinese by Subhakarasimha and Yixing in A.D. 725.34 This version was taken to Japan by Kobo Daishi (A.D.

774-835) in the ninth century. In Japan the text is known as the Dainichikyo (DNK). In addition to

the text (MVS or DNK), the Japanese Garbhadhdtu Mandala is based upon commentaries by two

eighth-century Indian scholars, Subhakarasimha and Amoghavajra.35 The present orthodox form of the Garbhadhdtu Mandala, the Genzu Taizokai Mandara, has

resulted from a long process of evolution within Japan, beginning with the copy made in China in

A.D. 805 and taken to Japan by Kobo Daishi in 806.36 This original version is now lost.37 The first

32 Mandara is the Japanese word for mandala. 33 BTI 26:26; A.K. Warder, Indian Buddhism, 2nd ed. rev. (Delhi: Motilal Banarsidass, 1980), 489. For an edition of MVS, translated

into English from the A.D. 725 Chinese version, see Chikyo Yamamoto, Mahavairocana Sutra, Satapitaka series, no. 359 (New Delhi: International Academy of Indian Culture/Aditya Prakashan, I990). For a partial French translation, see Ryujun Tajima, Etude sur le Mahdvairocana-Sitra (Paris: Maisonneuve, 1936). For studies of the text and its mandalas, see Ryujun Tajima, Les Deux Grands Mandalas et la doctrine de l'esoterisme shingon (Tokyo and Paris: Presses Universitaires de France, I959); Snodgrass; and Ulrich H.R. Mammitzsch, Evolution of the Garbhadhatu Mandala, Satapitaka series, no. 363 (New Delhi: International Academy of Indian Culture/ Aditya Prakashan, I99I).

34 Taisho edition of the Chinese Tripitaka (henceforth called T): Takakusu Junjiro and Watanabe Kaikyoku, eds. Taisho shinshu

daizokyo, I00 vols. (Tokyo: Taisho Issaikyo Kankokai, I924-32), no. 848; Bunyiu Nanjio, A Catalogue of the Chinese Translation of the Buddhist Tripitaka (henceforth called NJ) (Delhi: Classics India Publications, 1989), 30; Lewis R. Lancaster, The Korean Buddhist Canon: a Descriptive Catalogue (henceforth called K) (Berkeley: University of California Press, 1979), 427.

35 See Mammitzsch, who also used several ritual handbooks in interpreting the various forms of this mandala. Also see Snodgrass, 171-86.

36 Mammitzsch, 26. 37 Ihid.

available to us. I have located this bodhisattva in nineteen different mandalas. For each example, I

shall identify and examine the text which underlies the mandala, and compare the textual description of Jaliniprabha with a published example of the mandala. First I shall examine Jaliniprabha in his

role as an attendant to Manfjusri and then as one of the Sixteen Bodhisattvas. I shall also note his

location in each mandala and with whom he is associated, devoting particular attention to

Candraprabha, the moon bodhisattva, who frequently forms a pair with this sun bodhisattva. This

examination will demonstrate how this bodhisattva has actually been perceived in Buddhist art and

literature, and to what extent the altering of his name has affected his iconography.

GROUP ONE: JALINIPRABHA AS AN ATTENDANT OF MANJUSRI

Mandala no. I: The Japanese Mahdkarund Garbhadhdtu (Taizokai) Mandala

Of the seven mandalas which feature Jaliniprabha as an attendant of Manfjusri, the most widely known throughout the world of Buddhism is the Japanese Mahdkaruna Garbhadhdtu Mandala. This

mandala is also called the Matrix Mandala, the Mandala of the Womb World, or the Taizo-kai

Mandara.32 It is usually combined with another mandala, the Vajradhatu, which will be discussed in

Group Two below. The Japanese Garbhadhdtu and Vajradhdtu Mandalas are together known as the

Mandalas of the Two Worlds, or the Ryokai Mandara, the two most highly prized mandalas of the

Shingon sect. The basic text for the Garbhadhdtu Mandala is the Mahdvairocanasutra (henceforth called MVS),

originally composed in Sanskrit in India between A.D. 500 and 65o by an unknown author.33 The Sanskrit text is no longer extant. An abbreviated version of the MVS was translated into Chinese by Subhakarasimha and Yixing in A.D. 725.34 This version was taken to Japan by Kobo Daishi (A.D.

774-835) in the ninth century. In Japan the text is known as the Dainichikyo (DNK). In addition to

the text (MVS or DNK), the Japanese Garbhadhdtu Mandala is based upon commentaries by two

eighth-century Indian scholars, Subhakarasimha and Amoghavajra.35 The present orthodox form of the Garbhadhdtu Mandala, the Genzu Taizokai Mandara, has

resulted from a long process of evolution within Japan, beginning with the copy made in China in

A.D. 805 and taken to Japan by Kobo Daishi in 806.36 This original version is now lost.37 The first

32 Mandara is the Japanese word for mandala. 33 BTI 26:26; A.K. Warder, Indian Buddhism, 2nd ed. rev. (Delhi: Motilal Banarsidass, 1980), 489. For an edition of MVS, translated

into English from the A.D. 725 Chinese version, see Chikyo Yamamoto, Mahavairocana Sutra, Satapitaka series, no. 359 (New Delhi: International Academy of Indian Culture/Aditya Prakashan, I990). For a partial French translation, see Ryujun Tajima, Etude sur le Mahdvairocana-Sitra (Paris: Maisonneuve, 1936). For studies of the text and its mandalas, see Ryujun Tajima, Les Deux Grands Mandalas et la doctrine de l'esoterisme shingon (Tokyo and Paris: Presses Universitaires de France, I959); Snodgrass; and Ulrich H.R. Mammitzsch, Evolution of the Garbhadhatu Mandala, Satapitaka series, no. 363 (New Delhi: International Academy of Indian Culture/ Aditya Prakashan, I99I).

34 Taisho edition of the Chinese Tripitaka (henceforth called T): Takakusu Junjiro and Watanabe Kaikyoku, eds. Taisho shinshu

daizokyo, I00 vols. (Tokyo: Taisho Issaikyo Kankokai, I924-32), no. 848; Bunyiu Nanjio, A Catalogue of the Chinese Translation of the Buddhist Tripitaka (henceforth called NJ) (Delhi: Classics India Publications, 1989), 30; Lewis R. Lancaster, The Korean Buddhist Canon: a Descriptive Catalogue (henceforth called K) (Berkeley: University of California Press, 1979), 427.

35 See Mammitzsch, who also used several ritual handbooks in interpreting the various forms of this mandala. Also see Snodgrass, 171-86.

36 Mammitzsch, 26. 37 Ihid.

35I 35I 35I

Page 7: Bodhisattva With Mask

copy of this lost model, made in 821, is also lost.38 Both the 805 Chinese original and the 821 copy were in full color. The only surviving copy that can be linked to Kobo Daishi's lifetime is the Takao Mandara, painted in 824 with gold lines on purple cloth. It is not clear whether this Takao version was based on the Chinese original, the 821 copy, another copy, or a black-and-white sketchbook based on one of the earlier versions.39 An A.D. 1191 copy of the Chinese original, recognized as the second official copy, now a fragment, is the oldest surviving full-color version.40 Two more official

copies were made in 1296 and I693.4' The placement of the deities in the Takao and the 1191 versions is identical, suggesting that the latter is in the direct line of transmission from the original version. There are a few differences in the iconography of the individual figures.42

The most widely known of the Genzu Mandalas is popularly called the Shingon-in Mandala. This one, which has been beautifully published by Heibonsha,43 is outside the official line of transmission. The Shingon-in was the name of a Buddhist chapel in the precincts of the imperial palace at Kyoto. A set of the Mandalas of the Two Worlds kept in that chapel for use in certain rituals was destroyed in a fire in II77. For four years, 1178-8i, the set from the Sai-in (Western Monastery) at the Toji in Nara was borrowed to use during these official rituals. This pair became known as the Shingon-in Mandalas, whereas in reality they should be called the Sai-in Mandalas, named for the temple where

they traditionally belong.44 This full-color set is linked with the early Heian style and probably dates to the late ninth to the early tenth century.

In Japanese Jaliniprabha is called Moko Doshi, translated by Snodgrass as "boy with the net of lights,"45 or Komyo Bosatsu, "the bodhisattva with the net of lights."46 Mammitzsch translated his name variously as "Shining-net Bodhisattva," "light net youth" or "light net hook."47

The central figure of the Garbhadhatu Mandala is Vairocana or Mahavairocana, seated in medi- tation. Within a central square, called a "quarter" or a "mansion," Vairocana is accompanied by four

Tathagatas and four bodhisattvas. Surrounding this is a band that contains three concentric rows of

deities, who are grouped into seven more quarters. Outside this is a third band with four more

quarters, and outside the entire group is a fourth band containing two hundred and two additional

deities. Manijusri's quarter is located in the third band of the nmandala at the top (East), with Manijusri himself seated in the center, surrounded immediately by four bodhisattvas. Jaliniprabha is seated at

the proper right of Mafijusri's group, accompanied by four other bodhisattvas. Jaliniprabha is the

nearest to Manfjusri. His companions are Ratnakuta, Vimalaprabha, Candraprabha, and Maiijughosa. The first two of these companions are mentioned in MVS, although not in connection with

Mafijusri's mandala. Candraprabha and Mafijughosa are not mentioned in the text at all.48 The text

says that Jaliniprabha "holds many precious nets."49 However, Subhakarasimha's commentary says:

38 Ibid., 176. 39 Ibid.,I75. 40 Ihid., 74-75. 41 Ibid. 42 Ibid. 43 Yasuhiro Ishimoto, The Mandalas of the Two Worlds, 4 vols. (Tokyo: Heibonsha, 1977), Japanese text. For an abbreviated form of

the above, see The Seibu Museum of Art, Eros + Cosmos in Mandala (Tokyo: The Seibu Museum of Art, 1978). 44 See article by Yanagisawa Taka in Seibu. 45 Snodgrass, I69. 46 Ibid.,382. 47 Mammitzsch III, II3, II7. 48 Snodgrass, 379. 49 MVS, 24.

copy of this lost model, made in 821, is also lost.38 Both the 805 Chinese original and the 821 copy were in full color. The only surviving copy that can be linked to Kobo Daishi's lifetime is the Takao Mandara, painted in 824 with gold lines on purple cloth. It is not clear whether this Takao version was based on the Chinese original, the 821 copy, another copy, or a black-and-white sketchbook based on one of the earlier versions.39 An A.D. 1191 copy of the Chinese original, recognized as the second official copy, now a fragment, is the oldest surviving full-color version.40 Two more official

copies were made in 1296 and I693.4' The placement of the deities in the Takao and the 1191 versions is identical, suggesting that the latter is in the direct line of transmission from the original version. There are a few differences in the iconography of the individual figures.42

The most widely known of the Genzu Mandalas is popularly called the Shingon-in Mandala. This one, which has been beautifully published by Heibonsha,43 is outside the official line of transmission. The Shingon-in was the name of a Buddhist chapel in the precincts of the imperial palace at Kyoto. A set of the Mandalas of the Two Worlds kept in that chapel for use in certain rituals was destroyed in a fire in II77. For four years, 1178-8i, the set from the Sai-in (Western Monastery) at the Toji in Nara was borrowed to use during these official rituals. This pair became known as the Shingon-in Mandalas, whereas in reality they should be called the Sai-in Mandalas, named for the temple where

they traditionally belong.44 This full-color set is linked with the early Heian style and probably dates to the late ninth to the early tenth century.

In Japanese Jaliniprabha is called Moko Doshi, translated by Snodgrass as "boy with the net of lights,"45 or Komyo Bosatsu, "the bodhisattva with the net of lights."46 Mammitzsch translated his name variously as "Shining-net Bodhisattva," "light net youth" or "light net hook."47

The central figure of the Garbhadhatu Mandala is Vairocana or Mahavairocana, seated in medi- tation. Within a central square, called a "quarter" or a "mansion," Vairocana is accompanied by four

Tathagatas and four bodhisattvas. Surrounding this is a band that contains three concentric rows of

deities, who are grouped into seven more quarters. Outside this is a third band with four more

quarters, and outside the entire group is a fourth band containing two hundred and two additional

deities. Manijusri's quarter is located in the third band of the nmandala at the top (East), with Manijusri himself seated in the center, surrounded immediately by four bodhisattvas. Jaliniprabha is seated at

the proper right of Mafijusri's group, accompanied by four other bodhisattvas. Jaliniprabha is the

nearest to Manfjusri. His companions are Ratnakuta, Vimalaprabha, Candraprabha, and Maiijughosa. The first two of these companions are mentioned in MVS, although not in connection with

Mafijusri's mandala. Candraprabha and Mafijughosa are not mentioned in the text at all.48 The text

says that Jaliniprabha "holds many precious nets."49 However, Subhakarasimha's commentary says:

38 Ibid., 176. 39 Ibid.,I75. 40 Ihid., 74-75. 41 Ibid. 42 Ibid. 43 Yasuhiro Ishimoto, The Mandalas of the Two Worlds, 4 vols. (Tokyo: Heibonsha, 1977), Japanese text. For an abbreviated form of

the above, see The Seibu Museum of Art, Eros + Cosmos in Mandala (Tokyo: The Seibu Museum of Art, 1978). 44 See article by Yanagisawa Taka in Seibu. 45 Snodgrass, I69. 46 Ibid.,382. 47 Mammitzsch III, II3, II7. 48 Snodgrass, 379. 49 MVS, 24.

copy of this lost model, made in 821, is also lost.38 Both the 805 Chinese original and the 821 copy were in full color. The only surviving copy that can be linked to Kobo Daishi's lifetime is the Takao Mandara, painted in 824 with gold lines on purple cloth. It is not clear whether this Takao version was based on the Chinese original, the 821 copy, another copy, or a black-and-white sketchbook based on one of the earlier versions.39 An A.D. 1191 copy of the Chinese original, recognized as the second official copy, now a fragment, is the oldest surviving full-color version.40 Two more official

copies were made in 1296 and I693.4' The placement of the deities in the Takao and the 1191 versions is identical, suggesting that the latter is in the direct line of transmission from the original version. There are a few differences in the iconography of the individual figures.42

The most widely known of the Genzu Mandalas is popularly called the Shingon-in Mandala. This one, which has been beautifully published by Heibonsha,43 is outside the official line of transmission. The Shingon-in was the name of a Buddhist chapel in the precincts of the imperial palace at Kyoto. A set of the Mandalas of the Two Worlds kept in that chapel for use in certain rituals was destroyed in a fire in II77. For four years, 1178-8i, the set from the Sai-in (Western Monastery) at the Toji in Nara was borrowed to use during these official rituals. This pair became known as the Shingon-in Mandalas, whereas in reality they should be called the Sai-in Mandalas, named for the temple where

they traditionally belong.44 This full-color set is linked with the early Heian style and probably dates to the late ninth to the early tenth century.

In Japanese Jaliniprabha is called Moko Doshi, translated by Snodgrass as "boy with the net of lights,"45 or Komyo Bosatsu, "the bodhisattva with the net of lights."46 Mammitzsch translated his name variously as "Shining-net Bodhisattva," "light net youth" or "light net hook."47

The central figure of the Garbhadhatu Mandala is Vairocana or Mahavairocana, seated in medi- tation. Within a central square, called a "quarter" or a "mansion," Vairocana is accompanied by four

Tathagatas and four bodhisattvas. Surrounding this is a band that contains three concentric rows of

deities, who are grouped into seven more quarters. Outside this is a third band with four more

quarters, and outside the entire group is a fourth band containing two hundred and two additional

deities. Manijusri's quarter is located in the third band of the nmandala at the top (East), with Manijusri himself seated in the center, surrounded immediately by four bodhisattvas. Jaliniprabha is seated at

the proper right of Mafijusri's group, accompanied by four other bodhisattvas. Jaliniprabha is the

nearest to Manfjusri. His companions are Ratnakuta, Vimalaprabha, Candraprabha, and Maiijughosa. The first two of these companions are mentioned in MVS, although not in connection with

Mafijusri's mandala. Candraprabha and Mafijughosa are not mentioned in the text at all.48 The text

says that Jaliniprabha "holds many precious nets."49 However, Subhakarasimha's commentary says:

38 Ibid., 176. 39 Ibid.,I75. 40 Ihid., 74-75. 41 Ibid. 42 Ibid. 43 Yasuhiro Ishimoto, The Mandalas of the Two Worlds, 4 vols. (Tokyo: Heibonsha, 1977), Japanese text. For an abbreviated form of

the above, see The Seibu Museum of Art, Eros + Cosmos in Mandala (Tokyo: The Seibu Museum of Art, 1978). 44 See article by Yanagisawa Taka in Seibu. 45 Snodgrass, I69. 46 Ibid.,382. 47 Mammitzsch III, II3, II7. 48 Snodgrass, 379. 49 MVS, 24.

352 352 352

Page 8: Bodhisattva With Mask

"The right hand is raised in front of the chest, palm upward, and holds the noose of Wisdom.... The left hand is raised, palm inward, and grasps a blue lotus."50

In both the Takao and Shingon-in Garbhadhdtu Mandalas,5I Jalinlprabha sits at the right of Manju- sri, as prescribed in the text. On the Shingon-in Mandala, his image is too badly damaged to reveal

the attribute, although we can see his two hands placed before his chest. On the Takao Mandala, his two hands are again brought before his chest. He holds a noose in his right hand and a lotus in his left,52 the iconography according to Subhakarasimha's commentary. As for Candraprabha, he sits

third to the viewer's left ofJaliniprabha. He carries a blue lotus that supports a crescent moon.53

Mandala no. 2: The Tibetan Abhisambodhi Vairocana Mandala

This second mandala, the Abhisambodhi Vairocana Mandala of Tibet, is based on the same text as

the Japanese Garbhadhdtu Mandala. In Tibet the text is called the Vairocanbhisambodhitantra.54 This was translated into Tibetan by Silendrabodhi and dPal-brtsegs during the reign of King Ral pa can

(ca. 815-36).55 The Tibetan version of the mandala was based on an interpretation of the text by Amoghavajra (active A.D. 742-74), with some variations.56

An example of the Tibetan Ahhisambodhi Vairocana Mandala is no. 20 in the set of mandalas from

the Ngor Monastery published by Kodansha in I984.57 The same mandala is also illustrated as no. 20

in volume thirteen of A New Tibeto-Mongol Pantheon (NTMP).58 The central figure is a seated, meditating Vairocana, known by the Tibetans as the Abhisambodhi-Vairocana. He is surrounded by three concentric square houses. Mafijusri,59 corresponding to the text, sits in the center of the top outermost layer, which is East, and Jaliniprabha sits at his right. In Ngor, Jaliniprabha is flanked by two smaller bodhisattvas, identified as Kumara Vimalaprabha and Kumara Ratnakta.60 In NTMP there are likewise three bodhisattvas in a group to the right of Manijusri although they are not

individually identified. Presumably the middle one is Jaliniprabha. We have noted that in the 50

Snodgrass, 383. 5' For the Takao Genzu Mandala, see Lokesh Chandra, The Esoteric Iconography ofJapanese Mandalas, Satapitaka series, no. 92 (New

Delhi: International Academy of Indian Culture, 1971). For the Shingon-in (or Sai-in) version, see Ishimoto or Seibu. 52 Snodgrass, 382 (sketch) and Chandra, Esoteric Iconography. 53 Snodgrass, 385. 54 BTI 36:26. 55 Lokesh Chandra, "Comparison of the Japanese and Tibetan Versions of the Abhisambodhi-Vairocana Mandala," in Indo-Tibetan

Studies, ed. Tadeusz Skorupski, Buddhica Britannica, series continua 2 (Tring, U.K.: The Institute of Buddhist Studies, 1990), 67. The Tibetan translation of this text is located in H. Uli, M. Suzuki, Y. Kanakura and T. Tada, eds., A Complete Catalogue of the Tibetan Buddhist Canons (I-4569) and Y. Kanakura, R. Yamada, T. Tada, H. Hadano, eds. (5ooi-7083) (henceforth called TOH) (Sendai: Tohoku University, I934 and I953), no. 494.

56 Snodgrass, 171-82 and fig. 38, with some variations. The Tibetan version does not include the outer house filled with numerous Indian deities that is present in Snodgrass' fig. 38, which also was based on the Amoghavajra interpretation.

57 Ngor Thar ttse mKhan po bSod nams rgya mtsho, Tibetan Mandalas, the Ngor Collection (henceforth called Ngor) (Tokyo: Kodansha, 1984). This publication reproduces a collection of 139 mandalas painted in the nineteenth century, commissioned by the Ngor sect of the Sa skya school of Tibetan Buddhism. They illustrate the mandalas in a tantric compendium, the rGyud-sde Kun- btus, compiled also in the nineteenth century by bLo-gter-dbang-po (32 vols., repr. ed. [Delhi: N. Lungtok and N. Gyaltsan, 197I]). The Ngor collection of mandalas was brought out of Tibet in 1958 by Ngor Thar ttse mKhan po bSod nams rgya mtsho, the abbott of Ngor Monastery, who supervised the present Kodansha publication.

58 Raghu Vira and Lokesh Chandra, A New Tibeto-Mongol Pantheon (NTMP), 20 vols, Satapitaka series, vol. 21 (New Delhi: International Academy of Indian Culture, I961-67). Vols. 13-15 of NTMP contain drawings of the same I39 mandalas as in the Ngor set. No date is given for the original drawings.

59 In Ngor his name is listed as rDo rje dam pa sbyin pa. Chandra, "Comparison," 1990, 70, translates this as Vajrasadhu. Vajrasadhu, however, is the name of one of the sixteen Vajra-Bodhisattvas who appear as a group on a number of man.dalas. The usual Tibetan name for Vajrasadhu is rDo rje legs pa.

60 Chandra, "Comparison," 1990, 70.

"The right hand is raised in front of the chest, palm upward, and holds the noose of Wisdom.... The left hand is raised, palm inward, and grasps a blue lotus."50

In both the Takao and Shingon-in Garbhadhdtu Mandalas,5I Jalinlprabha sits at the right of Manju- sri, as prescribed in the text. On the Shingon-in Mandala, his image is too badly damaged to reveal

the attribute, although we can see his two hands placed before his chest. On the Takao Mandala, his two hands are again brought before his chest. He holds a noose in his right hand and a lotus in his left,52 the iconography according to Subhakarasimha's commentary. As for Candraprabha, he sits

third to the viewer's left ofJaliniprabha. He carries a blue lotus that supports a crescent moon.53

Mandala no. 2: The Tibetan Abhisambodhi Vairocana Mandala

This second mandala, the Abhisambodhi Vairocana Mandala of Tibet, is based on the same text as

the Japanese Garbhadhdtu Mandala. In Tibet the text is called the Vairocanbhisambodhitantra.54 This was translated into Tibetan by Silendrabodhi and dPal-brtsegs during the reign of King Ral pa can

(ca. 815-36).55 The Tibetan version of the mandala was based on an interpretation of the text by Amoghavajra (active A.D. 742-74), with some variations.56

An example of the Tibetan Ahhisambodhi Vairocana Mandala is no. 20 in the set of mandalas from

the Ngor Monastery published by Kodansha in I984.57 The same mandala is also illustrated as no. 20

in volume thirteen of A New Tibeto-Mongol Pantheon (NTMP).58 The central figure is a seated, meditating Vairocana, known by the Tibetans as the Abhisambodhi-Vairocana. He is surrounded by three concentric square houses. Mafijusri,59 corresponding to the text, sits in the center of the top outermost layer, which is East, and Jaliniprabha sits at his right. In Ngor, Jaliniprabha is flanked by two smaller bodhisattvas, identified as Kumara Vimalaprabha and Kumara Ratnakta.60 In NTMP there are likewise three bodhisattvas in a group to the right of Manijusri although they are not

individually identified. Presumably the middle one is Jaliniprabha. We have noted that in the 50

Snodgrass, 383. 5' For the Takao Genzu Mandala, see Lokesh Chandra, The Esoteric Iconography ofJapanese Mandalas, Satapitaka series, no. 92 (New

Delhi: International Academy of Indian Culture, 1971). For the Shingon-in (or Sai-in) version, see Ishimoto or Seibu. 52 Snodgrass, 382 (sketch) and Chandra, Esoteric Iconography. 53 Snodgrass, 385. 54 BTI 36:26. 55 Lokesh Chandra, "Comparison of the Japanese and Tibetan Versions of the Abhisambodhi-Vairocana Mandala," in Indo-Tibetan

Studies, ed. Tadeusz Skorupski, Buddhica Britannica, series continua 2 (Tring, U.K.: The Institute of Buddhist Studies, 1990), 67. The Tibetan translation of this text is located in H. Uli, M. Suzuki, Y. Kanakura and T. Tada, eds., A Complete Catalogue of the Tibetan Buddhist Canons (I-4569) and Y. Kanakura, R. Yamada, T. Tada, H. Hadano, eds. (5ooi-7083) (henceforth called TOH) (Sendai: Tohoku University, I934 and I953), no. 494.

56 Snodgrass, 171-82 and fig. 38, with some variations. The Tibetan version does not include the outer house filled with numerous Indian deities that is present in Snodgrass' fig. 38, which also was based on the Amoghavajra interpretation.

57 Ngor Thar ttse mKhan po bSod nams rgya mtsho, Tibetan Mandalas, the Ngor Collection (henceforth called Ngor) (Tokyo: Kodansha, 1984). This publication reproduces a collection of 139 mandalas painted in the nineteenth century, commissioned by the Ngor sect of the Sa skya school of Tibetan Buddhism. They illustrate the mandalas in a tantric compendium, the rGyud-sde Kun- btus, compiled also in the nineteenth century by bLo-gter-dbang-po (32 vols., repr. ed. [Delhi: N. Lungtok and N. Gyaltsan, 197I]). The Ngor collection of mandalas was brought out of Tibet in 1958 by Ngor Thar ttse mKhan po bSod nams rgya mtsho, the abbott of Ngor Monastery, who supervised the present Kodansha publication.

58 Raghu Vira and Lokesh Chandra, A New Tibeto-Mongol Pantheon (NTMP), 20 vols, Satapitaka series, vol. 21 (New Delhi: International Academy of Indian Culture, I961-67). Vols. 13-15 of NTMP contain drawings of the same I39 mandalas as in the Ngor set. No date is given for the original drawings.

59 In Ngor his name is listed as rDo rje dam pa sbyin pa. Chandra, "Comparison," 1990, 70, translates this as Vajrasadhu. Vajrasadhu, however, is the name of one of the sixteen Vajra-Bodhisattvas who appear as a group on a number of man.dalas. The usual Tibetan name for Vajrasadhu is rDo rje legs pa.

60 Chandra, "Comparison," 1990, 70.

"The right hand is raised in front of the chest, palm upward, and holds the noose of Wisdom.... The left hand is raised, palm inward, and grasps a blue lotus."50

In both the Takao and Shingon-in Garbhadhdtu Mandalas,5I Jalinlprabha sits at the right of Manju- sri, as prescribed in the text. On the Shingon-in Mandala, his image is too badly damaged to reveal

the attribute, although we can see his two hands placed before his chest. On the Takao Mandala, his two hands are again brought before his chest. He holds a noose in his right hand and a lotus in his left,52 the iconography according to Subhakarasimha's commentary. As for Candraprabha, he sits

third to the viewer's left ofJaliniprabha. He carries a blue lotus that supports a crescent moon.53

Mandala no. 2: The Tibetan Abhisambodhi Vairocana Mandala

This second mandala, the Abhisambodhi Vairocana Mandala of Tibet, is based on the same text as

the Japanese Garbhadhdtu Mandala. In Tibet the text is called the Vairocanbhisambodhitantra.54 This was translated into Tibetan by Silendrabodhi and dPal-brtsegs during the reign of King Ral pa can

(ca. 815-36).55 The Tibetan version of the mandala was based on an interpretation of the text by Amoghavajra (active A.D. 742-74), with some variations.56

An example of the Tibetan Ahhisambodhi Vairocana Mandala is no. 20 in the set of mandalas from

the Ngor Monastery published by Kodansha in I984.57 The same mandala is also illustrated as no. 20

in volume thirteen of A New Tibeto-Mongol Pantheon (NTMP).58 The central figure is a seated, meditating Vairocana, known by the Tibetans as the Abhisambodhi-Vairocana. He is surrounded by three concentric square houses. Mafijusri,59 corresponding to the text, sits in the center of the top outermost layer, which is East, and Jaliniprabha sits at his right. In Ngor, Jaliniprabha is flanked by two smaller bodhisattvas, identified as Kumara Vimalaprabha and Kumara Ratnakta.60 In NTMP there are likewise three bodhisattvas in a group to the right of Manijusri although they are not

individually identified. Presumably the middle one is Jaliniprabha. We have noted that in the 50

Snodgrass, 383. 5' For the Takao Genzu Mandala, see Lokesh Chandra, The Esoteric Iconography ofJapanese Mandalas, Satapitaka series, no. 92 (New

Delhi: International Academy of Indian Culture, 1971). For the Shingon-in (or Sai-in) version, see Ishimoto or Seibu. 52 Snodgrass, 382 (sketch) and Chandra, Esoteric Iconography. 53 Snodgrass, 385. 54 BTI 36:26. 55 Lokesh Chandra, "Comparison of the Japanese and Tibetan Versions of the Abhisambodhi-Vairocana Mandala," in Indo-Tibetan

Studies, ed. Tadeusz Skorupski, Buddhica Britannica, series continua 2 (Tring, U.K.: The Institute of Buddhist Studies, 1990), 67. The Tibetan translation of this text is located in H. Uli, M. Suzuki, Y. Kanakura and T. Tada, eds., A Complete Catalogue of the Tibetan Buddhist Canons (I-4569) and Y. Kanakura, R. Yamada, T. Tada, H. Hadano, eds. (5ooi-7083) (henceforth called TOH) (Sendai: Tohoku University, I934 and I953), no. 494.

56 Snodgrass, 171-82 and fig. 38, with some variations. The Tibetan version does not include the outer house filled with numerous Indian deities that is present in Snodgrass' fig. 38, which also was based on the Amoghavajra interpretation.

57 Ngor Thar ttse mKhan po bSod nams rgya mtsho, Tibetan Mandalas, the Ngor Collection (henceforth called Ngor) (Tokyo: Kodansha, 1984). This publication reproduces a collection of 139 mandalas painted in the nineteenth century, commissioned by the Ngor sect of the Sa skya school of Tibetan Buddhism. They illustrate the mandalas in a tantric compendium, the rGyud-sde Kun- btus, compiled also in the nineteenth century by bLo-gter-dbang-po (32 vols., repr. ed. [Delhi: N. Lungtok and N. Gyaltsan, 197I]). The Ngor collection of mandalas was brought out of Tibet in 1958 by Ngor Thar ttse mKhan po bSod nams rgya mtsho, the abbott of Ngor Monastery, who supervised the present Kodansha publication.

58 Raghu Vira and Lokesh Chandra, A New Tibeto-Mongol Pantheon (NTMP), 20 vols, Satapitaka series, vol. 21 (New Delhi: International Academy of Indian Culture, I961-67). Vols. 13-15 of NTMP contain drawings of the same I39 mandalas as in the Ngor set. No date is given for the original drawings.

59 In Ngor his name is listed as rDo rje dam pa sbyin pa. Chandra, "Comparison," 1990, 70, translates this as Vajrasadhu. Vajrasadhu, however, is the name of one of the sixteen Vajra-Bodhisattvas who appear as a group on a number of man.dalas. The usual Tibetan name for Vajrasadhu is rDo rje legs pa.

60 Chandra, "Comparison," 1990, 70.

353 353 353

Page 9: Bodhisattva With Mask

Japanese Garbhadhatu Mandala, there are four bodhisattvas accompanying Jalinlprabha to the right of Mafjusri instead of two. As mentioned above, Jaliniprabha is the only bodhisattva in this group prescribed by the text as an attendant for Manijusri. 6 Vimalaprabha and Ratnakuta are mentioned elsewhere in the text but not in connection with the quarter of Mafijusri in this mandala. The other

two found in the Japanese version, Candraprabha and Mafijughosa, are not mentioned at all.62

We have already observed that the text (MVS) stipulates "many precious nets" as the attribute for

Jaliniprabha.63 In the Japanese version, he was actually holding a noose and a lotus. In Ngor, his

attribute is difficult to see, but it could be either a banner or a jewelled net at his right shoulder. In

NTMP, none of the three bodhisattvas attending Mafijusri holds an attribute.

The image of Jaliniprabhakumara published by Clark that holds a mask before his chest was

located in the fifth side-chapel of the Baoxiang Lou, in a group which Lokesh Chandra has identified

as illustrating the Vairocandhisambodhitantra.64 It is a mystery why this image, as well as the image at

the Nelson-Atkins Museum of Art, holds a symbol of the sun instead of the "many precious nets"

stipulated by the text. Perhaps the eighteenth-century artisans of North China who created these

images had access to a translation of MVS or an iconographic compendium which retained the

original meaning for this bodhisattva's name. We shall return to this question later.

Mandala no. 3: Arapacana Manjughosa Mandala

Another text which mentions Jaliniprabha is the Manijusfrijdnasattvasya-paramdrthananrama-

samgiti, usually shortened to Manjusrrlnamasanmgti (MNS), "chanting the names of Maijusri."65 Like

MVS, this text originated in the sixth-seventh centuries. It was translated into Tibetan in the

eleventh century by Rin-chen-bzan-po, assisted by Kamalagupta. The text was later revised by Son

Blo-gros brtan-pa.66 This text underlay seven mandalas altogether. Two of these mandalas include

Jaliniprabha as an attendant to Maijusri. These will be discussed here. In the next section of this

paper I shall examine three additional MNS mandalas that treat Jaliniprabha as a member of a group of sixteen bodhisattvas. The other two MNS mandalas will be ignored because they do not include the

bodhisattva Jaliniprabha. One of the two mandalas based on the MNS is the Five-Deity "Arapacana" Manjughosa Mandala.67

Because the text itself is extremely vague, one must rely upon the Sddhanamala (SM)68 for informa-

6i MVS, 24; Snodgrass, I68-69, 379, and fig. 38. 62

Snodgrass, 379. 63 MVS,24. 64 Clark, no. 5 B 4; Lokesh Chandra, Buddhist Iconography of Tibet, 3 vols. Satapitaka series, no. 341 (Kyoto: Rinsen Book Co., 1986),

I:I8. 65 Raghu Vira, Manjiuri-ndma .sangiti (MNS I), Mongolian, Tibetan, Sanskrit, Chinese texts, Satapitaka series no. I8 (New Delhi:

International Academy of Indian Culture, [1962?]); Alex Wayman, Chanting the Namves of Manju.ri: the Manjuisri-naza-samngiti

(MNS 2), Sanskrit, Tibetan, English (Boston and London: Shambhala, 1985). The original Tibetan text is located in TOH 360, NJ

1408, TII87. 66 MNS 2,36. 67 MNS 2, Ch. VI, 30-31 and 74-82. To describe the mandala, Wayman relied upon commentaries on the text plus writings by Bu-

ston and the Sddhanamalad (SM). For Bu-ston, see Lokesh Chandra, ed., The Collected Works of Bu-ston, 28 vols., Satapitaka series,

nos. 41-68 (New Delhi: International Academy of Indian Culture, I969). For SM, see note 28. For Arapacana in SM, see

Bhattacharyya, Indian Buddhist Iconography, 120-21; de Mallmann I964, 27-32 (discussion) and 192-202 (Sanskrit); and de

Mallmann I975, I94. There is another East Asian version of the Arapacana Mandala which does not include Jaliniprabha. See

Christine Guth Kanda, "Kaikei's Statues of Mafijusri and Four Attendants in the Abe no Monjuin," Archives of Asian Art 32

(I979):8-26. 68 The date of the earliest known manuscript of the Sddhanarmald is 1163 (Bhattacharyya, 2).

Japanese Garbhadhatu Mandala, there are four bodhisattvas accompanying Jalinlprabha to the right of Mafjusri instead of two. As mentioned above, Jaliniprabha is the only bodhisattva in this group prescribed by the text as an attendant for Manijusri. 6 Vimalaprabha and Ratnakuta are mentioned elsewhere in the text but not in connection with the quarter of Mafijusri in this mandala. The other

two found in the Japanese version, Candraprabha and Mafijughosa, are not mentioned at all.62

We have already observed that the text (MVS) stipulates "many precious nets" as the attribute for

Jaliniprabha.63 In the Japanese version, he was actually holding a noose and a lotus. In Ngor, his

attribute is difficult to see, but it could be either a banner or a jewelled net at his right shoulder. In

NTMP, none of the three bodhisattvas attending Mafijusri holds an attribute.

The image of Jaliniprabhakumara published by Clark that holds a mask before his chest was

located in the fifth side-chapel of the Baoxiang Lou, in a group which Lokesh Chandra has identified

as illustrating the Vairocandhisambodhitantra.64 It is a mystery why this image, as well as the image at

the Nelson-Atkins Museum of Art, holds a symbol of the sun instead of the "many precious nets"

stipulated by the text. Perhaps the eighteenth-century artisans of North China who created these

images had access to a translation of MVS or an iconographic compendium which retained the

original meaning for this bodhisattva's name. We shall return to this question later.

Mandala no. 3: Arapacana Manjughosa Mandala

Another text which mentions Jaliniprabha is the Manijusfrijdnasattvasya-paramdrthananrama-

samgiti, usually shortened to Manjusrrlnamasanmgti (MNS), "chanting the names of Maijusri."65 Like

MVS, this text originated in the sixth-seventh centuries. It was translated into Tibetan in the

eleventh century by Rin-chen-bzan-po, assisted by Kamalagupta. The text was later revised by Son

Blo-gros brtan-pa.66 This text underlay seven mandalas altogether. Two of these mandalas include

Jaliniprabha as an attendant to Maijusri. These will be discussed here. In the next section of this

paper I shall examine three additional MNS mandalas that treat Jaliniprabha as a member of a group of sixteen bodhisattvas. The other two MNS mandalas will be ignored because they do not include the

bodhisattva Jaliniprabha. One of the two mandalas based on the MNS is the Five-Deity "Arapacana" Manjughosa Mandala.67

Because the text itself is extremely vague, one must rely upon the Sddhanamala (SM)68 for informa-

6i MVS, 24; Snodgrass, I68-69, 379, and fig. 38. 62

Snodgrass, 379. 63 MVS,24. 64 Clark, no. 5 B 4; Lokesh Chandra, Buddhist Iconography of Tibet, 3 vols. Satapitaka series, no. 341 (Kyoto: Rinsen Book Co., 1986),

I:I8. 65 Raghu Vira, Manjiuri-ndma .sangiti (MNS I), Mongolian, Tibetan, Sanskrit, Chinese texts, Satapitaka series no. I8 (New Delhi:

International Academy of Indian Culture, [1962?]); Alex Wayman, Chanting the Namves of Manju.ri: the Manjuisri-naza-samngiti

(MNS 2), Sanskrit, Tibetan, English (Boston and London: Shambhala, 1985). The original Tibetan text is located in TOH 360, NJ

1408, TII87. 66 MNS 2,36. 67 MNS 2, Ch. VI, 30-31 and 74-82. To describe the mandala, Wayman relied upon commentaries on the text plus writings by Bu-

ston and the Sddhanamalad (SM). For Bu-ston, see Lokesh Chandra, ed., The Collected Works of Bu-ston, 28 vols., Satapitaka series,

nos. 41-68 (New Delhi: International Academy of Indian Culture, I969). For SM, see note 28. For Arapacana in SM, see

Bhattacharyya, Indian Buddhist Iconography, 120-21; de Mallmann I964, 27-32 (discussion) and 192-202 (Sanskrit); and de

Mallmann I975, I94. There is another East Asian version of the Arapacana Mandala which does not include Jaliniprabha. See

Christine Guth Kanda, "Kaikei's Statues of Mafijusri and Four Attendants in the Abe no Monjuin," Archives of Asian Art 32

(I979):8-26. 68 The date of the earliest known manuscript of the Sddhanarmald is 1163 (Bhattacharyya, 2).

Japanese Garbhadhatu Mandala, there are four bodhisattvas accompanying Jalinlprabha to the right of Mafjusri instead of two. As mentioned above, Jaliniprabha is the only bodhisattva in this group prescribed by the text as an attendant for Manijusri. 6 Vimalaprabha and Ratnakuta are mentioned elsewhere in the text but not in connection with the quarter of Mafijusri in this mandala. The other

two found in the Japanese version, Candraprabha and Mafijughosa, are not mentioned at all.62

We have already observed that the text (MVS) stipulates "many precious nets" as the attribute for

Jaliniprabha.63 In the Japanese version, he was actually holding a noose and a lotus. In Ngor, his

attribute is difficult to see, but it could be either a banner or a jewelled net at his right shoulder. In

NTMP, none of the three bodhisattvas attending Mafijusri holds an attribute.

The image of Jaliniprabhakumara published by Clark that holds a mask before his chest was

located in the fifth side-chapel of the Baoxiang Lou, in a group which Lokesh Chandra has identified

as illustrating the Vairocandhisambodhitantra.64 It is a mystery why this image, as well as the image at

the Nelson-Atkins Museum of Art, holds a symbol of the sun instead of the "many precious nets"

stipulated by the text. Perhaps the eighteenth-century artisans of North China who created these

images had access to a translation of MVS or an iconographic compendium which retained the

original meaning for this bodhisattva's name. We shall return to this question later.

Mandala no. 3: Arapacana Manjughosa Mandala

Another text which mentions Jaliniprabha is the Manijusfrijdnasattvasya-paramdrthananrama-

samgiti, usually shortened to Manjusrrlnamasanmgti (MNS), "chanting the names of Maijusri."65 Like

MVS, this text originated in the sixth-seventh centuries. It was translated into Tibetan in the

eleventh century by Rin-chen-bzan-po, assisted by Kamalagupta. The text was later revised by Son

Blo-gros brtan-pa.66 This text underlay seven mandalas altogether. Two of these mandalas include

Jaliniprabha as an attendant to Maijusri. These will be discussed here. In the next section of this

paper I shall examine three additional MNS mandalas that treat Jaliniprabha as a member of a group of sixteen bodhisattvas. The other two MNS mandalas will be ignored because they do not include the

bodhisattva Jaliniprabha. One of the two mandalas based on the MNS is the Five-Deity "Arapacana" Manjughosa Mandala.67

Because the text itself is extremely vague, one must rely upon the Sddhanamala (SM)68 for informa-

6i MVS, 24; Snodgrass, I68-69, 379, and fig. 38. 62

Snodgrass, 379. 63 MVS,24. 64 Clark, no. 5 B 4; Lokesh Chandra, Buddhist Iconography of Tibet, 3 vols. Satapitaka series, no. 341 (Kyoto: Rinsen Book Co., 1986),

I:I8. 65 Raghu Vira, Manjiuri-ndma .sangiti (MNS I), Mongolian, Tibetan, Sanskrit, Chinese texts, Satapitaka series no. I8 (New Delhi:

International Academy of Indian Culture, [1962?]); Alex Wayman, Chanting the Namves of Manju.ri: the Manjuisri-naza-samngiti

(MNS 2), Sanskrit, Tibetan, English (Boston and London: Shambhala, 1985). The original Tibetan text is located in TOH 360, NJ

1408, TII87. 66 MNS 2,36. 67 MNS 2, Ch. VI, 30-31 and 74-82. To describe the mandala, Wayman relied upon commentaries on the text plus writings by Bu-

ston and the Sddhanamalad (SM). For Bu-ston, see Lokesh Chandra, ed., The Collected Works of Bu-ston, 28 vols., Satapitaka series,

nos. 41-68 (New Delhi: International Academy of Indian Culture, I969). For SM, see note 28. For Arapacana in SM, see

Bhattacharyya, Indian Buddhist Iconography, 120-21; de Mallmann I964, 27-32 (discussion) and 192-202 (Sanskrit); and de

Mallmann I975, I94. There is another East Asian version of the Arapacana Mandala which does not include Jaliniprabha. See

Christine Guth Kanda, "Kaikei's Statues of Mafijusri and Four Attendants in the Abe no Monjuin," Archives of Asian Art 32

(I979):8-26. 68 The date of the earliest known manuscript of the Sddhanarmald is 1163 (Bhattacharyya, 2).

354 354 354

Page 10: Bodhisattva With Mask

tion about the individual deities in this mandala. There are five deities: a central Manijusri sur-

rounded by four attendants, Kesini, Upakesini, Jaliniprabha, and Candraprabha. Jaliniprabha sits in

the East, in front of Manfjusri, and Candraprabha sits in the West, behind the Master. The other two

attendants are at the central deity's right and left. The five each represent one syllable of the name A-

ra-pa-ca-na. Jaliniprabha or his equivalent, in connection with the Arapacana Mandala, is found in

sddhanas 55, 56, 58, and 65. In SM 55 and 56, his name is Jaliniprabha. In SM 58, he is called

Jalinikumara. In SM 65, his name is Suryaprabha, "the light of the sun," another indication of the

true meaning of our deity. In all of these sadhanas, the four attendant deities hold the same attributes

as the central Mafijusri, a sword and a book.

Examples of this mandala include Ngor 21 and NTMP I3:2I.69 In Ngor, the name of our sun

bodhisattva is gZhon nu dra ba can gyi 'od, the longer version of his name, equivalent to Jalini-

prabhakumara, the "youth with the shining net." In both Ngor and NTMP, both Jaliniprabha and

Candraprabha hold a sword and a book, the attributes stipulated by the sddhanas.

Ma.ndala no. 4: The Thirteen-Deity Vddirdj Manjusrz Mandala

The second mandala based upon MNS is the Thirteen-Deity Vddirdj Manjusri Mandala.70 This

mandala is the subject of eight sddhanas in SM, but in only one, number 46, is the sun bodhisattva

included. The central figure is Manjusri as Vadiraj, with one face and two hands. He is flanked by Sudhanakumara at his right, Yamari at his left, Suryaprabha, the name used here for Jaliniprabha, behind him in the North, and Candraprabha in front in the South.7' Additional Buddhas and

goddesses form another circle around this interior group. Neither Suryaprabha nor Candraprabha is

described in this text, and I have found no example.

Mandala no. 5: The Mandala of the Red Manjusri

The Mandala of the Red Manjusri, described in SM 57,72 also includes Jaliniprabha as an attendant

to Manijusri. Jaliniprabha sits to the East of Manijusri and Candraprabha to the West. Both perform the varadamudrd, or charity gesture, and carry apadma. I have not located an example of this mandala.

Mandala no. 6: The Eight-Syllable Manjusri with Thirty-Seven Deities

Yet another mandala which includes Jalinlprabha as an attendant to Mafijusri is the Mandala of the Eight-Syllable Manijusrz with Thirty-Seven Deities, derived from a text called the Delineated Rites of the Secret Eight-Syllable Formula and Mandala Practices of the Great Holy Manjusri Bodhisattva,73 which has been studied by Raoul Birnbaum. This ritual text was composed or translated into Chinese in 824 by Bodhirsi, who resided in Chang'an. According to Birnbaum, specific information about the

69 For sculptural renditions of this mandala, see Ananda K. Coomaraswamy, History of Indian and Indonesian Art (New York: Dover

Publications, 1965), fig. 358, and Nalini Kanta Bhattasali, Iconography of Buddhist and Brahmanical Sculptures in the Dacca Museum

(Dacca: Rai S. N. Bhadra Bahadur, 1929), pl. VIIb. 70 MNS z, ch. IX, 34-35 and 99-IO6; SM 46 (de Mallmann I964:I88-89). 7' De Mallmann 1964, 24 places Candraprabha in the North and Suryaprabha in the South. De Mallmann 1975, 194 corrected the

translation, reversing these positions. The Sanskrit text of SM 46 reads daksinottaraparsve candraprabhasuryaprabhau (de Mallmann

I964, I88), which assigns Candraprabha to the South and Suryaprabha to the North. 72 De Mallmann 1964, I95 (Sanskrit) and 30-31 (French). The original source for the sddhana is not known. 73 T XX:I84, a text found only in Japanese collections and not in Chinese or Korean catalogues. See Raoul Birnbaum, Studies on the

Mysteries of Manijugsr: a Group of East Asian Mandalas and Their Traditional Symnbolisnz, Society for the Study of Chinese Religions, Monograph no. 2, c. 1983, 68-9I.

tion about the individual deities in this mandala. There are five deities: a central Manijusri sur-

rounded by four attendants, Kesini, Upakesini, Jaliniprabha, and Candraprabha. Jaliniprabha sits in

the East, in front of Manfjusri, and Candraprabha sits in the West, behind the Master. The other two

attendants are at the central deity's right and left. The five each represent one syllable of the name A-

ra-pa-ca-na. Jaliniprabha or his equivalent, in connection with the Arapacana Mandala, is found in

sddhanas 55, 56, 58, and 65. In SM 55 and 56, his name is Jaliniprabha. In SM 58, he is called

Jalinikumara. In SM 65, his name is Suryaprabha, "the light of the sun," another indication of the

true meaning of our deity. In all of these sadhanas, the four attendant deities hold the same attributes

as the central Mafijusri, a sword and a book.

Examples of this mandala include Ngor 21 and NTMP I3:2I.69 In Ngor, the name of our sun

bodhisattva is gZhon nu dra ba can gyi 'od, the longer version of his name, equivalent to Jalini-

prabhakumara, the "youth with the shining net." In both Ngor and NTMP, both Jaliniprabha and

Candraprabha hold a sword and a book, the attributes stipulated by the sddhanas.

Ma.ndala no. 4: The Thirteen-Deity Vddirdj Manjusrz Mandala

The second mandala based upon MNS is the Thirteen-Deity Vddirdj Manjusri Mandala.70 This

mandala is the subject of eight sddhanas in SM, but in only one, number 46, is the sun bodhisattva

included. The central figure is Manjusri as Vadiraj, with one face and two hands. He is flanked by Sudhanakumara at his right, Yamari at his left, Suryaprabha, the name used here for Jaliniprabha, behind him in the North, and Candraprabha in front in the South.7' Additional Buddhas and

goddesses form another circle around this interior group. Neither Suryaprabha nor Candraprabha is

described in this text, and I have found no example.

Mandala no. 5: The Mandala of the Red Manjusri

The Mandala of the Red Manjusri, described in SM 57,72 also includes Jaliniprabha as an attendant

to Manijusri. Jaliniprabha sits to the East of Manijusri and Candraprabha to the West. Both perform the varadamudrd, or charity gesture, and carry apadma. I have not located an example of this mandala.

Mandala no. 6: The Eight-Syllable Manjusri with Thirty-Seven Deities

Yet another mandala which includes Jalinlprabha as an attendant to Mafijusri is the Mandala of the Eight-Syllable Manijusrz with Thirty-Seven Deities, derived from a text called the Delineated Rites of the Secret Eight-Syllable Formula and Mandala Practices of the Great Holy Manjusri Bodhisattva,73 which has been studied by Raoul Birnbaum. This ritual text was composed or translated into Chinese in 824 by Bodhirsi, who resided in Chang'an. According to Birnbaum, specific information about the

69 For sculptural renditions of this mandala, see Ananda K. Coomaraswamy, History of Indian and Indonesian Art (New York: Dover

Publications, 1965), fig. 358, and Nalini Kanta Bhattasali, Iconography of Buddhist and Brahmanical Sculptures in the Dacca Museum

(Dacca: Rai S. N. Bhadra Bahadur, 1929), pl. VIIb. 70 MNS z, ch. IX, 34-35 and 99-IO6; SM 46 (de Mallmann I964:I88-89). 7' De Mallmann 1964, 24 places Candraprabha in the North and Suryaprabha in the South. De Mallmann 1975, 194 corrected the

translation, reversing these positions. The Sanskrit text of SM 46 reads daksinottaraparsve candraprabhasuryaprabhau (de Mallmann

I964, I88), which assigns Candraprabha to the South and Suryaprabha to the North. 72 De Mallmann 1964, I95 (Sanskrit) and 30-31 (French). The original source for the sddhana is not known. 73 T XX:I84, a text found only in Japanese collections and not in Chinese or Korean catalogues. See Raoul Birnbaum, Studies on the

Mysteries of Manijugsr: a Group of East Asian Mandalas and Their Traditional Symnbolisnz, Society for the Study of Chinese Religions, Monograph no. 2, c. 1983, 68-9I.

tion about the individual deities in this mandala. There are five deities: a central Manijusri sur-

rounded by four attendants, Kesini, Upakesini, Jaliniprabha, and Candraprabha. Jaliniprabha sits in

the East, in front of Manfjusri, and Candraprabha sits in the West, behind the Master. The other two

attendants are at the central deity's right and left. The five each represent one syllable of the name A-

ra-pa-ca-na. Jaliniprabha or his equivalent, in connection with the Arapacana Mandala, is found in

sddhanas 55, 56, 58, and 65. In SM 55 and 56, his name is Jaliniprabha. In SM 58, he is called

Jalinikumara. In SM 65, his name is Suryaprabha, "the light of the sun," another indication of the

true meaning of our deity. In all of these sadhanas, the four attendant deities hold the same attributes

as the central Mafijusri, a sword and a book.

Examples of this mandala include Ngor 21 and NTMP I3:2I.69 In Ngor, the name of our sun

bodhisattva is gZhon nu dra ba can gyi 'od, the longer version of his name, equivalent to Jalini-

prabhakumara, the "youth with the shining net." In both Ngor and NTMP, both Jaliniprabha and

Candraprabha hold a sword and a book, the attributes stipulated by the sddhanas.

Ma.ndala no. 4: The Thirteen-Deity Vddirdj Manjusrz Mandala

The second mandala based upon MNS is the Thirteen-Deity Vddirdj Manjusri Mandala.70 This

mandala is the subject of eight sddhanas in SM, but in only one, number 46, is the sun bodhisattva

included. The central figure is Manjusri as Vadiraj, with one face and two hands. He is flanked by Sudhanakumara at his right, Yamari at his left, Suryaprabha, the name used here for Jaliniprabha, behind him in the North, and Candraprabha in front in the South.7' Additional Buddhas and

goddesses form another circle around this interior group. Neither Suryaprabha nor Candraprabha is

described in this text, and I have found no example.

Mandala no. 5: The Mandala of the Red Manjusri

The Mandala of the Red Manjusri, described in SM 57,72 also includes Jaliniprabha as an attendant

to Manijusri. Jaliniprabha sits to the East of Manijusri and Candraprabha to the West. Both perform the varadamudrd, or charity gesture, and carry apadma. I have not located an example of this mandala.

Mandala no. 6: The Eight-Syllable Manjusri with Thirty-Seven Deities

Yet another mandala which includes Jalinlprabha as an attendant to Mafijusri is the Mandala of the Eight-Syllable Manijusrz with Thirty-Seven Deities, derived from a text called the Delineated Rites of the Secret Eight-Syllable Formula and Mandala Practices of the Great Holy Manjusri Bodhisattva,73 which has been studied by Raoul Birnbaum. This ritual text was composed or translated into Chinese in 824 by Bodhirsi, who resided in Chang'an. According to Birnbaum, specific information about the

69 For sculptural renditions of this mandala, see Ananda K. Coomaraswamy, History of Indian and Indonesian Art (New York: Dover

Publications, 1965), fig. 358, and Nalini Kanta Bhattasali, Iconography of Buddhist and Brahmanical Sculptures in the Dacca Museum

(Dacca: Rai S. N. Bhadra Bahadur, 1929), pl. VIIb. 70 MNS z, ch. IX, 34-35 and 99-IO6; SM 46 (de Mallmann I964:I88-89). 7' De Mallmann 1964, 24 places Candraprabha in the North and Suryaprabha in the South. De Mallmann 1975, 194 corrected the

translation, reversing these positions. The Sanskrit text of SM 46 reads daksinottaraparsve candraprabhasuryaprabhau (de Mallmann

I964, I88), which assigns Candraprabha to the South and Suryaprabha to the North. 72 De Mallmann 1964, I95 (Sanskrit) and 30-31 (French). The original source for the sddhana is not known. 73 T XX:I84, a text found only in Japanese collections and not in Chinese or Korean catalogues. See Raoul Birnbaum, Studies on the

Mysteries of Manijugsr: a Group of East Asian Mandalas and Their Traditional Symnbolisnz, Society for the Study of Chinese Religions, Monograph no. 2, c. 1983, 68-9I.

355 355 355

Page 11: Bodhisattva With Mask

mandala is presented in the Bessonzakki, a Japanese iconographic compendium by Shinkaku (II1117- 80). An example in the Metropolitan Museum of Art is reproduced by Birnbaum.74 Again Manjusri, with one head and two arms, sits in the center, and is surrounded by eight youths, with Jaliniprabha in the North, at the top of the mandal. The latter's name is translated by Birnbaum as "Radiant Net." According to the text, Jaliniprabha should sit on a lion and hold a banner.75 In the Metro-

politan painting, he does sit on a lion, but his attribute is unclear. Candraprabha is not present in this mandala.

Mandala no. 7: The Forty-nine-Deity Vajrabhairava Mandala

The Forty-nine-Deity Vajrabhairava Ma/ndala, based on the Srivajramahdbhairavandmatantra,76 presents the final example of Jaliniprabha as an attendant to Manijusri. This mandala is illustrated by Ngor no. 57 and by NTMP I4:57. The mandala is centered upon a nine-faced Vajrabhairava, an emanation of Mafjusri, who is surrounded by four male and four female vajra bodhisattvas. Around this inner group is a square house containing forty deities. In Ngor, Jaliniprabha is one of these. He is the last figure, excluding the corner deity, in the southern row, which is at the bottom. His name is

spelled Dra ba can gyi 'od, Jaliniprabha. Candraprabha is in the East. Except for the central Vajra- bhairava, all the other forty-eight deities are ferocious like the Hindu god Yama, standing in

alfdhdsana, with their right legs bent and left legs stretched out to the side. They all have buffalo

faces, two arms, two legs, and hold a knife and a skull-cup. In NTMP, the individual deities are not identified.

To summarize the iconography ofJaliniprabha as an attendant to Mafijusri, he is associated with a net in MVS, the textual source of both the Japanese Garbhadhdtu Mandala and the Tibetan Abhisambodhi Vairocana Mandala, whereas he actually holds a noose and a lotus in a Japanese example and a symbol of the sun in a Tibeto-Chinese example. For the Arapacana Manijughosa Mandala and the Vddirdj Manijufr Mandala, both based on MNS, we must rely for iconographical information on sddhanas from the Sddhanammad. The sddhanas stipulate that this bodhisattva in the Arapacana Manjughosa Mandala should hold a sword and a book, which he does in the known examples. Suryaprabha, the equivalent of Jaliniprabha in the Vddirdj Manjusriz Mandala, is not described in the

text, and I have located no example. For the Red Manjusrz Mandala and the Eight-Syllable Manj/zusri Mandala, the stipulated attributes are a padma and a banner respectively. In the Forty-nine-Deity Vajrabhairava Mandala, Jaliniprabha is like the god Yama, in buffalo form, holding a knife and a

skull-cup. In other words, in only the first two of these seven mandalas is there any relationship to his name. The text for the Garbhadhdtu Mandalas did specify a net, the attribute derived from the faulty translation of this bodhisattva's name, but in practise he holds something else. In Japan he holds a noose and a lotus. In two Tibeto-Chinese versions he holds a mask, a symbol of the sun, derived from the correct translation of his name.

In addition to the mask, we have encountered a few other clues that support the idea that

Jaliniprabha is a sun bodhisattva. One is the frequent pairing of Jaliniprabha with the moon

bodhisattva, Candraprabha. Another is the name Suryaprabha given to him by SM 65 for the

Arapacana Mandala and by SM 46 for the Vddiraj Mandala.

74 Museum no. 1975.268.I8. Birnbaum, 77-91, illustrated in pl. 17 and in a drawing on p. 81. 75 Birnbaum, II9, n. 96. 76 TOH 468.

mandala is presented in the Bessonzakki, a Japanese iconographic compendium by Shinkaku (II1117- 80). An example in the Metropolitan Museum of Art is reproduced by Birnbaum.74 Again Manjusri, with one head and two arms, sits in the center, and is surrounded by eight youths, with Jaliniprabha in the North, at the top of the mandal. The latter's name is translated by Birnbaum as "Radiant Net." According to the text, Jaliniprabha should sit on a lion and hold a banner.75 In the Metro-

politan painting, he does sit on a lion, but his attribute is unclear. Candraprabha is not present in this mandala.

Mandala no. 7: The Forty-nine-Deity Vajrabhairava Mandala

The Forty-nine-Deity Vajrabhairava Ma/ndala, based on the Srivajramahdbhairavandmatantra,76 presents the final example of Jaliniprabha as an attendant to Manijusri. This mandala is illustrated by Ngor no. 57 and by NTMP I4:57. The mandala is centered upon a nine-faced Vajrabhairava, an emanation of Mafjusri, who is surrounded by four male and four female vajra bodhisattvas. Around this inner group is a square house containing forty deities. In Ngor, Jaliniprabha is one of these. He is the last figure, excluding the corner deity, in the southern row, which is at the bottom. His name is

spelled Dra ba can gyi 'od, Jaliniprabha. Candraprabha is in the East. Except for the central Vajra- bhairava, all the other forty-eight deities are ferocious like the Hindu god Yama, standing in

alfdhdsana, with their right legs bent and left legs stretched out to the side. They all have buffalo

faces, two arms, two legs, and hold a knife and a skull-cup. In NTMP, the individual deities are not identified.

To summarize the iconography ofJaliniprabha as an attendant to Mafijusri, he is associated with a net in MVS, the textual source of both the Japanese Garbhadhdtu Mandala and the Tibetan Abhisambodhi Vairocana Mandala, whereas he actually holds a noose and a lotus in a Japanese example and a symbol of the sun in a Tibeto-Chinese example. For the Arapacana Manijughosa Mandala and the Vddirdj Manijufr Mandala, both based on MNS, we must rely for iconographical information on sddhanas from the Sddhanammad. The sddhanas stipulate that this bodhisattva in the Arapacana Manjughosa Mandala should hold a sword and a book, which he does in the known examples. Suryaprabha, the equivalent of Jaliniprabha in the Vddirdj Manjusriz Mandala, is not described in the

text, and I have located no example. For the Red Manjusrz Mandala and the Eight-Syllable Manj/zusri Mandala, the stipulated attributes are a padma and a banner respectively. In the Forty-nine-Deity Vajrabhairava Mandala, Jaliniprabha is like the god Yama, in buffalo form, holding a knife and a

skull-cup. In other words, in only the first two of these seven mandalas is there any relationship to his name. The text for the Garbhadhdtu Mandalas did specify a net, the attribute derived from the faulty translation of this bodhisattva's name, but in practise he holds something else. In Japan he holds a noose and a lotus. In two Tibeto-Chinese versions he holds a mask, a symbol of the sun, derived from the correct translation of his name.

In addition to the mask, we have encountered a few other clues that support the idea that

Jaliniprabha is a sun bodhisattva. One is the frequent pairing of Jaliniprabha with the moon

bodhisattva, Candraprabha. Another is the name Suryaprabha given to him by SM 65 for the

Arapacana Mandala and by SM 46 for the Vddiraj Mandala.

74 Museum no. 1975.268.I8. Birnbaum, 77-91, illustrated in pl. 17 and in a drawing on p. 81. 75 Birnbaum, II9, n. 96. 76 TOH 468.

mandala is presented in the Bessonzakki, a Japanese iconographic compendium by Shinkaku (II1117- 80). An example in the Metropolitan Museum of Art is reproduced by Birnbaum.74 Again Manjusri, with one head and two arms, sits in the center, and is surrounded by eight youths, with Jaliniprabha in the North, at the top of the mandal. The latter's name is translated by Birnbaum as "Radiant Net." According to the text, Jaliniprabha should sit on a lion and hold a banner.75 In the Metro-

politan painting, he does sit on a lion, but his attribute is unclear. Candraprabha is not present in this mandala.

Mandala no. 7: The Forty-nine-Deity Vajrabhairava Mandala

The Forty-nine-Deity Vajrabhairava Ma/ndala, based on the Srivajramahdbhairavandmatantra,76 presents the final example of Jaliniprabha as an attendant to Manijusri. This mandala is illustrated by Ngor no. 57 and by NTMP I4:57. The mandala is centered upon a nine-faced Vajrabhairava, an emanation of Mafjusri, who is surrounded by four male and four female vajra bodhisattvas. Around this inner group is a square house containing forty deities. In Ngor, Jaliniprabha is one of these. He is the last figure, excluding the corner deity, in the southern row, which is at the bottom. His name is

spelled Dra ba can gyi 'od, Jaliniprabha. Candraprabha is in the East. Except for the central Vajra- bhairava, all the other forty-eight deities are ferocious like the Hindu god Yama, standing in

alfdhdsana, with their right legs bent and left legs stretched out to the side. They all have buffalo

faces, two arms, two legs, and hold a knife and a skull-cup. In NTMP, the individual deities are not identified.

To summarize the iconography ofJaliniprabha as an attendant to Mafijusri, he is associated with a net in MVS, the textual source of both the Japanese Garbhadhdtu Mandala and the Tibetan Abhisambodhi Vairocana Mandala, whereas he actually holds a noose and a lotus in a Japanese example and a symbol of the sun in a Tibeto-Chinese example. For the Arapacana Manijughosa Mandala and the Vddirdj Manijufr Mandala, both based on MNS, we must rely for iconographical information on sddhanas from the Sddhanammad. The sddhanas stipulate that this bodhisattva in the Arapacana Manjughosa Mandala should hold a sword and a book, which he does in the known examples. Suryaprabha, the equivalent of Jaliniprabha in the Vddirdj Manjusriz Mandala, is not described in the

text, and I have located no example. For the Red Manjusrz Mandala and the Eight-Syllable Manj/zusri Mandala, the stipulated attributes are a padma and a banner respectively. In the Forty-nine-Deity Vajrabhairava Mandala, Jaliniprabha is like the god Yama, in buffalo form, holding a knife and a

skull-cup. In other words, in only the first two of these seven mandalas is there any relationship to his name. The text for the Garbhadhdtu Mandalas did specify a net, the attribute derived from the faulty translation of this bodhisattva's name, but in practise he holds something else. In Japan he holds a noose and a lotus. In two Tibeto-Chinese versions he holds a mask, a symbol of the sun, derived from the correct translation of his name.

In addition to the mask, we have encountered a few other clues that support the idea that

Jaliniprabha is a sun bodhisattva. One is the frequent pairing of Jaliniprabha with the moon

bodhisattva, Candraprabha. Another is the name Suryaprabha given to him by SM 65 for the

Arapacana Mandala and by SM 46 for the Vddiraj Mandala.

74 Museum no. 1975.268.I8. Birnbaum, 77-91, illustrated in pl. 17 and in a drawing on p. 81. 75 Birnbaum, II9, n. 96. 76 TOH 468.

356 356 356

Page 12: Bodhisattva With Mask

GROUP TWO: JALINIPRABHA IN A GROUP OF SIXTEEN BODHISATTVAS GROUP TWO: JALINIPRABHA IN A GROUP OF SIXTEEN BODHISATTVAS GROUP TWO: JALINIPRABHA IN A GROUP OF SIXTEEN BODHISATTVAS

Mandala no. 8: The Japanese Vajradhatu (Kongokai) Mandala

Two groups of sixteen bodhisattvas are prominent in Buddhist mandalas. One is the group of

Vajra-bodhisattvas, each of whom has the word vajra preceding or suffixed to his individual name.

These are associated four by four with the four regional Jinas or Tathagatas who surround the central

Vairocana in the Vajradhdtu and other mandalas.77 The Sixteen Bodhisattvas of the Bhadrakalpa, who

usually reside in one of the outer circles or squares of a mandala, constitute a second group. Jaliniprabha and Candraprabha are members of this latter group.

The Bhadrakalpa is the name of the present eon (kalpa), as opposed to the past and the future.

Each of these three kalpas is believed to have one thousand Buddhas. Vairocana is the leader of the

present, the Bhadrakalpa, so mandalas which are centered on him often contain the Thousand

Buddhas of the Bhadrakalpa.78 The first reference to the Thousand Buddhas occurred in the

Brahmajdla-sitra, which was translated into Chinese by Kumarajiva in A.D. 406. It says: "I am called

Vairocana and live in the ocean of the lotus world.... I incarnate myself into one thousand

Buddhas."79 The Thousand Buddhas are all described and named in the Bhadrakalpika-sztra. 8

Sometimes a set of sixteen bodhisattvas has been substituted for the Thousand Buddhas. Such a substitution is not mentioned in the basic text for the important Vajradhdtu Mandalas which I shall

examine next.8I The idea of the Sixteen Bhadrakalpa Bodhisattvas seems to have originated in the

commentaries, perhaps, as some claim, with Anandagarbha, who wrote such a commentary in the

eleventh century.82 However, certain Japanese mandalas painted in the ninth century already include the group of Sixteen Bodhisattvas of the Bhadrakalpa, as we shall see below. Furthermore, the ninth-

century Tibetan dictionary, the Mahdvyutpatti, includes a definition of the Bhadrakalpika bod-

hisattvas, suggesting that the concept was already known at that time.83

Among the mandalas that contain either the Thousand Buddhas or the Sixteen Bodhisattvas of the

Bhadrakalpa, the most important throughout the world of Buddhism is the Vajradhdtu ("Diamond

World') Man.dala. The best known example is the Genzu Kongokai Mandara of Japan, the second basic

Shingon mandala, which is paired with the Genzu TaizJkai Mandara that has already been discussed.

The Vajradhatu Mandala has been important in many countries throughout Asia. Its earliest repre- sentation may be the sculptural arrangement at Chandi Sewu in Java,84 which dates to the eighth century. The Borobudur in Java, dating to about 825, may also represent a Vajradhdtu Mandala.85 77 See de Mallmann I975, 396-400. 78 K.W. Lim, "Studies in Later Buddhist Iconography," Bidragen tot de Taal-, Land- en Volkenkunde van Nederlandsch-India, 120

(I964):333. 79 Lokesh Chandra, "Borobudur: a New Interpretation," in The Stupa: its Religious, Historical and Architectural Significance, ed. Anna L.

Dallapiccola (Wiesbaden: Franz Steiner Verlag, 1980), 3I2. 80 Ibid. 8' Snodgrass, 664. 82 Lim, 338-39. Anandagarbha's commentary is the Tattvalokakari. 83 MVY 1980, io. A Bhadrakalpika Bodhisattva is defined as "a Bodhisattva of the happy age." 84 F.D.K. Bosch, "Buddhist Data from Balinese Texts," in Selected Studies in Indonesian Archaeology (The Hague: Martinus Nijhoff,

1961), IIo-33. Also see Jacques Dumar?ay, Candi Sewu and I'architecture bouddhique du centre de Java (Paris: tcole FranFaise d'Extreme-Orient, 1981). Dumarcay believed the central figure was Mainjusrl rather than Vairocana, although he admits the form of the mandala is close to that of the Vajradhatu Mandalas.

85 Alex Wayman, "Reflections on the Theory of Barabudur as a ," in Bra : History and Significance of a Buddhist Monument, ed. Luis 0. Gomez and Hiram W. Woodward, Jr. (Berkeley: University of California, 1981), I39-72. Also see Chandra 1980, "Borobudur", and Lim.

Mandala no. 8: The Japanese Vajradhatu (Kongokai) Mandala

Two groups of sixteen bodhisattvas are prominent in Buddhist mandalas. One is the group of

Vajra-bodhisattvas, each of whom has the word vajra preceding or suffixed to his individual name.

These are associated four by four with the four regional Jinas or Tathagatas who surround the central

Vairocana in the Vajradhdtu and other mandalas.77 The Sixteen Bodhisattvas of the Bhadrakalpa, who

usually reside in one of the outer circles or squares of a mandala, constitute a second group. Jaliniprabha and Candraprabha are members of this latter group.

The Bhadrakalpa is the name of the present eon (kalpa), as opposed to the past and the future.

Each of these three kalpas is believed to have one thousand Buddhas. Vairocana is the leader of the

present, the Bhadrakalpa, so mandalas which are centered on him often contain the Thousand

Buddhas of the Bhadrakalpa.78 The first reference to the Thousand Buddhas occurred in the

Brahmajdla-sitra, which was translated into Chinese by Kumarajiva in A.D. 406. It says: "I am called

Vairocana and live in the ocean of the lotus world.... I incarnate myself into one thousand

Buddhas."79 The Thousand Buddhas are all described and named in the Bhadrakalpika-sztra. 8

Sometimes a set of sixteen bodhisattvas has been substituted for the Thousand Buddhas. Such a substitution is not mentioned in the basic text for the important Vajradhdtu Mandalas which I shall

examine next.8I The idea of the Sixteen Bhadrakalpa Bodhisattvas seems to have originated in the

commentaries, perhaps, as some claim, with Anandagarbha, who wrote such a commentary in the

eleventh century.82 However, certain Japanese mandalas painted in the ninth century already include the group of Sixteen Bodhisattvas of the Bhadrakalpa, as we shall see below. Furthermore, the ninth-

century Tibetan dictionary, the Mahdvyutpatti, includes a definition of the Bhadrakalpika bod-

hisattvas, suggesting that the concept was already known at that time.83

Among the mandalas that contain either the Thousand Buddhas or the Sixteen Bodhisattvas of the

Bhadrakalpa, the most important throughout the world of Buddhism is the Vajradhdtu ("Diamond

World') Man.dala. The best known example is the Genzu Kongokai Mandara of Japan, the second basic

Shingon mandala, which is paired with the Genzu TaizJkai Mandara that has already been discussed.

The Vajradhatu Mandala has been important in many countries throughout Asia. Its earliest repre- sentation may be the sculptural arrangement at Chandi Sewu in Java,84 which dates to the eighth century. The Borobudur in Java, dating to about 825, may also represent a Vajradhdtu Mandala.85 77 See de Mallmann I975, 396-400. 78 K.W. Lim, "Studies in Later Buddhist Iconography," Bidragen tot de Taal-, Land- en Volkenkunde van Nederlandsch-India, 120

(I964):333. 79 Lokesh Chandra, "Borobudur: a New Interpretation," in The Stupa: its Religious, Historical and Architectural Significance, ed. Anna L.

Dallapiccola (Wiesbaden: Franz Steiner Verlag, 1980), 3I2. 80 Ibid. 8' Snodgrass, 664. 82 Lim, 338-39. Anandagarbha's commentary is the Tattvalokakari. 83 MVY 1980, io. A Bhadrakalpika Bodhisattva is defined as "a Bodhisattva of the happy age." 84 F.D.K. Bosch, "Buddhist Data from Balinese Texts," in Selected Studies in Indonesian Archaeology (The Hague: Martinus Nijhoff,

1961), IIo-33. Also see Jacques Dumar?ay, Candi Sewu and I'architecture bouddhique du centre de Java (Paris: tcole FranFaise d'Extreme-Orient, 1981). Dumarcay believed the central figure was Mainjusrl rather than Vairocana, although he admits the form of the mandala is close to that of the Vajradhatu Mandalas.

85 Alex Wayman, "Reflections on the Theory of Barabudur as a ," in Bra : History and Significance of a Buddhist Monument, ed. Luis 0. Gomez and Hiram W. Woodward, Jr. (Berkeley: University of California, 1981), I39-72. Also see Chandra 1980, "Borobudur", and Lim.

Mandala no. 8: The Japanese Vajradhatu (Kongokai) Mandala

Two groups of sixteen bodhisattvas are prominent in Buddhist mandalas. One is the group of

Vajra-bodhisattvas, each of whom has the word vajra preceding or suffixed to his individual name.

These are associated four by four with the four regional Jinas or Tathagatas who surround the central

Vairocana in the Vajradhdtu and other mandalas.77 The Sixteen Bodhisattvas of the Bhadrakalpa, who

usually reside in one of the outer circles or squares of a mandala, constitute a second group. Jaliniprabha and Candraprabha are members of this latter group.

The Bhadrakalpa is the name of the present eon (kalpa), as opposed to the past and the future.

Each of these three kalpas is believed to have one thousand Buddhas. Vairocana is the leader of the

present, the Bhadrakalpa, so mandalas which are centered on him often contain the Thousand

Buddhas of the Bhadrakalpa.78 The first reference to the Thousand Buddhas occurred in the

Brahmajdla-sitra, which was translated into Chinese by Kumarajiva in A.D. 406. It says: "I am called

Vairocana and live in the ocean of the lotus world.... I incarnate myself into one thousand

Buddhas."79 The Thousand Buddhas are all described and named in the Bhadrakalpika-sztra. 8

Sometimes a set of sixteen bodhisattvas has been substituted for the Thousand Buddhas. Such a substitution is not mentioned in the basic text for the important Vajradhdtu Mandalas which I shall

examine next.8I The idea of the Sixteen Bhadrakalpa Bodhisattvas seems to have originated in the

commentaries, perhaps, as some claim, with Anandagarbha, who wrote such a commentary in the

eleventh century.82 However, certain Japanese mandalas painted in the ninth century already include the group of Sixteen Bodhisattvas of the Bhadrakalpa, as we shall see below. Furthermore, the ninth-

century Tibetan dictionary, the Mahdvyutpatti, includes a definition of the Bhadrakalpika bod-

hisattvas, suggesting that the concept was already known at that time.83

Among the mandalas that contain either the Thousand Buddhas or the Sixteen Bodhisattvas of the

Bhadrakalpa, the most important throughout the world of Buddhism is the Vajradhdtu ("Diamond

World') Man.dala. The best known example is the Genzu Kongokai Mandara of Japan, the second basic

Shingon mandala, which is paired with the Genzu TaizJkai Mandara that has already been discussed.

The Vajradhatu Mandala has been important in many countries throughout Asia. Its earliest repre- sentation may be the sculptural arrangement at Chandi Sewu in Java,84 which dates to the eighth century. The Borobudur in Java, dating to about 825, may also represent a Vajradhdtu Mandala.85 77 See de Mallmann I975, 396-400. 78 K.W. Lim, "Studies in Later Buddhist Iconography," Bidragen tot de Taal-, Land- en Volkenkunde van Nederlandsch-India, 120

(I964):333. 79 Lokesh Chandra, "Borobudur: a New Interpretation," in The Stupa: its Religious, Historical and Architectural Significance, ed. Anna L.

Dallapiccola (Wiesbaden: Franz Steiner Verlag, 1980), 3I2. 80 Ibid. 8' Snodgrass, 664. 82 Lim, 338-39. Anandagarbha's commentary is the Tattvalokakari. 83 MVY 1980, io. A Bhadrakalpika Bodhisattva is defined as "a Bodhisattva of the happy age." 84 F.D.K. Bosch, "Buddhist Data from Balinese Texts," in Selected Studies in Indonesian Archaeology (The Hague: Martinus Nijhoff,

1961), IIo-33. Also see Jacques Dumar?ay, Candi Sewu and I'architecture bouddhique du centre de Java (Paris: tcole FranFaise d'Extreme-Orient, 1981). Dumarcay believed the central figure was Mainjusrl rather than Vairocana, although he admits the form of the mandala is close to that of the Vajradhatu Mandalas.

85 Alex Wayman, "Reflections on the Theory of Barabudur as a ," in Bra : History and Significance of a Buddhist Monument, ed. Luis 0. Gomez and Hiram W. Woodward, Jr. (Berkeley: University of California, 1981), I39-72. Also see Chandra 1980, "Borobudur", and Lim.

357 357 357

Page 13: Bodhisattva With Mask

Shashibala believes she has detected traces of the Vajradhdtu Mandala in Khotan.8 I shall examine

Japanese and Tibetan versions below. The basic text for the Vajradhdtu Mandalas is the Sarvatathdgatatattvasarmgrahasgtra (STTS), "the

assembly of truth of all the Buddhas."87 In Japan this text is called the VajrasekharasZtra (VSS) or

Kongocho-kyo, "Diamond Peak Sutra."88 Recently Lokesh Chandra has clarified some confusion

resulting from the Japanese title, explaining that in the school of Vajrasekhara-yoga, there are

eighteen assemblies or systems. The STTS (and the Japanese VSS) is concerned with only the first of these eighteen assemblies, whereas the term Vajrasekhara really applies to the entire group. Each of the eighteen assemblies, including the STTS, is in turn divided into four chapters, each of which focusses on a different deity: Vajradhatu, Trailokyavijaya, Sakala-jagad-vinaya, and Sarvarthasiddhi. Each chapter describes six types of mandalas, resulting in twenty-four for each assembly (six mandalas times four chapters). Thus the STTS should have twenty-four mandalas. The Genzu Vajradhatu Mandala, the first Vajradhatu Mandala that we shall examine, consists of nine separate mandalas. The first six represent the six mandalas of the first chapter of STTS, all dedicated to Vairocana as Vajra- dhatu. The seventh is a variation of the sixth. Mandalas eight and nine are the first two in the second

chapter of STTS, focussed on Trailokyavijaya. 9

STTS was probably composed ino the late seventh or early eighth century in the Andhra region of

South India by either Nagabodhi or Santarakshita.90 A ninth-to-tenth century Sanskrit manuscript of this text was located in Nepal in I956. This is the manuscript edited by Isshi Yamada.

Vajrabodhi translated the recitation portions of the text into Chinese in A.D. 723,9' and in 753

Amoghavajra translated the first chapter of the first assembly.92 This is the translation most

frequently used by the Japanese. Amoghavajra also wrote a short summary of all the eighteen

assemblies, which the Japanese call theJohachi eshiki, "Synopsis of the Eighteen Assemblies."93

In 1015, the entire first assembly was translated by Danapala.94 who also translated the fifteenth.

The sixth was translated by Dharmabhadra at about the same time. All of the other assemblies are

now lost, but it is believed that many esoteric Buddhist szitras may once have been part of the

eighteen-assembly Vajrasekharasutra. Danapala's translation of assembly one was sent to Japan in

1073 by Jojin, but it never became a part of the Sino-Japanese tradition.95 Danapala's translation

more closely resembles the Sanskrit version found in Nepal and the Tibetan version.96 These seem to 86

Shashibala, Comparative Iconography of the Vajradhdtu-Mandala and the Tattva-Samgraha (New Delhi: Aditya Prakashan, 1989), it. 87 Isshi Yamada, ed. Sarvatathagatatattvasamgraha (STTS) Satapitaka series, no. 262 (New Delhi: International Academy of Indian

Culture, 1981); Lokesh Chandra, ed. Sarva-tathagata-tattva-samgraha (STTS) (New Delhi: Motilal Banarsidass, 1987). 88

Chandra, STTS, iI.

89 Lokesh Chandra, Preface in Giuseppe Tucci, The Temples of Western Tibet and Their Artistic Symbolism, 2 vols., orig. Indo-Tibetica

III:i-2 (1935), trans. Uma Marina Vesci, ed. Lokesh Chandra, Satapitaka series, Indo-Asian Literatures, nos. 349-50 (New Delhi:

Aditya Prakashan, 1988), I:xxiv-ix. For discussions of STTS, also see Lokesh Chandra, A Ninth Century Scroll of the Vajradhdat Malndala (New Delhi: Sharada Rani, I986); Shashibala; Snodgrass; Hajime Nakamura, Indian Buddhism: a Survey uith

Bibliographical Notes (Delhi: Motilal Banarsidass, 1987), 323-25. 90 Shashibala, io; Ishimoto, The Mandalas of the Two Worlds, introduction; Warder, Indian Buddhism, 489; Pratapaditya Pal, A

Buddhist Paradise: the Murals of Alchi, Western Himalayas (Hong Kong: Visual Dharma, 1982), 37; Ngor, introduction; Nakamura,

323-25. Pal and Ngor say the author was Santirakshita. Nakamura says he was Nagabodhi. 91 NJ 534, T 866, K 429. 92 NJ I020, T 865, K 1274, TOH 479. 93 NJ 1448, T 869, K 1289.

94 NJ IOI7, T 882, K 1466; Chandra Ninth Century Scroll, 7-8; 18. Snodgrass, 559, agrees with Chandra, but Lim, 331, says this

translation was done by Siksananda rather than Danapala. 95 Chandra, A Ninth Century Scroll, 8; Snodgrass, 56o, n. I6. 96 Lim, 332; Shashibala, 30.

Shashibala believes she has detected traces of the Vajradhdtu Mandala in Khotan.8 I shall examine

Japanese and Tibetan versions below. The basic text for the Vajradhdtu Mandalas is the Sarvatathdgatatattvasarmgrahasgtra (STTS), "the

assembly of truth of all the Buddhas."87 In Japan this text is called the VajrasekharasZtra (VSS) or

Kongocho-kyo, "Diamond Peak Sutra."88 Recently Lokesh Chandra has clarified some confusion

resulting from the Japanese title, explaining that in the school of Vajrasekhara-yoga, there are

eighteen assemblies or systems. The STTS (and the Japanese VSS) is concerned with only the first of these eighteen assemblies, whereas the term Vajrasekhara really applies to the entire group. Each of the eighteen assemblies, including the STTS, is in turn divided into four chapters, each of which focusses on a different deity: Vajradhatu, Trailokyavijaya, Sakala-jagad-vinaya, and Sarvarthasiddhi. Each chapter describes six types of mandalas, resulting in twenty-four for each assembly (six mandalas times four chapters). Thus the STTS should have twenty-four mandalas. The Genzu Vajradhatu Mandala, the first Vajradhatu Mandala that we shall examine, consists of nine separate mandalas. The first six represent the six mandalas of the first chapter of STTS, all dedicated to Vairocana as Vajra- dhatu. The seventh is a variation of the sixth. Mandalas eight and nine are the first two in the second

chapter of STTS, focussed on Trailokyavijaya. 9

STTS was probably composed ino the late seventh or early eighth century in the Andhra region of

South India by either Nagabodhi or Santarakshita.90 A ninth-to-tenth century Sanskrit manuscript of this text was located in Nepal in I956. This is the manuscript edited by Isshi Yamada.

Vajrabodhi translated the recitation portions of the text into Chinese in A.D. 723,9' and in 753

Amoghavajra translated the first chapter of the first assembly.92 This is the translation most

frequently used by the Japanese. Amoghavajra also wrote a short summary of all the eighteen

assemblies, which the Japanese call theJohachi eshiki, "Synopsis of the Eighteen Assemblies."93

In 1015, the entire first assembly was translated by Danapala.94 who also translated the fifteenth.

The sixth was translated by Dharmabhadra at about the same time. All of the other assemblies are

now lost, but it is believed that many esoteric Buddhist szitras may once have been part of the

eighteen-assembly Vajrasekharasutra. Danapala's translation of assembly one was sent to Japan in

1073 by Jojin, but it never became a part of the Sino-Japanese tradition.95 Danapala's translation

more closely resembles the Sanskrit version found in Nepal and the Tibetan version.96 These seem to 86

Shashibala, Comparative Iconography of the Vajradhdtu-Mandala and the Tattva-Samgraha (New Delhi: Aditya Prakashan, 1989), it. 87 Isshi Yamada, ed. Sarvatathagatatattvasamgraha (STTS) Satapitaka series, no. 262 (New Delhi: International Academy of Indian

Culture, 1981); Lokesh Chandra, ed. Sarva-tathagata-tattva-samgraha (STTS) (New Delhi: Motilal Banarsidass, 1987). 88

Chandra, STTS, iI.

89 Lokesh Chandra, Preface in Giuseppe Tucci, The Temples of Western Tibet and Their Artistic Symbolism, 2 vols., orig. Indo-Tibetica

III:i-2 (1935), trans. Uma Marina Vesci, ed. Lokesh Chandra, Satapitaka series, Indo-Asian Literatures, nos. 349-50 (New Delhi:

Aditya Prakashan, 1988), I:xxiv-ix. For discussions of STTS, also see Lokesh Chandra, A Ninth Century Scroll of the Vajradhdat Malndala (New Delhi: Sharada Rani, I986); Shashibala; Snodgrass; Hajime Nakamura, Indian Buddhism: a Survey uith

Bibliographical Notes (Delhi: Motilal Banarsidass, 1987), 323-25. 90 Shashibala, io; Ishimoto, The Mandalas of the Two Worlds, introduction; Warder, Indian Buddhism, 489; Pratapaditya Pal, A

Buddhist Paradise: the Murals of Alchi, Western Himalayas (Hong Kong: Visual Dharma, 1982), 37; Ngor, introduction; Nakamura,

323-25. Pal and Ngor say the author was Santirakshita. Nakamura says he was Nagabodhi. 91 NJ 534, T 866, K 429. 92 NJ I020, T 865, K 1274, TOH 479. 93 NJ 1448, T 869, K 1289.

94 NJ IOI7, T 882, K 1466; Chandra Ninth Century Scroll, 7-8; 18. Snodgrass, 559, agrees with Chandra, but Lim, 331, says this

translation was done by Siksananda rather than Danapala. 95 Chandra, A Ninth Century Scroll, 8; Snodgrass, 56o, n. I6. 96 Lim, 332; Shashibala, 30.

Shashibala believes she has detected traces of the Vajradhdtu Mandala in Khotan.8 I shall examine

Japanese and Tibetan versions below. The basic text for the Vajradhdtu Mandalas is the Sarvatathdgatatattvasarmgrahasgtra (STTS), "the

assembly of truth of all the Buddhas."87 In Japan this text is called the VajrasekharasZtra (VSS) or

Kongocho-kyo, "Diamond Peak Sutra."88 Recently Lokesh Chandra has clarified some confusion

resulting from the Japanese title, explaining that in the school of Vajrasekhara-yoga, there are

eighteen assemblies or systems. The STTS (and the Japanese VSS) is concerned with only the first of these eighteen assemblies, whereas the term Vajrasekhara really applies to the entire group. Each of the eighteen assemblies, including the STTS, is in turn divided into four chapters, each of which focusses on a different deity: Vajradhatu, Trailokyavijaya, Sakala-jagad-vinaya, and Sarvarthasiddhi. Each chapter describes six types of mandalas, resulting in twenty-four for each assembly (six mandalas times four chapters). Thus the STTS should have twenty-four mandalas. The Genzu Vajradhatu Mandala, the first Vajradhatu Mandala that we shall examine, consists of nine separate mandalas. The first six represent the six mandalas of the first chapter of STTS, all dedicated to Vairocana as Vajra- dhatu. The seventh is a variation of the sixth. Mandalas eight and nine are the first two in the second

chapter of STTS, focussed on Trailokyavijaya. 9

STTS was probably composed ino the late seventh or early eighth century in the Andhra region of

South India by either Nagabodhi or Santarakshita.90 A ninth-to-tenth century Sanskrit manuscript of this text was located in Nepal in I956. This is the manuscript edited by Isshi Yamada.

Vajrabodhi translated the recitation portions of the text into Chinese in A.D. 723,9' and in 753

Amoghavajra translated the first chapter of the first assembly.92 This is the translation most

frequently used by the Japanese. Amoghavajra also wrote a short summary of all the eighteen

assemblies, which the Japanese call theJohachi eshiki, "Synopsis of the Eighteen Assemblies."93

In 1015, the entire first assembly was translated by Danapala.94 who also translated the fifteenth.

The sixth was translated by Dharmabhadra at about the same time. All of the other assemblies are

now lost, but it is believed that many esoteric Buddhist szitras may once have been part of the

eighteen-assembly Vajrasekharasutra. Danapala's translation of assembly one was sent to Japan in

1073 by Jojin, but it never became a part of the Sino-Japanese tradition.95 Danapala's translation

more closely resembles the Sanskrit version found in Nepal and the Tibetan version.96 These seem to 86

Shashibala, Comparative Iconography of the Vajradhdtu-Mandala and the Tattva-Samgraha (New Delhi: Aditya Prakashan, 1989), it. 87 Isshi Yamada, ed. Sarvatathagatatattvasamgraha (STTS) Satapitaka series, no. 262 (New Delhi: International Academy of Indian

Culture, 1981); Lokesh Chandra, ed. Sarva-tathagata-tattva-samgraha (STTS) (New Delhi: Motilal Banarsidass, 1987). 88

Chandra, STTS, iI.

89 Lokesh Chandra, Preface in Giuseppe Tucci, The Temples of Western Tibet and Their Artistic Symbolism, 2 vols., orig. Indo-Tibetica

III:i-2 (1935), trans. Uma Marina Vesci, ed. Lokesh Chandra, Satapitaka series, Indo-Asian Literatures, nos. 349-50 (New Delhi:

Aditya Prakashan, 1988), I:xxiv-ix. For discussions of STTS, also see Lokesh Chandra, A Ninth Century Scroll of the Vajradhdat Malndala (New Delhi: Sharada Rani, I986); Shashibala; Snodgrass; Hajime Nakamura, Indian Buddhism: a Survey uith

Bibliographical Notes (Delhi: Motilal Banarsidass, 1987), 323-25. 90 Shashibala, io; Ishimoto, The Mandalas of the Two Worlds, introduction; Warder, Indian Buddhism, 489; Pratapaditya Pal, A

Buddhist Paradise: the Murals of Alchi, Western Himalayas (Hong Kong: Visual Dharma, 1982), 37; Ngor, introduction; Nakamura,

323-25. Pal and Ngor say the author was Santirakshita. Nakamura says he was Nagabodhi. 91 NJ 534, T 866, K 429. 92 NJ I020, T 865, K 1274, TOH 479. 93 NJ 1448, T 869, K 1289.

94 NJ IOI7, T 882, K 1466; Chandra Ninth Century Scroll, 7-8; 18. Snodgrass, 559, agrees with Chandra, but Lim, 331, says this

translation was done by Siksananda rather than Danapala. 95 Chandra, A Ninth Century Scroll, 8; Snodgrass, 56o, n. I6. 96 Lim, 332; Shashibala, 30.

358 358 358

Page 14: Bodhisattva With Mask

have been based on a different Sanskrit text of the STTS from the one used earlier by Amoghavajra, which underlies the Japanese mandalas.

STTS was translated into Tibetan by Sraddhakaravarma and Rin-chen-bzan-po in the early eleventh century.97 Commentaries on the text by Sakyamitra and Anandagarbha, also translated into

Tibetan in the eleventh century, are useful in interpreting the Tibetan Vajradhdtu Mandala.98 Likewise, it is necessary to rely on Japanese commentaries to understand the details of the Japanese mandalas.

Several versions of the Vajradhdtu Mandala have been painted in Japan. Here we shall discuss only the Genzu Vajradhdtu Mandala, also called the Nine Assemblies Vajradhdtu Mandala, the version used

by the Shingon sect. In ritual practice, this mandala is combined with the Genzu Matrix or

Garbhadhdtu Mandala, which was discussed in the previous section. The two form a pair known as the Ryokai Mandara. Like the Garbhadhdtu Mandala, the Vajradhdtu Mandala is based on materials

brought back from China by Kobo Daishi in A.D. 806. The most authentic copies still extant in

Japan are the partners for the Garbhadhdtu Mandalas discussed above, the Takao, painted in gold and silver on a dark ground, copied in 824 from originals brought back by Kobo Daishi,99 and the

Shingon-in or Sai-in from Toji, copied in color in the late ninth to early tenth century.I00 The Shingon- in is the most widely known because of its frequent and high-quality publication. Also important is

the Kojima Mandala, painted ca. ooo1000 in silver line on a purple cloth.I0' The Shingon-in and the

Kojima Mandalas are not true examples of the official Genzu Mandala, as their line of transmission from Kobo Daishi is not direct. The Kojima Mandala includes a few variations in the number and

positions of the deities.I02 The Japanese Genzu Vajradhdtu Mandala is often called the Nine Assemblies Mandala because it is

made up of nine sub-mandalas, which are based on the first two chapters of the first assembly of

STTS. In the central mandala, called the Vajradhdtu-mahdamandala, the central figure is Maha-

vairocana, with one head and two hands, performing the bodhyagrzmudrd.03 He is surrounded in an

inner circle by a basic set of thirty-six deities; an additional twenty-four deities are in an outer circle.

Surrounding them all are the Thousand Buddhas of the Bhadrakalpa. In sub-mandalas 2, 3, 4, 8, and

9, the Thousand Buddhas have been replaced by the Sixteen Bodhisattvas of the Bhadrakalpa. In the band containing the Sixteen Bodhisattvas, there are a total of twenty-four figures alto-

gether. In the four corners are Offering Bodhisattvas, and in the cardinal directions are Bodhisattvas of Attraction who serve as gatekeepers. The Bhadrakalpa Bodhisattvas sit two by two between these

eight directional deities. Thus on each side there are a corner deity, two Bhadrakalpa bodhisattvas, a

central deity, two more Bhadrakalpa bodhisattvas, and a final corner deity. In all five of these sub- mandalas, Jaliniprabha appears on the top side (West) as the third figure from the right, immediately 97 TOH 479; Shashibala, IO. 98 Lim, 33I. 99 Published in Chandra, Esoteric Iconography. 00 Published in Ishimoto, The Mandalas of the Two Worlds, and in Seibu, Eros + Cosmos. O' I saw the Kojima Mandala in the Nara Museum in May I99I.

02 Mammitzsch, I75.

103 According to Marie-Therese de Mallmann, "Notes d'iconographie tantrique, V. A Propos de quelques mudra," part I, Arts

Asiatiques 32 (1976), 178, bodhyagrz is the preferred spelling of this mudrd. She cites Tucci, Indo-Tibetica IV, vol. i, io8. This word is

spelled as bodhyangi in Gosta Liebert, Iconographic Dictionary of the indian Religions (Leiden: E.J. Brill, 1976), 45, and in

Bhattacharyya, Iconography, 53-54. Certain texts used in this study, such as NSP and SM, use the bodhyangi spelling of this word. The meaning is the "quintessence of enlightenment (bodhi)" (de Mallmann, "Notes," I78). It is often called a "wisdom fist." A fist is made by the left hand, while the five fingers of the right hand clasp the left index finger.

have been based on a different Sanskrit text of the STTS from the one used earlier by Amoghavajra, which underlies the Japanese mandalas.

STTS was translated into Tibetan by Sraddhakaravarma and Rin-chen-bzan-po in the early eleventh century.97 Commentaries on the text by Sakyamitra and Anandagarbha, also translated into

Tibetan in the eleventh century, are useful in interpreting the Tibetan Vajradhdtu Mandala.98 Likewise, it is necessary to rely on Japanese commentaries to understand the details of the Japanese mandalas.

Several versions of the Vajradhdtu Mandala have been painted in Japan. Here we shall discuss only the Genzu Vajradhdtu Mandala, also called the Nine Assemblies Vajradhdtu Mandala, the version used

by the Shingon sect. In ritual practice, this mandala is combined with the Genzu Matrix or

Garbhadhdtu Mandala, which was discussed in the previous section. The two form a pair known as the Ryokai Mandara. Like the Garbhadhdtu Mandala, the Vajradhdtu Mandala is based on materials

brought back from China by Kobo Daishi in A.D. 806. The most authentic copies still extant in

Japan are the partners for the Garbhadhdtu Mandalas discussed above, the Takao, painted in gold and silver on a dark ground, copied in 824 from originals brought back by Kobo Daishi,99 and the

Shingon-in or Sai-in from Toji, copied in color in the late ninth to early tenth century.I00 The Shingon- in is the most widely known because of its frequent and high-quality publication. Also important is

the Kojima Mandala, painted ca. ooo1000 in silver line on a purple cloth.I0' The Shingon-in and the

Kojima Mandalas are not true examples of the official Genzu Mandala, as their line of transmission from Kobo Daishi is not direct. The Kojima Mandala includes a few variations in the number and

positions of the deities.I02 The Japanese Genzu Vajradhdtu Mandala is often called the Nine Assemblies Mandala because it is

made up of nine sub-mandalas, which are based on the first two chapters of the first assembly of

STTS. In the central mandala, called the Vajradhdtu-mahdamandala, the central figure is Maha-

vairocana, with one head and two hands, performing the bodhyagrzmudrd.03 He is surrounded in an

inner circle by a basic set of thirty-six deities; an additional twenty-four deities are in an outer circle.

Surrounding them all are the Thousand Buddhas of the Bhadrakalpa. In sub-mandalas 2, 3, 4, 8, and

9, the Thousand Buddhas have been replaced by the Sixteen Bodhisattvas of the Bhadrakalpa. In the band containing the Sixteen Bodhisattvas, there are a total of twenty-four figures alto-

gether. In the four corners are Offering Bodhisattvas, and in the cardinal directions are Bodhisattvas of Attraction who serve as gatekeepers. The Bhadrakalpa Bodhisattvas sit two by two between these

eight directional deities. Thus on each side there are a corner deity, two Bhadrakalpa bodhisattvas, a

central deity, two more Bhadrakalpa bodhisattvas, and a final corner deity. In all five of these sub- mandalas, Jaliniprabha appears on the top side (West) as the third figure from the right, immediately 97 TOH 479; Shashibala, IO. 98 Lim, 33I. 99 Published in Chandra, Esoteric Iconography. 00 Published in Ishimoto, The Mandalas of the Two Worlds, and in Seibu, Eros + Cosmos. O' I saw the Kojima Mandala in the Nara Museum in May I99I.

02 Mammitzsch, I75.

103 According to Marie-Therese de Mallmann, "Notes d'iconographie tantrique, V. A Propos de quelques mudra," part I, Arts

Asiatiques 32 (1976), 178, bodhyagrz is the preferred spelling of this mudrd. She cites Tucci, Indo-Tibetica IV, vol. i, io8. This word is

spelled as bodhyangi in Gosta Liebert, Iconographic Dictionary of the indian Religions (Leiden: E.J. Brill, 1976), 45, and in

Bhattacharyya, Iconography, 53-54. Certain texts used in this study, such as NSP and SM, use the bodhyangi spelling of this word. The meaning is the "quintessence of enlightenment (bodhi)" (de Mallmann, "Notes," I78). It is often called a "wisdom fist." A fist is made by the left hand, while the five fingers of the right hand clasp the left index finger.

have been based on a different Sanskrit text of the STTS from the one used earlier by Amoghavajra, which underlies the Japanese mandalas.

STTS was translated into Tibetan by Sraddhakaravarma and Rin-chen-bzan-po in the early eleventh century.97 Commentaries on the text by Sakyamitra and Anandagarbha, also translated into

Tibetan in the eleventh century, are useful in interpreting the Tibetan Vajradhdtu Mandala.98 Likewise, it is necessary to rely on Japanese commentaries to understand the details of the Japanese mandalas.

Several versions of the Vajradhdtu Mandala have been painted in Japan. Here we shall discuss only the Genzu Vajradhdtu Mandala, also called the Nine Assemblies Vajradhdtu Mandala, the version used

by the Shingon sect. In ritual practice, this mandala is combined with the Genzu Matrix or

Garbhadhdtu Mandala, which was discussed in the previous section. The two form a pair known as the Ryokai Mandara. Like the Garbhadhdtu Mandala, the Vajradhdtu Mandala is based on materials

brought back from China by Kobo Daishi in A.D. 806. The most authentic copies still extant in

Japan are the partners for the Garbhadhdtu Mandalas discussed above, the Takao, painted in gold and silver on a dark ground, copied in 824 from originals brought back by Kobo Daishi,99 and the

Shingon-in or Sai-in from Toji, copied in color in the late ninth to early tenth century.I00 The Shingon- in is the most widely known because of its frequent and high-quality publication. Also important is

the Kojima Mandala, painted ca. ooo1000 in silver line on a purple cloth.I0' The Shingon-in and the

Kojima Mandalas are not true examples of the official Genzu Mandala, as their line of transmission from Kobo Daishi is not direct. The Kojima Mandala includes a few variations in the number and

positions of the deities.I02 The Japanese Genzu Vajradhdtu Mandala is often called the Nine Assemblies Mandala because it is

made up of nine sub-mandalas, which are based on the first two chapters of the first assembly of

STTS. In the central mandala, called the Vajradhdtu-mahdamandala, the central figure is Maha-

vairocana, with one head and two hands, performing the bodhyagrzmudrd.03 He is surrounded in an

inner circle by a basic set of thirty-six deities; an additional twenty-four deities are in an outer circle.

Surrounding them all are the Thousand Buddhas of the Bhadrakalpa. In sub-mandalas 2, 3, 4, 8, and

9, the Thousand Buddhas have been replaced by the Sixteen Bodhisattvas of the Bhadrakalpa. In the band containing the Sixteen Bodhisattvas, there are a total of twenty-four figures alto-

gether. In the four corners are Offering Bodhisattvas, and in the cardinal directions are Bodhisattvas of Attraction who serve as gatekeepers. The Bhadrakalpa Bodhisattvas sit two by two between these

eight directional deities. Thus on each side there are a corner deity, two Bhadrakalpa bodhisattvas, a

central deity, two more Bhadrakalpa bodhisattvas, and a final corner deity. In all five of these sub- mandalas, Jaliniprabha appears on the top side (West) as the third figure from the right, immediately 97 TOH 479; Shashibala, IO. 98 Lim, 33I. 99 Published in Chandra, Esoteric Iconography. 00 Published in Ishimoto, The Mandalas of the Two Worlds, and in Seibu, Eros + Cosmos. O' I saw the Kojima Mandala in the Nara Museum in May I99I.

02 Mammitzsch, I75.

103 According to Marie-Therese de Mallmann, "Notes d'iconographie tantrique, V. A Propos de quelques mudra," part I, Arts

Asiatiques 32 (1976), 178, bodhyagrz is the preferred spelling of this mudrd. She cites Tucci, Indo-Tibetica IV, vol. i, io8. This word is

spelled as bodhyangi in Gosta Liebert, Iconographic Dictionary of the indian Religions (Leiden: E.J. Brill, 1976), 45, and in

Bhattacharyya, Iconography, 53-54. Certain texts used in this study, such as NSP and SM, use the bodhyangi spelling of this word. The meaning is the "quintessence of enlightenment (bodhi)" (de Mallmann, "Notes," I78). It is often called a "wisdom fist." A fist is made by the left hand, while the five fingers of the right hand clasp the left index finger.

359 359 359

Page 15: Bodhisattva With Mask

to the viewer's right of the western Bodhisattva of Attraction, who sits in the center. Candraprabha sits at Jalinlprabha's proper left, next to the corner Offering Bodhisattva.

The names of the Sixteen Bhadrakalpa Bodhisattvas are not identical in all texts and man.dalas. De Mallmann 1975 has identified three different lists of the Sixteen Bodhisattvas, each associated with

specific texts.104 Among the lists there are differences in names as well as locations, although many of the names appear on two or three of the lists. Her first list (Appendix A) is associated with the STTS

plus two other texts which we shall examine below, the Sarvadurgatiparis.odhana Tantra (SDP) and the Krzyasamgraha (KS). Her other two lists (Appendices B and C) appear in other mandalas which we shall also examine. To de Mallmann's lists I have added the Tibetan spellings of each name, and to her list one, I have also added the Japanese spellings. The names on the Japanese Shingon-in Vajra- dhdtu Mandala correspond to de Mallmann's list one, although with some minor spelling changes and some major position changes.'05

On de Mallmann's list one, Jaliniprabha is the last of the group of four in the West, which would

place him next to the corner deity on the right end of the top row of the mandala. On the Genzu

Mandalas, however, he is the third of the group of four, having moved one place to the left, just: to

the right of the western gate keeper, who sits in the center of the West. Candraprabha has likewise

moved from just left of that gate keeper, his position as specified in de Mallmann's list one, to the

position at Jaliniprabha's left, making him the last bodhisattva in the West. These position vari-

ations are consistent for all the sub-mandalas of the Genzu Vajradhdtu Mandala in which the sixteen

bodhisattvas appear. Some commentators on the text say that all four of the bodhisattvas in each of the four directions

should be represented with the symbol of the Tathagata of that direction, which means that the

bodhisattvas of the West, including Jaliniprabha, should be represented by lotuses, the symbol of

Amitabha.'16 However, in the Takao, Shingon-in, and Kojima Mandalas, each bodhisattva has been

given his own emblem. For Jaliniprabha, this is a jewelled net surrounded by flames. For Candra-

prabha the emblem is a crescent or circular moon. In assemblies 2 and 9 of the mandalas, these

bodhisattvas are represented by the symbol only. In assemblies 3, 4, and 8, they are in human form

holding their symbols (figs. 4, a and b).

Mandala no. 9: The Tibetan Vajradhdtu Mandala

The Tibetan Vajradhatu Mandala is based on the first chapter of STTS plus the Tattvalokakari, a

commentary on STTS by Anandagarbha (978-1030).I07 This mandala is similar to the central Mahdmandala of the Genzu Vajradhdtu Mandala, with some variations.18 Ngor 22, entitled the i, o37- 104 De Mallmann 1975, 175. See Appendices A-C. The Manijusrfmulakalpa (MMK), an eighth-century text, presents two additional

lists of the Sixteen Bodhisattvas of the Bhadrakalpa. See Ariane Macdonald, Le Mandala du Manijusrzmu7lakalpa (Paris: Adrien

Maisonneuve, 1962), io8-9; David Snellgrove, Indo-Tibetan Buddhism: Indian Buddhists and Their Tibetan Successors (London: Serindia Publications, 1987), I93; and Giuseppe Tucci, Gyantse and Its Monasteries (New Delhi: Aditya Prakashan, 1989), 149, n. I. These two lists do not include Jaliniprabha, although Candraprabha is on both of them.

105 In the South, the Genzu mandala lists Sauraya instead of Surangama, and the order of the bodhisattvas is rearranged in both the West and the North. In the West, Amitaprabha is first, followed by Bhadrapala, Jalinlprabha, and Candraprabha, whereas on de

Mallmann's list one, the order is Amitaprabha, Candraprabha, Bhadrapala, and Jaliniprabha. In the North the order on the Genzu

Mandalas is Aksayamati, Pratibhanakuta, Vajragarbha, and Samantabhadra, whereas on de Mallmann's list one, the order is

Vajragarbha, Aksayamati, Pratibhanakuta, and Samantabhadra. See Snodgrass, 664. I06

Snodgrass, 651. 107 Lokesh Chandra in Preface to Tucci, The Temples of Western Tibet, I:xxx. Also see this work for a description of this mandala, 1:39-

42, and a sketch, I:6o. For the Tibetan text, see GDK, no. 22 (vol. IV, ff. 1-142). I08 The variations are discussed in Snodgrass, 568. Also see Chandra, Ninth Century Scroll, 24-25, and Lim, 335-36.

to the viewer's right of the western Bodhisattva of Attraction, who sits in the center. Candraprabha sits at Jalinlprabha's proper left, next to the corner Offering Bodhisattva.

The names of the Sixteen Bhadrakalpa Bodhisattvas are not identical in all texts and man.dalas. De Mallmann 1975 has identified three different lists of the Sixteen Bodhisattvas, each associated with

specific texts.104 Among the lists there are differences in names as well as locations, although many of the names appear on two or three of the lists. Her first list (Appendix A) is associated with the STTS

plus two other texts which we shall examine below, the Sarvadurgatiparis.odhana Tantra (SDP) and the Krzyasamgraha (KS). Her other two lists (Appendices B and C) appear in other mandalas which we shall also examine. To de Mallmann's lists I have added the Tibetan spellings of each name, and to her list one, I have also added the Japanese spellings. The names on the Japanese Shingon-in Vajra- dhdtu Mandala correspond to de Mallmann's list one, although with some minor spelling changes and some major position changes.'05

On de Mallmann's list one, Jaliniprabha is the last of the group of four in the West, which would

place him next to the corner deity on the right end of the top row of the mandala. On the Genzu

Mandalas, however, he is the third of the group of four, having moved one place to the left, just: to

the right of the western gate keeper, who sits in the center of the West. Candraprabha has likewise

moved from just left of that gate keeper, his position as specified in de Mallmann's list one, to the

position at Jaliniprabha's left, making him the last bodhisattva in the West. These position vari-

ations are consistent for all the sub-mandalas of the Genzu Vajradhdtu Mandala in which the sixteen

bodhisattvas appear. Some commentators on the text say that all four of the bodhisattvas in each of the four directions

should be represented with the symbol of the Tathagata of that direction, which means that the

bodhisattvas of the West, including Jaliniprabha, should be represented by lotuses, the symbol of

Amitabha.'16 However, in the Takao, Shingon-in, and Kojima Mandalas, each bodhisattva has been

given his own emblem. For Jaliniprabha, this is a jewelled net surrounded by flames. For Candra-

prabha the emblem is a crescent or circular moon. In assemblies 2 and 9 of the mandalas, these

bodhisattvas are represented by the symbol only. In assemblies 3, 4, and 8, they are in human form

holding their symbols (figs. 4, a and b).

Mandala no. 9: The Tibetan Vajradhdtu Mandala

The Tibetan Vajradhatu Mandala is based on the first chapter of STTS plus the Tattvalokakari, a

commentary on STTS by Anandagarbha (978-1030).I07 This mandala is similar to the central Mahdmandala of the Genzu Vajradhdtu Mandala, with some variations.18 Ngor 22, entitled the i, o37- 104 De Mallmann 1975, 175. See Appendices A-C. The Manijusrfmulakalpa (MMK), an eighth-century text, presents two additional

lists of the Sixteen Bodhisattvas of the Bhadrakalpa. See Ariane Macdonald, Le Mandala du Manijusrzmu7lakalpa (Paris: Adrien

Maisonneuve, 1962), io8-9; David Snellgrove, Indo-Tibetan Buddhism: Indian Buddhists and Their Tibetan Successors (London: Serindia Publications, 1987), I93; and Giuseppe Tucci, Gyantse and Its Monasteries (New Delhi: Aditya Prakashan, 1989), 149, n. I. These two lists do not include Jaliniprabha, although Candraprabha is on both of them.

105 In the South, the Genzu mandala lists Sauraya instead of Surangama, and the order of the bodhisattvas is rearranged in both the West and the North. In the West, Amitaprabha is first, followed by Bhadrapala, Jalinlprabha, and Candraprabha, whereas on de

Mallmann's list one, the order is Amitaprabha, Candraprabha, Bhadrapala, and Jaliniprabha. In the North the order on the Genzu

Mandalas is Aksayamati, Pratibhanakuta, Vajragarbha, and Samantabhadra, whereas on de Mallmann's list one, the order is

Vajragarbha, Aksayamati, Pratibhanakuta, and Samantabhadra. See Snodgrass, 664. I06

Snodgrass, 651. 107 Lokesh Chandra in Preface to Tucci, The Temples of Western Tibet, I:xxx. Also see this work for a description of this mandala, 1:39-

42, and a sketch, I:6o. For the Tibetan text, see GDK, no. 22 (vol. IV, ff. 1-142). I08 The variations are discussed in Snodgrass, 568. Also see Chandra, Ninth Century Scroll, 24-25, and Lim, 335-36.

to the viewer's right of the western Bodhisattva of Attraction, who sits in the center. Candraprabha sits at Jalinlprabha's proper left, next to the corner Offering Bodhisattva.

The names of the Sixteen Bhadrakalpa Bodhisattvas are not identical in all texts and man.dalas. De Mallmann 1975 has identified three different lists of the Sixteen Bodhisattvas, each associated with

specific texts.104 Among the lists there are differences in names as well as locations, although many of the names appear on two or three of the lists. Her first list (Appendix A) is associated with the STTS

plus two other texts which we shall examine below, the Sarvadurgatiparis.odhana Tantra (SDP) and the Krzyasamgraha (KS). Her other two lists (Appendices B and C) appear in other mandalas which we shall also examine. To de Mallmann's lists I have added the Tibetan spellings of each name, and to her list one, I have also added the Japanese spellings. The names on the Japanese Shingon-in Vajra- dhdtu Mandala correspond to de Mallmann's list one, although with some minor spelling changes and some major position changes.'05

On de Mallmann's list one, Jaliniprabha is the last of the group of four in the West, which would

place him next to the corner deity on the right end of the top row of the mandala. On the Genzu

Mandalas, however, he is the third of the group of four, having moved one place to the left, just: to

the right of the western gate keeper, who sits in the center of the West. Candraprabha has likewise

moved from just left of that gate keeper, his position as specified in de Mallmann's list one, to the

position at Jaliniprabha's left, making him the last bodhisattva in the West. These position vari-

ations are consistent for all the sub-mandalas of the Genzu Vajradhdtu Mandala in which the sixteen

bodhisattvas appear. Some commentators on the text say that all four of the bodhisattvas in each of the four directions

should be represented with the symbol of the Tathagata of that direction, which means that the

bodhisattvas of the West, including Jaliniprabha, should be represented by lotuses, the symbol of

Amitabha.'16 However, in the Takao, Shingon-in, and Kojima Mandalas, each bodhisattva has been

given his own emblem. For Jaliniprabha, this is a jewelled net surrounded by flames. For Candra-

prabha the emblem is a crescent or circular moon. In assemblies 2 and 9 of the mandalas, these

bodhisattvas are represented by the symbol only. In assemblies 3, 4, and 8, they are in human form

holding their symbols (figs. 4, a and b).

Mandala no. 9: The Tibetan Vajradhdtu Mandala

The Tibetan Vajradhatu Mandala is based on the first chapter of STTS plus the Tattvalokakari, a

commentary on STTS by Anandagarbha (978-1030).I07 This mandala is similar to the central Mahdmandala of the Genzu Vajradhdtu Mandala, with some variations.18 Ngor 22, entitled the i, o37- 104 De Mallmann 1975, 175. See Appendices A-C. The Manijusrfmulakalpa (MMK), an eighth-century text, presents two additional

lists of the Sixteen Bodhisattvas of the Bhadrakalpa. See Ariane Macdonald, Le Mandala du Manijusrzmu7lakalpa (Paris: Adrien

Maisonneuve, 1962), io8-9; David Snellgrove, Indo-Tibetan Buddhism: Indian Buddhists and Their Tibetan Successors (London: Serindia Publications, 1987), I93; and Giuseppe Tucci, Gyantse and Its Monasteries (New Delhi: Aditya Prakashan, 1989), 149, n. I. These two lists do not include Jaliniprabha, although Candraprabha is on both of them.

105 In the South, the Genzu mandala lists Sauraya instead of Surangama, and the order of the bodhisattvas is rearranged in both the West and the North. In the West, Amitaprabha is first, followed by Bhadrapala, Jalinlprabha, and Candraprabha, whereas on de

Mallmann's list one, the order is Amitaprabha, Candraprabha, Bhadrapala, and Jaliniprabha. In the North the order on the Genzu

Mandalas is Aksayamati, Pratibhanakuta, Vajragarbha, and Samantabhadra, whereas on de Mallmann's list one, the order is

Vajragarbha, Aksayamati, Pratibhanakuta, and Samantabhadra. See Snodgrass, 664. I06

Snodgrass, 651. 107 Lokesh Chandra in Preface to Tucci, The Temples of Western Tibet, I:xxx. Also see this work for a description of this mandala, 1:39-

42, and a sketch, I:6o. For the Tibetan text, see GDK, no. 22 (vol. IV, ff. 1-142). I08 The variations are discussed in Snodgrass, 568. Also see Chandra, Ninth Century Scroll, 24-25, and Lim, 335-36.

360 360 360

Page 16: Bodhisattva With Mask

Fig. I Jalinzprabhakumdra. Tibeto-Chinese art, Qing dynasty. Inscribed to reign of Qianlong (I735-96). Bronze with cold- gold painting. Height: I6.5 cm. (6 I/2 in.). Nelson-Atkins Museum of Art, bequest of Joseph H. Heil [74-36/44]. Fig. I Jalinzprabhakumdra. Tibeto-Chinese art, Qing dynasty. Inscribed to reign of Qianlong (I735-96). Bronze with cold- gold painting. Height: I6.5 cm. (6 I/2 in.). Nelson-Atkins Museum of Art, bequest of Joseph H. Heil [74-36/44]. Fig. I Jalinzprabhakumdra. Tibeto-Chinese art, Qing dynasty. Inscribed to reign of Qianlong (I735-96). Bronze with cold- gold painting. Height: I6.5 cm. (6 I/2 in.). Nelson-Atkins Museum of Art, bequest of Joseph H. Heil [74-36/44].

Page 17: Bodhisattva With Mask

Fig. z Jalinzprabhakumaira. Detail of inscription. Nelson-Atkins Museum of Art [74-36/44]. Fig. z Jalinzprabhakumaira. Detail of inscription. Nelson-Atkins Museum of Art [74-36/44]. Fig. z Jalinzprabhakumaira. Detail of inscription. Nelson-Atkins Museum of Art [74-36/44].

Page 18: Bodhisattva With Mask

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Page 19: Bodhisattva With Mask

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Fig. 5 Durgatiparisodhana Mandala. Central Figure: Sikyasimha; upper row, left of right corner: Jaliniprabha; upper row, left of center: Candraprabha. Source: NTMP 12:22. Fig. 5 Durgatiparisodhana Mandala. Central Figure: Sikyasimha; upper row, left of right corner: Jaliniprabha; upper row, left of center: Candraprabha. Source: NTMP 12:22. Fig. 5 Durgatiparisodhana Mandala. Central Figure: Sikyasimha; upper row, left of right corner: Jaliniprabha; upper row, left of center: Candraprabha. Source: NTMP 12:22.

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Page 20: Bodhisattva With Mask

Deity Vajradhdtu Mandala, is an example of this mandala. The same mandala is also published in

NTMP I3:22, and as a drawing in Chandra, A Ninth-Century Scroll of the Vajradhdtu Mandala.I9 This

version of the mandala contains the full group of a Thousand Buddhas rather than the Sixteen

Bodhisattvas of the Bhadrakalpa. Therefore Jaliniprabha is not present. Another Tibetan variation of the Vajradhatu Mandala does include Jaliniprabha, the Fifty-three-

Deity Vajradhatu Mandala. This mandala is identical in all respects to the i, o37-Deity Vajradhdtu

Mandala except that the Sixteen Bodhisattvas of the Bhadrakalpa have been substituted for the

Thousand Buddhas. In addition to its textual basis in STTS and in Anandagarbha's commentary, the

same mandala is described as number nineteen in the iconographic compendium, the Nispannayogd- val (NSP).II" An example of this mandala, based on NSP, is published in NTMP 12:19. With minor

changes, the same mandala is the second of the series based on the Manjusrfn-ndma sangiti (MNS), a

text we encountered in Part One above."' The Sixteen Bodhisattvas of this Tibetan version are arranged according to de Mallmann's list one

(Appendix A), without the variations in position we encountered in the Japanese Genzu Vajradhdtu Mandala. That means that Jaliniprabha sits at the end of the row in the West, just to the left of the

corner deity, and Candraprabha sits to the left of the western gatekeeper in the center of the row.

According to NSP I9, the attributes for each bodhisattva should correspond to the iconography of the

Tathagata who rules over his quarter,"2 as some commentators of the basic text, STTS, have also

maintained. The attribute for those bodhisattvas who sit in the West should therefore be a lotus

surmounted by a vajra, as prescribed in this text for the Tathagata of the West, Amitabha. In the

illustration from NTMP, Jaliniprabha appears to be in dhydnamudrd, but no attribute is discernible.

Candraprabha has his right hand before his chest and his left on his hip, contrary to the NSP

instruction. Again no attribute is discernible. In the pantheon from the Baoxiang Lou, an image of

Jaliniprabha sits with his hands on his lap holding a lotus."3 Although the vajra that should be on

the lotus is missing, this image probably illustrates this Tibetan version of the Vajradhdtu Mandala."4 In the same Baoxiang Lou pantheon an image of Candraprabha sits with his hands on his

lap holding a lotus, which properly supports a vajra.II

Mandala no. Io: The Thirty-seven-Principal-Deity Sarvavid Vairocana Mandala

Other mandalas centering upon Vairocana are based upon the Sarvadurgati-parifodhanatantra (SDP), "Elimination of all Evil Destinies", written at least as early as the eighth century, the date of

its first Tibetan translation."6 This text outlines thirteen mandalas altogether, all of which can be 109 P. 27. IIO NSP, Io-II, 44-47; de Mallmann i964:222-23; 96-98; de Mallmann 1975:57-58, 124-27. Part 12 of NTMP illustrates twenty-four

of these twenty-six mandalas. MNS 2, 29-3, 68-73.

2 NSP, 46.

"3 Clark, no. A 4 B I.

II4 This image was located in the fourth side-chapel of the Baoxiang Lou, where, according to Lokesh Chandra (Buddhist Iconography I:i8), the images represent the Sarvavid Vairocana Manidala, which will be discussed below. The main image in that chapel does

represent Sarvavid Vairocana, with four faces, and two hands in dhyanamudrd. However, the names of the various deities and the

iconography of the Sixteen Bhadrakalpa Bodhisattvas conform more closely with the Vajradhdtu ManLdalas. 15 Clark, no. A 4 B 6o

I6 Tadeusz Skorupski, ed., Sarvadurgatiparisodhana Tantra: Elimination of all Evil Destinies (SDP) (New Delhi: Motilal Banarsidass, 1983). This edition contains both the Sanskrit and Tibetan texts and an English translation. There were two Sanskrit versions of the

text, version A, translated into Tibetan by Santigarbha and Lo tsa baJayaraksita in the eighth century, revised by Rin chen mchog

Deity Vajradhdtu Mandala, is an example of this mandala. The same mandala is also published in

NTMP I3:22, and as a drawing in Chandra, A Ninth-Century Scroll of the Vajradhdtu Mandala.I9 This

version of the mandala contains the full group of a Thousand Buddhas rather than the Sixteen

Bodhisattvas of the Bhadrakalpa. Therefore Jaliniprabha is not present. Another Tibetan variation of the Vajradhatu Mandala does include Jaliniprabha, the Fifty-three-

Deity Vajradhatu Mandala. This mandala is identical in all respects to the i, o37-Deity Vajradhdtu

Mandala except that the Sixteen Bodhisattvas of the Bhadrakalpa have been substituted for the

Thousand Buddhas. In addition to its textual basis in STTS and in Anandagarbha's commentary, the

same mandala is described as number nineteen in the iconographic compendium, the Nispannayogd- val (NSP).II" An example of this mandala, based on NSP, is published in NTMP 12:19. With minor

changes, the same mandala is the second of the series based on the Manjusrfn-ndma sangiti (MNS), a

text we encountered in Part One above."' The Sixteen Bodhisattvas of this Tibetan version are arranged according to de Mallmann's list one

(Appendix A), without the variations in position we encountered in the Japanese Genzu Vajradhdtu Mandala. That means that Jaliniprabha sits at the end of the row in the West, just to the left of the

corner deity, and Candraprabha sits to the left of the western gatekeeper in the center of the row.

According to NSP I9, the attributes for each bodhisattva should correspond to the iconography of the

Tathagata who rules over his quarter,"2 as some commentators of the basic text, STTS, have also

maintained. The attribute for those bodhisattvas who sit in the West should therefore be a lotus

surmounted by a vajra, as prescribed in this text for the Tathagata of the West, Amitabha. In the

illustration from NTMP, Jaliniprabha appears to be in dhydnamudrd, but no attribute is discernible.

Candraprabha has his right hand before his chest and his left on his hip, contrary to the NSP

instruction. Again no attribute is discernible. In the pantheon from the Baoxiang Lou, an image of

Jaliniprabha sits with his hands on his lap holding a lotus."3 Although the vajra that should be on

the lotus is missing, this image probably illustrates this Tibetan version of the Vajradhdtu Mandala."4 In the same Baoxiang Lou pantheon an image of Candraprabha sits with his hands on his

lap holding a lotus, which properly supports a vajra.II

Mandala no. Io: The Thirty-seven-Principal-Deity Sarvavid Vairocana Mandala

Other mandalas centering upon Vairocana are based upon the Sarvadurgati-parifodhanatantra (SDP), "Elimination of all Evil Destinies", written at least as early as the eighth century, the date of

its first Tibetan translation."6 This text outlines thirteen mandalas altogether, all of which can be 109 P. 27. IIO NSP, Io-II, 44-47; de Mallmann i964:222-23; 96-98; de Mallmann 1975:57-58, 124-27. Part 12 of NTMP illustrates twenty-four

of these twenty-six mandalas. MNS 2, 29-3, 68-73.

2 NSP, 46.

"3 Clark, no. A 4 B I.

II4 This image was located in the fourth side-chapel of the Baoxiang Lou, where, according to Lokesh Chandra (Buddhist Iconography I:i8), the images represent the Sarvavid Vairocana Manidala, which will be discussed below. The main image in that chapel does

represent Sarvavid Vairocana, with four faces, and two hands in dhyanamudrd. However, the names of the various deities and the

iconography of the Sixteen Bhadrakalpa Bodhisattvas conform more closely with the Vajradhdtu ManLdalas. 15 Clark, no. A 4 B 6o

I6 Tadeusz Skorupski, ed., Sarvadurgatiparisodhana Tantra: Elimination of all Evil Destinies (SDP) (New Delhi: Motilal Banarsidass, 1983). This edition contains both the Sanskrit and Tibetan texts and an English translation. There were two Sanskrit versions of the

text, version A, translated into Tibetan by Santigarbha and Lo tsa baJayaraksita in the eighth century, revised by Rin chen mchog

Deity Vajradhdtu Mandala, is an example of this mandala. The same mandala is also published in

NTMP I3:22, and as a drawing in Chandra, A Ninth-Century Scroll of the Vajradhdtu Mandala.I9 This

version of the mandala contains the full group of a Thousand Buddhas rather than the Sixteen

Bodhisattvas of the Bhadrakalpa. Therefore Jaliniprabha is not present. Another Tibetan variation of the Vajradhatu Mandala does include Jaliniprabha, the Fifty-three-

Deity Vajradhatu Mandala. This mandala is identical in all respects to the i, o37-Deity Vajradhdtu

Mandala except that the Sixteen Bodhisattvas of the Bhadrakalpa have been substituted for the

Thousand Buddhas. In addition to its textual basis in STTS and in Anandagarbha's commentary, the

same mandala is described as number nineteen in the iconographic compendium, the Nispannayogd- val (NSP).II" An example of this mandala, based on NSP, is published in NTMP 12:19. With minor

changes, the same mandala is the second of the series based on the Manjusrfn-ndma sangiti (MNS), a

text we encountered in Part One above."' The Sixteen Bodhisattvas of this Tibetan version are arranged according to de Mallmann's list one

(Appendix A), without the variations in position we encountered in the Japanese Genzu Vajradhdtu Mandala. That means that Jaliniprabha sits at the end of the row in the West, just to the left of the

corner deity, and Candraprabha sits to the left of the western gatekeeper in the center of the row.

According to NSP I9, the attributes for each bodhisattva should correspond to the iconography of the

Tathagata who rules over his quarter,"2 as some commentators of the basic text, STTS, have also

maintained. The attribute for those bodhisattvas who sit in the West should therefore be a lotus

surmounted by a vajra, as prescribed in this text for the Tathagata of the West, Amitabha. In the

illustration from NTMP, Jaliniprabha appears to be in dhydnamudrd, but no attribute is discernible.

Candraprabha has his right hand before his chest and his left on his hip, contrary to the NSP

instruction. Again no attribute is discernible. In the pantheon from the Baoxiang Lou, an image of

Jaliniprabha sits with his hands on his lap holding a lotus."3 Although the vajra that should be on

the lotus is missing, this image probably illustrates this Tibetan version of the Vajradhdtu Mandala."4 In the same Baoxiang Lou pantheon an image of Candraprabha sits with his hands on his

lap holding a lotus, which properly supports a vajra.II

Mandala no. Io: The Thirty-seven-Principal-Deity Sarvavid Vairocana Mandala

Other mandalas centering upon Vairocana are based upon the Sarvadurgati-parifodhanatantra (SDP), "Elimination of all Evil Destinies", written at least as early as the eighth century, the date of

its first Tibetan translation."6 This text outlines thirteen mandalas altogether, all of which can be 109 P. 27. IIO NSP, Io-II, 44-47; de Mallmann i964:222-23; 96-98; de Mallmann 1975:57-58, 124-27. Part 12 of NTMP illustrates twenty-four

of these twenty-six mandalas. MNS 2, 29-3, 68-73.

2 NSP, 46.

"3 Clark, no. A 4 B I.

II4 This image was located in the fourth side-chapel of the Baoxiang Lou, where, according to Lokesh Chandra (Buddhist Iconography I:i8), the images represent the Sarvavid Vairocana Manidala, which will be discussed below. The main image in that chapel does

represent Sarvavid Vairocana, with four faces, and two hands in dhyanamudrd. However, the names of the various deities and the

iconography of the Sixteen Bhadrakalpa Bodhisattvas conform more closely with the Vajradhdtu ManLdalas. 15 Clark, no. A 4 B 6o

I6 Tadeusz Skorupski, ed., Sarvadurgatiparisodhana Tantra: Elimination of all Evil Destinies (SDP) (New Delhi: Motilal Banarsidass, 1983). This edition contains both the Sanskrit and Tibetan texts and an English translation. There were two Sanskrit versions of the

text, version A, translated into Tibetan by Santigarbha and Lo tsa baJayaraksita in the eighth century, revised by Rin chen mchog

365 365 365

Page 21: Bodhisattva With Mask

found in the Ngor collection."7 Only four of these contain the group of Sixteen Bodhisattvas of the Bhadrakalpa.Ii8 These four will be presented below.

The basic mandala connected with SDP is the Thirty-seven-Principal-Deity Sarvavid Vairocana Mandala.1"9 At the center is the white Sarvavid Vairocana with four faces, his hands performing dhyanamudrd. He is surrounded by four bodhisattvas in the cardinal directions and four goddesses in the intermediate directions. Outside these are thee sixteen Vajrasattvas, who correspond to the Sixteen Vajra-bodhisattvas. Eight offering goddesses are in the four corners, two in each corner, and four guardians are in the gateways. Along with the central figure, this constitutes the basic group of

thirty-seven mentioned in the title of the mandala. The Sixteen Bodhisattvas of the Bhadrakalpa are outside the Vajrasattvas, four on each side, flanking the gates two by two, as in the Vajradhatu Mandalas. Additional deities optionally occupy the outer regions.

Again the names of the Sixteen Bodhisattvas correspond to de Mallmann's list one (Appendix A). They appear, however, in a completely different order.'20 Thus Jaliniprabha, who is usually located in the West, is found in the South, and Candraprabha is in the East. Elsewhere, howeve, in the SDP

text,'2' in a discussion of the same mandala by Tucci,'22 and in the key to this mandala in Ngor 27, the list of bodhisattvas corresponds exactly to de Mallmann's list one, placing Candraprabha to the left of the gate in the West and Jaliniprabha at the end of the row in the West, just to the left of the corner. This placement is identical to the positions of these two bodhisattvas in the Tibetan version of the

Vajradhdtu Mandala we examined immediately above. Jalinlprabha is not described in this text. This Thirty-seven-Deity Sarvavid Vairocana Mand1ala has been published as Ngor 27, as NTMP

13:27, in Snellgrove and Skorupski as plate XVII, from the Lhakhang Soma at Alchi, and in Pal, A Buddhist Paradise, no. LS24, also from the Lhakhang Soma, Alchi.I23 In all of these examples, all of the Sixteen Bodhisattvas of the Bhadrakalpa are identical except for color. Each has his right hand raised before his chest, probably performing the teaching gesture, and his left hand is on his hip. No attributes are discernible.

in the ninth century, and now lost (TOH V:II6), and version B, translated into Tibetan by Chos-rje-dpal in the thirteenth century (TOH V:II7). Skorupski used Version B for his Sanskrit edition, but with frequent notes from commentaries on Version A. His edition includes the Tibetan texts for both versions.

17 Ngor 27-39.

8 Ngr 27, 28, 3I, 39.

"9 TOH 483; GDK, VI, ff. 134-200, 202-36. This mandala was outlined in the missing Sanskrit Version A. Therefore it appears in the Skorupski edition in a long footnote based on a commentary by Vajravarman (SDP, 311-I3). This source lists I49 deities who make

up the mandala. The same list can also be found in Chandra's preface in Tucci, Termples of Western Tibet, I:xxxi-ii. The mandala is also discussed in David Snellgrove and Tadeusz Skorupski, The Cultural Heritage of Ladakh (Boulder: Prajna Press, 1977), vol. I, 34-38, and in Giuseppe Tucci, Gyantse and its Monasteries, 3 vols. orig. Indo-Tibetica IV. I-3 (I941), trans. Uma Marina Vesci, ed., Lokesh Chandra, Sata-Pitaka Series, Indo-Asian Literatures, vols. 35I-353 (New Delhi: Aditya Prakashan, i989), I:250-65. The

description in Snellgrove and Skorupski accounts for the varying number of deities represented in different illustrations of this man.dala. Ngor 27, in spite of its title, actually has 209 deities. The basic group of thirty-seven deities always remains the same

except for some minor name changes. IZO East: Suramgama, Samantabhadra, Candraprabha, Bhadrapala; South: Jaliniprabha, Gaganagainja, Vajragarbha, Amrtaprabha;

West: Sarvasokatamonirghatanamati, Jnianaketu, Aksayamati, Pratibhanakuta; North: Maitreya, Sarvapayajaha, Gandhahasti, Amoghadarsin. SDP, 3II-13.

I2i SDP, 29-31.

I22 Tucci, Gyantse, 250. I23 Also see Tucci, Gyantse, III, figs. 317-38, where many of the deities of this mandala are illustrated, but not Jalinlprabha.

found in the Ngor collection."7 Only four of these contain the group of Sixteen Bodhisattvas of the Bhadrakalpa.Ii8 These four will be presented below.

The basic mandala connected with SDP is the Thirty-seven-Principal-Deity Sarvavid Vairocana Mandala.1"9 At the center is the white Sarvavid Vairocana with four faces, his hands performing dhyanamudrd. He is surrounded by four bodhisattvas in the cardinal directions and four goddesses in the intermediate directions. Outside these are thee sixteen Vajrasattvas, who correspond to the Sixteen Vajra-bodhisattvas. Eight offering goddesses are in the four corners, two in each corner, and four guardians are in the gateways. Along with the central figure, this constitutes the basic group of

thirty-seven mentioned in the title of the mandala. The Sixteen Bodhisattvas of the Bhadrakalpa are outside the Vajrasattvas, four on each side, flanking the gates two by two, as in the Vajradhatu Mandalas. Additional deities optionally occupy the outer regions.

Again the names of the Sixteen Bodhisattvas correspond to de Mallmann's list one (Appendix A). They appear, however, in a completely different order.'20 Thus Jaliniprabha, who is usually located in the West, is found in the South, and Candraprabha is in the East. Elsewhere, howeve, in the SDP

text,'2' in a discussion of the same mandala by Tucci,'22 and in the key to this mandala in Ngor 27, the list of bodhisattvas corresponds exactly to de Mallmann's list one, placing Candraprabha to the left of the gate in the West and Jaliniprabha at the end of the row in the West, just to the left of the corner. This placement is identical to the positions of these two bodhisattvas in the Tibetan version of the

Vajradhdtu Mandala we examined immediately above. Jalinlprabha is not described in this text. This Thirty-seven-Deity Sarvavid Vairocana Mand1ala has been published as Ngor 27, as NTMP

13:27, in Snellgrove and Skorupski as plate XVII, from the Lhakhang Soma at Alchi, and in Pal, A Buddhist Paradise, no. LS24, also from the Lhakhang Soma, Alchi.I23 In all of these examples, all of the Sixteen Bodhisattvas of the Bhadrakalpa are identical except for color. Each has his right hand raised before his chest, probably performing the teaching gesture, and his left hand is on his hip. No attributes are discernible.

in the ninth century, and now lost (TOH V:II6), and version B, translated into Tibetan by Chos-rje-dpal in the thirteenth century (TOH V:II7). Skorupski used Version B for his Sanskrit edition, but with frequent notes from commentaries on Version A. His edition includes the Tibetan texts for both versions.

17 Ngor 27-39.

8 Ngr 27, 28, 3I, 39.

"9 TOH 483; GDK, VI, ff. 134-200, 202-36. This mandala was outlined in the missing Sanskrit Version A. Therefore it appears in the Skorupski edition in a long footnote based on a commentary by Vajravarman (SDP, 311-I3). This source lists I49 deities who make

up the mandala. The same list can also be found in Chandra's preface in Tucci, Termples of Western Tibet, I:xxxi-ii. The mandala is also discussed in David Snellgrove and Tadeusz Skorupski, The Cultural Heritage of Ladakh (Boulder: Prajna Press, 1977), vol. I, 34-38, and in Giuseppe Tucci, Gyantse and its Monasteries, 3 vols. orig. Indo-Tibetica IV. I-3 (I941), trans. Uma Marina Vesci, ed., Lokesh Chandra, Sata-Pitaka Series, Indo-Asian Literatures, vols. 35I-353 (New Delhi: Aditya Prakashan, i989), I:250-65. The

description in Snellgrove and Skorupski accounts for the varying number of deities represented in different illustrations of this man.dala. Ngor 27, in spite of its title, actually has 209 deities. The basic group of thirty-seven deities always remains the same

except for some minor name changes. IZO East: Suramgama, Samantabhadra, Candraprabha, Bhadrapala; South: Jaliniprabha, Gaganagainja, Vajragarbha, Amrtaprabha;

West: Sarvasokatamonirghatanamati, Jnianaketu, Aksayamati, Pratibhanakuta; North: Maitreya, Sarvapayajaha, Gandhahasti, Amoghadarsin. SDP, 3II-13.

I2i SDP, 29-31.

I22 Tucci, Gyantse, 250. I23 Also see Tucci, Gyantse, III, figs. 317-38, where many of the deities of this mandala are illustrated, but not Jalinlprabha.

found in the Ngor collection."7 Only four of these contain the group of Sixteen Bodhisattvas of the Bhadrakalpa.Ii8 These four will be presented below.

The basic mandala connected with SDP is the Thirty-seven-Principal-Deity Sarvavid Vairocana Mandala.1"9 At the center is the white Sarvavid Vairocana with four faces, his hands performing dhyanamudrd. He is surrounded by four bodhisattvas in the cardinal directions and four goddesses in the intermediate directions. Outside these are thee sixteen Vajrasattvas, who correspond to the Sixteen Vajra-bodhisattvas. Eight offering goddesses are in the four corners, two in each corner, and four guardians are in the gateways. Along with the central figure, this constitutes the basic group of

thirty-seven mentioned in the title of the mandala. The Sixteen Bodhisattvas of the Bhadrakalpa are outside the Vajrasattvas, four on each side, flanking the gates two by two, as in the Vajradhatu Mandalas. Additional deities optionally occupy the outer regions.

Again the names of the Sixteen Bodhisattvas correspond to de Mallmann's list one (Appendix A). They appear, however, in a completely different order.'20 Thus Jaliniprabha, who is usually located in the West, is found in the South, and Candraprabha is in the East. Elsewhere, howeve, in the SDP

text,'2' in a discussion of the same mandala by Tucci,'22 and in the key to this mandala in Ngor 27, the list of bodhisattvas corresponds exactly to de Mallmann's list one, placing Candraprabha to the left of the gate in the West and Jaliniprabha at the end of the row in the West, just to the left of the corner. This placement is identical to the positions of these two bodhisattvas in the Tibetan version of the

Vajradhdtu Mandala we examined immediately above. Jalinlprabha is not described in this text. This Thirty-seven-Deity Sarvavid Vairocana Mand1ala has been published as Ngor 27, as NTMP

13:27, in Snellgrove and Skorupski as plate XVII, from the Lhakhang Soma at Alchi, and in Pal, A Buddhist Paradise, no. LS24, also from the Lhakhang Soma, Alchi.I23 In all of these examples, all of the Sixteen Bodhisattvas of the Bhadrakalpa are identical except for color. Each has his right hand raised before his chest, probably performing the teaching gesture, and his left hand is on his hip. No attributes are discernible.

in the ninth century, and now lost (TOH V:II6), and version B, translated into Tibetan by Chos-rje-dpal in the thirteenth century (TOH V:II7). Skorupski used Version B for his Sanskrit edition, but with frequent notes from commentaries on Version A. His edition includes the Tibetan texts for both versions.

17 Ngor 27-39.

8 Ngr 27, 28, 3I, 39.

"9 TOH 483; GDK, VI, ff. 134-200, 202-36. This mandala was outlined in the missing Sanskrit Version A. Therefore it appears in the Skorupski edition in a long footnote based on a commentary by Vajravarman (SDP, 311-I3). This source lists I49 deities who make

up the mandala. The same list can also be found in Chandra's preface in Tucci, Termples of Western Tibet, I:xxxi-ii. The mandala is also discussed in David Snellgrove and Tadeusz Skorupski, The Cultural Heritage of Ladakh (Boulder: Prajna Press, 1977), vol. I, 34-38, and in Giuseppe Tucci, Gyantse and its Monasteries, 3 vols. orig. Indo-Tibetica IV. I-3 (I941), trans. Uma Marina Vesci, ed., Lokesh Chandra, Sata-Pitaka Series, Indo-Asian Literatures, vols. 35I-353 (New Delhi: Aditya Prakashan, i989), I:250-65. The

description in Snellgrove and Skorupski accounts for the varying number of deities represented in different illustrations of this man.dala. Ngor 27, in spite of its title, actually has 209 deities. The basic group of thirty-seven deities always remains the same

except for some minor name changes. IZO East: Suramgama, Samantabhadra, Candraprabha, Bhadrapala; South: Jaliniprabha, Gaganagainja, Vajragarbha, Amrtaprabha;

West: Sarvasokatamonirghatanamati, Jnianaketu, Aksayamati, Pratibhanakuta; North: Maitreya, Sarvapayajaha, Gandhahasti, Amoghadarsin. SDP, 3II-13.

I2i SDP, 29-31.

I22 Tucci, Gyantse, 250. I23 Also see Tucci, Gyantse, III, figs. 317-38, where many of the deities of this mandala are illustrated, but not Jalinlprabha.

366 366 366

Page 22: Bodhisattva With Mask

Mandala no. II: The Thirty-seven-Deity Navosnisa Sakyamuni Mandala Mandala no. II: The Thirty-seven-Deity Navosnisa Sakyamuni Mandala Mandala no. II: The Thirty-seven-Deity Navosnisa Sakyamuni Mandala

A second mandala based on SDP is the Thirty-seven-Deity Navosnisa dakyamuni Mandala,' 4 also called the Durgatiparisodhana Mandala,I25 described in NSP 22. It is illustrated as Ngor 39, NTMP 12:22, and NTMP I3:39. The central figure is Sakyasimiha, a name for Sakyamuni, golden in color,

performing the dharmacakramudrd. He is surrounded by eight uszisa deities, eight offering goddesses and four door guardians. In the outer gallery, flanking the gateways, are the Sixteen Bodhisattvas of the Bhadrakalpa, who are thus included in the basic thirty-seven deities, replacing the Vajrasattvas of the previous mandala. There is a long version of this mandala that adds many other deities in the outer regions. The Sixteen Bodhisattvas correspond to those of de Mallmann's list one, again placing Candraprabha to the left of the western gateway, and Jaliniprabha at the end of the row in the West.

In SDP Jaliniprabha is described as follows: "The fourth Bodhisattva (on the west) is known as

Jaliniprabha. He is beautiful and red. He holds the vajra-net."I26 NSP 22 says that "he holds a vajra cage, while his left hand is placed on his hip."'27 The Sanskrit term which has been translated as

"vajra-net" or "vajra-cage" is vajrapanjaram. De Mallmann believed that this term may have ori-

ginally been vajrajdal, an adamantine flame, but because I and r were often confused in Buddhist

Hybrid Sanskrit manuscripts, vajrajala became transposed into vajrajdra.~8 Eventually the word became vajrapanjara, translated by Skorupski in SDP as "vajra-net" and by Bhattacharyya in NSP as

"vajra-cage". De Mallmann illustrated an example of a vajra-cage used as a symbol for Jaliniprabha from a Nepalese manuscript.'29 It resembles a hanging bird cage. In the same Nepalese manuscript, Candraprabha was illustrated with a crescent moon. Vajrapanjaram thus appears to be another word derived from the wrongfully-translated jvali, which has resulted in great confusion in the

iconography ofJaliniprabha. In Ngor 39 and in NTMP 13:39, Jaliniprabha raises his right hand out to his side, with his left hand

on his lap. No attributes are visible. In NTMP I2:22, which supposedly is an illustration of the mandala as described in NSP, his right hand holds up a sun, while his left is on his hip (fig. 5), although the text of NSP prescribed a vajra-cage (vajrapanjaram). The artist who drew the illustration in NTMP 12:22 perhaps had access to a different manuscript of the NSP from the one available to Bhattacharyya for his edition of NSP or to de Mallmann. In Ngor 39 and NTMP I3:49 Candraprabha likewise has no attribute, but in NTMP 12:22, he holds a crescent moon.

Mandala no. I2: Cakravarti Guna Mandala

A third SDP mandala containing the sixteen Bhadrakalpa bodhisattvas is the Cakravarti Guna'30 or Cakravartin Mandala.I3I Examples include Ngor 31 and NTMP 13:31. The Ngor example consists of nine concentric circles. A central white Vajrasattva is surrounded by the four regional Tathagatas: Vajrapani, Ratnasambhava, Amitabha, and Amoghasiddhi. In the second circle are eight more 124 Ngor's terminology. 125 NSP terminology. This mandala is based on SDP, chapter I, 26-31; TOH 485; GDK VI, ff. 321-429; NSP 22, Sanskrit edition, 66-

71, summarized in de Mallmann I975, 62-64. I26 SDP, 30. Sanskrit: caturtho bodhisattvas ca jalinprabhasamjinitah; raktavaraprabhadivyo vajrapanjaradhdrinah (SDP, 170). 127 De Mallmann 1975, 194. Sanskrit: savyena vajrapanjaram bibhranah katisthavamamustih (NSP, 67, and Bhattacharyya, Iconography,

90). Also see introduction to NSP, 27. I28 De Mallmann I975, I93. 129 Ibid., pl. XI, fig. I. I30 Ngor's title. I31 Title in SDP, 74. This mandala is described in SDP, chapter III.

A second mandala based on SDP is the Thirty-seven-Deity Navosnisa dakyamuni Mandala,' 4 also called the Durgatiparisodhana Mandala,I25 described in NSP 22. It is illustrated as Ngor 39, NTMP 12:22, and NTMP I3:39. The central figure is Sakyasimiha, a name for Sakyamuni, golden in color,

performing the dharmacakramudrd. He is surrounded by eight uszisa deities, eight offering goddesses and four door guardians. In the outer gallery, flanking the gateways, are the Sixteen Bodhisattvas of the Bhadrakalpa, who are thus included in the basic thirty-seven deities, replacing the Vajrasattvas of the previous mandala. There is a long version of this mandala that adds many other deities in the outer regions. The Sixteen Bodhisattvas correspond to those of de Mallmann's list one, again placing Candraprabha to the left of the western gateway, and Jaliniprabha at the end of the row in the West.

In SDP Jaliniprabha is described as follows: "The fourth Bodhisattva (on the west) is known as

Jaliniprabha. He is beautiful and red. He holds the vajra-net."I26 NSP 22 says that "he holds a vajra cage, while his left hand is placed on his hip."'27 The Sanskrit term which has been translated as

"vajra-net" or "vajra-cage" is vajrapanjaram. De Mallmann believed that this term may have ori-

ginally been vajrajdal, an adamantine flame, but because I and r were often confused in Buddhist

Hybrid Sanskrit manuscripts, vajrajala became transposed into vajrajdra.~8 Eventually the word became vajrapanjara, translated by Skorupski in SDP as "vajra-net" and by Bhattacharyya in NSP as

"vajra-cage". De Mallmann illustrated an example of a vajra-cage used as a symbol for Jaliniprabha from a Nepalese manuscript.'29 It resembles a hanging bird cage. In the same Nepalese manuscript, Candraprabha was illustrated with a crescent moon. Vajrapanjaram thus appears to be another word derived from the wrongfully-translated jvali, which has resulted in great confusion in the

iconography ofJaliniprabha. In Ngor 39 and in NTMP 13:39, Jaliniprabha raises his right hand out to his side, with his left hand

on his lap. No attributes are visible. In NTMP I2:22, which supposedly is an illustration of the mandala as described in NSP, his right hand holds up a sun, while his left is on his hip (fig. 5), although the text of NSP prescribed a vajra-cage (vajrapanjaram). The artist who drew the illustration in NTMP 12:22 perhaps had access to a different manuscript of the NSP from the one available to Bhattacharyya for his edition of NSP or to de Mallmann. In Ngor 39 and NTMP I3:49 Candraprabha likewise has no attribute, but in NTMP 12:22, he holds a crescent moon.

Mandala no. I2: Cakravarti Guna Mandala

A third SDP mandala containing the sixteen Bhadrakalpa bodhisattvas is the Cakravarti Guna'30 or Cakravartin Mandala.I3I Examples include Ngor 31 and NTMP 13:31. The Ngor example consists of nine concentric circles. A central white Vajrasattva is surrounded by the four regional Tathagatas: Vajrapani, Ratnasambhava, Amitabha, and Amoghasiddhi. In the second circle are eight more 124 Ngor's terminology. 125 NSP terminology. This mandala is based on SDP, chapter I, 26-31; TOH 485; GDK VI, ff. 321-429; NSP 22, Sanskrit edition, 66-

71, summarized in de Mallmann I975, 62-64. I26 SDP, 30. Sanskrit: caturtho bodhisattvas ca jalinprabhasamjinitah; raktavaraprabhadivyo vajrapanjaradhdrinah (SDP, 170). 127 De Mallmann 1975, 194. Sanskrit: savyena vajrapanjaram bibhranah katisthavamamustih (NSP, 67, and Bhattacharyya, Iconography,

90). Also see introduction to NSP, 27. I28 De Mallmann I975, I93. 129 Ibid., pl. XI, fig. I. I30 Ngor's title. I31 Title in SDP, 74. This mandala is described in SDP, chapter III.

A second mandala based on SDP is the Thirty-seven-Deity Navosnisa dakyamuni Mandala,' 4 also called the Durgatiparisodhana Mandala,I25 described in NSP 22. It is illustrated as Ngor 39, NTMP 12:22, and NTMP I3:39. The central figure is Sakyasimiha, a name for Sakyamuni, golden in color,

performing the dharmacakramudrd. He is surrounded by eight uszisa deities, eight offering goddesses and four door guardians. In the outer gallery, flanking the gateways, are the Sixteen Bodhisattvas of the Bhadrakalpa, who are thus included in the basic thirty-seven deities, replacing the Vajrasattvas of the previous mandala. There is a long version of this mandala that adds many other deities in the outer regions. The Sixteen Bodhisattvas correspond to those of de Mallmann's list one, again placing Candraprabha to the left of the western gateway, and Jaliniprabha at the end of the row in the West.

In SDP Jaliniprabha is described as follows: "The fourth Bodhisattva (on the west) is known as

Jaliniprabha. He is beautiful and red. He holds the vajra-net."I26 NSP 22 says that "he holds a vajra cage, while his left hand is placed on his hip."'27 The Sanskrit term which has been translated as

"vajra-net" or "vajra-cage" is vajrapanjaram. De Mallmann believed that this term may have ori-

ginally been vajrajdal, an adamantine flame, but because I and r were often confused in Buddhist

Hybrid Sanskrit manuscripts, vajrajala became transposed into vajrajdra.~8 Eventually the word became vajrapanjara, translated by Skorupski in SDP as "vajra-net" and by Bhattacharyya in NSP as

"vajra-cage". De Mallmann illustrated an example of a vajra-cage used as a symbol for Jaliniprabha from a Nepalese manuscript.'29 It resembles a hanging bird cage. In the same Nepalese manuscript, Candraprabha was illustrated with a crescent moon. Vajrapanjaram thus appears to be another word derived from the wrongfully-translated jvali, which has resulted in great confusion in the

iconography ofJaliniprabha. In Ngor 39 and in NTMP 13:39, Jaliniprabha raises his right hand out to his side, with his left hand

on his lap. No attributes are visible. In NTMP I2:22, which supposedly is an illustration of the mandala as described in NSP, his right hand holds up a sun, while his left is on his hip (fig. 5), although the text of NSP prescribed a vajra-cage (vajrapanjaram). The artist who drew the illustration in NTMP 12:22 perhaps had access to a different manuscript of the NSP from the one available to Bhattacharyya for his edition of NSP or to de Mallmann. In Ngor 39 and NTMP I3:49 Candraprabha likewise has no attribute, but in NTMP 12:22, he holds a crescent moon.

Mandala no. I2: Cakravarti Guna Mandala

A third SDP mandala containing the sixteen Bhadrakalpa bodhisattvas is the Cakravarti Guna'30 or Cakravartin Mandala.I3I Examples include Ngor 31 and NTMP 13:31. The Ngor example consists of nine concentric circles. A central white Vajrasattva is surrounded by the four regional Tathagatas: Vajrapani, Ratnasambhava, Amitabha, and Amoghasiddhi. In the second circle are eight more 124 Ngor's terminology. 125 NSP terminology. This mandala is based on SDP, chapter I, 26-31; TOH 485; GDK VI, ff. 321-429; NSP 22, Sanskrit edition, 66-

71, summarized in de Mallmann I975, 62-64. I26 SDP, 30. Sanskrit: caturtho bodhisattvas ca jalinprabhasamjinitah; raktavaraprabhadivyo vajrapanjaradhdrinah (SDP, 170). 127 De Mallmann 1975, 194. Sanskrit: savyena vajrapanjaram bibhranah katisthavamamustih (NSP, 67, and Bhattacharyya, Iconography,

90). Also see introduction to NSP, 27. I28 De Mallmann I975, I93. 129 Ibid., pl. XI, fig. I. I30 Ngor's title. I31 Title in SDP, 74. This mandala is described in SDP, chapter III.

367 367 367

Page 23: Bodhisattva With Mask

Buddhas, and in the third circle are the sixteen Vajra-bodhisattvas. In the fourth circle are t-he sixteen Bhadrakalpa bodhisattvas, again arranged in the order of de Mallmann's list one. Other deities fill the remaining five circles.

The Bhadrakalpa bodhisattvas are not described in the text for this mandala. In Ngor, Jaliniprabha sits at the right end of the western segment of the fourth circle. He holds his right hand before his chest and his left on his lap, with no visible attributes. Candraprabha is the second to the left of

Jaliniprabha. He likewise possesses no visible attributes.

Mandala no. I3: Sakyamuni Kdya Mandala

The fourth SDP mandala is the SakyamuniI32 or Sdkyamuni Kdya Mandala.33 The central figure is a

golden Sakyamuni in dhydnamudrda.34 Eight usmsa deities surround him. Four offering goddesses are in the corners and four guardians are located in the gateways. According to the text, the sixteen

Bhadrakalpa bodhisattvas are in a square surrounding the above. The examples of this mandala in both Ngor 28 and NTMP 13:28, however, stop before the sixteen bodhisattvas. They contain only the seventeen deities enumerated above.

Mandala no. I4: 2Ig-Deity Dharmadhdtu Vdgzsvara Manjufri Maandala

The sixteen Bhadrakalpa bodhisattvas can also be found in three mandalas based on the Manjusfrz- ndma-samgiti (MNS), a text already encountered in the section on Jaliniprabha as an attendant of

Manijusri. Of these three mandalas, the first is the 2g-Deity Dharmadhdtu Vdgzsvara Manjusri Mandala, "Speech-Lord of the Dharma-Realm,"135 described in NSP 21. The central figure is Maiijusri or Mainjughosa.'36 He is white, four-headed and eight-armed, and is surrounded in the innermost circle by an additional thirty-six deities. In a first square around the circle are fifty-two goddesses, and sixteen more are located in a second square, two in each cardinal direction and two in each corner. The sixteen Bhadrakalpa bodhisattvas are arranged two by two between these gate and corner deities in this second square. Outside all these is an outer circle that contains ninety-eight deities, bringing the total of the mandala to 219.

In this mandala, the sixteen bodhisattvas are arranged according to de Mallmann's list three

(Appendix C). Since the individual bodhisattvas are not described in MNS, we rely on the description in NSP 21. Jaliniprabha sits in the same position as in list one, at the end of the west side, just left of

the northwest corner of the second square. Candraprabha, however, has moved from just left of the center gateway to the right of it, placing him to the immediate left of Jaliniprabha. NSP says that

Jaliniprabha is "rose colored, a sword in the right hand, the sun on an abja lotus in the left hand."'37 132 SDP terminology. I33 Ngor terminology. This mandzala is described in SDP, chapter II. I34 SDP, 37-38. I35 MNS, ch. 4, Wayman, 27-29, 66-67, or GDK, vol. 6, 430-630. To interpret MNS, Wayman relied on Bu-ston, vol. Pha, who in

turn had relied on a commentary on the MNS by Manijusrimitra. Wayman also used commentaries on MNS by Candrabhadraklrti and Smrtijfinakirti and NSP no. 21 (NSP 54-65, de Mallmann I964, 82-96, 229-4I and de Mallmann 1975, 60-62). This mandala is also described in Tucci, Gyantse, 239-42. Published examples: Ngor 40, NTMP 12:21; NTMP I3:40; Pal, Alchi, no. DI4; Tucci,

Gyantse, part 3, figs. 282-303; and Detlef-Ingo Lauf, Secret Revelation of Tibetan Thangkas (Freiburg im Breisgau: Aurum Verlag, I976), pl. 26.

136 Wayman in MNS, 23; Tucci, Gyantse, 239. I37 De Mallmann 1975, 6i, 194; de Mallmann 1964, 88, 233; Bhattacharyya, 90. Sanskrit text: sitaraktah savyenasimi

vamenabhjasthasurya(nm) (de Mallmann I964, 233; Bhattacharyya).

Buddhas, and in the third circle are the sixteen Vajra-bodhisattvas. In the fourth circle are t-he sixteen Bhadrakalpa bodhisattvas, again arranged in the order of de Mallmann's list one. Other deities fill the remaining five circles.

The Bhadrakalpa bodhisattvas are not described in the text for this mandala. In Ngor, Jaliniprabha sits at the right end of the western segment of the fourth circle. He holds his right hand before his chest and his left on his lap, with no visible attributes. Candraprabha is the second to the left of

Jaliniprabha. He likewise possesses no visible attributes.

Mandala no. I3: Sakyamuni Kdya Mandala

The fourth SDP mandala is the SakyamuniI32 or Sdkyamuni Kdya Mandala.33 The central figure is a

golden Sakyamuni in dhydnamudrda.34 Eight usmsa deities surround him. Four offering goddesses are in the corners and four guardians are located in the gateways. According to the text, the sixteen

Bhadrakalpa bodhisattvas are in a square surrounding the above. The examples of this mandala in both Ngor 28 and NTMP 13:28, however, stop before the sixteen bodhisattvas. They contain only the seventeen deities enumerated above.

Mandala no. I4: 2Ig-Deity Dharmadhdtu Vdgzsvara Manjufri Maandala

The sixteen Bhadrakalpa bodhisattvas can also be found in three mandalas based on the Manjusfrz- ndma-samgiti (MNS), a text already encountered in the section on Jaliniprabha as an attendant of

Manijusri. Of these three mandalas, the first is the 2g-Deity Dharmadhdtu Vdgzsvara Manjusri Mandala, "Speech-Lord of the Dharma-Realm,"135 described in NSP 21. The central figure is Maiijusri or Mainjughosa.'36 He is white, four-headed and eight-armed, and is surrounded in the innermost circle by an additional thirty-six deities. In a first square around the circle are fifty-two goddesses, and sixteen more are located in a second square, two in each cardinal direction and two in each corner. The sixteen Bhadrakalpa bodhisattvas are arranged two by two between these gate and corner deities in this second square. Outside all these is an outer circle that contains ninety-eight deities, bringing the total of the mandala to 219.

In this mandala, the sixteen bodhisattvas are arranged according to de Mallmann's list three

(Appendix C). Since the individual bodhisattvas are not described in MNS, we rely on the description in NSP 21. Jaliniprabha sits in the same position as in list one, at the end of the west side, just left of

the northwest corner of the second square. Candraprabha, however, has moved from just left of the center gateway to the right of it, placing him to the immediate left of Jaliniprabha. NSP says that

Jaliniprabha is "rose colored, a sword in the right hand, the sun on an abja lotus in the left hand."'37 132 SDP terminology. I33 Ngor terminology. This mandzala is described in SDP, chapter II. I34 SDP, 37-38. I35 MNS, ch. 4, Wayman, 27-29, 66-67, or GDK, vol. 6, 430-630. To interpret MNS, Wayman relied on Bu-ston, vol. Pha, who in

turn had relied on a commentary on the MNS by Manijusrimitra. Wayman also used commentaries on MNS by Candrabhadraklrti and Smrtijfinakirti and NSP no. 21 (NSP 54-65, de Mallmann I964, 82-96, 229-4I and de Mallmann 1975, 60-62). This mandala is also described in Tucci, Gyantse, 239-42. Published examples: Ngor 40, NTMP 12:21; NTMP I3:40; Pal, Alchi, no. DI4; Tucci,

Gyantse, part 3, figs. 282-303; and Detlef-Ingo Lauf, Secret Revelation of Tibetan Thangkas (Freiburg im Breisgau: Aurum Verlag, I976), pl. 26.

136 Wayman in MNS, 23; Tucci, Gyantse, 239. I37 De Mallmann 1975, 6i, 194; de Mallmann 1964, 88, 233; Bhattacharyya, 90. Sanskrit text: sitaraktah savyenasimi

vamenabhjasthasurya(nm) (de Mallmann I964, 233; Bhattacharyya).

Buddhas, and in the third circle are the sixteen Vajra-bodhisattvas. In the fourth circle are t-he sixteen Bhadrakalpa bodhisattvas, again arranged in the order of de Mallmann's list one. Other deities fill the remaining five circles.

The Bhadrakalpa bodhisattvas are not described in the text for this mandala. In Ngor, Jaliniprabha sits at the right end of the western segment of the fourth circle. He holds his right hand before his chest and his left on his lap, with no visible attributes. Candraprabha is the second to the left of

Jaliniprabha. He likewise possesses no visible attributes.

Mandala no. I3: Sakyamuni Kdya Mandala

The fourth SDP mandala is the SakyamuniI32 or Sdkyamuni Kdya Mandala.33 The central figure is a

golden Sakyamuni in dhydnamudrda.34 Eight usmsa deities surround him. Four offering goddesses are in the corners and four guardians are located in the gateways. According to the text, the sixteen

Bhadrakalpa bodhisattvas are in a square surrounding the above. The examples of this mandala in both Ngor 28 and NTMP 13:28, however, stop before the sixteen bodhisattvas. They contain only the seventeen deities enumerated above.

Mandala no. I4: 2Ig-Deity Dharmadhdtu Vdgzsvara Manjufri Maandala

The sixteen Bhadrakalpa bodhisattvas can also be found in three mandalas based on the Manjusfrz- ndma-samgiti (MNS), a text already encountered in the section on Jaliniprabha as an attendant of

Manijusri. Of these three mandalas, the first is the 2g-Deity Dharmadhdtu Vdgzsvara Manjusri Mandala, "Speech-Lord of the Dharma-Realm,"135 described in NSP 21. The central figure is Maiijusri or Mainjughosa.'36 He is white, four-headed and eight-armed, and is surrounded in the innermost circle by an additional thirty-six deities. In a first square around the circle are fifty-two goddesses, and sixteen more are located in a second square, two in each cardinal direction and two in each corner. The sixteen Bhadrakalpa bodhisattvas are arranged two by two between these gate and corner deities in this second square. Outside all these is an outer circle that contains ninety-eight deities, bringing the total of the mandala to 219.

In this mandala, the sixteen bodhisattvas are arranged according to de Mallmann's list three

(Appendix C). Since the individual bodhisattvas are not described in MNS, we rely on the description in NSP 21. Jaliniprabha sits in the same position as in list one, at the end of the west side, just left of

the northwest corner of the second square. Candraprabha, however, has moved from just left of the center gateway to the right of it, placing him to the immediate left of Jaliniprabha. NSP says that

Jaliniprabha is "rose colored, a sword in the right hand, the sun on an abja lotus in the left hand."'37 132 SDP terminology. I33 Ngor terminology. This mandzala is described in SDP, chapter II. I34 SDP, 37-38. I35 MNS, ch. 4, Wayman, 27-29, 66-67, or GDK, vol. 6, 430-630. To interpret MNS, Wayman relied on Bu-ston, vol. Pha, who in

turn had relied on a commentary on the MNS by Manijusrimitra. Wayman also used commentaries on MNS by Candrabhadraklrti and Smrtijfinakirti and NSP no. 21 (NSP 54-65, de Mallmann I964, 82-96, 229-4I and de Mallmann 1975, 60-62). This mandala is also described in Tucci, Gyantse, 239-42. Published examples: Ngor 40, NTMP 12:21; NTMP I3:40; Pal, Alchi, no. DI4; Tucci,

Gyantse, part 3, figs. 282-303; and Detlef-Ingo Lauf, Secret Revelation of Tibetan Thangkas (Freiburg im Breisgau: Aurum Verlag, I976), pl. 26.

136 Wayman in MNS, 23; Tucci, Gyantse, 239. I37 De Mallmann 1975, 6i, 194; de Mallmann 1964, 88, 233; Bhattacharyya, 90. Sanskrit text: sitaraktah savyenasimi

vamenabhjasthasurya(nm) (de Mallmann I964, 233; Bhattacharyya).

368 368 368

Page 24: Bodhisattva With Mask

In the examples in Ngor 40, NTMP 3:40, and Lauf 26, his attributes are indiscernible. In NTMP

I2:21 he holds a sword in his right hand and a sun on a lotus in his left, conforming to NSP.

Candraprabha's attribute is also indistinct in Ngor 40, but in NTMP 12:21, NTMP 13:40, and Lauf 26, he holds a lunar orb on a lotus.

Mandala no. 15: Fifty-seven-Deity Samksiptakula Guhyaka Mandala

A second mandala based on the MNS is the Fifty-seven-Deity Samksiptakula Guhyaka Mandala,I38 also called the Vajradhdtu Mandala.I39 This mandala resembles the Tibetan Fifty-three-Deity Vajradhatu Mandala based on the STTS and described in NSP 19 that was discussed above.140 A major difference is in the number of gatekeepers. The Fifty-seven-Deity Samksiptakula Guhyaka Mandala added a second group of four gatekeepers to the fifty-three deities of the STTS Vajradhatu Mandala, bringing the total to fifty-seven. MNS on the other hand subtracted four gatekeepers,

resulting in only forty-nine deities. A second difference is a matter of arrangement. In the

Samksiptakula Guhyaka Mandala, the interior thirty-six deities are arranged around the central Vairocana in rings rather than grouped around each of the four subsidiary Tathagatas, as in the

Vajradhdtu Mandalas based on STTS. A third difference is that the sixteen bodhisattvas of the STTS mandala conform to de Mallmann's list one (Appendix A), whereas in this second MNS mandala the bodhisattvas follow her list two (Appendix B). The list of bodhisattvas for this mandala therefore

differs both from the STTS mandalas, based on list one, and from the MNS mandala discussed

immediately above, based on list three (Appendix C). In this mandala, the Sixteen Bodhisattvas of the Bhadrakalpa sit in a square surrounding the inner rings. Jalinlprabha is still in the last position in the West, but Candraprabha has now moved around the corner into the first position in the North.

Neither Jaliniprabha nor Candraprabha is described in MNS. Wayman translated Jaliniprabha's name as "Ensnaring Light," in accordance with the definition in the Mahavyutpatti.'4' In Ngor 41, both of these bodhisattvas sit with the right hand over the chest, palm outward, and the left on the

lap. No attributes are discernible. NTMP 13:41 is also devoted to this mandala, but only the central

figure, Vairocana, is depicted.

Mandala no. 16: Vddisimha Manljusfr Mandala

A third mandala based on MNS is the Mandala of Vddisimha Manjusrzi, with a red Maiijusri as the main figure, accompanied by a blue Sarasvati.'42 The pair is surrounded by four other Buddhas and the sixteen Bhadrakalpa bodhisattvas, who sit in the order of de Mallmann's list two (Appendix B).

According to Wayman,143 Jaliniprabha is again the last figure in the West and holds a palace (g'yun drun 'khyil pa).'44 Candraprabha occupies the first position in the North, and holds an umbrella marked with a moon. I have not located an example of this mandala.

I38 Ngor title. 139 Title according to MNS 2, chapter 54, 68-73. Also see ibid., 29-30. Wayman's translation of this chapter has relied on notes from

commentaries by SmrtijijanakIrti and Candrabhadrakirti, and on NSP 19. The text for this mandala is located in GDK VI: ff. 631- 703. Examples are found in Ngor 4iA & B. Only its central figure is depicted in NTMP 13:41.

I40 Tucci, Gyantse, 239, claims that MNS has derived from the STTS. 141 MNS 2, 73.

142 MNS, chapter VIII (MNS 2, 33-34, 86-98). I43 MNS 2, 90, quoting the commentator Candrabhadrakirti (Arya-maniju,srz-samgiti-naniavrtti, Tibetan translation in Peking Tanjur,

vol. 75, I-I-I to 15-2-I). The Sixteen Bodhisattvas are discussed in 9-3-I to 9-3-8. I44

MNS2,9o.

In the examples in Ngor 40, NTMP 3:40, and Lauf 26, his attributes are indiscernible. In NTMP

I2:21 he holds a sword in his right hand and a sun on a lotus in his left, conforming to NSP.

Candraprabha's attribute is also indistinct in Ngor 40, but in NTMP 12:21, NTMP 13:40, and Lauf 26, he holds a lunar orb on a lotus.

Mandala no. 15: Fifty-seven-Deity Samksiptakula Guhyaka Mandala

A second mandala based on the MNS is the Fifty-seven-Deity Samksiptakula Guhyaka Mandala,I38 also called the Vajradhdtu Mandala.I39 This mandala resembles the Tibetan Fifty-three-Deity Vajradhatu Mandala based on the STTS and described in NSP 19 that was discussed above.140 A major difference is in the number of gatekeepers. The Fifty-seven-Deity Samksiptakula Guhyaka Mandala added a second group of four gatekeepers to the fifty-three deities of the STTS Vajradhatu Mandala, bringing the total to fifty-seven. MNS on the other hand subtracted four gatekeepers,

resulting in only forty-nine deities. A second difference is a matter of arrangement. In the

Samksiptakula Guhyaka Mandala, the interior thirty-six deities are arranged around the central Vairocana in rings rather than grouped around each of the four subsidiary Tathagatas, as in the

Vajradhdtu Mandalas based on STTS. A third difference is that the sixteen bodhisattvas of the STTS mandala conform to de Mallmann's list one (Appendix A), whereas in this second MNS mandala the bodhisattvas follow her list two (Appendix B). The list of bodhisattvas for this mandala therefore

differs both from the STTS mandalas, based on list one, and from the MNS mandala discussed

immediately above, based on list three (Appendix C). In this mandala, the Sixteen Bodhisattvas of the Bhadrakalpa sit in a square surrounding the inner rings. Jalinlprabha is still in the last position in the West, but Candraprabha has now moved around the corner into the first position in the North.

Neither Jaliniprabha nor Candraprabha is described in MNS. Wayman translated Jaliniprabha's name as "Ensnaring Light," in accordance with the definition in the Mahavyutpatti.'4' In Ngor 41, both of these bodhisattvas sit with the right hand over the chest, palm outward, and the left on the

lap. No attributes are discernible. NTMP 13:41 is also devoted to this mandala, but only the central

figure, Vairocana, is depicted.

Mandala no. 16: Vddisimha Manljusfr Mandala

A third mandala based on MNS is the Mandala of Vddisimha Manjusrzi, with a red Maiijusri as the main figure, accompanied by a blue Sarasvati.'42 The pair is surrounded by four other Buddhas and the sixteen Bhadrakalpa bodhisattvas, who sit in the order of de Mallmann's list two (Appendix B).

According to Wayman,143 Jaliniprabha is again the last figure in the West and holds a palace (g'yun drun 'khyil pa).'44 Candraprabha occupies the first position in the North, and holds an umbrella marked with a moon. I have not located an example of this mandala.

I38 Ngor title. 139 Title according to MNS 2, chapter 54, 68-73. Also see ibid., 29-30. Wayman's translation of this chapter has relied on notes from

commentaries by SmrtijijanakIrti and Candrabhadrakirti, and on NSP 19. The text for this mandala is located in GDK VI: ff. 631- 703. Examples are found in Ngor 4iA & B. Only its central figure is depicted in NTMP 13:41.

I40 Tucci, Gyantse, 239, claims that MNS has derived from the STTS. 141 MNS 2, 73.

142 MNS, chapter VIII (MNS 2, 33-34, 86-98). I43 MNS 2, 90, quoting the commentator Candrabhadrakirti (Arya-maniju,srz-samgiti-naniavrtti, Tibetan translation in Peking Tanjur,

vol. 75, I-I-I to 15-2-I). The Sixteen Bodhisattvas are discussed in 9-3-I to 9-3-8. I44

MNS2,9o.

In the examples in Ngor 40, NTMP 3:40, and Lauf 26, his attributes are indiscernible. In NTMP

I2:21 he holds a sword in his right hand and a sun on a lotus in his left, conforming to NSP.

Candraprabha's attribute is also indistinct in Ngor 40, but in NTMP 12:21, NTMP 13:40, and Lauf 26, he holds a lunar orb on a lotus.

Mandala no. 15: Fifty-seven-Deity Samksiptakula Guhyaka Mandala

A second mandala based on the MNS is the Fifty-seven-Deity Samksiptakula Guhyaka Mandala,I38 also called the Vajradhdtu Mandala.I39 This mandala resembles the Tibetan Fifty-three-Deity Vajradhatu Mandala based on the STTS and described in NSP 19 that was discussed above.140 A major difference is in the number of gatekeepers. The Fifty-seven-Deity Samksiptakula Guhyaka Mandala added a second group of four gatekeepers to the fifty-three deities of the STTS Vajradhatu Mandala, bringing the total to fifty-seven. MNS on the other hand subtracted four gatekeepers,

resulting in only forty-nine deities. A second difference is a matter of arrangement. In the

Samksiptakula Guhyaka Mandala, the interior thirty-six deities are arranged around the central Vairocana in rings rather than grouped around each of the four subsidiary Tathagatas, as in the

Vajradhdtu Mandalas based on STTS. A third difference is that the sixteen bodhisattvas of the STTS mandala conform to de Mallmann's list one (Appendix A), whereas in this second MNS mandala the bodhisattvas follow her list two (Appendix B). The list of bodhisattvas for this mandala therefore

differs both from the STTS mandalas, based on list one, and from the MNS mandala discussed

immediately above, based on list three (Appendix C). In this mandala, the Sixteen Bodhisattvas of the Bhadrakalpa sit in a square surrounding the inner rings. Jalinlprabha is still in the last position in the West, but Candraprabha has now moved around the corner into the first position in the North.

Neither Jaliniprabha nor Candraprabha is described in MNS. Wayman translated Jaliniprabha's name as "Ensnaring Light," in accordance with the definition in the Mahavyutpatti.'4' In Ngor 41, both of these bodhisattvas sit with the right hand over the chest, palm outward, and the left on the

lap. No attributes are discernible. NTMP 13:41 is also devoted to this mandala, but only the central

figure, Vairocana, is depicted.

Mandala no. 16: Vddisimha Manljusfr Mandala

A third mandala based on MNS is the Mandala of Vddisimha Manjusrzi, with a red Maiijusri as the main figure, accompanied by a blue Sarasvati.'42 The pair is surrounded by four other Buddhas and the sixteen Bhadrakalpa bodhisattvas, who sit in the order of de Mallmann's list two (Appendix B).

According to Wayman,143 Jaliniprabha is again the last figure in the West and holds a palace (g'yun drun 'khyil pa).'44 Candraprabha occupies the first position in the North, and holds an umbrella marked with a moon. I have not located an example of this mandala.

I38 Ngor title. 139 Title according to MNS 2, chapter 54, 68-73. Also see ibid., 29-30. Wayman's translation of this chapter has relied on notes from

commentaries by SmrtijijanakIrti and Candrabhadrakirti, and on NSP 19. The text for this mandala is located in GDK VI: ff. 631- 703. Examples are found in Ngor 4iA & B. Only its central figure is depicted in NTMP 13:41.

I40 Tucci, Gyantse, 239, claims that MNS has derived from the STTS. 141 MNS 2, 73.

142 MNS, chapter VIII (MNS 2, 33-34, 86-98). I43 MNS 2, 90, quoting the commentator Candrabhadrakirti (Arya-maniju,srz-samgiti-naniavrtti, Tibetan translation in Peking Tanjur,

vol. 75, I-I-I to 15-2-I). The Sixteen Bodhisattvas are discussed in 9-3-I to 9-3-8. I44

MNS2,9o.

369 369 369

Page 25: Bodhisattva With Mask

Mandala no. 17: The Forty-three-Fold Manijuvajra Mandala Mandala no. 17: The Forty-three-Fold Manijuvajra Mandala Mandala no. 17: The Forty-three-Fold Manijuvajra Mandala

Another mandala which includes the sixteen Bhadrakalpa bodhisattvas, but based on an unknown text, is the Mandala of Manjuvajra in Forty-three Personifications45 or the Mandala of the Forty-three- Fold (Vairocana) Manjuvajra.I 6 This mandala is described in NSP 20,147 and an example is included in NTMP (12:20). Manjuvajra is in the center, surrounded by the four Tathagatas and four goddesses. Eight more goddesses are in a second circle. In the third circle are the sixteen Bhadrakalpa bodhisattvas, arranged in accordance with de Mallmann's list two. Thus Jaliniprabha is again at the end of the West side, and Candraprabha is the first one in the North. In this mandala all of these bodhisattvas have three faces and six hands, except for Maitreya, who has only four hands.

Jalinlprabha has one pair of hands in dhydnamudrd, the second pair holds a bow and arrow, the third

right performs abhaya- or varadamudrd and the left carries a solar disk on a blue lotus.'48 In NTAIP

12:20, Jalinlprabha conforms to this description, except the solar disk is held directly in his hand rather than on a lotus. Candraprabha's textual description resembles Jaliniprabha's except that he should hold a lunar circle on a blue lotus in his third left hand. On the illustration in NTMP I2:20,

he holds no attributes in his third pair of hands.

Mandalas I8 and 19: Mahdvairocana Kdyamandala and Mahavairocana Cittamandala

A final pair of mandalas including the sixteen Bhadrakalpa bodhisattvas is based on the

Kriydsamgraha (KS) by Kuladatta, whose dates are unknown. The earliest extant manuscript of this text dates to the thirteenth to the fourteenth century. The text was translated into Tibetan by Kirticandra and Yar-luns-pa Grags-pa-rgyal-msthan, a Sakya abbot, who died about 1226 A.D.149

The two mandalas are really two versions of the same one: a kdyamandala,'50 with anthropomorphic figures, and a cittamandala,I with symbols only. Both feature Mahavairocana as the central figure. The sixteen Bhadrakalpa bodhisattvas are located in the fourth circle surrounding Mahavairocana

along with four outer offerings bodhisattvas and four gate guardians, arranged in accordance with de Mallmann's list one. Jaliniprabha is again the last one in the West, and Candraprabha has the second

position in the West. According to the text for the kdyamandala, Jalinlprabha carries a jdla, which can be translated as either a light or a net.152 In the cittamandala his symbol is the vajra cage,153 which

we encountered in the Thirty-seven-Deity Navosnisa Sdkyamuni Mandala discussed above. I have seen no examples of these two mandalas.

145 De Mallmann 1964 terminology. I46 NTMP terminology. 147 NSP, 48-53 (Sanskrit, devanagari); de Mallmann 1964, 223-29 (Romanized Sanskrit); ibid., 74-81 (French); de Mallmann I975, 58-

60o (French summary). Example: NTMP, I2:20.

148 Jaliniprabho rakto vdmenotpalasthasuryamandaladhdarz savyena varadah, NSP in de Mallmann 1964, 225; Bhattacharyya, 90. 149 Tibetan translation: TOH 2531 (Derge, Rgyud KU 227bI-362a7). 150 KS, chap. 2, summarized in de Mallmann 1975, 79-81. I5' KS, chap. 3, summarized in de Mallmann I975, 8I-82. I52 De Mallmann 1975, 193-94. I53 Vajrapaiijaram in the Sanskrit manuscript no. 31 of KS in the Bibliotheque Nationale, Paris, and vajrapamnjalam in ms. no. 32.

3 .32.37

Another mandala which includes the sixteen Bhadrakalpa bodhisattvas, but based on an unknown text, is the Mandala of Manjuvajra in Forty-three Personifications45 or the Mandala of the Forty-three- Fold (Vairocana) Manjuvajra.I 6 This mandala is described in NSP 20,147 and an example is included in NTMP (12:20). Manjuvajra is in the center, surrounded by the four Tathagatas and four goddesses. Eight more goddesses are in a second circle. In the third circle are the sixteen Bhadrakalpa bodhisattvas, arranged in accordance with de Mallmann's list two. Thus Jaliniprabha is again at the end of the West side, and Candraprabha is the first one in the North. In this mandala all of these bodhisattvas have three faces and six hands, except for Maitreya, who has only four hands.

Jalinlprabha has one pair of hands in dhydnamudrd, the second pair holds a bow and arrow, the third

right performs abhaya- or varadamudrd and the left carries a solar disk on a blue lotus.'48 In NTAIP

12:20, Jalinlprabha conforms to this description, except the solar disk is held directly in his hand rather than on a lotus. Candraprabha's textual description resembles Jaliniprabha's except that he should hold a lunar circle on a blue lotus in his third left hand. On the illustration in NTMP I2:20,

he holds no attributes in his third pair of hands.

Mandalas I8 and 19: Mahdvairocana Kdyamandala and Mahavairocana Cittamandala

A final pair of mandalas including the sixteen Bhadrakalpa bodhisattvas is based on the

Kriydsamgraha (KS) by Kuladatta, whose dates are unknown. The earliest extant manuscript of this text dates to the thirteenth to the fourteenth century. The text was translated into Tibetan by Kirticandra and Yar-luns-pa Grags-pa-rgyal-msthan, a Sakya abbot, who died about 1226 A.D.149

The two mandalas are really two versions of the same one: a kdyamandala,'50 with anthropomorphic figures, and a cittamandala,I with symbols only. Both feature Mahavairocana as the central figure. The sixteen Bhadrakalpa bodhisattvas are located in the fourth circle surrounding Mahavairocana

along with four outer offerings bodhisattvas and four gate guardians, arranged in accordance with de Mallmann's list one. Jaliniprabha is again the last one in the West, and Candraprabha has the second

position in the West. According to the text for the kdyamandala, Jalinlprabha carries a jdla, which can be translated as either a light or a net.152 In the cittamandala his symbol is the vajra cage,153 which

we encountered in the Thirty-seven-Deity Navosnisa Sdkyamuni Mandala discussed above. I have seen no examples of these two mandalas.

145 De Mallmann 1964 terminology. I46 NTMP terminology. 147 NSP, 48-53 (Sanskrit, devanagari); de Mallmann 1964, 223-29 (Romanized Sanskrit); ibid., 74-81 (French); de Mallmann I975, 58-

60o (French summary). Example: NTMP, I2:20.

148 Jaliniprabho rakto vdmenotpalasthasuryamandaladhdarz savyena varadah, NSP in de Mallmann 1964, 225; Bhattacharyya, 90. 149 Tibetan translation: TOH 2531 (Derge, Rgyud KU 227bI-362a7). 150 KS, chap. 2, summarized in de Mallmann 1975, 79-81. I5' KS, chap. 3, summarized in de Mallmann I975, 8I-82. I52 De Mallmann 1975, 193-94. I53 Vajrapaiijaram in the Sanskrit manuscript no. 31 of KS in the Bibliotheque Nationale, Paris, and vajrapamnjalam in ms. no. 32.

3 .32.37

Another mandala which includes the sixteen Bhadrakalpa bodhisattvas, but based on an unknown text, is the Mandala of Manjuvajra in Forty-three Personifications45 or the Mandala of the Forty-three- Fold (Vairocana) Manjuvajra.I 6 This mandala is described in NSP 20,147 and an example is included in NTMP (12:20). Manjuvajra is in the center, surrounded by the four Tathagatas and four goddesses. Eight more goddesses are in a second circle. In the third circle are the sixteen Bhadrakalpa bodhisattvas, arranged in accordance with de Mallmann's list two. Thus Jaliniprabha is again at the end of the West side, and Candraprabha is the first one in the North. In this mandala all of these bodhisattvas have three faces and six hands, except for Maitreya, who has only four hands.

Jalinlprabha has one pair of hands in dhydnamudrd, the second pair holds a bow and arrow, the third

right performs abhaya- or varadamudrd and the left carries a solar disk on a blue lotus.'48 In NTAIP

12:20, Jalinlprabha conforms to this description, except the solar disk is held directly in his hand rather than on a lotus. Candraprabha's textual description resembles Jaliniprabha's except that he should hold a lunar circle on a blue lotus in his third left hand. On the illustration in NTMP I2:20,

he holds no attributes in his third pair of hands.

Mandalas I8 and 19: Mahdvairocana Kdyamandala and Mahavairocana Cittamandala

A final pair of mandalas including the sixteen Bhadrakalpa bodhisattvas is based on the

Kriydsamgraha (KS) by Kuladatta, whose dates are unknown. The earliest extant manuscript of this text dates to the thirteenth to the fourteenth century. The text was translated into Tibetan by Kirticandra and Yar-luns-pa Grags-pa-rgyal-msthan, a Sakya abbot, who died about 1226 A.D.149

The two mandalas are really two versions of the same one: a kdyamandala,'50 with anthropomorphic figures, and a cittamandala,I with symbols only. Both feature Mahavairocana as the central figure. The sixteen Bhadrakalpa bodhisattvas are located in the fourth circle surrounding Mahavairocana

along with four outer offerings bodhisattvas and four gate guardians, arranged in accordance with de Mallmann's list one. Jaliniprabha is again the last one in the West, and Candraprabha has the second

position in the West. According to the text for the kdyamandala, Jalinlprabha carries a jdla, which can be translated as either a light or a net.152 In the cittamandala his symbol is the vajra cage,153 which

we encountered in the Thirty-seven-Deity Navosnisa Sdkyamuni Mandala discussed above. I have seen no examples of these two mandalas.

145 De Mallmann 1964 terminology. I46 NTMP terminology. 147 NSP, 48-53 (Sanskrit, devanagari); de Mallmann 1964, 223-29 (Romanized Sanskrit); ibid., 74-81 (French); de Mallmann I975, 58-

60o (French summary). Example: NTMP, I2:20.

148 Jaliniprabho rakto vdmenotpalasthasuryamandaladhdarz savyena varadah, NSP in de Mallmann 1964, 225; Bhattacharyya, 90. 149 Tibetan translation: TOH 2531 (Derge, Rgyud KU 227bI-362a7). 150 KS, chap. 2, summarized in de Mallmann 1975, 79-81. I5' KS, chap. 3, summarized in de Mallmann I975, 8I-82. I52 De Mallmann 1975, 193-94. I53 Vajrapaiijaram in the Sanskrit manuscript no. 31 of KS in the Bibliotheque Nationale, Paris, and vajrapamnjalam in ms. no. 32.

3 .32.37 370 370 370

Page 26: Bodhisattva With Mask

To summarize, Jaliniprabha as one of the Sixteen Bodhisattvas of the Bhadrakalpa appears in

twelve mandalas: two based on STTS, four on SDP, three on MNS, two on KS, and one from an

unknown text described in NSP. In the Japanese Vajradhatu Mandala based on STTS, Jaliniprabha holds a jewelled net, but in the Tibetan version, he holds a vajra on a lotus in common with all four

bodhisattvas of the Western quarter. In three of the mandalas based on SDP, the Thirty-seven-Principal

Deity Sarvavid Vairocana Mandala, the Cakravarti Gua Mandala, and the Sakyamuni Gdya Mandala,

he holds no attribute, it is indecipherable, or I have not located an illustration. In the Thirty-seven-

Deity Navosnmsa Sakyamuni Mandala, he is assigned a vajra cage (SDP) or a vajra net (NSP). However, in the example illustrated in NTMP I2:22, he actually holds a sun. Of the three mandalas based on

MNS, he holds a sun on a lotus in the 219-Deity Dharmadhdtu Vdgisvara ManjusrZ Mandala, an

indiscernible attribute in the Fifty-seven-Deity Samksiptakula Guhyaka Mandala, and a "palace" in the Vadisirhha Mafijusri Mandala. In the Mandala of Manjuvajra in Forty-three Personifications from NSP

20, he holds a sun. In the Kdyamandala derived from KS, Jaliniprabha holds a jdla, which has been

translated as either a light or a net. In the Cittamandala, his attribute is the vajra-cage, the panj'aram. If we combine our findings from both functional categories of this bodhisattva, we have located

him in a total of nineteen mandalas. In four of these,I54 either in the text or in the example, he holds a

jewelled net (jdla) and in twoI55 he holds a vajra-cage (panjaram). Both of these attributes derive from the faulty translation of this bodhisattva's name. The textual basis for the mandalas which assign him a net are the MVS, at least in its Japanese interpretation, the Japanese version of STTS, and in the

Kdyamandala based on the KS. The vajra-cage vajrapanjaram, appears as his attribute in the Thirty-

seven-Deity Navosnzsa Sakyamuni Mandala based on SDP and in the Cittamandala of the KS. We can

conclude that the faulty notion of the meaning ofJaliniprabha's name has crept into these four texts.

In only four of the nineteen mandalas does Jaliniprabha hold a sun or a symbol of the sun. Three of

these are linked to NSP and to the drawings in NTMP. Inasmuch as volume 12 of NTMP illustrates

the mandalas of the NSP, it is not surprising that these two go hand-in-hand. The 2I1-Deity

Dharmadhdtu Vdgisvara Man~jusnrz Mandala is ultimately based on MNS and its commentaries, but it

was NSP 21 that specified the sun as Jaliniprabha's attribute, and the sun is clearly depicted on the

illustration of this mandala in NTMP 12:21. For the Forty-three-Fold Manijuvajra Mandala, known to

us only through NSP 20, both the text and its illustration in NTMP present this bodhisattva holding a sun. Both the original text (SDP) for the Thirty-seven-Deity Navosnzsa Sdkyazni Mandala and NSP

22 assign the vajrapanjaram to Jaliniprabha. However, in the example of this mandala in NTMP

12:22, the bodhisattva actually holds a sun and not the vajrapanjaram. It would appear that the artist who drew this mandala for the NTMP collection had a different manuscript or edition of NSP than

the one used by Bhattacharyya and de Mallmann in their edition of this compendium. The fourth mandala that illustrates Jaliniprabha with the proper attribute is the Tibetan

Abhisambodhi Vairocana Mandala, based on the Vairocanabhisambodhitantra, the Tibetan translation of

the MahdvairocanasuZtra (MVS). This text states that Jaliniprabha holds "many precious nets." Yet in a

group of images in the Baoxiang Lou which illustrates the Vairocanabhisambodhitantra, an image of

Jaliniprabha holds a symbol for the sun, a mask. Again, the artist who created this image must have

had a text or an iconographic compendium which imparted the correct iconography for Jaliniprabha. Could it be that the original connotation of Jaliniprabha, in Tibet, rendered into Tibetan in the

154 Nos. i, 2, 8, and i8.

s15 Nos. ii and 19.

To summarize, Jaliniprabha as one of the Sixteen Bodhisattvas of the Bhadrakalpa appears in

twelve mandalas: two based on STTS, four on SDP, three on MNS, two on KS, and one from an

unknown text described in NSP. In the Japanese Vajradhatu Mandala based on STTS, Jaliniprabha holds a jewelled net, but in the Tibetan version, he holds a vajra on a lotus in common with all four

bodhisattvas of the Western quarter. In three of the mandalas based on SDP, the Thirty-seven-Principal

Deity Sarvavid Vairocana Mandala, the Cakravarti Gua Mandala, and the Sakyamuni Gdya Mandala,

he holds no attribute, it is indecipherable, or I have not located an illustration. In the Thirty-seven-

Deity Navosnmsa Sakyamuni Mandala, he is assigned a vajra cage (SDP) or a vajra net (NSP). However, in the example illustrated in NTMP I2:22, he actually holds a sun. Of the three mandalas based on

MNS, he holds a sun on a lotus in the 219-Deity Dharmadhdtu Vdgisvara ManjusrZ Mandala, an

indiscernible attribute in the Fifty-seven-Deity Samksiptakula Guhyaka Mandala, and a "palace" in the Vadisirhha Mafijusri Mandala. In the Mandala of Manjuvajra in Forty-three Personifications from NSP

20, he holds a sun. In the Kdyamandala derived from KS, Jaliniprabha holds a jdla, which has been

translated as either a light or a net. In the Cittamandala, his attribute is the vajra-cage, the panj'aram. If we combine our findings from both functional categories of this bodhisattva, we have located

him in a total of nineteen mandalas. In four of these,I54 either in the text or in the example, he holds a

jewelled net (jdla) and in twoI55 he holds a vajra-cage (panjaram). Both of these attributes derive from the faulty translation of this bodhisattva's name. The textual basis for the mandalas which assign him a net are the MVS, at least in its Japanese interpretation, the Japanese version of STTS, and in the

Kdyamandala based on the KS. The vajra-cage vajrapanjaram, appears as his attribute in the Thirty-

seven-Deity Navosnzsa Sakyamuni Mandala based on SDP and in the Cittamandala of the KS. We can

conclude that the faulty notion of the meaning ofJaliniprabha's name has crept into these four texts.

In only four of the nineteen mandalas does Jaliniprabha hold a sun or a symbol of the sun. Three of

these are linked to NSP and to the drawings in NTMP. Inasmuch as volume 12 of NTMP illustrates

the mandalas of the NSP, it is not surprising that these two go hand-in-hand. The 2I1-Deity

Dharmadhdtu Vdgisvara Man~jusnrz Mandala is ultimately based on MNS and its commentaries, but it

was NSP 21 that specified the sun as Jaliniprabha's attribute, and the sun is clearly depicted on the

illustration of this mandala in NTMP 12:21. For the Forty-three-Fold Manijuvajra Mandala, known to

us only through NSP 20, both the text and its illustration in NTMP present this bodhisattva holding a sun. Both the original text (SDP) for the Thirty-seven-Deity Navosnzsa Sdkyazni Mandala and NSP

22 assign the vajrapanjaram to Jaliniprabha. However, in the example of this mandala in NTMP

12:22, the bodhisattva actually holds a sun and not the vajrapanjaram. It would appear that the artist who drew this mandala for the NTMP collection had a different manuscript or edition of NSP than

the one used by Bhattacharyya and de Mallmann in their edition of this compendium. The fourth mandala that illustrates Jaliniprabha with the proper attribute is the Tibetan

Abhisambodhi Vairocana Mandala, based on the Vairocanabhisambodhitantra, the Tibetan translation of

the MahdvairocanasuZtra (MVS). This text states that Jaliniprabha holds "many precious nets." Yet in a

group of images in the Baoxiang Lou which illustrates the Vairocanabhisambodhitantra, an image of

Jaliniprabha holds a symbol for the sun, a mask. Again, the artist who created this image must have

had a text or an iconographic compendium which imparted the correct iconography for Jaliniprabha. Could it be that the original connotation of Jaliniprabha, in Tibet, rendered into Tibetan in the

154 Nos. i, 2, 8, and i8.

s15 Nos. ii and 19.

To summarize, Jaliniprabha as one of the Sixteen Bodhisattvas of the Bhadrakalpa appears in

twelve mandalas: two based on STTS, four on SDP, three on MNS, two on KS, and one from an

unknown text described in NSP. In the Japanese Vajradhatu Mandala based on STTS, Jaliniprabha holds a jewelled net, but in the Tibetan version, he holds a vajra on a lotus in common with all four

bodhisattvas of the Western quarter. In three of the mandalas based on SDP, the Thirty-seven-Principal

Deity Sarvavid Vairocana Mandala, the Cakravarti Gua Mandala, and the Sakyamuni Gdya Mandala,

he holds no attribute, it is indecipherable, or I have not located an illustration. In the Thirty-seven-

Deity Navosnmsa Sakyamuni Mandala, he is assigned a vajra cage (SDP) or a vajra net (NSP). However, in the example illustrated in NTMP I2:22, he actually holds a sun. Of the three mandalas based on

MNS, he holds a sun on a lotus in the 219-Deity Dharmadhdtu Vdgisvara ManjusrZ Mandala, an

indiscernible attribute in the Fifty-seven-Deity Samksiptakula Guhyaka Mandala, and a "palace" in the Vadisirhha Mafijusri Mandala. In the Mandala of Manjuvajra in Forty-three Personifications from NSP

20, he holds a sun. In the Kdyamandala derived from KS, Jaliniprabha holds a jdla, which has been

translated as either a light or a net. In the Cittamandala, his attribute is the vajra-cage, the panj'aram. If we combine our findings from both functional categories of this bodhisattva, we have located

him in a total of nineteen mandalas. In four of these,I54 either in the text or in the example, he holds a

jewelled net (jdla) and in twoI55 he holds a vajra-cage (panjaram). Both of these attributes derive from the faulty translation of this bodhisattva's name. The textual basis for the mandalas which assign him a net are the MVS, at least in its Japanese interpretation, the Japanese version of STTS, and in the

Kdyamandala based on the KS. The vajra-cage vajrapanjaram, appears as his attribute in the Thirty-

seven-Deity Navosnzsa Sakyamuni Mandala based on SDP and in the Cittamandala of the KS. We can

conclude that the faulty notion of the meaning ofJaliniprabha's name has crept into these four texts.

In only four of the nineteen mandalas does Jaliniprabha hold a sun or a symbol of the sun. Three of

these are linked to NSP and to the drawings in NTMP. Inasmuch as volume 12 of NTMP illustrates

the mandalas of the NSP, it is not surprising that these two go hand-in-hand. The 2I1-Deity

Dharmadhdtu Vdgisvara Man~jusnrz Mandala is ultimately based on MNS and its commentaries, but it

was NSP 21 that specified the sun as Jaliniprabha's attribute, and the sun is clearly depicted on the

illustration of this mandala in NTMP 12:21. For the Forty-three-Fold Manijuvajra Mandala, known to

us only through NSP 20, both the text and its illustration in NTMP present this bodhisattva holding a sun. Both the original text (SDP) for the Thirty-seven-Deity Navosnzsa Sdkyazni Mandala and NSP

22 assign the vajrapanjaram to Jaliniprabha. However, in the example of this mandala in NTMP

12:22, the bodhisattva actually holds a sun and not the vajrapanjaram. It would appear that the artist who drew this mandala for the NTMP collection had a different manuscript or edition of NSP than

the one used by Bhattacharyya and de Mallmann in their edition of this compendium. The fourth mandala that illustrates Jaliniprabha with the proper attribute is the Tibetan

Abhisambodhi Vairocana Mandala, based on the Vairocanabhisambodhitantra, the Tibetan translation of

the MahdvairocanasuZtra (MVS). This text states that Jaliniprabha holds "many precious nets." Yet in a

group of images in the Baoxiang Lou which illustrates the Vairocanabhisambodhitantra, an image of

Jaliniprabha holds a symbol for the sun, a mask. Again, the artist who created this image must have

had a text or an iconographic compendium which imparted the correct iconography for Jaliniprabha. Could it be that the original connotation of Jaliniprabha, in Tibet, rendered into Tibetan in the

154 Nos. i, 2, 8, and i8.

s15 Nos. ii and 19.

37I 37I 37I

Page 27: Bodhisattva With Mask

Mahavyutpatti as Dra ba can gyi 'od, did imply the "light of the sun" rather than a "net of lights" or

"jewelled net" or "ensnaring light?" Perhaps these latter definitions are modern readings, incon- sistent with the thinking of the scholars of the ninth century.

Of all the texts reviewed in this paper, the Ni4pannayogdvali (NSP) is the only one that specifies the sun as an attribute of Jaliniprabha. This text was written in Vikramasila Monastery in North

India by Abhayakaragupta in the late eleventh to the early twelfth century, considerably later than

most of the texts we have been examining. Abhayakaragupta first wrote a general manual of tantric

liturgy called the VajrdvalZ, in which he referred to twenty-six main mandalas. In the Nispanna-

yogavali, he set forth the details of these mandalas.56 As source material, he must have had access to traditions in India that had not yet been tainted by the spelling error or by the faulty translation

which so severely affected the iconography of Jaliniprabha. As for illustrations, with the correct

interpretation, we have located two sources, one in North China, probably Beijing, and one in

Mongolia. The workshop in North China produced the many pantheons of bronze images for the

Qianlong Emperor in the eighteenth century including the two images which hold a mask, one located in the Baoxiang Lou, and the other in the collection of the Nelson-Atkins Museum of Art.

Lokesh Chandra, in the introduction to his edition of NSP, noted the close relationship between the

Tibeto-Chinese images of North China, including those in the Baoxiang Lou pantheons, with the

Nispannayogdval.157 The other source for images of Jaliniprabha holding a sun is A New Tibeto-

Mongol Pantheon (NTMP), originating in Mongolia. It is proper to conclude that the Tibetan Buddhist circles of North Asia retained (or returned in the eighteenth century to) the proper

interpretation ofJaliniprabha as a sun bodhisattva. This sound scholarship in North Asia in the eighteenth century may have been due to Rolpay

Dorje, the second Jangkya Hutuktu (177-86). The Jangkya Hutuktus were the link between the

Qing court and the Mongolian principalities. Rolpay Dorje in particular was a longtime acquaint- ance of Emperor Qianlong, enabling him to make Beijing a center of Buddhist learning. The many activities of this scholar included the supervision of a new Beijing edition of the Tibetan Tanjur and

Kanjur, their translation into Mongolian and Manchu, a series of Buddhist dictionaries based on the

work of Gelukpa scholars, the establishment of a school of tangka painting in Beijing, and, most

important for our purposes, the compilation of several iconographical pantheons, including those

illustrated by the bronze images of the Baoxiang Lou of Beijing.'58 Perhaps we owe to this great scholar the proper interpretation of this Buddhist sun bodhisattva, Jaliniprabhakumara.

156 NTMP, XII, introduction. 157 NSP, I3-I4. I58 Chandra, Buddhist Iconography, I:i8; Marylin M. Rhie and Robert A. F. Thurman, Wisdom and Compassion: the Sacred Art of Tibet

(New York: Harry N. Abrams, Inc./Asian Art Museum of San Francisco/Tibet House, 1991), no. Ioo, p. 276.

Mahavyutpatti as Dra ba can gyi 'od, did imply the "light of the sun" rather than a "net of lights" or

"jewelled net" or "ensnaring light?" Perhaps these latter definitions are modern readings, incon- sistent with the thinking of the scholars of the ninth century.

Of all the texts reviewed in this paper, the Ni4pannayogdvali (NSP) is the only one that specifies the sun as an attribute of Jaliniprabha. This text was written in Vikramasila Monastery in North

India by Abhayakaragupta in the late eleventh to the early twelfth century, considerably later than

most of the texts we have been examining. Abhayakaragupta first wrote a general manual of tantric

liturgy called the VajrdvalZ, in which he referred to twenty-six main mandalas. In the Nispanna-

yogavali, he set forth the details of these mandalas.56 As source material, he must have had access to traditions in India that had not yet been tainted by the spelling error or by the faulty translation

which so severely affected the iconography of Jaliniprabha. As for illustrations, with the correct

interpretation, we have located two sources, one in North China, probably Beijing, and one in

Mongolia. The workshop in North China produced the many pantheons of bronze images for the

Qianlong Emperor in the eighteenth century including the two images which hold a mask, one located in the Baoxiang Lou, and the other in the collection of the Nelson-Atkins Museum of Art.

Lokesh Chandra, in the introduction to his edition of NSP, noted the close relationship between the

Tibeto-Chinese images of North China, including those in the Baoxiang Lou pantheons, with the

Nispannayogdval.157 The other source for images of Jaliniprabha holding a sun is A New Tibeto-

Mongol Pantheon (NTMP), originating in Mongolia. It is proper to conclude that the Tibetan Buddhist circles of North Asia retained (or returned in the eighteenth century to) the proper

interpretation ofJaliniprabha as a sun bodhisattva. This sound scholarship in North Asia in the eighteenth century may have been due to Rolpay

Dorje, the second Jangkya Hutuktu (177-86). The Jangkya Hutuktus were the link between the

Qing court and the Mongolian principalities. Rolpay Dorje in particular was a longtime acquaint- ance of Emperor Qianlong, enabling him to make Beijing a center of Buddhist learning. The many activities of this scholar included the supervision of a new Beijing edition of the Tibetan Tanjur and

Kanjur, their translation into Mongolian and Manchu, a series of Buddhist dictionaries based on the

work of Gelukpa scholars, the establishment of a school of tangka painting in Beijing, and, most

important for our purposes, the compilation of several iconographical pantheons, including those

illustrated by the bronze images of the Baoxiang Lou of Beijing.'58 Perhaps we owe to this great scholar the proper interpretation of this Buddhist sun bodhisattva, Jaliniprabhakumara.

156 NTMP, XII, introduction. 157 NSP, I3-I4. I58 Chandra, Buddhist Iconography, I:i8; Marylin M. Rhie and Robert A. F. Thurman, Wisdom and Compassion: the Sacred Art of Tibet

(New York: Harry N. Abrams, Inc./Asian Art Museum of San Francisco/Tibet House, 1991), no. Ioo, p. 276.

Mahavyutpatti as Dra ba can gyi 'od, did imply the "light of the sun" rather than a "net of lights" or

"jewelled net" or "ensnaring light?" Perhaps these latter definitions are modern readings, incon- sistent with the thinking of the scholars of the ninth century.

Of all the texts reviewed in this paper, the Ni4pannayogdvali (NSP) is the only one that specifies the sun as an attribute of Jaliniprabha. This text was written in Vikramasila Monastery in North

India by Abhayakaragupta in the late eleventh to the early twelfth century, considerably later than

most of the texts we have been examining. Abhayakaragupta first wrote a general manual of tantric

liturgy called the VajrdvalZ, in which he referred to twenty-six main mandalas. In the Nispanna-

yogavali, he set forth the details of these mandalas.56 As source material, he must have had access to traditions in India that had not yet been tainted by the spelling error or by the faulty translation

which so severely affected the iconography of Jaliniprabha. As for illustrations, with the correct

interpretation, we have located two sources, one in North China, probably Beijing, and one in

Mongolia. The workshop in North China produced the many pantheons of bronze images for the

Qianlong Emperor in the eighteenth century including the two images which hold a mask, one located in the Baoxiang Lou, and the other in the collection of the Nelson-Atkins Museum of Art.

Lokesh Chandra, in the introduction to his edition of NSP, noted the close relationship between the

Tibeto-Chinese images of North China, including those in the Baoxiang Lou pantheons, with the

Nispannayogdval.157 The other source for images of Jaliniprabha holding a sun is A New Tibeto-

Mongol Pantheon (NTMP), originating in Mongolia. It is proper to conclude that the Tibetan Buddhist circles of North Asia retained (or returned in the eighteenth century to) the proper

interpretation ofJaliniprabha as a sun bodhisattva. This sound scholarship in North Asia in the eighteenth century may have been due to Rolpay

Dorje, the second Jangkya Hutuktu (177-86). The Jangkya Hutuktus were the link between the

Qing court and the Mongolian principalities. Rolpay Dorje in particular was a longtime acquaint- ance of Emperor Qianlong, enabling him to make Beijing a center of Buddhist learning. The many activities of this scholar included the supervision of a new Beijing edition of the Tibetan Tanjur and

Kanjur, their translation into Mongolian and Manchu, a series of Buddhist dictionaries based on the

work of Gelukpa scholars, the establishment of a school of tangka painting in Beijing, and, most

important for our purposes, the compilation of several iconographical pantheons, including those

illustrated by the bronze images of the Baoxiang Lou of Beijing.'58 Perhaps we owe to this great scholar the proper interpretation of this Buddhist sun bodhisattva, Jaliniprabhakumara.

156 NTMP, XII, introduction. 157 NSP, I3-I4. I58 Chandra, Buddhist Iconography, I:i8; Marylin M. Rhie and Robert A. F. Thurman, Wisdom and Compassion: the Sacred Art of Tibet

(New York: Harry N. Abrams, Inc./Asian Art Museum of San Francisco/Tibet House, 1991), no. Ioo, p. 276.

372 372 372

Page 28: Bodhisattva With Mask

APPENDIX A APPENDIX A APPENDIX A

The Sixteen Bodhisattvas of the Bhadrakalpa, List One*

Tibetant Japaneset

The Sixteen Bodhisattvas of the Bhadrakalpa, List One*

Tibetant Japaneset

The Sixteen Bodhisattvas of the Bhadrakalpa, List One*

Tibetant Japaneset

EAST

Maitreya Amoghadarsin Sarvapayafijaha Sarvasokatamo nirghatamati

EAST

Maitreya Amoghadarsin Sarvapayafijaha Sarvasokatamo nirghatamati

EAST

Maitreya Amoghadarsin Sarvapayafijaha Sarvasokatamo nirghatamati

Byams pa mThong ba don yod Ngan song kun 'dren

Mya ngan dang mon pa thams can nges par 'joms pa'i blo gros

Byams pa mThong ba don yod Ngan song kun 'dren

Mya ngan dang mon pa thams can nges par 'joms pa'i blo gros

Byams pa mThong ba don yod Ngan song kun 'dren

Mya ngan dang mon pa thams can nges par 'joms pa'i blo gros

Jishi Fukuken Mettakushu

Joyumyo

Jishi Fukuken Mettakushu

Joyumyo

Jishi Fukuken Mettakushu

Joyumyo

SOUTH

Gandhahastin

Surafngama Gaganagafija Jfanaketu

SOUTH

Gandhahastin

Surafngama Gaganagafija Jfanaketu

SOUTH

Gandhahastin

Surafngama Gaganagafija Jfanaketu

sPos kyi glang po dPa' bar 'gro ba Nam mkha mdzod Ye shes tog

sPos kyi glang po dPa' bar 'gro ba Nam mkha mdzod Ye shes tog

sPos kyi glang po dPa' bar 'gro ba Nam mkha mdzod Ye shes tog

WEST

Amitaprabha Candraprabha Bhadrapala Jaliniprabha

WEST

Amitaprabha Candraprabha Bhadrapala Jaliniprabha

WEST

Amitaprabha Candraprabha Bhadrapala Jaliniprabha

'Od dpag med Zla 'od

bZang skyong Dra ba can gyi 'od

'Od dpag med Zla 'od

bZang skyong Dra ba can gyi 'od

'Od dpag med Zla 'od

bZang skyong Dra ba can gyi 'od

NORTH

Vajragarbha Aksayamati Pratibhanakuta Samantabhadra

NORTH

Vajragarbha Aksayamati Pratibhanakuta Samantabhadra

NORTH

Vajragarbha Aksayamati Pratibhanakuta Samantabhadra

'Dorje snying po bLo gros mi zad pa sPobs pa brtsegs pa Kun tu bzang po

'Dorje snying po bLo gros mi zad pa sPobs pa brtsegs pa Kun tu bzang po

'Dorje snying po bLo gros mi zad pa sPobs pa brtsegs pa Kun tu bzang po

De Mallmann I975, I25. This list is the basic one for the mandalas derived from STTS, SDP, and KS 2 and 3. This list originated in Ngor 27. From Snodgrass, 664.

De Mallmann I975, I25. This list is the basic one for the mandalas derived from STTS, SDP, and KS 2 and 3. This list originated in Ngor 27. From Snodgrass, 664.

De Mallmann I975, I25. This list is the basic one for the mandalas derived from STTS, SDP, and KS 2 and 3. This list originated in Ngor 27. From Snodgrass, 664.

373 373 373

Sanskrit Sanskrit Sanskrit

Kozo

Daishijin Kokizo Chid6

Kozo

Daishijin Kokizo Chid6

Kozo

Daishijin Kokizo Chid6

Muryoko Gakko

Kengo Komo

Muryoko Gakko

Kengo Komo

Muryoko Gakko

Kengo Komo

Kongozo Mujinni Benshaku

Fugen

Kongozo Mujinni Benshaku

Fugen

Kongozo Mujinni Benshaku

Fugen

Page 29: Bodhisattva With Mask

APPENDIX B APPENDIX B APPENDIX B

The Sixteen Bodhisattvas of the Bhadrakalpa, List Two* The Sixteen Bodhisattvas of the Bhadrakalpa, List Two* The Sixteen Bodhisattvas of the Bhadrakalpa, List Two*

Sanskrit Sanskrit Sanskrit Tibetant Tibetant Tibetant

EAST

Maitreya Mafijusri Gandhahastin

Jfianaketu

SOUTH

Bhadrapala Sagaramati

Aksayamati Pratibhanakuta

WEST

Mahasthamaprapta Sarvapayafijaha

Sarvasokatamonirghatamati Jaliniprabha

NORTH

Candraprabha Amitaprabha Gaganagafija Sarvanivaranaviskambhin

EAST

Maitreya Mafijusri Gandhahastin

Jfianaketu

SOUTH

Bhadrapala Sagaramati

Aksayamati Pratibhanakuta

WEST

Mahasthamaprapta Sarvapayafijaha

Sarvasokatamonirghatamati Jaliniprabha

NORTH

Candraprabha Amitaprabha Gaganagafija Sarvanivaranaviskambhin

EAST

Maitreya Mafijusri Gandhahastin

Jfianaketu

SOUTH

Bhadrapala Sagaramati

Aksayamati Pratibhanakuta

WEST

Mahasthamaprapta Sarvapayafijaha

Sarvasokatamonirghatamati Jaliniprabha

NORTH

Candraprabha Amitaprabha Gaganagafija Sarvanivaranaviskambhin

Byams pa 'Jam dpal sPos glang Ye shes tog

bZang skyong bLo gros rgya mtsho bLo gros mi zad pa sPobs pa brtsegs pa

mThu chen thob

Ngan song kun 'dren

Mya ngan 'joms Dra ba can gyi 'od

Zla 'od 'Od dpag med Nam mkha' mdzod sGrib pa rnam sel

Byams pa 'Jam dpal sPos glang Ye shes tog

bZang skyong bLo gros rgya mtsho bLo gros mi zad pa sPobs pa brtsegs pa

mThu chen thob

Ngan song kun 'dren

Mya ngan 'joms Dra ba can gyi 'od

Zla 'od 'Od dpag med Nam mkha' mdzod sGrib pa rnam sel

Byams pa 'Jam dpal sPos glang Ye shes tog

bZang skyong bLo gros rgya mtsho bLo gros mi zad pa sPobs pa brtsegs pa

mThu chen thob

Ngan song kun 'dren

Mya ngan 'joms Dra ba can gyi 'od

Zla 'od 'Od dpag med Nam mkha' mdzod sGrib pa rnam sel

De Mallmann I975, 125. This list is encountered in the Mandala of the Forty-three-Fold Majuzvajra, the Fifty-seven-Deity Samksiptakula Guhyaka Man~jusrz Mandala, which is the same as the Vajradhatu Mandala described in MNS, and in the Madnala of Vadisimnha Manijusr. This list is taken from Ngor 41.

De Mallmann I975, 125. This list is encountered in the Mandala of the Forty-three-Fold Majuzvajra, the Fifty-seven-Deity Samksiptakula Guhyaka Man~jusrz Mandala, which is the same as the Vajradhatu Mandala described in MNS, and in the Madnala of Vadisimnha Manijusr. This list is taken from Ngor 41.

De Mallmann I975, 125. This list is encountered in the Mandala of the Forty-three-Fold Majuzvajra, the Fifty-seven-Deity Samksiptakula Guhyaka Man~jusrz Mandala, which is the same as the Vajradhatu Mandala described in MNS, and in the Madnala of Vadisimnha Manijusr. This list is taken from Ngor 41.

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Page 30: Bodhisattva With Mask

APPENDIX C APPENDIX C APPENDIX C

The Sixteen Bodhisattvas of the Bhadrakalpa, List Three* The Sixteen Bodhisattvas of the Bhadrakalpa, List Three* The Sixteen Bodhisattvas of the Bhadrakalpa, List Three*

Sanskrit Sanskrit Sanskrit Tibetan' Tibetan' Tibetan'

EAST Samantabhadra

Aksayamati Ksitigarbha Akasagarbha

SOUTH

Gaganagafija Ratnapani Sagaramati Vajragarbha

WEST

Avalokitesvara

Mahasthamaprapta Candraprabha Jaliniprabha

NORTH

Amitaprabha Pratibhanakuta

Sarvasokatamonirghatamati

Sarvanivaranaviskhambhin

EAST Samantabhadra

Aksayamati Ksitigarbha Akasagarbha

SOUTH

Gaganagafija Ratnapani Sagaramati Vajragarbha

WEST

Avalokitesvara

Mahasthamaprapta Candraprabha Jaliniprabha

NORTH

Amitaprabha Pratibhanakuta

Sarvasokatamonirghatamati

Sarvanivaranaviskhambhin

EAST Samantabhadra

Aksayamati Ksitigarbha Akasagarbha

SOUTH

Gaganagafija Ratnapani Sagaramati Vajragarbha

WEST

Avalokitesvara

Mahasthamaprapta Candraprabha Jaliniprabha

NORTH

Amitaprabha Pratibhanakuta

Sarvasokatamonirghatamati

Sarvanivaranaviskhambhin

Kun tu bzang po bLo gros mi zad pa Sa'i snying po Nam mkha'i snying po

Nam mkha' mdzod

Phyag na rin chen

rGya mtsho'i blo gros rDo rje snying po

sPyan ras gzigs mThu chen thob Zla ba'i 'od Dra ban can gyi 'od

'Od dpag med sPobs pa brtsegs pa Mya ngan dang mun pa

thams cad nges par jom pa'i blo gros

sGrib pa rnam sel

Kun tu bzang po bLo gros mi zad pa Sa'i snying po Nam mkha'i snying po

Nam mkha' mdzod

Phyag na rin chen

rGya mtsho'i blo gros rDo rje snying po

sPyan ras gzigs mThu chen thob Zla ba'i 'od Dra ban can gyi 'od

'Od dpag med sPobs pa brtsegs pa Mya ngan dang mun pa

thams cad nges par jom pa'i blo gros

sGrib pa rnam sel

Kun tu bzang po bLo gros mi zad pa Sa'i snying po Nam mkha'i snying po

Nam mkha' mdzod

Phyag na rin chen

rGya mtsho'i blo gros rDo rje snying po

sPyan ras gzigs mThu chen thob Zla ba'i 'od Dra ban can gyi 'od

'Od dpag med sPobs pa brtsegs pa Mya ngan dang mun pa

thams cad nges par jom pa'i blo gros

sGrib pa rnam sel

De Mallmann I975, 125. This is the list for the Mandala of Dharmadhatu Vagi/vara Manjusrz. From Ngor 40.

De Mallmann I975, 125. This is the list for the Mandala of Dharmadhatu Vagi/vara Manjusrz. From Ngor 40.

De Mallmann I975, 125. This is the list for the Mandala of Dharmadhatu Vagi/vara Manjusrz. From Ngor 40.

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