Principles of Tibetan art: illustrations and explanations of Buddhist iconography and iconometry according to the Karma Gardri school - Volume 2

PRINCIPLES OF TIBETAN ART Illustrations and explanations of Buddhist Iconography and iconometry according to the Karma ...

Author: Gega Lama

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PRINCIPLES OF TIBETAN ART Illustrations and explanations of Buddhist

Iconography and iconometry according to the Karma Gardri School

by

GEGA LAMA master painter of the Karma Gardrl School

VOLUMED

DA RJEELING, W. B. INDIA

1983

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ADoi:her :model included in this aection ia the la;rout for the veal th iOd Ganapati ('l'ahoga.bdag), ahovn in diagram

@.

Firat the central

verti-cal line is drawn, then the followinc horizontal linea ill deecendinc orde:r1 i:he topmeat line IIIUking the top of the head; belov this, at ei% 11111&11 unite, the e;yebrovar at tvo amal UDita, the eyes; at four 1111&11 unite, .

.

the baee o~-the el.e_phant-tl'UDkr at tvo small units, the lover lip; at tveln amall units, the tip of the i:ruak, the enova,. and the upper belly; at ten 8111&11 unite, the uppe:r edce of i:he knees; at tvo small UDita, the ·genitalaJ at three small units, the lover edbe of the knee: at six small units, the &J31clea; and at four amall units, the bottom of the feet. To the :right of i:he central verticf.l line, and to the lett, vertical lines are drawn at ten, and a further ten, small UDi ts ( tvo ve:rUcal lines to ei the:r side) • Jut, the intersection of the first :right ancl the first lett nrtical lines and the horizontal line ll&l'icing the belly are oonnected vith the intersections of the outermost :right and lett vertical linea and the horizontal line lll&l'king the upper edge of the knees: these lines IIIUk the outer edges of the right end lett thighs. '!'be intersection of tile outermat lett vertical line and the horhontal line IIIUking the geni tala is oonnected rith t.11e interaection of be first lett vertical line and be ho:risontalline muteing tlle &J31cles, giving the outer edge of the calf of the extende6 lett leg. '1'hia figure is extremely oorpulent and routht'ul in appearance, rit.u limbe the segments of vnich are ten 8111&11 units in lencth. there are variations of this form- tour-armed and tvo-armed, vii:l! or rl thout a jewelled cap on t.ne head, etc. - ao one must portray the fora as given in the appropriate_ Bidhana.

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Also in this Mction is the lqout, shown in diagram

®,

for

particular crouchi.DB fora, that of Ganpo cur (IIIGon.po.GUr, a protective divinity of the satyapa school). First the central vertical line is drawn, then the folloviq horizontal lines in descendeng order; the topmost line marking the tips of the hairs of the head;. below this, at twelve small units, the

fo~head

or hairline; at twelve mall units, the chin; at seven

small unite, the centre of the ~est; at eight small unite, the navel; at . four small unite,· the tope of the knees; at two small units, the bottom edge of the knees; at eight small unite, the genitals; and at four small unite, the soles of the feet. To the right of the central vertical line, and to the lett, there are three vertical lines drawn, at nine, one, and Biz amall uDi te. Nezt, the intersection of the central vertical line and the boriiODtal line lll&l'king the centre of the cheat h

connected with the intersections

of the outermost right and left vertical lines and the hori110ntal line aartcing the upper edge of the knees: these lines show the outer edges of the two forearms drawn into· the chest, and of both thighs. Then these intersections of the outemost vertical lines and this hori110ntal line Ul'king the top of the knees are joined vi th the intersections of the imlermost right and lett vertical lines and the hori10ntal line marking the genitals: these lines lll&1'k the outer edges of both calves. This is known as the •squatting posture• (gol.ba•i.•dug•stans). This form follows the standard five large-unit model for wrathful divinities {the dwarf model) 9 but the squatting posture results in eleven sr.all units being shortened from the vertical

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An additional layout for tha above is given in diagram

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There is precedent for this manner of drawing: it is evident from drawina manuals that the

ear~

~

and later schools are of one mind regarding

the five large-unit dwarf model, and agree that the measurements of the form of G!lnpo Gur follow this model. While there are sixty small units in five-large, if a figure thi~ long is _drawn in s~ua_tt~ posture, this shortens the vertical height by eleven small units, so that the figure is actually drawn for.~·-nine small unite high. However, making the figure sixty small units high while allowing for the squatting posture meiUUI that were the figure standing erect,· it would beoo11.e eight large units tall, the wrathful Yama model. Is this an error? Perhaps another

e:zpl~

tion is possible: in the actual presentation of the dwarf model; there is a measure of twenty-tour small units between the throat and the genitals, whereas in this layout the measure is thirty-six small units, which does not tit into a total height of five large units. It we subtract the shortening effect of the squatting posture to obtain the five large-unit height, then this vould obviously be connected with the above nine largeunit model for t:akrasamvara above (Section III). Or should we consider the

~ight

actually to be ninety-six small units, though the five large-

unit model is given tor drawing'/ Then this

fo~

must be included in

section VI above. I invite those qualified to understand the problem to examine it. Note: while I have never seen a text explaining this particular layout, the diacram itself

co~es

from )ege Genchen ( soe.dce.dgon.chen,

a major monastery and cultural centre of eastern Tibet).

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Diagram

CD

shows a further variation., the three large-unit

model for extremely wrathful figures (din,tu.khros.pa) Jirst the central vertical is drawn, then the topmost horizontal line marking the tips of the hairs of the head; below this, at twelve small units, that markiu.g the roota of the hair; at tour amall units, the hairline or torehe!ld; at twelve small units, the chin of the face; at twelve small units, the aid-body point; and at twelve small units, the feet. To the right of the central vertical line are drawn three vertical linea, at six, six, and twelve small units: to the lett, tour vertical lines, at six, six, eight, and six small units. 'lben, the intersection ot the first right vertical line and the llori.,ntal line aarlcing the chin is connected with the intersection of the outermost right vertical line and. the llorimntal line ll&rking the forehead, to Bhov the HBI5Ul:e of the upraised right

ara. Tne intersection

of the second. lett vertical line and the hori110ntal line

lll&%icil1g

the chin

ia connected with the interaection of the third lett vertical line and

the horimntal line aarlcing the llid-bod1, to show the outer edge of the

lett arm. The intersection of the Hcond lett vertical line and the hori110ntal line aarlciu.g tha lllid-bod1 ia connected vi th the intersection of the outenost lett vertical line and the hori.antal line aarking the feet, to live the outer edge of the outstretched lett leg. The intersection of .the second right vertical line and the hori110ntal line

aarkinc the aid-boc!1 1e connected with the intersection of the outermost right vertical line and the hori110ntal line ll&rking the feet, to give the outer ed&e of the right leg. J'igurea nch aa

~npo

Berchen (IIGon.po.ber.oan, a tvo-araed fora

of the protective dirinit)' Kahaltala) are said to follow this three largeait fora&tJ and according

to one -.vetea, the head aaltea up one-half of

the bod1-he1pt, and the 110uth on.-half of the head. HoveYer, in actual practice, Berchen ia traditionally drawn aeanriu.g about three and on.. half large 1111i ta.

1. a fora angled tour 1111&11 unih to the lett &1110 exists. 2. a five-pronged Yajra, three small units in length.

:5. since the belly ia large, the bade is arched tCI cause i t

to

bang forward.

4. the corpae-aeat vi th the sun-disc.

6

Diagram

@

llhovs the fora of CN!npo :Sercbell bon &a • cloud-faced•

( sprin. zhal. can). The general shape is aquarhh ri th the fieah l'WIIIJ.'J' • reminiscent of amassed clouds 0 amidst which the three eres shine like the discs of the '8UI1 and 1100111 there are many extensive ieacriptione of this torm 1 but ther are not included in this section, vhich mere]J gives a rouih idea.

Diagram

Q

1

this

l~cyout

is an abridged one; there are

extensive treatments in drawing aanuals.

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Section IX : 'l'he Proportions ot §rivakas (ian. tho a) and Pratzaka.budclhas (ran. sans. rs;yas)

.u

shown

in c!iagl'UI

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first the central vertical line ill

c!ran, then the topmost borisontal line marking the tip of the Uf!Pi'la: below this, the line 1118l'king the base of the uaniaa, at two amall uni ta; the hairline, at tour small units; the chin of the face, at twelve small units; the throat, at two small units; the centre of the chest, at twelve 8111&11 units; the nanl, 811&11 units; the top ot at tour 8111&11 units. To tour vertical lines are

at twelve 8111&11 units; the ge!iitala, at eight the knees, at tour small units; ~he lover edge, the right and lett of the central vertical line, ctrawn on either aide, at ten, tour, two, and tour

811&11 unite. Je:z:t, the intereection of the central vertical line and the borisontal line lll&l'king the top of the kneea is connected with the intersections of the Hcond right and lett vertical lines and the borisontal line IIUkiDB the chin: this above the armpits and aiclea of the torso. The inte~ Nction of the central vertical line and the borisontal line IIUking the forehead 18 connected with the interHctiona of the first right and lett vertical linea and the boriaontal line II&Z'king the lower edge of the knees: this 4uonatratea the epace between the .,•• , the DOae, the mouth, t~ breasts and hips, and the narrowing of the waist. The int~rsection of the central vertical line and the borirlontal line ll&l'king the navel 1a connected with the interaections of the outermost right and lett vertical Unes and the borisontal line Ul'kiag the geni tala: this above the outer eclgea of the right and lett thighs. The cliagru is completed by l&Jing out the lines tor the c:rosalegged posture (seeabove, Section I).

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section X 1 The Proportions for Dikpalas, Guardians of various quarters or directions (Tib. Phyogs.!kyon) here are 111UJ1 forma of these guardian deities, both peaceful and wrathtul.. Diagram

8

shows that of

Rik~sa

(Srin.po, guardian of the

~uthwest),

depicted ridin a corps~. First the central vertical line is drawn, then the topmost horizontal line marking the tips of the hairs of the head; below this, the forehead, at ten small units; the throat, at twelve small units; the centre of the chest, at six small units; the hipbones of Rik~aa and the lllidbrow of the zombie or animated corpse (ro.l~a) on which he rides, at siz small units; the genitals of Ri.k,asa and the backbone and the chin of the zombie, at six small units; the upper edge of the knees of RikJ18a& and the shoulders and buttocks of the zo•bie, at au amall units; the zombie's wrists, at twelve small units1 the zombie's ankles, at twelve 81D&ll units; and the tips of the zombie's feet, at twelve small units. To the right of the central vertical lines are drawn, at aiz, ten, twelve, and ten small units: to the left, three vertical linea, at eight, eight, and twelve small units. Bezt, the intersection of the first left vertical line and the horisontal.line ll&liting the forehead is connected with a point two small units to the right of the central vertical line along the horiaontal line marking the centre of the chest, which is in turn connected with the intersection or the first left vertical line and the horizontal line marking the genitals: this shows the angles of the upper and lover torso. The intersection of the central vertical line and the horizont•l line marking the throat is connected with the intersection of the second right vertical line and the topmost horizontal line marking the hairtips, to show the measure of the upraised right arm. The intersection of the second right vertical line and the horizontal line marking the genitals is connected with the intersection of the outermost right vertical line and the horizontal line marking the ankles, to show the measure of the zombie's left arm. The intersection of the second right vertical line and the horizontal line marking the knees is connected with the intersection of the central vertical line and the horizontal line marking the tip of the feet (the lowest line), to sho~ the measure of the zombie's right arm. The intersection of the second left vertical line and the horizontal line marking the knees is connected with the intersection of the first right vertical line and the horizontal

31

line marking the tip of the feet (the lowest line), to give the outer edge or front edce of the left lag of the zombie: while the intersection of the centralvertical line and the horizontal line marking the tip of the feet (the lowest line) ie connected with the intersection of the outermost left vertical line and the horizontal line carking the knees, to give the inner edge of the left leg. The zombie's face is delineated by connecting•the intersection of the second right vertical line and the horizontal line markine the centre of the chest with the intersection of the outermost right vertical line and the horizontal line markine the genitals. It should be noted that this forn involves some shortening effect due to the bent posture.

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.llao in this section ia the l.qout for Dorje Yudrilllll (rDo.rje.gyu. dril.ma, one of the "five

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sisters" who tiguresin the biograpb;y

of Milarepa, and who guard the region of Mt. EVerest), shown in diagram

0.

First the central vertical line is drawn, then the top-

IIOst_horizontal line marldng the tip of the topknot.; below this, at eight small units, the line marking the forehead; at eight small units, the throat; at eight small unite, the centre of the chest; at four small units, the narroYing of the waist; the geni tala and the 110unt• a badl, at siz small units; at twelve small units, the mount•s forehead; at twelve small units, the 110unt•a chin; and at twelve small unite, the 110unt•a talons. '1'o the right of the central vertical line, four vertical lines are drawn,at ten ten, twelve, and ten small unite: to the lett, three vertical linea, at twelve, four, and twelve small units. Jext, the intersection of the topMat horizontal line ll&l'king the tip of the topknot and the first right nrtical line is connected with a point two small units to the lett of the cea.tral vertioal liM alone the horizontal line •azkinc the centre of the chest; this latter point h

in turn connected with the intersection of the central vertical line

and the horizontal line urking the genitals& theM linea ahov the angles of the upper and lover torso. The intersection of the horizontal line aa:rking the waist and this oblique line is connected with the intersectio7'

of the second right vertical line and the borisontal line urking the genitals, to show the upper edge of the right thigh. The intersection of the first lett vertical line and the horizontal line marking the waist is connected vi th the intersection of the central vertical line and the horizontal line aarking the lower edge of the knees, to show the front edge of the shin of the upraieed left leg. The intersection of the third right vertical line and the horizontal line marking the centre of the chest 11 connected with the intersection of the first right vertical line and the horizontal line marlting the throat, to give the measure of the upraised right arm: the latter point is further connected with the intersection of the second lett vertical line and the horizontal line, marlting the tip of the topknot (the top110 at line), to give the outer edge of the upper left

arm. The intersection of the second riCht vert1Cfll line and

the horizontal line aarking the knee is connected with the intersection of the central vertical line and the horizontal line aarking the mount• a china this shows the angle of the mount• s body. 'fhia fora involves a great deal of vertical shortening due to the bent posture.

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§ection XI

1

The Proportions ot the Human Bo!\Y

Thie diagram

®,

as all human forma cazmot be

depi~ecl in it,

repreeents a perfect human bod,y. 'l'he proportions vere tb:ed b7 fol'llef

autere, mentioned in the Preface. But it one ie depicting one• • on face, one doea not need to make use of traditional standards (see Chapter IV, introduction).

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~~·~~:.·!1~1 51

Conclusion Having pBeaented t3e proportions for the actual forme in the preceding eleven aections, I should explain at this point the

propor~ions

for the auxiliary elements of design which are aa&;:J cia ted vi th these forma, that ia, the tronea and back-supports. Firstly, as to thrones. then is an extensive presentation and an &bridged one. The extensive method is little known these days, and a :reliable and authentic version impossible to verify, so it has not been included here. The abridged version correeponde to the 'throne' aection of the stupe design. A long horisontal line is drawn along the lover surface of the lotue-seat for the top eurface of the throne. From the intersection of this line and the central vertical line, a distance of four large and eight small units ie marked off to either aide of centre along the horisontal. Dividing the distance between centre and ul:k into ai.J.:teen equal units gives the Slllall-unit measure specifically ueed for ltQ"iq out the throne. The central vertical line of the figure to be enthroned ia extended aiJ.:teen of these new small unite below the lower surface of the lotue-aeat. Since 'aall unit' at thia point refers to the unit to be uaed for aeasuriq the throne, as juat explained, 4o not oontuae thia with the unit uaed 1n aeaSU1"i.nc the figure • .t.t the bottoa point of thia extended central line, a horisontal line fort;y-two new aall units long i8 drawn (with twenty-one units to either aide)a then, in aacending order, horisontal linea are drawn at intervale of three, one, one, one, Biz, one, an4 two •all units. The distance of twentyone aaall uni ta to either Bide of the central vertical line is divided b)' vertical lines drawn at on..unit internla. To set out the throne on

theee linea, the aections are, 1n ascending orders three units thidc and extending twenty-one un1 ta to either side of centre (this aection termed the •axis' (lte.bu))J above this, the three •stairs' (them.Skas), the lowest one unit thiCk and nineteen to either side of oentre, the next one unit tliiek-anil seventeen to either aide, and th.!l topmost. one unit thidt-and fifteen units to either aide; above these, the •main

fa~de•- (gdo~),

Biz units thick and thirteen to either side of the central vertical line; above this, the • aall border• (bad. ehuz;), one unit thick and fifteen to either side a

above this, the 'cap' ( ba. gam), two un1 te thi de and six-

teen .to either aide of centre. On the facade of the throne laid out in this wa;y are drawn the pair of figures supporting the throne -

52

lions,

elephaata, peacocks, harpies (dan. ISaa) • llo:reea, and 10 forth accord:ln« to the oircaaataaceas between theie figures is drawn a pillar decorated with i'eas. The oth411' Hction, such as the cap and aall 'border, are decorated with spiral patterns in gold, inHta of precious atones, :rowa of lotus petals or jewels, etc. • to produce an elegant aad attractiTe design. Atop the throne ia the brocade cushion conrinc it, ot

®.

~

Yariegated colours. Above this are the lotue- and 110on-diao-seata as usual. Dis is shown in diagraa

second~ •

tor the back-support (rgab.:rol), a circle of raaiua tour

aad one-half large UDi t. b

draw troa a point one uall 1111it above the

aict.-bl'Ov point ot the Hated fi&ure, aloq the oeatral 'l'erlioal l:lnet thia circle lore

l'O~

preciH~,

aazka the outer e4p of the dzfol4 o:rDUeDb (:rgaa.4r11a). the geu on the :risht &114 left

ca. of. the

llo:risontal beaa

4o DOt fall vi thin thia r&c1iU8 0 DOJ' 4o the haaa fipr. . &ad aDtelope-Ulte

aeatur. . <'-.ra.bha} supporiiDB thia b .... the Mtho4 tor d:rariDc the ai%to14 or.oaaents ia aa follovaa besinninc abo'l'e the throne and two 'amall 11Dib in troa each llide, the elephaate, eba:rbha aatelopes, and the hulllaa

ncur..

:ri4:1.nc the latter a:re d:raw, the three one above. the othezo (on each llide of the ficure); the un a:re d:ran supporting the erose-beam in both haDda. !o lhow the general position of theee tiru:res placed one aboTe the other, two auks are made, one five large unite to the :right of the cent:ral Yertical line alone the horisontal line marking the aid.bl'Ow, and another tvo small unite in from the •dee along the top1110at eurtace of the th:ronea these two marks, joined with a line, ahow the ceneral po ai tion o t these three aupporting firu:rea. 1o llowing thie connectinr

line, a vertical Bhatt is drawn, made of precious stones ar.d tip

ped with a gem, ita base on the th:rone and its top supporting the crossbeam • .la e%plained above, the length of this e:roas-beam is equal to the clia.meter of the circle first drawn, and ita raised middle portion is drawn reaching to a point eix small units above the tip of the

u~i9a:

since

this erose-beam ia curved, i t falls away smoothly to right and lett f:rom this mid-point, downwards towards the tips, which are dravn en the level of the horizontal line marking the mid-b:row point. The ends of the crossbeam

to

the rilht and lett are tipped with lotuses and gems, and

~he ~ppe~

~d

lower aurfacea are ornamented with spiral patterns (pa.tra)l a brocade coverlet is drawn hanging !:rom the cross-beam, ita edcea on the right and

left matching those of' the back-support • .Above the e:roas-beam on each aide are drawn stylized crocodiles { Skt. makara, Tib. chu. ariD)

w~th

spirals for tails; above these, young n•gas or eerpent spirits (depicted ae huan from the- waist upwards, with eerpent• s tails), each with seven serpents forming hoods around the~r heads; and in the centre (above the erose-beam), an eagle-lilce

garu~

(lllkha',ldi,), holding

11

snake in ita

hands and eating it, and grasping the tails of the young nigaa in 1 ts talons, Behind these figures are patterns of flowers, fruit, and leaves, and behind these, rainbow clouds; all to produce a beautiful composition, tore dsailed treatment must be learned from the wo:rit of akilful. artiste, The sixfold ornaments are& elephants, termed

•gur~•;

antelopes, termed

•&ar~· 1

dwarf-men, termed

'b~•

1

crocodiles, termed • sur~a• 1 young nigas, termed and the one sometimes sees the term usual

1

1

gl~. po,

•var~a•;

garu~a-eagle,

termed 'karupa',

che' in Tibetan used {instead of the

glan,chen•, tor elephant),

This is a brief

INIIJII&Z'Y

of the outer sixfold ornaments•

.A.B to the measure of the circular inner back-support (nan,gi,roab.

yol) tor the head, an arc of radius one and on..halt' larp units is drawn from a point one 11111&11 unit above the mid-brow point along the central vertical line, giving the outer limit of the spiral pattern of the halo. on the right and left, the curves of the arc are brought in slightly, then down to where the lines of the upper arms meet the horizontal line marking the armpits, The top of' the arc is raised slightly above the original circumference into a point, and the whole is drawn like a lotus petal, wider towards the top and narrowing towards the base. The circle is decorated from outs!.de inwards with rows of pearls, of lotus petals, and of apiral patterns vi th inset gems, The back-support for the body ( S<:u• i, rgyab,yol) is drawn by inscribing an arc of radius four and one-half large units from a point six small units below the level of the centre of the chest along the central vertical line: __ this gives roughlY the outer edge of the back support. Where the_

~over_

ends of this arc-come in slightly on either side, they are drawn down to the outer edges on right and left of' the lotus-seat, the general shape, again, is wider towards the top and narrowing towards the base. Another arc of radius three large units is drawn from this centre point six small units below the centre of the chest, to show the inner edge of' the backsupport • .A.gain, this arc is decorated from outside in, with two rows

54

of pearls, one inside the other; a row of Tajraa; aaall spiral patternaJ and large spiral patterns with inset se••a these patterns are laid out iD order to produce a beautifUl design. Inside these is ara.n a halo of light r~a evenly laid out, attractiTelJ shot through with W&Tf linea of sold.

When incorporating the tull sixfold ornaments into the design, this uasure for the inner bade-support is reduoed bJ approximately fo'IIZ' small

unite, according to the tradition. iliacra of this

@

ciTes a pneral Tin

l~out.

This ooncludes the fourth chapter, azul the disCMsaion of the stand&M proportions tor

~V•bola

of fora.

I would adda

fhe sphere of the ultiaate utve of phenoaena (dharaadhitu) 18 iDD&telJ and absolutely pureJ The ooapleh expression of the wealth of potential ( aaabhoga) ia the total illuaination t.roa this sphere; ADd the completelJ enlightened Buddha emanated (nirmina) as the lord protector of this realma !hie ·~~ala of emanation is clearly expressed through the medium of art.

55

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CHAPTER FIVE

The Propor:t:law of ~ •..>c4!otac1P.s of Speech - Calligraphy This chapter is

concern~

with th4! proportions of written letters.

From amona th4! vast array of scripts found in th4! world, a number enjoyed SOIII4! oopul"'rity at

501114!

ti.me or another in Tibet: th4!S4! Maryi~

dzal, Wattu (Wat.tul, Monaolian script (Hor.yial,

includ~:

curslV4! script (qsar.mal, and the elegant script CqZab.brisl. is th4!

curslv~

and 4!l4!aant scriots which ar4!

w1de~or4!ad.

is a variation of th4! Wattu adapted for raoid notation,

Lanca CLan,.

(sMar.ylal, the Nowadayw lt

The cursive script ~ile

the

el~ant

scriot is what ar4! now t4!rmed th4! "ca!)1tal l4!tters" (dbu.can··, and was devised by Tonmi

(Thon.mi.sam.bho.~a,

the

minist~r

of Kinn -nncrtsen Gamoo

who was sent to India in the seventh century A.D. to d4!veloo a written script for the Tibetan lanquagel and based upon th4! Gupta script (current in India at th4! time).

This script is used for prlot1na or writina the

whol4! ranq4! of buadhist scriptures and CCIIIIIIentaries, royal qenealoqioK, legends, scientific traatisE
In addition,

it is used to write mantras on prayer 'Wheels, whetht!r those turned by the elements of fire, wind, and -ter, or those turned by hand: these mantras ar4! written or engraved one above the other in a "layered" manner (brtsegs. mal, also t4!rmed the "buddhist IIOthod" (ehoa.bslcor), or in a coil or roll (sgrU.ma), also termed the "Ban llethod" (Bon.bs'ltor, after the pre-buddhist religious tradition of 'Hbet).

'l'hese capital letters are also used to

write on prayer flags which are hunq in the wind, and to write the Cgzi.JI!S, long mantra-sentences) 'Which

~

dhar~ia

lnaerted into statues, stupes,

treasure vases, and so forth. While 1t is alright for the! purposes or studylno the liHft1nq of the dharma, or conveying worldly information, l f the letters are not wellformed, this is not thfo ease referred to above.

Of the three difft!rent

kinds of spiritual receptacles, letters are the receptacles of the of the dhal"'IIS: and just as the blessings of

th~

.1-1

buddhas• form cannot imbue

an incorrectly-proportioned llnage, so the blessinas of speech cannot imbue ill-formed letters.

As well, the seed-syllables (sa.bon, S'ltt. bljil are

the symbols of the divinities• mind, and are the symbols imbued with the .. experienE:e of those di vlftitles; .while the "heart-mantras" ( snin. DO) and "l!sseni:lal-mantras" (ne.sntn} of a divinity are .J:he symbols which confer that divinity's blessings.

There are an infinite variety of special

techniques ernoloying script: diagrama of maaic circles for aecaaolishina various kinds of activity -- paeifyina,

dev~lopina,

influencing, or

exorcising; protective charms and amulets wom on the body; charms to h4! eaten (as medicine or blessinql; talismans against ritual pollution; protections against lightning; and so on.

So the proper form of letters

ls very important, with many applications in this life and for future

lives, since the desired effect can be achieved solely throuqh the correct

62

fC1r111 of the letters, wen though one does not read thell aloud or even understand the meaning of the text.

Aa 18 stated in the Discourse

Explaining the Perfection of Wisdom: the Replies of Kous11ca (Ko•u.s1. ka'i.zhus.lan.ser.phyin.bsad.mdo, folio 117 of the miscellany section of the prints from Pejor (Pad. 'byor.dgon) monastery in Tibet): When writing or reading The letters are the nirmar;takiya (form asoec:t of enlightenment). And, (writing) _large letters oa a large surface Is

equival~nt,

in terms

Df

merit, to being a holder of

the lineage. If the letters are precisely spaced and connected, One will become free from disabilities and diseases. If the letters are bold ana clearly outlined, One's vision will become flawless. So the quality is dependent upon the actual form of the letters.

Not

being interested merely in being able to carry on correspondence with family and friends and to keep financial accounts, fortunate -.n and woaaa will all use (this skill of writing) like medicine, understanding that all the positive things in this life and future existences comes from the reading and writing of holy scriptures. As far as the layout for the letters, there are several different techniques.

The actual form of the letters is either thiclc, termed "fl@!shy"

(sa.tshugs), or thin, termed "bony" (rus.tshugs): in both cases the proportions are identical.

The following presentation is a simplified version of

the method as taught at my old monastery of Tupten Chokor Namgyal Ling (Thub.bstan.chos.'khor.rnam.rgyal.gllnl. The basic lines are

des~~ibed

as follows:

The heavens and the sky, The mountain-top and the foundation of the earth: 'these are the four horizontal lines,

an.~

of the three spaces

(bar.sten) between them The upper and lower are called the "arrow" (mda' l and the spear (mdwi) respectivdy, While the middle one is the measure of an "arrowhead" (mde'u): There are nine divisions or units. First, the- upoermost horizontal line, or "heaven" (onarnl, is drawn; one "arrow lenoth" (m1a' .tshad), i.e. three units, below this is the "sky" line (bar. sn!lnl; then, one "arrowhead length" (mde'u'i.tshad, or two units) below this is the "mountain-top" (ri.rtse).

One "spear length" (mdun.tshad) ;:,f four

units separates this from the "earth foundation" (sa.gzhil: so the total height is nine units.

While the method does exist of drawing vertical lines

to give a chessboard pattern, this has not been shown in the diagram, since

63

it does not serve any great purpose.

As to the method for drawinq the letters

u~inq th~se

four horizontal

lines, Nine (letters) lie between heaven and earth; 'M'Ie remaining rest on the mountain-top: 'M'Ie foot measur!!s four units. and The body five units. That is to say, there are nine "standing letters" (bzhens.stabs.canl ka, lcha, ga, na, ta, da, na, zha, and sa -

which have a "foot" (zhabs, or

rkatt.pa> four units long: the remaining twenty-one letters are "seated" (bzhugs.pa.can) and measure five units.

'M'Ie designations "st11ndinq" and

"seated" refer to those letters with long and short vertical strokes, respectively. Seven have wide heads, The rest have small heads. That is, the seven letters ka, kha, ga, na, ca, tsha, and ra are said to have wide headspana, while the rest have short ones. Four rest on high seats, 'M'Ie rest on low seats. For the fcur letters ka, kha, ga, and ma, the subscribed letter ya is affilted high up (close to the body of the radical letter), while for the rest it is affixed lower down. Six rest on elevated thrones, 'l'he rest on low thrones. 'l'he subscribed letter ra 1a

~filted

high up on the lix letters ka, lcha, ga,

ma, sa, and haJ on the rest, it is affilald lower down. Masculine (letters) 1n heaven and feminine in the sky1 With the throne-seat 1n the centre of the earth foundation. 'l'his means that for vertlcal COIIIbinations of letters 1 ualnq the superscribed letter la and ao an, the upper part of the radical lett. 1a drawn slightly lowered, while any lower elements audl u

aubscr!hed ya lind the vowel aiqn

_for u (zhabs.kyu), etc., 11111st be drawn within the total •aaure of nine units: examples are the ccmbinatlona aqyu, agna, and rdha. Canopies, unmrellas, and rtctory standards Are decoratively-spread 1n the upper heavens.

'M'Iis means that the superscribed vowel siqna for o ( na.ro), e ( • qren.po), and i (gi.gu) do not need to be drawn within the limit of the upper line. Beneath the head, the body;

~f!ath

the body, the seat:

Everything is to be of equal width. This indicates that in drawino vertical combinations of letters, the upper parts are not drawn of greater width than the lower ones. Such prooortions are important to follow.

Using a bamboo pen with a

vide n1b cut left-oblique, write according to +:he stroke order tau']ht by one's calligraphy teacher.

64

The

strolc~

order is most important: ln qeneral,

t~e

order of strolces is left to right, while the curves are drawn rl9flt to left. If one follows one• s own whims 1n these eases, one's letters will become flawed, so one must practise dillaently, dependlna on the un
S1nlc the second specimen in water; Burn the third Spt!Cinlen 1n the fire;

Throw the fourth

s~lmen

to the wlnd;

Offer the fifth specimen to your teacher for inspection. -The m..ters of old

e~lained

that by the time one had finished about five_

caplea, one could really be said to bE! drawliii:'l the letter correctly for the first tf.JIIe.

Dlagr•

G)

gives the proportlona f« the Tlbt!tan alphabet.

There are

ldnute c:ammentarles on each of the letters1 for examole, for tho! letter ka, The head in heaven ls four (units) wide1 The "tooth" (mche.ba) hooks down from heaven to the slcy1

The hand in the middle falls to the mountain-top; The foot on the left

u.e.,

the ealllqrapher's right)

stretches from heaven to earth. The foot and hand are tapered to points: thus is 'lea' made. However, it would take up too much space to include them all: one ean learn all that is necessary from the diaarams.

65

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69

Diagram

f;;;\

shows a soecial ~ va~lation,

t~~

tcchni1Ue

fo~

laying out (the

looos of the Kalacalcra mantra, call..-il th .. ''t•n intcrloclc:o!<'l o;vl la"'l'!!S of po·~" (spuns.yig.ma~~~.bc:u.dha~.ltianl. F'i~st the c"'ntral ve>rtical lin• is drawn: then, the

desi~ed

hei7ht,

f~~ th~

to? of th"' outer

~ur~oun~in~

halo

(phyi'i.'od.korl to the base of th~ lo•us s"'at, is dividentral ve~tical line and one unit anart, and six to the left one unit ap.'lrt; of t.,e twel-. spaces thus fol"'lled, the first eight from the left are for the width of th~ eight legs (of the letters>, and the remaining (four units) are th~ width of the syllabl"'s themselves. The horizontal spaces between the letters are to be one-eiqhth of a unit per unit. Beginning from the top and working downwards: six units (down the central vertical linel is the "tip" (na.o:lal, one uni': high and with a triple bend (sum.'khyo•js, like a flame). The "dot" (thig.lel is round, one unit in diameter: the

cre•c~~t

moon (zla.tshes) is one unit thick at the middle,

with the upcurved tips extending out three units to the riCJht and left. The "head" (mqo.bol.is three units hlqh, and cut in three units on thO! right sir'le like a lotus bloom in cross-section.

From the fourth unit down (from the

top of the head), the tip of the he-syllable beqins.

The he-syllable

occup1e• two units; the lcs-yllable, three units; the me-syllable, two and one-half units1 the la-syllable, two and

on~half

units; the va-syllable,

two units; the ra-syllahle, one unit; and the ya-syllable, two untts. these~

Below the fire from the end of time (dus.mel, the moon seat, and the sun

seat - these three placed one below the other - take up two units; the "stamens" (ze•u.•brul of the lotus, one unit; and the lotus seat (pad.qdanl, three unit•. The line behind the second foot of the ya-syllable is the ":nidllne" (dbus.thig) cr "line of puritY" ( tshaJ}Sothig), use
inn~r

line: it ls to

as thr. oattern known as "jPwelf set !n scrollwork" ·(nor.'dzin.pa.tral.· The colourinq for this ~i.lch

loqos is: black for the tip; white for the dot; boon; dark

blu~

for

th~ ~ead

r~d fo~

and the ha-syllahle;

qr~n

the crescent for the

k~a-

syllable; the five colours in the ap~opriate dir'!!Ctions for the masyllahl-.; yellow for the la-syllable; white for the va-syllable; red for the ra-syllable; and black for the ya-syllahle.

70

This treatment give•

merely the layout: fra~~ other sources one can learn a~t thl! ext~nsive diseussiona of the symbolism of these ayllablea with respect to the foundation, path, and goal in spiritual development. In the spacious realm of the saint Tonmi's exPerience, The clouds of the vowels gathered and the thunder of the consonants roared: 'nle torrential

rai~

of written languaqe fell on the cool

reqion (-bsil.l_dan.Ijons, i.e. Tibet>, Causinq the lotus groves of the .Utras and tantras to blossom: all this is due to his qraee.

71

some examples of graphic deslqns and written symbols used for accompluhing various aima are shown in diagrams

and

In diagram.

fiqure shows a ch&rlll for pacifying violent winds; fiqure aqalnst harm by fire; figure

3

2

1

1

a protective cham:

, a charm for averting disease among cattle;

figure

4

, a charm to ward off drought and counteract against bad omens;

figure

5

, a charm to protect aqalnst the influence of demona; figure

a charm to prevent theft; figure rabid dogs; and figure

8

7

6

, a charm to invoke prot&etion against

, a charm to invoke protection against wolves.

~

In diagram

figure 1nv1s11!1Uity; figure

2

1

shows a spell to

achi~e

instructions for increasing butter production; figure increased milk production; figure

5

7

4

3

, the same for

an amulet of instructions to protect

1

agains.t dangers while trave111.nqJ figure huntlnq; and figure

invincibility and

, instructions for protection from dogs; f'lgure

6

1

a charm to bring success in

, a chan to qain control over the speech of one's

enemies. These represent just a small usort.nt.

A 1110re comprehenaive collection

can be found in the siitru and tantru, where these methods are cUscussed extensivt:ly, and particularly in the Nyinglftapa tradition of Vajrayana Buddhism, where there exist a vast array of techniques for accomplishing various aims through different kinds of activity and exorcls1nq.

pacifying, developing, influencing,

Some of these ere closely guarded secrets, so that others

are unable to draw them in their entirGty.

Even for ones whlch can be drawn,

often the proportions ere not clearly set forth, since for one who 1s a general practitioner of the arts this branch ls not considered essential. Thoae specilncna included here represent just a rough survey. The spokes of the chana and instructions rotate to the rlqht; The spokea of the various compounds of substances rotate to the

left; The qears of the profound mantras meshs Such is the machine for accompllshinq the· welfare of both

(self and others).

72

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80

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CHAPTER SIX

The Proportions of Receotacles of Mind -- Stupas There are eight styles of stupas associated with the Sugata•s life: the stupa of "the conquest of MAra" (bdud.'dul.mchod.rtenl, cormnemorating the Buddha's overcoodng the hosts of Mira in Magadha (at Bodh Gaya l; the stiipa of "heaped lotuses" ( pad.s~s.mchod.rtenl, commemorating his birth in the Lumbini grovel the stupa of "many gates or doors" ( sgo.m~.mchod.rten), commemorating his

-

.

turt'ling the wheel of dharma_at Sarnat!'l near

Var~asi; t~~

stilpa of "descent from

the qods' realm" (lha.babs.mchod.rten), commemorating his descent at Sankhya from the

Tu~ita

heaven (after ascending to teach the reincarnation of his mother

in that realm); the stiipa of ".airacles" (cho.'phrul.mchod.rten), convnemorating

the miracles he performed at §rlvasti; the stiipa of "reconciliation" Cdbyen. bzlum.mchod.rten), commemorating his reconciling (the quarreling factions of the sangha) at the Bamboo Grove ('Od.ma•i.tshal) in Rijagrha; the stupa of "nirvina" (myan.'das.mchod.rten), commemorating his death and passinq beyond sorrow at Xujinagara; and the stiipa of "complete victory" (rnam.rgyal.mchod.rtenl, commemorating his voluntary prolongation of his lifespan at

Vai~ali.

The proportions for these styles are here laid out following the method of the incarnate artist Trenqkawa (Phren.ka.ba: see Preface).

Whatever size

one is planning for the stupa, the total height from foundation to pinnacle is divided into sixteen equal parts: one of these parts consitutes a 'laroe unit' (cha.chen), and one-quarter of a large unit constitutes a •small unit' (cha. chun).

So this total height of sixty-four small units is common to all the

designs; also, the bases are all perfectly square, and the round parts are all (perfectly round) so th'!lt the circumference is three times the diameter, so it will suffice to explain a generalized scheme. The layout consists of squaring off a surface sixty-four small units high and forty small units wide (like an oblong chessboard).

Q

·Diagram is for the "stupa of enlightenment" "stupa of the conquest of Mara").

The layout shown in

~

(byan.chub.mchod.rten, i.e., the

From the ground up, the plinth (sa.stegsl

is three small units high and forty-two wide.

Next there are three stairs

(them.skas), each one small unit high: the bottom one is thirty-eight small units wide, the middle one is thirty-four, and the upper one is thirty. "main facade" (gdon.chen) is six

~11

The

units high and twenty-six wide; the

"co,rnice" (gzun.snam) is one small unit high and twenty-eight wide; the "small lotus" ( pad.chun), one small unit high and thirty wide; and the "cap" (ba.gaml, x(~j

small unit high and thirty-two wide.

These measurements (i.e., from the

plinth to the cap) all constitute what is termed the "lion throne" ( sen.khril. The "causal stiipa"

(r~'i.mchod.rten)

small units of the total height.

then takes up the next twenty-five

The "ten virtues" (dge,ba.bcul is a step one

sm-"11 unit hiqh and twenty-five widt!!. e~ch

Atop this are four "steps" (ban. rim),

two small units in height: the first and lowest is tWt!!nty-four small units

wide; the second, twenty-two; the third, twenty; and the fourth and highest, t!!ightet!!n small units wide. and st!!venteen widt!!.

The "vase base" (bum.qdan) is one small unit hiqh

The "vase" (bum.pa) itst!!lf is twelve and one-third small whic~

units in ht!!iqht: it is sixteen small units across the base (bum.rtsa>,

makes for a circumference of about forty-eiaht small units (since the vase is -

I'

circular); at its widest point (bum.lto), nine small units above the base, the vase is twenty small units wide, with a circumference of approxiaately sixty small units.

The remaining three and one-third small units (of tht!! vase's

height) form the "upper vase" (bum. "tod) '-- which is rounded and encircled with ornamental designs.

The "block base" (bre.qdan) meaaures one small unit

high and three and four-fifths wide.

The "block" (bre) itself is ont!! and t -

thirds small uroits hitJh and four and one-half wide, and is descr-ibed as being perfectly square (when viewed from ahovt!!). The

"result~t

stupa" ( 'bras.hu'i.mchod.rten) beqins with the "lotus

umbrella-stand" (gdugs.'deq.pad) 1 which b one small unit high, two small units wide at the base, and four at the upper edge of the lotus.

The nest

section of St!!Venteen small units abovt!! (the lotus stand) is redivided into fourteen equal parts: thirteen of these comprise the "dharma wheels" (chos.kyi 'khor.lo), while the (uppermost) remaining part is the ht!!ight of the "junction" (mdo.qzuils).

Each of these thirteen wheels is further divided, with t-thirds

of the height for the thickness _of a "male wheel" (pho.'lthor) and the r-.ininq

one-third for a "female wheel" (mo.'lchol").

Lines are drawn connecting the right

and left outer edges of the first (bottom) wheel, with a diameter of sb: small

units, and the thirteenth (topmost) wheel, with a diameter of one and one-half' small units.

A second pair of lines 1s drawn inside the first pair,_ from the

points one-half a 11111all unit 1n on eitha. side of the first wheel, and one-quarter of a small \D'Iit in on either aide of the the thirteenth wheel.

'l'ht!! outer pair

of lines show the diameters of the male wheels, the inner pair those of the

fe•l.e wheels.

The wheels themselves are circular· (when viewed from above),

with the circumference about three tillles the diameter.

'1'he junction is the

same width as the thirteenth wheel, sHghtly flared outwards at the top, and includes in its height the fraction of the sixteenth original small unit (resuiting from.the redivision of seventeen original parts) .. Above this are the "umbrella" (qdugs) and

&~all

units into fourteen new

·~raincloud"

(cnar.phebs),

each one-half a small unit in height: the umbrella is the same width as the St!!Venth wheel (from the bottom), and the raincloud the same width as the sixth wheel.

The "pinnacle" (za.ra.tshaq) is the same heiqht as the block (i.e.,

one and t-thirds small units): the upper diameter is the same as that of the umbrella (i.e., of the st!!Venth wheel), but the piece flares outwards towards the bottom, the lOWt!!r rim being hun!J with ornaments.

The crecent moon ( zla.ba)

is one small unit thick, with thP- two horns spreading up and out to a width

82

equal to the diameter of the umbrella.

The sun-disc (fli.ma) 1a two small units

1n diameter, and the flame at the peak (toq) is one small unit 1n height.

These

malce up the total measure of twenty-three small units for the resultant stupa.

('i;\ shows the layout \ J Diagram

for the "stupa of heaped lotuses".

throne, vase, wheels, and so en are identical with those above.

The lion

The peculiarity

of_ this style is the four steps (b&llor1m), which are circular (when viewed from above)

rather than

s~are

Diaqram shows the "stupa

and are inscribed ar01md with lotus-petal designa.

~

~

of many qates".

one-third" (of a small unit: see diaqram

The steps are "projected by

, fiqure

3

) , and they are carved

with designs of doors or qates.

Diaqram shows the "sttlpa of

Q

\.:.lJ

descent from the qods • realnl", the

of which are "projected" (see diaqram

fc:AJr

ste~

, figure

4

).

ate~

In the centre of the

are carved three parallel staircases.

Diaqram

~ miracles", the

shows the "stiJpa of

ate~

of which are "projected

by one-third". Diagram shows the "stupa

®

of

~clllatlm".

'nle corners are cut off

from the fourtsteps to form concentric octagons. Diagram shows the "stupa

CS)of nirvana". which has a round' domed vase

and no stepa.

,,_ ;:'":;;'... (3)

of """"''''' viotory".

There are only three

stepa, which are circular, as is the "ten virtui!S" slab. In the case of all these desicns, the soire, from below the umbrella to the upper part of the vase, is hung with flower aarlands. of

~he

structure are columns topped with figures of lions facing outwards:

strings of tiny bells are strung from the topmost lions.

At the four corners

whe~l

to the necks of the

The whole edifice is decorated with these kinds of chains festooned

on it.

83

The portal in the vase (ban,sgo) is eight small units high and eight wide (at its widest point), tapering inwards towards its baae w!th a shape like a petal; another method is to make the portal eight small units high and six wide. In either case, the mouth of the portal is decorated around with designs of lotus petals and scroll-patterns; these door-ornaments extend up to the neck of the block, and are twelve small units across at the mid-point, tapering .to eight units across at the baae.

lllua~a:'::'".,.. ~

detallo. Fiqure 1 Shows tho ahapo of t>o octagonal steps in the stupa of reconciliation. Figure 2 gives the layout for drawing the eight equal sides (of the bottom step}: usinq a radius of twelve small units in any given direction from the centre, the sides will be equal when the circumference is divided giving a measure of twelve units from the centre to each Of the eight corners. Figure 3 shows the style termed "steps projected by on-third" (sum.chu.glo,'bur.can): the st~ps "bulge out" for on-third of a small unit, the bulge affecting one-half of the thickness of each step. Figure 4 shows the shape of step termed "projected" (glo. •bur.can). Figure 5 shows the shape termed "projected steps" (glo.'bur. them.skas). A further design, drawn frca the explanations of Jamqon Kongtrul ('Jam. mqon.ltoit.sprul, 1813-1B99) based upon the system of the omniscient But&n (Bu,ston, late 13th to early 14th centuries A.D.>, is the "storied stupa" (lthan.bu.brtseqs,pa•i.mehod.rten>, depicted in diagram

Q

\.2)

The desired

height is divided into four equal large units, each of which is further divided into four small units; the width is divided in the same way with central and secondary vertical lines.

Starting from the bottom, the "lotus

seat"· (pad.gdan) is two small units hloh and eioht to the right and left of the central vertical line in width (i.e., a total of sixteen units wide). There are two stairs (them.sltas), each on-half a small unit high: the lower one ls seven small units to either side of the central line in wi~th

(i.e., fourteen total), and the

either side (i,l!, 1 thlrteen total).

upper_~s

six and on-half units to

The "!Rain storey" (lchan.chen) is eight

small units high and six to either side of the central line in width. "small border" (bad.chuh) is one-half a small unit in heiaht, and six and one-half to either side of the centre in width. The "large border" (bad,chen) is one amall unit high and seven to either side of centre in width.

84

Above that is the "small storey" (lchan.chun), which is three

The

small units in heiqht, and in width two units to either side of the central line.

The "upper border" (lcha.bad) is one small unit high and three units

to the right and left of the central vertical line.

The storeys are meant

to be built with two layers, an outer one and an inner one.

As for varia-

tions which are employed in actual practice, such as embellishinq the borders of the upper and lower storeys with ornamental desiqns, or making the top one-half unit of the three-unit-high smaller storey into another small border (bad.chun), these are not set forth clearly in the available -texts.

DiagrUI shows the "storied stupe"

®

Ngulchu Panchen (dljul.chu.pa!l•chen).

design accordino to the system of

The heiqht and width are (equal and)

both divided into eight large units, each of which is further divided into four small units.

The "carpet" (sa.gdan) 1s a plinth four small units high

and sixteen to the right and left of the central vertical line (i.e., a total of thirty-two).

The "stamens" (ge.sar) is a slab one small unit high

and twelve to each side of centre.

The single stair (them.slcaa) is one

small unit high and eleven to either side of the central line.

The "main

storeY" (khan.chen) is twelve small units hiqh an4 ten wide on both sides of the central vertical line.

The "small border" (bad.chun) measures one

and one-half small units high, and is eleven units wide to the riqht and left of the centref and the "large border" (bad. chen), three and one-half small units high and fifteen wide on either side.

The "upper ornament"

(kha.rgyan) is one small unit in heioht and sixteen units on either side in

~idth.

Atop this, the small storey (khan.chun) and upper border (kha.

bad) are to be measured to one-third of their counterparts in the lower storey.

The result will be a structure of equal height and width.

85

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CHAP't't:R SE:VF:N

Elements of Composition This chapter deals with five elements of composition: garments, hats, ornaments, hand gestures, and symbolic implements held in the hands. Fir8tly, of the various kinds of garments, the sublime nirmanakaya form of the Buddha ia depicted wearing the three dharma-robes ( chos.gos.rnam.g,sum):

these robes are still worn to the present day by fully ordained buddhist monks of India and Tibet, and are the at:tire of buddhas and ordained teachers in religious art.

As to the proportions of the first robe, the formal outer robe

(snam.sbyar) or mantle, there are nine divisions: three small, three inter~iate,

and three large.

The three small versions employ nine, eleven, or

thirteen strips, with two and one-half square patches each; the three intermediate versions employ fifteen, seventeen, or nineteen strips, with three and one-half patcher; each; and the three large versions employ twenty-one, twentythree, or twenty-five strips, with four and one-half patches each.

The

method for measuring these sizes is traditionally given as follows: "from the

crown of the head to the soles of the feet gives the total measure of body length; when this_ length is divided into seven equal parts, two of these parts Jllake one • cubit', a cubit according to one's body size.

The three large

versions of the outer mantle are three ::uch cubits wide and five long; the three intermediate sizes, slightly more than two and one-half cubits wide and slightly JDOre than four and one-half long; and the three small sizes are blo and one-half cubits wide and four and one-half long.

t_he strips DJSt be cut out, laid together, and sewn."

For all of these,

The strips cannot be

111euured using the 'body-cubit', but in the case of the five-cubit length mentioned above, it ..ould be divided to allow for twenty-five strips with a border of blo strip-widths left over on the left and right edges.

A strip

of whatever width in relation to the mantle length, and of length three cubits

t~

match the aantle width, .ould haw four and one-half patches:

the width of these patches must be determined keeping in !lind the allowance

for the border above and below.

These. patches are then cut out and sewn

laid like birds' feathers, with the upper ones over the lower ones: as well, one makes a central se11111 straight down the middle of the mantle, and tarthe strips so that the right-hand seams face to the right, and the left-hand Giles to the left.

Where the seams join-t a kind of cross is stitched with

thread to prevent flapping of the strips.

Aside froiD the different number

of strips, the shape for all sizes of the mantle is the same. t:h1a is given in figure

1

SOme idea of

~

V

of diaqrllll figure 2 shows the smallest of the three intermediate sizes, with fifteen strips; while figure 3 shows

the aiddle size of the three alllall veraiona, with eleven strips: the other "Nraiona can be deterained fr011 theM examples. patch - t be cut and ae.t.

100

Figure

4

shows how each

Figure 1 of diagram (bla.gos).

@)

shows the shape of the upper robe or shawl The measurements for the length and width should be based on the

small, intermediate, and lar9e versions of the measurements for the formal outer aantle: that is, for a mantle of 1nter.ediate size, it would be inappropriate to have a shawl of large sizeJ this shawl would have to be of intermediate size

-u.

u There are seven atri~ of two and one-half patches e.ch: this is the standard division, with no alternatives of mare or leas. It is beat to cut

the stripe and sew

th•,

but pendaaible to just fold (a larqe piece of cloth)

and sew these folds_ 1n place!

Figure 2 shnws the form of the skfrt or cassock (mthan gos).-It is two cubits long, five cubits wide, and consista of five strips that have onlr one and one-half ·~atches• (on each stri~).

It is taueht

that if(the above) does not cover the moDk'a body because it is of great girth, he m&J add a plain piece of cloth.

The patches should be put on

the five (original) strips (and not on the addition). Figure ' shows the form of the sitting mat (gdiA ba). strip and one and one-half

·~atchea".

width is two cubits, six finger-widths.

It has one

Ita length is three cubits and ita It is also taught that the unit

of measure for this is the "particle-cubit" (rdul

~).

There is no great need for the measures of these when drawing pictures.

But I have drawn them because in general they are articles of

clothing whose measures were indicated (by the Buddha), and in particular with the idea that these rnight be needed also by tailors in this period when the community of nov ice and fully ordained monks is extensive.

And

I have done so with the incidental prayer tr.at in all future existences I may be born with a body that will become clothed with such noble garments.

101

Diagram ahOWII the five

silken garments which adorn sambhogakaya forma: ~

the silken shawl ribbons.

scarf, skirt

~

lower garment, jacket, sash, and silken

is the scarf-lilce upper garment (stod.gyog).

Figure 1

In tantras

of the ancient tranllllliasion ( Nyingmapa) this is described as a scarf of white silk with deaigna worked in gold thread, which covers the upper body; in some canonical

description~~,

i t is described as a shawl of the colour

which matches that of the divinity.

So there is no fixed rule; in creating

an illlage, one follows the method of the tantra of the divinity concerned. This applies in all the following cases.

2 is the lower garment

In figure

(smad.gyog): leggings of dark red with patterns lilce rainbow rays of light picked out in gold thread are called "spangled leggings" (tshiq.gu' i.smad. dkrial, 'lo't\ile those made of rainbow-c:oloured strips are called "rainbow

leggings" (dban.qzhu' i.smad.dlcria).

I t has become the custom in Tibetan

paintings to_draw a Skirt (smad.6am) reaching to the knees over these leggings: I wonder ....ttether this and the leggings are meant to be one and the same.

The "dancing jaclcet" (gar.gyi.phu.doft) in figure

covering the upper body, and has short sleeves.

3

ia lilce a vest

Though it is qenerally said

to be of green colour, one should follow the specific instructions. (sku.rags,

~

chos.gos) shown in figure

4

below the jewelled belt, with the two ends hanqing down in front.

crown (c:od.pan) in figure hanging out

fr~

5

The sash

1a yellow, and lcnotted in front The silken

is made of multi-coloured stripa of silk

under the jewelled crown.

Figure

6

shows the silken ribbONI

( zl.ldil , said to be of blue colour, hanging down and out from the crown, behind the ears.

There

aee11

to be two

~~ethods

of rec:lconing the "five silken garments"

(dar.qyi.c:haa.c;o..IMJ, one which counts the crown and ribbons u

one (in the

cluaificatlon of six above), and one which counts tha as separate but omits the sash.

F'iqure

7

depicts an ac:ceaaory garment, the loincloth (gsan.khebsl.

a kind of skirt which covers the genital area.

The shorts (an.rag) in figure

ve a kind of wraparound loincloth with short legs, worn by Indian mah'lsiddhas

and c:cta1D divinities.

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Diagram depicts three garments

worn by wrathful divinities: the human-

akin cloak (zhtn.chen.qyi.pags.pal, the elephant-skin cloak (glan.chen.gyi.ko. rlonl, and the tiger-skin skirt ( stag.lpags.ky'..sam.thabs}.

Figure

1

1a the

cloak of human skin: it 1$ shown worn with the outer skin facing out, the head and feet reversed with the legs knotted around the neck. figure

2

The elephant akin• in

is shown worn with the head to the divinity's right, the tail to

the left, with the left foreleg hanging over the divinity's right shoulder and the left rear leg hanging over the left shoulder, outer skin facing out. divinity's left.

It is wcrn with the

One does find examples with the head facing to the

The tiger-skin skirt, shown in figure

3

, 1a drawn in a

variety of ways: wrapped one and one-half times around the body, with the head to the right and the tail to the left; or else folded in half and wrapped around the body with both head and tail to the right; or folded from the middle of the skin with the head behind and the tail in front. however, the head, tail, and four paws are shown. in figure

4

In all of these cases, Another garment is depicted

: worn by feminine wrethtul divinities, it is drawn as a short

alcirt made from the skin of a leopard minus the head, tail, and leqa.

In some

c:orrunentaries on tantras of the Nyingroa school, this is counted as one of the ornaments.

A garment peculiar to certain feminine wrathful divinities such

as ~rldevi 1a shown in figure •~~~~~. thabs),

5

It is a woven black skirt (re.lde'i.

a short kind of petticoat woven of black hair.

Figure

7

1a a

lionaldn, worn by aome wrathful divinities: it is drawn as is the elephant akin, with head, taU, and paws complete.

This 1a only drawn in casu where

specified, not for wrathful divinities in general.

108

In

f!~

1

®

of diagra

is shewn a IIOftlc's

vest (stod.'gaqa).

Whlln

the suprUIIItl abbot Bodhisattva (~lnt.irakfita) CUIQ to Tibet, the dharu king Triaong Detsan offB"ed hilll many garments of fine silt to prevent him catching cold and falling ill: but being a fully ordained monk, he did not wiah to vear such finery.

Tho Icing, in order to IICCCIIIodate his wishes, had a garma\t

fashioned which was lllodelled on the shape of the baclc support, Ulllbrella, and associated dec:orationa of the Teachs'' s throne, and offered it to the abbot, who saw it u

-

.

acceptable and ~e it.

P'rolll that t!ae ~da, ·it: was the _

standard garment for all ordained follO!iers of the Teacher, with the dec:oratiOftiJ totalling six 1n number. dates

fro~~

The simple red Yeat laelc1ng these six decorations

the ti11e when the great scholar of JCashllir

Sakyuri, ~Jilt. c.c
(Kha.che.paq.~

ttl one occasion, to PE"Otect his body

froll the cold wind, he wore his sitting mat wrapped around his upper body:

this was talcen as a model for this garment, which was later adopted by all holders of the monk's precepts.

Figure

2

showa a garment which is a JUrtt

of honour a1110ng Mongolbn_royalty, lcnown as a "phyag.tse•: previously,

when both the great aiddha JCarma PaleU (the second JCarrnapa hierarch, 12061283) and Drogon 0\&gyal Phalepa ('Gro.mgon.choa.rgyal.'phags.pa, a founder of the Salcyapa lineage) were appointed the chief spiritual advisors to

the Mongol -peror JCuhlai Khan, this ntarlc of honour was accorded th-.

In

later times, it was used u a lllodel for a garaent worn by the chief abbots and hierarchs of illlportant JDCJnastic centres and lcnown as a "throne-cloalc" (lchri. ber)

or "body-wrap" ( sku.zl-).

'!'his tradition dates from the t1me of ICU"'IIa

Pales!, who was born in 1750 B.E. (1206 A.D.), and Ch8gyal Phalcpa, who was born during Paled!' s twenty-ninth year.

'l'he garment in figure

the time of Je Rinpoche (i.e. Tsonglchapa 0

14th to 15th c.

3 dates

A.D.).

fro~~

In his

youth, having on tine occasion been given an underskirt by his guru, he felt it improper to wev such a gift on the lower part of his body, and so wore it around his upper body with an extra fringe attached to cover the whole length of his body.

This garment later evolved into the "cape" (zla.gaJD)

traditionally worn by all monks.

Figure

4

shows a cloak (''ol.berl; it

is considered a garment worn by divinities, and so 1s worn during the

religious dances.

'!'here are various explanations as to its origin, that

it was first worn by Lhalung Paldor (the assassin of the anti-buddhist King Langdarma of Tibet in the ninth century A.D.), that it dates even earlier to the prebuddhist (Bon) era of Tibet, and ao forth.

The 'mdon.ma• in :figure

5

is worn by all lay Tibetans, royalty and commoners alike, and is drawn on

fi~ea of local gods (yul.lha) and dharma protectors. (chos.slcyoil).

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Oiaqram "corselet" (khrab.chen) for protecting figure 1 is a the wearer against weapons, made of mail of iron plates with seven, nine, or thirteen sides sewn on a satin surface.

According to circumstances,

this may also be made of plates of silver, copper, gold, hide, turquoise, or conchshell. In figure 2 is depicted the "body armour" (gnas.lchrab) which protects the various places of the body.

ShaP1d like a lizard's head,

it has horns, crest, face, tongue, ahd designs protruding from the mouth: these cover the breasts, arntO!J.r

in figure

hear~,

belly, groin, and_ thighs, respectively.

The

3 is called the "armour of great Icings" (rgyal.chen.

lchrab.ris, i.e. of the guardian qods of the faur directions), but is commonly depicted (in drawings of other figures).

As above ( 1n figure

1

),

1n particular cases of silver or golden armour, etc., the armour is entirely of

the appropriate colour: it appears that for the armour of animal-headed

divinities (phra.man>, the plates are each painted a different colour. The armour in figure

4 bears some resemblance to a patchwork garment: it

is permissible to draw with more or ff!!Wt!r plates, and the colour, u

depends on the specific: situation.

The boots drawn in figure

above,

5 are the

general design, though there are numerous kinds, such as high boots of felt, boots with crocodile faces worked on the surface, and so onJ 1n figure are a kind of low boot ('gag.bc:ad) made of felt' while in figure

6

7 are shown

boots studded with jewela, which are worn by some yale•• (Tib. qnod.sbyin, a class of troll-like creatures) and wealth divinities (nor.lha). 'nlere are, moreover, many commonly-used kinds of garments and boots with ornamental decoration, but they are not very necessary, so this treatment will suffice. Clothed with the garments of the three vehicles is the Tibetan: The outer cloak of the refined ethics of the

Pratimolc~a

(the

precepts of Hinayana practice l The inner skirt of the gentle wisdom of the

bodhi~attva,

The secret garments of the spacious samadhi of the Mantrayana.

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The second part of this chapter is a brief explanation of the development of styles of headgear.

In diagram King Tsuqlagdzin of Zahor.

figure ;J: is the personal hat worn by Having attempted to burn the guru Padmasambhava

alive at Mandl in Zahor (present-day Himachal Pradesh), he later repented and offered his cloak and hat: the guru accepted the offering, and the hat became known as the "lotus. hat of Urgyen" (U.rgyan.pad.zhva).

The hat _1il figure

'""" (S!

is said to have beell worn by buddhist scholars during the spE"ead of the doctrine in Indi~. During King Trisong' s reign in Tibet (eighth century A.D.) it was worn by the abbot Santiraksita (of India), and was known as the "scholar's cap"

(~.zhva):

it later became accepted by all schools.

It is red in colour.

Figure (}) shows a variation of the scholar's cap: there is said to be a difference between the early and later translation schools as to the folding of the flaps.

The hat in figure ~ has a historyr Langdarma (gLan.dar.ma),

the forty-first ldng in the royal lineage of Tibet, was to the buddhist doctrine.

virulent~y

opposed

During his reign, the three kinds of religious

receptacles (images, scriptures, and structures) were destroyed: in fear of such hostile persecution, the three teachers Mar, Yo, and Tsang fled to Kham (eastern Tibet).

To protect himself from the cold while travelling with them,

Lachen Gongpa Rabsal tore his sash into_two strips and sewed these together into a hat with upturned tip, which he wore on his head.

Coinciding as i t did

with thP later revival of the buddhist doctrine in Tibet, this headgear was considered auspicious, and it was modified into a hat of beautiful design which became known aa the "pointed _c~"--!.!='t.S~·ZJ:l!~), yellow in colour. Dating from 1497 B.E., or 953 A.D., it became accepted by all schools. The headgear shown in figure

·l.

is called the "great helmet, the white crown of victory"

(rmog.chen.rgyal_.ba'i~!:_tl~·dlcar)

or the "helmet of meteoric iron which can

defeat one hundred thousand foes" (rmog.mo.gnam.lcags_. 'bum.thub).

This

helmet was ?art of the armour of Sengchen Wangi Gyalpo, an emanation of the combined activity of Guru Padmasambhava and the dharma king Trisong who

appeared in order to

sup~ress

the dark forces.

~tsan,

This individual brouaht

all the border regions of Tibet under control through military might: barn in the year 1582 B. E. ( 1038 .>.• D.), he took to the field of battle from the age of thirteen.

Since his time, the design of military helmets has

clos~ly

followed this one: a similar helmet is considered apparel of local gods. However, 4ny number of variations exist,

du~

to the different

ornamen~s,

such

as silken flags or victory standards, on th@ peak.

117

®

18

The hat shown in figure

0)

of diagram

is for the working of powerful

spells
an

incarnation in human form of the dharmapala Dorje Berchen (rDo.rje.ber.can). The upper peak is three-sided and comes to a point like a tetrahedron, and is decorated with designs of flames. same period as the helmet above.

The design originated about the

® is

The hat in figure

(Dvags.zhva) connec:t:ed wit;h the incomparable

Gam~Dawe

the ,;Dakpo hat" Shonnu (sGam.po.

pa Zla.'od.gzhon.nu, 1079~1153) 1 the great individual whose coming was

prophesied by the Buddh-a in such texts as the Samadhirajasutra and the Mahakarunapmdarikasutra.

As the venerable

~lilarepa

had predicted, when

Gampopa was staying in the Dal (rDal) hills of the Dakpo (Dvaqs.po) region of southeastern Tibet, there was a rockface in front of the hill shaped lilce this hat: using the shape of this cliff as a model, Gampopa fashioned this hat for a number of reasons, realizing the benefit for beings and for the future of his spiritual lineage.

He was born in 1623 B.E., the year

1079 A.D., and established Daklha Gampo (Dvags.lha sGam.po) as his monastic seat at the aqe of forty-two; so this design dates from rouohly that period. In later times, it came to be worn by the high-ranking gurus of all the four greater and eight lesser schools of the Kagyu lineage. figure

G)

The hat in

differs from the above only in ita. lacking flaps: it is called

the ''Gampopa hat" (sGam.zhva) or "small hat" (zhva.phra). to be! the venerable milarepa's style of hat.

It is also held

It originated around the t!Jne

of the above design, and came to be worn by great and lesser gurus alike in

the Kagyu school.

The hat with upturned peak depictt=d in figure. \.~: was

common to the south of Tibet, in Bhutan"' The "hom-shaped cloth cap" (ras.zhva.rya.gzugs) of Rechung Dorje Drakpa (Ras.chun

~Do.rje.grags.pa,

one of the principal disciples of Milarepa) is shown in figure

G) :

there is some doubt as to whether or not the victory standard on the peak was part of the design during

~cchung's

lif~time.

Fiaure

~

is also ona of

Rechungpa's hats, a white cloth cap of horn shape which most people identify with himf it dates from about the same period as the Dakpo hat. In an assembly hall of the monastic seat of Jakpo, there is a fresco of the Kagyu lineage showing figure

R~chung

wearing a hat like the one shown in

7.

119

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123

l'he "long- cap" Cbrlcyan.zhva) shown 1n figure

(i'

of diagram

or1qlnated

durinq the time of the qlorious Salcya dynasty: the Hanjusr1 lncarnation, Sakya Pandita, was born in 1726 B.E., or 1182 A.D., and this hat is said to ;-.

F'iqure \l. shows the "Salcya hat"

date from the later part of his life.

(Sa.zhva), a modification of the above lcng cap, with the tails folded up and crossed one over the other in frcnt, 11Jce the arms of Vajradhara (the primordial buddha): it was considered to be particularly connected with the spiritual

lin~age

of the Sakyapa school.

It is not worn by all Sakya gurus

in common, but only by tha Salcya Trizin hierarchs and those transmitting the Lamdray (Lam. 'bras) t'!achinqs particular to this school. the crown, of spiritual authority worn by

th~

In figure

-.2.-

1a

Karmapas, lords among the

victorious ones who were prophesied in the Samadhirij..Utra, the Lankavatirasiitra, and other works.

Previously, an emanation of Avalokitesvara, the

bodhisattva of compassion, a seer

called l<ertpakye {dKon.pa.skyes) was

crowned by the buddhas and bodhlsattvaa of the ten directions with a black crown woven from the hair. of one hundred thousand dakinis; directed to work for the benefit of sentient beings, he was acknowledged as •one carrying out the activity' ( 'phrin.laa.pa, or 'Karma.pa') of the victorious ones.

Although

this crown w.. continually present on the heads of the .uccessive incarnations in the Karmapa lineaqe as an expression of their innate awareness, it _. not viail:le to everyone, but only to the

oa~:uional

spiritually-sensitive individual.

The fifth ~arnation, Deshin She'kpa (De.bzhin.g6egs.pa) was bam in the year 1928 of the buddhist era (1384 A.D.); he went to China at the age of twenty-

four and met the emperor Yung Lo.

The .-peror could perceive this blaclc

crown which was continually present on the Karmapa• s head, and requested permission to have an actual physical crown made for. all to see, modelled on this invisible crown.

The permission

was granted, and the e11per0r

accordingly had this crown fashioned, the second blaclc crown (zhva.nag): as it was a replica of the original, 1t also bore the n - "the crown of one hundred thousand dalcinis" (Q!kha'. •aro.'bum.zhva). year 1951 B.E., or 1402 A.D.

It was made 1n the

In 1901 B.E., the year 1357 of the western

calendar, a holy individual prophesied by the Victorious One was born: the king of the- dh&r!ll8 1 the incomparably_ great TsQngkhapa, also known by· the personal name of Gyalwa Lobzang Drakpa· {rGyal.ba.blo~b~an.grags.~).

At

the age of fifty-three, he established the IIIOI'Iastic seat of Geden (dGe.ldan) at Drokriwo ( 'Brog.ri.bo): at about that time, he saw it as an auspicious sign for the future of his spiritual lineage to change the colour of the scholar's cap (see above, dlaqram

124

, figure

2

) from red to yellow.

This became known as the "Geden cap", this lineage being made up of those who wore this • golden crown' shown in figure

@) ,

At a certain point, a

variation with a wide middle and pointe top was introduced, shows another variation on this style.

Figure

G)

The vidyadhara Terdftlc Lingpa ( gTer.

bdag,gliit, pa) , the crown- jewel of the early translati.on school
l.ll

2190

s,e:,,

or 1646 A.D.

At the age of thirty-one, he established

the monastic centre of Orgyen Mindoling (O,rgyan.smin,grol,gliill as his seat.

The hat shown in figure

;f·

was known from that time onwards as the

"Mindol hierarch's hat" (sMin,grol,gon.zhval, and c~ to be worn by gurus and teachers of the Nyingma school. The "lotus hat" (pad,zhva), worn by most tertons (qter,ston, one who

"t-·

reveals concealed teachings) of the Nyingma school, is depicted in figure '-.!../

@

of diagram

I know of no certain account of its origins and dating. There would seem to be numerous shapes and peak ornaments.

In figure

®

is

a leather hat (bse.theb~r), worn by some high gurus, dharmapalas, and local gods: and in figure

(! ,

a similar hat of Chinese design.

The "charm hat"

(thun.zhva) of figure

:!.1

performing exorcisms,

The tantrlka' s hat of figure ']/ is called • ~

is worn by powerful tantrlc sorcerers when

~'!m.thans,nag•, and is worn while working powerful charms (zor.zhva) during

various rites of magic.

Some of those who practise the "cutting-through"

teachings (gcod) and use its rituals to accomplish various alms wear this hat shown in figure ~, , named after the teachings (qcod.zhva): it is said that the son (of the woman who developed these teachings in Tibet, Machilc Lapdron) Tanytm (Thod.smyon) had a similar hat,

The hat in figure J~· is

connected with the three Dzampa brothers, who were all consfjered contemporary emanations of the same figure: in later times it was called the "storyt.eller • s hat" (sgruit.zhy~~. worn by those who went about singing stories frOI!I the epic l~ends of Gto!sar,

The_~tortoise-shell cap" _( rus,_!_~al.gyi_.lpags, zhva) in

figure ·~ is worn by certain dharmapalas: a slmi!ar design, the "crocodtlesnout cap"

(chu,srin.gyi.gcoT:s.~h~a),

is shown in !'iqure '9

125

Diagram figure

shows a hat

1

called a "thr'!!e-rinqed tiara" ( 'khyud.

mo.gsum.pa.' i.srog.zhva) 1 thP-re are various ornaments for the vajras, etc.

The hat in figure

2

peak -

j..-ls,

is also a tiara: it has a peak ornament of

three or five jewel-clusters, and is worn encircling a turban or topknot, of hair.

Figure

3

shows a similar desiqn.

kind of neekerejief attaehedl figure

5

The helmet in figure

4

has a

shows a similar helmet, the apparel

of goblin chieftains (rgyal.btsan) and local qods1 and another kind of hat worn by goblins (btsan, a kind of warlike demon) is depleted in figure The hat in figure

7

6

•

is worn by naqas (Tib. klu, serpent-deities) and

goblins: the peak may be ornamented by a jewel, a silken flag, a snake's head, and so forth.

The hat shown in figure

those Who worship, or have had visions of, the face" (Bya.rog.gdons.can).

8

is traditionally worn by dharmapa~a

known as "Crow-

The "soreeror's hat" (mthu.zhva) in figure

9

is a hat for tantrikas: and the "wrathful hat" (drag.po' i.zhva) in figure

10

wu worn by the Teacher of Shang (Zhang.ston) and others. These are the headgear worn by divinities and spiritual gurus.

As to

other common kinds of hats, there were very many different styles in Tibet, impossible to draw here, and anyway not necessary. From the vast treasury of snow-peaks which is the Indian tradition of the Sage's doctrine Flows the

str-.~

of soiritual advice which soothes the afflictions of beings in the cool region (Tibet) 1

These crowns worn by the accomplished masters who direct this

now

Are the insignia which distinguish their individual achools of thought.

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Thirdly, in setting forth the classification of ornaments, the first group is the

orn~~n~ents

G'\

of peaceful divinities.

~

In diagru are shown the eight basic ornaments lollich are the apparel of aambhogaltaya forma. The eight

are: crown, earrings, throat ornament, bracelets, long necklace, necklace, belt, and anlclets.

Of these, the head ornament or

crown (dbu.rgyan) in figure

1

1s syabolic of the buddhas of the five flllllilies, or actually functions as their

•seat': flanked by spiral patterna, lotus-petal designs, and so on, it has in the middle

eith~

tJ:ie· forms of the buddhas of the five

of the corresponding colours.

_f~~n~il1es,

or

inset

stones

Strings of jewels hanging down connect the left

and right sides, from which the spirals coil upwards with silken streamers

attached at the temples, the ends hanging behind the ears and out to the sides.

Figure

2

shows the hair piled up in a double topknot with a precious

atone on the top, and bound in the middle with a metal band: according to the particular situation, there may be a vajra on top, a jewel, etc.

3

Figure

1s a variant shape of the above.

The earrings ( sDan.rqyan) in figure

6

(!>

of diagram can be spiralshaped or flower-shaped and so forth, with clusters of inset stones. Some yakfa and wealth gods are drawn wearing earrinqs with conchshell or jewel pendants.

Although one tradition states that masculine divlnities wear

circular earrings, while feminine divinities wear oval ones, I feel that there is no certainty here, since it is not clearly spelled out in the tantras and art manuals. chu> in figure

2

The choicer or throat orn~~n~ent ( mgul,rgyan or mgul,

has a cluster of tiny stones set in filigree, on a chain

strung with tiny stones, with larger stones of different colours strung in groups of three or five.

There are many different styles, such as pendants In figure ~

and nets of jewelled chains and so forth,

, the 'bracelets

(phyag,gdub) and •ak'et• (zhabs.gdyt0 can be made of two, three, or five rings, with or without inset stone1.

The long necklace (..do.4all in figure

4

is a string of precious stones worn around the neck, reaching to below the navel: the necklace (s~.mo.do) in figure and reaching to the breast.

5

ts shorter, worn around the neck

Figure ·~-- shows the belt ( •og.sag, or aka.r;ag),

a girdle of gold encrusted with jewels, with a net of chains of precious stones hanging down, fringed with tiny bella in clusters.

In figure

7

are

the '~.inc.~~o..rni!lll.ent.s"
Flower garlands and wreaths for the head are known

as the "ornaments of youth" Chy1 s.pa'i,rgyan>; and one tradition exists of drawing yalcpa orna~ented with flaming precious stones,

Although rings are

185

clearly mentioned in some tantras as being one lc:ind of ornaments, no tradition of drawing them has

d~veloped.

Likewise, although in particular

cases some siddhas or realized saints are shown wearing earrings of conch rings, reliquary boxes around their necks, and rings, one must use one's judgement; this is not _the general rule, so that one cannot malc:e one example apply in all cases, Similarly, there are various cases when the meditation. belt Csgom,thag) is either drawn or not, depending on whether or not the figure in question

wore it while practising meditation. The second group of ornaments, those of wrathful divinities, are depleted

Q

in diagram 'nle slc:ull crown \..:.,)

( thod,pa' l,dbu,rgyan) in figure

·1)

is made

of five dry slc:ulls, joined by chains of vajras and tipped with precious stones. A fringed net of pieces of bone hangs from the mouths of the skulls, and silk ril>bons are bound to the temples. feminine wrathful divinities.

ntis crown is comrnon to all masculine and

There follow ornaments which apply especially

to tantru of the mother tantra class.

Figure ~]> shows a ·bone wheel Crus,

pa' i, 'lc:hor,lo) worn on the crown of the head,

It has eight spokes, and the

hair ia pulled through the hub to f0%'18 a topknot: on the five spokes facing the front and the five alc:ulla of the crown, and a hal-vajra forma the top. Figure

d) is a hairnet

of bone, worn over the topknot, with thirty-two

squares in the nets the jewel-tipped hairpin .in figure the topknot.

,:!)

worn around the throat and forma a net of sixteen squares.

the

is worn inside

The bgne choker (rus,pa' i,mgul,rqyan) shown in figure

"ixx1¥-•ub"

5

In figure

is

6

1s

(ka,,a), formed of two chalna of bone C:roasing over the

front and beck of the torso.

In some Nyinqma tantraa, an ornament sindlar

in shape to this suh is deacril>ed aa having six parts: jewel-shapes made of bone on the right and left shoulders, lotuses of bone on the breasts, a

njra of bone down the spine, wheels of bone over the shoulderblades, an endleaa-lc:not design lll&de of bone at the small of the bac:lc, and a croaaed-

vajra design ln bone over the navel.

The•bone am-on 1n figure

(j) ,

worn over

the lower body, 1a a bone net with slxt)'-four squares and strings of tiny

bella on the lower e
'nle' bone bracelets and anklets, worn

_around the wdst"s· and ankles. are shown in figure ~ : and the' bonj! earrings - worn on the

ear~

in- figure

9

,

Together, these all are

term~

the "six

bone ornaments" (rua,pa' i.rgyan.drug), the six being: choicer, earrings, bracelets and anlclets (counted u on the crown. of the head. giving what are known u

one), saah, apron, and vajra-tipped wheel

For femJ.nine divinities, the sash 1s oaitted,

thef"flve symbols or seals" (phyag.rgya.lna),

A

aliqhtly different classification also exists, which lists: a bone wheel with a half-vajra at the hUb, worn over the topknot; a short necklace of hone; and a shQulc!er-belt (se.ral.kha) worn over the right shoulder and passing under the left armpit.

186

In diaqraln are

ornam~nts

common

to some wrathful divinities. The "snake ornaments" (sbrul,rgyanl represent different castes: the wl1ite mottled kerchief (figure

,-

•1i l, the warrior caste; the yellow

mottl~d

earrings (figure

.1· ), the merchant

caste; the ~ mottled necklace ( fiqure ;f ), the brahmin caste; the black mottled belt (figure ~ ) , the commoner caste; and the green

:I· ),

mottled bracelets and anklets (figure

the outcastes,

In some convnen-

taries, the classification is: white nagas (serpents) representing the warrior caste, binding the hat:;

yellow~ represent~g_the_merchant

caste, as earrings;

red, representing the brahmin caste, as necklace and choker; grePn, representing the commoner caste, as belt and lonq necklace; and black, representing the outcastes, as bracelets and anklets. figure

;!

The ")lead-garland" (thod,rgyanl shown in

is a long necklace or shoulder-belt made of fifty fresh heads

strung on human intestine.

The ornaments worn on the upper arm are made of

splinters of bone strung together (figure

-J) ),

spllnter armbands" i tshal, bu'i,doun,rgyan).

and are lcnown as "llmle-

The crown of five dry skulls

(skam,po,l':la'i,dbu,rgyan) has been mentioned above,

The three substances

smeared on the body (byuq,pa'i,rdsas,qsum) are: the clot of human ash ( th,!l. chen,tshom,bu) between the eyebrows (figure

@

(rakta'i.thig,l ) on the cheeks (figure 9

), and the 1mears of

gi,zo,ria) on the chin (figure 10),

l, the drops of blood fat(~.

Another tradition hu the clot of ash

on the forehead, the drops of blood on the "three prominences" -

the two

cheeks and the tip of the nose ---, and the smears of fat on the throat. above ornaments and apparel (in diagram

The

) are collectively known as the

"eight attributes worn to s~lize courage in surmounting ba,dpa',rtags,su,bzhes,pa'i,chas,brgyadl, In addition, the Nyingma tantras speak of the

(bsoral,

ob~~cles"

"~ighLattributes

which

are inherently present" (ye,nas,ran,chas,su,grub.pa'i,chas,brgyad): these are shown in diagram

Q

Figure 1 shows the · ~ attribute of the resplendent crocodile-design which expresses the blazing charisma and radiance of the divinity; figure

2

, th"'

s_un-1!\~_jesign

of skilful means and wisdom; figure

3

which represents the simultaneity

, the sickle-shaped fangs which

symbolize the annihilation of birth and death; figure

4

th_~_ v~r;a-:-~i_ngs

which symbolize the thorough-going fulfilment of wishes; fiqure

5

, the

haiL. stre!!minq upw~ symbolizing the reversal of samsaric tendencies;

figure 6 , the.~~~- coa~ symbolizing absolute authority; figure 7 the carselet of hide, symbolizinc the power to r@ach the goal of budd~ahood; and figure up

8

mal~volent

, the forces.

fire_o.L~r_i:nQr_2i~l_awareness

In addition to these eiqht

( ye.~es,mel, which b•Jrns inher~nt attribut~s,

two

IS7

other attributes are added to oive the "ten chas_.._~l_,_!he

attri!)ut~s

of qlory" (d::-al.gyi.

half'-vajra of immutability on the crown of the !'lead, s"lown

in fiqure 9 ; and the skirt of d~~s which cuts trxouoh mal~volent attitudes, in figure 10 Aneth~ system classifies the eight as: the the half-vajra on the crown of the

hea~

as the attribute representina the

"ruler of the family" (r1 0s.bdag, i.e. the ;>articular buddha among the • buddhas of t!'le five families which '=owns• the dlvini::y, indicating the particular energy being

transmut~l;

the hide corselet of power as the

attribute representing the radiance and the travt"rsal of t'le spiritual path; the feminine consort as the attribute sy•::·:>l!.zbg the fusion of opposites into a state of :1on-duality; the ':Jle£0'~-~.b..U<:~ (Q.pa_~ ~~QS) as the attribute representinq the avertino of injurious and malevolent forces; the upstreaminq hair as the attribute symbolizino the reversal of samsaric te:1dencies; the

as the attribute

~~a~ipned eagl~~

representing means and wisdom;

·t~e

royal

~ple_crown

which is the attribute expressing charisma; and the

as the insignia

~~e

(rdo.r~e'1.

mel as the attribute symbolizing the burning up of emotional instability. Yet another classification mentions ten attributes: the iron rod of domin'on, t~

the hide corselet_ of._power, the snake the

of.malevo.hnc~,

fur_ corselet

ferocity.

leopard of cunning, the .llajra. .of

_e.m~c.atiQ.!l•

the_t1qer of'_c;:ourage, the huJ!I<m.....s.kin of

of strength, the

lion_~!.

lust~;:e,

supreme skill, and the bear of

'nle •cutting through of malevolence' referred to above has many

interpretations: some consider it. to refer to the lower body, from the genitals down, being shaped like the sharp-pointed blade of' a dagger, piercing the heart of the prone figure on the seat symbolizing malevolent forces; others hold that a

·~aer

hanging from a silken loincloth.

skirt'

refers to three daggers

'nlere are many other classifications of

ornaments, such u a white eagle hovering over the right shoulder and a bladt over the left;

l~eaves

shaped like crocodile snouts over the

thighs, with silken ribbons hanging from the hips; and so forth.

These can

be learnt as they appear in the individual liturgies; one cannot possibly

llst them in their entirety.

One general observation is that wrathful

ornaments do not suit the forma of peaceful divinities, though oeaceful ornaments are not restricted from b"!in9 used on the forms of wrathful divinities.

158

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Fourth),Y, as to the basic pr-esentatiqn of the varioaa hand gestures (phyaq,rgya. Slct. mjjdn), the different fingers are symbolically referred to by the seed syllables of the five buddha fai.Uea: the thumba as

HUM,

forefingers u

the adddle fingers u

the small fingers u ~

~

the

TRAM, the ring fingers u .!:!!!!11, and

rn diagr-

(j)

the f o i l - - " " " " we .,_,, Figure ~ , the mQdra of "meditative eauipoiae" (mfiaJII,bzhag,phyag,rgyal, .

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~

involving both hands: left hand below, right above, the OMs (i,e, thwabs) bent, Figure

® ,

the "evtb-preas!nq" mndra (sa,gnon, usually translated u

the "earth-witness" gesture): all five fingers parallel, extended downwards from the lcnee in a relaxed manner, Figure

® ,

the llliidra of equipoise u depicted above in fitJure

1

, but:

with only one hand, Figure

(i) ,

the liidra of "'';each1nq dharma" (chol.'cbadh at and

H'li1 of

both hands touching at the tips to for. a ring, right palm facing outwarda, left inwards, Figure Figure

G) , @ ,

another variation of the teaching l!jidra,

the llliidra of "bestowing refuge" (altyabs.abyinh flngera

parallel and extended, palla facing outwards, Figure

G)

the n«idra of "conaunnate geDeroSitV'" .(IIIChoq,sbyinh fingers

t

parallel and extended, hand palll up on lcnee, Figure

@ ,

the llliidra of "creating ~ (hUm,mdsadh both AHa 11n1cec1,

both HUMs extended, palma facing outwards, Figure@ , the "threatening pointer" (adiga.JIIdiUbh -~ extended stiffly, the other fingers curled, Figure

@ ,

the "arresting" m!l<1ra (myog.bve<S): all fingers drawn into

@ ,

the "trident" ml1dra (rtse.gsuml: ~ an(t ~both bent,

a fiat. Figure

the other three extended, Figure

§._, ,

the "bull" miidra (glan,po' i.phyaq,rm>:

in, ~ and HR!J;I pressed together with Figure

(i}_ ,

TRh,1

Of!!

and AJ;i both bent

extended downwards between thea.

the "flaming" miidra ( 'bar.ha'i.pbyag.rgya): all fingers

axtended and spread, Figure

§:· ,

the "bgx" miidra Cagrom,bu'i.phyag,rgya) or ,.space treasury"

(nam,llllcha' ,11\dsod): all fingers joined at the tlpa, palms cupped together to form a hollow between them. figure

§ , the

Of;! preaaed to Figure

Of:',

@ ,

"b~ lotus" mjjdra (padl!la,~a, 'bu'i,phyaq,rgya):

and AH to A~, with the rest of the fingers raised upwards, the "iron hook" un1dra (lcags,lcvul:

~ c:roolced in, with

the rest drawn into a fist.

145

In the tantras, other gestures such as those of dancing divinities, and those

repr~sentlng

find out

mor~

from

symbolic implements, are discussed extensively. oth~r

One can

sources: what has been presented here is merely a

brief survey.

Thes~

oblong bits of

Ri1e on

th~ ~ount

bon~

wrapped in flesh

of the enerqy of the mind, the doer:

It is said that the restless novenent of all this activity Clearly

146

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Fifthly, in presenting a catalogue of symbolic impl@ments, there are many classification, into types of

impl~ments

which are symbols in themselves; those

which indicate a certain quality, characteristic, status, @tc.; those which are weapons, further classified as cutting, oiercing, clubbing, seizing, binding, and so forth; and so forth: but her@ W@ will us@ a simplified treatment, just listing the impl@ments which all figures of gurus, peaceful and wrathful dlviniti@s, etc., hold in their hands. diff@r@ntiate the

abov~-mentioned

This is because it is difficult to

types here, though it is easy enough to

recognize in a given situation; a particular implement may be held by some figures as a symbol, by othexs as an insignia or badge, and hy others as a weapon. The foremost of these implements are the vajra-sceptre (rdo.rje) and bell (dril.bu). and mind.

s~ch,

These are at once symbols of all three levels of body,

Th@y are not merely implements held by divinities in images, but

® ~

are essential objects for all vajrayana buddhist priests in their ritual practices.

Diagram

aives the rough

proportions for these implements.

The

length of the vajra is divided into thirty-six equal units; the hub (lte.ba, 'navel') is four units high and four wide.

It beino spherical, the circumfer-

ence is approximately three times the diameter, or ahout twelve units.

Above

and below the hub are triple parallel collars (phren.ba.sum.gsibs) 1 ane unit in height on each side: next is the lotus, two units hiqh, and the stamens ;md

moon seat, one unit.

The respective widths of these parts are four units

for the collars; four for the base of the lotus; five or six for the top of the lotus; and five for the stamens and moon seat: these parts are all circular, with circumferences approximately three times the diameter.

The C@ntral prong

1.s twelv@ units in length, thickening to one-quarter of the l@ngth (i.e., thre@ units) in the middle, and narrowinq towards the base and tip. ~h~

four directions sprout from

r~e

petals of the lotus.

The oron9s of

The base of

e~c~

·of t'-.es.- four prongs is in the shape of th@ head of a crocodl.le ( c"uJ.srin, Skt. makara>, three units long with the top of the head c~ntral

out

inwar1s to

thick oart of the prong

to~ distanc~

issuin~

th~

tio of

'lh!!

~"" sn"u~.

fr0m th!! crocodile's mouth

six '.lnits from the central prong's end: th• tir

t~e

o:

prong; th!! snout of the crocodile projec':s o•.Jt, with a di!
five units frorr. the centre of th"! central ;:>rong to cen~ra~

f~cing

project~

the

of

rHrectil)nal prong curves inward smoothly an
t'-,~

r,.maininq t•.ro uCJits of the central

prC>ng's l,.ngth form a ::>roj'!'cting ?Oint at th• uop-r acoc v;~jr'l.

t\olelve t..,

t~...

for~s

lm"~r

•nds

The dinm.-ter acro"s the wicl,.st point o!' tl\• prongs of the ;.>ni~s.

for a cirC'r.f.-renct- of appr.-,xi""'lte1y

total height. of vajras,

~si~@

~"irty-si.x

o~

the

'B~ra

is

units, e1u'll

Th'!'se proportions are for tr .. 11ost nart CO'"-:n:>n to "'11 from variations for mor.- or f"!wer

('ronged or nin'"'-prong"!d vajras.

'kher Sli<]'ltly different

rron~s.

a~

for one-

exf•lan~tior.s

can b,.

155

found, hut this much will sufftct!.

f'icrure

s":ows the !l'etho<1 of addinr. t"le

1

sli«;~ht

t!Xtra bit to. the five-unit widtl- of the mouth of the lotus. F'i')ure adding this 111uch to the width makes for an aest-..,etic
opposite t!ffect in

c~sting,

and constitutes a flaw which U;:>sets the :r:>por-

tions. As for the ?roportions of the bell, the uppt!r as above.

Below tht! vajra are tht! face

of

and tr:

wis~om,

;mits.

v~s~

2

vajra-ha~dle

is

oropor~ioned

the feMinine principle

~ersonifying

with its base: these all have a total

hei~ht

of five

':'ht!n t:ht! stl!!r. of the bell (dby..lt;.pal, t..,o •mits lonq; the shot.!..:er or

''upper hollow" \ yar.phugl 1 ,..hich flar.-s smoc-t•,:y outwards and downwar:!s from tht! cfOntral stt!m, with a vertical heiaht of

tw~

emits;

t'~e

upper part of the

t.ell itself Ochoa.pa' i.stod.chal with t"le orr.an,.ntal "ril:>s" or "spokes" (rtsibs.~<1o~sl,

two units hiah; !rom here down tc the encircling ring of

vajras (rdo.rje'i.rva,ba) i$ four units heiaht; the flarinc edge of the mouth of tht! bell (kha.qyt!r.bal is t":ree units long; finally, the small flange wht!re the lip turns inwards is one unit in heiqht: this makes a total hl!!iqht of twelvt! units for the bell itself

(lch~.'pa,

hollow is t!ight units in diameter at the lowl!!r thrt!t!

t~s

•cavity•).

':'he upper

with a circumft!renc,. of

~oe,

this measure. approximately; tht! flart!d edge of the mouth (the

widest point) is twelvt! units in diamt!ter, making for a clrcumfert!nce of three times this, or about thirty-six units.

Tht! total

hei~ht

of the bell

is also thrity-six units, making for balanced proportions of t!qual width and ht!ight.

Figure

3 shows tht! balance between the

di~eter

of tht! flange

at the mouth and tht! ht!iqht from tht! upper hollow to the mouth, both of tht!se mt!asures bt!inq t-lve units; this ia an altt!rnativt! explanation for the conct!pt of equal width and height Csrid.zht!n.~am.pa).

Figure

4

shows the arrangt!-

ment of the seed syllables of tht! divinities on the upper surfact! of tht! bt!ll.

Tht!re is no single corrt!Ct mt!thod for their arrangt!mt!nt: according

to the situation,·tht!y may be arranged in accordanct! with the mandala in question. or elst! with reft!rence to the dirt!Ction in which the fact! on the bell handle faces. Diagru

shows a ntL"llber of

~

Cl!

other 1mplemt!nta.

Fiqurt! 1

is a

mt!ndicant' 11 staff ( 'khar .gsil) , which functions as both a symbol of tht!ir ordination and a walkin~staff for fullv-orda1~t!d buddhist monks: it incorporatt!S symbolically the thirty-st!vt!n factors conducivt! to enlightenment in ita structurt!.

Figure

2

is an almsbowl ( lhU!]obzt!d) 1 whicl\ is a

monk's t!ating bowl: there art! thr-.e difft!rent sizes traditionally drawn. Figure

3 shows a whisk Crna.yab), a kind of fan made of an oxtail, also

used to kt!t!p away stinging and biting insects; figure for cooling on
Figure

5

4

, a fan (rlun.yabl

is an "anointing-vast!" ( spyi.

blugs), u~ in bestowing blt!ssings during t!mpowermt!nt ceremonit!s, also a

156

kind of vase for ablutions; fiaure

6

, a "vase of lon'l life" ( tshe.bum),

is s symbol held by divi~ities connected with longevity, and is the vase used in ceremonies to achieve longevity.

Figure

7

shows a design known as a

"pinwheel of joy" (dga'.'khyill, which is a circle dividee into thre
Figure

clock~ise

8

(gyas.'khyil) or counterclockwise

is a "treasure vase" (qter.bum), which is a vast'!

filll'd with precious substances; and figure

9

is a "vessel of jewels" (nor.

gzhoril. In di<_!gram figure

1

is a

"peact'!ful wheel" (:r.hi.ba'i.'lchor.lol,

with a "pinwheel" at the hub and spaces between the spokes, with are of varying number -

eight, ten, and so forth.

In figure

2

is shown the "flaming jewel"

design (nor.bu.me.'bar): a cluster of jewels radiating light.

This term is

also applied to single jewels with six or eight facets, with light radiating from each.

Figure

shows a pot of treasure, termed a "chest" ( sgrom.bu)

3

or "basket" (za.ma.tog). or a c011111on lotus.

Figure

Figure

5

4

is a lotus, either a blue lotus

(utp~~.la)

depicts the "crossed vajra" design (rgya.gram)

formed of two vajras crossed, or a single one with spokes radiating in the four directions from one hub.

In figure

6

is a "mirror" (me.lonl, a looking-glass

Fiaure

7

shows a "wrathful wheel" (drag.po'i•

'khor.lo), a kind of weapon; figure

8

shows an

for seeing one's own image.

such a wheel; while figure

9

~

Various weapons are shown

\J

in diagram ~eizinq

in figure

1

eight~n-point v~xsion

: a "hoolc:"

( lcaqs.kyu) for

: and "ax.-" (dgra.stva) for choppinn in

•

"trident" Crtse.1suml for piercing in figure

mdun) wnich combines two weapons in figure

figur~

~unctionl.nq <~S

a

·,o~eapon,

4

fl.~~·

one ""l.th a sct..,tt:ar "1 'ce !->.. ing h"'ld by mast;·.;lin"'

on~

;~,,(!

6

in fl.aure

5

, a ''dagq,.r" Va]r;~lc:Ua

(rlo.

Cori.gl.I<Jl, a".oth•r

t!":" or:'!er '"'it!-. a hoo<ed t 1p.

1ivtni~l. .. s,

i:!.,ntlfied •lith r:liviniti-s of t'"le fat'"ler t'"l• rJ .. stqn in figure

~nif~··

:th'"r'" are two styles of

fe11i:1he

; a

repres,.nt_ir.c the '"'ansion' (1z..,al.yas.

lc:han) of t"l.- 1ivinity, anc so forth; a "hool-:ed W!.'aoon for r"loppl.nc, in

2

; an "ax,.-lance" (!!:te•u.

3

(phur.bu), w"1ich is a complex object, syrlbolizinq the divinity rje.phur • ...,al,

of

is a "wheel of swords" (ral.gri'i.mtshon.'khor).

tantra.~

hno~~ lc~ives,

"!'h'"t"'"

r-sp.-c~iv-ly;

and :T'Ot'".er

ar~

two

or th,.ir

•a!"tra~,

~eino

re!p,.cHv-lyl

";J;:·'"'i!"S ln sorr·"' 3nci.-nt I>1dian i:n.>qes.

157

~!ore

weapons are depicted in rlii'l'"jra111

of

whic~

a "mace" ( dbyug.tho' for clubbing,

ther• are muaerous sha;:-es, in figure

1

; a "5'"welled staff" (nor.

dbY'.I<Jl, octar:on'll and tipccd witt. a je•·•el, in ftgure dbyuo;.pa), ':ip;'ed ·..tith a vajr'l which

!11'1)'

be of n•tmerou!: f:1rms 4

with prongs

a "cClrpse-staff"

which r..,fers either to a cor 0 se impaled on a club-tip or simply

carr~erl a~

a cor;:>S!"

; a "skull-staff''

a ''vajra-staff" (rdQ.rj'"' i.

spread, with nin.., rroncs, and so forth - , in fi<JUre (z~in.dbyu?l,

2

~

( thod.dbyug) tippl"d with a dry skull, in fl.q.1re

a club, in fic;ure

5

; a "h11ntinq arr-:Jw" ( asl'lr.m.-la'), also

called a "plo;Jans•,are" ( t~on.g~ol), sho..-n in diff,.rent fonts in figure

6

a "so.. ar" (cs;;.l.sirll, a cry pole of ;:>eiso:-t~ ·..tood with a razor-shar;:> tip, in figure

7

; and a "ha'!lrner" (tho.ba) for clubhhg, in figure

'"" ®E

8

~

Siagram shows yet mor.., w,.apons. gri} with fla"ling tip; figure

2

Figure

1

depicts a "sword" (ri'll.

, a "razor-knife" ( cha.gn 1 or orna:r. .. ntal

blade dra·..tn issuing from a crocodile'.; mouth; fiqurl'!

3

, a "butcher's knife"

(gSaft.gri) which i~ considered an implement held by attenddftt divinities and not by the priftcipal wrathful divinities; in figure

4

, a variant form of

tne above, called a "cleaver" (san J (these lasf two are considered weapons for ill fiqure

cuttirlg throats

embowelling; in figure in f'iqure

7

6

5

, a "guttinq knife" ( rgyu.ariJ used for dis-

, a "hatchet" (dgra.zor) for choppina off limbs;

, a "pointed lance" (rtse.mdunl for.piercirlg; and in figure

8

a kind of' knife called a "sabre" ( sans.ldft).

Figure

1

in diagram

shows a staff' called a another complex symbol-insignia.

~ ~

"katanga"

(kha.tv~.ga),

Though this is said to be the same lenqtll as

the body of' the divinity holding it, f'or a seated figure of' Guru Padmasambhava, the actual body leagth of whicn when stAnding would be one hundred and twentyfive small units, the staff' would be f'ar too long if drawn this length: so there is no fixed length, as it is drawn of' varying lengths deoending on whether the figure holding it is standinq or seated.

Figure

which do not differ substantially from figure

2

1

Figure

piercing instrument call!d a "lance'' (mdunl ~ f'ioure lance; figure

5

shows stylistic variations

4

, an "arrowtip" (mda' .rtse), also called

(mde'ul, the tip of any ordinary arrow; figure

6

3

aft

"arrowhead"

, another kind of lance

called an "arrow-spear" (mda'.mduril or "axehead" (ste•u.kha}.

158

depicts_a

, .a variant form of'

Still more weapons appear in diagru piercing weapons, iR figure figure

2

1

~ • \.:U

bow and errow (lllda' .gzhu),

a "chain" (lcags.sgrog) for holding in

; a "lasso" (zhags.pa) for seizing or binding in figure

3

various implements for seizing which are attached to the end of the lasso, 1n figure

4

; a "division-sta!ldard" (ru.mtshon), a combination weapon utd

flag used by divisiOR leaders in

~es

of deities, in figure

5

; a

similar kind of weapo111, called a "division-banner"
wheft a lance-~ip is affued, in figure

; ut "errow-

6

banner" (!llda' .dar), or errow_ witR a b~er of silk ll'tta_cned, in figure

7

(this is a complex ef three asPe<=ts: syntbol, weapon, and insignia); a "whip" (lcag.tshan) or rtding-crop, in figure

8

utd a

"crocodile-tote~~

dard" (chu.srin.rgyal.mtshe), an insignia or elllble~~, in figure

@

Various types of i111ple~~ents ere figured indiagriiJII

stan-

9

Figure

1.

shows a "sandalwood club" ( tsandan.gyi.ben.chen), representing a castle containing an army of deities, with a jewel and vajra on the tip and two or three "gates" in the side, depending upon the situation.

Figure

2

is an emblematic weapon called a "scored stick" (khralll.stii>, consisting of a board scored with crisscrossed lines; figure

3

, a "bllg of pesti-

lence" (nad.rkyal), a destructive weapon consisting of a bllg filled with various diseases; figure fiqure

5

4

, a piercing weapon called a "pike" ( &flkti);

, a dry skullcup (thod.pa) and "fesh skull" (sar.bU), which are

the eating vessels of 111asculine and feminine wrathful divinities. In figure

1

of diagram

is depicted a

~ ~

"hand-drulll" (da.llla.ru), a

complex symbol with numerous levels of meaning, connected with the plishment of various kinds of act1vity1 in figure

2

acco~

, a "thighbone

tru."'>rt" (rkari.qlinl, a ritual object for incite111ent an<.l invocation; in figure

3

, a "talllbourine"

(o~an.drill,

an emblematic

illlple~~~ent;

1n figure

4 10

powerobject used as a weapon to drive the opponent mad, called ''thun.rva"l in figure

5

a "quiter" (sgra.snan), an emblematic instrument ef su1111110ning; in

figure

6

a "fire-lasso" (llle.zhagsl, a weapon to burn the oppommt; and 1n

figure

7

a "wind-lasso" (rlun.zhagsl, a weapon for dispersing the eneJIIY.

These conatitute an abbrev5ated catalogue of ritual imple111ents: otherwise, there is no li111it te the variety of ornaments and

imple~~ents,

just as there is

no end to the hosts of divinities of the ancieat and later systems of Tibet, the infinite variety ef peaceful and wrathful forMs of ~he three roots (qurus, 111editational divinities, and protectino deities).

Since it

~~uld

be illlpossible

to re able to depict the111 pictorially in their entirety, one cannot state definitively that certain ones are correct or otherwis@.

It is said that

because all buddhas and bodhisattvas manifest in many

of forms each second, in whatever manner beings to benefit, and because their

th~

co~passion

impartial, then any form which answers to the appropriate.

~u~~reds

and thousands

situation r-quires in order for and activity is unbiased and

need~

of those to be quided is

It is also important to learn the ?Ure symhology behina the

imple.ents: there are those who

f~l

that by worshippinq the divinities

depicted carrvinq weapofts, they will achieve their aims in Annihilating their hated enemies, as though the divinities were to cut the enemies• throats, wear the

h~ads

like a garland ar0Uhd their necks as spoils

and eat the flesh and drink the blood.

of

battle,

This is to misunderstar.d the meaninq

of the implements, which fault will also pervert one's motivation for practising the meditations on these divinities. throuqh wisdOI'I of the bonds of conflicting

So as reqards the destruction e~r.otions

in

011!!'

s exoericnce,

the reference to the "swor.-d of wisdo11 cutting throuqh the veil Clf confusion" is a metaphor both fer the which one is

~o

respectively.

lib~ratino

influence of wisdo11 and for that fro11

be liberated, i.e. stupidity, pictured as sword and 1veil, The sword-implement being 11erely a sY"Dol for wisdom having

destroyed stupidity, it should never be mistake,, for a hliide fC\r lcillinq hated

e~y

outside oneself: si•ilarly, one .ust be aware of

sYMbolic meaning behind each and every one of the syMboloqy applies also to garments such as the

th~

impl~nts.

h~an-skin

Thi~

cloak

~

purely pure

~om

to

syMbolize altruistic .ativation
Since the young infant, the mind seeking liberation, Has

b~n

seized on the path by the bandit of

emotio~al

conflict, We speak of the sword borne by the main wrathful

divinities As a symbol of the liberatinq power of the weapon of wisd011.

160

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COLCPHON

Altlwugh it wuld su. 1110at illportant to discuss the ~~ethods of mixing and applying colours ill COiljunction with this treatise on driM'ing, these are not dealt with in detail here. pigments are applied -

There are JHny distinct llethods of explaining

h..., -le,

fet~ale, and

~

neuter colours are c0111bined1

how colours are mixed u -ther and child (i.e., shading), u

enmy and friend

(colour hart110nyJ, u a king with hia retinue, Ministers and subjects (d0111inant aad backaround coleurs) 1 and how colours are 111easured and weighed out for llixing

~

vel~

u

ingredients are.

u

how these _Piga_ents are obtained, and what the various

These complex subjects IIUSt be learned firsthandt however

.uch explanation is put into a book, nothing will

CQae

of it.

Nowadays, the place and tille are such that it is rare to find any transMission complete and unified; though one or two JllanUals on drawing have COlle to light, practical technique hu suffered due to dilettantt.. replacing authentic technique.

Although copies can be made of already

existing tmages which have correct

for~~,

the skill is lacking to transfer

the proportions to arrive at any desired size other than that of the original: so there is currently a plethora of buddhist 1mages, SOllie of which do accord with the IIOdels set forth in the autras and tantru, and

which do not. nu~~~erous

1011e

of

In putting together this easy-to-read boolc, COIIIpiled fr0111

earlier aanuals and written in layman's language, I was keeping in

alnd the absolute necessity of this traditional syate111 of learning reu!ning alive as long u

the buddhist tradition itself.

Besides, I owed this

~

to MY own students, and I sincerely hope that I have also helped followers of Buddhisll and, for that 11atter 1 everyone who is intrigued by ita artistic traditions.

The Venerable Bokar Choktrul Rinpoche ( 'Bo.dkar nChog.sprul

Rin.po.che) graciously advised me that it would be of great value to include, if possible, a

SWIIIII&ry

of the proportions of the

IIIOde~

for "divine •ansiona"

(gzhal.yas.khan, one of the principal elements in a diagram of a complete ·~9alal,

but it see11ed tt:at it would be difficult to benefit all those

who read it with a brief treatment of this topic, while a properly lengthy treatment was beyond the scope of this work.

So in the end I confined

ayself to the above effort, with the intention of publishing a separate work on the subject. This myriad display of art Drawn fro. the noble vase of the four classes of tantra, The sweet nectar of the Guide'a instructions, Is a feast laid for so many beings to behold. Though one miqht not hold mere drawings as ·anythinq wonderful, If one is able to create in accordance with the spirit of the tantras The

fo~

of the foremost of sages (Buddha),

175

Then no ordinary for. can hope to rival this. In fact, small woraa such as we, wriggling along, ca~~ot Cross the vast ground of the intent of the sutras and tantru; But by studying and learning in the path exp.Nnded by those holy eagles who have flown before us, We use botll our wings and leqs to cross it as best we can. the words here lack flavour or sweetness, 'l'hey COftt&ill the essence of being the product of scxaethinq aeaningful; ~ey fill the belly ef a discriMinating intellect And give ene the .. erqy to reach a state of worth and fulfilment. ~ough

Because

s~e

discriminating young individuals nowadays

Have yet to meet Beauty that can give them delight in

creativity, These vivacious coquettes, these seven chapters, Are given to these bashful neophytes as loving brides. The Gadri tradition is the pinnacle of all the artistic traditions: Enter into this great tradition, 0 youthful ones! 'ftle unerring entrance 1a into the .lineage of the Mthoda of the 11asters: Authentic lineage is the pinnacle of learning. Just u Is not So the Is not

the splendour of the central IIIOUntain-peat outshone by that of all lesser peats, GU'pa (Gadri) style, lllte the light of the 110on, outshone by the stars of ordlaary schools.

So thla 1a the Garpa style of pdntinqt The •anlag of the tantras spokem by the Tathlgata, and The several noble intellects who recognized its authenticity and Who were the flawloss IMsters of tlilo arts anticipated in pr:ophecy.

on. the

vut ~ deep ocean of the_ tantras, Allidst the inexhaustible swell c.f traditions of learning, The tiny craft of ignorant and deluded artistry is flung incessantly: Beard ttle great vessel which is genuine artistry based on

visd011l Genuine artistic learning is a pool of water with uight fine qualities, in whieh

176

l'he reflecticns of the ~peeks are the three kinds of

reeeptacless Lest the -ter bec:olle sullied with the sedilllent of false

and corrupt worblanship,

It is lteped that these seven chapters will be the jewel to filter out the pure water. The bouquets ef .any-petaled lotus-buds of wisda.

Bloc. with the light fro. the jewel of the heavens, these .

seven chaptersr

Should t~ leaves and petals

0£

this-~tchless art wave,

Vho is there who will not enjoy the .-at perfume? Towards the doctrine of the

Victariaw~

One, the source of

all wished-f'« virtue ( dGe} and excellence I him:! bciGn lrtronqly motivated with joy (dGa') and respect: Altd u

to the Mblo representations of the unexeellt.d

(bt.a)

teacher of gods and .en, I hue exerted JIIYSelf in this one thing, to draw these

without (Mo) exceptiOft. However, the expanse of the vast sky of the lcnowable

Cannot hue been fathc..d by the winqtips of such a Sllll!ll bird as MY intellect: If t h - be any error or bias herein, I pray for the forgiveness Of the holy flocks of eagles who have seen the farthest

reaches of space.

•

• This seven-chapter t~E&e

• c~ntary,

aspirational verses.

• The Noble Vase of Riches, concludes with

I, the author, am Gega Gyatso of the cl8n of

Tra1110ling (Phra.MO.gli.il}, also lcnown as Gega

L~

(dGe.dga' bLa.111a).

This

book was written in the north of the holy country of India, near the border of Sikkim, facing the maasive snow-peak known as the "Five Treasuries of

sncwn

(Kanchenjunga, Tib. Gans.chen.mdsod.lna> Which rises like e atupa of

crystalr the area 1a blanketed in forests of deep green, encircled with a profusion of flowers of field and stream, a pleasure qrove frequented by flocks of sweet-singing birds sporting about; a place Where

~~~en

and -en

of aany races and faiths, buddhist and non-buddhist alike, dwell in content-

lllelt, Providing such colourful be~uty with their varied _costumes and ornaaents and taking joy in the life of the senses, in song and dance

~nd ~~e

fruit of the harvest; a place where one has the continual impression c.f being in a divine playground, in the town with the triply-auspicious

na~~~e

of Toong Soong (nun.gsum) on the eastern side of Darjeeling (rDo.rje.qlin) in the divinely-endowed country of India.

This book was completed in the

177

y~ar

2525 of the buddhist era, 1n 1981 A.D., the iron bird year of the

sixte~nth

sixty-year cycl~ of the Tibetan cal~ndar, on the t~nth day of the waxing MOOn in the .anth of the Pleiades, a day .ark~ by auspicioua promise. May this effort cause the noble vase of riches One's te~chings to become fill~ to overflowing with th~ spiritual art in all COuntries throughout th~ world!

178

of

th& Victorious of

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187

APPENDIX

'l'hia 18 a diacuaaion of -

P'U.tly, u

contrarenlal. pointa in painting.

to the difference of !be -11 unit. between the total

MUUrH of buddhu' !QE'IU and thoee of bodhlaatt'Ra', the following quote 1a talcen frc.

MS.pn•'•

WtE1t Radiant Sun (Rab.Qaal.f\1.-):

At thia point, there 1a a difficulty in that whatever size one 1a malcinq m llaage auch u a standing buddha, the total height fr0111 the Ufl)i.fa to the aolu of the feet 1a to be divided int, ten equal parta or large unita, each of which 1a to be _further divided into twelve md one-half Pall units. I f these measurements are usea, a buddha'• form would be alightly longer (than other formal due to

these additional half-unit., while othv !oru would ledt thla atra height due to trt.ainq this extra one-half unit fro~~ nery twelve ..all units, which 1a the standard used !or a bodhisattva's foras the final height and vidth of a bodhhattva•a for11 1 then, 1a one hundred and tv.lty pall unit., while the eorrespondinq part. of the tva fona would alao differ in alae. I .-yaelf bnw wondered whether this vas, in fact, an error. If -ex-ine tM.. point taking the standing fora of ten large units, the total height frc. the Ufl)ifa above to the aolea of the feet below 18 divided into ten equal part., and each of these large units 1a again divided into twelve equal aaall units: this 18 the atandard for all blagH. But in the particular case of a buddha' a for~~, an utra one-half of a ...n unit 1a to be added to each large unit, adding five -11 units to the total height' th18 beccalea the standard (in thia particular cue), while the original version rSU~ina the standard for other ill~. This means that were we to tate two w~, one · a buddha's and one a bodhisattva• a, which employ large units of equal lenqth, and drav the bodhlaattn' a for111 in place of the largeunit •uure of the buddha's fora, it is to be expected that the bodhlaattn• a £on would be five oall units short (of the total height of the buddha), while it would neceasarily follow that by drevinq the buddha's form in the apace of' the large-unit measure of the bodhiaattva•s, it would have to turn out five saall units lonqer. Since it would not be fitting to conaider these two large unite of twelve and twelve and one-half nall units reapectively to refer ~~~erely to t'IIIO different vaya of dividing (the same total lenqthl, the large unit of twelve uall units should be used u the standard for all images: for the ten large-unit fonlll of buddhu and bodhiaattvu, and the nine large-unit foru of fe~~~inine d1v1nit1es. This is rrry opinion, in any cue, and I invite di.scuuion on this subject by all those in Tibet Who are familiar vith artistic proportions. This speculative statement needs clarification.

While, as atated above, there

is indeed no technique of actually dividing a large unit into twelve and onehalf amall units, in situations Where it 11 necessary to drav the f0C11111 of buddhaa and bodhlaatnaa both of identical height, the probl• can be resolved by actually going through the method of dividing up the drawing aurface. two surfaces of equal height are first divided into ten equal pacta each.

so, The

measure for • hodhiaattn•a fon is arrived at with this measure of (ten) large units divided into twelve small units each.

On

the surface fcc the buddha's

form, a further five small units are added at the bottaa: this ertended surface is also divided into ten units of t-lve

incorporated into

ea~h

s~~~&ller

units each, and these units are

part of the form following the layout inatructiona.

In

l 9

this way, we arrive at an authentic t@Chnique whtch gives the two forms -the buddha' & measuring one hundroo and twenty-five amall units (but only one

hundr~

and twenty of

th~ ~xtcnded

units), and the bodhisattva's measuring

one hundred and twenty cmall ur.ita -- of equal heiqht tvt different proportions.

This is the classification in

th~

case of

~tandinq

figures: for &eated figures,

it suffices to extend ( tne surface for drawing the buddha' & for11l by two pnd one-half &mall unit&.

In case;; where the forma of buddhaa and bodhisattvas

need not be of equal height, there 1a no point in uti!ndlng the surface below and redividinq; one &imply layc out tha -asure of each figure in ita own right. In the, works of Jarngon Konqtrul, we find the &tatemalt that "(a measure of) one hundroKI and twenty-five (units) applies to peact
Since the

~uali

hundr~

do not clearly ctate

tnat the "wrathful-ucatic" forma II!Wit 'b>! one t-,undred and twenty-five small units in heiaht (even th<7.lgh they are technically classifi...:l u

forms of

buddha&), i t would not only be apprOJlt"iate to measure th2111 by the standards U5ed for bodhi.sattvu• forma, but

a&

Kongtrul goes on to aay, "Havinq their

origin in the buddha-families principle, they are 'aons of the victorious ones', glorious bodhisattvu which are the equivalent of buddhaa".

SO it is plainly

quito apJropriate to IIIOUure the height of 'WI'athful-ascetic (heruka) forms aa one hundred and twenty small units. Aa to the meaRUre of nine 'hands' ( thal.IIIO.dqu.pa, i.e. nine larqe unite),

theE"e is no explicit reference to thia standard other than for the pE"oportions for fsd.nine divinitiee, concerning which it 1a statQd that "the ..thers of the buddhaa are nine spans (stho.dqu, i.e. large units)( in height) •"

In the

14"ltlnqa of J8111gon JConqtrul, hO!oft!Ter, we find it clearly at:ttad that •the dancing wrathful deities are nine hands (in height)" • and further that "the godOOro!les are drawn with feminine attributes of

fon~

-

no Uf9l.ta, full breaats, wlva,

narrow waist, •all upper torao, full thighs and

~.

narrow forellead, wida

eyea with coquettish que, and &o forth' the~ are not eli!IIM!nta usecl for ...euline

divinitiu, but ti\Q remaining general proportiona are similar (for both divinities)". Thia quote •akes it clear that, apart fr011 obvious characteristics which diatinquiah IIIUCUllne froa fesainine f01'1118 1 the measure for both is ninti! hands or large units. 'I'M me1U11.11"e1Del'lt5 for the "ltinq of 14"&thful divinities" forma are as set

forth above (see Of _the

~apter

two for'IIIS of

Four, Section

)

~apatl (Tib.,- tshogs.lcyi.bdag.po) which are discussed,_

the aix-headad and the five-ht!aded forms, the former 1a considetted the Tibetan fon, the latter the Nepalese.

As 1110at of thEt ancient images from India are

of the latter, both Miphu and Konqtrul speak of 1t u

the rotandard, so we can

accept this aa authoritative. In some drawing

~~~anualli,

whichever image is being discussed, one finds the

phrase 'the level of the genitals' indicating the limit of the proportions of the upper body, followed by a reference to 'the hips at four . . .11 units' (to indicate the beginning of the lower body) : this seems to be a sOIIewhat awlcward

190

system of explanation, 1n view of the fact that the hips are not, in fact, lower than the genitals.

.Uthough Mipham explains this by saying that the hip

is included as part of the thigh, if one follows this advice there will be the prcblem of having to cut something out, since the thigh itself cannot exceed twenty small units in length.

~est

Therefore, the very

method of explanation

is that found .in Lobzang DamchO Gyatso' s manual Beautiful Ornaments of the ~

(bZo.rig.mdses.pa' i.kha.rgyanl:

"the hips four small units below the

waist, and the level of the genitals below that", (i.e., the upper and lower body measures "overlapping" l • When using the twelve and one-half small-unit measure for ..drawing a buddha's face, there are two methods: adding the extra half-unit on by elevating the forehead, or by lowering the chin.

By far the best method

1n this case is to elevate the forehead, and it is taught so by the painters of the Henri school. The eyes on the palms and soles of the white form of Tari ltnown as the "Wishfulfilling Wheel" (yid.bzhin.'khor.lol are drawn in various ways with respect to the direction in which the inner corners of the eyes (spyan.rtsa, i.e. the tearducts) point and the"upper eyelids face.

Since this is not

explicit in the canonical descriptions, we must draw intuitively.

If the

eyes on the palms are drawn with the upper eyelids facing t'te thumb sides and the inner corners pointing towards the wrists, and the eyes on the soles of the feet are drawn with the upper lids facing the large-toe sides and the inner corners pointing towards the heels, this gives right eyes on the right palm and sole, and left eyes on the left palm and sole.

Since the general

pattern is for the inner corners of eyes to be towards the centre of the body and the outer corners CS?Yan.mj•Jol to be towards the extremities, I feel that the best method is to follow this eyes, such as

Tara,

(thousan·~-armedl

arr~~qenent

for all figures with multiple

Avalokitesvara, Sitachatra CgDugs.dlcar.mol,

and so forth. In the case of the "".lack Eunuch Lord-Protector"

(~n.po.ma.ninl,

hair of t!"IP '1f>ad is jescribed in s•Jch works as the r-:vealed t-.ac!"linos

::>f

the Guru

ChOwanq CChos •.jbanl as "~lack hair of :-lack: snakes covering the earth", and "the hair of the head as tlacL: snak•s flowing 1C'W!'l". a:. hair

!<'l~red

li<:e snal< ... s,

·.~i':.C. ':l<<:-

hack to the left and ri.:r'lt.

~.ut

'ict•Jal sr.s<:es'

This 1s often depicted ~ails

'1ang1ng down the

..,.. :--sut consi::ler that in all cases

a child be in<;~ born from i ':s 110tr,.,.r, or flowers

·~row!nc;

t.he first part tC> e11erae is called t'le tip or loead, and

s·~ch

as

froTT' the earth, that

the

last to el'lerqe

the root or tail; and wh"'n a snake sltthers alono, the head 'JOes first and doesn't follow alon1 b ...~i~d. this pr!.ncirle

·:>f

Jn this cas" (of th"' snake-hair), we 11USt take

growth or "'"'"'r<Jence into consider'ltion, so that it is the

snakes' heads tloat '"oul
divi~ities

fort~ ~~r.v e~anations;

tor.,ed 'fanoerl

since this figure is

c~rnivores'

classifi~

aMOng

(za.byed.mche.ba.can) which "devour"

191

the enemies of

t~e

doctrine, I feel that it is correct tc draw the snakes' tails

rooted in the head, and the heads hangin0 down. In some drawings, the hair of the fiencess Ekajati (Ma.mo.snags.kyi.srun.

ma) is depleted drawn up in a sincle oointed tuft.

Although in

q~eral

the hair

of most wrathful divinities, masculine a•od feminine alike, is streaming upwards, the canonical descriptiOns of

~icajati

make various references, to "she,

t~e

supreme terrorizer with the tonlcnot of locks", and "in the midst of the darlc brown loclcs hanoino down loosely", and so on.

I fear !:he meaning of the name

Elc:ajati (Ral.gcig.ma, literally "she of the single lock of hair") has been misintl!roreted: in my opinion, the "single lock" sel!lllll to rl!fer to a sinqle hair made of iron which protrudes from the crown of h
Since no clear rl!ference is

~ade

in the canonical

descriptions to anything other than a "mouth (or face) in the belly"
~een

sa~ ·~rd

divided as to their int
honorific term for •mouth' (khal a~d for 'face' (no.gdonl.

So this question

of whether or not to draw a nose has yet to be resolved. In the case of meditational divinities (yi.dam, Skt. devata) and other

figures with many arms, the method of drawing the arms is to depict them extending separately from front to back from a single shoulder, with the forward arms being held lower and the rear arms raised hiqher.

Now, there h

a certain complication in that there seem to be two ways of assigning the symbolic implements to the

resp~tive

hands: one method places the first

implement in the foremost hand, the second in the hiqhest and rearmost hand, with the rest being placed in descending order (i.e., moving back towards the foremost hand in order); while the other method continues (beginning with the foremost hand) throuqh the lower and more forward hands to the upraised, more rearward ones.

For example, when using the former method, if the text stated,

"in the first hand, a vajra; in the second, a sword; in the third, an arrow", then the first hand would be identified as the fnr@most one,

in the case

w~ile

of "in the second, a sword", this second hand would have to be i1entified as the

la~t,

rearmost one: but this is clumsy.

buddhist divinities were ltke ihose of

mo~ern

Thi~

problPm would not exist if

Hinduism,

w~ere t~e

arranging the arms is not fixed, but the early examoles of do not show such random order.

order of

budd~ist

iconography

The teacher Abhayakara (of India) stated

categorically that for multi-armed fioures, the right arms were to be arranqed from the uppermost down, and the left arms from the lowermost upwards, but in later times this was not done.

In the Sakya school, the (sixteen-armed) form

of the divinity Hevajra holding slcullcups (dGyes.rdor.thod.pa.can) is drawn with the arms arranged and the implements assigned in accord with the canonical descriptions, and so accords >Jith the early examples of images of this divinity: 192

but in the case of certain other not the case.

So these questions of

s~bolic im~leme~ts

of the

diviniti~s th~

of oth@C tantric

class~s, t~is

is

arrangement of the arms and the assianinq

in the correct order are open to inquiry:

In the case of '!l()Unts apon "'hich the figures are seated, such as the 'iron -..,olf' (lcags.spya!)l and so forth, whic'1 have many heads, one can see works in which the neck of un upper head is drawn on the crown of the head below it. Nr.ile it is difficult to reach a definitive statement, in this regard it is stated thal "in gen@Cal, divinities emanate heads and arms in any direction, higher and low@C", and these mounts are attendant _emanations of the main fiqures which ride them: -so some of the early works of both the Gadri a."ld Menri -schools of painting depict these multiple heads as all growing straight out from a single

This seems to me to be both more aesthetic and more sensible.

n~.

In drawing the 'pinwheels of joy' (dga'.'khyil), th@Ce are different styles

of drawing them as rotating clockwise or counterclockwise.

The ward ''khyii'

in Tibetan

ne~

example

this by filling a pot with water and stirring the water vigorously

of

•to rotate around a fixed point': one can get a graphic

in a cloclcwise direction with a sticlc.

Similarly, one should be aware that the

swastika-symbol of auspiciousness (gyun.drun) can be drawn in a clockwise or counterclockwise fashion. When drawing the sun and moon as part of the background (i.e., towards the top of the painting), the open side of the crescent moon should face towards the sun. element.

This 'conjunction' of sun and moon is considered an
ln certain sadhanas (Tib. sgrub.thabs, or liturgical manuals for

visualization meditations on various divinities), one finds visualizations of the symbol of the divLOJity' s vital energy ( sroq.rten, i.e. the seed syllable) "sand... ich~" con~oined

the sun and moon1 and references such as "in

~tween

discs of the sun and moon", etc.; and the sun and !IIO<'>n worn as orna-

ments to symbolize the union of skilful neans and wisdom. descri?':ion Pxists of how these '":~is

in

w~y:

'::·ut a!i

d~ci

de wr-:et.1er

th@

sun. W:!..t\..·

~~

re'J~r-:!

~~?le..rr~!"'it:s

no~

to

~n

w~':.h

'1av~

of the phr:tseo T.Oun':

t,:,~

car::-i~s

~nf"

specific

':hey are "'r-,•:n is

fr~e

":.""

O?er. s~ .._:jll of ~~:P :no11r. f ~c~!"lt:

''thr~t!-ll!aq~

m-ule" (d:-el.:-'":a.

two fre>nt leqs an-:! one r.-.ar :eq, and I feel to

t~H!S~

':l.-ing t'1at of "m!.rac•Jlous ;:>ewer which ;:>rooels'', "'hich

o':~er,

3

of various forms of ~ridevi), I 'oav'!! seen

:1-:eor~ ar~ r@ferenc~s

error.

one ar..ove the

When

t~;l! ~ac\c~ro,1n-= co~posta:.ivn,

1 t: 1 s ir!:oortant to

t~"! "tl~aning

1ra·.inr,s of ':'-.:s mule

~e plac~

:tn

:-k,m •.:~s-.;1'\) (in r~fenmce to the this is

the

hetw~n

thr~e

~""

··:~~s",

Sf'cond

t~e

th~

t'1~t

~irst

··: ..g of

··le"J"

w~~~

aloft", a:-.<1 the third the "leg of s·.·iftr,e5s ·-"'ich stimulates";

<~nd a'l.so to these three leqs as the "leg of miraculous power", the "wings of

3nd

~ir",

so

~~e

I

t~e

"tu.st

''skill of

-~~-::i~e

'1av~ s~~n

s~o·if':ness".

""''"~~th~r

or not the

7hese see:r, to

!:) ..

me'::.;ohor1ca1

:n'.Jl~ ac~·lal'!y ~as

only

::!es~:-i~tior.~,

thr~t! !~s.

a clay s':atue! of 3ridevi with a pair of e!yes on th<' dor.key-

cnount' s

rum~,

or.ly

' several author!:ies r,ave stated tt·at tht>re is only o,-.e: one -;o:re, an-:!

':>

on~

on eacc. side.

In the coml"enta.ries, refer'!Tlce is made clearly JQ3

on" C'in also examin<" "11 !:hose

~'"'"9·?5

~ingle

w':l.c", show orly "

eve b

th~

oniclrJle

of the rumo. In the case of peaceful aoddesses, it is traditionally s3.id that "the eyes are to

b~

shared

li~e

a fish's belly (i.e., the lower line a

si~pl~ c~rvel,

for the rei!.r face :>f ( th~ four-h-..aded form of) Cakrasamvi!.ra '.

l~il

as

e "bow-shane'!

eyes" (qzhu.spyan, ••h"!'re the up::-er .md lower lines are both ··.,w.vy") "!:r!' nc:!t th~y

specified in the nainting manuals,

appear on many old imaqes,

a~d

in later

times it became cus· orr.ary for bow-shaped eyes to be drawn or· these goddesses. So one must decid.< whP.t'ler ':r,is ts i'lppropriatc or not. 1 hav~ seer. imaqes <.>f wrathful divinities, mouths gaptng, with five or

six teeth drawn between

t~•e

t·•o canines.

Sir.ce t!'le usual number (in animals \

and menl is 7our, one :nust decide wh,.".er or not it is prooer to dra>< more. \\'hen one examines minutely the c'1;rr1cteristics of tr,e ornaments and attributes, it seems ther<" are :r.any var~

at ions.

It is impossible to

b~

'Jroun.~s

for doubts

to ;oarticular

~·J'"

ah.snl ut .. l y certain ahout t'oe

!:nowa~le

in

general, let alone the characteristics of diviniti<'"s, wh.ich are tr,e don:ain of omniscient

·.o~tsrlom

alone, anrl transcend

th~

conce;:>tual value j.Jdgements of such

as we: so to g" on at length would only be a cause of confusion to t!'lose of lesser intelligence, and irritation to those of greater.

This is

~ust

a brief

summary. On the vast ocean of the profound tantras,

The boat of wisdom moves, but has not reached the far shore; Sounding with the oar of diligence has not gauged the depth:· Amidst the waves of profound import I am exhausted. Being myself completely snared in the net of doubt, To thrash up a spray of

s~.Jlation

in others like this

Differs from the noble activities of holy beings: But this is the sword to cut through our colllllOn bonds. This section, dealing with points of controversy, was written as an appendix to the above seven chapters.

Gega Lama

194

~~~:\

~~~ ~~'I '

~,...._.,_~

:,J\,

(_~

f((_c.~

I

c,., \; I

I

I

----·-

0

201

203

--l I

-C"'t.~

f"'rtt.

1lf~Gil:t.·~~::~tll·~q~~~~

~cl~t:·~-.:l]~~-~ll.t·l:4~·~~"t'l~1

204

-.C"oo~

...,_

·~

j'"'~Ql·<..~t-:'~·~·r..'!)a:·o~~r::t~3-l·q"'·~1

1~·~r:;~"[·~~"'J·i(~·~·~ll(€l'l.ll

)

I

acJJ~m.l:"i;;;·Q~-r..J""'lq~t:T',c;a,tl~"-l~1 '

~

r~a~cr:;_
-.r'<343~~-CJ ;~-!'.1 ~"'~

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qr..·s_a-r•.:p!~-~1 1

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206

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212

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215

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ii !

216

217

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-l

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20

2

I

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.

2.4

.,~~~'~ 1\\\

\ 1

/

I

i

i

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-

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=

---··-·-&-&

0/I/,

V"

--------- ---- ---- -"""1

1\~

1

·~~; ·~1 ·~' ·\

·ve o/-- - · Vr2 1.

I/

0/!L:- 0

l

!

I I I I

II

I I

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~t§T !

"

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II '

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231

i

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