Papers by Sayaka SONODA
TOYO UNIVERSITY ORIENTAL STUDIES, 2025
TOYO UNIVERSITY ORIENTAL STUDIES(62), 2025
【査読有】『サーダナ・マーラー』におけるサラスヴァティー成就法
園田沙弥佳
印度学仏教学研究 72(1) ,pp.125-130, 2023年12月発行
Sarasvatī in th... more 【査読有】『サーダナ・マーラー』におけるサラスヴァティー成就法
園田沙弥佳
印度学仏教学研究 72(1) ,pp.125-130, 2023年12月発行
Sarasvatī in the Sādhanamālā
Sonoda Sayaka
This study concentrates on Sādhanamālā no. 167, focusing on the iconographic features of Sarasvatī, the structure of its contents, and the characteristics of the sādhana. In the Sādhanamālā, the appearance of Sarasvatī is described as either with one face and two arms, or three faces and six arms. Later sādhanas, including 167, have common properties and characters. Since Sādhana 167 is extracted from the Kṛṣṇayamāritantra, it is conjectured that the other three-faced, six-armed Sarasvatīʼs sādhanas （161, 163） are based on the same tantric source. I find in 167 that every argument can be defeated by memorization （√dhṛ）. This attribute is related to Sarasvatīʼs skill in eloquence 弁才. Sarasvatī is said to be the origin of the dhāraṇī goddess Jāṅgulī. Regarding Sādhana 167, it may be assumed that the power of memory, which is the original function of dhāraṇī, and the function of Sarasvatīʼs speaking ability, are related.
"Cundā in the Sādhanamālā No.129-131,174" TOYO UNIVERSITY ORIENTAL STUDIES 60, pp.245-251, Mar, 2... more "Cundā in the Sādhanamālā No.129-131,174" TOYO UNIVERSITY ORIENTAL STUDIES 60, pp.245-251, Mar, 2023
「『サーダナ・マーラー』Nos.129～131,174におけるチュンダー女尊について」『東洋学研究』60, pp.245-251, 2023年3月
Cundā Sādhana in the Sādhanamālā
SONODA Sayaka
The late Indian Esoteric Buddhist text Sādhanamālā（Nos. 129-131） presents a sādhana of the goddess Cundā. However, there are several variations in her descriptions. She is commonly described as having a “white body color,” “one face and four arms,” “a sūtra on the lotus,” and “holding a bowl with both hands.” Further, in Chinese translations, although with a different number of arms, she is referred to as yellow-white Cundā.
The maṇḍala with Cundā in the center is not described in Sādhanamālā. However, the maṇḍala in the sādhana of the eight armed Kurukullā （No. 174） seats a red Cundā in red color in the northeast. Further, Kurukullā is called Red Tārā and is a goddess who accomplishes a controlling and subjugating power （vaśīkaraṇa）. This study clarifies that, compared to the white Cundā, red Cundā is expected to function in a controlling and subjugating manner in esoteric Indian Buddhism.
Dec, 20, 2022"Cundā Sādhana in Sādhanamālā"
Journal of Indian and Buddhist Studies 71, Peer-revi... more Dec, 20, 2022"Cundā Sādhana in Sādhanamālā"
Journal of Indian and Buddhist Studies 71, Peer-reviewed
（2022年12月 20日「『サーダナ・マーラー』におけるチュンダーの成就法」『印度学仏教学研究』71(1)，pp.151-155，査読有り）
TOYO UNIVERSITY ORIENTAL STUDIES(59), 2022
(Abstract)
The Mahāmantrānusāriṇī (MN) is one of the Pañcarakṣā, and the commentary on this sūtr... more (Abstract)
The Mahāmantrānusāriṇī (MN) is one of the Pañcarakṣā, and the commentary on this sūtra is known as the Mahāmantra-anudhāri-sūtra-śatasahasraṭīkā (MNŚS).
MNŚS also mentions esoteric Indian Buddhism elements such as mandalas, rituals, and visualized dhāraṇī in the commentary.
In particular, regarding the iconographic characteristics of the goddess, which visualized "Mahāmantrānusāriṇī," there are differences in the descriptions of Sādhanamālā and Niṣpannayogāvalī. Karmavajra may have understood the appearance of Mahāmantrānusāriṇī, which is different from the contents of both texts.
Furthermore, by chanting the dhāraṇī of MN, the light emitted from Ananda's face becomes Goddess; from the scene of removing such as Bhūta that stays in Vaishali, this commentary shows the aspect of dhāraṇī deification in the early 11th century.
Journal of Indian And Buddhist Studies, 2022
Abstract in English: Journal of Indian And Buddhist Studies(70). 2022.
TOYO UNIVERSITY ORIENTAL STUDIES, 2021
TOYO UNIVERSITY ORIENTAL STUDIES 58
Journal of Indian And Buddhist Studies, 2021
In 2021, this paper is going to be published in Journal of Indian And Buddhist Studies(vol.69).
TOYO UNIVERSITY ORIENTAL STUDIES 57, 2020
Pañcarakṣā and Goddesses in Indian Esoteric Buddhism
: Mahāmāyūrī and Mārīcī
SONODA Sayaka (園田沙弥佳... more Pañcarakṣā and Goddesses in Indian Esoteric Buddhism
: Mahāmāyūrī and Mārīcī
SONODA Sayaka (園田沙弥佳)
TOYO UNIVERSITY ORIENTAL STUDIES 57
pp.167-188
(peer reviewed journal)
Journal of Indian And Buddhist Studies, 2019
This presentation concerns Sādhanamālā (SM) No. 134, a meditation on the Mārīcī of three faces an... more This presentation concerns Sādhanamālā (SM) No. 134, a meditation on the Mārīcī of three faces and eight arms (an image seen on extant art objects). The traits of the sādhana of SM No. 134 are elucidated via an understanding of its structural components.
Among the Buddhist goddesses of the Pāla Empire (8th–12th century CE), works depicting the Mārīcī are said to have been second in number only to those of the goddess Tārā, and Mārīcī worship was especially widespread in India. Sixteen types of Mārīcī sādhana are recorded in the SM, with Mārīcī displaying variously one face and two arms, three faces and eight arms, five faces and ten arms, six faces and twelve arms, or three faces and sixteen arms.
In No. 134, in the preparatory stage for meditation, the concrete description of the figure of the goddess is characteristic. The reason is not clear, but in No. 142, in the preparatory stage for meditation (similar to No. 134) is the phrase “depict images [paṭa], etc. of the figure of the holy mother [Mārīcī]” (paṭādigatamūrrtiṃ bhagavatīm avatārrya); therefore, it may be that the concrete figure of Mārīcī spoken of in the preparatory stage of No. 134 is suggesting not only a mediation, but also the creation of actual objects depicting the goddess. From the fact that numerous holy images of Mārīcī have been confirmed in India, we surmise that in addition to mediation, emphasis was also placed on the mechanism of gaining blessings by the pious act of creating actual art objects.
TOYO UNIVERSITY ORIENTAL STUDIES, 2019
SONODA, Sayaka. 2019. "Two Types of Pañcarakṣā Maṇḍala in Sādhanamālā.", TOYO UNIVERSITY ORIENTAL... more SONODA, Sayaka. 2019. "Two Types of Pañcarakṣā Maṇḍala in Sādhanamālā.", TOYO UNIVERSITY ORIENTAL STUDIES vol. 56. 197-212
園田沙弥佳2019「『サーダナ・マーラー』における2種の五護陀羅尼マンダラ」『東洋学研究』56号，東洋大学東洋学研究所，197-212
Journal of Indian And Buddhist Studies, 2014
[https://ci.nii.ac.jp/naid/110009899985/en/]
The Sādhanamālā (SM) is one of the texts relate... more [https://ci.nii.ac.jp/naid/110009899985/en/]
The Sādhanamālā (SM) is one of the texts related to the visualization of images of Buddhist deities, compiled by Abhayākaragupta in the eleventh or twelfth century. It contains nine kinds of sādhana of the goddess Pañcarakṣā.
Among these, no. 206 describes the sādhana of the Pañcarakṣā maṇḍala in detail. In this sādhana, the ascetic meditates on the Pañcarakṣā maṇḍala and unites himself with it in the first half of the text. Afterwards, the ascetic draws a maṇḍala for the benefit of all living beings.
No. 15 of SM describes both meditation and the drawing of the maṇḍala. However, in no. 15, after meditating the ascetic uses the visualization of the deities to draw the maṇḍala.
In the Sarvavajrodaya, after meditation the ascetic draws a maṇḍala for consecration(abhiṣeka). This differs from no. 206, in which the mandala, as noted above, is drawn only for the benefit of living beings.
The point of this paper will therefore be to look at the characteristics of sādhana no. 206.
Journal of Indian And Buddhist Studies, 2017
The Mahāśītavatī-sādhana in the Sādhanamālā [in English]
・This is an English translation of a pe... more The Mahāśītavatī-sādhana in the Sādhanamālā [in English]
・This is an English translation of a peer-reviewed Japanese article published in 2017 in the Journal of Indian and Buddhist Studies (vol. 66, no. 1, p. 371-368).
→ https://ci.nii.ac.jp/naid/130007556197/en
・English translation by Editage, Cactus Communications.
・This work (English translation) was supported by JSPS KAKENHI JP19K12950.
・Thank you for your consideration.
Last update: June the 12th, 2019
Journal of Indian And Buddhist Studies, 2017
[https://ci.nii.ac.jp/naid/130007556197/en]
Mahāśītavatī is a goddess represented in the Buddhis... more [https://ci.nii.ac.jp/naid/130007556197/en]
Mahāśītavatī is a goddess represented in the Buddhist scripture Mahāśītavatī. This paper is an exploration of the influence of the physical descriptions of this goddess on how she is visualized in the Sādhanamālā (SM).
The SM, compiled by Abhayākaragupta in the eleventh or twelfth century, is one of the primary sources for the visualization of images of Buddhist deities. It contains nine different sādhana of the goddess Pañcarakṣā. Of these, No. 200 describes the visualization of Mahāśītavatī, separate from the other four goddesses. Nos. 201 and 206 describe all five manifestations of the goddess Pañcarakṣā.
The Mahāśītavatī is a Buddhist scripture associated with the Pañcarakṣā, a collection of five dhāraṇī. This dhāraṇī sūtra has two versions, commonly referred to as A (ŚV-A) and B (ŚV-B). Although they tell the same story, they differ in their precise contents.
Because the names of real animals (owls, crows, pigeons, etc.) correspond to those of Mahāśītavatī in no. 206 of the SM, it is speculated that the depiction of Mahāśītavatī in SM was influenced by that in ŚV-A.
Journal of Indian And Buddhist Studies, 2016
[https://ci.nii.ac.jp/naid/130006172038/en]
The Mahāśītavatī (ŚV) is a Buddhist scripture associ... more [https://ci.nii.ac.jp/naid/130006172038/en]
The Mahāśītavatī (ŚV) is a Buddhist scripture associated with the Pañcarakṣā, a unit of five dhāraṇī. This dhāraṇī sūtra has two versions, A (ŚV-A) and B (ŚV-B).
In ŚV-A, the Buddha bestows the Mahāśītavatī on Rāhula, and in ŚV-B, the Buddha describes the ŚV to four great kings. The main common point of these two versions is their preaching at a śītavana (cemetery). However, many other aspects of ŚV-A differ from those of ŚV-B. For example, Rāhula is a main character in ŚV-A, but he does not appear in ŚV-B. In prior studies, the Āṭānāṭiya-sutta has been found to be similar to ŚV-B.
On the other hand, ŚV-B is similar to the Mahāsāhasrapramardanī (SP) rather than to ŚV-A. SP is contained in the Pañcarakṣā. For example, after the “four great kings” pronounce a spell, the Buddha preaches a better spell. In this paper, I present the key features of ŚV-B according to its Tibetan translation.
Journal of Indian And Buddhist Studies, 2018
[https://ci.nii.ac.jp/naid/40021764924]
(English translation by Editage, Cactus Communications)
... more [https://ci.nii.ac.jp/naid/40021764924]
(English translation by Editage, Cactus Communications)
The Mahāśītavatī and the Mahāmantrānusāriṇī, two of the five great dhāraṇī (the Pañcarakṣā), exist in two versions: those sutras that have the same general content in the Sanskrit text and its Chinese and Tibetan translations (the Sanskrit corpus), and those that are only known in their Tibetan translation (the Tibetan corpus). A total of seven different sutras have been identified as belonging to the Pañcarakṣā, and these are grouped together in two patterns, each containing a different group of five sutras.
Gergely Hidas has recently published a series of studies of the Pañcarakṣā, and in his 2017 study [Hidas 2017] in particular he has provided a revision and English translation of the Sanskrit-corpus version of the Mahāśītavatī and discussed it in detail in comparison with other sutras. However, he does not mention the Foshuo tante luomayoushujing, which is believed to have been influenced by the consolidation of the Mahāśītavatī. Otsuka’s study [2010] provides important observations on the close links between the two as well as their formation and development. Previous studies have paid comparatively little attention to the Tibetan corpus. In my own study [Sonoda 2016], I analyzed the internal structure of the Tibetan-corpus version of the Mahāśītavatī, and provided a comparative discussion of the content of the two corpora (for its influence on the transformation of the dhāraṇī sutras to deification, see Sonoda 2017).
In this paper, I show that the internal structure of the Mahāmantrānusāriṇī, similar to the Mahāśītavatī, also differs significantly between the two corpora, and discuss the structure and distinctive characteristic of the Tibetan version of the Mahāmantrānusāriṇī.
Conference Presentations by Sayaka SONODA
the 75th Conference of the Japanese Association of Indian and Buddhist Studies September 7, 2024,... more the 75th Conference of the Japanese Association of Indian and Buddhist Studies September 7, 2024, Komazawa University
the 74th Conference of the Japanese Association of Indian and Buddhist Studies
September 3, 2023... more the 74th Conference of the Japanese Association of Indian and Buddhist Studies
September 3, 2023, Ryukoku University (Online conference)
the 73th Conference of the Japanese Association of Indian and Buddhist Studies, 2022
＊＊＊Presentation＊＊＊
the 73th Conference of the Japanese Association of Indian and Buddhist Studies... more ＊＊＊Presentation＊＊＊
the 73th Conference of the Japanese Association of Indian and Buddhist Studies/ September 3 , 2022, Tokyo University of Foreign Studies (Online conference)
Cundā Sādhana in Sādhanamālā
SONODA, Sayaka
【Abstract】One of the late Indian Esoteric Buddhist texts, Sādhanamālā (Nos. 129-131), describes the sādhana of Goddess Cundā. However, there are several differences in the content. She is commonly described as having "white body color," "one face and four arms," "sutra on the lotus," and "holding a bowl with both hands." Further, in the Chinese translation, although with a different number of arms, she is referred to as white Cundā. The mandala with Cundā in the center is not described in Sādhanamālā. However, the mandala in eight arms' Kurukullā sādhana (No. 174) placed Cundā in red color sitting in the northeast. Since the image of this Cundā is related to that of Kurukullā in the center, it does not necessarily represent the unique characteristics of Cundā. Further, Kurukullā is called Red Tārā and is a goddess who accomplishes keiai-hō (vaśīkaraṇa). This study clarifies that compared to white Cundā, who is considered to be the image of sokusai-hō (śāntika), red Cundā is expected to function as keiai-hō within esoteric Indian Buddhism.
Abstract(Japanese ver.)
Sep.4.2021
"The Commentaries on Pañcarakṣā in the Tibetan Tripitaka"
「チベ... more Abstract(Japanese ver.)
Sep.4.2021
"The Commentaries on Pañcarakṣā in the Tibetan Tripitaka"
「チベット大蔵経所収の五護陀羅尼注釈について」
the 72th Conference of the Japanese Association of Indian and Buddhist Studies
(Otani University: Online)
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Papers by Sayaka SONODA
園田沙弥佳
印度学仏教学研究 72(1) ,pp.125-130, 2023年12月発行
Sarasvatī in the Sādhanamālā
Sonoda Sayaka
This study concentrates on Sādhanamālā no. 167, focusing on the iconographic features of Sarasvatī, the structure of its contents, and the characteristics of the sādhana. In the Sādhanamālā, the appearance of Sarasvatī is described as either with one face and two arms, or three faces and six arms. Later sādhanas, including 167, have common properties and characters. Since Sādhana 167 is extracted from the Kṛṣṇayamāritantra, it is conjectured that the other three-faced, six-armed Sarasvatīʼs sādhanas （161, 163） are based on the same tantric source. I find in 167 that every argument can be defeated by memorization （√dhṛ）. This attribute is related to Sarasvatīʼs skill in eloquence 弁才. Sarasvatī is said to be the origin of the dhāraṇī goddess Jāṅgulī. Regarding Sādhana 167, it may be assumed that the power of memory, which is the original function of dhāraṇī, and the function of Sarasvatīʼs speaking ability, are related.
「『サーダナ・マーラー』Nos.129～131,174におけるチュンダー女尊について」『東洋学研究』60, pp.245-251, 2023年3月
Cundā Sādhana in the Sādhanamālā
SONODA Sayaka
The late Indian Esoteric Buddhist text Sādhanamālā（Nos. 129-131） presents a sādhana of the goddess Cundā. However, there are several variations in her descriptions. She is commonly described as having a “white body color,” “one face and four arms,” “a sūtra on the lotus,” and “holding a bowl with both hands.” Further, in Chinese translations, although with a different number of arms, she is referred to as yellow-white Cundā.
The maṇḍala with Cundā in the center is not described in Sādhanamālā. However, the maṇḍala in the sādhana of the eight armed Kurukullā （No. 174） seats a red Cundā in red color in the northeast. Further, Kurukullā is called Red Tārā and is a goddess who accomplishes a controlling and subjugating power （vaśīkaraṇa）. This study clarifies that, compared to the white Cundā, red Cundā is expected to function in a controlling and subjugating manner in esoteric Indian Buddhism.
Journal of Indian and Buddhist Studies 71, Peer-reviewed
（2022年12月 20日「『サーダナ・マーラー』におけるチュンダーの成就法」『印度学仏教学研究』71(1)，pp.151-155，査読有り）
The Mahāmantrānusāriṇī (MN) is one of the Pañcarakṣā, and the commentary on this sūtra is known as the Mahāmantra-anudhāri-sūtra-śatasahasraṭīkā (MNŚS).
MNŚS also mentions esoteric Indian Buddhism elements such as mandalas, rituals, and visualized dhāraṇī in the commentary.
In particular, regarding the iconographic characteristics of the goddess, which visualized "Mahāmantrānusāriṇī," there are differences in the descriptions of Sādhanamālā and Niṣpannayogāvalī. Karmavajra may have understood the appearance of Mahāmantrānusāriṇī, which is different from the contents of both texts.
Furthermore, by chanting the dhāraṇī of MN, the light emitted from Ananda's face becomes Goddess; from the scene of removing such as Bhūta that stays in Vaishali, this commentary shows the aspect of dhāraṇī deification in the early 11th century.
: Mahāmāyūrī and Mārīcī
SONODA Sayaka (園田沙弥佳)
TOYO UNIVERSITY ORIENTAL STUDIES 57
pp.167-188
(peer reviewed journal)
Among the Buddhist goddesses of the Pāla Empire (8th–12th century CE), works depicting the Mārīcī are said to have been second in number only to those of the goddess Tārā, and Mārīcī worship was especially widespread in India. Sixteen types of Mārīcī sādhana are recorded in the SM, with Mārīcī displaying variously one face and two arms, three faces and eight arms, five faces and ten arms, six faces and twelve arms, or three faces and sixteen arms.
In No. 134, in the preparatory stage for meditation, the concrete description of the figure of the goddess is characteristic. The reason is not clear, but in No. 142, in the preparatory stage for meditation (similar to No. 134) is the phrase “depict images [paṭa], etc. of the figure of the holy mother [Mārīcī]” (paṭādigatamūrrtiṃ bhagavatīm avatārrya); therefore, it may be that the concrete figure of Mārīcī spoken of in the preparatory stage of No. 134 is suggesting not only a mediation, but also the creation of actual objects depicting the goddess. From the fact that numerous holy images of Mārīcī have been confirmed in India, we surmise that in addition to mediation, emphasis was also placed on the mechanism of gaining blessings by the pious act of creating actual art objects.
園田沙弥佳2019「『サーダナ・マーラー』における2種の五護陀羅尼マンダラ」『東洋学研究』56号，東洋大学東洋学研究所，197-212
The Sādhanamālā (SM) is one of the texts related to the visualization of images of Buddhist deities, compiled by Abhayākaragupta in the eleventh or twelfth century. It contains nine kinds of sādhana of the goddess Pañcarakṣā.
Among these, no. 206 describes the sādhana of the Pañcarakṣā maṇḍala in detail. In this sādhana, the ascetic meditates on the Pañcarakṣā maṇḍala and unites himself with it in the first half of the text. Afterwards, the ascetic draws a maṇḍala for the benefit of all living beings.
No. 15 of SM describes both meditation and the drawing of the maṇḍala. However, in no. 15, after meditating the ascetic uses the visualization of the deities to draw the maṇḍala.
In the Sarvavajrodaya, after meditation the ascetic draws a maṇḍala for consecration(abhiṣeka). This differs from no. 206, in which the mandala, as noted above, is drawn only for the benefit of living beings.
The point of this paper will therefore be to look at the characteristics of sādhana no. 206.
・This is an English translation of a peer-reviewed Japanese article published in 2017 in the Journal of Indian and Buddhist Studies (vol. 66, no. 1, p. 371-368).
→ https://ci.nii.ac.jp/naid/130007556197/en
・English translation by Editage, Cactus Communications.
・This work (English translation) was supported by JSPS KAKENHI JP19K12950.
・Thank you for your consideration.
Last update: June the 12th, 2019
Mahāśītavatī is a goddess represented in the Buddhist scripture Mahāśītavatī. This paper is an exploration of the influence of the physical descriptions of this goddess on how she is visualized in the Sādhanamālā (SM).
The SM, compiled by Abhayākaragupta in the eleventh or twelfth century, is one of the primary sources for the visualization of images of Buddhist deities. It contains nine different sādhana of the goddess Pañcarakṣā. Of these, No. 200 describes the visualization of Mahāśītavatī, separate from the other four goddesses. Nos. 201 and 206 describe all five manifestations of the goddess Pañcarakṣā.
The Mahāśītavatī is a Buddhist scripture associated with the Pañcarakṣā, a collection of five dhāraṇī. This dhāraṇī sūtra has two versions, commonly referred to as A (ŚV-A) and B (ŚV-B). Although they tell the same story, they differ in their precise contents.
Because the names of real animals (owls, crows, pigeons, etc.) correspond to those of Mahāśītavatī in no. 206 of the SM, it is speculated that the depiction of Mahāśītavatī in SM was influenced by that in ŚV-A.
The Mahāśītavatī (ŚV) is a Buddhist scripture associated with the Pañcarakṣā, a unit of five dhāraṇī. This dhāraṇī sūtra has two versions, A (ŚV-A) and B (ŚV-B).
In ŚV-A, the Buddha bestows the Mahāśītavatī on Rāhula, and in ŚV-B, the Buddha describes the ŚV to four great kings. The main common point of these two versions is their preaching at a śītavana (cemetery). However, many other aspects of ŚV-A differ from those of ŚV-B. For example, Rāhula is a main character in ŚV-A, but he does not appear in ŚV-B. In prior studies, the Āṭānāṭiya-sutta has been found to be similar to ŚV-B.
On the other hand, ŚV-B is similar to the Mahāsāhasrapramardanī (SP) rather than to ŚV-A. SP is contained in the Pañcarakṣā. For example, after the “four great kings” pronounce a spell, the Buddha preaches a better spell. In this paper, I present the key features of ŚV-B according to its Tibetan translation.
(English translation by Editage, Cactus Communications)
The Mahāśītavatī and the Mahāmantrānusāriṇī, two of the five great dhāraṇī (the Pañcarakṣā), exist in two versions: those sutras that have the same general content in the Sanskrit text and its Chinese and Tibetan translations (the Sanskrit corpus), and those that are only known in their Tibetan translation (the Tibetan corpus). A total of seven different sutras have been identified as belonging to the Pañcarakṣā, and these are grouped together in two patterns, each containing a different group of five sutras.
Gergely Hidas has recently published a series of studies of the Pañcarakṣā, and in his 2017 study [Hidas 2017] in particular he has provided a revision and English translation of the Sanskrit-corpus version of the Mahāśītavatī and discussed it in detail in comparison with other sutras. However, he does not mention the Foshuo tante luomayoushujing, which is believed to have been influenced by the consolidation of the Mahāśītavatī. Otsuka’s study [2010] provides important observations on the close links between the two as well as their formation and development. Previous studies have paid comparatively little attention to the Tibetan corpus. In my own study [Sonoda 2016], I analyzed the internal structure of the Tibetan-corpus version of the Mahāśītavatī, and provided a comparative discussion of the content of the two corpora (for its influence on the transformation of the dhāraṇī sutras to deification, see Sonoda 2017).
In this paper, I show that the internal structure of the Mahāmantrānusāriṇī, similar to the Mahāśītavatī, also differs significantly between the two corpora, and discuss the structure and distinctive characteristic of the Tibetan version of the Mahāmantrānusāriṇī.
Conference Presentations by Sayaka SONODA
September 3, 2023, Ryukoku University (Online conference)
the 73th Conference of the Japanese Association of Indian and Buddhist Studies/ September 3 , 2022, Tokyo University of Foreign Studies (Online conference)
Cundā Sādhana in Sādhanamālā
SONODA, Sayaka
【Abstract】One of the late Indian Esoteric Buddhist texts, Sādhanamālā (Nos. 129-131), describes the sādhana of Goddess Cundā. However, there are several differences in the content. She is commonly described as having "white body color," "one face and four arms," "sutra on the lotus," and "holding a bowl with both hands." Further, in the Chinese translation, although with a different number of arms, she is referred to as white Cundā. The mandala with Cundā in the center is not described in Sādhanamālā. However, the mandala in eight arms' Kurukullā sādhana (No. 174) placed Cundā in red color sitting in the northeast. Since the image of this Cundā is related to that of Kurukullā in the center, it does not necessarily represent the unique characteristics of Cundā. Further, Kurukullā is called Red Tārā and is a goddess who accomplishes keiai-hō (vaśīkaraṇa). This study clarifies that compared to white Cundā, who is considered to be the image of sokusai-hō (śāntika), red Cundā is expected to function as keiai-hō within esoteric Indian Buddhism.
Sep.4.2021
"The Commentaries on Pañcarakṣā in the Tibetan Tripitaka"
「チベット大蔵経所収の五護陀羅尼注釈について」
the 72th Conference of the Japanese Association of Indian and Buddhist Studies
(Otani University: Online)
園田沙弥佳
印度学仏教学研究 72(1) ,pp.125-130, 2023年12月発行
Sarasvatī in the Sādhanamālā
Sonoda Sayaka
This study concentrates on Sādhanamālā no. 167, focusing on the iconographic features of Sarasvatī, the structure of its contents, and the characteristics of the sādhana. In the Sādhanamālā, the appearance of Sarasvatī is described as either with one face and two arms, or three faces and six arms. Later sādhanas, including 167, have common properties and characters. Since Sādhana 167 is extracted from the Kṛṣṇayamāritantra, it is conjectured that the other three-faced, six-armed Sarasvatīʼs sādhanas （161, 163） are based on the same tantric source. I find in 167 that every argument can be defeated by memorization （√dhṛ）. This attribute is related to Sarasvatīʼs skill in eloquence 弁才. Sarasvatī is said to be the origin of the dhāraṇī goddess Jāṅgulī. Regarding Sādhana 167, it may be assumed that the power of memory, which is the original function of dhāraṇī, and the function of Sarasvatīʼs speaking ability, are related.
「『サーダナ・マーラー』Nos.129～131,174におけるチュンダー女尊について」『東洋学研究』60, pp.245-251, 2023年3月
Cundā Sādhana in the Sādhanamālā
SONODA Sayaka
The late Indian Esoteric Buddhist text Sādhanamālā（Nos. 129-131） presents a sādhana of the goddess Cundā. However, there are several variations in her descriptions. She is commonly described as having a “white body color,” “one face and four arms,” “a sūtra on the lotus,” and “holding a bowl with both hands.” Further, in Chinese translations, although with a different number of arms, she is referred to as yellow-white Cundā.
The maṇḍala with Cundā in the center is not described in Sādhanamālā. However, the maṇḍala in the sādhana of the eight armed Kurukullā （No. 174） seats a red Cundā in red color in the northeast. Further, Kurukullā is called Red Tārā and is a goddess who accomplishes a controlling and subjugating power （vaśīkaraṇa）. This study clarifies that, compared to the white Cundā, red Cundā is expected to function in a controlling and subjugating manner in esoteric Indian Buddhism.
Journal of Indian and Buddhist Studies 71, Peer-reviewed
（2022年12月 20日「『サーダナ・マーラー』におけるチュンダーの成就法」『印度学仏教学研究』71(1)，pp.151-155，査読有り）
The Mahāmantrānusāriṇī (MN) is one of the Pañcarakṣā, and the commentary on this sūtra is known as the Mahāmantra-anudhāri-sūtra-śatasahasraṭīkā (MNŚS).
MNŚS also mentions esoteric Indian Buddhism elements such as mandalas, rituals, and visualized dhāraṇī in the commentary.
In particular, regarding the iconographic characteristics of the goddess, which visualized "Mahāmantrānusāriṇī," there are differences in the descriptions of Sādhanamālā and Niṣpannayogāvalī. Karmavajra may have understood the appearance of Mahāmantrānusāriṇī, which is different from the contents of both texts.
Furthermore, by chanting the dhāraṇī of MN, the light emitted from Ananda's face becomes Goddess; from the scene of removing such as Bhūta that stays in Vaishali, this commentary shows the aspect of dhāraṇī deification in the early 11th century.
: Mahāmāyūrī and Mārīcī
SONODA Sayaka (園田沙弥佳)
TOYO UNIVERSITY ORIENTAL STUDIES 57
pp.167-188
(peer reviewed journal)
Among the Buddhist goddesses of the Pāla Empire (8th–12th century CE), works depicting the Mārīcī are said to have been second in number only to those of the goddess Tārā, and Mārīcī worship was especially widespread in India. Sixteen types of Mārīcī sādhana are recorded in the SM, with Mārīcī displaying variously one face and two arms, three faces and eight arms, five faces and ten arms, six faces and twelve arms, or three faces and sixteen arms.
In No. 134, in the preparatory stage for meditation, the concrete description of the figure of the goddess is characteristic. The reason is not clear, but in No. 142, in the preparatory stage for meditation (similar to No. 134) is the phrase “depict images [paṭa], etc. of the figure of the holy mother [Mārīcī]” (paṭādigatamūrrtiṃ bhagavatīm avatārrya); therefore, it may be that the concrete figure of Mārīcī spoken of in the preparatory stage of No. 134 is suggesting not only a mediation, but also the creation of actual objects depicting the goddess. From the fact that numerous holy images of Mārīcī have been confirmed in India, we surmise that in addition to mediation, emphasis was also placed on the mechanism of gaining blessings by the pious act of creating actual art objects.
園田沙弥佳2019「『サーダナ・マーラー』における2種の五護陀羅尼マンダラ」『東洋学研究』56号，東洋大学東洋学研究所，197-212
The Sādhanamālā (SM) is one of the texts related to the visualization of images of Buddhist deities, compiled by Abhayākaragupta in the eleventh or twelfth century. It contains nine kinds of sādhana of the goddess Pañcarakṣā.
Among these, no. 206 describes the sādhana of the Pañcarakṣā maṇḍala in detail. In this sādhana, the ascetic meditates on the Pañcarakṣā maṇḍala and unites himself with it in the first half of the text. Afterwards, the ascetic draws a maṇḍala for the benefit of all living beings.
No. 15 of SM describes both meditation and the drawing of the maṇḍala. However, in no. 15, after meditating the ascetic uses the visualization of the deities to draw the maṇḍala.
In the Sarvavajrodaya, after meditation the ascetic draws a maṇḍala for consecration(abhiṣeka). This differs from no. 206, in which the mandala, as noted above, is drawn only for the benefit of living beings.
The point of this paper will therefore be to look at the characteristics of sādhana no. 206.
・This is an English translation of a peer-reviewed Japanese article published in 2017 in the Journal of Indian and Buddhist Studies (vol. 66, no. 1, p. 371-368).
→ https://ci.nii.ac.jp/naid/130007556197/en
・English translation by Editage, Cactus Communications.
・This work (English translation) was supported by JSPS KAKENHI JP19K12950.
・Thank you for your consideration.
Last update: June the 12th, 2019
Mahāśītavatī is a goddess represented in the Buddhist scripture Mahāśītavatī. This paper is an exploration of the influence of the physical descriptions of this goddess on how she is visualized in the Sādhanamālā (SM).
The SM, compiled by Abhayākaragupta in the eleventh or twelfth century, is one of the primary sources for the visualization of images of Buddhist deities. It contains nine different sādhana of the goddess Pañcarakṣā. Of these, No. 200 describes the visualization of Mahāśītavatī, separate from the other four goddesses. Nos. 201 and 206 describe all five manifestations of the goddess Pañcarakṣā.
The Mahāśītavatī is a Buddhist scripture associated with the Pañcarakṣā, a collection of five dhāraṇī. This dhāraṇī sūtra has two versions, commonly referred to as A (ŚV-A) and B (ŚV-B). Although they tell the same story, they differ in their precise contents.
Because the names of real animals (owls, crows, pigeons, etc.) correspond to those of Mahāśītavatī in no. 206 of the SM, it is speculated that the depiction of Mahāśītavatī in SM was influenced by that in ŚV-A.
The Mahāśītavatī (ŚV) is a Buddhist scripture associated with the Pañcarakṣā, a unit of five dhāraṇī. This dhāraṇī sūtra has two versions, A (ŚV-A) and B (ŚV-B).
In ŚV-A, the Buddha bestows the Mahāśītavatī on Rāhula, and in ŚV-B, the Buddha describes the ŚV to four great kings. The main common point of these two versions is their preaching at a śītavana (cemetery). However, many other aspects of ŚV-A differ from those of ŚV-B. For example, Rāhula is a main character in ŚV-A, but he does not appear in ŚV-B. In prior studies, the Āṭānāṭiya-sutta has been found to be similar to ŚV-B.
On the other hand, ŚV-B is similar to the Mahāsāhasrapramardanī (SP) rather than to ŚV-A. SP is contained in the Pañcarakṣā. For example, after the “four great kings” pronounce a spell, the Buddha preaches a better spell. In this paper, I present the key features of ŚV-B according to its Tibetan translation.
(English translation by Editage, Cactus Communications)
The Mahāśītavatī and the Mahāmantrānusāriṇī, two of the five great dhāraṇī (the Pañcarakṣā), exist in two versions: those sutras that have the same general content in the Sanskrit text and its Chinese and Tibetan translations (the Sanskrit corpus), and those that are only known in their Tibetan translation (the Tibetan corpus). A total of seven different sutras have been identified as belonging to the Pañcarakṣā, and these are grouped together in two patterns, each containing a different group of five sutras.
Gergely Hidas has recently published a series of studies of the Pañcarakṣā, and in his 2017 study [Hidas 2017] in particular he has provided a revision and English translation of the Sanskrit-corpus version of the Mahāśītavatī and discussed it in detail in comparison with other sutras. However, he does not mention the Foshuo tante luomayoushujing, which is believed to have been influenced by the consolidation of the Mahāśītavatī. Otsuka’s study [2010] provides important observations on the close links between the two as well as their formation and development. Previous studies have paid comparatively little attention to the Tibetan corpus. In my own study [Sonoda 2016], I analyzed the internal structure of the Tibetan-corpus version of the Mahāśītavatī, and provided a comparative discussion of the content of the two corpora (for its influence on the transformation of the dhāraṇī sutras to deification, see Sonoda 2017).
In this paper, I show that the internal structure of the Mahāmantrānusāriṇī, similar to the Mahāśītavatī, also differs significantly between the two corpora, and discuss the structure and distinctive characteristic of the Tibetan version of the Mahāmantrānusāriṇī.
September 3, 2023, Ryukoku University (Online conference)
the 73th Conference of the Japanese Association of Indian and Buddhist Studies/ September 3 , 2022, Tokyo University of Foreign Studies (Online conference)
Cundā Sādhana in Sādhanamālā
SONODA, Sayaka
【Abstract】One of the late Indian Esoteric Buddhist texts, Sādhanamālā (Nos. 129-131), describes the sādhana of Goddess Cundā. However, there are several differences in the content. She is commonly described as having "white body color," "one face and four arms," "sutra on the lotus," and "holding a bowl with both hands." Further, in the Chinese translation, although with a different number of arms, she is referred to as white Cundā. The mandala with Cundā in the center is not described in Sādhanamālā. However, the mandala in eight arms' Kurukullā sādhana (No. 174) placed Cundā in red color sitting in the northeast. Since the image of this Cundā is related to that of Kurukullā in the center, it does not necessarily represent the unique characteristics of Cundā. Further, Kurukullā is called Red Tārā and is a goddess who accomplishes keiai-hō (vaśīkaraṇa). This study clarifies that compared to white Cundā, who is considered to be the image of sokusai-hō (śāntika), red Cundā is expected to function as keiai-hō within esoteric Indian Buddhism.
Sep.4.2021
"The Commentaries on Pañcarakṣā in the Tibetan Tripitaka"
「チベット大蔵経所収の五護陀羅尼注釈について」
the 72th Conference of the Japanese Association of Indian and Buddhist Studies
(Otani University: Online)
SONODA, Sayaka(園田沙弥佳)
the 71th Conference of the Japanese Association of Indian and Buddhist Studies
/ Date: Saturday, July 5, 2020
This work was supported by JSPS KAKENHI Grant Number JP19K12950(Grant-in-Aid for Young Scientists)
The Pañcarakṣā (PR) comprises five dhāraṇī, early Buddhist Tantric texts. Of these texts, those entitled Mahāśītavatī (ŚV) and Mahāmantrānusāriṇī in the Tibetan translation differ in content from those in the Sanskrit text and Chinese translation. While Mahāśītavatī in the Sanskrit text is rendered as dàhán lín shèng nán ná tuóluóní jīng 大寒林聖難拏陀羅尼経 in the Chinese translation, in the Tibetan translation, it has been given the name 'phags pa be con chen po zhes bya ba'i gzungs 聖持大杖陀羅尼 (Ārya-mahādaṇḍa-nāma-dhāraṇī). Despite the variation in these three ŚV titles, their content is roughly the same (hereinafter ŚV-A). However, the text entitled ŚV in the Tibetan lineage is bSil ba'i tshal chen po'i mdo, with content differing substantially from ŚV-A (hereinafter, ŚV-B.) This indicates that ŚV is an important sutra for purposes of differentiating between the two PR lineages. This presentation addresses issues related to the composition of PR and the naming of its texts, covering the annotated edition of ŚV written by Karmavajra, the Mahāśītavatīvidyārājñī-sūtra-śatasahasraṭīkā-nāma 明呪大妃大寒林経十萬註 (ŚVŚS). Although, as noted above, there are two separately collected dhāraṇīs recognized as ŚV, in ŚVŚS they were found to have been annotated together. As demonstrated by Sonoda (2016), I have revealed that the relationship between ŚV-A and ŚV-B is not one between the full and abridged versions of the same text because of the major differences in the composition found through a comparative analysis of their content. It remains unknown as to why ŚV-A and ŚV-B were both recorded as ŚV in the Tibetan translation. However, at least in Karmavajra's Tibetan annotated edition from the early 11th century, both dhāraṇīs are considered ŚV, and the annotation of the content of ŚV-A expresses the core meaning of ŚV-B. Consequently, two theories have been proposed to explain the inclusion of these two dhāraṇīs in the annotated edition of ŚV. On the one hand, the author may have combined two texts that were both considered ŚV at the given time. On the other hand, the author might have used a text in which ŚV-A and ŚV-B were not originally separated. The latter would suggest that a third ŚV text existed in addition to ŚV-A and ŚV-B, which is an area of future research that I would like to further investigate. (This research was supported by JSPS KAKEN HI Grant-in-Aid Number JP19K12950.) *This presentation is planned for submission to Volume 69 of JIBS (Journal of Indian and Buddhist Studies, Indogaku Bukkyōgaku kenkyū). Currently under review as of 7/21.
Oct. 19, 2019, 3 :10 p.m.～4 :10 p.m.
SONODA, Sayaka(園田沙弥佳)
Assistant Professor, Laboratory of Information Education, Mejiro University
Encouraging Research Fellow, the Institute of Oriental Studies, Toyo University
Place:
Class Room No. 5102, the First Floor, 5th Building of Toyo University Hakusan Campus
Presentation Title:
Pañcarakṣā and goddesses in Indian Esoteric Buddhism: Mahāmāyūrī and Mārīcī
*This work was supported by JSPS KAKENHI Grant Number JP19K12950 (Grant-in-Aid for Young Scientists) .
URL:
https://www.toyo.ac.jp/ja-JP/events/research/labo-center/toyogaku/20191019/
"Mārīcī in the Sādhanamālā" Presentation handout in English.
(This is partly omitted from the Japanese handout.
→https://www.academia.edu/40383047/Mārīcī_マーリーチー_摩利支天_in_the_Sādhanamālā
English translation by Editage, Cactus Communications.)
I gave a presentation on Mārīcī(マーリーチー, 摩利支天) in the Sādhanamālā.
This work was supported by JSPS KAKENHI Grant Number JP19K12950(Grant-in-Aid for Young Scientists) .
/ Date: Saturday, September 7, 2019
/ Place: Bukkyō University (Kyōto, JAPAN)
(This handout was partially revised after the conference presentation.)
I gave a presentation on Mārīcī in the Sādhanamālā.
This work was supported by JSPS KAKENHI Grant Number JP19K12950(Grant-in-Aid for Young Scientists) .
/ Date: Saturday, September 7, 2019
/ Place: Bukkyō University (Kyōto, JAPAN)
/ Abstract: This presentation concerns Sādhanamālā (SM) No. 134, a meditation on the Mārīcī of three faces and eight arms (an image seen on extant art objects). The traits of the sādhana of SM No. 134 are elucidated via an understanding of its structural components.Belief in Mārīcī is said to have expanded during the era of Tantric (Esoteric) Buddhism, from the time of the Pāla Empire (8th–12th century CE) and thereafter. Among the Buddhist goddesses of the Pāla Empire, works depicting the Mārīcī are said to have been second in number only to those of the goddess Tārā, and Mārīcī worship was especially widespread in India. Sixteen types of Mārīcī sādhana are recorded in the SM, with Mārīcī displaying variously one face and two arms, three faces and eight arms, five faces and ten arms, six faces and twelve arms, or three faces and sixteen arms.In No. 134, in the preparatory stage for meditation, the concrete description of the figure of the goddess is characteristic. The reason is not clear, but in No. 142, in the preparatory stage for meditation (similar to No. 134) is the phrase “depict images [paṭa], etc. of the figure of the holy mother [Mārīcī]” (paṭādigatamūrrtiṃ bhagavatīm avatārrya); therefore, it may be that the concrete figure of Mārīcī spoken of in the preparatory stage of No. 134 is suggesting not only a mediation, but also the creation of actual objects depicting the goddess. From the fact that numerous holy images of Mārīcī have been confirmed in India, we surmise that in addition to mediation, emphasis was also placed on the mechanism of gaining blessings by the pious act of creating actual art objects. (English translation by Editage, Cactus Communications.)
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