Monumenta Serica

Journal of Oriental Studies

ISSN: 0254-9948 (Print) 2057-1690 (Online) Journal homepage: https://www.tandfonline.com/loi/ymon20

Amoghapāśa

R. O. Meisezahl

To cite this article: R. O. Meisezahl (1967) Amoghapāśa, Monumenta Serica, 26:1, 455-497, DOI:
10.1080/02549948.1967.11744976

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 AMOGHAP互§A
Some Nepalese Repr，個entations and Their Vajray孟nic Aspects

R. O. MEISEZAHL
u仇的ersity of Bonn

1. THE ASTAMÏVRATA PATA IN PRAISE OF AMOGHAPÃSA

(BRITISH MUSEUM , LONDON)
With 5 plat帥， and α key pl仰

The British Museum has in its collection of Nepalese paintings

(p叫的 an A科amivrata P的a of exceptional iconographic interest,
bearing the date samvαt 982 (= A.D. 1862). The Museum acquired
it in October 1948. 1 The deity in the center of the MaI) gala was
firstly identified as the "Buddhist goddess Tãrã surrounded by
scenes from the Kusajãtaka." In composition and style the paint-
ing stands so close to the Amoghapãsa Pa扭2 preserved in the Musée
Guimet (Paris) that the two paintings may well belong to the
same Nepalese artistic schoo l.

The London Pa徊. (plate 1) shows a clear and delicate combi-

nation of formal and naturalistic elements with the geometric
composition of the Ma Q. gala. 3 The circular area represents the

1)Register No. 1948-7-10-014.

2)Dated samvat 980 (=1880).
3) “ What is a ma1fq, ala? asks the author of the manual Sekakriyãkram晶， and
he answers that the name ma協q， ala may be given either to a mental act , or to a
drawing traced with strings or with white sand" (甘w1fq， ala1[l. k侃 tad ity e甘品1[1.
pγakrtyã kath首ate 'dhunã cittasthakaγ慨 asutraraj叫'， pãtakramoditam); cf. L. Finot,
“ Manuscrits sanskrits de Sädhana's retrouvés en Chine," Jou 們tal Asiatique 225
(1934).
The term ma1fq, ala was already used in Early Buddhism, but it meant only a
platform made of mud for conferring the Code of Discipline (~勻 naya) on disciples.
In Vajrayänic Buddhism, however, it acquired great significance, and the configu-
rations of figures developed to a remarkable extent. In the centre of the Man~ala
is an image of a prominent deity in the rank of m也許4α le切“ lord of the Mal). ~ala "
surrounded by other divinities called ma1fq, alika “ participant of the Mal). ~ala."
The Mall~ala may be used in ritual as a receptacle of the God and his divine at-
tendants, and as an object of profound meditation. Cf. Tajima Ryüjun , Les deux
grands ma1fq, alas et la doctrine de l'ésotérisme Shingon , Paris 1959, p. 3. Nakamura
Hajime, A C叫 tical Survey of Tibetology α nd Esoteric Buddhism , Chiefiy Based 0呢
455
456 R. O. MEISEZAHL

world in its widest sense , the universe. U nder this aspect the
world in the narrower sense, i. e. the terraqueous globe is sym-
bolized by a square temple (kütãgãr，α) which covers the sacred
“ adamantine ground" 如α，jrabhü郁的. 1t is a delimited area for
sacrificial purposes. The circular aspect of the earth is left behind.
The Brahma J).as repeatedly say that the whole earth once floating
and mobile remained in this condition until the cardinal points
becoming fixed the:rnselves, also fixed the earth. 1n its fixed posi-
tion it is spoken of as four-cornered (cαtuγbhr宇抖， RV X. 58.3) or
four-pointed (catulj，sγαkti， SB VI. 1. 2.29). Its borders and corners
are occupied by the eight regents of the cardinal and intermediate
points (α討αd的pãlα6) .
Many Vajrayanic Sadhana texts compare the square Ma早<Jala 6

of the kütãgãrα(Tib. gial yαs khα?可) 7 with the squareness of a

vedi “ sacrificial bench" (vedícαtu斜ανα) 8 which , in Vedic tradition ,
represents the extent of world. 9 They explain the celestial temple
as a transcendent creation realized by the Yogin 10 in the stage of
a vajra-like meditation (vα}ropαmαsamãdhi). Sahajalalita's hypo-
thesis emphasizes that the kütãgãγαis conceived by the Yogin as
a projection from the letter bhγüm in the centre of the Mandala
called rαk亨ãcαkrα “ circle of protection" (Tib. bsrun bα勻 'khor lo ,
shortened bsru仇 'khoγ.) which originated in the centre of the space
(ãkãsα).11 The Yogin should concentrate upon the kütãgãγαas
being placed at the top of the physical evolution, above the four
great-elements and the Sumeru mountain which originated all

Jα panese Studies, Part II: Esoteric Buddhism , p. 10 (Tokyo 1965). P. H. Pott ,

Yog且也几 d Yant γa. Their lnte γrel品tion and Theiγ Significa協 ce for lndian Archae-
olog 習， The Hague 1966, p. 71.
4) =叩 ajramayí bhümi (Sãdha協也慨ãlã 186).
5) Stella Kramrisch , The Hindu Te制 ple ， Calcutta 1946, Vo l. 1, p. 29.
6) Jagadd 品γpa'(1-a ， Vaj γãcãryakγ iyãs且 muccaya ， Tib. rDo rJe slob dpon gyi bya
ba kun las btus pa (Peking Tanjur , vo]. ‘祉， f. 139 b3 : dkyil 'khoγgγ u bii'i chad
dan lda協 pa “ having the size of a square ma'(1-q，品的").
7) Jagaddarpa q. a , op. cit , gives the following Tibetan synonyms for gial yas
kha也: khan pa bγcegs p品， khan γ ceg ， khα晶 的且也 (s)， khyim , gron kha也 ， mchod rt 帥，
d州 'i gc且也 kha也 ， d叫 'i gcug kha也， spon kh 且也， gcug lag kha也 ， gial med kh且也， lha
kha也.
8) Sãdhαnamãlã 239.
9) Kramrisch , op. cit. , p. 25.
10) Sãdhaka or Mantrin are also found in the Vajrayãnic Sãdhana texts.
11) “ Space" means in effect “ emptiness" (sünyatã , Tib. sto也 pa).
 AMOGHAPÃSA 457

from the centre of the Dharmodayã existing in the Rak母ãcakra，

the latter being manifest in the sphere of Sünyatã (st。他 pα 可也α他
lαs bsγu先 'khoγgνi 't叫他 du chos 'byu他 gyi dbus su 'byu他 b“ γ4
γαb dαñ bcαs pα'i rce mor gial yαs k仰的 12

A widely used manual , the V，α.jrãcãryαkt吋yãsαm1“cαναby Ja-

gaddarpa J;la , explains the kutãgãrαas being built in the midst of
the Dharmodayã having its own place in the “ adamantine frame"
如αjγαpα信jαγα， Tib. rdo rje gur) , the immense circular area, Va-
subandhu's bhã.jαηαlokα “ monde-réceptacle" (L. De la Vallée Pous-
sin) , i. e. the universe which is surrounded by a long encircling
“ adamantine wall" (引αjrαprãkãγα， Tib. rdo rje'i γαbα) ， which
corresponds to the iron mountain-range CakravãQ. a , supposed in
old lndian cosmogonic tradition to surround the world.
The dhαrmodανã (or oodανα.) 13 “ origin of the phenomena," Tib.
chos kyi ‘均1的 (g側s)- shortened chos 'byu你一 is a manifestation
from the letter e (ekãr，αjα).14 It has the shape of this letter
(ekãγ'ãkãra or ekãrãkrti“), and its subtle (suk乎mα) and spacious
l5

(叫“的，) nature is ãkãSα (mahãbhutα) 的αbhã叫“ nature of the ethe-

rical space" or dharmαdhãtumα仰“ phenomenalistic transcendental "
as its inner area is completely hollow (α忱的抖切手仰的. An equi-
lateral triangle with its apex turned upwards called t叫kO'fþ amudrã
represents the figurative substitute of the dhαγmodαyã which is
white like the moon in autumn.
The four fundamental elements of Matter (mahãbhutα) ， i. e.
wind , fire , water , and earth originate from the dhαγmodα闕， 17in
its centre these constituents of the material world exist in their
undifferentiated condition, and their figurative representations
(叫αrY}，q，αlα) are envisaged by the Yogin plunged into the mystic

12) Cf. Rin lhan in Blo bza也她們• bu se8 mb kyi gsu侖 • bn 啊， vol.也缸， f. 31a4.
13) Also called dharmodayamudrã (Sãdh缸"α mãlã 1).
14) Sãdha悅 amãlã 123: tanmadhye sαγad仰 dudhavalãm anta}J， susi γãm ürdh叩 as­
thitat例如'!tãm ekãrajã可t dharmodayã可t bh加aye t.
15) Sãdhanamãlã 97: pañjaramadhye ãlc必asvabhãvã1]t dhaγ隅。 dayãm ekãrãkã-
ra 仰L

16) Sãdhana叩ãlã 181: madhye ekãrãkrti1]t divya 1]t dhar隅。dαyajñã咱也1]t suklaψ

啞ibhãvayet.
17) Ni~pannayogãva!l (Kãlacakγama'!tr! ala): dhaγ modayãyã1]t madhye ψãyuste­
jastoyaprthivim 也許 r! alastha}J，.
458 R. O. MEISEZAHL

trance as emanations from the letters yα仇， 1Bm仇的叩仇， 20 and lam. 21

For although more or less vague evolutionary speculations seem
to have arisen in almost every Vajrayãnic 晶的ra， Kã l). ha's inter-
pretation dhαγ modα仰lJ sα4叫你ikorþαmudrã tαsmin鈍， udbhαvo 似ãyvã­
dicatuγmαrþr!αlαpαri'rþãmeηα (Yogαγαtnαmãlã [Snellgrove , II. 124])
demands special attention , and we are impressed by the funda-
mental unity of the creationist physical process.
The dhαrmodαyã theory is not unanimously accepted. Jagad-
darpal). a , op. cit. , f. 241a島， annotates that some Tãntric writers
conceive the kutãgãγαas not being situated in the centre of the
dhαr隅。dα闕， but on the top of the Sumeru mountain. 22 Other
authorities combine the two doctrines by adding the outcome of the
four great material elements and of the Sumeru from the centre
of the dhαrmodα闕， and the kutãgãra as being situated in the
centre of a v，αjγα23 [placed in the middle of] a visvapadma , [the
latter tlowering] on the Sumeru.
The Mal).Q. ala as the place of the process of emanations is re-
plete with “ magical" efficacy, while the subtle body of man is
the place of realization by the practice of the discipline of Yoga
(Kramrisch , op. cit. , I. 49). Being withdrawn from the senses by
performing the seven rites , by practicing the four “ infinitudes"

18) The wind-element (vãyuma11.g ala) has the letter ya仇 as germ , and it ema-
nates from ya'仇 in the shape of a light blue bow (dhanvãkãγ品， Tib. giu 仰 dbyibs
iían). The borders of this symbolical substitute are dressed with streaming flags
a l1 uding to the gaseous envelope which surrounds the earth , and to the wind as
force and power.
19) The fire-element (agnimat~qala) is a projection of the letter 1.alh. Reduced
to a red triangle, it is placed above the substitute of the wind-element. The tri-
ko祖 a has seven points , and their angles bear the letter 'ra仇.
20) The water-element (ãpornat1q 日 la) evoked f l' om the letter va悅 keeps the next
place which is also reduced to a tactile phenomenon. It s symbolic representation
is round and has the shape of a white cir c1 e (cα kra) decorated with pots (ghata).
The cakra is placed above the substitute of the fire-element.
21) The earth-element (prthivima!tqala) issued out of the letter lmlt is situated
above the white circle. A ye l1 0w square is its representation; the four angles
are embe l1 ished by three-pointed va ，仔細 (trisiicikavaj γα， Tib. rce gs μ 1n rdo r}e).
22) Ti b.: kha Ci g ni iíhos 'by旭先 med pa γγiγab kyi sten du gial 首屆 s khan 仇。
ies pa'o.
23) Jagaddarpa t:J a , op. cit. , f. 266b5 : iíhos kyi 'byun gnas kyi dbus su γl 祖先 d 且也
me da也 iíhu dan sa'i dkyil 'klwr d且也叫 γab kyi ste也 du s甘 a chogs iíhu skyes dan
rdo γJe'i lte ba 1 ι gi α 1 yas khan.
 AMOGHAPASA 459

(αpγαmãψα， Tib. chαd med) , by meditation on the sil叫仰的， (妨n­

ναtãbhãvα忱的 of all Dharmas, and by his previously taken solemn
vow (püγuαpγα'1Jidhi) intimately connected with the subject of his
Yoga , the Yogin is raised to the contemplation of the highest
superorganic phenomena of mind , namely the evolution of the
world as a creationist manifestation of the four great material
elements reduced to certain colored symbolic substitutes (mahãbhü-
的ma1Jg，αlα). The Yogin conceives the genesis of the universe
with the Sumeru as centre in a metaphorical sense, more precise-
ly in a strictly sünyαsense， viz. , as devoid of independent reality
(svαbhãvαsür旬的， when he rises to the cosmic plane which he as-
similates,“ in-corporates" into himself. He brings into his own
body with 七he heart as centre the cosmic forces of the plane. 24
The surface of the earth , in traditional Indian cosmography,
is regarded as demarcated by sunrise and sunset, by the points
where the sun apparently emerges above and sinks below the
horizon. 2Õ The earth is therefore represented by a square diagram ,
known as kã克cα?叫ma1Jg，αla (Tib. gseγ gyi dkyil ‘khoγ). The
26

Vajrayãnic yogins ascended to unparalleled heights of imagination.

The kütãgãγαwas built in the likeness of the world. It was its
reduced symbolic image. The structure of the "Temple of final
emancipation" (mahãmokfJαkütãgãγα， Tib. 的αγpα ðhen po' i gial
vαs khα的 27 issued from the matchless light of the letter bhrüm
whose fiames filled the whole space, absorbed the essence of the
earth and transmuted it.
The Sãdhana texts explain the architectural distinctions
(lα的αψα) of the kütãgãrαIt has four arched entrances (tor，α.1J a)
and four corners. All parts of the temple's interior are embel-
lished with pearls and other beautiful ornaments. The names of
the gods as lords of the four cardinal and the four intermediate
directions of space over which they had jutisdiction , are the fol-
lowing:

24) E.D. Saunders,“ Some Tantric Techniques ," in St 1t dies of Esoteric Bud-
dhism and Ta呢tr何?鳴， Koyasan 1965 , p. 169.
25) Kγ也吼叫 sch， op. cit. , 12.
26) Abhidhaγ mako~缸， III. 47c.
27) Kã~ha， Yogaratnamä悔， praised it as mahä吶。 /csαpurα “ city of the great
emancipation" and as pararnädyabhavan 且“ realm of p γωnãdya."
460 R. O. MEISEZAHL

East (aindrí [dbαñ po]). lndra who has a yellow complexion ,

and is seated astride on the back of a white elephant called Air-
ävata [8α bsγ犯他s] . He holds in his right hand a vαjγα， the left
one carrying a bosom (stα%α[傀儡慨α.]).
South-east (ãgneyí [me]). Agni , the red god of the fire , rid-
ing on a goat (chãgα[γα]). He holds a ladle (sruvα [blugs gzαγ])
with a long handl~ to pour clarified butter in the sacrificial fire.
The left hand carries an ewer (kα.ma1Jq，αlu [spyi blugs]).
South (判刑í [gs仰 rje]). Yama on a buffalo (伽αM研 [mα he]).
He is black, and holds in his hands a stick (dα1Jq，α [dbyug pα.])
and a spear (s叫α[γce gcig pα]).
South-west (nairrtí [bden bγαl]). Nairrti , the blue lord of
the Räk開sas， is seated on the back of a corpse (侃侃 [ro]). He
holds a sword (khαq，gα [ral gri]) and a shield (khetα [phub]).
West (vãr1仰í [chu]). Varu駒， the white god of the waters ,
sitting on a 'f側的γα [chu s叫他] • He holds the SaptaphaI}. a , 28 a
nãgαpãSα “ serpent coil ," and a white shell [duñ dkαγ'].

N orth-west (vãyαví [γlu吋). Väyu , the blue god of winds ,

riding on an antelope (mrgα[叫 dαgs]). He carries the wind (吋tα
， s]) ， viz. a pennant.
[rlu吋) and a piece of cotton (pα?α[rα

North (kαuberí [dbαñ ldαη]). Kubera is seated on the back

of a man (她αγα[他刊). His complexion is light yellow (supítα
[dkαγ po “ weiss "]). He carries a goad (α?忱usα [l的gs kyu]) and
a club (gαdã [byug tO]).

North-east (αisã他的. Ï詞na seated on a bull (Vr~αbhα [glα也])

is yellow. His hands hold a trident (t叫süla [γce gsum]) and a
skull (kαpãla [thod pα]). He wears a crown of chignon decorated
with the crescent. His throat is blue. The sacred thread consists
of snakes.
The A科amivrata P的a characterizes the eight gods as hav-

28) The seven lifted necks of the snake. A looped noose by its end in the hand
of god Varu J? a; c f. Jitendra Nath Banerjea, The Development 01 H仰 du Icono-
gγaph 習， Calcutta 1956, P I. XL V I. 1.
 AMOGHAPÃSA 461

ing four arms. The back ones holding the emblems (c仇忱的 are
those which are described for the DharmadhãtuvagisvaramaJ)Q. ala
in Abhayãkaragupta's Ni?pα侃侃αyogãvαlí. The front arms show the
right hand being in the Abhayamudrã , the left one is lying in
the lap of the god and holds an ewer.

The midst of the kütãgã何 is occupied by the lord of the

MaJ)Q. ala (mαrry4αlesα:) ， namely the Dhyãni-Bodhisattva Avalokitesvara
who enters the kütãgãγαas his temple and palace (vimãn的 and
becomes manifest as Amoghap品a by assuming his emblem (c仇忱的，
the lasso (ρ面的， and the gestures (mudγ的. Bhattacharyya29
thinks that Avalokitesvara originated in the third century B. C.
as a manifestation of the Dhyãni-Buddha Amitãbha , and that his
cult was derived from that of Vi軒~u. 30 The biography No mchαγ
γ禍αd by~吶 nor bu' i phreñ bαof the first Dalai Lama dGe ‘ dun
grub pa dpal bzañ po (1391-1474) , published by the author Ye 的s
rdo de in the year Ãnanda or si先 pho stαg (1494) , narrates that
“ Saint Avalokitesvara appeared from the right eye of Amitãbha
while he was meditating in great mercy for the sake of the beings
in the Western Sukhavatì , and the goddess Tãrã emanated from
the left eye." Avalokitesvara is praised in the Mα hãvαstu as the
Victorious One (bhαgαvα叫:) who took the character of a Bodhisat-
tva , Mahãsattva and Mahãkãru J) ika for the sake of instructing
the people and for their constant welfare and happiness.

Amoghapã但 is a manifestation of A valokitesvara as a reflex

of the Hrdaya,31 a dhãrα'Yþí consisting of many formulas (mantr的

29) The lnd 何 n Buddhist lconography， 仰叫 nly based 0向 the Sãdhanamãlã， α nd

other cognate Tãntric texts of rituals , London, 1924, p. 51.
Nañ Ral pa can (born me brug , 1136) praised Saint Avalokitesvara as bcom
ldα呵 'das de biin gsegs pa dgra bcom pa ya也 d四 g pαγio.gs pa'i sañs rgyα S 'od
dpαg tu 1他 ed pa'i sγas k似的泌的 byαñ chub sems dpa' γ祖由 ms kyi mchog (D αm
chos chos 'bY1時， f. 7a6 ) “ the eldest son of bhαg仰α叫 ， tathãgat品， αγ hant samyak-
sa rp, buddha Amitãbha and the greatest of the bodhisattvas." His residence is Mt.
Potala, the chief of (holy) places (g悅目 s mchog). He exercises the jurisdiction over
Kha ba can (=Tibet).
30) J.N. Banerjea, The Development of H仰 du lco呢。graphy， p. 558.
31) Tib. s琵4也 po， the essence or quintessence of that which is required for ac-
complishing a happy even powerful result, i. e. the compendious all-embracing
quality of a single or different Mantras.
462 R. O. MEISEZAHL

called Amoghap的a. 32 Recei ved by A valokitesvara in his residence

on the top of Mt. Potala from Lokendrarãja Tathãgata in the 91st
aeon of world's history called Vilokitã , the Amoghαpãsα (rMα)­
hr dα仰 is said to be very e由cacious (α啊。ghα).

[A devoteeJ
who recites [thi8 Hrdανα] only once , his Karma shall be cleansed: all
sullied actions sqall be exhausted and expelled. Whatever it may be:
one , two , three or four and even seven days' fever , sore eyes, ear-ache ,
sore nose , tooth-ache , sore lips , tongue or palate or heart diseases ,
stomach-ache , urinary a fH iction , pain about the ribs, h旬 -gout， articular
disease , piles , abdominal complaint , dysentery , sore hands and feet ,
head-ache , cutaneous disease , white leprosy , black leprosy , foot-sore ,
keloid , carbuncle, fistula , boil , epilepsy , evil spirits or other demons,
killing , imprisoning , flogging or defaming , - briefly, 0 Victorious One ,
[everyJ physical or psychical pain or experiencing a bad dream; all
this Karma shall be exhausted (A慨。ghαpãsαhrdανα dhãraψι Amogha­
pãsαkα lpαrãjα ， 1日t chapter). 33

If a monk or a nun , a layman or a female devotee or any other

being , fasts on the eighth day in the bright fortnight of a lunar
month in honor of the Amoghapã但hrdaya and recites the latter seven
times without speaking another word , then , 0 Victorious One, the
twenty Dharmas will be won as benefits (α侃"何111- 8α) ,“ and other eight

32) R.O. Meisezahl ,“ The Amoghap品 ahrdaya Manuscript Formerly Kept in the
Reiunji Temple , and its Collateral Texts in Tibetan Transliteration," in Studies of
Esote叫 c Buddhism and Tantris嘛， Koyasan 1965, pp. 179-216.
33) R.O. Meisezahl , “ The Amoghapãsahrdayadhãrar汀，" in M01叫 η tenla Nip 旬，
poπ ic血， Vo]. XVII (1962) , p. 29 1.
34) Which twenty? (1) A disease will not occur in his body; when a disease
caused by kaγ ma has arisen , it will quickly be cured. (2) The body will be
smooth , handsome and slender. (3) He will be in favour with many people. (4)
His senses will be self-controlled. (5) He will acquire wealth; when wealth has
arisen , a thief will not be able to rob it. (6) The wealth can neither be burnt by
fire nor washed away by flood. A king will not be able to confiscate it by force.
(7) The length of his life will be prolonged. (8) He will no longer be in fear of
fire and fiood. (9) He will no longer be in fear of storm and torrential rain. (10)
Every calamity will be eliminated , if the devotee recites the A mogh αpãsahrdaya
seven times over ashes or water, before the demarcation of a field as a magical
ground is drawn in accordance with the cardinal directions and intermediate points ,
downwards (nadir) and upwards (zenith). (11) Whatever robs the vital strength ,
will no longer be able to ruin it. (12) He will be popular with all beings. (13) He
will no longer be in fear of an enemy. (14) If fear of an enemy should arise. it
will quickly be removed. (15) He will no longer be in fear of an evil spirit. (17)
Fearful depravities and vices will no longer arise. (19) His life will not end by fire ,
sword or poison. (20) And the gods will always grant him guard , protection and
defence. Wherever he will be born, there he shall not miss pity, enioyment and
disinterestedness.
 AMOGHAPÃSA 463

Dharmas as blessings in the hour of death. 35

The ritualistic part (vidhi) at the end of the DhäraI}. i text

includes the following information:
When the devotee makes a sandal-wood spot as a seal on his heart,
and recites the Amoghap孟晶 hrdaya twenty-one times and anoints him-
self, then all evil actions bringing immediate retributions will be
eradicated. Safety of the house shall be the effect of a permanent
recita l.
After having chanted the Hrdaya hundred-eight times over certain
medicinal herbs, a talisman is to be made from them which must be
put on the head or on the upper arm; boys wear it around the neck ,
and girls around the waist. It will be the cause of great prosperity,
elimination of misfortune , and bestowing of children. When the
talisman is worn , every possible protection is assured. Poison and fire
shall not approach. All demons shall be expelled. An inundation
shall be mastered. The Amoghapãsahrdaya is like an oleander-branch
universally efficacious.

For the artist of the A早tamivrata-Pata in the British Museum ,

the painting surely was a process presupposing a mental prepara-
tion which culminated in the attainment of that frame of mind in
which an object fashioned by human hands reached such an august
leve l. The exquisite painting of the main figure , and , above all ,
the sublime expression of pleasant contemplation on the divine face
mark the Pa駒. as one of the finest examples of Nepalese art in
19th century. To achieve harmonious proportion , the artist relied
almost reverently upon the logic of geometry projecting it upon
every part of the Pa個 down to the bottom row where the donor
of the painting, aψα.jrãcãryα ， is kneeling with a vajra in his
right hand , and a bell surmounted by a vajra (vαJ'rαghα抖的 ln
his left hand. He is in the company of his wife , four sons and

35) Which eight? (1) At the hour of death , the Bodhisattva, Mahãsattva,
Saint Avalokite品 vara wi11 appear to him in the shape of a monk. (2) He wi11 hap-
pily end his life. (3) His faith wi11 not be disturbed. (4) At the hour of death ,
he wi11 neither agitate arms or legs nor die by fa 11i ng out of bed , and not soil
himself with excrements and urine. (5) His mindfulness will be well-developed.
(6) He wi11 not die with the mouth turned downwards. (7) At the hour of death ,
he wi11 possess a never-fai1 ing self-confidence. (8) To whatever Buddhaksetra he
directs his prayer, there he wi11 be born and not be abandoned by good friends.
464 R. O. MEISEZAHL

thirteen daughters , the latter being separated from the family by

the deity Mahãkãla in the pratyälíq，hαattitude and surrounded by
two attendants. The purpose of the donation was to bring long
life , prosperity or anything connected with temporal welfare to
the donor and his family.

In the outermost zone there are thirty scenes which can be

identified with more or less certainty as representing events in the
life of king Ku詞，“ and whose sequence is numbered in accordance
with the key plan.

King Subandhu , the ruler of Kãsi whose capital is VãrãI). asi , ob-
serves the eight day's fast (α斜α mivr，α的37) in honor of Bodhisattva
Amoghapã餌， and is rewarded by the miraculous birth of a son who
issues from a pregnant stem of sugar-cane38 [2]. The baby is received
by the chief queen Surucirã [3]. After a week's birth festivities [4]
the prince is given the name Ik♀vãku. He succeeds to the throne.
His chief queen Alindã after observing an 句:α mivrα的 gives birth to
a son matchless in physical strength but of monstrous appearance [5]
because she violated the purificatory rules during the eight day's fast.
King Ik 串vãku as father of 499 good-looking princes is distressed at
the birth of such an ugly son named Ku但 No birth celebrations are
held.
Ik串vãku tests his 500 sons in order to ascertain as to who should
become king after him. He causes 500 sweetmeats to be made. One
large sweetmeat is placed in the middle , and is covered by the other
sweetmeats. Saying to himself,“ the one who picks out the Iarge one
shaIl become king after me ," he ca Ils the princes. It is Kusa who
picks out the Iarge sweetmeat [7]. Unhappy at the result , Ik i? vãku
tries another test. He has the princes brought before him at meaI-
time in order to know which of them w ilI take food 宜 rst. A Il the

36) Copies of the A宇tam{vratamahãtmya- (V{ra) kus御自d在何 a are in London.

Paris and Tokyo. Cecil Bendall. Catalogue of the Buddhi8t San8kγ it Mα nuscγ ipts
in the Univeγ 8ity Librαγ y. Cambridge , p. 122 (Add. 1538); Jean Filiozat, Catalogue
du Fond8 Sa呃 8Cγ缸， p. 79 (No. 114); Matsunami Seiren, A Catalogue of the Sanskrit
Manuscripts 仰 the Tokyo U'叫間內ity Lib呵呵， p. 20 (No. 42).
37) Pãli aHhami tψ08αthα.
38) After a pregnancy of normal duration. The conception is an enigmatical
phenomenon as the coalescence of sperm-cell and egg-cell took place when king
Subandhu was producing spermatozoa by urinating on a sugar-cane plant growing
in his park.
 @
。。 。@ @@

Gallery of the twelve Bodhisattvas

@ @

@ @愁 l2、\干/Jl除
@
他 lndr，'a _,Oì

@e趴\~!_/o<'- @
@@@@@@

thedonor Mahãkãla
and his fa，叫 ly with two attendants

A字tamïvrata Pa!a in honor of Amoghapã 益。 (keyplan)

A字!αmïvrata Pa !a in honor of Amoghαpã 蛋。 (keyplanJ

Plate I. Astamïvrata Pata in Honor of Amoghap的a

British Museum , London
Plate 11. Detail of Plate 1
Plate III. Detail of Plate 1
Plate IV. Detail of Plate 1
Plate v. Deta i1 of Plate 1
Plate VI. Metal Statuette of Amoghapã且a

Bernisches Historisches Museum , Bern (Switzerland)

Photo: Atelier Eidenbenz , Basel (Switzerland)
Plate VI I. Metal Statuette of Amoghapã且a

Sammlung für Völkerkunde der Universit且 t Zürich (Switzerland)

Photo: Miss Dr. Eva Stoll , Zürich
Plate VIII. Metal Statuette of Amoghapã鼠

Collection: Profcssor Dr. Paul Horsch , Zü~ich

Photo: Miss Dr. Eva Stoll , Zürich
Plate IX. Wooden Statuette of Amoghapãsa
Collection: Dr. Arnold Ith , Zürich
Photo: Mrs. Helen Maetzler-Prohaska, Adliswil (Z垃 rich)
Plate X. Wooden Statuette of Amoghapã臼

Collection: Dr. Arnold Ith. Zürich

Photo: Miss Dr. Eva Stoll. Zürich
 AMOGHAPÃSA 465

499 princes wait to be served , and only Kusa takes his food on the
floor and eats it [司. The king asks his priest who will succeed him
to the throne. “ Ku餌，" replies the priest, “ as he has the marks of
a king" [9]. Ik串vãku dies, and Kusa succeeds to the throne.
One day, Alindã asks the ministers and priests to find out a suit-
able princess to be the chief queen of her son Kusa. They reach the
city of Kãnyakubja in Sürasena country. Mahendraka, the king of
this city, who has a beautiful daughter named Sudar妞，nã， assents to
the marriage proposal. A marriage by proxy is celebrated [10]. The
ministers and priests then escort Sudarsanã to VãrãJ}.asi w here to her
astonishment she is led into a dark chamber. This had been con-
structed for Kusa and his wife, and they were to meet there only by
night [1 月， lest Kusa's ugliness should drive Sudarsanã away. Kusa
expres阻s his desire to see his wife; and Alindã tries to check Sudar-
sana's curiosity. Following meetings are arranged: The procession
where Kusa is replaced by his handsome brother Kusadruma, and he
himself is shown as the sunshade-bearer [1刻. The meeting in the
lotus-park. Kusa is to stay there concealed behind the lotus leaves.
Sudarsanã enters the park and is embraced by Ku餌， whom she mis-
takes for a water-demon. One day , a fire breaks out in the royal
elephant-stable. Ku妞， extinguishes it and saves the elephants [1司­
All who witness this heroic spectacle praise Kusa's prowess. Sudar-
sanã notices the ugliness of Ku餌， and realizes that he is her husband.
As she does not wish to live with such a hideous husband , she asks
permission of her mother-in-law to leave VãrãJ}.asi for Kãnyakubja,
and threatens to do violence to herself if she is not permitted. Alindã,
afraid of loosing Sudarsan益， permits her to leave.

Kusa is distressed. He asks his mother's permission to follow

his wife [16, 1η. He reaches Kãnyakubja, and he is invited by a
woman to rest in her house [18]. He gives her everything except
the lute. Kusa starts for the royal elephant-stable where he plays
the lute [19]. King Mahendraka likes the music and decides to call
the musician next day to him [20]. Ku個 engages himself as an ap-
prentice to the royal cook [21]. The king ia much impressed by
Kusa's cooking and appoints him to be the royal cook [22].

The seven neighboring and hostile kings come to learn of Sudar-

飽喝's return to her parents' house. With Durmati as their leader
they besiege the city of Kãnyakubja and demand Sudarsanã as wife.
Kusa hears the loud roar of the armies and asks his father-in-Iaw
about it. The latter informs him of the siege of his city. Kusa van-
quishes the belligerant kings [2，呵， and acquires from God Sakra the
M.S. XXVI 30
466 R. O. MEISEZAHL

gem called Jyotirasαmα'Yþi [28]. Kuáa puts on this gem and realizes
that he has become a beautiful man [29]. Ku鈍's homecoming is the
object of the last scene [80 )39.

Amoghap的a is shown as an eternal adolescent aged about

twice eight years (dviγα斜αvαr仰de8iyα). He has a smiling, ex-
tremely peaceful (αtiSã1泌的 face in a pensive and relaxed mood.
Looking beautiful with compassion (karU'例snigdhãvalok仰的， the
“ Great Compassionate One" (Mahãkãru'Yþ甜的 is full of the senti-
ment of passion (81鳴gãr.αsαpαryupãsitα.). His person is as re-
splendent as the rays of a crore of moons (him叫你叫得的~r，α咧侃­
dãtα~) .

The great Bodhisattva stands in the Samabha白ga attitude on 40

the lunar disc over the pericarp of a lotus. The gestures and at-
tributes leave no room for doubting the identification with Amo-
ghapä個. He is eight-armed. In two of the right arms he holds
a rosary (α均α.mãlã) ， and a goad which is surmounted by a vajra
(vα.jrãñk~泌的. The third arm is slightly lifted in front of his heart
in the gesture of fearlessness (αbhα仰.mudrã) . The fourth arm is
pendent with the palm outward and the fingers all stretched out
(vαγαdα，mudrã). The attributes of the four left arms are: (1) a
full blossomed lotus ascending from the Bodhisattva's upper left
hand to the air where its open flower embellishes the effulgence
which surrounds him,“ (2) a book (pustαkα) ， (3) a lasso with
Vajras at the ends (vαjγαp惱的 (4) an ewer (如mαψ4αlu).

39) Cf. Tilak Raj Chopra. The Kusa-Jãtaka. α Critical and Co制parat 切e Stud缸，
Hamburg 1966. pp. 38. 7314. 83. 85. 89 丘. 96. 105. 118. 1 am very thankful to the
author for introducing me into the psychology of King Kusa's life.
40) There are four standing “ attitudes" (bhañga). viz. sαmabha也 ga or sa憫品­
pãda. ãbhañg品• tribh且也g晶. and atibh晶晶 ga. The first denotes the equipoised body
where the right and the left of the figure are disposed symmetrically (A.N. Tagore).
Thus the weight of the whole body is equally distributed on both the legs. and
the poise is firm and erect. Cf. Banerjea. op. cit.. 264. The term samabhañga is
identical with sama }Jãdasthãnaka preferred by Kramrisch. lndi 缸n Sculpture. pp.
76. 89. 110.
41) Two characteristic features of Indian images in general which require some
notice here, are the sirascakra and the prabhã哨a!'4alα(or prabhãvali). The for-
mer represents the halo circle round the head. corresponding to the Greek nimbus.
while the latter stands for the larger halo round the whole of the divine body.
really serving the purpose of the back-slab (Tib.γgyab yol). Jitendra Nath Baner-
jea. The Development 01 Hindu lco呵。。γaph缸. Calcutta 1956. p. 296.
 AMOGHAP.Ä.SA 467

His white Dhotì reaches down to the ankle, and a tiger-skin

is slipping from his waist. An antelope hide hanging from the
left shoulder serves as his sacred thread (eyeyαcα們?叫krtανα，jño­
pαvitin). Amoghapãsa has the effulgence of the moon as his
aureole (cα.ndraprabhãmα.rJ4αli的. He wears a celestial garland of
flowers. The body is decked in the six auspicious symbols (科吵伽u­
dγ'ãdehαbhü~α吵的 which represent the six Pãramitãs,“i. e. torque
(如'Yþthikã) ， bracelets (r泌的切)， jewels (何伽α) ， hip-girdle (mekhalã) ,
ashes (bh的怖α的， and the sacred thread (sütrlα.). His matted hair
raised upward in shape of a crown (jαtãmuk叫αmα，'Yþq，俗的 is richly
jewelled. The ears are elongated.
Bodhisattva Avalokitesvara as lord of the world (loke8vαra)
has many aspects. N umerous varieties ha ve been described in the
iconographic treatises , and some of the names mentioned in them
help us to find out their counterparts in the row of twelve bo-
dhisattvas above the Mandala.
One among these is known by the curious name of Rαrihα叫­
hα叫vãhαnodbhαva. His complexion is white. He is citing the Ta-
thãgata as witness with one of his right arms; he carries a rosary
in the second, and instructs deluded people (durgαt臼thitalokα)
with the third. The three left arms hold a staff (dα，'Yþq，α.) ， a black
deer's skin (kr lfYþãjina) , and an ewer. He is riding on the shoul-
ders of Vil?I} U (HIαγ'i) who has the Garuga (Htαri) as his mount
(vãhα他的. The divine bird-man again is mounted on the back of
a lion (hαri). “ V Ïl?I}U here represents the two fundamental ele-

42) ka!，-~hikãγucaka1p， ratnamekhalãηt bhasmasütrakam I I

I! a g, vai pãramitã etã mudrãrû.pe!，-α 習。jitãlJ， I I (Bhattacharyya, op. cit. , p. 47)
The six Perfections as supreme virtues to be cultivated by Bodhisattvas are
called : (1) dã鳴也“ liberality，" (2) sila “ ethics," (3) k l!ãnti “ patience," (4) 申irya
“ strenuousness," (5) dhyã犯α “ meditative concentration," (6). pγaj琵6 “ knowledge."
The primary characteristics of the Perfections are fourfold. Sütrãlα1p， kãr品， XV I.
15, 8ff.; Herbert V. Guenther, Jewel Or協α me犯 t 01 Liberatio肌 London 1959, pp. 148.
43) The Nepalese image of Harihariharivãhanodbhava Lok的 vara with two at-
tendants, now in the Zurich University has a beautiful mandorla and a bejewelled
prabhãvali of great delicacy. If we compare this graceful creation with the
modern Nepalese i1l ustration published by Bhattacharyya, op. cit. , plate XXIII b,
we cannot but realize an iconographic difference in the representation of the Bo-
dhisattva by two different Nepalese artists. We find an elephant instead of the
black deer's skin. Cf. Emil Abegg, Die Indiensamm旬 ng der Univeγsität Zürich ,
Zürich 1935 (p . 131, fig. 39).
468 R. O. MEISEZAHL

ments “ wind" and “ fire" 如'ãyvαgnimandαlα) , GaruQa stands for

the element “ water" (叫rury，αmα.ry，rlαlα) , and the lion symbolizes
the element “ earth" (mãhendramαψrlal的 and Mt. Sumeru.
The Sãdhαnα.mãlã(text No. 32) describes the red Pαdmα7間?唔，
teS vαγαasα斜ãdα品bhujα “ eighteen-armed" and carrying a lotus
in each hand , except the two first ones. He stands in the αγdhα­
pαγuαñke?問 tãry，rlα。αpose， a dancing variety of the Ardhaparyañka
attitude, on the moon over the pericarp of a lotus.
Hãlãhala is seated in the Lalita attitude (αrdhapa旬的制的 on
a body lying on the moon over the pericarp of a lotus. He is
three-faced and six-armed. His complexion is resplendent like the
white lotus. He displays the Varadamudrã in the first right arm ;
the second has a rosary 仰的αmãl忱的 while the third flourishes an
arrow (8α何協αrttα忱的. The first left hand carries a bow (cãpα) ，
the second a book , and the third touches the breast (stαnα) of his
Devi (= Prajñã). He carries the Devi of his own emanation (svã-
bhαdevi) on the left lap.

It is difficult to estimate with anything approaching exactness

the age of the cult which Amoghapã但 received in the various
Tãntric Schools of Vajrayãna Buddhism. The first Chinese version
of the AmoghαpãSαhrd ανα dhãγα.ry，isütγαby Jñãnagupta, a missionary
from Gandhãra , dates from about 587 A.D. Very helpful are the
Sãdhana '4 and Abhisamaya texts which describe the images of the
Bodhisattva and his various aspects. When Sanskrit texts are not
available the very useful Tibetan versions kept in the Tanjur help
us remarkably in determining the individual iconographic types.
According to these texts , the number of Amoghapã鈍 's arms should
be two , four , six, ten , or even twelve. There is mention of his
attendants , of the attitude (standing or seating) in which the
divine Bodhisattva is to be shown , and of many other iconographic
details and traits.

44) Sãdhanas, or tracts on the worship of the Buddhist deities , give deta i! s of
the _shape in which he or she is to be conceived by the meditating worshipper
(Sãdhaka). It is upon these Sãdhana texts that the sculptor worked and produced
images in stone and metal , and the identification of an icon becomes sure as soon
as we can find out its exact Sãdhana. Cf. Bhattasali , [conography of Buddhist and
Bγahmanical Sculptures in the J) α cca Museum , Dacca 1929, p. 1; Snellgrove , The
Hev叮叮 tant 呵， I. 137.
 AMOGHAPASA 469

11. CONCEPTS OF AMOGHAPASA

The gods and goddesses of the Vajrayãnic pantheon have no
real existence. They are all manifestations of the S帥"悟，“ viz.
born from a Yogic process, the Vajrayoga. Every Sãdhana text
begins with the injunction that everything should first of all be
realized in its Sünyatã-nature (sünyatãsv<αbhãva). When the mind
“
of the Yogin is no more fixed on any element of the objective
world , the state of mind called “ one-pointed ,. (ekãgratã) remains
steady in the realization of the Sünyatã-nature of all objects. The
Yogin has attained through the exact knowledge of the Sünyatã-
nature a state of mind which is called sünyatãbodhi. 1t is the
first stage of the “ fourfold Vajra."
Snellgrove's translation of the Hevaj怖的叫向 and Kãl}ha's
commentary Yogαratnαmãlã give a revealing description of the
fourfold Vajra (切:jrαcαtw;k的 as primary part of the Yoga for the
visualization of the Tãntric deity Hevajra. 47 All things should be
conceived by the Yogin 個 free from false appearances andωcon­
sisting of pure brilliance (nirãbhãsa1jt prαl bh街叫他鴨仰α1jt p必­
yetα). “ In that brilliance he envisages upon a solar disk and so
on the divine germ encircled with rays; from that seed by the
endless creation of the families of Yoginis the cause of the world
is prospered，的 in that germ it is concentrated. This is the second
stage called b{iωα1jtgraha. 49
By means of that germ there comes
about the physical manifestation of the god in the semi-paryailka

45) Bhattacharyya, op. cit.. pp. 164.

46) Also called Sãdhaka (rnal 'byor pa). not 80 frequently Mantrin.
47) The Heva;rata協 tra. London 1959. Vol. 1 p. 56; 11 , pp. 12. 113.
48) Yogaratnamãlä: sarvabhävä鴨 ma揖asävalabhya cittamãtra制 evedam asati
bähye 叫扭 yã蚵何可t bhräntyã pratibhäsate I tad yathã svapn α it'i I tad api prati-
bhäsasvarüpa1ft cittam ekã祖 ekas'L"abhävarah itam “ As all things have the mind for
their support. everything is just though t, and with external things thus non-exist-
ent. it reflects sense-objects through error. It is like a dream. they say. Further-
more. as mind consists of this reflective quality. its nature is neither one nor
many."
49) Ibid.: dvitiyabì;asa 1ft graham iti I tasm何 eva prabhäsvaγe yathäyoga可Z
s,1. ryädima!t 4alopari kira!t amälidevatäbí;a1ft drl!~vä tasmäd bí;ãd yoginíkulä詞缸n­
tanirmä !l ena ;agadartha1ft krtvä tasmin eva bí;e samupasa 1ft häro bí;asaψgrahas
ta 1fl. bhävayet.
470 R. O. MEISEZAHL

position or in a dancing posture, mounted upon a corpse upon a

solar disk which r個ts upon the pericarp of a lotus with multicolored
petals. This is the third stage, b伽b仰句pα，tti. The last stage of
60

the fourfold Vajra is the “ imposition of the phoneme" (nyãs，α伽

aklJα向冊). In one's own heart one should imagine the “ phonéme
cr個，teur" (bijãklJαTα) “ set on a Ma叫ala. 62 The résumé of the
旬呵呵呵t向加 is 倒 follows : First the concept of the Sünyatä, then
the creative germr then the whole phenomenal process (bhã呱呱)
idea1ized in the circle of divinities (de呱呱kra) ， and 1甜tly this
whole proce甜 envisaged within in one's heart so that onese1f be-
comωthe centre and is consubstantiated with the whole. 68 The
Yogin thus rea1izes Sünyata. by crωting the universe , peop1ing it,
and destroying it5‘ when the meditation is ceased. He fìnds the
Void in his own heart where the universe exists.
The Vajraya. nic ideology is clear. All dua1istic knowledge
disappears, and the Yogin becomes identical (ekab切的:) with the
object of his devotion. Therefore, the icons, the paintings, or even
the divinities themselves are devoid of any objective content. A
deity should be conceived as manifesting itself just as an image
(bi伽b的 formed by the beaming 1ight issuing out from the cre-
ative mystic “ letter" (k卸的， also called “ phoneme" (αklJα他) or
“ germ" (Mj.α) ， from which proceeds the refleetion of the Ta.ntric
god in accordance with the sound uttered by the Yogin.
The Amoghapa.Sa. cult is to be divided into two traditions,
viz. (1) the red Amoghapa.Sa.制備甸似lika in the role of Ruler
of the East in the MaI].Qala of Avalokitesvara, and (2) the white
Amoghapa.詢部伽仰似lesα “ Lord of the Ma吋ala."

50) Ibid.: trtiye bimbanifpattim iti I tena bije鳴也 devatãdehas仰例如adalaka­

伽alak抑制 kãrasthitasüryãd伽仰tf，alopa叫“喊叫 tf，hasyãrdha.par宙帥 katãv-4ava岫叫，。
ni亨:pa.ttir bi偏ba協勾patt均 I tã可， bhãψ ayet.
51) Or hrdbija “ germ (implanted) in the heart "; cf. André Padoux, Recherches
sur l a. symbolique et l'~nergie de la parole dans certains teztes tantriques, Paris
1963, p. 甜6 (index).
52) Ibid.: caturtha'ψ 鴨yãsam a"'aram iti I tata~ sψahrdi m仰tf，alastha可， bijã-
"'araψ 叫bhã'甘ayet.
53) Snellgrov e, op. cit. , I. 57.
54) E.D. Saunders,“Some Tantric Techniques," in Studies 01 Esoteric Buddhism
a協d Tantris憫， Koyasan 1965, p. 170.
 AMOGHAPÄSA 471

A. The Red Amoghapãsa (Family of Vairocana) 55

1. BENGAL SCHOOL
α) Sαhαdαlαlitα
We can certainly pick out many details of an iconographic
character of the red Amoghap的a as Ruler of 七he East from the
Amoghαpãsαsãdhα犯αwritten by Sahajalalita, 56 and preserved in
Tibetan translation in the Tanjur. 57 The colophon gives as title
Doηνod Zαgs pa' i mdo las bsdus pαand names as translators the
lndian upädhyäya Amoghavajra and the distinguished Tibetan loc-
cha from Ba r i. 58
The strictly philosophical Vajrayänist emphasized the real unity
between the Bodhisattva Avalokitesvara as lord of the world
(lokesvαγα) and sovereign of the MaI}.Q. ala (rr悶'ry，rjαleSα) with his
four attendants as the rulers of the four quarters of the world
to be meditated upon , and the Sädhaka meditating on them by
means of evocation (sãdhanα) ， viz. envisaging the formal represen-
tations of the five deities in order to transform those images into
a living experience.
First object of his Yoga is the meditation on the void nature
of all things as it is the dominating notion upon which the whole
complicated structure of a Sädhana is reared , and this applies to
its philosophy, its theology (if we may grace it with the name) ,
and its practice of Yoga. 59 The letter pαm having as seat the
heart of the Sädhaka proceeds from the knowledge of Sünyatä
(組%仰tãbodhi) 60 that all the things 似的γ帥的 being without orig-
ination there is neither any existence nor any notion of existence :
existence of things is spoken of in exactly the same way as the

55) His family name is Tathãgata.

56) Presumably identical with Sahajavilãsa
57) Peking Tanjur ， γ Gyud 'grel, Vol 側，臼 126b8 -128a 4 (Otani No. 4842 [Vo].
86]) .
58) Ba ri Rin chen grags (born 1040).
59) Snellgrove, op. cit. , 1. 24 on the theory of “ Two-in-One" (Tib. zun 'Jug).
60) Cf. Mahasukhaprakãsa of the Advayavajrasarp， g γah ι : sunyatãbodhito bija rp,
bíjãd bimba rp, prajãyate. Dasgupta, An T叫 roduction to Tãntric Buddhis冊， Cal-
cutta 1950, p. 64.
472 R. O. MEISEZAHL

existence of the sky. "61 From pα仇 evolves the image of a full-
blossomed lotus. After reßection upon the primal sound “ α" the
lunar disk appears over the pericarp of a lotus ßower. The Sã-
dhaka then invites A valokitesvara as the central deity of the
MaI} qala and his four divine attendants as well as other Mã平qa­
likas. He visualizes the circle of deities as an emanation from
the beaming letter hrí lJ, which stands in the centre of the lunar
disk. 62 He honors þy prayer and offerings the divinities and gurus
who appeared in the sky before him (mdun du biugs su gsol la I
mchod te).

Avalokitesvara holds in his left hand a lotus while the right

one is shown in the Varadamudrã. His complexion is shining like
gold.

In Eastern direction , the red Amoghapã詞• (Don yod iαgs pα) ，

one-faced and four-armed , an emanation from hah standing on the
lunar disc over a lotus which evolved from the red letter pα仇
His first right arm carries a lasso; in the second hand is a Vajra.
The two left arms hold a goad and a rosary.

In Southern direction , the red Hayagriva (rT，α 伽g叫俑.)， one-

faced and four-armed , an emanation from hü仇 standing on the
solar disc over a lotus arisen from the red letter pα仇 The first
right arm shows a mace while the second one exhibits the Tarja-
nimudrã. In the two left hands are a wheel and a lotus.
In Western direction , the black goddess Ekaja個 (Ral gcig m的，
one-faced and eight-armed. She is a manifestation from the black
letter phαstanding on the solar disc over a lotus, the latter arisen
from the black letter pα仇 The goddess is decked in a tiger's
skin. Her face is distorted with anger and bare canine fangs.
In her four right hands are a sword , a lasso, a lotus , and an ar-
row. In the four left hands are a disc , a mace , a trident, and a
bow.

61) Da曙gupta， i 缸， p. 99.

62) ran gi s師也 gaγ pa1]7. las padma I de'i sten dlt a las zla 帥 'i dkyil 'khor I
缸 'i sten du yi ge h叫 dkaγ po I de'i 'od kyis lha'i 'khor 10 dan I bla ma spyan
dγ品也 s te.
 AMOGHAPÁSA 473

In Northern direction, the one-faced and four-armed goddess

Bhrkutl (Khro g仿er ca吋 whose germ of creation is the light-gray
letter tα， standing on the lunar disc supported by a lotus arisen
from the white letter pα此 The two right hands hold a mace
and a lotus; in the two left ones are a rosary and an ewer.
The Hrdaya (8'i叫你 po) as the most “ essential" formula of
highest sanctity and efficacy:
Avalokitesvara : namatt 8α伽αntαbuddhãnãη'/， 8α仰'atαthãgαtã叩loki
1 如何制m仰αmii付aye 1 hiim jatt 8vãhã 11
te(?)
Amoghapãsa: om hritt trailokyα吋jανα|αmoghαpã8α|αprlαtihαta
hritt hatt hii仇 phat 81Jãhã 1 1
Hayagriva: 他αmαtt 8α伽αntabuddhãnãη'/， hαm khãda 8αtvãyα 8vãhã 11
Ekaja恤: 0仇 e郎郎抖 mahãro研究~i trã8αya 鈍ma sama pra何m仰α
hiim hiim phat ph叫 8vãhã 11
Bhrkuti : namatt 8aman如budd姆"的'/， 8at惆翩郁的何'1þi hiim ph叫
vãtα仰 8t泊hã 11
的 Cα犯dr，αgom仰
The AmoghαpãSαpαñcαdevαstotra， 63 a short hymn by mahãcärya
Candragomin, is devoted to the worship of the five deities. Ava-
lokitesvara as Master of the stainless MaI.H;lala (伽α chαgs dkyil
khor gco) is like the centre of the world , and his four divine at-
tendants are the points of the compass corresponding to a partic-
ular view of the Sãdhaka. Avalokitesvara is born in the Lali-
tãsana attitude (gyαs brkyα仇 7叫師'i chul) from the white letter
hri lJ, standing on the lunar disc over a white lotus which have
emerged from pα，m and the white letter “ α. " His complexion has
the color of the K unda 自 ower resplendent like a snow-mountain.
64

His right arm displays the Varadamudrã (慨悅。g gi don sbyi犯)

while the left one carries a white lotus free from worldly defects.
He is peaceful in appearance , and his face is smiling. The Lord
is decked in jewels and various ornaments.
伽kha' ltar las 1 仰句'/， yig α dkar YOñ8 gyur pa'i 11
ra也 bzin rnαmdαg
pαdmα dkar po zla 8teñ du 1 hri yig dkar po las 'khru仇s siñ 11
gya8 brkya也 rol ba'i chul gyis bzugs 1 仰的叫 lt，αr g8al kunda'i
mdog 11

63) Peking Tanjur, rGyud 'grel , Vo l. J祉， ff. 100bQ01b1 (Õtani No. 3541).
64) J帥 minum pubescens.
472 R. O. MEISEZAHL

existence of the sky. "61 From pα仇 evolves the image of a full-
blossomed lotus. After reflection upon the primal sound “ α" the
lunar disk appears over the pericarp of a lotus flower. The Sä-
dhaka then invites Avalokitesvara as the central deity of the
Mandala and his four divine attendants as well as other Mända-
likas. He visualizes the circle of deities as an emanation from
the beaming letter hri ]J which stands in the centre of the lunar
disk. 62 He honors .by prayer and offerings the divinities and gurus
who appeared in the sky before him (mdun du biugs su gsol la I
mchod te).

Avalokitesvara holds in his left hand a lotus while the right

one is shown in the Varadamudrä. His complexion is shining like
gold.

In Eastern direction , the red Amoghap的a (Don yod iαgs pα.) ，

one-faced and four-armed , an emanation from hαh standing on the
lunar disc over a lotus which evolved from the red letter pα仇
His first right arm carries a lasso; in the second hand is a Vajra.
The two left arms hold a goad and a rosary.

In Southern direction, the red Hayagriva (rT，α 怖g叫的， one-

faced and four-armed , an emanation from hu仇 standing on the
solar disc over a lotus arisen from the red letter pα仇 The first
right arm shows a mace while the second one exhibits the Tarja-
nimudrä. In the two left hands are a wheel and a lotus.

In Western direction , the black goddess Ekajatä (Ral gc句俐的，

one-faced and eight-armed. She is a manifestation from the black
letter phαstanding on the solar disc over a lotus , the latter arisen
from the black letter pα仇. The goddess is decked in a tiger's
skin. Her face is distorted with anger and bare canine fangs.
In her four right hands are a sword, a lasso, a lotus, and an ar-
row. In the four left hands are a disc, a mace, a trident, and a
bow.

61) Da~gupta，仿.， p. 99.

62) rañ gi s冗的 gaγpα1]1， las padma I de'i ste也 dn a las zla 帥 'i dkyil 'khor I
de' i ste也 du yi ge h γi d /caγ po I de' i 'od kyis lha' i '/c hor 10 dañ I bla ma spyan
dra也 s te.
 AMOGHAPλSA 473

In Northern direction , the one-faced and four-armed goddess

Bhr k 叫 i(Khro g信仰品的 whose germ of creation is the 1ight-gray
1etter tα， standing on the 1unar disc supported by a 10tus arisen
from the white 1etter pα仇 The two right hands ho1d a mace
and a 1otus; in the two 1eft ones are a rosary and an ewer.
The Hrdaya (s倍 iñ po) as the most “ essentia1" formu1a of
highest sanctity and e血cacy:
Avalokitesvara : nama1J, sαmantαbuddhãnãηt sa仰αtathãgαt伽αloki
te (?) 1 的ruψãmayαmürtαye 1 hüm ja1J, svãhã 1 1
Amoghapã但: 0仇 hri1J， tr，叫 lokyavij，ανα|αmoghαpãsα|αpr，α tihαtα
hri1J, hα1J， hü仇 phαt svãhã 11
Hayagriva: namα1J， samα她的buddhãnãrp， ham khãdαsαt吋να svãhã 11
Ekajatã: om ekαjαti mahãro研制 trãsανα 郎mα 如mα pr，吋αmαnα
hüm hüm phαt phαt svãhã 11
Bhrkuti: πα mα 1J， san叫他的 buddhãπ ãrp， sat叫帥郁的阿利 hüm ph叫
吋tανα svãhã 1 1

的 Cαndrαgom~n
The Amoghαpãsαpαñcαdevαstotrα， 63 a short hymn by mahãcãrya
Candragomin , is devoted to the worship of the five deities. Ava-
10kitesvara as Master of the stainless Ma I).ç1 a1a (1間 chαgs dkyil
khor gco) is like the centre of the world , and his four divine at-
tendants are the points of the compass corresponding to a partic-
u1ar view of the Sãdhaka. A va10kitesvara is born in the Lali-
tãsana attitude (gyas bγkyα先 γol 帥'i chul) from the white 1etter
hrí Jy, standing on the 1unar disc over a white 10tus which have
emerged from pα仇 and the white 1etter “ α." His comp1exion has
the co1or of the K unda64 fiower resp1endent like a snow-mountain.
His right arm disp1ays the Varadamudrã (mchog gi do犯 sbyin)
while the 1eft one carries a white 10tus free from wor1d1y defects.
He is peacefu1 in appearance , and his face is smiling. The Lord
is decked in jewe1s and various ornaments.
mkha' ltar 叫你 bzin r間 mdαglaslpαrp， yig α dkαr
yons gyur pa'i 11
pαdmα dkar po zla 泌的 du 1 hri yig dkα r po l帥 'khr泌的 sin 11
gyαs brkyαn rol bα'i chul gyis bzugs 1 gαns ri ltαr gsαl kund，α't
mdog 11

63) Peking Tanjur, rGyud 'grel , Vo l. }u ， 何. 100bB-101V (Otani No. 3541).

64) Jasminum pubescens.
474 R. O. MEISEZAHL

gyas pα mðhog gi don sby仰例如d 1 'khor 師'i skyon gyis mα gos

pα'i 11
pαdmα dkαr po gyon nα 'j伽 1 'jum bðαs zi 帥'i fíams dαñ ldα n 11
叫她 ðhen s伽 chogs rgyαn gyis mjes 1 mα ðhαgs dkyil 'khor gco la
bstod 11

Amoghap品a who is red like a ruby emanates in the Samabhañ. ga

attitude (rr的αmpα bi 叫s) from the red letter ha standing on the
lunar disc over a white lotus. His two right arms hold a lasso
and a Vajra; in 七he left ones are a goad and a rosary. He is
decked in various ornaments.
pα dmα dkαr po zlα 泌的 du 1 hα yig dmar po las 'khr泌的 siñ 11
mfíam pαr bze的協αs 'gro don mjαd 1 pαdmα rãgα dmαr po'i mdog 11
是αgs pαdα仇 ni rdo rje gyαs 1 lðαgs kyu bgrlα也 phre仇 gyo侃侃α 'jin 11
S伽 chogs rgyα n gyis mjes pα 師 1 don yod 如gsla phy呵 'chal bstod 11

Hayagriva is red like a cora l. He is a manifestation in the

Pratyäli9ha attitude (gyon bγ句α他 gyαd kyi chul) from the letter
hi忌仇 standing on the solar disc over a lotus. He is clad in a tiger
[-skin] , and has a snake [as his sacred thread]. In his first right
hand is a staff (be cho的 while the other exhibits the Tarjanl-
mudrä (s山g mJ 泌的. The left arms hold a wheel and a red lotus.
A green horse-neck (hα仰gγiv的 appears from the fontanelle.
pαdmαfíi 泌的 hüm las 'khruñs 1 gyon brkyαñ gyαd kyi chul gyis
bzugs 11
sku mdog dmar po byi ru可 chul 1 stαg dαñ sbrul gyis rnα m brgyα忱
討伐 11
be ðhon dα也 ni sdig mjub gyαs 1 khor lo pαdmα dmα r po gyon 11
spyi gcug rtα mgo lja仇 gu 'chor 1 ha yα gri la phy旬 'chal bstod 11

Ekajatä's complexion has the color of the sky. The goddess

emanates in the Pγαtνãli cj， hapαdã ghoγ'ã attitude (gyon gyαd chul)
from the letter pha which stands on the solar disc over a lotus.
Looking terrible with bare fangs , she is clad in a tiger-skin. In
the four right arms are a sword , a lasso , a lotus , and an arrow.
The four left ones hold a wheel , a sta缸， a trident , and a bow.

ðh~ι skyes fíi mar pha l 帥 'khruñs [na捕 mkha'i 俑~dog ð帥的帥
gyαd chul 11

m泓e gcigs khro mo' i ðha lugs 'jin stag gi pags pαsrnam 榔r dkrisll
1
 AMOGHAPÃ豆A 475

Tα l gri 是αgs pαpαdma mda' 1 'khor lo dbyig pα rce gsum g伽 11

gyαs dα仇 gyon gyi phyαg na bsnams 1 ral gðig mα la phyαg 'chal
bstod 11

Bhrkuti is a manifestation in the AliQha attitude (‘ gyi先“你

ldem pa'i chul) from the letter tαstanding on the lunar disc over
a white lotus. Her complexion resembles the Candrakanta gem.
In her right hands are a staff and a white lotus; the left ones
carry a rosary and an ewer. She is decked in various ornaments.
pαd伽α dkar po zla st的 du 1 抖 yig dkα r po las 'khruñs siñ 1 1
zlαbα ðhu sel nor bu' i mdog 1 'gy份量iñ ldem pa'i chul gyis bzugs 1 1
dbyig pαpαdmα dkαr po 抑制 1 bgrañ phr叫 dañ ni spyi blugs
gy 。她 11
S側 chogs rgyαn kyis mjes pα yi 1 khro gñer ð側的 phy呵 'chal
bstod 11

2. TIBETAN SCHOOL
Ba ri Rin chen grags (born 1040)
Saint A valokitesvara appears himself from the radiating bundle
of a white lotus which is marked with hγíh (pαdmα dkαγ po h叫加
叫“αn pαI de las ‘od zeγ ‘ phros ‘ dus y。他s su gyur pα las I 呵ñ
制d ‘ phαgs pα spyαn r，αs His white complexion is resplen-
gzigs).
dent like the autumn moon. He is one-faced and two-armed. His
right arm displays the Varadamudra; the left one holds a white
lotus. Sitting in the Lalitasana attitude (iαbs gyαs bγkyα也仰， 4
7叫帥'i st的 s) ， he wears an antelope-hide as lower garment (叫
dαgs kyi pαgs pαs smαd dk叫s pα) and the dress of a herdsman
(phyug bdαg [pαsupαti]). He bears on his head a crown of mat-
ted locks of hair bound up and adorned with the image of Ami-
tabha. 的

In Eastern direction , the red Amoghapasa. He is an emana-

tion from his emblem , a noose (pasα) which is marked with the
letter 的 as it originates in 的 (hα las iαgs pα has 刑 chαn pα).

65) Don iags lhα lña bα ri'i lugs; see gSl的 'bum of Blo bzañ nor bu ses rab ,
also cal1 ed Sumatima t:l iprajña (17th cent.). 一 Cf. i11 ustration of the five divinities
in Lokesh Chandra Tibeta旭 -Sanskγ it Dictiona γ習， p. 1158.
,
476 R. O. MEISEZAHL

The two right arms carry a lasso and a vajra. The two left ones
show a goad and a rosary. Decked in many ornaments, he stands
in the Samabhanga attitude (mñαmpαr bze他s pα).
In Southern direction , Hayagriva with a green horse-neck on
the head. He is a manifestation from his emblem, a mace (dαψ4α)
which is marked with the letter hü仇 as it originates in hüm
(hü 'Y(l- las dbyug pα hüψ gis rr凹的npα). The first right arm holds
a mace, the second one is exhibiting the Tarjanimudrã. The two
left hands show a yellow wheel and a reddish blue lotus. He
stands in the Pra七yãliÇ. ha attitude (gy。他 brkyα必 gis stαbs cα的.
In Western direction , the blue goddess Ekaja扭 issued from
her emblem , a sword (khacf，gα) which is marked with the letter
phαas it originates in phα (phαlαS '1叫 g叫 phαs mchαηρα.). The
four right arms carry a sword , a lasso , a lotus , and an arrow.
In the four left hands are a wheel , a mace , a trident , and a bow.
He stands in the Ãll Ç. ha attitude 66 (gyαs bγkyαñ gi stαbs cα的­
Hayagri va and Ekajatã are clad in a tiger-skin , and decked in or-
naments consisting of snakes and jewels. Both deities look very
wrathfu l.
In Northern direction , the yellowish white goddess Bhrkuti as
an emanation from her emblem, a mace (dαψ4α) which is marked
with the letter tαas it originates in tα (tα las dbyug tho tas mchαn
Pα). The first right arm holds a mace surmounted by a vajra
(rdo rJe dbyug p的 while the second one shows a white lotus. The
two left arms carry a rosary and an ewer. She stands in a danc-
ing Ardhaparyanka attitude (zabs gyαs rol gyi stαbs kyis bze也s
pα). The head bears the image of the Lord of her Family.67 She

66) Ãl[rj， hapad晶， which is sometimes loosely called ãl.[rj， hiisa協晶， denotes that
particular mode of standing (usually sideways) in which the right knee is thrown
to the front and the leg retracted and the left leg is diagonally stretched behind ,
while pratyiililj， hapadαis just its opposite. Banerjea, op. cit. , p. 266.
67) Two yellow saumyαaspects of the goddess Bhrkuti have Amitäbha as Lord
of the Family:
a) The two-armed type conceived as an emanation from the yellow letter bhf仇.
She is one-faced and three-eyed , and blooming with youth (gio呵呵 u lan cho la bab
paγ gyur pa). The right arm displays the Varadamudrä holding a rosary while
the left one carries a t 叫 da 1J4i (dbyug gu gsum pa) and a round ewer (ril ba spyi
 AMOGHAPλSA 477

is decked in ornaments.
Amoghap的a's head bears the image of Vairocana. Hayagriva
bears the effigy of Ratnasarpbhava on the head. The crest of Ekajatã
is adorned with the e自gy of Akí;! obhya , and Bhrkuti's crest bears
the image of Amoghasiddh i.
A va10kitesvara is praised as “ the Saviour" (mgon pα [nãthα.]).
Amoghap的a is praised as “ the Compassionate One" (thUg8 rje cαη
[kãru~ikα]) . Hayagri va , Ekaja個 and Bhrkuti are venerated as
khro γgyαl “ the terrific ru1ers."

B. The White Amoghapã臼 (Family of Amitãbha)

1. KASMIRIAN SCHOOL: SAKYASRIBHADRA

The origina1 Sanskrit text of the Sãdhana, whose author
Sãkyasribhadra (1127-1225) is praised in Tibet as Kha che'i ρα，~g，i 的
chen po 8α可 8te也?間 'grαn zlαdαñ bγαl ba6B “ the great Kasmirian
mαhãpα~~似的 without riva1 in the wor1d ," is 10st but the Tanjur 69
inc1udes the Tibetan trans1ation by Vibhuticandra made in collabora-
tion with Ses rab rin 已hen， a loccha from G10 bo. 10
The Sãdhaka who practices an intensive introspective medita-
tion (8αmãdhiyogα.) upon Amoghap的a and his four divine attendants
conceives the white 1etter h1吋 beaming on the 1unar discl l over a

bl 吋 s). The Victorious One (bCo 1n ldα呵 'das ma) is sitti 睹。 n the lunar disc over
a lotus. The Mantra runs as follows: 0仇 Bhrkuti svãhèi.
Blqkutísèidhana in Peking Tanjur.γGyud 'grel. Vo l. th u. ff. 290b B-291a 4 (Õtani
No. 4064 [Vo l. 80]).
b) The four-armed type conceived as an emanation from the same letter bh f'仇­
Her appearance is peaceful (ii ba). The first right arm exl1 ibits the Varadamudrã
while the second one holds a rosary. The two left arms carry a stick and a round
ewer. Mantra: 0仇 bhr仇 svèihèi.
Bhrkutisèidhana in Peking Tanjur. rGyud •gγel. Vo l. thu. ff. 291a 4一 b 1 (Õtani
No. 4065 [Vo l. 80]).
68) Shortened Kha che pa1J 訪問.
69) Peking Tanjur. rGyud •gγel. Vo l. z惕. ff. 123a1-126a1 (Õtani No. 4840 [Vol.
86]).
70) Erroneously printed Blo bo.
71) Interlinear gloss: pa rp, las “ [issued] from pa仇"
478 R. O. MEISEZAHL

lotus72 in his own heart (1'α先 g~ s先悅。αγpαdmαdα，ñ zlα 切'i st的 du I

hri l} dkar po 'od zeγ 'phro 帥的αms te). The supernatural light
[of hr勻的 cleans the Yogin and all the living creatures from the
[five] obstructions (ãvαγα亭的 and from [mental and moral] defilements
(de勻 'od kyis bdαg sems 缸"的αmscαd kyi sgrib pαdαñ dri mα
sbyα分 s te). Then [the Sadhaka] invites Gurus , Buddhas and other
[Saints] , and after having worshipped them by prayers and offer-
ings , etc. , he performs the seven purificatory rites 73 (仰也 bla mα
dα他 sα先sγgyαs lα sogs pα spyαn drα，ñs te I phyαg 'chαl bαdαñ
mchod pα la sogs pα bdun γ犯αmdαg bya'o). It follows the medita-
tion on the four “ infinitudes" (αpramã仰的， 74 and intoning the
Mantra 0仇 svαbhãυa，suddhãh sα仰αdhαγmãh svabhãvα仰 ddho 'hαm 75
the Yogin realizes in his mind that all Dharmas are pure by na-
ture and he too is pure by nature. The Sadhaka adopts in his
mystic intuition the theory of the void nature (svabhãvα釘lnyatã)
。f himself and all the Dharmas , 76 of all individual existence by
uttering the Mantra om sunyatãj伽間似呵呵svαbh伽ãt1側的 'hαm “ Odhf
1 am of the nature of the immutable know ledge of the Void !" He
bestows on himself supernatural power (αdhi斜hã犯的 so that he
becomes the centre of the emanating circle of divinities (devαcαkγα)
envisaged within in his own heart and achieved by a strenuous
act of belief (cittotpãdα.). The Sadhaka conceives himself as of the
nature of Amoghapasa.

The white lotus whose pericarp is marked with hri l} is envisaged

as being emerged from the beaming effulgence of the white [letter]
hγ5年 standing on the moon which , as an emanation from the white
[letter]α， is situated on the centre of a lotus stalk (pαdmα仰呵。 77

72) Gloss: a las “ [issued] from a."

73) Namely “ confession of the evil (p(王padesa咒的 the Sãdhaka has done; delight
in good deeds (pu"!yiinumodanii) others have done ," etc.
74) Tib. chad med, a name for the four brahmavihiiγas (拙的作í， kaγ也許在， muditii,
and u，pek~ii) as developed without limit in space and pervading innumerable beings.
Cf. A Critical Piili Dictiο nary under appam αñ何也 (p. 309).
75) “ 0仇! All the Dharma日 are pure by nature , and 1 am pure by nature!"
76) Other Sãdhana texts still cite the Mantra m缸 "α bhiiva航 nyiil} sarvadharmii~~
仰自 bhiiψ且是兩悅 yo 'ham “ 0仇! All the Dharmas are void by nature , 1 am void by
nature!"
77) Cf. Dasgupta , op. cit" p. 84.
 AMOGHAPÄSA 479

The latter is surrounded by five eight-petalled Visvapadma-stalks78

issued from pα仇 in the “ sphere" of Sünyatä (stoñ pa' i 1切忱的s
pα郁的s sna chogs pαdmα sd。他 po lñαpα 'dαb m αbγgyαd pa'i dbus
kyi sdo仇 po'i pαdma'i lte bαα dkαγ po lαs zlα 侃， 4 泌的 du I hril}
dkαγ po l帥 'od z阱 'phγos S悅 'dus pα las padmα dkar po' i lte 帥
的 hγi l} ν 仿制 chαη pa'o). The peerless majesty of Amoghap的a
whose white complexion shines like the light of the moon in autumn
(ston ka' i zla ba ltαγ dkαγbα，) appears in the Samabhañga attitude
(n的αmpαγ b乏的s pα 可 sku) from the bright radiance of h吋 1} on the
lunar disc over the pericarp of a lotus. He is one-faced , and rep-
resented as an eight-armed deity. Two of the four right arms
hold a rosary and a lasso. The other two show the Abhayamudrä
(1叭 'jigs pα sby切 pα，) and the Varadamudrä (1的hog sby伽 ρα). In
the four left hands are a t叫dα，ty，戶， a book , a lotus-stem , and a
round ewer.
Amoghap的a wears a white long Dhoti (ηα bza' “ lower gar-
ment 勻 with a tiger-skin round his waist. An antelope's hide
hangs from the left shoulder serving him as sacred thread (se ral
kh的. His crown of chignon bears the image of Amitäbha. He
has a smiling countenance. Decorated with celestial ornaments,
Amoghap的a has as white Prabhämar;l(Jala the light of the five
Tathägat帥， bodies which emanate from his own body. He looks
with compassion at the living creatures.
Invocatory formulae:
(a) Upahrdaya 0仇的 'i sñi先 ρ0): 0仇 AmoghαpãSα hri l} svãhã.
(b) Hrdaya (s倍的 po): 0仇 hγ1，1} Tγ的lokyαvijανα AmoghαpãSα
Aprat仇αtαhγ4年 hα1} hum phαt svãha.

The lotus before79Amoghap的a is occupied by Sudhanakumära

(gio呢?叫犯仰的α他s) of yellow complexion. He wears a diadem
enriched with jewels (叫n po ðhe'i cod pα犯已αη) ， 8~ and is embellished
by ornaments and various garments (rgyαn dα先 ηα bza' snα chogs
B1
pαs ñe bαγ mjes pa ). His right and left hands show a skull-

78) When the lotus shows multicolored petals in both the upper and lower direc-
tions. it is called visvapadm 吼叫 svapa也 kaja. 的卸的3 血。 r visvã 肌 bhoja.
79) =the East.
80) With the interlinear gloss: ral pa ser po “ yellow locks of hair."
b 戶1)Floss:semsaaη gyi don byed pa “ to work for the welfare of the living
emgs.
480 R. O. MEISEZAHL

cup and the A宜jalimudrä (gyas dα先 gyon pαs kα pã li dα他 I thal
mo sbyαγ 帥 '0) ， but an interlinear gloss more comprehensible in-
terprets dpu先 gyon pαγ kαpα li bcug ste ses rαb kyi po ti “ carry-
ing a skull-cup at the [upper part of the] left arm , he holds the
book of knowledge "B2).
U pahrdaya: 0仇 su仇 Sudhαnakumãrãya B3 svãhã.
On the lotus-stalk to the right B4 of Amoghap的a reigns the
reddish yellow goddess Bhrkutï (Khro g佑你如n). He bears a srnall
Caitya on his crown. The divinity is one-faced , three-eyed and
four-armed. Her breasts are well swelled (1'叫 mα dpal 己αn). The
first right arm exhibits the Abhayamudrä while the second one
holds a rosary. In the two left hands are a tridα1吋ï and an ewer.
She is decked in various ornaments and garments.
U pahrdaya: 0分社 bhf仇 Bhrku何αi Bð svãhã.
On the lotus-stalk behind B6 Amoghap的a appears Hayagrïva
(γTα 'grin門， one-faced , three-eyed , and two-armed. The red god
is of small stature (mi'u 的 un gi r1'叫mpα 徊的 His hair and the
reddish yellow moustache rise upwards. The face is distorted with
bare fangs. A green horse-neck (hαναgγ'ïvα:) over his head is the
special cognisance of Hayagrïva. He wears a tiger-skin and a red
garment. The left hand holds a white staff like a crutch-stick閱
(phyαg gyon dbν ug pα dkαr po lα rten pα.) while the right hand
pays homage (gyαs dpral bαγ phyαg b仰d pα biiη pa'0)B9 to the
central deity.

82) Cf. Grünwedel , Mythologie dll Buddhism , Leipzig 1900, Fig. 105: Sudhana-
kumãra (Noγ bzan gion nu) is shown with his hands in the Añjalimudrã , and a
book at the upper left arm
83) The text corruptly reads 0 1!! su bh α dha na ku ma rã ye.
84) =the South.
85) Text: 。可~ bhri ku ta 仰-
86) = the West,
87) 'gr伽 for 1呵?﹒仰
88) Cf. R. H. Van Gulik , Hayagr仇'a" The Mantra軒在nic A.~pect οf Horsc-cult 仰
China and Japan , Leiden 1935, p. 20 (Fig. IX).
89) Vanda喃自 mud γ在， also ca l1 ed Vandα nãbhi 悅目 lta pose. The right arm is raised
in adoration on a level with the front of the God. Stel1 a Kramrisch , lndia悅 Sculp­
turc in the Philadelphia Museum of A γ t ， Philadelphia 1960, Plate 47; The Art of
Nepal , New York 1964, Plate 82.
 AMOGHAPÄSA 481

U pahrdaya: 0仇 hα仇 Hαναg何ψãya hü仇 phαt svãhã.

90

On the lotus-stalk to the left91 of Amoghap的a reigns the green

Tãrã who holds an Utpala in her left hand , the right one display-
ing the Varadamudrã. Decked in a red clothing, the goddess is
adorned with various precious ornaments. Her breasts are well
swelled as she is in the bloom of youth (nu mαγ'Yyas s悅的先 cho
dα仇 ldαnpα).

Invocatory formula: 0仇的仇的γe tuttãre ture svãhã.

According to a gloss in Petit, Amoghapãsa as gco bo “ Master ,"
Bhrkup and Tãrã are standing in the Samabhañga attitude (gco
bo'i 航γo gñer cαn sgr叫 mα gsum ni iαbs mñαm pαr bi的s pa'i
泌的s y~n pα). All the five deities have the moon as residence (lhα
thαmscαd zlα 侃'i gdα侃侃侃侃0) ， namely Amoghapã阻 over a white
lotus , and the four a七tendants (' khoγ bii po) over a Visvapadma.

2. BENGAL SCHOOL: VIBHUTICANDRA

According to a tradition handed down by many colophons of
Tanjur texts , Rãjaputra Vibhüticandra, shortened Vibhüti and even
Bhüti , was a Mahãpa平~ita from the famous J agaddala Monastery
in Bengal. Bu-ston says that Sãkyasrïbhadra came to Tibet in 1204
accompanied by Vibhüticandra92 who devoted himself to Tãntric
literature. He translated into Tibetan his own writings and other
ones among which may be mentioned those of Anupamarak!?ita,
Abhayãkaragupta , Tathãgatavajra, Ravisrïjñãna , Sãkyasrïbhadra,
and Srïdhara. Vibhüticandra's activity as translator is indissolubly
associated with his Tibetan colleagues: Glo bo Ses rab rin 已hen ，
Chag Chos rje dpal , and gÑal Mi mñam bzañ po. He worked at
dPal Diñ ri (Glañ 'khor) , dPal rGya rtags , but preferred as residence
(Drañ sroñ) Srin po ri.

90) Text: o1]t dha ha ya gri ba yii.

91) =the North.
92) Chos ‘ byu也 chen 嘛。， f. 140a1 names nine young pandits (pa '!t chuñ) as
travelling-companions (' khor): Vibh ü. ticandra , Dãna且 ïla， Sarpgh的 r[ from Nepal ,
Sug帥的 r[， and others. E. Obermiller, Histo吋 of Buddhism , Heidelberg 1931 , S.
222.

M.S. XXVI 31
482 R. O. MEISEZAHL

The Amoghapasαsadhαηα， 93 a small text written and translated

by himself , includes the following description of the eight-armed
Amoghap的a.

Amoghap的a is to be conceived as an emanation from the beam-

ing radiance of the white letter hrï lJ,. The text delineates the
divine Bodhisattva standing in the Samapãdasthãnaka attitude (泊的
g佑你 mñαm pa'i stαbs ky臼 sku biens p的 on the lunar disc over [the
pericarp of] a double-petalled lotus (snα chogs pαdmα[ visvapadma]).
His complexion is white like the moon. He wears a white silk
Dhoti , and a tiger-skin is round his waist. An antelope's hide
hangs from his left shoulder serving him as sacred thread (ri dαgs
kyi lpαgs pα sku'i gyon du se rαl khαγ 'ðhα他 bα.). The head bears
a crown of chignon embellished by a garland of flowers. He has
a smiling countenance and is without any ornaments (rgyα彷佛ed
pα [nirbh'Ü時α事α]). The first right hand holds a rosary , the second a
lasso , the third shows the Abhayamudrã , and the fourth one displays
the Varadamudrã (phyαg gyαs kyi dα，n po na phr叫 bα Ig制s pαηα
徊。s pa I gsum pα nα7叭 'jigs pα sby仰 pαI bii pα7的 mchog sby仰
pa'o). The first left hand holds the book of knowledge , the second
carries the stalk of a white lotus against the breast, and its 由 ower
just appears on the level of Amoghapã鼠 's left ear; in the third
hand is a tridαry!至， and the fourth one holds a round ewer (gyon
gyi dαñ po na ses γαb kyi po ti I gñis pα?間 γnαbαlαγeg pα'i
pαdmα dkαr po'i sd。他 bu thugs kαγ bzu忱的 I gsum pα na yal gα
gsum pa' i dbyug pαI bii pα?叫叫l bα spyi bl ugs bsnαms pa'o). The
meditating Sãdhaka sees the white “ seed" (砌的犯 [bïjα]) hrï lJ, on
the moon over a lotus flowering in his own heart (s叫他 gαγpαdmα
dα他 zlαbα'i sten du sα bon h叫~~ dkαγ po ltα '0.).

3. REPRESENTATION OF AMOGHAPASA DESCRIBED

IN THE SADHANASAMUCCAYA

The Tibetan version of the Sadhαηαsαmuccayα (sGrub thαbskun

las btu,s pα) ， also called Sadhα犯αsagαγα (sGrub thαbs γgyα mcho) ， 但

93) Peking Tanjur , rr;)/ud '[]1可/， Vo! , z缸， ff. 126a2-b 8 (Õtani No. 4841 [Vo l. 86]).
94) Peking Tanjur, Otani No. 4221-4466 (Vo!s. 80-81).
 AMOGHAPÃSA 483

embodies a collection of Sãdhana texts written by different lndian

scholars; among them Advayavaj間， Anupamarak早 ita， Nãgãrjuna,
Padmãkaramati , Prabhãkarakïr肘， Ratnãkaragupta , Sl1 nyatãsamãdhi-
vajra , Saraha and Sahajalalita merit special mention. The distin-
guished Tibetan linguist Yar klu Ïl s Grags pa rgyal mchan (13th
century) is named as translator. Padma dkar po (1526-1575) whose
magnificent literary work is an ingenious encyclopedia of the bKa'
bγgyud pαsect (Brug pαschool) which has assured his supreme
place in Tibetan literature ,95 wrote an iconographic guide 96 to this
Sãdhana collection which includes the AmoghapãS alokesvarα8ãdhα7悶
written by an unknown author. 97
的 The Twelve-αrmed AmoghαpãSα

Amoghap的a stands in the Samabha白 ga attitude on the lunar

disc over a doubleφetalled lotus flowering in a grotto set with
precious stones98 (rin po che'i 叫 'i ph泌的. His white complexion
shines like a cloud in autumn. The diadem bears the effigy of
Amitãbha. He wears a white sacred thread (mchog phyiγ thOg8
dkαγ po [suklαναj仿opαvitα]). Peaceful and adorned with pacificatory
ornaments, he is surrounded by a flaming PrabhãmaI) Qala.
He is twelve-armed. The first right arm displays the Varada-
mudrã , the second shows the Vandanamudrã 99 in honor of Buddha ,
and holding a treasurer(?) (8α他sγgyα8 1α100 phyαg 'chal bα'i chul
dα沌 mjod 'dγen pα.) ，' the third hand holds a white rosary of jewels
(鳴。γ bu可 phre先 bα dkαγρ0) ， 10l the fourth an arrow , the fifth the
AgnimaI)Qala 102 (me' i dkyil ' khoγ') ， and the sixth a creeping plant

95) Cf. Lokesh Chandr且 ， Maf 肘.ials for α HiM.o 1"!f οf Tibetan Liferafu 何， New
Delhi , 1963, Part 1, p. 25.
96) sGrub pa'i thabs rgya mcho'i cho ga γ'}es g現且也 da先 bcas pa 'D ο d dg祉 'i
dpal ster zes bya ba.
97) Title given in the colophon: sPyan γas g.zigs dban phyug Don yod zags
pa'i sgrub thabs (=Amoghapã品 a [krama)-Avalokite且 varasãdhana) ， Peking Tanjur,
Vo l. du， 宜， 117a6-119b5 (Õtani No. 4256 [Vo l. 80)).
98) The heart of the Yogin as niche for the Vi重 vapadma. It is an expression
essentially poetic in its Va .i rayãnic construction.
99) Or Namaskãramudrã; see Bhattacharyya , op. C缸， p , 194.
100) Padma dkar po omits sa也sγgyas la.
101) Padma dkar po om. dkaγ po.
102) A red triangle symbolizing the fire as one of the four Mahãbhütas, “ the
fundamental elements or atomic forces of Matter."
484 R. O. MEISEZAHL

set with varied jewels (rin po che snα chogs pα'i 'kh叫“的. In
the six left hands are a red lotus flower , the Meru (Ri γαb) ， a
t叫dαrrp:j，i ， a bow , a golden round ewer , and a noose endowed with
an unfailing effect (don yod pα勻 'brαs bus b“你 pα可如gs pα.). The
following four Mã平q.alikas as rulers of the quarters of the world
are named.
Before [Amoghåp的a] appears Amoghãilku但 (Don yod lc αgs
kyu) to be conceived as a manifestation from a hook (α，ñku的.) which
originated from the red letter hαand standing on the lunar disc
over a lotus flower. His complexion is [bright and sparkling] like
the early sunrise (skyαγe先s gsαrpα可 mdog). He bears a crown of
chignon , and is decked in red ornaments. Chinese clothing serves
him as upper clothing (句仰 %αg gi gos kyis blα gos su byαs pα.).
Amoghãilku但 is four-armed. The two right hands hold a hook and
a Vajra while the two left ones carry a noose and a lotus flower.
At the right direction [of Amoghap的a] on the solar disc over
a lotus , the Sãdhaka visualizes Hayagriva (rTα mg叫吋 as an emana-
tion from a white mace (dbyug pα dkαγ po) marked with a lotus
fiower which arose from the letter hü仇 colored like the Mañji早已hã 103

fiower (bcod kyi khα dog ltα bu'i hü'Y(L yig). Hayagriva's complexion
is a fiery red like the Kalpa fire山 (bskal pa'i 慨 e [kalpãgni]) and
like the blazing heat of the sun 0例 mα 'bαγbα.). He is of small
stature. Over his head appears the head of a green horse (rtα
ljα也 gu'i iαl) neighing hi hi. His face is most terrible , three-eyed ,
and with brows which are wrathfully knitted. The passionate
voice is shouting forth hü仇 The reddish yellow moustache is
flaming. His body is decked in ornaments of serpents (sbrul gyi
句仰犯 gyis bγgy肌仰[叫gãbhαγα仰叩仰ljita]). A tiger-skin serves
him as lower garment.
Hayagriva is four-armed. In the two right hands are a mace
and a Vajra while the first left one shows the Tarjanimudrã , and
the second a lotus flower.
Behind [Amoghap的a] ， the three-eyed goddess Ekaja伊 (Ral pα

103) Indian madder , Rllbia cordifoli 日， Linn (N. O. Ru.biaceα e) .

104) TheuniversaI conflagration which wiII destroy the world at the end of a
“ world-age" (kalpa).
 AMOGHAPλSA 485

gcig mα，)
is to be imagined as a manifestation from a sword (ral
g叫 [khαg，gα]) which issued from the blue letter hα.10Õ She bears a
reddish yellow crown of chignon , and her countenance is horrible
(khγo mo). An elephant-hide is her upper garment , and a tiger
skin serves her as lower garment. The body is decked in orna-
ments of snakes. She possesses the magnificence of Jambunäda
gold 1帥
('jαm bu 悅α da'i dpal 'j仰釘的. The two right arms hold
a sword and a chopper (gri gu) while the two left ones carry a
lotus flower and a skull cup.
At the left direction [of Amoghap的a] reigns the yellow Bh:rkutï
(Khro gñeγ 侃侃) on the lunar disc over a lotus flower. Conceived
as a manifestation from a lotus arisen from the yellow letter 抖，
the beautiful goddess wears matted locks of hair done up into the
form of a tall crown on the centre of the head. She is effulgent
in her blooming youth , and clothed with white silk garments. The
goddess wears divine ornaments (lha'i rgyαn). She is four-armed.
In the two right hands are a lotus flower and a rosary while the
two left ones carry a staff (dbyug gu) and a round ewer (ril bα
spνi blugs).

b) The Te飽喝rmed AmoghαpãSα

The first of the five right arms displays the Varadamudra , the
second hand holds a tri伽'tJ戶， the third a rosary consisting of
jewels, the fourth an arrow , and the fifth a hook. The five left
arms show a red lotus flower , the Meru , a golden round ewer, a
lasso , and a bow. No other iconographic details are given by the
unknown author.
Amoghailku鼠， Hayagrïva , Ekajata and Bh :r kutï surround the
ten-armed Amoghap的a as rulers of the quarters (d仿pãZα，).

b) The s切-αγ'med At他oghαpãSα

The first of the three right arms exhibits the Varadamudra.

In the second and third hands are a tridαndï and a round ewer.
The three left ones hold a red lotus flower , a lasso, and a rosary

105) More correc t1 y pha.

106) “ Gold coming from the Jambu river."
486 R. O. MEISEZAHL

consisting of jewels. No other iconographic details are given.

Amoghãilkusa , Hayagriva , Ekajatã and Bhrkuti surround the
six-armed Amoghap的a as rulers of the quarters.

的)
d The four巳可.

The first of the two right arms demonstrates the Varadamudrã

while the second ha p.d holds a lasso. In the two left hands are a
t叫dαrpj，ï (dbyug gu γce gsum) and the unfailing noose 例。n yod pa'i
彷gs pα[αmoghαpäSα]). Other iconographic traits are wanting.
Amoghãilkusa , Hayagriva , Ekajatã and Bhrkuti surround the
four-armed Amoghap的a as rulers of the quarters.

IIL FIVE SCULPTURES FROM NEP AL IN SWISS COLLECTIONS

With 5 plαtes (Nos. VI-X)

Closing this iconographic study, photographs of five Nepalese

statuettes, three in metal and two in wood , should be added. The
metal icons are preserved in the Bernish Historic Museum (Plate
VI) , in the Ethnographic Collection of the Zurich University (Plate
VII) , and in the collection of Professor Horsch , Zurich (Plate VIII).
Dr. Ith , Zurich , is fortunate in possessing two wooden sculptures
(Plates IX and X). The five statuettes are hitherto unpublished.
They are designed to illustrate that at a time when religious art
was mostly effete in India , the Nepalese artists were working
within a living and unbroken tradition.
A worshipful and zestful mood permeates these images. The
holy attributes in the eight arms of Amoghapãsa differ in several
respects from the representation in the London A♀ tamivrata Pata.
Beneath a beautiful architectural arch (Plate VI) , the statue of
Amoghap的a Avalokite自 vara is one of the earliest sculptures from
Nepal as yet known. In the spandrels is GaruQa f1. anked by two
attendant divinities , and with rampant Makaras 107 and elephants.
The arch with its circular, baluster-shaped and rich decorated

107) A mythical shark or sea monster.

 AMOGHAPÁSA 487

pillars represents the Prabhãma平Q. ala.

The divine Bodhisattva stands in the Ãbha益 ga 10B attitude on

the orb of the moon over the pericarp of a lotus flower ha ving a
triply projected platform as pedestal. The first part is supported by
columns in the shape of pots with foliage ornaments. Amoghap的a
looks compassionate (的γurpisnigdhavαlokα忱的， and extremely peaceful
(αtisantα~). The Saviour of the World (lo卸的前α.) holds in one of
his four right arms which is stretched out a lasso as his emblem.
After their close Indian connexions of many centuries, the
Nepali artist has broken away to form a distinctive style of his
own by absorbing the traditions of the Indian schools , and “ his
creative use of them is to the credit of the N ewar element itself.
It is as unmistakable in the form of the sculptures as it is in the
physiognomies of their figures" (Kramrisch , The Art of Nepal, p.
2的 The lively and imaginative art in painting , metal and engrav-
ing provides a complete contrast to the sterile monotony of e由gy
and engraving in later Indian art. Signs of dominance of certain
iconographic traditions with well-defined peculiarities can be 帥，
sumed , and some idea can be obtained from the Amoghap的a pre-
served in the Ethnographic Collection of the Zurich University
(Plate VII).
The Bodhisattva stands in the Samabhariga or Samapãda atti-
tude. The juvenile and contemplative Amoghap的a in his flaming
Prabhãmal).Q. ala is a characteristic but not an outstanding example
of Nepali craftsmanship. Statuettes of this kind are so familiar
that they are often assumed to represent a widely prevalent style ,
a blend of elements taken from the old masters with the charac-
teristics of the subject, and suffused by a highly personal concep-
tion of sublimity. Here the tridαrp!Æ is replaced by anα，ñkus α
“ goad" which he holds in one of his four left arms. Nepali
metalworkers naturally found the fashion for rich decoration far

108) Ábhañga is that form of standing pose “ in which the plumb-line or the
centre line , from the crown of the head to a point midway between the heels ,
passes slightly to the right of the naval" (Tagore). In other words , a slight bend
both in the upper and the lower halves of the figure is definitely perceptible in
this form. Banerjea , op. cit. , p. 265.
488 R. O. MEISEZAHL

more to their taste than the sculptors in stone. It is indeed to

tiny bronze effigies that such a style was best adapted.
The figure itself, with its legs visibly resting on the orb of
the full moon over the pericarp of a lotus fiower , shows the me-
ticulous fidelity to detail of the Nepali workshops. An enriched
pedestal is here repeated but the composition of the different
platforms and their decorative motifs are not identical.
The Amoghap的a in the Horsch collection (Plate VIII) stands in
the Abhañga or Dvibhañga attitude on the lunar disc over the peri-
carp of a double-petalled lotus. The matted locks of his hair are
raised up in the form of a tall crown on 七he centre of the head , bear-
ing the image of Amitãbha. He also has eight arms , and is decked
in divine garments and ornaments. Amoghapã但 holds in his right
hands a rosary and a lasso; the others showing the Abhayamudrã
and Varadamudrã. The four left hands carried a book , a tridα，rpjï，
the stalk of a lotus , and an ewer; but the latter attribute is lost.
The mutilated wood sculpture with remains of its original
paint, illustrated in Plate IX , and now in the Ith collection, has
a quiet, restful appearance without any trace of violent movement.
Amoghap的a stands in the Samabhañga or Samapãda attitude on
the lunar disc over the pericarp of a lotus fiower. Mudrãs and
attributes are not identical in essential respects. The Abhayamudrã
is replaced by a lotus bud which is shown in the first of the four
right hands; it is slightly lifted in front of the Bodhisattva's
chest. The attributes in two of the other right hands, presumably
a rosary and a noose , are lost. The fourth right arm and the
fourth left one are pendant and display both the Varadamudrã.
Ap仰4αpatγα “ monk's almsbowl" is in the left hand near the
waist. A 七hird left hand carries a book , and the last left hand
may have held a tγ叫αp戶， now also missing.
Every artist who attempts to depict Amoghapa妞. Lokesvara is
faced with a great problem. On the one hand , he must reveal
the sanctity of the foremost on the lists of Bodhisattvas 一“ per­
sons destined for enlightenment" 一 living on a high level of
spirituality, and the divinity and majesty of Lokesvara in accord-
ance with the Vajrayãnic concepts. The icons should be fashioned
 AMOGHAPλSA 489

in such a manner that they would conduce to the success of the

Dhyänayoga. On the other hand , he must give some impression
of the human relationship. It is just this difficult balance between
sanctity , majesty and humanity that is here so brilliantly achieved.
The refined tenderness of expression , the precise contours, and the
taut economy of volume are all qualities in this colored woodwork
of an unknown sculptor. It discloses a grandeur and emotional
intensity unmatched by any bronze effigy.

The wooden statuette of Amoghap前a in the same private col-

lection (Plate X) is without volume , but full of close stylistic
a由nities. The divine Bodhisattva is shown in the Abhanga attitude.
The linear movement which gives a melodious significance to every
limb and ornament reßects a certain repudiation of traditional
values. Modern inßuences are clearly perceptible, and its most
conspicuous characteristic, elegance and elongation of the eight
arms , seems to belong innately to a new period of activity in all
the arts of N epal.

The figure style is unique , with its crisply characterized head

and its accurate modelling of the Bodhisattva's garments as a
study of symmetrical pattern of lines revealing the form of the
august body. Amoghapäsa stands in an extremely stylized Pra-
bhämalJ. qala above which rises a cone of three umbrellas (chat-
tγαvalli) surmounted by a bud-shaped finial , symbolizing his dignity
as “ sovereign of the three worlds" (tγibhu心α他esvαγα.).

IV. THE LONG PRAYER

The Long Prayer (gzu他sγ做109 [di'rghαdhaγα~i]) in veneration of

Amoghap的a forms the first chapter of the Amoghαpasα的lpαrajα，
a detailed description of the religious rites and ceremonies concern-
ing Amoghapäsa. 110 Translations of the Kalpαraja into Chinese

109) According to Rin lhan (gSun 'bum , Blo bza i1 nor bu ses rab , Vo l. ca , f ,
75a6 ) •
110) Encyclop 且 edi 且 of Buddhism (ed. Malalasekerera) , Fascicule A-Anabhira-
tiS1ι tt 缸， p. 477.
490 R. O. MEISEZAHL

and Tibetan are existent , the Chinese one 111 by Bodhiruci was made
between the years 707一709 A.D. during the T'ang dynasty. This
chapter has been translated independently into Chinese under dif-
ferent titles. The Long Prayer, known as Amoghαpã$αhγdα仰“ Es­
sence of the Amoghapä詞，" praising the totality of the divine
Bodhisattva's spiritual and earthly powers , is the fruit of poetic
inspiration and overflowing devotion conceived in a spirit of a
broad synthesis payJng homage to Siva, Brahmä , Vi早早 u ， and a
host of Vedic epithets and other Brahmanical divinities.
Two redactions of the conventional Amoghαpã$αhrdανα text with
an English translation have been edited by the author of this paper
in 1962 and 1965. In preparing the edition of the Amoghap ã$αhrdα仰
whose Sanskrit original was translated by Hsüan-tsailg ll2 in 659
A.D. , it may be mentioned that this redaction is not included in
the Kanjur but an old manuscript from Tun-huang is preserved in
the India Office Library , London. This manuscript appears to be
the unique copy of the work in existence, it has received all too
little attention in the past. The text is full of surprises , both in
representation and interpretation of the Mantras. The unknown
Tibetan linguist has made a special attempt to facilitate understand-
ing of the Hrdaya text. He translated it into his mother-tongue ,
a Middle High Tibetan , while his colleagues were content with a
transliteration of Sanskrit Mantras. For the English translation
particular care has been taken to give preference to the most
suitable expression as evidenced by both versions.

A. The Tun.huang Ms. Stein Ch. 9. 1. 32

(India Office Library) 1l 3
(kα， f. 57a1) : ‘ phags pα don yod pα可拘gs pα'} s叫他 po'i
gzuns l14
log sig du phyuns te 1 yi dαm du klag pα11 11

111) Nanjio No. 317; Taishõ 1092.

112) Nanjio No. 316; Taishõ 1094.
113) Catalogue of the Tibeta 也 Manusc γψ ts from Tun-huang 仰 the lndia Office
Lib 呵呵. p. 101 (N o. 311).
114) 如缸瓦伽g hapasah rda yadhtiγat1-i .
 AMOGHAPÄSA 491

'has pαdα他 11 刑α 句。ηpαdα他 11 dα ltαγ bzugs pa'i sα他S

rgyαs dα他 11 byα均已 hub sems dpa' dα沌 11γα1i sα他sγgyαs dα他 11
有α忱的os thαmscαd la phyαg' 的αl lo 11 11
de bz的 gsegs pα che dpαgmν ed la phy旬 'chal lo 11 11
'phαgs pα byαms pα las scogs pα byα ñ chub sems dpa' sems dpa'
chen po γηαms la phy蚓、hal lo 11 11
uα他 dαg par so忱的 dαri 11 yα他 dαg pαγ zugs pαmαms la
phyαg 'chαl lo i 1 11
'phαgs pα6α ri' i (b 1) bn lα scogs pα 先αn thos chen po rnαms
lα phyαg 'chal lo 11 11
dkon mchog gsum la p甸甸 'chal lo 11 11
byαn èhub sems dpa' sems dpa' che犯 po 'phαgs pα spyα犯 γαs
gzigs dbα他 phyug thugs γ']e chen po dα沌 ldα n bαlα gus pα r phyαg
'chal lo 11 11 的d yα thä 1 õm cαγαcαγα11 ci 叫 CL 叫 11 cu γu
cu ru 11 11
thugs γ']e che他 po dα仇 ldαηbαIα phyag 'chal lo 11 11 sαγαsα
γα11 sj γj sj γj 11 cj γi cj rj 11 bj γ i bi γ i 11 11
pαdmα cheη po'i ph仰。侃侃侃 phν旬 'chal lo 11 11 仰的 kα
lα11 ki li lá li 11 ku lu ku lu 11 11
rnαmpαγdαg pa'j sems cαn chen po la phyαg 'chal lo 11 11
(58a 1) bud dyα bud dyα11 dh α ba dhαbα! 1 lcα 他αkαηα11 ki ni
ki ni 1i ku η u ku η u 11 11

{;in d1t γnαmpαγdαg pa'i sems cαn la phyαg 'chal lo 11 11 kα

γαkαγα11 ki ri ki 叫 11 ku 們 t ku γu 11 11
怖的泌的\en 加倍es pα la phy呵 'chal lo11 1.1 侃侃 侃的 11 sαη
cαlαsαn cαlα11 bi cαlα bi cαlα1 i e tã tã 11 ë ta tã 11 bhαγα
bhαγαI1 bhj rj bJ吋 γj 11 bhu γ u bhu γu 11 e hi e hi 11 11

thugs γ'}e chen po dα仇 ldαηbα11 gcα犯 Zαη gyj γwαl po cheη
仰 'i m的αn cα犯的 ρhν呵 'chal lo 11 11 dhα ra， dhαm 川 sa ra sα
γα11 cαγαcαγα11 bαγαbαγα 仆 ha γα hαγαI1 hä hä 11 hj
hj 11 hu hu 11 悅的 γα11 11
492 R. O. MEISEZAHL

chαnspa'i dbαn po che協仰 'i mchan dαn

116
ldα侃仰的 phy旬
'chal lo 11 11 (b 1) dαγαdαm 什 dj γj d u, ru 11 dj 吋仆 du γu
bhαγα bhαγα" sαγαsαγα " pαγαpαγα " bαγαbαγα" "

'od gzeγ116 brgyα ston gyis Sht rαb du brgyαnpαlα phyαg 'chαl
lo 11 11 jvαlα JVαlα11 tαpαtαpα " bhαgαbαη"
而 ma dα他 zla bαdα也 " gs仰 rje dα仇 " bα ru nαdα仇 " ku
bi rαdα必 " chαns pαdα先 11 brgyα byin dα兌 1 1 nor sbyin lαs
scogs pα可 lhαdα他 11 dran sγ。他 gyi chogs kyis 伽chod pa'i 仰的 h
phyαg 'chal lo 11 11 ma rα 伽α ra " 哨j rj 伽j rj 11 制 u ru 伽U
ru 川 su 問 su ru 11 cu ru cu ru 11 11

sαηαd gi。他侃u lα phναg 'chαl lo 11" bj 11γud dγα ba sα ba

sαηdα%αdα11 se nαναkα " bi nαναkα" " byαd gzugs sηα
chogs dα先 ldα協 bα " dαγαdαγα11 dj rj (59a 1) dj rj 11 du ru
du ru 11 thαγα tha γα " ghαγα ghαγα " pαγαpαγα11 ya ra
vα ra 11 la ra la ra 11 hαγαhαγα11 哨αγαmαγα" 如何如

何"
γe
"
ba y。你s su sko兮的 11 kun tu gzjgs pα11 mchog du gzjgs
pα 什 'jjg γten 側叫先α ， bγ何es pαd怕你 phyug chen po la phy旬
'chal lo 11 11 mu hu mu hu 11 mu r傀儡 u ru " 制uyα muyα 川
mu仰的 mu協 Cα " ra ksα 叫“α" "
bdαg dαn sems cαn thams 已αd 'jjgs pα thα，ms cαd las thar pαγ
咧jαd pα" " byαd stem thαms cαd las thar pαr mjad pα11 glo
bur gyi bgegs thams cαd las thar pαγ 肌肉d pα" "犯αd thαms cαd
1
las thαr pαr mjad pα11 log pα'i 'd何 (b ) gdo犯的αmscαd lαs thαT
Pαγ mjad pα11 dgra dα他 gsod pαdα仇刊，“抖 ba dα咚 11 skrag
pαdα先 11 brdeg pα th仰附 6αd lαs thar pαγ mJ αd pα11 11 rgyal
po da仇 11 chom 忱 un gYl bgegs thams cαd las thαγραγ mjαdpα"
chu dα先"仰伊 dα先 11 rlu他 gYl bgegs thams cαd 的s thαγραγ mJ αd
pα11 mch。他已αdα也 11 dug lαs scogs pa' i bgegs thαrr闊的d las thαγ
ραγ 伽jαd pα la phy呵 'chal lo 11 11 的側的 na 11 kj 叫阿叫"
ku ηu ku nu 11 cαγαcαγα"

dbα兌 po dα他 11 stobs dα先 " byα兌 chub gyj yαn lαg dα他"

115) Text inserts a double stroke.

116) 'od gzeγ ='od zer.
 AMOGHAP .Ä SA 493

1αm gyi yα" 的g dα先 11 'phαgs pα 'i bd側的 bii po thams cαd yαn
dαg pαγ ston pα la phy旬 'chal lo 11 11 (60a ) 的 mα 的伽α11 dα
1

悄α da mα11 sa mαm 隅α11 11

mu犯他αg cheη po rnαms rab du bsal nas 11 phαγol du phyin
Pα drug yons su rJ.ogs par 伽}ad pa la phy旬 'chal lo 11 11mi li
mi li 11 的帥的的 11thα thα thα thα 川呵呵呵 ti 11 thi thi thi
thi 11 11
互協ανα 'i pαgs pαbηαb s ll7 Pα11 thugs γje
chen po dα仇 ldα"
ba 11 dbαn phyug dαn 川 dbαn phyug cheη 仰 'dγe gdon rr閃閃ns
pα thams cαd rab du bC om ba la phy旬 'chαl lo 11 11 myur du chuγ
gsegs 叫yur du chur gsegs 11 11 bdαg la yons su skyob ci他 bsru他
加 m拘d du gsol 11 11 ku ru ku ru 11 pαγαpα ra 11 sα 呵呵
呵 11 的 γα 仰 ra 11 仰的 (b 1) 的 tα11 mαtα mαtα11 11
句也 ν。他s su dαg pα%α biugs pα11
thugs rje chen po dα他 ldα侃
侃 11 sku la bk叫“s ky f: skud pα dkαγ po thogs pα mguγ du
吋n po che snα chogs kyis ze mo d0 thogs pα11 db泌 的 me tog
1l 8

gyi 'phre先 bαdα先 11 riη po che' i dbu rgy αn thogs pα11 叫n po

che'i dbu rg仰n gyi sten d u thams 切d mkhyen pa' i sku gzugs mna'
ba 11 11 phy呵 na s仰 du dkon 帥， 4 叫η po che' i pad mα 侃侃 po
bsnαms pα11 bsα叩 gtαndα他 11 t做做'}伽 dα他 11 rnαmp仰的αγ
pa'i yon 的犯 gyα nom pαmαms myi gyo 11 sems
bαγ gyur pα11
tα仰的αmscαd legs pαγ smy仰 pαγ m}αd pα11
thugs rje chen 11
po dαn ldα協 (61a ) bα11 las kyi sg叫b pα thαms cαd sel pαγ
1

m}ad pα11 nαd kyi sdug bs也αl thams cαd las y。她 s su skyob pαγ
m}ad pα11 11 sems cα犯的αms cαd dbugs 'by仰 pαγ mjad pαh
phy呵 'chal lo 11 11 õm rhi 11 stre lo kyα11 bi ja yα11 õm a mo
ga 11 pa 結 11 rhi dha yα11 õm α pra ti 仰的 11 11 hu先 phαd
svaha 11 仰α 啊。 α 伽õ gα pa 何叫 svaha 1111ηα mo α Jï dαγα svaha
l 側啊。 αρα 何 }i tα 仰120 svaha 11 伽 m。切向 bαdα 仰 sv的d
11 11 削 mosα7切的γ?他αsi dα 仰 svaha 11 11 õm ja yα hun
phαd叫 svaha 1111 1111 r}ogs sho 11111 1111 1111

117) b犯品的， possibly defective for m悅耳的.

118) ze 隅。 do=se 隅。 do.
119) 阿幕伽耶 amoghãya for amoghapãsa.
120) 阿鋒羅底多耶 apa吋titãyα.. read 氏 ji for 底 tì.
121) 憊的(?) for.- hü偽 phat.
494 R. O. MEISEZAHL

B. Translation
Reverence to all the past, future and present Buddhas, Bo-
dhisattvas , Pratyekabuddhas and Srävakas!
Reverence to Amitäbha Tathägata!
Reverence to the great Bodhisattvas such as Saint Maitreya!
Reverence to those whose moral conduct was correct and who
li ved in religiously proper beha vior!
Reverence to the great Srävakas such as Saint Säradvatïputra!
Reverence to the Three Jewels!
Reverence to Bodhisattva, Mahäsattva , Saint A valokitesvara,
the great Compassionate One!
Thus: 0仇! cαγαcαrα! ciγ i ciγi! curu cuγu!

Reverence to the great PadmapäI). i! 如何 kalα! kili kili! kulu

kul1，~!
Reverence to the immaculate Mahäsattva! budhyα budhyαf
dhãvα dhrJ， vα! kαnα kαnα!
kin'i k 的i! kunu kunu!
Reverence to V i自 uddhasattva 1 kαγα kαγα! k'iγi kiri! kuγu
kuγu!

Reverence to Mahästhämapräpta! 側的凹的! sart1 側的 sart1 cala!

叫cαlα vicαlα! etαfα etαtα! bhαrα bh αγα! bhiγi bh i1'i! bh1UU bhuru!
ehi eh'i!
Reverence to the great Compassionate One as manifested aspect
of the great Pa且upati! dh αγα dhaTα! sαγαsαγα! cαγαcαγα! vαγα
ψαγα! hαγαhαγα! hã hã! hi hi! hu hu! 0 letter 0仇 f

Reverence to him who is a manifested aspect of the great Brah-

mendra! dhaγα dhαra! dhi叫 dhiri! dhuru dhuru! bhαγα bhαra!
sαγαsαγα! pαγαραγα! vα1'，αvαrαf

Reverence to him whose body is sublimely adorned with

hundreds of thousands of rays of light! jvαlαjψαlα! tαραtαραf
o Bhagavant!
Reverence to him whose feet are revered by many divinities
 AMOGHAPÃSA 495

such as Aditya , Soma , Yama , Varu l). a, Kubera , Brahmã , Satakratu

and Dhanada as well as by numerous Saints! marα mαra 1 伽tn
miri 1 m品ru 慨 uru 1 suru suru 1 curu curu 1
Reverence to Sanatkumãra! To Rudra , Vãsava, Vi::; l). u , Dhanada ,
早早 inãyaka， 122
Vinãyaka! To him who is endowed with manifold
aspects! dhαγα dhαγα 1 dhi叫 dhiγil dhuγu dhuru 1 thαγα thαγαf
ghαγα ghαγα 1 pαγαραγα1 1月γα 仰γα 1 lara lara 1 haγαhαγα 1mα呵
maγαf 呵呵呵呵!

Reverence to Varadãyaka , Samantãvalokita, Vilokita! To the

great Lord who reigns over the world! 哪 ulm muhul muγumuγul
muyα 慨 uyαJ 叫 u倍的刑 u倍的 f 仰的α 向的αf

Reverence to him who saves me and all the living beings from
every fear! Who saves from every curse! Who saves from every
sudden calamity! Who saves from every disease! Who saves from
every evil spirit! 123 Who saves from every enemy , 124 from as-
sassination, arrestation , terror and flogging! Who saves from
every embarrassment caused by a king or by robbers! Who saves
from every disaster caused by water , fire and wind! Who saves
from all the a個 ictions caused by a weapon or by poison! kαrpα
kα，n α 1 kini ki'f吋 1 kunu kunu 1 cαγαcαγαf

Reverence to him who expounds the moral faculties 12ð and

powers ,126 the factors of enlightenment, 121 the constituents of the
path 12B and the four noble truths! 129 的n間 的mα 1 dαmαdαmα1 sαmα
sa~吼叫

Reverence to him who dispels the deep darkness and realizes

122) According to Chinese :仙那樂迦.

123) 邪蝕姐“ evil spirits of mountains , forests or streams."
124) 怨家“ infringement of domestic peace."
125) The five 侃dri 阱， viz. sγaddha， 甘{γ阱， smrti , samiidhi , pγaj仿ii.
126) The five bal血， corresponding to the 自 ve moral faculties identically named.
127) The seven bodhyang缸， also sa郁的dh 甘且也g血， viz. smrti , dhaγ map γavicay缸，
甘 ir扭曲， priti , p γ晶晶γabdhi (or prasγabdhi) ， samiidhi , 1t pek~ii.
128) mãγgii也 ga， having eight members : sarnyagdr~ti ， samyaksa rp, kalpa , samyagviic ,
的 myakkaγ miin旬， samyagiij 'Ív品， samyag甘 yiiyiim血， samyaksrnrtí and samyaksamiidhi.
129) ii吋 asaty品﹒
496 R. O. MEISEZAHL

the six supreme perfections! 130 mili mili! 抖抖抖抖! thαthα thαthαf
titi titi! thithi thithi!

Reverence to him who wears an antelope-hide! To the great

Compassionate One , the Lord , the great Lord who triumphs over
all the demons! Hasten , hasten to my assistance and protection ,
I implore forP31 kuγu kuru! pαra pα何! sara sara! kαγαkαγαf
katα 如何 f 伽αtα 伽αtαf

Reverence to him who dwells in the pure regionP32 To the

great Compassionate One whose body wears the auspicious white
thread! Whose neck is decked in pearl-ornaments set with varied
precious stones! Whose head is adorned with a wreath of fl. owers!
Whose head bears a crown embe11ished with jewel ornaments!
Whose jewelled crown carries the effigy of the Omniscient! 133
Whose hands hold great lotus fl. owers set with selected gems!
Whose abundant qua1ities as to meditation , concentrated contempla-
tion and spiritual release have attained to firmness! To him who
brings all the 1i ving beings to spiritual maturity! 0 great Com-
passionate One who atones for every obstruction due to past ac-
tions! Who protects from all the affiictions caused by a disease!
Who comforts every creature!

。仇!hrih! 0 Victorious One over the three worlds!

。仇! 0 Amoghαpã是αhrd αναf
。仇 ! 0 Unimpeachable One! hü仇! phαt! svãhã!
Reverence to the U nfa i1 ing Lasso! svãhä!
Reverence to the Invincible One! svähä!
Reverence to him who has not been vanquished by others!
svähä!
Reverence to him who rea1izes wishes! svähä!
Reverence to him who brings every Karma to salvation! svähä!
om! Be victorious! hüm! ph叫! svähä!

130) p在ram “在(~安排一格參) .

131) 遠來遼東救護栽.
132) 浮+. visuddhavi串aya.
133) Amit占bhαas Lord of the family (klllesa).
 AMOGHAP互SA 497

Acknow ledgrnents
The author desires to acknowledge his indebtedness to the
following institutions for permission to reprod uce illustrations.
While expressing sincere thanks for such courtesies, he wishes to
add that reproduction in each case is prohibited without the per-
mission of the authority concerned , the copyright in each case
being reserved.
Plates I-V: British Museum, London
Plate VI: Bernisches Historisches Museum , Bern
Plate VII: Sammlung für Völkerkunde der Universität Zürich
Further , it is a pleasant duty to thank two Swiss connois-
seurs of Nepalese art for their generosity in permitting the publi-
cation of sculptures from their collections :
Plate VIII: Professor Paul Horsch , Zürich , Regensdorfer
Strasse 153
Plates IX-X: Dr. Arnold Ith , Zürich , Hadlaubstrasse 54
Sincere thanks are due to Miss Dr. Eva Stoll (University of
Zurich) for her liberal assistance in reproducing the figures shown
in plates VII , VIII and X.
Lastly, he is specially indebted to the India Office Library,
London , for kindly sending him a microfilm of the Tibetan Tun-
huang manuscript.

M.S. XXVI 32