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    Again from the classic translation extracted from the Nepalese Sadhanamala or Sagarasadhana collections - this time on male deities which depict Amogha tathagata on the crown.

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    Again from the classic translation extracted from the Nepalese Sadhanamala or Sagarasadhana collections - this time on male deities which depict Amogha tathagata on the crown.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    32 views11 pages

    9 - Amoghasiddhi Emanations

    Uploaded by

    qadamali
    Again from the classic translation extracted from the Nepalese Sadhanamala or Sagarasadhana collections - this time on male deities which depict Amogha tathagata on the crown.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 11
    CHAPTER IX EMANATIONS OF AMOGHASIDDHI There are several Buddhist deities emanating from the Dhyani Buddha Amoghasiddhi whose colour is green and whose distinctive signal is the Abhaya miidra. Out of the deities emanating from the Dhyani Buddha Amoghasiddhi only one is a male, while all others belong to the female sex. The description of the only male deity, Vajramrta by name, comes from the Nispannayogavali of Abhaya- kara Gupta. The deities are described here one after another in the order of their importance. 1, VAJRAMRTA Colour—Green Faces—Three Arms—Six Vajramrta is the principal deity in the Vajramrta Mandala of the Nispannayogivali, He is described thus in the text : «$ri-Vajramrtah sattvaparyanki priyaigusvamal sitaraktamilasavs a vimamukhatrayo,..sadbhujah — savajraghantabhujayuginilingitasvibha- prajiiah savyabhyam cakrasi vamabhyim pis inkusau vibhranah.” NSP, p. 18, “Vajamrta sits ona Sattvaparyanka and is green Ithe the Priyafigu flower. He is three-faced, the mght and lefi faces show the white and red colour. He is six-armed, The two principal hands holding the Vajra, and the Ghanta, embrace the Prajfia of his own creation. The two other right hands carry the discus and the sword, and the two left show the noose and the goad.” Vajramrta is represented in China’, 2. KHADIRAVANI TARA Colour—Green Miadra—Varada Symbol—Utpala Companions—Asokakanta and Ekajata Tara is the common name applied to a large number of feminine deities in the Buddhist pantheon. In the Sidhanamala, Jafgul’, Parna- fabari. Mahicinatara, Ekajata and many others are called Taras, 1 Clark: TLR, I, p.2396 EMANATIONS OF AMOGHASIDDHI 227 including Khadiravani, who is endowed with two hands, showing the Varada midra in the right and the Utpala in the left. She can be recognized by the figures of the two attendant deities, Agokakanta Mariet and Ekajata, One Sadhana in the Sidhanamil containsa Dhyana which describes her form thus : “‘Haritath Amoghasiddhimakutith varadotpaladharidaksinavamakarazh Asokakanta-Maricy-Ekajatavyagradaksinavamadighhagith divyakumarim.. dhyatva” Khadiravani-Tara-Sadhanarh”, Sadhanamala, p. 176 “The worshipper should conceive himself as Khadiravani-Tara of green colour, who bears the image of Amoghasiddhi on her crown, and shows the Varada midra and the Utpala in the right and left hands respectively. To the right and left of her appear Agokakanta Marici and Ekajata, and she appears a celestial virgin.. Thus meditating.” She is commonly known as Syama-Tari! because of her green colour, and as the Sadhana does not mention any particular Asana she may be 1epresented in any attitude, either sitting (Fig. 166) or standing (Fig. 167). A beautiful statuette in the Baroda Museum shows the goddess in the Lalita attitude (Fig. 168). Images of Khadiravani Tara are found in Tibet! and China’, 3, MAHASRI TARA Colour-- Green Aims— Two Madra—Vyakhyana Companions—Four Auother deity emanating from the Dhydni Buddha Amoghasiddhi of green colour is Mahis:i Tura “Saviouress of Great beauty”. A single Sadhana in the Sidhanamala describes her form along with her four companion deities, such as Ekajata, Agokakinta Marici, Arya-Jaaguli and Mahamiyiri. ‘The Sadhana describes her form as follows ; Mahi: th candrisanasthith Syamavarnatn dvibhujarh hastadva- yona vyakhyanamidradharamh ekavaktrarh sarvalaikarabhasivash pius- vadvayenotpalaéobhath suvarnasithhasanopari apiérayadigobharn ni puspaéokaca mpakanagesvaraparijitakadibhirdjitath - Amoghasiddhimuku- tinim. Sadhanamala, pp. 244-245 “Mahasri Tara sits on the seat of the moon, and is green in colour ; she is endowed with two hands which exhibits the Vyakhyana midra. She is one-faced and is adorned with ornaments. Two lotuses beautify “1. BBS: p. 56, PL. XTC. 2, Getty: GNB, p. 125, 4. Clark: TLP, IT, p. 267. 228 BUDDHIST ICONOGRAPHY her sides. She sits oma golden throne furnished with beautiful cushions, She is decked in a variety of flowers like the Asoka, Campaka, Nageévara and Parijataka, She bears on her crowna small figure of Amogha- siddhi,” Later, the Sadhana gives a description of the four companion deities. Here Ekajata who is stationed apparently to the left of the central deity, is of the following description : “Ekajatath ardhaparyankopavistash nilavarndin kartrikapaladharath sakrodhath lambodarash pingalajatavibhisitam vyaghracarmambaradha- thth.” Sadhanamala, p. 245 “Ekaja{a sits in the Ardhaparyanka, is blue in colour, holds the Kartri (knife) and the Kapila (skull), and is angry-looking with a protruding belly. Her hair is of fiery red colour and matted, and she wears a garment made of tiger-skin.”” In the corresponding right side appears Aéokakanta who is described in the following words : “Daksine parive Adokakantath pitavarnarn ratnamukutinith vajraso- kadharam.” Sadhanamaila, p. 245, “Towards the right is ASokakinta who is yellow in colour, wears a crown of jewels, and carries the Vajra and the Asoka flower.” ‘The goddess Arya-Jaaguli also appears on the further left, behind the figure of Ekajata, and is described here as follows : “Purnarvame Arya-Jaigulith

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