Protector Begtse Chen ​ and ​Raven Headed Mahakala --Twin Protectors and Guardians of the Buddhist Faith in Tibet and Bhutan

Protector Begtse Chen ​ and ​Raven Headed Mahakala ​ are both exquisitely crafted pieces representative of their respective countries of origin: Mongolia, and Bhutan. They also beautifully express the beliefs of the peoples that created them under the umbrella of the Buddhist faith, ​Chen ​ pertaining to the Geluk school, and ​Mahakala ​ to the teachings of Dharmapala and the Karma Kagyu school of Tibetan Buddhism, respectively. Made in Mongolia during the 18th- 19th

century, ​Begtse Chen ​ , ​the ​ definitive Mongolian war deity and protector of the Geluk school of Tibetan Buddhism, steps off to the side with an air of confidence, merciless wrath, and dynamic power. His name ​Begtse ​ means ​“​coat of mail​” ​and refers to his protective mail armor resembling the armored

garments of a Tibetan warrior. Cast in a reflective, highly prized pigmented copper alloy and measuring 17 ⅝ x 18 x 5 ¼ inches, ​Begtse shines with his wealth while his flowing hair, dark orange-red in color, mimics the embers and flames of primordial fire and the ​rays of the sun ​ , which enhances the sculpture​’​s spiritual effect and holiness. As a protector deity that does battle with the forces of evil and the wicked and guards the righteous and faithful, ​Begtse Chen ​ once held a bow and arrow and a beating heart

  between his hands to exemplify his dominance over earthly life and his tendency towards

violence. His terrifying, monstrous face is a testament to his often misunderstood, misconceived

nature as a wholly aggressive deity bent on total destruction, when in actuality, his hideous

appearance serves only to frighten demons and dark spirits away from the righteous (and if this

does not deter these demons, then his large scorpion-handled sword will). Enhancing his terror is

his iconic crow of five skulls, and his necklace containing fifty severed and bloody heads,

serving to truly scare away any wayward souls looking to cause chaos, havoc, or disorder, while

his scale allows him to be revered as an idol in some temple or altar and used as a keeper and guardian of sacred texts and artifacts through the large opening on his back. ​Begtse Chen ​ , the war deity, embodies the Tibetan Buddhist belief system in protector deities in Mongolia, and serves as a beacon of justice as well as a guardian of wisdom to all who see and revere him,

slaying “anger, greed, pride, ignorance, and envy, or their equivalents” . 1 The 18th century painting ​Raven Headed Mahakala ​ possesses a similar sentiment and theme of the protector deity in Tibetan Buddhism. Made in Bhutan on cloth using precious ground minerals, ​Mahakala ​ depicts a dark, surreal, and

ominous scene with the founder of the future Bhutanese monarchy, Shabdrung Ngawang Namgyel, meeting with the raven manifestation of Mahakala, who notably poses gracefully at the center of the painting as a central deity of utmost importance. Amidst the hellish red inferno of embers and flames, Mahakala, whose name means ​“​beyond time​”​, stands as a protector of Dharmapala, ​“​cosmic order​” ​in Tibetan Buddhism. He is likely within the ​“​eight cremation grounds​” ​he is said to dwell in with his demons, their red spouses, and his spouse, Kali as they dance to please Mahakala and the

1 Philip and Marcia R. Lieberman. “Tibetan Art”. ​Tibetan Buddhist Wall Paintings: A Photographic Survey ​ . https://library.brown.edu/cds/BuddhistTempleArt/TibetanArt8.html​. 2003. Accessed April 21, 2017. 3   demons. Mahakala, in his pitch black coloration, and raven-like form is darkness and the finality of death incarnate, the inspiration for Namgyel​’​s iconic raven crown that “became the symbol of Bhutan’s royal dynasty” . Like ​Begtse Chen ​ , ​Mahakala ​ depicts the dark god wearing a crown of 2 five skulls and a necklace of severed heads. This, fittingly, is an appropriate adornment for a

ferocious, equally misunderstood, and wrathful deity that rules over death itself, the movement

of the embers that surround Mahakala evocating the message that death touches and permeates all (none are spared!). And, like ​Begtse Chen ​ , ​Mahakala ​ depicts the eternal suffering of a poor soul, writhing in pain at the lower right of the painting, who disobeyed the Buddhist teachings

and walked the path of wickedness, receiving his just punishment under a raven-like god just as Begtse Chen would instill upon souls of a similar devilish nature. ​Mahakala ​ , when framed, serves a similar religious and reverent purpose to ​Begtse Chen ​ , since the painting, measuring 27.56 x 19.69 inches, is meant to be admired like the precious copper sculpture of the former

deity, and embodies beliefs of death, creation, and the very nature of reality in Bhutanese Buddhism. Unlike ​Begtse Chen ​ , however, the painting can only be admired for its detail up close as opposed to from afar, forcing us as viewers to (possibly strategically) confront the ugly face of

death, darkness, and suffering incarnate from up close and witness every last detail of what

happens to disobedient souls and forces of evil, the close proximity warning us to stay away

from the path of darkness and decadence. Overall, though ​Begtse Chen ​ and ​Mahakala ​ share differences in composition, material style and geographic location, they share remarkable functional, scalar, form-based, thematic, cultural, and temporal similarities. Both works are bound by the archetypal idea of the ​“​protector

Samdrup Rigyal and Alyson Prude. “Chapter 3: Buddhism in Contemporary Bhutan” in​ ​The Oxford Handbook of Contemporary Buddhism ​ , ed. Michael Jerryson. Oxford: Oxford University Press. 2017. 70. 4   deity​”​, or ​“​wrathful divinity​” ​that scares demons and evils away with grotesque appearances, and defeats them with terrifying weapons and powers beyond the reach of man.

Begtse Chen ​ , with his sturdy body armor, the flames that surround him, his monstrous weapons (like his sword), his now lost bow and arrow and beating human heart, and his

vestments of death and terror, evokes horror in the eyes of a wicked sinner who is doomed to suffer under the deity​’​s wrath, according to the principles of Tibetan Buddhism. Chen​’​s asymmetrical and exaggerated S-curve (contrapposto), consistently curved lines on his clothes

and hair, and his threatening position (with his right arm and sword raised) enhances the wrathful

terror he evokes. He also conveys excitement, dynamism, and energy with the way his flames

move to the right with speed, and the flames on his sleeves convey movement, cementing his

aggressiveness as a Mongolian war deity. However, the angry deity also stands as a symbol of enlightenment and wisdom because of his sculpture​’​s purpose in storing texts and artifacts. Known as ​Jamsalan ​ in Mongolia, Chen, interestingly enough, ​“​is known as ​red Mahakala ​ and ranks relatively high in the Sakya

protector pantheon of ​Wisdom ​ Deities​” . Begtse Chen​ ​ is not 3 only comparably wrathful and equal in stature and power to the raven form of Mahakala, but is shown to reside in a rank of deities that protect ​wisdom ​ and sacred objects or lands, which functionally fits seamlessly into the copper sculpture​’​s

secondary purpose as a storage module, as if the deity covered in mail and thick armor harbors all the wisdom of the world and of life, in the spirit of Buddhist tradition. Chen​, ​ according to Himalayan Art Resources, ​“​typically stands atop of a ​sun disc ​ with the right foot on the corpse of a horse, and ​

the left on a corpse of a man and he is completely surrounded by the flames of pristine awareness fire​” , though with the 4 3 ​Jeff Watt. ​“​Buddhist Protector: Begtse Chen Main Page​”​. ​Himalayan Art Resources. http://www.himalayanart.org/search/set.cfm?setID=137​. 1998. Accessed April 17, 2017. 4 ​Jeff Watt. ​“​Begtse Chen (Buddhist Protector)​”​. ​Himalayan Art Resources.

  copper sculpture, this is not apparent. In a typical situation, however, ​Begtse Chen ​ mirrors Mahakala ​ in that the former shines bright with his copper composition and dominates over the sun with the light of wisdom, while the latter in his painting is comparably much darker, dwells

in the depths of the earth in contrast to the heavens, and rules over the forces of darkness, cosmic order, and death, and presides over the terrors of the shadows. Thus, ​t​he bright reflective nature of Begtse Chen and the dark, obscure nature of Mahakala contrast each other. They contrast in terms of usage of color (shiny copper vs opaque ground mineral) and in terms of the "lightness"

and "darkness" of their compositions. Wisdom and death intertwine. Despite this obvious contrast, both ​Chen ​ and ​Mahakala ​ share duties as punishers and wrathful executioners of pain and suffering. ​Chen ​ demonstrates his power and warlike demeanour with his left foot over a man​’​s corpse just as ​Mahakala ​

and his demons step their left feet over the wicked soul in the dark painting​’​s lower right hand corner. The painting of ​Raven Headed Mahakala ​ shares a similar evocation of terror as ​Begtse Chen ​ , arguably even more so, considering the black god dominates over the primordial forces of death, darkness, the

unknown, the nothingness and the Void, and resides in his aforementioned “​cremation grounds​” ​where all wicked souls are seemingly tortured in a Dante​’​s Inferno kind of scenario. ​Mahakala ​ as a symbol of our greatest fears, ​“​[belongs] to the upper supramundane stratum of dharmapala with status equal to the ​

“​fully enlightened Buddha​” , evoking the idea of 5 his duty as a protector of ​“​cosmic order​” ​with the same influence as the Buddha (making him a form of Brahman).​ Mahakala ​ thus must be viewed up close and seen for his ugliness so as to scare ​ the evils and demons that reside within us (so we can walk the path of goodness), his

http://www.himalayanart.org/items/65414​. 1998. Accessed March 22, 2016. 5 ​Robert N. Linrothe. ​Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. ​ London: Serindia Publications. 1999. 22.

  portrayal in his painting’s obscurity aesthetically makes him fade into the very darkness he rules over. ​Begtse Chen ​ arguably can be considered a form of Brahman since he relates to ​Mahakala ​ , though he is clearly in a lower order of deities since Mahakala belongs ​“​to the krodha-vighnantaka ​ class​” ​(krodha

means wrathful) , a rank of deities higher that protect the 6 cosmos in comparison to Chen​’​s pantheon of Wisdom protectors (and rightfully so-- without the cosmos there is nothing). Begtse Chen is thus a considerably lesser form of Brahman, which only accentuates Mahakala​’​s sheer terror as a being whose name

not ​only ​ means ​“​beyond time​”​, but also ​“​means the black one-- the darkness​” . If this isn​’​t enough to leave sinners speechless, 7 Buddhist tradition and texts ​“​tell us that a student who does not respect the Buddha would be eaten raw by Mahakala ​ ” -- which is not only horrifying in it of itself (the wicked

souls being 8 stomped on by both Chen and Mahakala​’​s left feet come to mind), but actually makes sense in the context of Mahakala being ​another form of, or a being comparable in power to ​ the Buddha. Disrespecting the Buddha essentially equates to disrespecting Mahakala, one of many deities keeping the universe in check from evil forces of hatred and destruction. Thus, an offense of this

magnitude (that insults the very fabric of existence) only deserves eternal suffering. To top it all off, Mahakala​’​s majesty is illustrated by his open position, his wings spread out in utter dominion, and his fiery halo surrounding his head (like Chen’s flame-hair) with a similar speed, aggressive

movement, and dance-like motion common to his copper-clad counterpart ​Begtse Chen ​ . Once again, we must look closely at ​Mahakala ​ the painting, and observe the suffering of the wicked one in the lower right as an example of what happens to the disobedient. We, are 6 ​Ibid. 22. 7 Kurt Behrendt. ​“​The Dark Lord​”​. ​82nd and Fifth-- The Metropolitan Museum of Art http://82nd-and-fifth.metmuseum.org/the-dark-lord​. 2013. Accessed March 23, 2016. 8 ​Ibid.

  encouraged and frightened into obedience lest we fall into the cremation grounds and suffer forever. Culturally, both ​Begtse Chen ​ and ​Mahakala ​ both hold dominion over the ​“​pristine awareness fire​” depicted in the flames of ​Chen ​ ’​s flowing hair and in the embers of ​Mahakala ​ ’​s 9 cremation grounds, suggesting fire as a symbol of both wisdom (the light of wisdom) and destruction. ​Begtse ​ as a

Mongolian war god immediately elicits notions of Genghis Khan and the once powerful Mongolian Empire, while ​Mahakala ​ , as mentioned, thematically resembles the idea of the Dantean Satan in his ​Divine Comedy ​ , devouring traitors and wicked sinners against Buddha like the latter engorges traitors to God in the deepest bowels of hell. Both are wrathful towards their enemies Mahakala​, ​ in particular, is especially revered in Bhutan as a result of his raven form, and, as the painting depicts, is directly connected to the culture of the Bhutanese and

even their theocratic political system through what its founder, and its leaders, wear on their heads-- the ​Raven Crown ​ , as a symbol of national power, royalty, and religious presence. As a wrathful deity, the painting of ​Raven Headed Mahakala ​ actually refers to a dream-turned-legend of the story of the

founding of Bhutan after Namgyel​’​s fleeing from Tibet in 1616. ​The Raven Crown: The Origins of the Buddhist Monarchy in Bhutan ​ says ​“​a prophetic dream is said to have come to [[[Namgyel]]] during which the guardian deity Mahakala appeared in

his raven form to guide him on the path south to Bhutan, which was now offered to him in its entirety by the deity as his ​“​heavenly field​” ​or ​“​religious estate​” which reveals the piece as 10 something political as well as religious (through Bhutan breaking off of Tibet). The legend of Mahakala presenting to Namgyel the territory of Bhutan for him to form a theocracy relates to

Jeff Watt. ​“​Begtse Chen (Buddhist Protector)​”​. ​Himalayan Art Resources. 10 ​Michael Aris. ​The Raven Crown: The Origins of Buddhist Monarchy in Bhutan. ​ Chicago: Serindia Publications. 2005. 56.

  his representation and dominion over death and the darkness (death to Bhutan​’​s future enemies and Tibetan rulers, that is). Because of this, it is only sensible that the headpiece of the future founder of Bhutan (and that of his so-called successors) would resemble a ​raven ​ crown (in order to honor Mahakala in his raven form). Returning to the idea of Mahakala, like Begtse Chen, as a

wrathful deity, enemies to Bhutan could be considered obstacles to the Buddhist faith, and therefore ​“​evils​” ​that must be defeated by the dark skinned deity through the power of the raven crown (infused with Mahakala​’​s power). In fact, the raven crown worn by the theocrats of Bhutan ​“​was conceived more as

a magic battle helmet​… ​[and] intended to associate the gods permanently with its wearer​” -- as if Mahakala were ​protecting ​ the wearer of the crown like the 1 1 protector deity that he is defeating evils and demons of all kinds and forms. Thus, the painting of

Raven Headed Mahakala ​ almost or entirely transcends its pure functional purpose and aesthetic and becomes something tangible in the raven crown itself. Mahakala, in a sense, retains his role

as a protector deity of the Tibetan Buddhist faith, but is fused with a physical object that acts as a sacred helm of power, a revered ​storage ​ ​module ​ of ultimate power that ensures victory and defense to the wearer just as Begtse Chen acts as a revered storage module of wisdom, sacred texts, and artifacts. The fact Namgyel is painted above Mahakala (who is the central deity here),

places the founder of Bhutan as a wise figure who emulates the role of a teacher according to the composition and structure of Tibetan scroll paintings (similar, of course, to ​Mahakala ​ , which is a cloth painting), Mahakala himself dwarfing Namgyel in size and focus. Namgyel may also be considered a root deity since he is placed in the middle to the top of the painting, who speaks the original teachings of Mahakala like the root deity spouts the teachings of the central figure in a 11 ​Ibid. 56.

Tibetan scroll painting. Namgyel, like Begtse Chen, harbors wisdom. ​Begtse Chen ​ and ​Mahakala reveal themselves to be functionally similar. Personally, I absolutely love the ​Raven Headed Mahakala ​ and its true significance in regards to Tibetan Buddhism. The fact that both ​Chen ​ and ​Mahakala ​ serve as protector deities against evil demons relates to my own self on a personal level-- I tend to be protective of the

people that I love, and tend to go off on a passionate tangent when talking about ideas of justice, as well as how the world ​should be or could be ​ . I absolutely despise injustice that goes unpunished and would ​gladly ​ defend my friends and family from some outside terror-- such as bullies in school. Something of the sort happened in the sixth grade when I was in Catholic

school and I witnessed my best friend, who was South African, being bullied for his race and apparent weakness. Despite the fact that my best friend was ​crying ​ , no one in the class, not even my teacher did anything. Enraged, I eventually mustered the courage to ​shove ​ the bully out of the classroom while denouncing his cruel behavior, ​lock ​ him, and tell him to report himself to the school’s principal. Needless to say, I got the bully expelled and protected my best friend, and thus acted like both Begtse Chen and Mahakala as protectors of the oppressed and the good.

Bibliography: Aris, Michael. ​The Raven Crown: The Origins of Buddhist Monarchy in Bhutan. Chicago: Serindia Publications. 2005. Behrendt, Kurt. ​“​The Dark Lord​”​. ​82nd and Fifth-- The Metropolitan Museum of Art. http://82nd-and-fifth.metmuseum.org/the-dark-lord​. 2013. Accessed March 23, 2016. Lieberman, Philip

and Marcia R. “Tibetan Art”. ​Tibetan Buddhist Wall Paintings: A Photographic Survey. ​ ​https://library.brown.edu/cds/BuddhistTempleArt/TibetanArt8.html​. 2003. Accessed April 21, 2017. Linrothe, N. Robert. ​Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. ​ London: Serindia

Publications. 1999. Rigyal, Samdrup, and Alyson Prude. “Chapter 3: Buddhism in Contemporary Bhutan” in​ ​The Oxford Handbook of Contemporary Buddhism ​ . Edited by Michael Jerryson, 70. Oxford: Oxford University Press. 2017. Watt, Jeff. ​“​Begtse Chen (Buddhist Protector)​”​. ​Himalayan Art Resources.

http://www.himalayanart.org/items/65414​. 1998. Accessed March 22, 2016. Watt, Jeff. ​“​Buddhist Protector: Begtse Chen Main Page​”​. ​Himalayan Art Resources. http://www.himalayanart.org/search/set.cfm?setID=137​. 1998. Accessed April 17, 2017.