STATUS OF TRI-RATNA MANDALA IN NEWAR BUDDHISM
A Thesis
Submitted to Lotus Academic College, affiliated to Lumbini Buddhist University, for the Fulfillment of the Requirements
for the Degree of
MASTER OF ARTS
In Applied Buddhism
by
MALIKA BAJRACHARYA
Lotus Academic College, Lalitpur
Writing this thesis “Status of Tri-ratna Mandala in Newar Buddhism” was a great opportunity for me as I get chance to learn about various ritual activities practicing in Newar Buddhism. I appreciate the valueable time provided by respected Mr. Manik Ratna Shakya and Dr. Surendra Man Bajracharya for their great support, supervision and guidance in completing this research and thesis.
In completing this research I would like to express my gratitude to external examiner………….. too.
I’m thankful to Dr. Indra Siddhi Bajracharya, the Principal of the Academic College, and all the teachers together with all the staff members of the college, who were always there, ready to provide me more information, knowledge, help and support.
I would like to thank all my friends, family and well wishers who directly or indirectly helped me in this work.
I would like to thank Guruju Asha Ratna Bajracharya and Guruju Deepak Bajracharya for giving their precious time and support for my research.
Lastly, I can never forget the inspiration and motivation by my family, especially my father Rajendra Bajrcharya for encouraging me in this work and guiding me in every step of my life and blessings of my mother Purnima Bajracharya and also the support and encouraging words from my husband Ashish Shakya.
Malika Bajracharya
Letter of Recommendation
This is to certify that Mrs. Malika Bajracharya has written this thesis entitled “Status of Tri-ratna Mandala in Newar Buddhism” for the fulfillment of the requirements of the Degree of Master Of Arts in Applied Buddhism under my supervision. To the best of my knowledge the whole or part of this has not been previously submitted for any other academic accomplishment. She has consulted available source to complete this thesis.
I hereby recommend this Thesis for approval.
Dr.Surendra Man Bajracharya
Supervisor
Letter of Approval
This dissertation work entitled “Status of Tri-ratna Mandala in Newar Buddhism”: submitted by Mrs. Malika Bajracharya has been approved, evaluated and accepted for the fulfillment of the requirements of the Degree of Master Of Arts in Applied Buddhism by expert committee comprised of
Dr. Indra Siddhi Bajracharya
(Principal of Lotus Academic College)
Dr. Surendra Man Bajracharya (Supervisor)
Contents
Chapter I: Introduction to the study
Introduction
Statement of problems
Objectives
Significance of the study
Literature review
Research methodology
Limitations
1.8 Chapter Scheme
Chapter II: Introduction to Newar Buddhism
2.1 Background(etymology)
2.2.1 Buddhism in Nepal valley during Budhha’s period
2.2.2 Emperor Ashoka’s visit to Kathmandu
2.2.3 Buddhism in the Lichchavi period
2.2.4 Buddhism in Medieval Period
2.3 Chief features of Newar Buddhism
Prominence of Triple Gems
Ordination (Chudakarma)
Moral practice
Initiation Practice
Vrata practice
2.4 The Lay followers of Newar Buddhism
Chapter III: Concept of Tri-ratna in Newar Buddhism
3.1 Meaning of Tri-Ratna in Buddhism
3.2 Tri-Ratna in Newar Buddhism
3.3 Symbolic Aspects of Tri-Ratna
Chapter IV: Philosophical Aspects of Tri-ratna
4.2 Uses of Mandala
4.3 Structure of Mandala
4.4 Buddha and Buddha Mandala
4.4.1 Deities of Buddha MandalaVairochana Buddha
4.4.2 Female consorts (Prajna)
Vajradhateshwori
Structure of Buddha Mandala
4.4.4 Philosophical aspect of Buddha Mandala
4.5 Dharma and Dharma Mandala
4.5.1 Sanskrit Manuscript (Navasutra Grantha)
Astasahasrika Pragyaparamita sutra
Structure of Dharma Mandala
Philosophical aspect of Dharma Mandala
4.6.1 Iconography of Bodhisattvas
Samantabhadra and
Gaganganja
4.6.2 Structure of Sangha Mandala
4.6.3 Philosophical aspect of Sangha Mandala
Chapter V: Practices of Tri- Ratna Mandala in Newar Buddhism
5.1 Practices of Tri-ratna Mandala in life cycle ritual (10 Karma)
Garvadhan karma
Punsavan karma
Simanatopanayana karma
Jatakarma
Namakarma
Annaprashana
Chudakarma
Vratadeshana karma
Vratamokshan karma
Pannigrahana
5.2 Practices of Tri-ratna Mandala in Ordination
5.3 Practices of Tri-ratna Mandala in Vrata ritual
Astami
5.4 Practices of Tri-ratna Mandala in death ritual
Chapter VI: Conclusion
Appendix
Chapter I
Introduction to the study
1.1 Introduction
Historically, the Newars are an ancient ethnic group of Nepal who has been living in the Kathmandu valley since ancient times. They are also known as one of the ancient cultural groups of Nepal who form a tightly knit homogeneous socio-cultural group. In the opinion of linguistics, people who speak the Newari language as mother language became Newars. The first written evidence for the presence of Newars in the Kathmandu valley comes from the fifth century A.D. during the time of Licchavi dynasty.
In the Valley, The Newars have been following the Traditional Buddhism since long. The Newar communities have been carrying out Traditional Buddhsim since ancient period. So, there is reflection of Newar culture and its tradition. Because of this reason, the traditional Buddhism seems to have been called Newar Buddhism.
In Newar Buddhism, triple gems are respectively regarded as symbol of Buddha, Dharma and Sangha in the form of Mandala. In Newar Buddhism, except Shakyamuni Buddha the association of five transcendental Buddhas like Vairochan, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi and their female consorts namely Lochani, Mamaki, Pandara, Aryatara and Vajradhateswori are also worshipped. Regarding the Dharma, the Nepalese Buddhist societies have been worshipping a set of nine texts namely Prajnaparamita, Gandavyuha, Dasabhumika, Samadhiraja, Lamkavatara, Saddharmapundarika, Tathagataguhyaka, Lalitvistara and Suvarnaprabhasa Sutra. The nine texts are also regarded as in form of Mandala.
Pertaining to Sangha, the association of nine Boddhisattvas- Aryavalokiteswara, Maitraiya, Gaganganja, Samantabhadra, Vajrapani, Manjughosha, Sarvanivaranavishkamvi, Kshitigarva, and Khagarva- are renowned as Sangha.
Tri- ratna is also considered as Buddha, Dharma and Sangha by Mahayan and Vajrayan followers. The Tri-ratna is respectively divided as the Buddha, the Dharma (the teachings) and the Sangha (the Community). Taking refuge in the “Triple gems” has traditionally been a declaration and commitment to being on the Buddhist path and in general, distinguishes a Buddhist from Non- Buddhists.
Mandala plays a very important role in Newar Buddhism. Many (but not all) etymologies in Buddhist Tantra say that the term Mandala consists of “manda”, the essence of knowledge and “la” the container. Mandala, therefore, means something like “contained essence” in Buddhism. Tri-ratna is symbolized as Mandala in Newar Buddhism. Tri-ratna Mandalas equally symbolized as Buddha, Dharma and Sangha. During the practice of Buddhism, Newar Buddhists perceive Tri- ratna Mandala, with the objective of acquiring the greatest happiness of knowledge. Newar Buddhists has been practicing rituals by the means of Mandala. It has been used for various activities. Likewise, while doing liturgical activities, transmission of the initiation, at the time of fasting observance, perceiving while meditating, while teaching about Buddhist philosophy to the disciples, Tri-ratna Mandala as well as other Mandalas have been used. Mandala has a spiritual and ritual symbol in Buddhism, representing the universe. The basic form of Mandala has a square with four gates containing a circle with a center point. Each gate is in the general shape of a “T”. Mandala often exhibits radial balance. In order to get free from sorrowful life of circle, Newar Buddhists practice Mandala. Here, an attempt is made to know the status of Tri-ratna in the form of Mandala in Newar Buddhism.
Statement of problems
Tri-Ratna has essential status in Newar Buddhism. Here, Newar Buddhists seems to have practiced Tri-ratna Mandala, as a symbol of Buddha, Dharma and Sangha. Although Tri-ratna Mandala has been accepted in Newar Buddhism its fact cannot be identified. But, till now what kind of actual place Tri-ratna Mandala has, its uses in different activities and how it has been used, in these aspects such kind of published books cannot be seen.
Objectives
To describe the symbolic values of Tri-ratna Mandala in Newar Buddhism. To explain the philosophical aspects of Tri-ratna Mandala in Newar Buddhism. To describe the practices of Tri-ratna Mandala in Newar Buddhists rituals.
Significance of the study
The status of Tri-ratna Mandala is connected with Newar Buddhism. Newar Buddhists seems practicing Tri-ratna Mandala as a symbol of Buddha, Dharma and Sangha. But, till now the actual status of Tri-ratna Mandala and its symbolic value in Newar Buddhism could not be identified. The practices had been given continuity, but how has it been using is the questioning factor. The compilation of all these factors in one book cannot be found till date. By this research all the elements would be combined and represent all the facts, which would be great help for the Newar Buddhists society and as well as all the readers.
Literature review
The book entitled Nispannoyogawali is one of the remarkable books to study of Mandala which is written by Mahapandita Abhayakaragupta of the Vikramsila Monastery. The edited version of the book was published in 1949. The book consists of the symbolic values of Mandala and practices of Mandala in Buddhist rituals doesnot cite the philosophical description of the Tri-ratna Mandala.
The book entitled The Iconography of Nepalese Buddhism is written by Min Bahadur Shakya which is published in 1994. The book includes the Vajrayan with Historical, Cultural & Religious meaning. Likewise, the book also shows the importance of different deities placed in Tri-ratna Mandala & about Buddhist rituals. But, the book doesnot cover the philosophical aspect of Tri-Ratna Mandala.
A work“Panchabuddha”by Dr. Naresh Man Bajracharya appeared in 2003. This is one of the authentic research works on Pancha Buddha and its impact in Newar Buddhism. Certainly, this book had thrown light on Panchabuddha. In his research, he did not explain about Dharma and Sangha Mandala.
The book entitled Vajrayana Nepal is written by Dr. Naresh Man Bajracharya which is published in 2014. The book contains the Vajrayan philosophy & the historical development of Newar Buddhist cultural activities. Likewise, the book also throws light on Newar Buddhist cultural activities. In this book the short description of Mandala & Newar Buddhism can be found.
Research methodology
This work has been conducted on the basis of collection of data information from two major sources i.e. primary and secondary sources. Most of the primary sources had been collected from the records available in the archives, where many unpublished data were found on this topic. In addition, interview of concerned persons, Buddhist Scholars, field visit has been done. Besides, as secondary source, the collection of the data of Tribhuwan University central library, Central Department of Buddhist studies has been used as source of information.
Among the published sources, as newspapers, articles, books chronicles and internet had been consulted. Beside this, published books from abroad related to this research had also been another source. This collection has added much weight to the work particularly in dealing with this research work. Apart from these, several other publications had been consulted.
Limitations
This research has been focused on Newar Buddhism basically prevailing in the Lalitpur city within Kathmandu Valley.
1.8 Chapter Scheme
Chapter 1: Introduction to the study
In this chapter, Introduction, literature review, statement of problems, aims and objectives, significance, area of the study, methodology and other aspects are mentioned. Chapter 2: Introduction to Newar Buddhism
In this chapter, background, evolutionary history, features of Newar Buddhism and lay follower of Newar Buddhism has been discussed.
Chapter 3: Concept of Tri-ratna in Newar Buddhism
In this chapter, meaning of Tri-ratna in Buddhism, Tri-ratna in Newar Buddhism and symbolic aspects of Tri-Ratna has been discussed.
Chapter4: Philosophical Aspects of Tri-ratna Mandala
In this chapter, Concept of Mandala, Uses of Mandala, Structure of Mandala as well as Tri-ratna Mandala (Buddha Mandala, Dharma Mandala, Sangha Mandala) has been highlighted.
Chapter 5: Practices of Tri- ratna Mandala in Newar Buddhism
This chapter has dealt with the practices of Tri-ratna Mandala in ritual activities, Social and religious practices of Tri-ratna Mandala in Newar Buddhism.
Chapter 6: Conclusion
In this final chapter of research, the essence of the research has been presented. This chapter accessed the status of Tri-ratna Mandala in Newar Buddhism. In support of the issues in the chapter, photographs, drawings and related documents has been given in the appendix and other appropriate pages.
Chapter II
Introduction to Newar Buddhism
The term Newar is not an ethnic word but a cultural word which indicates the very rich and unique culture of the society of the Valley. It denotes the people who speak a common language Newari and who share a common but diverse culture. Newar Buddhism is the form of Vajrayana Buddhism practiced by Newar people of the Kathmandu Valley. It has developed unique socio-religious elements, which includes a non-monastic Buddhist society based on the Newar caste system and patrilineality. The Newar Buddhist takes refuge in the Buddha, the Dharma and the Sangha.
The ritual priests Guruju, Vajracharya(who perform rituals for others) and Shakya (who perform rituals mostly for their own families). Newar Buddhism is characterized by its extensive and detailed rituals, a rich artistic tradition of Buddhist monuments and artwork like the Chaitya(stupa), Baha and Bahi (monastic courtyards), statues, Paubha scroll paintings and Mandalas and paintings, and by being a storehouse of ancient Sanskrit Buddhist texts, many of which are now only present in Nepal.
The Newar Buddhists, like Buddhists everywhere, take refuge in the Buddha, the Dharma and the Sangha. The Buddha is, of course, the historical Sakyamuni Buddha, but in Mahayana and tantric Buddhism the five transcendent Buddhas (Vairocana, Aksobhya, Amitabha, Ratnasambhava and Amoghasiddhi) are more known and have a more important place in the ritual than the historical Buddha.
In a tantric context these five are guided over by the Adi-Buddha or Vajrasattva, the personification of Sunyata. Much of the devotional life of the people centres round the worship of the Bodhisattvas, especially Avalokitesvara and Manjushri; and the tantric rituals are centered on the Mandalas of such deities as Chakrasamvara-Vajravarahi and Hevajra-Nairatmya. The Dharma is, of course, the Four Noble Truths and the Eight-Fold Path, but understood in a Mahayana context and practiced according to the tantras.
These are eight Mahayana sutras and one tantric text which the Newar Buddhists to this day consider to be their canon: Prajnaparamita, Gandavyuha, Dasabhumisvara, Samadhiraja, Lankavatara, Saddharma-pundarika Lalitavistara, Suvarnaprabhasa, and the Tathagataguhya (or Guhyasamaja tantra). These texts are recognized as the official texts. Some of them (especially the Prajnaparamita) are recited at various times in lalitpur, and the books are worshipped till date. It has been written in Sanskrit. , there are few, even among the priestly class, who understand as well as can study these texts. While worshipping any Buddhist deities priests worship Buddha, Dharma and Sangha Mandala in the beginning through the mode of Mandala. In Newar Buddhism, there are two terms for these buildings: baha and Bahi where various rituals are practiced. Baha is derived from the Sanskrit.
2.1 Background (of Newar Buddhism)
Long time ago, it is said that the Kathmandu Valley was the place where people spend their livelihood by selling milk. Generally, milk was known as Nhep by the local people. Later on, the word Nhep has been reformed into Nepa. During that time people living in the valley doing business of milk seem to be called Newa. Likewise, the group of people living in the valley seems to have become Newars. The natives of Nepal are called Newars. There are different rituals and practices that can be seen in Newar Buddhism that has been preserved and practiced till date. Among them taking refuge in Tri-ratna (Buddha, Dharma and Sangha) also seem to be practiced. Buddhist Newars living in a Baha, a residential quadrangle around a central court with Buddhist shrines and temples, consider themselves to be of common descent.
.2 Evolutionary History
2.2.1 Buddhism in Nepal valley during Budhha’s period
Entry of Buddhism in the Kathmandu Valley can be traced out with reference to the legendary sources of Nepal. According to legendary sources, Buddhism has entered Kathmandu even before the time of Gautam Buddha. But, from historical point of view, Lord Buddha diffused his teachings in his native land Kapilvastu, it is tough to confirm that he also initiated his teachings to Kathmandu during his life time. Due to the insufficient inscriptions and scientific excavation of the ancient monuments like Swayambhu and Bouddhanath, one cannot confirm the early introduction of Buddhism precisely. However, Swayambhu is said to have emerged as the Primordial Buddha in the distant past, modern historians have made sure that Swayambhu Caitya was reconstructed by the Lichhavi King Visva(Vrsa) Deva of early 4th century A.D.
There is well grounded text like Mulasarvastivada Vinayavastu assembled by Jinamitra and translated by l-tsing in A.D 700. This text states, a group of bhikshus met Ananda enrooted towards Nepal (Ni-pa-lo) at the time when Buddha was residing in Sravasti. It is stated that Ananda, Buddha’s cousin went to the Kathmandu valley to meet his neighbor and later came back to Sravasti with his toes bitten by frost. After seeing his condition, the Bhikshu enquired the cause of his frost bit ten toes and about the climatic conditions in Nepal. Ananda replied that Nepal was surrounded by big mountains covered with snow, with many waterfalls and a large number of cold rivers. Therefore, Nepal was a cold country. He had to walk barefoot through these cold rivers and snowy mountains, thus his feet were frostbitten. To protect themselves from cold and frost the people of Nepal used to put on shoes. Buddha later told vinaya to make shoes for the monks to wear. Dr. John K. Locke has written about his concern related to the early introduction of Buddhism in Nepal i.e. “Given the proximity of the valley of Nepal to Lumbini, Kapilvastu and areas of North Bihar, where Buddhism spread rapidly even during the time of the Buddha, it is quite possible that the dharma found its way to the valley during the lifetime of the Buddha himself.”
2.2.2 Emperor Ashoka’s visit to Kathmandu
Ashoka during his one of devotional pilgrimage tour erected a pillar in which it was declared that Buddha was born in Lumbini. This ascertains that Emperor Ashoka had definitely visited Lumbini and Kapilvastu. He visited all the places relating to main event in the Buddha’s life. Concerning this Prof. Lamotte writes: “The edicts of Rummendei and of Niglisagar prove that Nepal was part of the imperial domains, and that Ashoka went there in person to honour the birth place of the Buddha and the stupa of Kanakmuni.” Though there is no evidence of his visit to the Kathmandu valley. According to Nepalese chronicles, Emperor Ashoka visted Kathmandu with his royal preceptor Upagupta. He paid homage at Swayambhu stupa guhyeshvai and Eight Vitaragas. There are four great stupas in four main directions in Patan. One of them is situated at Pimbahal near Patan gate which was erected by Ashoka himself. Nepalese tradition claims that the structure of these stupas resembles ancient stupas.
2.2.3 Buddhism in the Lichchavi period
The inscriptions of Changunarayana and Jayadeva II, ranging from 464 to the eight century A.D. manifests the first evidence of the presence of Buddhism in the valley. D.Wright writes in his chronicle: “Vrsadeva (384-412) was very pious. Eachday he fed Vajrayogini before taking his meal. He renovated the caitya of Dharmadatta in the north corner of Pashupati and several viharas to serve as lodging for bhikshus. He is also credited with having founded a monastery at the famous Swayambhunath Maha Caitya. -
2.2.4 Buddhism in Medieval Period
Early Medieval Period
The history of Buddhism in the early medieval period is marked by the development of Vajrayana, Sahajayana and Kalachakrayana. The renowned orientalist historian of Italy, has taken the history of Nepal (C 750-1480) as the age of Thakuri and early Mallas. Scholars have taken the period from (C 750-1200A.D) as the Thakuri Period. Mary Shepherd Slusser having explained the early medieval period of Nepal as transitional period reveals the distinguished features of the then Buddhism. She writes that the declining political condition of the Lichchavis was not supported by corresponding decline of Buddhism in the early medieval period.
Vajrayan Buddhism had come fully into its own. The Buddhist female deities increasingly entered the scene in this period. Taras, the saviouress and Prajnaparamita, Goddess of Transcendental wisdom, Avalokiteshvara and Manjushree Bodhisattva were comprised in it. From the eleventh century onwards manuscripts like Astasahashrika Prajnaparamita were copied endlessly in the Viharas.
Vasundhara, the Goddess of good fortune, wealth and abundance, became popular both in iconic and textual forms. Bodhisattvas were worshipped in this period. Avalokitesvara, the luminous Lord of infinitive compassion, was most popular in this period. The deity is foremost deity in Nepalis Buddhism and is worshipped as Padmapani Lokesvara (Lotus bearet), Lok Nath (Lord of the world), Karunamaya Avalokitesvara. The distinguishing feature of Avalokitesvara is that the deity held crown symbolizing Triratna (the three jewels) of Buddhism i.e. Buddhas, Dharma and Sangha. It also became the distinguishing feature of Nepalis Buddhism.
Later Medieval Period
The history of Buddhism during the medieval period is related to the Mallas of Nepal Mandala. The history of the Mallas is divided into two periods (a) Early Malla period (1200-1382A.D) (b) Later Malla Period (1382-1768 A.D). Slusser points out that there was change in the way of the practicing Buddhism in Nepal by the end of the 12th century. Scholars point out that during the reign of Jayasthiti Malla and his successors the spiritual background of Vajrayana Buddhism gradually disappeared. The traditional celibate community ceased to have the same value as it had as one of the Three Jewels, “Buddha, Dharma and Sangha”. A scholar writes that the ritual feature of Nepalis Buddhism consists of practice of Dasha Karma (ten kinds of sacraments). To cite David N. Gellner, Nepalis Buddhism is confined to the Newar community only. According to him, the Newar Buddhists practiced secret Mantra, Tantra and Yoga and ritual practices. The kind of Buddhism practiced by the Newars is highly ritualized. The first ritual to be considered is the Gurumandala Puja. It is the first complex ritual learned by the novice priest. It is obvious that the Buddhist household is distinct by the mark of five Dhyani Buddhas on the top of the main door with the auspicious signs and the pitchers on either side.
Buddhism in Modern Period
The history of Buddhism in modern period is marked by the spirit of toleration, although the rulers were Hindus. The sense of spirituality appealed the people of this region. They respected each others faith. Although the rulers had faith on Hindu deities they equally respected the Buddhist deities.
The history of Buddhism in the eighteenth century is marked by the ethos of the people of Nepal. Min Bahadur Shakya quoting Guhya Samaja Tantra explains that Yamantaka Vajra Bhairava is one of the many forms of Yamantaka. Its legend is related with Bodhisattva Manjushree who took the wrathful form of Vajra Bhairava to subdue the Yama (Lord of death). Yamantaka, Vajra Bhairava with bull’s head belongs to one of the ten wrathful deities of Vajrayana Buddhism. Gorkha venerated Vajra Bhairava and Manakamana. The priest of Manakamana was initiated by Vajracharya.
Prithvi Narayan Shah is referred to in the context of glorifying Buddhist rites and rituals. Although he was born and brought up as a Hindu, he had equal respect for Buddhism. Wright edited chronicle mentions that a jyapu (farmer) had seen a strange sight at Devkhel located to the south of Matsyendrapur (Bungmati). He saw a Bhairava who asked food from Matsyendra who told him to go to Gorkha and enjoy the sovereignty of that country. Bhairava said if Matsyendra would give him sovereignty of Nepal, he would go to Gorkha.
It is stated that he was the devotee of Shiva and Shakti. However, he had faith on Adi Buddha, Swayambhu, Bodhisattva, Matsyendra Nath, the Buddhist deities. This reveals his policy of religious toleration. Almost all the Shah Kings followed the same policy.
Chief features of Newar Buddhism
In Newar Buddhism, triple gems are respectively regarded as symbol of Buddha, Dharma and Sangha in the form of Mandala. In Newar Buddhism, except Shakyamuni Buddha the association of five transcendental Buddhas like Vairochan, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi and their female consorts namely Lochani, Mamaki, Pandara, Aryatara and Vajradhatesvari are also worshipped.
Prominence of Triple Gems
The qualities of Buddha, Dharma & Sangha are habitually repeated in the ancient texts and are called “Mirror of Dhamma” or “Dhamma Adassa”. The triple gem is in the center of one of the major practice of mental “reflection” in Buddhism; the reflection on the true qualities of the Buddha, Dharma and Sangha. These qualities are called the Mirror of the Dharma in the Mahaparinibbana sutta and help the practitioner attain the true “mind like a mirror”.
ii) Ordination (Chudakarma)
Ordination forms one of the series of life cycle ritual. Ordination is generally known as Chudakarma(Skt.) or Bare Chuyegu(Nepal Bhasa). It means rites of first initiation, generally to members of the Sangha Community where, this first practice designates a boy to become a member of the Buddhist Community(Sangha) to which his family belongs. Ordination ceremony is practiced when the boy is between five and twelve years of age. Here, he have to shave his hair for the very first time after his birth which is commonly known as busa: khaye. This ceremony is generally known as “Bare Chuyegu”. This ceremony is mostly performed in the baha (monastery) and bahi to which his lineage belongs.
iii) Moral Practice
During ordination ritual, the male members of Shakya and Vajracharya communities seem to take five precepts. After getting back to the householder life, the remaining followers observe eight moral precepts by the name of different fasting (Vrata) observance such as Vrata of Amoghapasa, Basundhara and Tara.
Initiation Practice
Till date, different types of Buddhist initiation are practicing such as Chakrasamvara initiation, Vajravarahi initiation, Achal initiation, Yogambara initiation and Sadaksari initiation. Among them Chakrasamvara and Vajravarahi are the most popular in the valley. Chakrasamvara initiation is said to have been established by Vagishwara Kirti in 11th century. Whereas, Sadaksari Lokesvara initiation is given to all Lay Buddhists of Newar Buddhism.
Vrata practice
In religious books it is written that Vrata is a type of religious practice, religious discipline, prayer etc. According to Vajrayan Buddhism, Vrata is a tool to lead to the path of bodhisattva through living a virtuos and purified life and realization of impermanence, suffering and non-self. Vrata means to abstain from eating any food. It is also called fasting in English. In Buddism, Vrata means to take refuge in triple gems, to comply with eight disciplines to withdraw from ten immoral actions to accept Buddhism as guide to life and practice it.
Among many Vratas the Astami Vrata, Gatila Vrata, Dharmadhatu Vrata, Aryatara Vrata, Caturdasi Vrata are most popular. From time to time, the Manjushri Vrata, Pancaraksha Vrata are also performed.
Buddhist Doctrines were first written in the Sanskrit language in the council of Emperor Kaniska. Then many Buddhist manuscripts seem to have been written in the Sanskrit language. The Sanskrit language was once the formal and native language, in the history of Nepal. Sanskrit language has been used in the ritual texts, used by Vajracharyas. Consequently it can be said that Newar Buddhism is based on Sanskrit texts.
2.4 The Lay followers of Newar Buddhism
The lay followers of Newar Buddhism have their own characteristics and unique features. To preserve Newar Buddhism, various casts have been practicing different ritual activities till date. Various casts can be mentioned as follows:
After taking the first ordination Vajracharya’s have to take initiation of Acharyavishek, then they are identified as Buddhist priest. They are the leading figure of Newar Buddhism and give religious teaching and perform religious rituals as well as rites. According to the historical source, fifth Lichchavi king Baskara Varma authorized the Buddhist householder acarya to conduct the daily worship and other ceremonies. Acharya Bandhudata brought the chariot festival by bringing Karunamaya (Avalokitesvara) to the valley during the reign of Lichchavi king Narendra Deva in eight century.
Shakya Vikksu:
According to the system of Newar Buddhism, Shakya Vikksu’s should take Buddhist ordination and initiations except Acharyavishek where they should conduct daily ritual in front of Buddha. The term Shakya Vikksu can be found in the inscription of eight century of Nepal.
Bramhacharya Vikksu:
They are like Shakya Vikksu. Bramhacharya Vikksu’s teaches Buddhism to the Sakyas who belongs to bahi(a kind of traditional Buddhist monastery), in the past. It is also said that they followed Chatu Bramha Vihar (four immeasurable paths) as dharma practice.
Buddhacharya :
Buddhacharya are also similar to Shakya Vikksu. In Newar Buddhism, Buddhacharya plays role as a caretaker of god and goddesses. They can be found in the periphery of Swayambhu Mahachaitya(well known stupa located in Kathmandu), and in Bungamati.
Sthapit: They play very important role to execute necessary markings for the initiation of construction of Vihar, Chaitya, temple, pilgrimage inn etc. and also to carry out wood works related to them. When such a monument is to be build they must first outline the structure on the ground before the consecration puja.
Silantha:
They survive their life by weaving clothes for god and goddess. The clothes used for god is known as KwenLan which is made by using special types of clothes. They also make curtain used main opening of Agama (the secret and sacred place where esoteric deities are placed.
Shikharakar:
Shikharakar are the people who works regarding construction like pinnacles of monastery, shrine and Chaityas. Likewise, they construct the roof tops by using specially designed. They are also known as Experts in the manufacture of shrine pinnacles.
Kansakar are those who make special utensils of bronze for offering and using at temple.
Silakar:
Stone items such as idol of deities, figure of animal placed in monastery, Chaitya, pillar, pinnacles, stepping stones place near the entrance of the shrine are specially made by Silakar.
They are the Business experts who had good trade in Tibet in the past and supported to construct Buddhist monument. Tuladhars had played the main role to renovate Swayambhu Stupa and organized Samyek Dan, the Greatest offering ceremony in the history of Newar Buddhism.
Bajrakarmi:
They work of plastering on the temples and Chaitya and on the two sides of the main door of the house before painting the image of Buddha and Bodhisattvas.
Madhikarmi:
Madhikarmi are the people who make varieties of sweets. They are professional sweet makers. They prepare various types of sweets like Thasa Madhi, Pachita Madhi especially for rituals.
Sayami:
They are professional oil maker. Various kind of oil like lighting oils, cosmetic oil, massage oil, eatable oil are prepared and they also make and carry emblems, flags as well as Johasa, Yayahasa, (made of willows and looking like big dishes) etc. Besides, they are also well known in organizing offering ceremony.
Jyapu:
The main work of this caste is cultivation however they assist in religious rites by carrying things like liturgical items, things needed for the worship of deities.
Malakar:
They do nursery works and plant various flower for different goddess. In Nepalese tradition, various mask dances of goddess are performed every year. Different colored flower are needed for performing dances. The Malakar has been providing flowers to the goddess.
Dangol:
They play role to carry out the measurement of land in connection with the construction of monastery, shrine, inn etc. They also provide necessary instruction for construction of brick works.
Khusa:
It is said that these caste has unique skill to prepare rice from paddy; to make beaten rice.
Ranjitkar:
They make different types of threads such as Gwayeka, Kumhaka and Pashuka which are used in ritual activities. In addition, they make clothes of various colors basically for rituals.
Nakarmi(Black Smith):
These castes are specialist in iron; they can recognize various types of iron and its quality. They prepare things of iron like iron mask, nail, trident, bowl etc.
Joshi:
Astrologer in Newar Buddhist society; in order to perform ritual function, they calculate auspicious moments.
Kumha:
Potter
Nau: Barber
Dakami:
Mason; they carry out construction works of Stupas, inns, shrines and monastery.
Bhujan:
Musical instrument player.
Jogi:
Trumpet player.
Po:
This caste dispose of waste product, clean the crematory ground and also take care of deities.
Kaa:
They blow a kind of Musical instrument of long horn at the funeral procession.
Neku:
They are authorized to repaint color on the image of Lokesvara.
They are copper specialist and make various copper items for rituals.
Kulu:
Musical instrument maker using hides.
Thakami:
They prepare things of alloys.
Other groups such as the tatti, Pamaa, Bhatuju, Bhamba, Bha, Kulu, Moo.etc. are almost extinct because their roles in the society disappeared over time. Due to the kind co-operation, co-existence, financial and moral support of different Newar Communities, the Newar Buddhism is existing in Kathmandu Valley from ancient time to present.
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Chapter III
Concept of Tri-ratna in Newar Buddhism
3.1 Meaning of Tri- Ratna in Buddhism
The word Tri-ratna means three gems or jewels. In Buddhism, Tri-ratna symbolizes the three fold jewels namely Buddha, Dharma and Sangha. The meaning of these three fold jewels Buddha, Dharma and Sangha is a title signifying “The Enlightened” or “The Awakened”, Buddha, the doctrine and community propounded by Siddhartha Gautam.
Newar Buddhists seem to be taking refuge of Tri-ratna from the time of Buddha and practicing it till date. Here, before starting any kind of activity, the people make salutation to triple gems and say tri-ratna saranam which means taking refuse with triple gems. In Thervada Budhism, monks, nuns and the followers take refuge in Tri-ratna.
Whereas, Shakyamuni has been presented at the center, as the representative of the jewel of the Buddha, Pragyaparamita at the left as the representative of Dharma Jewel and Sadkseri Lokesvara at right as representative of Jewel of the SNGH inside the dome of a Stupa. There is also a practice of representing triple gems in the form of mandala i.e. Buddha Mandala, Dharma Mandala and Sangha Mandala which are widely used in rituals and arts.
The Buddha Shakyamuni Buddha is not the only Buddha revered and worshipped in Nepal. Pancha Buddha and Saptatathagata Buddhas and Dipankar Buddha are among other popular Buddhas beside Shakyamuni buddha in Nepal.
3.2 Tri-Ratna in Newar Buddhism
3.3 Symbolic Aspects of Tri-Ratna
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Chapter IV
Philosophical Aspects of Tri-ratna Mandala
Mandala plays a very important role in Newar Buddhism. Many (but not all) etymologies in Buddhist Tantra say that the term Mandala consists of “manda”, the essence of knowledge and “la” the container. Mandala, therefore, means something like “contained essence” in Buddhism. The word ‘Mandala’ is so called because “it bears”(Skt: Malanad mandalam uchyate).Tri-ratna is symbolized as Mandala in Newar Buddhism. Tri-ratna Mandalas equally symbolized as Buddha, Dharma and Sangha.
During the practice of Buddhism, Newar Buddhists perceive Tri- ratna Mandala, with the objective of acquiring the greatest happiness of knowledge. Newar Buddhists has been practicing rituals by the means of Mandala. It has been used for various activities. Likewise, while doing liturgical activities, transmission of the initiation, at the time of fasting observance, perceiving while meditating, while teaching about Buddhist philosophy to the disciples, Tri-Ratna Mandala as well as other Mandalas have been used. Mandala has a spiritual and ritual symbol in Buddhism, representing the universe. The basic form of Mandala has a square with four gates containing a circle with a center point. Each gate is in the general shape of a “T”. Mandala often exhibits radial balance. In order to get free from sorrowful life of circle, Newar Buddhists practice Mandala. Here, an attempt is made to know the status of Tri-ratna in the form of Mandala in Newar Buddhism.
In modern parlance, the Mandala may be called a world map or cosmogram, generally depicted in the form of a square palace surrounded by a circle of flames within which buddhas, bodhisattvas, Istadevas and dakinis are arrayed in systematic order. The square symbolizes the structure of the Universe and the Buddhas Bodhisattvas symbolize its constituent parts.
In late Buddhist tradition, as recorded by Abhayakaragupta, all mandalas are surrounded by vajravali, padmavali and jvalavali. Mandalas represent a meditative universe, and are generally not a literal depiction of the universe in a scientific sense. Some mandalas do, however, depict the navagraha, nakshatras, etc., eg. The dharmadhatu-vagisvara mandala. The Kalachakra mandala is exceptional in that it is said to be centered on Mount Meru (Kailash, according to the Kalachakra mandala is exceptional in that it is said to be centered on Mount Meru (Kailash, according to the Kalachakra tantra)and the four directions do represent “the four corners of the globe”. The main deity is placed in the palace in the central circle of the mandala. The deity is drawn according to measurements prescribed in pratimalaksana texts. Dharmapalas and lesser deities usally do not appear in the central part of the mandalas. The position and the placement of the deities in the mandala is prescribed in standard canonical texts, such as the Vajravali, Tantrasammuccaya and Nispannayogavali of Abhayakara Gupta, the latter fully describing 26 Mandalas. The Ngor mandalas of The Shakyapa Tradition, published by Prof. Musasi Tachikawa, contains 139 Mandalas. All Mandalas are visual supports of concentration and meditation, ritual aids on the path towards the enlightenment.
4.2 Uses of Mandala Nepalese Buddhists had followed the same age-old tradition of Monasticism conceived and adopted by the early buddhist practioners/monks. Buddhists masters, monks and acharyas mostly dwell in the monastery or its surrounding. During Mandala practice, they preach Dharma discourse, teach dharma lessons and provide guidance to the lay followers. The lay followers throng into the nearby monastery for earning merit by listening to them, worshipping the Buddhist deities. In various spiritual traditions, mandalas may be employed for focusing attention of practitioners and adepts, as a spiritual guidance tool, for establishing a sacred space and as an aid to meditation and trance induction. Before beginning any work, the people make salutation to Triple gems or say Tri-ratna saranam which means taking refuge with triple gems or say Namo ratna trayaye saluting triple jewels.
4.3 Structure of Mandala
A Mandala is a spiritual and ritual symbol in Newar Buddhism, specifically in Vajrayana Buddhism, representing the universe. In common use, “mandala” has become a generic term for any diagram, chart or geometric pattern that represents the cosmos metaphysically or symbolically; a microcosm of the universe.
The basic form of most mandalas is a square with four gates containing a circle with a center point. Each gate is in the general shape of a T. Mandala often exhibits radial balance. In order to get free from sorrowful life of circle, Newar Buddhists practice Mandala. Here, an attempt is made to know the status of Tri-ratna in the form of Mandala in Newar Buddhism. Tri-ratna Mandalas equally symbolized as Buddha, Dharma and Sangha.
4.4 Buddhas and Buddha Mandala (Pancha Buddha)
Nepal mandala is the special center for Vajrayan Buddhists. Vajrayan Buddhism was on a prosperous stage from eighth to twelveth A.D in India. It has helped to protect Buddhism in Nepal in the form of customs and tradition. The philosophy of Vajrayani Buddhism is very strong and progressive. Saswatvajra, Suratvajra, Bakvajra, Shatikaracharya, Bandhudutta are some of the good natured teachers who have displayed unmatched talent.
Tri-ratna has a special place in Buddhism. Tri-ratna signifies Buddha, Dharma and Sangha. Anyone who wishes to become a follower of Buddhism in any country or society has to take refuge in Tri-ratna. They have to recite “Buddham saranam gachhami, Dhammam saranam gachhami and Sangham saranam gachhami” three times when they take refuge in Tri-sarana. In this way by promising with their body, speech and mind to go into tri-sarana, they practice discipline, meditation and knowledge.
It is also compulsory in Vajrayan Buddhism to go into refuge of tri-ratna. Besides going into refuge of Tri-ratna with mind, speech and work, Buddhist followers have to build Buddha Mandala, Dharma Mandala and Sangha Mandala (also known as Tri-ratna Mandala) and have to worship them. The goal behind building Mandala and worshipping it is to read, understand and adopt Tri-ratna philosophy.
As per Vajrayan tradition, Panchabuddha and four goddesses are also included while building Buddha Mandala for all those Buddhas who represent Tri-ratna. It is believed that Vairochan Buddha resides at the center of Mandala. Similarly, it is believed that Akshobhaya lies to the east, Ratnasambhava to the south, Amitabh to the west and Amoghasiddhi to the north of the mandala. Likewise, in the four sub- directions of the Mandala it is believed that four Tara deities reside, according to which Lochani lies in the Northeast corner, Mamaki lies in the Southeast corner, Pandura lies in the southwest corner, Arya tara lies in the Northwest corner. During Panchopachar worship, “Om Vairochanaya Swaha, Om Akshobhyaye Swaha”, etc mantras are recited and flowers are offered.
Panchabuddha and tara devis are not Manus buddha and deities. Mahayan buddhists believed that in this universe countless people can achieve enlightenment. In Thervada texts we can find that along with Shakyamuni 28 Manus Buddhas are mentioned. Mahayan considered Dipankar tathagat and believe that from Satyayug to till date seven Manus Buddhas have appeared on the earth. But in Buddha mandala instead of manus Buddha representative of Buddha gyan is incorporated in Pancha Buddha.
Profound doctrine of Panchabuddha can be found in Vajrayan Buddhism. Pancha Buddha symbolizes Pancha gyan which is the part of five aggregates. This epitomizes Buddhabeej. Those who adopt Pancha Buddhas philosophy and knowledge through deep analysis and understanding as well as practice will ultimately become Manus Buddha. That is why those who want to become enlightened need to understand Pancha Buddha’s philosophy.
Shakya Muni Buddha gained enlightenment by adopting this philosophy and became Buddha. Panchabuddha represents this whole universe. This whole world, living and non-living, is made up of five aggregates. Five aggregates is composed of rupa, vedana, sangya, sanskar and vijnana. For simplification they are divided into Nama and Rupa. The sole universe is Nama and rupa. Nama includes vedana, sangya, sanskar and vijnana. Everything that our five sense organs can perceive is called rupa. Rupa includes all shapes, sizes, colour and the three states of matter – Solid, liquid and gas. Pancha Aggregates on the whole is the Panchabuddha. On this topic Guhyasamaj tantra has written – k~r:sGwf ;df;]g k~ra¢f k|sLlttfM .
Pancha buddha represents five types of direction, colour, matter, organs, aggregate, season, time, taste, letters, lineage and knowledge. Similarly, panchaabuddha’s gesture, symbol, vehicle, bodhisattva, tara devi depict different philosophies.
In Newar Buddhism, triple gems are respectively regarded as symbol of Buddha, Dharma and Sangha in the form of Mandala. In Newar Buddhism, except Shakyamuni Buddha the association of five transcendental Buddhas like Vairochan, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi and their female consorts namely Lochani, Mamaki, Pandara, Aryatara and Vajradhateswori are also worshipped.
Vairochana Buddha is regarded as first Dhyani Buddha by the Nepalese Buddhist. He is white in color. His gesture is Dharmachakra mudra. This hand gesture is primarily associated with Buddha Shakyamuni’s first preaching of the Dharma. In this mudra the two hands are held near the chest, right palm outward, with thumb and index finger joined and left palm turned inward. His recognition symbol is Chakra. He represents Mirror like Wisdom(Skt. Suvisuddha dharma dhatu jnana) i.e. knowledge free from all kinds of obscuraion. He represents Rupa (form) of five aggregates. He is not a historical Buddha like Shakyamuni Buddha. According to Nispannayogavali, Vairochan Buddha is represented as Vajradhatu Buddha who is four faced and eight armed. His four faces are white, yellow, red and green color. His first pair hands holding Vajra and displaying dharmachakra mudra, the second pair shows dhyana mudra and the third pair holds a rosary and an arrow and the last pair holds a discus and a bow.
Akshobhya is next important among the Dhyani Buddhas. He is regarded as the second Dhyani Buddha by the Nepalese Buddhists.
He is two armed and one –faced and exhibits the earth touching gesture (Skt. Bhumisparsa mudra). This gesture is associated with Shakyamuni Buddha who, when challenged by Mara invoked the earth goddess to bear witness to his right to his seat. In other words, it is a gesture that certifies that one has attained enlightenment. His recognition symbol is Bajra. He symbolizes Mirror like Wisdom (Skt. Adarsa jnana) which means the wisdom like space, all pervasive, without periphery and without characteristics. He is the centre of purified form of hatred. As in a mirror every visible objects reflect so the knowledge of dharmakaya reflects in our mind.
Ratnasambhava Buddha Ratnasambhava is regarded third Dhyani Buddha in order. His recognition symbol is the jewel and he exhibits the Varada Mudra (gift bestowing). He is yellow in colour. His left hand rests on the lap with open palm and right exhibits the Varada mudra. His left hand is seen holding an alms bowl, symbolizing renunciation. In Sanskrit varada means ‘granting a boon’. Here Varada represents the giving of the path to enlightenment by Lord Buddha. The Path of Enlightenment refers the eightfold path or the five paths. He symbolizes the wisdom of equality (Skt. Samatajnana). He represents the purified form of defilement pride.
Amitabha is the most ancient among the Dhyani Buddha. He is of red color. He is shown seated in a meditative position; hence his mudra is called Dhyanamudra. Here, the hands with palms upturned, lie one on the other on the lap with the two thumbs touching one another. This gesture signifies the unity of wisdom and compassion. His symbol is a lotus, representing purity. His recognition symbol is Padma. He represents the wisdom of discriminating awareness (Skt. Pratyavekshanajnana), which helps us to realize non-production or non-origination of all things.
Amoghasiddhi is the fifth Dhyani Buddha in order. He is of green colour and his recognition symbol is Viswa Vajra or the double thunderbolt. His left hand lies open on the lap and the right exhibits the Abhaya mudra which is the gesture of fearlessness and protection. It is said that one gains this fearlessness by following the Bodhisattva path. He represents all the accomplishing wisdom (Skt. Krityanusthan jnana) and also represents purified form of jealousy.
Female consorts(Prajna)
Most of the modern scholars use the word Female consort (Buddha Shakti) for these five deities i.e. Lochani, Mamki, Pandara, Arya Tara and Vajradhatvesvari. A recent study of Prof. Mallar Ghosh has thrown a light on the historical development of handling these deities. The description of these deities are as follows-
Lochani
Lochani is white in complexion. She belongs to Tathagata kula. Her recognition symbol is a wheel. She is said to be Prajna of Vairochan. She is seated in Lalita asana and displays Varada Mudra with her right hand. Her left palm is in the chest. She holds the stalks of lotus with her both hands supporting a Vajra. In Hevajra tantra and its explanation it is said that Lochani, Mamki, Pandara and Arya Tara symbolizes the four elements i.e. earth, water, fire and air. She has different forms some peaceful some wrathful. According to different Mandalas, she can be found in two, six and eight armed. While worshipping Gurumandala, Vajracharya priests make offerings to the five Dhyani Buddhas and their Prajnas.
Mamki
Mamki is Blue in complexion. She is embodiment of water element. She belongs to Vajra family and is the nature of hatred. Her recognition symbol is Vajra. She is the consort or Prajna of Buddha Akshobhya. She also has many forms. She resides in south west corner. She can be found in two, six, eight and twelve armed forms. In two armed form she can be seen holding Vajra with her right hand and her left hand resting on thigh. Similarly, in another case she is seen representing Varada mudra with her right hand and holding stalk of an utpala with her left hand.
Pandara is said to be the Prajna of Amitabh Buddha. She is the embodiment of fire element and thus is red in color. She is also the embodiment of passion or lust when transmuted it becomes wisdom of discriminating awareness. Her recognition symbol is the lotus held in one of the hands. Nepalese Buddhists frequently mentions five Dhyani Buddhas and their Prajnas while worshipping the Gurumandala.
Tara is said to be the Prajna of Amoghasiddhi Buddha. She is the embodiment of air element and is thus green in color. She is also known as the name of Irsyarati (the nature of jealousy).When the defilement jealousy is transmuted it becomes all accomplishing wisdom (Skt. Krityanustan jnana). She belongs to Karma family. She too has many forms i.e. two armed, six armed and eight armed.
Vajradhatveshvari
Vajradhatveshvari is said to be the consort of Buddha Ratna Shambhava. She is the embodiment of empitiness or the space element. She is yellow in colour. She is surrounded by four Prajnas i.e. Lochani, Mamki, Pandara and Tara.
She has various forms viz. two armed, six armed and eight armed. She is seated in Lalita asana. In two armed form she represents Varada mudra holding the stalk of a lotus supporting a jewel with her right hand. Similarly, her left hand represents Vitarka mudra holding the stalk of a lotus supporting a jewel.
Pancha-Budhha cult is in practice in Nepal from the ancient time. Newar Buddhists honour, worship and remember Pancha-Buddha during any auspicious action. When some auspicious activity is carried out, figure of Pancha Buddha is painted in the entrance gate or front walls of the building of the doer. If we see the existing viharas and Mahaviharas(Baha & Bahi) of Kathmandu Valley, we find main deity or kwa pa dyo of the shrine to be one from Pancha-Buddha. Similarly, most of the Stupas and Caityas contain Pancha-Buddha in four cardinal point-Vairocan in the centre, Aksobhya in the east, Ratnasambhava in the south, Amitabha in the west, and Amoghsiddhi in the North. Seniormost elders and the ritual performing Vajracharyas wear a special crown of Pancha-Buddha called ‘Mukha’ during religious ceremonies. In ritual and Buddhist art, the Buddha is shown through Buddha-Mandala. The set of deities for Buddha-Mandala are the Pancha-Buddha and four Taras(Lochani, Mamki, Pandara, Arya Tara).
4.6 Philosophical aspect of Buddha Mandala
Actually, the term Vihara, refers to the Buddhist monastery, the place where the bhiksu-sangha live. Where, the monks, nuns and the followers take the refuge in Tri-ratna i.e. the Buddha, the Dharma and the Sangha. It is generally known as Tri-sarana. In Buddhist Vihar, the Vikksu Sangha and the followers practice Tri –ratna by reciting Tri-ratna Bandana everyday. It has been written in Pali language. Tri-ratna Bandana in Pali language with its meaning is as follows:
Tri–ratna Vandana (Pali with meaning)
Namo Tassa Bhagavato Arahato Sammasambuddhassa
Namo Tassa Bhagavato Arahato Sammasambuddhassa
Namo Tassa Bhagavato Arahato Sammasambuddhassa
Iti'pi so bhagava araham sammasambuddho
vijjacaranasampanno sugato
lokavidu, anuttaro purisadammasarathi
sattha devamanussanam
buddho bhagava'ti
Buddham jivitapariyantam saranam gacchami
Ye ca Buddha atita ca
Ye ca Buddha anagata Paccuppanna ca ye Buddha
Aham vandami sabbada
N'atthi me saranam annam
Buddho me saranam varam
Etena saccavajjena
Hotu me jayamangalam
http://www.thebuddhistcentre.com/translations
Such indeed is He, the Richly Endowed: the Free,
the Fully and Perfectly Awake, Equipped with
Knowledge and Practice, the Happily Attained,
Knower of the Worlds, Guide Unsurpassed of Men
to Be Tamed, the Teacher of Gods and Men, the
Awakened One Richly Endowed.
All my life I go for Refuge to the Awakened One.
To all the Awakened of the past,
To all the Awakened yet to be,
To all the Awakened that now are,
My worship flows unceasingly.
No other refuge than the Wake, Refuge supreme, is
there for me.
O by the virtue of this truth,
May grace abound, and victory!
Buddhist teachings are regarded as Dharma and these are contained in Buddhist scriptures. True dharma is discerned by understanding the contents and essence of Buddhist scriptures. So, Buddhist scriptures are considered as Dharma. For the same reason the whole range of tripitaka(Sutra-Pitaka, Vinaya Pitaka and Abhidharma Pitaka), the holy Buddhist scriptures is regarded as Dharma. Similarly, in Newar Buddhism there are nine holy texts- Prajnaparamita sutra, Saddharmapundarika sutra, Lalitavistara sutra, Gandavyuha sutra, Lankavatara sutra, Suvarnapravasa sutra, Samadhiraja sutra, Dasabhumika sutra and Tathagataguhyak sutra taken as the Dharma. They are called Navavaipulya sutras which are even worshipped in Nepalese monasticism. Among these nine texts, Asta Sahasrika Prajnaparamita is the most important and is taken as the symbol of Dharma Mandala in Newar Buddhism.
Navasutra Grantha
Although the introduction of Mahayana sutras into Kathmandu valley cannot be definitely ascertained presumably from the available sources some of these Mahayana sutras which had attained great popularity in Nepalese Buddhism had appeared as early as 4th century A.D. The most important Mahayana texts that moved the religious feelings of the Nepalese Buddhists for centuries and still continuing to do so are given below.
Lalitavistarasutra
Lalitavistara sutra in a biographical account of lord Buddha whichenumerates the twelve principal deeds. According to M. Winternitz, we also find a Tibetan translation in vol 95 mDosDe of Kanjur, folio 1-216, it is called Arya Lalitavistara nama Mahayana sutram” The Translators were Jinamitra, Danashila, Muni Varma and Yeses-sDe. This Tibetan translation was edited and translated into French by Fou caux, Paris 1847-48.
Lalitavistara gives up a picture of Lord Buddha as being more superhuman than human and yet it is far from the conception of the Trikaya Doctrine of Nirmanakaya, Sambhogakaya and Dharmakaya. It says that Lord Buddha appeared in the samsaric existence for the benefit of sentient beings and he behaved as such and followed the ways of the world. This was his lokanuvartanacarya. At one instance Lord Buddha explained to Ananda that unlike ordinary human beings he did not stay in the filth of the mother’s womb but in a jewel casket (ratnavyuha). In one of the chapters Prince Siddhartha exhibited excellence in all the arts and skills prevalent in those days to show his cultured nature. In the last chapter there are some epithets ascribed to Lord Buddha showing his knowledge of Dharmakayajnana. Of course it was a treatise of the Sarvastivada who viewed Buddha as a human being with superhuman attributes.
This sutra was translated into Chinese in 255 A.D. According to Har Dayal, the earliest part of the text (chapter I-XX) may belong to the first century B.C. In this sutra, it is clearly stated that lord Buddha preached one system not three i.e. Buddhayana, and the presentation of three yanas was an example of his skill in the employment of the means. The concept of Triyana, Upayakausalya (skill in means) and mahakaruna is thus explained. In regard to the concept of lord Buddha asa human being who is both transient and mortal as ourselves according to sravakayana literature, Lord Buddha is shown as an eternal principal who has long before attained enlightenment and his great compassion is substantiated by repeated rebirths and preaching activities. Again the place has been shifted from Bodhgaya to gridhkuta hill where most of Mahayana sutras were preached.
The sutra in its original form was translated into Chinese in A.D. 397-439. It contains the discourses of lord Buddha delivered for the benefit of goddesses like laxmi, Saraswati and others. It also contains an interesting discussion on the doubts raised by bodhisattva Ruchiraketu on the life span of Lord Buddha. A story relating to the namo Buddha hill near Kathmandu valley is mentioned therein.
This sutra was translated into Chinese in 450 A.D. Chandrakriti uses the name Samadhiraja. In this sutra the principal interlocutors are lord Buddha and Chandraprabha and the scene is laid on the Gridhkuta hill. The subject matterof this sutra is different types of Samadhi based on equanimity, sunyata and bodhichitta to be acquired by a bodhisattva in course of his career. Samadhiraja sutra relates a very interesting story called Supuspachandra. Ananda asked lord Buddha why the bodhisattvas feel no pain even when their limbs are torn asunder. Lord Buddha replied, just as a worldly minded man, every part of whose body is burning with the fire of sin, yet feels pleasure without the fire being extinguished and he knows no pleasure but in the pursuit of gain so does a Bodhisattva, who is desirous of escaping from the burning fires of grief, birth and decrepitude and longs to obtain Nirvana, feels no pain from such trifling matters as the amputation of a hand or a foot.
Lankavatara sutra seems to have been translated into Chinese in A.D. 443,513,700 and 704. In this an attempt has been made to explain such terms as Tathagatagarba, Alayavijnana, Citta matra, Tathagata, Trisvabhava, Two truths, Transformation etc. It begins with the dramatic introduction of Lord Buddha in the island of Sri lanka ruled by Ravana. But it is to be noted that this ravana has nothing to do with the Ravana of Ramayana. In chapter Eight, a discourse on the prohibition of eating meat by the bodhisattvas is given in great detail, perhaps because of excessive consumption of meat in those days. Gandavyuha sutra
Gandavyuha sutra is a part of an encyclopedic sutra called the Avatamsaka sutra. It consists the story of the quest of Sudhana, the merchant’s son to learn the ways of the Bodhisattva for the attainment of Buddhahood. Sudhana searched for several benevolent friends, thereby gradually learning from them the qualities of Buddhahood. Another profound effect produced by this sutra is the conception of the bodhisattva Samantabhadra’s ten great vows and the practice of sevenfold worship in Nepalese Buddhist Society. The last section of the work called ‘Samantabhadracharya pranidhan’ has been a favourite theme for all seekers of the Bodhisattva path.
Dasabhumika sutra was translated into Chinese in A.D. 256-316. It is also regarded as a part as a Avatamasaka sutra. It contains the ten spiritual spheres or stages called ‘Bhumi’ or Bodhisattvas viz. 1) Pramudita 2) Vimala 3) Prabhakari 4) Archismati 5) Sudurjaya 6) Abhimukhi 7) durangama 8) Acala 9) Sadhumati and 10) Dharmamegha. It opens with the introduction of Lord Buddha amidst the gods and the bodhisattvas in the heaven of Indra. Here the Bodhisattva Vajragarbha prays to Lord Buddha to explain the ways to attain Buddhahood. Lord Buddha then addressed the assembly and explained the ten stages of the Bodhisattva path.
Astasahasrika Prajnaparamita sutra
There is a large body of literature in the name of Prajnaparamita. Prof. Rhuso Hikata gives as many 27 works under this title. All of them are not available in the original Sanskrit. Some of them are also known from Tibetan and Chinese translations. The text has 32 chapters and it is a mixture of narration, philosophical treatment, merits of the work, difficulties and obstacles in acquiring the knowledge of Prajnaparamita. A lengthy account is given about the difficulty of finding a worthy Kalyanmitra. Practice of five paramita is emphasized for acquiring the knowledge of Prajna. The importance of the practice of Bodhicitta is stressed. Philosophical concepts of five aggregates, twelve sense spheres and eighteen elements of existence are described. The concept of Sunyata is described in detail. An interesting story of Bodhisattva Sadaprarudita’s quest for prajnaparamita and his meeting with the teacher Bodhisattva Dharmodgata is described in Chapters 31 and 32.
The Astasahasrika was translated into Chinese in 659 A.D. and was assigned to the first Century. The recitation of Astasahasrika prajnaparamita is a common practice among Nepalese Buddhists in the monasteries of Patan and Kathmandu. Hiranyavarna Mahavihara of Patan has a copy of Astasahasrika Prajnaparamita written in gold which commands special worship and ceremony before recitation by the vajracharyas till date.
Tathagata Guhya sutra also known as Guhya samaja Tantra is one of the earliest Buddhist Tantras containing an exposition of the leading topic on Vajrayana, viz Mandala, Nyasa, Japa, Abhiseka, Guhya, Samaja, Bodhicitta, Mudra, Jnanacakra, Panchamrita, etc. It gives an interesting account of the origin of the mandala oaf five Dhyani Buddhas,viz. Vairocana, Akshyobhya, Ratna Sambhava, Amitabha and Amoghsiddhi. It is stated in Guhyasamaja that Buddhahood may be attained within the shortest possible time and even in one life time if one practices under a perfect Vajrayana Guru. The life of the 84 Siddhas and biographical accounts of a number of Buddhist masters from four Tibetan sects testify this claim. Guhya samaja Tantra is composed in Sangiti form and the description of the assembly is fairly elaborated as in the early Sangiti as Gandavyuha and Manjusrimulakalpa. In later Sangiti literature the description of assembly is somewhat short and concise. Thus, these tantras also find a place in the Kangyur collection as the words of the Buddha.
4.5.2 Structure of Dharma Mandala
In Mahayan Buddhism, eight chief Bodhisattvas hold a very special position. These Bodhisattvas have great compassion and wisdom. They have been working for the welfare and benefit of the sentient beings. The list of eight bodhisattvas are as follows:
Manjushri is one of the most important of the Bodhisattvas in Mahayan Buddhism and is mainly associated with the wisdom of awakening. He is seated crossed leg on a lotus- flower throne. He is seen holding the flaming sword of wisdom with his right hand and a book called Prajnaparamita with his left hand. Manjushri can also be recognized as Manjughosa. Manjughosa is of golden colour. Manjushri influenced Bodhisattva Sadhana to endeavour the Dharmas of Enlightment from 53 Spiritual friends (kalyanmitras), which is mentioned in Gandavyuha sutra. Manjushri has numerous forms. He has many names such as Manjuvajra, Manjughosa, Vagishvara, Arpacana etc. In Mahayan Buddhist tradition he is regarded as having supreme wisdom among Bodhisattvas. In Namasangiti text he was entitled as Adi-Buddha, the primordial Buddha i.e. embodiment of all self existing awareness. He is said to have cut the gorge of Chovar hill with his flaming sword Chandrahasa and let the waters flow out and thereby opened the valley for human habitation and extended Buddha Dharma.
ii)Avalokiteshwor
Ksitigarbha is prominanced for his great compassion and vows for the sake of suffering beings staying in the hells. It can be seen that he is yellow in colour in Dharmadhatuvagisvara Mandala. He is in a standing gesture where he shows vitarkamudra with his right hand and varadamudra with his left hand. He is represented wearing fivefold ornament. His symbol is the Cintamani jewel, which is in the form of a flaming pearl, supported by a lotus flower. He is also depicted in a seating gesture holding a staff with his both hands. It is also mentioned that he is green in colour having jar in one hand and shows abhaymudra with the other hand according to the Sadhanamala. The basic quality of ksitigarbha is his great vows (to help and liberate all sentient beings residing in the hells).
Sarvanivarana Viskambhi
Bodhisattva Sarvanivarana viskambhi is also a celebrated Bodhisattva indicated in the Guna Karandavyuha sutra who erases all the sins of the devotees. He is either blue or white in colour. He exhibits the earth-touching gesture (Bhumisparsa mudra) with his left hand and Santikaran mudra with his right hand (thumb and index finger being joined to form a loop). He holds a sword (Kharpana)with his right hand and holds the banner marked with a Viswavajra in his left hand.
Akasagarbha Bodhisattva belong to the group of the eight great bodhisattvas whose ‘essence is space’. ‘Akasa’ and ‘Kha’ mean the sky or boundless space. He is also called Khagarva. He is depicted in standing position with his hands in vitarka mudra and varada mudra. His symbol is the sun upon a book. It is mentioned in Dharmadhatuvagisvara that he is green in colour and showering gems with his right hand and holding a wish fulfilling gem in his left. His hair is drawn up in a stupa shaped unisa, like Maitreya. His merit and virtue are unparalled. It is said that he is twenty yojanas in height, manifesting a vast body. He wears a crown where thirty-five images of the Buddhas of confession can be found. His power of compassion is similar to Avalokitesvara. It is also said that when a fresher bodhisattva carries out a crime and confesses just once before Akasagarbha Bodhisattva their evils will be abolished and they will be purified immediately.
Maitreya is a Bodhisattva who in the Buddhist tradition came into sight on Earth, to achieve complete enlightenment, and teach the pure Dharma. He is regarded as the Buddha to be born in future, hence is called future Buddha of this fortunate eon. Before leaving the Tusita heaven Shakyamuni Buddha has announced that Maitreya would be his successor in Lalitavistara sutra. According to Nispannayogawali, Maitreya is golden in colour. He depicts the Dharmachakramudra with his two hands. Whereas, the other two hands represents varadamudra in the right and the twig of a Nagakesara in bloom in the left. |Maitreya is also yellow and show the Naga twig flower and the varada mudra, in the Sadhanamala.
The four Bodhisattvas represent the four basic qualities of the Buddha namely, Manjushri for great wisdom; Avalokitesvara for his great compassion; Ksitigarbha for his great vows (to help and liberate all sentient beings residing in the hells); and Samantabhadra for his great meritorious deeds. His deeds are disclosed in the Gandavyuhasutra. His most popular practice, known as Samantabhadra carya (the hymn extolling his vows), is a household name for Nepalese Buddhists. He can be seen with the crown, ornaments and pricely garments of a Bodhisattva. He carries a wish fulfilling gem (cintamani) with left hand and bear a blue lotus at his left shoulder. His right hand represents vitarka mudra. His gesture may be either seated or standing. Samantabhadra emerges in the Dharmadhatuvagisvara Mandala according to Abhyakargupta in Nispannayogavali. He is explained as yellow in colour an shows the gesture of giving (varadamudra) with the right hand and holds a sword with the left hand. He can also be depicted as golden yellow in color, grasping a bunch of jewels with his right hand and resting his left hand on his hip.
Gaganganja
Ganganganja is also one of the great Bodhisattva among the group of eight Bodhisattvas. He is either yellow or red in colour. In some case, he is represented as of golden yellow in colour. His symbol is Kalpa tree. In his left hand he holds vajra and his right hand points to the sky. In Dharmadhatuvagisvara Mandala it is said that he holds a wish fulfilling gem with his right hand and cornucopia (bhadraghata) with his left.
Bodhisattva Vajrapani is the embodiment of power of Lord Buddha’s compassion. Vajrapani is said to be a travelling companion of Shakyamuni Buddha. He is always depicted in a furious manner. His body is blue in colour and his hair is yellow ochre in colour. We can see Vajra, holding in his right hand and his left hand usually shows vitarkamudra. He is usually depicted with two arms, but four armed type are also known. His eyebrows are like flame, and he has a curly moustache and beard. He has a wide and wild roaring mouth rimmed with moist red lips. He wears a tiger pelt around his waist. Under his feet he controls and subdues two live snakes.
Chapter V
Practices of Tri- Ratna Mandala in Newar Buddhism
5.1 Practices of Tri-ratna Mandala in life cycle ritual (10 Karma)
Dasakarma is related to natural processes. As human civilization evolved, humans started to associate customs and traditions to natural processes- conception, menstruation, birth etc. There seem to have various methods of practicing life cycle ritual. Whereas, Dasakarma is popular in Newar Buddhism. While practicing Dasakarma, there are various rites where Tri-ratna Mandala seem to be worshipped. There are various phases in Dasakarma which are as follows -
A. Garvadhana karma
In Buddhism Garvadhana karma is conducted to provide sex education to young girls. It is to impart knowledge regarding menstruation and its complications. Since people do not feel comfortable talking about sex education in open, they keep young girls in a room to provide sex education where males are not allowed to enter the room.
Garvadhana karma is performed between the age of eleven and thirteen before a girl gets her first menstruation. The girl is kept in a room concealed from sunlight for twelve days. This custom is also called Bahra teygu (Gufa rakhne). On the twelfth day of Gufa, bajracharya priest brought in to perform Kalasharchan puja. Under his guidance, the girl is brought to the place where puja is being conducted and asked to worship Gurumandal, Jwala Nhyaaka, Sinhamu and Sukunda. Then Buddha, Dharma and Sangha Mandala must be worshipped accordingly.
B. Punsavan
Punsavan is performed between three to six months of pregnanacy. This ritual is performed in the hopes that the child would be a boy. The reason for wanting a boy child as per Buddhism is that only a man can become Buddha. In this ritual the pregnant women is made to take Uposatha Vrata or Amoghpasa lokeshwor’s Astami Vrata. During Astami Vrata, Gurumandala is drawn and Budha, Dharma and Sangha are worshiped at the beginning of the puja. In many Buddhist stories it is written that whoever takes Astami Vrata will be blessed with a baby boy.
C. Simantopanayana karma
Simantopanayana karma is performed in the eighth or ninth month of pregnancy. During last stage of pregnancy, the woman has strong cravings for different types of delicious food which she cannot tell to her parents in law and her husband. So either her parents go to her house or she is called to their house and served verities of dishes such as curd, beaten rice and sweets. The reason for performing Simantopanayana karma is to increase self-esteem of the pregnant woman so that she and her child will be healthy.
D. Jatakarma
When a child is born, it is believed that family of the child cannot perform any religious activities, customs or traditions until Jatakarma (macha bu byenke) is carried out. Jatakarma is performed within a week of the child’s birth. During this ritual both mother and child are bathed and given new clothes to wear. Vajracharya priest gives Kalashabhiseka and blessings to the child after performing Gurumandala puja and other puja. According to astrology jata or chinho is made by Vajracharya jyotish on an auspicious day. In Patan, it is common to perform namakaran (give name to the baby) along with Jatakarma.
E. Namakarma
Namakarma means to give name to a new born child. Namakarma is performed on tenth, twelveth or twentieth day of the child’s birth. A baby boy is named after Buddha or Bodhisattvas and a baby girl is named after Goddesses. Generally, boys are named Buddharatna, Dharmamuni, Sangharaj , Devmuni etc. and girls are named Bishakha, Krisha, Pragya, Sujata, Tara etc. The reason for using such names is to preserve Buddhist culture.
F. Annaprashan
Annaprashan or Janko is that ritual in which an infant is given solid food for the first time for his/her physical development. Annaprashan is conducted on the sixth month for a baby boy and on the fifth month for baby girl. It can also be conducted on the eighth month in case of delay.
Chuda karma or busan khya is performed when a child gets his first haircut. In this ritual, Guru Vajracharya performs Kalasharchana puja. After completion of Sisyavivasan karma, the senior most of house pretends to cut the child’s hair by using silver and gold knife. Then, barber cuts the remaining a short length of hair ( Skt. Chuda). During this rite, Kalasharchan rites including Tri-ratna is performed. Besides, the boy must take refuge of Triratna during this Chuda karma.
H. Vratadeshana karma
The ritual performed when a child is sent to a Gurukul for the first time to start learning is called Vratadeshana karma. In Buddhism, monasteries are the center for learning and religious exercises. Gurukul are the center of learning. Hevajra, Chakrasambhara and other related lessons are taught in monasteries. Similarly Uposatha vrata, Gatila vrata, Tara vrata and other religious activities are taught and practiced in monasteries.
Vratasamavartan ( End of School life)
This ritual is performed when a student returns home from Gurukul after completing all his studies. This is a type of Convocation ceremony.
As practice in Nepal Mandala at present, above mentioned three rituals are undertaken during Chudakarma.
J. Pannigrahana
Pannigrahana in Sanskrit means to observe hand which indicates marriage. It is a marriage ritual. The marriage ceremony is also known as kanyadaan. This ritual establishes a man and a woman as a husband and a wife. Marriage is also regarded as one of the practices of Vajrayan Buddhism. In Pannigrahana karma Auspicious Hymn (Mangala gatha) is read out in melodious voice and blessings are bestowed to the bride and groom. After that Auspicious Hymn (Asta Mangala gatha) is recited in soundly and the couple is given blessings of Vajrasattva, Buddha, Knowledge of soullessness as well as Buddha, Dharma and Sangha.
5.2 Practices of Tri-ratna Mandala in Ordination
Ordination is also known as Chudakarmabhiseka. Chudakarmabhiseka is the first ordination which entitles a boy to become a member of the Buddhist community (samgha) to which his family belongs. This ceremony is generally performed when the boy is between five and twelve years of age. The ceremony is popularly known as bare chuyegu (New.) and is performed in the bahah (monastery) to which his lineage belongs. After the ordination the boy is called Sakya Bhiksu or Cailaka Bhiksu Sakya or Buddhacarya Bhiksu Sakya. Some boys who are ordained in bahi are known as Brahmacarya Bhiksu Sakya. All of this is standard Mahayana and tantric Buddhism; what is unique is the lifestyle of the sangha and the viharas in which they live.
While performing ordination ceremony, there are unique worshipping procedures of Triratna Mandala. As mentioned in the text named Chudakarma, during ordination a boy must take refuge of Triratna. Firstly, a flower is offered to five dhyani buddhas and four taras accordingly within the Buddha mandala.
Similarly, during this event, the following hymn is recited
om buddha mandalay sarvabighnanuchhadaye hum
om arya vairocanaye vajrapuspam praticcha svaha (Center)
om arya akshobhyaye vajrapuspam praticcha svaha (East)
om ratnasambhavaye vajrapuspam praticcha svaha (South)
om amitabhaye vajrapuspam praticcha svaha (West)
om amoghasiddhi vajrapuspam praticcha svaha (North)
om lochanitararyei vajrapuspam praticcha svaha (Southwest)
om mamkiyein vajrapuspam praticcha svaha (Southeast)
om pandulayei vajrapuspam praticcha svaha (Northwest)
om tarayei vajrapuspam praticcha svaha (Northeast)
Accordingly, this process goes ahead and Panchopachar puja is done. Then following hymn is recited:
buddham trailokyanatham surabaranamitam para sansaar tiram
dhiram gaamviryabantam sakala gunanidhi dharmarajabhisiktam
trishnaamohanadhakaran kalikalusaharan kaamlo bhagyawantam
tanwande shakyasingha pranmitasirasaa sarva kaalan namami
After completion of Buddha Mandala’s worshipping, worship of Dharma Mandala begun. Where, a flower is offered to nine sacred texts according to Dharma Mandala. The worshipping process of Dharma Mandala is as follows:
om dharma mandalay sarvabighnanuchhadaye hum
om arya prajnaparamitayei vajrapuspam praticcha svaha (Center)
om arya gandavyuhayu vajrapuspam praticcha svaha (East)
om arya dasabhumiswaraye vajrapuspam praticcha svaha (South)
om arya samadhirajaye vajrapuspam praticcha svaha (West)
om arya lankavataraye vajrapuspam praticcha svaha (North)
om arya sadharma pundarikaye vajrapuspam praticcha svaha (Southwest)
om arya tathagata guhyakaye vajrapuspam praticcha svaha (Southeast)
om arya lalitayistaraye vajrapuspam praticcha svaha (Northwest)
om arya suvarnaprabhayei vajrapuspam praticcha svaha (Northeast)
After that Panchopachar puja is done and again the following hymn is recited.
ya sarvagyataya nayatyapasamam shantaisina shravakan
ya margagyatayaa jagadwitkritam lokartha sampadika
sarvakaramidam badanti munyo viswom yayaa sangataa
tasmai shrabak bodhisattva ganinam buddhasya matray namah
After completing worship of Dharma Mandala, worship of Sangha mandala begun. While worshipping Sangha Mandala flowers are offered to eight Bodhisattvas according to Sangha Mandala. Similarly, the event is continued by reciting the following hymn:
om samgha mandalay sarvabighna nuchhadaye hum
om aryavalokitesvaraye vajrapuspam praticcha svaha (Center)
om maitreya vajrapuspam praticcha svaha (East)
om gaganganjaye vajrapuspam praticcha svaha (South)
om samantabhadraye vajrapuspam praticcha svaha (West)
om vajrapanaye vajrapuspam praticcha svaha (North)
om manjughoshaye pundarikaye vajrapuspam praticcha svaha (Southwest)
om sarvanivarana vishkambhine vajrapuspam praticcha svaha (Southeast)
om ksitigarvaye vajrapuspam praticcha svaha (Northwest)
om khagarvaye vajrapuspam praticcha svaha (Northeast)
Accordingly, this process goes ahead and Panchopachar puja is done. Then following hymn is recited:
buddham namami satatan baradapadamapanni
maitryatamakan gaganganja samantabhadram
yachhadhipam parahitodhyata manjughosham
viskamvinam ksitigarbha pranamami bhaktya
Disciples recite the hymns to embark on the path of the three jewels
ahamithamnama yawajjivam buddhasya saranam gacchami dwipadanamagrama
ahamithamnama yawajjivam dharmasya saranam gacchami viraganaamgrama
ahamithamnama yawajjivam samghasya saranam gacchami gananaamagrama
Like this, the process of worshipping Tri-ratna during ordination ends.
5.3 Practices of Tri-ratna Mandala in Vrata ritual
5.3.1 Meaning of Vrata
In Buddhist literature, it is written that Vrata is a type of religious practices, religious discipline etc. According to Vajrayan Buddhism, Vrata is a tool to lead to the path of Bodhisattva through living a virtue, purified life and realization of impermanence, suffering and non-self. Vrata means to abstain from eating any food. It is also called fasting in English. In Buddhism, it is also stated that Vrata means to take refuge in triple gems, to comply with eight precepts to withdraw from ten immoral actions to accept Buddhism as guide to life and practice it.
Among many Vratas, the Astami Vrata, Gatila Vrata, Dharmadhatu Vrata, Aryatara Vrata, Caturdasi Vrata are most popular in Newar Buddhism. In some occasion, the Manjushri Vrata, Pancaraksha Vrata are also performed.
In the modern Newar Vratas, there is a standard structural order: led by Vajracharya priest (with his Vajracharya Assistant), layfolk worship a Guru-mandala that includes all major deities of the Mahayan Buddhist cosmos. In the Guru mandala puja they take refuge, repeat the Bodhisattva vow and recite the paramitas and eightfold path. After performing the Vrata in unison they make a series of offerings, first to three Mandalas dedicated to each refuge in the Triratna then on another mandala on which the divine being of the vrata is depicted. For those conversant in the practice, the visualization meditation is part of this last offering.
The central rituals in almost every Vrata are the priest’s Kalasha puja to the Vrata deity, taking refuge in the Tri-ratna Mandalas (Buddha, Dharma and Sangha) and sets of offerings to the Vrata deity, again on a Mandala. Most text specify that the Vajracharya should explain the Mandala symbolism and tell the story (Katha) related with a particular Vrata. As the latter is done, all participants must hold a special thread (Skt. Vratasutra) unwound from the Kalasha. This symbolic act links the deity to each individual and binds the circle of devotees in worship.
5.3.1.1 Astami
Astami is the eight day of a lunar fortnight.
Astami vrata
Astami Vrata is one of the popular Buddhist Vratas. It is observed on the eighth lunar day before full moon (purnima). In Astami vrata, Amoghpasa Lokeswor (Karunamaya) is worshipped. Infact, this ritual is practiced on the eighth day of a lunar fortnight(Astami). The main central god of this vrata is Shree Aryaamoghapasa Lokeshvara. In the tradition of Newar Buddhism, Vajracharya priest guides to the followers to worship the Mandala of Amoghpasa Lokeshvara in Vrata occasion. The priest instructs whoever is taking the vrata in the worship of mandala. He lets them pray to the Buddha, Dharma and Sangha Mandala before worshipping the central god. For practicing this vrata Newar Buddhist have placed a statue of Aryaamoghapasa Lokeshvara in main monasteries. Most of the Newar Buddhists remember Aryaamoghapasa Lokeshvara and Asta Bodhisattvas on the eight day of lunar fortnight.
Importance of Astami vrata
Amoghapasa Lokeshwor is known as bodhisattva of compassion. He helps to remove sufferings. He leads suffering of sentient beings to the bliss of enlightenment. It is believed that those who observe Astami Vrata, they will be free from suffering.
Iconography of Amoghapasa Lokeshwor
Amoghapasa Lokeshwor is a multi-armed form of Bodhisattva Avalokitesvara. He has one face and eight hands. He exhibits the gesture of fearlessness, the boon conceding gesture, the noose and holding a string of beads with the right hands. Whereas, he hold a trident, a scripture, a white lotus and a water pot with the left hands.
His first right hand shows the gesture of abhayamudra which symbolizes that one who practices the Astamivrata sincerely is secured from falling into lower realms. Likewise, the second hand displays varadamudra which shows that those who practice and generate compassion and Bodhicitta receive all desired things. The third hand holding the infallible noose or Amoghapasa, symbolizes that he has infallible skill in means for converting ignorant sentient beings into the path of liberation.
Uses of Tri-ratna Mandala in Astami vrata
The followers of Newar Buddhism has been practicing different Vratas among them Astami vrata is also one. During Astami Vrata, in the beginning devotees perform the puja of Mandalas of three jewels: the Buddha, the Dharma & the Sangha Mandala. Then, as a central god they worship Amoghapasa Lokeshvara who is one of the guardian deities of the Kathmandu valley in Nepal and is also worshipped for day-to-day well being and helps practitioners to achieve enlightenment. It is also believed that the candidates, who observes astami vrata will be free from suffering. A special rite, performed on the eighth day of the moon’s brighter two weeks of each month was dedicated to him.
5.3.1.2 Vasundhara
Vasundhara is synonym for earth who is the mother of all living being. Vasundhara is composed of two words Vasu and dhara. Vasu means wealth like food, riches, gems etc and dhara means to wear or bear. Vasundhara symbolizes the knowledge of equality.
Vasundhara symbolizes the knowledge of equality. She is seated in a Lalita position. She has one face and six arms. She is golden yellow in complexion. Her right foot rests on a conch settled over a vase in which there is a lotus. Her three right hands hold a rosary, and jewels while the rest makes varadamudra her three left hands hold a vase, a Dhyanamanjary (rice /grain stalk) and a scripture, the Perfection of Wisdom. She wears all the precious ornaments and silk garments. Her gesture (varadamudra) shows that she bestows seven kinds of prosperity on all sentient beings. The jewel symbolizes that she fulfill one’s wishes: the rosary symbolizes that through repeated investigation of the natural state of mind or reality one’s wisdom and qualities will be developed. The auspicious vase symbolizes that she grants initiation on devotees.
As she sits in the posture of royal ease and adorned with all auspicious ornaments, jewels and crown, visualize yourself as the golden goddess Vasundhara."
Vasundhara's color is golden which I believe holds a threefold meaning. Obviously, as a goddess of wealth gold is the color of riches. Gold is also the color of the sun's light which enriches the soil and makes crops grow, so it is associated with her role as an earth goddess. Lastly, the most metaphorical aspect is the golden radiance of the inner wealth of knowledge that she provides to her followers; that of achieving enlightenment through the teachings of the Buddha. The book the Perfection of Wisdom holds the sacred teachings of the Buddha. It is through these teachings that her disciples will end samsara and reach enlightenment.
Godess Vasundhara is a symbolism of wisdom and compassion. It is observed on Bhadra Krishna tritiya. Generally, this vrata is also known as ‘Gatila dhala’. In Newar Buddhist society, Vrata is denominated as such terms: a “dhala danegu” and “Apasan chonegu”. According to Buddhist chronicles, Vasundhra vrata is observed by praying to Vasundhara devi. This vrata starts from Bhadra Krishna tritiya and on the third day of waxing half of month this Vrata is observed. It is said that by practicing Vasundhara vrata devotees assemble seven types of prosperity i.e. weath, quality, offspring, long life, happiness, praise and wisdom. A vrata ritual is a priest led visualization ritual for a particular deity. Vasundhara's vrata ritual has, unfortunately, not been translated into English. However, from what we know about other vrata rituals one can make certain assumptions about some of the aspects that should be present. In a vrata ritual there will be a mandala portraying the deity. The origin of Vasundhara's vrata ritual can be found in one of the legends of Vasundhara called the Ashvaghosa Avadana. In the story of Asvaghosa-Nandimukha, Vasundhara comes to the aid of her followers to end their suffering by reinstating her associated vrata ritual, if one is familiar with the story it becomes clear that the story is visually retold in the mandala that is associated with her vrata ritual. Vasundhara's vrata ritual is performed annually after the harvest. The timing of this is most likely because of her aspect as an earth Goddess.
Importance of Vasundhara vrata
The presence of Vasundhara is fundamental in one of the legends of Siddhartha's moment of enlightenment. Mara the god of evil sought to hinder Siddhartha from attaining Buddhahood, and sent various attackers to taunt and distract him. Upon his moment of enlightenment Buddha touches the earth and summons Vasundhara. In this legend of Vajrayana tradition when Buddha performs the earth touching mudra, Vasundhara is summoned in her aspect of earth goddess to bear witness to Siddhartha's enlightenment or Buddhahood. It is Vasundhara's testimony to Siddhartha's accomplishing the seven perfections that defeats Mara.
Uses of Tri-ratna Mandala in Vasundhara vrata
Vrata takers and Vajracharya priest gather together at the place of worship. They draw mahamandala of vasundhara and perform suryardha, gurumandala, kalashadi puja etc. Vrata takers also are made to worship Guru mandala, Buddha, Dharma, Sangha mandala, asundhara mandala etc and made to wear vasundhara vrata sutra(thread).
5.4 Practices of Tri-ratna Mandala in death ritual
Different purification rituals are observed in Newar Buddhism. One of them is deep prajwalan or durgati parisodhan. This ritual is observed on the third day after the death of any family member. The importance of this ritual is to guide the departed soul to the heaven and to prevent the soul from suffering. Generally, it means to light panas in the name of Buddha, Bodhisattva and goddesses. In any Newar Buddhism activities Gurumandala is worshipped first along with panchopachara puja. . Then, Buddha, Dharma and Samgha Mandala must be worshipped accordingly. (book sri durgati parisodhan Samadhi- sri badri ratna bajracharya.
